1199: Legalization

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#1199 / OCT 18, 2018 – OCT 24, 2018 VUEWEEKLY.COM

Origin of the Species 10

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ISSUE: 1199 • OCT 18 – OCT 24, 2018

VETERAN STONERS 6

BAKING WHILE COOKED 7

MOBILIZE! 8

DEDFEST 14

FRONT // 4 DISH // 7 ARTS // 8 FILM // 14 MUSIC // 16 VUE PICKS ARTS // 11 MUSIC // 19

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DYER STRAIGHT

WHEN IS THE POINT OF NO RETURN? ARE WE THERE? Earth Is Getting Dramatically close to a Temperature that Will Spark Unfixable Changes to the Environment

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grees Celsius, but said that governments should ‘aspire’ to stop the warming earlier, at one-and-a-half degrees Celsius. And they asked the IPCC to figure out how hard that would be.

The answer, revealed at a meeting in South Korea on Sunday, is ‘very hard.’ We have effectively wasted the past 30 years, since the climate change threat first became known, and there is now very little time left. In order to skid to a halt, brakes on hard, before we hit the dreaded target, we will have to cut our greenhouse gas emissions by almost half (45 percent) in the next 12 years.

To cut emissions that fast by 2030, we would have to decide to close down all the remaining coalfired power plants within the next two years. It would take the next decade to get that done, and get the same energy from expanded re-

newable sources (water, wind, and solar), leaving us just on track to reach zero emissions by 2050.

Climate scientist John Skea, who worked on the report, summed it up: “Limiting warming to 1.5 degrees C is possible within the laws of chemistry and physics, but doing so would require unprecedented changes.” These are changes of a scale that people would readily accept if they faced an imminent invasion by Nazis or Martians—but that they are less willing to make when their whole environment is at risk. Humans are funny that way.

The report is a bracing dose of reality in many ways. It effectively says that we can’t afford to go anywhere near the two degrees Celsius mark. It talks bluntly about the need to end all fossil fuel use, reforest vast tracts of marginal land, and cut down on meat-eating. It even admits that we will probably have

So far, so good. At least it’s being honest about the problem—but only up to a point. ‘Not in front of the children’ is still the rule for governments when it comes to talking about the mass movements of refugees and the civil and international wars that will erupt when the warming cuts into the food supply. And they still don’t want to talk openly about the feedbacks.

People forget that this is a governmental project run through the United Nations—the Intergovernmental Panel on Climate Change— not just a scientific one. Scientists write the body of the report, but the executive summary (the only part that most policy-makers and journalists will ever read), is negotiated between the scientists and the governments.

The governments take climate change very seriously these days, but they worry that too much

frankness about the cost in lives of going past one-and-a-half degrees Celsius will create irresistible pressure on them to take radical action now. In the ensuing struggle between the scientists and the politicians, the executive summary always gets toned down.

What got removed from the summary this time was any mention of “significant population displacement concentrated in the tropics” at more than two degrees Celsius (i.e. mass migrations away from stricken regions, smashing up against borders elsewhere that are slammed shut against the refugees).

Even worse, ‘tipping points’ are barely mentioned in the report.

These are the dreaded feedbacks— loss of Arctic sea ice, melting of the permafrost, carbon dioxide, and methane release from the oceans—that would trigger unstoppable, runaway warming.

They are called ‘feedbacks’ because they are self-reinforcing processes that are unleashed by the warming we have already caused, and which we cannot shut off even if we end all of our own emissions.

If you don’t go into the feedbacks, then you can’t talk about runaway warming, and the average global temperature going to four, five or—and hundreds of millions or billions of deaths. And if you don’t acknowledge that, then you will not treat this as the emergency it really is.

Gwynne Dyer

Photo: Canmore Museum and Geoscience Centre CMAGS 1989.029.001034

hey still haven’t dropped the other shoe. The Special Report on Global Warming of 1.5C contains terrifying forecasts about what will happen when humanity reaches an average global temperature oneand-a-half degrees Celsius higher than the pre-industrial average.

(We are now at over one degree Celsius). But it still shies away from talking about the feedbacks, the refugees, and mass death.

The Intergovernmental Panel on Climate Change (IPCC) ordered this special report in 2015, after the Paris climate agreement—stopping the warming before it reaches two degrees Celsius higher—had been set too high. By then, really bad things would already be happening.

So all the countries that want to stop the warming before it goes runaway (everybody except the United States) formally kept the ‘never exceed’ target of two de-

to resort to geo-engineering— ‘solar radiation management,’ in the jargon.

“If mitigation efforts do not keep global mean temperature below 1.5C,” says the report, “solar radiation modification can potentially reduce the climate impacts of a temporary temperature overshoot, in particular extreme temperatures, rate of sea-level rise, and intensity of tropical cyclones.”

Pumping sulphur dioxide into the stratosphere is scary stuff, but so is runaway warming.

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VUEWEEKLY.com | OCT 18 - OCT 24, 2018

POLITICAL INTERFERENCE

C’mon, Government of Alberta. / File Photo

LET THE PUBLIC SLAP BACK AGAINST SLAPP

Alberta Should Adopt Legislation That Protects Community, Environmental, and Non-Profits from Corporate Silencing

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ometimes there are pieces of legislation that just make sense. Imagine a law that would clearly benefit public interest, would not be contentious or divisive in any way, and that could (with fair simplicity) be imported from other jurisdictions where it is seeing success. It is something that requires no large investments of resources, and little research and consultation. In short: Imagine something that’s an easy win.

Ontario’s new anti-Strategic Lawsuit Against Public Participation (or SLAPP) law is one of those pieces of legislation. The British Columbia government has already taken notice, and is seeking to import the legislation.

Hopefully the Alberta government will as well.

Although you may never have heard the term before, it is quite

tions know that small organizations can simply not afford the costs of fighting the suits in court, and that they will generally opt to simply stop their campaign and organizing and just walk away.

The chilling effect caused by these lawsuits is incredibly damaging to our core notions of democracy, citizenship, public engagement, and public participation, and for years community activists have been pressuring governments to take action against SLAPPs. Some American states have had anti-SLAPP legislation in place for almost 20 years, while others are just now coming on board. In Canada, Ontario became the first province to successfully introduce anti-SLAPP legislation in 2015.

Experts on the topic, like James Turk at the Centre for Free Ex-

“Now that Ontario’s world-class antiSLAPP legislation has been upheld by the highest court in the province, there is nothing stopping every other province in the country from simply replicating Ontario’s legislation word for word and passing it in their own legislature.” pression at Ryerson, broadly agree that the Ontario legislation is easily the best anti-SLAPP law in the world, and they were anxious to see if it would actually stand up in the courts.

That test finally came this past summer when the Ontario Court of Appeal ruled that six cases fell within the parameters of the anti-SLAPP legislation. The court upheld the legislation in every instance.

What makes Ontario’s law particularly impactful is that it actually turns the tables and places the onus on the party bringing the suit to demonstrate that it has merits and is not just an attempt to intimidate and shut down public participation. It sets a high bar for what qualifies as merit in a suit of this nature, and weighs that merit against a broad definition of the public interest. The burden of costs also shifts to the party bringing the suit, as all the defendant needs to do is file a motion to dismiss on the basis that it is a SLAPP. If the judge agrees with the defendant and dismisses the suit as a SLAPP, then the complainant must cover 100 percent of the

have often been used to shut many of those campaigns down before they even started.

Now that Ontario’s world-class anti-SLAPP legislation has been upheld by the highest court in the province, there is nothing stopping every other province in the country from simply replicating Ontario’s legislation word for word and passing it in their own legislature. There really is no down-side to doing this in Alberta. The law doesn’t stop corporations from filing legiti-

mate claims, it protects public participation on all sides of the political spectrum, and would actually provide some relief to our over-extended court rooms and legal system. Bringing antiSLAPP legislation to Alberta would be a win for the government, a win for democracy, and a win for public participation. It is legislation that is long overdue, and Albertans should work to persuade their government to make it happen.

Ricardo Acuña

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likely that you have seen or heard of SLAPP suits in action.

They usually consist of a small organization like a community league, non-profit, or environmental group trying to raise awareness of, and stop some action by, a large corporation.

Those actions can include a new development, a push for rezoning a community, poor human rights practices internationally, or virtually any practice or project imaginable by a corporation.

As part of their organizing work, the small group will usually begin producing information in the form of websites, blogs, pamphlets, petitions or even letters to the editor. As soon as that happens, the large corporation will step in and file a lawsuit against the small organization that is explicitly designed to stop the campaign. The corporation will usually claim defamation or interference with economic interests or a number of other transgressions, but the intent is actually to stifle debate and stop public engagement on the issue.

These suits almost never have any legal merit (as the activities undertaken are all protected by Canadian law), but the corpora-

defendants costs. The law also stipulates that this will happen under expedited timelines to ensure a timely decision.

Alberta has a long history of community groups organizing against encroachments and questionable practices by corporations, from farmers and landowners fighting against high voltage electricity lines to community leagues campaigning against developers and First Nations pushing back against development on traditional lands. SLAPP suits

Learn more at: edmonton.ca/futureofwaste

VUEWEEKLY.com | OCT 18 - OCT 24, 2018

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‘LEGALIZATION 4.20’

Some budding bud. / Adobe Stock

VETERAN STONERS TALK THE FUTURE OF BUD

It May (or May Not) Be Prohibition 2.0 Right Now, but Long-Time Cannabis Users Believe Society Will Chill out

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Adventure features, style tips and food and drink ideas to help you make the most of Western Canada’s longest season!

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elissa Lavoie and Shari Cummins don’t look like stoners when they sit in the Udell Gallery. Lavoie (co-owner of the gallery) is wearing a dark suit, covering a tattoo on her forearm, and Cummins (Lavoie’s assistant) is wearing a cardigan.

But in early 2019, the gallery is going to house a dispensary— maybe 20 metres from the backroom they’re sitting in, surrounded by sculptures of magpies, a large piece depicting a glowing chrysalis, and paintings of clouds with vivid colours.

They acknowledge the discrepancy with a laugh.

“That’s the stigma. Everybody thinks cannabis, and they think low-lives,” Cummins says.

They’ve both been smoking cannabis since their teens—so too, they posit, have business people, doctors, nurses, politicians, etc.

Opening a dispensary—slated to have a hard opening next April 20—has been something Lavoie has wanted to do since she was 16.

“To be where I am now, and to get to do everything I wanted to do back then—especially after there was so much stigma against me,” Lavoie trails off. Then she recalls her high school principle screaming at her for two hours after she was caught toking.

Going forward, things aren’t going to be that different, they say. The scent of skunk may be a little more prevalent. More people may end up trying the drug—people who never wanted to step foot on the wrong side of the law before.

The term Prohibition 2.0 lingers on the tongues, and on the forums, of old-school stoners. The argument, as it goes, is that cannabis has become less free now

that it’s being regulated by the government. It’s more expensive, and the rules around driving under the influence of cannabis—which various internet denizens argue is safer than alcohol, texting, and being tired—appear draconian to some long-term users, and those who consume the substance as medicine.

Somehow, myriad blogs and pot activists say, through ending prohibition—a move to make society more free—Canada has ironically become more strict as all levels of government tack on additional laws—the weird grey zone pot existed in before as a socially acceptable crime was just more comfortable for some.

Both Cummins and Lavoie have heard the term before—and it’s particularly troubling to the former, who uses medicinal cannabis and needs to drive (but can’t given the laws surrounding impaired driving).

“Legalization is not actually happening in the way anybody wanted it to,” Cummins says. “If people were educated, they’d know cannabis is safer than alcohol, safer than opioids, sugars—than McDonalds.”

Keith Fagin, organizer of 420 smoke-in events across the province—including the one at the legislature—doesn’t plan on going to dispensaries. It’s not a matter of paranoia for him, though some among the older generations may feel uneasy having footage of them taken at pot retailers, and having an entry for dank buds on their credit cards (Lavoie and Cummins say). Rather, he already has an established network of friends who grow cannabis for personal use—

VUEWEEKLY.com | OCT 18 - OCT 24, 2018

and he can get that bud for cheap.

“For myself and a lot of my veteran friends, there’s not going to be any change at all,” he says. “I’ve been hooked up with a friend for 30 years ... I know what I’m getting, and I know I’m taken care of.”

The limit on number of plants a person can grow seems restrictive to Fagin, but he’s not at all surprised—and all the other restrictions. In all, though, this is a start, he says.

Fagin, who is based in Calgary, commends Edmonton on basically following the Government of Alberta’s recommendations on how to handle pot. His hometown, on the other hand, is just too conservative when it comes down to it.

But, in all, he’s hopeful.

“In time it will get better. You have some people saying legalization is Prohibition 2.0. We’re calling it Legalization 1.0. Once we get to Legalization 4.20, that’s when it will be removed completely from the [Controlled Drug & Substances Act].”

Bryan Kent first tried cannabis as a youth—like many Canadians.

He now takes it medicinally, but the 32-year-old labourer says he’s been a steady smoker since his late teens. He compares the current epoch of cannabis to the end of prohibition of alcohol—another time of confusion and flux.

“I think, right now, it’s going to be tough. There are going to be a lot of amendments and changes over the years,” he says. “But [the governments are] making sure their asses are covered, and that they’re making the right investments ...

Right now, the rules are in place for a reason.”

Doug Johnson doug@vueweekly.com

The struggle is real. / File Photo.

MUNCHIES

VUE ’S GUIDE TO COOKING WHEN YOU’RE TOO HIGH

Got the Munchies, but no Money? Check out this Informative Guide on Jerry-Rigging Late-Night Food

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t’s 10 p.m., your fridge is empty, and you spent the last of your paycheque on a bag of weed— you have some leftover from some dude who calls himself Dragon, but the novelty of buying weed from a place that looks like a Black Mirror episode seems too good to ignore.

But, anyway you’re hungry, and too broke to order food. You wonder, for a second, if you have the wherewithal to cook anything, and then you wonder—for a longer time—if you can cook anything worth eating. You spend an uncomfortable and environmentally unfriendly amount of time standing in front of your open fridge. The cat is watching you, judging you. It’s getting really awkward.

You’re really in a pickle (yum).

Knowing that, at the very least, you’re stoned and an adult, you set to work, trying to turn the scraps of your kitchen into something edible while you re-re-re-watch Black Panther on Netflix.

Egg-Fried Quinoa • Quinoa—some. Enough that you want to eat, and maybe you can have some leftovers, too.

• Onion—most of. The outer layer is looking kind of weird. Maybe it’s still OK inside?

• Garlic—far too much of. Garlic is great.

• Frozen Peas—like, a handful?

It’s mixed in with frozen carrots, but you hate frozen carrots so you spend five minutes separating them, and feeling oddly guilty.

• Egg—one egg? Two? You hope they’re OK. • Chilli Flakes—a lot of. If it turns out bad, at least it’ll be spicy.

• Salt and Pepper—to taste.

• Oil—just wing it.

Pour a lot of water into a pot—it should probably have a thick bottom, you think to yourself before patting yourself on the back—and bring to a boil. You remember that you should be steaming quinoa, but it’s too late for that. Pour qui-

Chocolate Peanut Butter Microwave Brownie • Coco Powder—however much looks good. Why do you only have cacao power?

• Salt—one pinch.

• Baking soda—like three pinches?

• Sugar—a lot, like more than it looks like you would need.

• Flour—half a cup, maybe? You only have chickpea flour anyway for reasons you can’t remember.

• Eggs—One, but you used the last one in the quinoa debacle, so opt for over-ripe banana instead.

• Peanut Butter—Same as above.

Consider just eating peanut butter.

noa in anyway; bring water down to low simmer and neurotically check to see when it’s done.

Dice onion and garlic as best you can, resorting to rocking the knife back and forth on the veggies when they come out too chunky the first time. Heat a pan, put oil in it then throw the onions in. Add a bit of salt to help them express their moisture. Then, once they become fragrant, add the garlic and chilli flakes in. Continue to fry until translucent. Using a spatula, take the veggies off the pan, and place them on a plate or something—just not the counter.

Add a little more oil and crack the egg(s) into the pan and scramble.

Strain liquid from quinoa, realize you don’t own a wok, then add eggs, fried veggies, frozen peas, and a bunch more oil into the pot. Oh no—too much oil.

Continue to stir until it looks OK? Jesus, it’s a mess. You don’t even have soy sauce. Eat it anyway. This is what you deserve.

Grab a mug, and mix the sugar and egg/banana together using your only clean fork. So far, so good. Add the peanut butter and continue to mix until it looks kind of homogenous.

Add the rest of the dry ingredients and mix until it looks pretty OK. It does look a little thick, though, so add a splash of water and keep mixing. Taste the mixture, and wonder if the chickpea flavour is all in your head, or if it’s real.

Microwave for a little over a minute. One minute and 20 sec-

onds seems too long, so go for one minute and 18 seconds. Grab a spoon, take a bite, live with your decisions and remember it’s bad to throw away food even when it’s awful.

Roasted Chickpeas • Chickpeas—your only can of.

• Paprika—like a tablespoon.

• Cayenne Pepper—A lot of.

•Salt—Oh God, you added too much. Why are you like this?

• Oil—I don’t know, man.

Strain nasty chickpea juice from can; wash chickpeas vigorously, then dry with paper towel. Bring out a large baking sheet and throw the chickpeas on there and cover with oil, salt, and spices. Mix with your hands, and remember you should have pre-heated the oven to 350 degrees Fahrenheit. Start oven, throw chickpeas in there until they’re crispy. Not bad, you think to yourself. Congratulations, you showed your cat how resourceful you are, and how you don’t need her approval.

Doug Johnson doug@vueweekly.com

KITCHEN TIPS A Chef’s Knife Is a Constant Companion, Another Body Part

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As far as I’m concerned, there are only two really important decisions in a cook’s life: choosing a mate, and buying a chef’s knife.

If that seems like an overstatement, you just haven’t found the right knife,” wrote food writer and columnist, Russ Parsons.

To say that chefs love their knives is an understatement.

For years our, most requested stickers have been the ones that say “Kindly do not touch my knives”—or the ones with stronger, sailor-approved language. To a chef, the knife is an extension of the arm, a constant—even for home cooks this is true.

It’s important to find the right shop, first. It should have a variety of options from a variety of brands, and be able to help you care for your knife (sharpening, repairs, advice), and it should let you take a sample knife for a test drive before you buy.

People always ask how many knives makes a ‘normal’ set, and I say anywhere between three and eight. After that, we’re getting into the collection department— not that that’s a bad thing. It can be a hobby that will help feed you, and provide family heir-

looms that you can hand down to children and grandchildren.

If this is your first knife, you need to get a multipurpose knife like a Santoku or Gyuto.

This is also the knife you should take the most time choosing, as it will be your go-to. If you are thinking about a budget, this is the kind of knife where you should think about breaking the bank.

A Santoku is a great support knife in a set for daily use, especially for people with smaller hands, as the shorter length of the blade (usually 165mm) is a bit easier to handle. Think about ice hockey sticks; everyone needs a slightly different length. For people who are less confident with knives Santokus are great for building knife confidence. I do not recommend a Santoku as a ‘do everything’ knife as they are a bit too small when you start to get into larger jobs like cabbage, watermelon and big onions.

Next steps are a 90mm120mm paring knife for small

jobs—like peeling vegetables— and a 150mm petty for fruit and slicing roast chicken. These knives get more of a workout than you would think. A little, sharp knife

is handy for heaps of small jobs.

New knife day should be the best day of the week, month, or year. The perfect knife inspires cooking adventures and makes

VUEWEEKLY.com | OCT 18 - OCT 24, 2018

you feel like a rockstar. So get the one you want. You won’t regret it.

—Kevin Kent, CEO of Knifeware Group

lovin’ that dank green

dish 7

ACCESSIBLE DANCE

CRISPiE Shares Integrated Dance with Mobilize!

Fri., Oct. 19 and Sat., Oct. 20 (7 pm) Mobilize!

Westbury Theatre, ATB Financial Arts Barn $5 – $25 cripsie.ca

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Mobilize! features dancers and artists from a large variety of backgrounds collaborating in six pieces. / Supplied

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8 arts

obilize! brings a variety of integrated, dance-based performances to the Westbury Theatre as the performers try to challenge the conventional notions of who dancers are. The show is produced

by The Collaborative Radically Integrated Performers Society in Edmonton (CRIPSiE), which works to create inclusive creative spaces.

Kelsie Acton is the artistic codirector of CRISPiE, alongside Lindsay Eales, and choreographs two pieces in Mobilize!. Acton has worked in normative dance but her passion for the medium came when she was introduced to integrated dance.

“Lots of dance is about hyperability, which in itself is fun,” Acton says. “It’s like ‘What impressive things can we do with our bodies and minds to create these really beautiful images on stages.’

But that also means it’s incredibly exclusionary, not just for folks with disabilities.”

CRISPiE, and integrated dance as a whole, has grown out of the issue that normative dance is not forgiving to certain body types, to the way some brains work, and is typically heteronormative.

“It’s incredibly exclusionary of people whose bodies aren’t built the way dance imagines bodies should be,” Acton says about normative dance, “whether that’s because your joints aren’t set up right or [you’re] what would be considered fat in dance spaces. With integrated dance, kind of throw all that out the window. CRIPSiE tries to welcome all kinds of bodies and minds into the space.”

Mobilize! features dancers and artists from a large variety of backgrounds collaborating in different ways. There are six pieces in Mobilize! and each layers different artists’ ideas.

Acton’s piece Garden Paths was originally commissioned in Thun-

VUEWEEKLY.com | OCT 18 - OCT 24, 2018

der Bay. Acton was sent stencil art from an artist in the city from which she choreographed an integrated dance piece. The stencils were also given to a local projection artists who formed them into backdrops for the performance.

The multidisciplinary piece has grown to have multiple meanings from disability in nature to climate change.

Another piece, Orbits, is based on exploring cosmic ideas and linking them to timing as a skill in dance. Alexis Hillyard is one of the dancers in the performance, but she also performs the soundtrack live using vocals and a looping pedal.

“We try instead to think about what are the new ways and [the] tremendous creativity it takes to live in a world that fundamentally isn’t organized for you—and how can we bring that into art?”

Acton explains.

Creating inclusive dance spaces for artists and audiences is a work in progress in Edmonton.

Acton has noticed a large shift towards openness and thoughtfulness towards non-binary, disabled, and coloured people, and other minorities in the creative community in the past few years.

CRISPiE has also been welcomed by other local dance companies, but there’s still work to be done.

“There are a lot of major structural barriers,” Acton says. “Just on a basic level, there’s still a certain percentage of art spaces in Edmonton that are up two flights of stairs or have gendered washrooms.

Just on a physical, structural level, [they] can’t welcome everyone.”

Aside from the physical barriers, there is still a lack of options for dance training for disabled children.

There are also a variety of assumptions that come with integrated dance and art that the community has to work towards overcoming.

Mobilize! tries to challenge these assumptions in a variety of ways, but most forwardly through creating an inclusive audience space. There are no barriers at the Westbury Theatre— bathrooms are gender neutral, there are ASL and captions, and the entire space is family friendly.

Tamanna Khurana

INDIGENOUS PRINTS

“Tsódane Denedelé Kótú hílí (Child Alcoholic)” is a response to a racist comment the artist’s grandfather made in front of her as a child. / Laura Grier

FRIDAY • October 26 • 2018

MISS MONEYPENNY’S

50/50 FUN - RAISER

7 - 11pm I Entrée by DONATION I CASH Bar Martinis • DISCO music • 50/50 raffle @ HARCOURT HOUSE ARTIST RUN CENTRE 3rd Floor, 10215 – 112th Street, Edmonton for the best costume contest > for more info: www.harcourthouse.ab.ca

OCT 12 - 27, 2018

COMMON STORIES

Printmaker Laura Grier’s Exhibition People Walk Backwards Makes the Personal Political

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rowing up away from her traditional territories and as the adopted daughter of a white family, Deline artist Laura Grier’s journey to reconnect with her culture has been isolated—but her stories of facing racism and inherited trauma are something she has in common with other Indigenous people. Through her artwork, she is now sharing those stories with Edmonton.

Grier is a printmaker and received a grant from the Alberta Foundation for the Arts to spend three months at the Banff Centre for Arts and Creativity, where she completed the works that will be shown in People Walk Backwards / Dene K’et’a Ditla.

She created CMYK-separation screen prints taken from family photos—a process where she digitally separated the layers of colour in the photos and made changes before making the screens used in the creation of the final images. Four out of the six images also include hand-drawn elements that she did through lithographic printing—a daunting task requiring a lot of skill.

To make lithographic prints, the artist first makes a drawing on limestone with a greasebased crayon. The surface is then treated in such a way that lithographic ink will only adhere to the image, and multiple prints can be made. It’s complicated and time consuming, and that’s just if you’re using one plate in a image. Using multiple plates, and combining screen printing as well, requires still more talent—including the ability to make sure that the screens and plates are regis-

tered (placed) properly so that all of the separate layers line up in the final image. Grier says it also requires some luck.

Combining lithographic layers with screen printing gave her the chance to incorporate elements that weren’t in the original photos.

“I was adding different objects or features, [where] I really enjoyed having more separation from a photographic quality image,” she says.

As an example, for “Tsódane Denedelé Kótú hílí (Child Alcoholic),” Grier drew in a bottle of alcohol and some red plastic cups. The image is a commentary on a derogatory statement her grandfather made in front of her when she was a child about “how the natives are all useless drunks.”

Each image is accompanied by a short story from Grier’s childhood, and each is titled in North Slavey—a Deline language that Grier doesn’t speak, but that she has learned words from through research.

“They’re really simple words, because I don’t know how to construct sentences—all I had were just like various types of resources, or articles or bits of wording that I found, [and] just kind of puzzled them together to create the titles,” she explains.

Grier says that without talking to her biological family or community, she has had to rely on computers and books. When she first started working on artwork related to her Indigenous culture and sharing personal stories through her art—and was also thinking of contacting her biological family—she says she was terrified by “how those weights are so heavy.”

Thu., Oct. 18 – Sat., Dec. 1 Opening reception: Fri., Oct. 19 (7 – 9 pm) People Walk Backwards / Dene K’et’a Ditla Harcourt House Free admission “And a friend of mine was like, ‘Well, you’ve been balancing those weights your whole life, it’s just when you start pursuing these things the weights will just be heavier and … you’ll still continue to balance those things,’” she says.

Grier says that People Walking Backwards is her first series that’s very personal—her work typically reflects on her activism—but it’s very much a case of the personal being political.

“These are common stories amongst Indigenous people who have been displaced or have been raised in urban areas or off reserve … It’s a dialogue that touches a lot on the type of racism, and it is personal because a lot of these rooted things of racism and colonialism, abuse are something that has affected and is affecting us as a culture and as a society,” she says. “It can be very political to expose Indigenous lived experiences.”

The 28-year-old was living in Edmonton, but recently moved to Toronto to pursue her Master of Interdisciplinary Fine Art at The Ontario College of Art and Design University—so she won’t be here for the opening, but hopes people will take the time to see her work.

Chelsea Novak chelsea@vueweekly.com

VUEWEEKLY.com | OCT 18 - OCT 24, 2018

NORTHERN LIGHT THEATRE PRESENTS

Canadian Premiere!

by Bryony Lavery @ Studio Theatre inside the ATB Financial Arts Barns $25 Student/Senior, $30 Adults, $20 Sunday Matinée T I C K E T S A N D S E A S O N S U B S C R I PT I O N S : www.northernlighttheatre.com or 780-471-1586

arts 9

THEATRE 3rd floor, 10215 - 112 Street, Edmonton, AB T5K 1M7 harcourthouse.ab.ca 780 426 4180

IT’S 2018, YOUR FEMINISM SHOULD BE INTERSECTIONAL Northern Light Theatre’s Origin of the Species Raises Racist Problems

PEOPLE WALK BACKWARDS / DENE K’ET’A DITLA

Laura Grier . The Art Incubator Gallery

LAKESHORE AND DIXIE

Natalie Jachyra . The Main Gallery October 19 - December 1, 2018 OPENING RECEPTION: Friday, October 19, @ 7 - 10 pm, Artist’s Talk @ 7:30pm

Holly Turner and Kristin Johnston star in Origin

of the Species. / Northern Light Theatre

Origin of the Species Directed by Trevor Schmidt Studio Theatre, ATB Financial Arts Barn $30 Adult, $25 Student/Senior, $20 Sunday Matinee northernlighttheatre.com

T

Old Strathcona Performing Arts Centre 8426 Gateway Boulevard FRIDAY

OCT

26

10 arts

6:00PM10:00PM _________

Opening Night Reception

SATURDAY

OCT

27

9:00PM6:00PM _________ General Gallery

SUDAY

OCT

28

11:00AM3:00PM _________

General Gallery

here is absolutely no reason why, in 2018, a visibly white woman should be playing a role written for a black woman. Further, there is no reason why that woman should portray that character in a costume that elicits the reaction, “Well, I mean her face isn’t actually painted black, but…” Nor is there any excuse for furthering what has been dubbed White Feminism, often positioned opposite intersectional feminism.

The latter asks that in the pursuit of equality, feminists include not only women, but others who have been marginalized, including people of colour, transgender, and non-binary individuals, people with disabilities, etc. So for instance, if you’re putting on a play with feminists themes, you would also be aware of how your production engages with race, and racial stereotypes.

British playwright Bryony Lavery wrote Origin of the Species in 1984.

It’s about an archeologist named Molly (Holly Turner), who accompanies Louis and Mary Leakey on an excavation to the Olduvai Gorge (it’s based on a true story) and finds a four-million-old woman whom

she wakes with a kiss and smuggles back to Britain (not as true). She names the woman Victoria (Kristin Johnston), after her grandmother.

The Olduvai Gorge is in Tanzania, Africa, and Molly mentions that it’s in Africa in the play. Add to that, that previous productions have cast a black woman in the role of Victoria, and it’s problematic that the production company chose to cast Johnston—a visibly white actress—in the role.

Whitewashing is never good, but when the play you’re producing is preoccupied with the ways in which women have been excluded from history, it seems incredibly problematic to recast humanity’s oldest ancestor as white.

That being said, recasting Victoria as a white woman may have been a vain attempt to circumvent the problems with primitivism in the play. Victoria begins the play as a “primitive” who doesn’t understand the modern world—she has few words, moves more like an ape, and wears large prosthetic teeth. As Molly works to civilize her over the course of the play—subjecting her to a made-at-home, white, British

VUEWEEKLY.com | OCT 18 - OCT 24, 2018

education—her speech becomes clearer, she stands straighter, and her teeth magically become smaller.

Victoria’s primitiveness is played for laughs, and the problem is that’s nothing new. Having Johnston portray Victoria in a large, afro-like wig just makes it worse, as minstrelsy—the “comedic performances of ‘blackness’ by whites in exaggerated costumes and makeup,” according to an article from the Smithsonian’s National Museum of African American History & Culture—has always been about portraying “primitive black people” for laughs.

The way light and sound were used to tell the story on stage was very interesting, and Turner and Johnston both delivered fine performances. A lot of talent went into this production—it’s just a shame this is what they chose to put their efforts into.

We’ve come a long way since 1984, but if it still seems OK to put this play on—and if you can’t see the problem with it, laughing it off as ‘good fun’—then we’ve clearly still got a long way to go.

Chelsea Novak chelsea@vueweekly.com

VUEPICKS

Chelsea Novak chelsea@vueweekly.com Ainsley Hillyard and Jezebel star in Jezebel, at the

Still Point. / Marc J Chalifoux

Bridget Ryan’s Oh, What a Beautiful Morning! // Fri., Oct. 19 – Sat., Oct. 20 Breakfast Television’s former ‘remote host’ Bridget Ryan has turned her 15 years of experience in morning TV into a one-woman show.

It combines story-telling, music, multi-media and a lot of humour.

If you ever caught (and enjoyed) Ryan in the morning, this is probably worth checking out. (Citadel Theatre, Balcony $27, tables $35)

The Triangle Factory Fire Project // Until Sat., Oct. 20 On March 25, 1911, a fire started in the Triangle Waist Factory in Manhattan. This play is an account of the desperate attempts to stem the fire, those who made it out, and those who did not. Expect a lot of drama, and an engaging history lesson. (Walterdale Theatre, Adults $20, Seniors $18) Billy (Les Jours de hurlement) // Until Sat., Oct. 20 It’s a cold, snowy day, and three people have had it. My French isn’t good enough to decipher too much—one woman is angry because Billy’s father left him in the car—but the performance itself will have English subtitles and hopefully some catharsis at the end— though I haven’t seen it, so I promise nothing. (L’Unithéâtre, Adults $41, seniors/students $27, teen (14 – 17) $18, family $61) Perfume War // Sat., Oct. 20 (3 – 4:30 pm) Barb Stegemann was inspired to create a perfume company that helps Afghan farmers after her friend Captain Trevor Greene was hurt while serving in Afghanistan. Both Stegemann and Green will attend a screening of Perfume War—a documentary sharing their story—at the Rotary District 5370 Conference. Having interviewed Stegemann before, I can tell you the story is well worth hearing.

(Shaw Conference Centre, $20) La Traviata // Sat., Oct. 20; Tue., Oct. 23; Fri., Oct. 26 This is the opera that inspired Moulin Rouge. It tells the story of Parisian courtesan Violetta, “who is consumed both by love and a life-threatening illness.” It’s three nights only, and features the Edmonton Symphony Orchestra, so don’t miss the chance to see it.

(Jubilee Auditorium, Adult tickets start at $29, edmontonopera.com) Jezebel, at the Still Point // Until Sun., Oct. 21 This play actually stars a bulldog named Jezebel. If that alone isn’t enough of a reason to see it, it also stars Ainsley Hillyard as an astronaut travelling the universe with Jezebel in attempt to figure out time travel. Described as a mix between Turner and Hooch, Space Jam and Einstein’s theory of relativity, it sounds like it has the potential to be a really fun time. (Roxy Theatre, Adults $22, students/seniors $18)

SEASON TICKET PACKAGES FROM $75 INCLUDES LA TRAVIATA, HANSEL & GRETEL, AND COUNT ORY

VUEWEEKLY.com | OCT 18 - OCT 24, 2018

arts 11

SMOKING RECEPTACLES

A selection of pipes from Pixie Glassworks. / Supplied

ASK NOT FOR WHOM THE BOWL TOLLS

Thomas Billings of Pixie Glassworks Discusses the Dynasty of Pipe Making, and How the Industry Might See Wider Acceptance Come Legalization

F

umbling while rolling a joint or finding some appropriate fruit to smoke out of is a practice that many grow out of, eventually graduating to their own pipe. These pipes can be immensely personal and last years, or be as temporary as the high they give you. Thomas Billings has been crafting these little glass wonders for years as an owner and artist at Pixie Glassworks—and he believes that come legalization, these trinkets will see far wider use, with much less stigma attached.

Billings started his craft 20 years ago, as a glass blower focusing on the more traditional aspect of

the craft in the form of making statuettes and jewelry. This was a time when commercial pipe use was not as common as it is today.

Yet, when Billings was getting his stripes as an artist, a notable uptick in this industry was emerging.

Where? Well—rock and roll.

“There is a recognized founder of this school of thought in the industry. He was a man who made little Grateful Dead pipes and sold them at their shows. Whether he knew it or not, this was the beginning of modern contemporary glass culture,” Billings says.

As years went on, more artists began shifting their focus to the

needs of the glassy-eyed masses and began to overhaul their shops, resulting in a boom of artistic versatility, primarily the utilization of borosilicate—a far sturdier scientific glass. Yet, where function reins supreme, fashion will often find a place of its own.

“There is so much changing in this market. We started 20 years ago with only 20 base colours for glass working, now we have hundreds,” Billings says.

With this industry building up over the years, interest in the educational aspect of the craft has increased as well. To some it may seem like a meticulous

and time-consuming activity, yet there is something tangible and personal to it, something that Billings believes makes glass blowing so alluring.

“The industry is growing exponentially, so many people want to do it. We’re getting booked up with a lot of glass blowing classes, and probably will explode further with legalization. The potential is limitless—much like the craft itself,” Billings says.

Even though legalization has passed there is one looming aspect that many overlook. Primarily how these intricate tools lose their appeal the minute they are

used for the purpose for which they were made. Billings is aware that to a non-smoker, a beautiful piece of art immediately becomes nefarious paraphernalia when used, and gets lumped into the arsenal of the dreaded dope fiend.

“Would you penalize a goblet maker because of alcoholics? A pipe does not make a pothead either,” Billings says.

Like most industries surrounding cannabis, these tools that many have considered to have no place in polite society will be as commonplace as a can of beer—just far more beautiful.

Jake Pesaruk

CannaConcierge Discreet, Delivered.

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12 arts

VUEWEEKLY.com | OCT 18 - OCT 24, 2018

VUEWEEKLY.com | OCT 18 - OCT 24, 2018

arts 13

The Ranger is directed by Jenn Wexler. / Supplied

FILM FESTIVAL

This Year’s Lineup Includes Dread, Drama, Dance, and Demolition Man

FRI, OCT 19– THUR, OCT 25

Fri., Oct. 19 – Sun., Oct. 21 DEDfest Metro Cinema Tickets and show times at dedfest.com

D THE OLD MAN WITH THE GUN

FRI & MON TO THURS: 6:45 & 9:00PM SAT: 1:00, 3:15, 6:45 & 9:00PM SUN: 1:00, 3:15, 6:00 & 8:00PM

THE WIFE

FRI: 7:00 & 9:30PM SAT: 3:45, 7:00 & 9:30PM SUN: 3:45, 6:15 & 8:30PM MON TO WED: 7:00 & 9:15PM RATED: 14A, CL

RATED: PG

ANTHROPOCENE: THE HUMAN EPOCH SAT & SUN: 1:30PM RATED: G

PRESENTS

FRIGHT NIGHT THUR @ 7:00 MANDY THUR @ 9:15, MON @ 7:00

OCT 18 - OCT 24

METRO RETRO / 35TH ANNIVERSARY

THE HUNGER MON @ 9:30

LOCAL FILMMAKERS

UNTIL FIRST LIGHT TUE @ 7:00 GATEWAY TO CINEMA

ZOMBIELAND TUE @ 9:30 FREE ADMISSION FOR ALL STUDENTS

WITH VALID STUDENT ID

EDfest still gets called a horror film festival, but that’s not really what it is, according to its director. The festival features films from a variety of genres—including action and arthouse—and from all over the world.

“I think when we first started … the idea was that we were just going to be horror, but then you’d find these really cool little action films, or documentaries, or things like that, that you’d want to show,” Derek Clayton, festival director, says. “So I think almost within our first couple of years, we were off horror and going into what we call genre films.”

Now in its 11th year, DEDfest originally started under the name Deadmonton in 2008. Clayton says the festival is a continuation of the Return to Odd film festival, but has a different name because they didn’t get the go-ahead from the original creator (Chris Bavota, former owner of Oddity Video) in time to use the same name.

Clayton also says that, because it’s a smaller film festival, he and the other organizers often need to scout out films. That includes attending film festivals in other parts of the world like Mórbido in Mexico City, and Fantastic Fest in Austin, Texas.

Many of this year’s films have shown at international festivals, and one was shot locally—Extremity. It’s directed by Anthony DiBiasi from L.A. and is about a young woman who subjects herself to an extreme haunt—think torture chamber meets haunted house—in an attempt to confront her fears.

“I have not seen that one,” Clayton says, “but it seemed a no brainer to show it—like it’s shot here, a lot of the people that we know, a lot of the people that sort of are in our sphere, were in this movie.”

Extremity will open the festival, and the three-day event will close with something completely different.

Clayton describes Climax as “a horror film, but it has musical numbers in it.”

Directed by Gaspar Noé, the film is about French dancers who gather in a remote building to rehearse and have an all-night party, but things go very wrong when someone spikes the punch with LSD. The trailer is full of dread and dancing.

Three other movies Clayton is excited about are Starfish, The Ranger, and The House That Jack Built.

The DEDfest screening will be the Canadian premiere of Starfish.

The film stars Virginia Gardner—

DEDFEST INTERNATIONAL GENRE FILM FESTIVAL OCTOBER 19 – 21

FOR MORE DETAILS, VISIT: DEDFEST.COM

THE ROCKY HORROR PICTURE SHOW SAT @ MIDNIGHT - SOLD OUT ADDITIONAL SHOWS OCT 26 & 27 TICKETS $16 LED BY THE LOW DOWN CHEAP LITTLE PUNKS SHADOW CAST

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MATANGI/MAYA/M.I.A. WED @ 7:00 DEAD BY CON FUNDRAISER / 35TH ANNIVERSARY

SLEEPAWAY CAMP WED @ 9:30 ALL TICKETS $12

Metro Cinema at the Garneau: 8712-109 Street WWW.METROCINEMA.ORG

14 film

VUEWEEKLY.com | OCT 18 - OCT 24, 2018

who is also playing Jamie Lee Curtis’ daughter in the new Halloween movie—and is a story of grief and loss “that just happens to take place on the day the world ends as we know it.”

Clayton’s friend Jenn Wexler directed The Ranger, which tells the story of punk kids, who, on the run from he cops, hide in the woods and encounter a deranged park ranger.

“It’s [Wexler’s] feature film debut,” Clayton says. “She’s done little bits of producing here and there, but this is the first time she’s directed, and it’s played tons of festivals over North America.”

The House That Jack Built is a serial killer movie directed by Lars von Trier (Melancholia) and stars Matt Dillon (Crash).

“Which apparently about 100 people walked out of in Cannes,” Clayton says.

DEDfest will also be celebrating the 25th anniversary of Demolition Man this year.

Clayton hopes they’ll be able to provide some Taco Bell—the last fast food chain left standing after the franchise wars—and there will be an interactive game to play during the screening.

Chelsea Novak chelsea@vueweekly.com

MUSIC MOVIE

Lady Gaga and Bradley Cooper in

A Star is Born. / Warner Bros Ent.

A STAR IS BORN IS A MUST-SEE MUSICAL TRIUMPH

Bradley Cooper Lands a Hit with His Directorial Debut

B

oth stunning and heartbreaking, A Star Is Born is not a campy remake of an old film, but rather a successful re-imagining of a timeless story—with a modern flare. In his directorial debut, Bradley Cooper manages to effortlessly take a love story last told in the 1970s and bring it into the current day with the perfect combination of wit, raw emotion, and transcendent music.

Lady Gaga brilliantly tackles the part of insecure Ally as her first big-screen role—confirming her status as an all-around superstar.

Ally works a service industry day job and performs when she can at a local drag bar, but she dreams of making it in the music industry.

Jackson Maine (Cooper) is a rugged, well-known rock musician

A Star is Born Directed by Bradley Cooper Now Playing  relationship and Ally’s rise to fame as a singer/songwriter—all while depicting how Jackson copes with their new life and his worsening addictions. Though Ally and Jackson are the focus, the support cast is equally riveting. Ally’s dad (Andrew Dice Clay) provides both comedic relief and a steady reminder of Ally’s humble beginnings from a working-class family; and Bobby (Sam Elliott), Jackson’s older, more grounded brother, is involved in some of the most pivotal moments of the film.

“Cooper gives one of the best performances of his career, expertly portraying a struggling addict, and his intense character is well-balanced by Gaga’s endearing Ally.” who is suffering from tinnitus, a common hearing issue—something that fuels his already out of control alcoholism.

When Jackson and Ally meet, Ally is performing “La Vie en Rose” (a go-to cover for Gaga in recent years), and Jackson is instantly struck by her vocal talent and beauty. The scene, while not in slow motion, feels as though it is, with close up shots of Ally expertly maneuvering her way around the crowded bar. It’s one of the best scenes of the entire film, solidifying that Gaga was the perfect choice for the role, and that Cooper is more than just an amateur director.

After their initial meeting and instant chemistry, the scenes that follow show the twists and turns of their passionate, tumultuous

Cooper gives one of the best performances of his career, expertly portraying a struggling addict, and his intense character is wellbalanced by Gaga’s endearing Ally.

While Cooper’s delivery is first-rate, so is his directing, which features mostly close-up, intimate shots that make the audience feel personally connected to the story he tells.

A Star Is Born hits the viewer all at once, leaving you feeling emotionally drained in the best possible way.

It’s heartfelt, well-paced, and gutwrenchingly tragic, with the gorgeous music and two main characters taking centre stage by grabbing hold of the audience’s emotion until the very last second. Even those who aren’t prone to getting emotional will find this one hard to let go of long after the story is done.

Heather Gunn VUEWEEKLY.com | OCT 18 - OCT 24, 2018

film 15

Colter Wall has more pride for the prairies than most. / Supplied

COUNTRY AND WESTERN

Swift Current’s Colter Wall Creates a Tribute to the Land and Era He Loves

M October 19th Tickets $29.95 plus gst

October 20th Tickets $44.95 plus gst Some conditions may apply. Promotion subject to change without notice and AGLC approval.

cnty.com/edmonton

16 music

any people don’t know this (or just choose to forget it), but before country music morphed into a few mainstream subgenres that it is now known for, it was called country and western. The genre had an unbreakable link with old cowboy ballads but by the 1960s—thanks to Hollywood saturating the genre an excessive amount—many people fell out of love with the genre.

Colter Wall, a 23-year-old singersongwriter from Swift Current, Saskatchewan, has not. His latest record Songs of the Plains is both an ode and love letter to the old Western era, specifically focusing on the prairies’ link to the bygone age.

“I grew up with that Western culture, and it’s a very proud heritage y’know?” Wall says. “I take a lot of pride coming from the prairies and I think the rest of the world doesn’t necessarily know much about who we are and our culture.”

For Wall, the album is as much a mission statement as a batch of old cowboy tunes.

“When I’m touring, people in the States don’t know much about Western Canada. I’m not trying to educate people per say, but I want to tell our story in a way that people can paint a picture of how I feel about my home and the culture we have here,” Wall says.

Much like on his debut self-titled record—which only released last May—Wall’s husky, baritone vocals are hard to ignore and easy to latch onto. The young prairie boy sings songs—about a period that he was never able to actually experience—

like a seasoned veteran, almost as if he’s regaling you in old Western tales around a crackling fire.

The album begins with “Plain to See Plainsman” a modern spin featuring a plainsman reflecting on his life as he travels across Canada, meeting various characters like barefoot hippies, roadbitten bikers, junkies, and saints.

“I was sitting in Nashville and thinking about the prairies, missing Saskatchewan in particular, and I had been listening to one of my favourite records, Marty Robbins’ Gunfighter Ballads and Trail Songs,” Wall says. “There’s an old traditional song called ‘The Strawberry Roan’ about an unbreakable force and it had this beautiful waltz melody, and I definitely took inspiration from that.

I think from a songwriting standpoint, that’s the strongest song on the whole album. It’s almost like a pseudo-title track.”

Another standout track is actually a Wilf Carter cover called “Calgary Round-Up” about the mythic quality of the city’s Stampede. Carter is known as the first Canadian country star, but Wall has noticed many people don’t know the name.

“Once upon a time, he [Wilf Carter] was this Canadian legend and now he’s been lost in the sands of time, I guess,” he says. “I was sitting around listening to one of his records one day and ‘Calgary Round-up’ popped on and I had the idea to cover it and throw a bit of a Western swing on it.”

VUEWEEKLY.com | OCT 18 - OCT 24, 2018

Thu., Oct. 18 (7 pm) Colter Wall w/ Guests Union Hall $40 via Ticketmaster.ca None of the tunes on Songs of the Plains sound overproduced or corny, which is saying something. Some of those old Western records are just downright laughable because of their hokiness. Wall’s goal was to create an homage to the era, but not have it come across as parody. It’s safe to say he succeeded since many of the songs touch on both the romantic and devastating qualities of the old Western world.

“It’s really easy to get into that realm of playing an old cowboy song in a goofy way because it is a part of that genre,” Wall says. “I wanted an authentic Western record.”

Yet, there is a traditional cowboy standard “Tying Knots in the Devil’s Tail” that ends the album on a lighter, more humourous note. You can tell that Wall and the band had fun recording it in a more relaxed manner.

“We tried a few takes of it and me, Blake [Berglund] and Corb [Lund]—who sung verses on it—knew the nature of that song had to be kind of loose in the way we were performing and singing it. So Dave in the studio kept on feeding us tequila,” Wall laughs.

Stephan Boissonneault stephan@vueweekly.com

BLUES-PSYCH

It’s hard to take your eyes off of Jesse Roper on stage.

UPCOMING

/ Christopher Edmonstone

EVENTS

SOUTH EDMONTON COMMON OCT 19

FRIENDS OF FOES w/ BACKCURRENTS & GUESTS

OCT 25

NEW CITY w/ MILQ & SHAY ESPOSITO

OCT 26

SWOLLEN MEMBERS

WEST EDMONTON MALL OCT 19

DBL DIP

OCT 26

JUSTIN HOGG

OCT 27

SHAGUAR

Tickets and full listings TheRecRoom.com The Rec Room® is owned by Cineplex Entertainment L. P.

DON’T YOU DARE PIGEONHOLE JESSE ROPER Jesse Roper’s New Sound Has Found a Home in Producer Ben Caplan

Fri., Oct. 26 (8 pm) Jesse Roper w/ Band of Rascals The Aviary $15 a doors

J

esse Roper has gotten pretty used to being told who he is and what he sounds like. The Metchosin B.C. singer/songwriter may be a guy with guitar chops that can imitate blues maestro Stevie Ray Vaughan—but he’s not into being pigeonholed.

“I don’t really wanna be a blues guy,” Roper says. “The industry will definitely box you in, and people will tell you who you are and what you do. If you listen too hard, you start finding yourself defined by things that you don’t really identify with.”

On his latest album Access to Infinity, Roper went for a more blues-psych sound with many of the songs, infusing the album with a late 1960s space rock vibe.

“I had been listening to a bit of The Moody Blues when I was writing that one. There’s a song called ‘Departure,’ which I love, and I wanna cover it one day,”

Roper says. “There’s like a spoken monologue, and it ends in laughing and then there’s this drumbeat that’s like bum-bumtch! Bum-bum-tch! And then the guitar comes in like ‘bump ba, da da da daaa’—that’s a killer tune.”

Access to Infinity only came out this February, but Roper is already working on his next album. He says the newest tracks he’s currently working on have a “classic 70s rock” feel to them.

“I just came back from a session with Ben Caplan and he’s a total dude,” Roper says. “He’s been my favourite guy to work with. He really gets my sound … The way he mixed it is exactly how I was hearing it in my head.”

It’s a rare element to have in the studio; a producer who knows exactly what you as an artist are going for sonically.

“Some pros, they just want to put their handprint on the mix so it’s a hard process ’cause I want the tunes to be my version of awesome, not theirs,” Roper says. “I think I’m going to do all of the songs for the rest of my life with Ben. It’s nice to put my tunes—which are like

my kids—in the hands of somebody who loves making this stuff. I’m still grinning.”

And Roper can’t wait to release some of these tracks, hoping a few singles will drop in the next month or so. For now, all we get is Roper’s brief description of what’s to come.

“There’s a ballad kind of [song] called ‘All of My Love.’ ‘Gotta Have it’ is a rippin’ rock song about a bank robbery. ‘Shoulda known better’ is about this girl—I can just never seem to fully break up with her,” Roper laughs.

If Access to Infinity is any indicator of the song-writing quality we can expect from Roper’s upcoming work, than fans will be pleasantly surprised. The final track “Worship the Sun” is one of Roper’s finest, with a groovy acoustic intro, a psychedelic instrumental middle, and some soaring falsettos from Roper’s raspy voice.

“If I was to die tomorrow, that would still be the song that was my going out tune,” Roper says.

Stephan Boissonneault stephan@vueweekly.com

VUEWEEKLY.com | OCT 18 - OCT 24, 2018

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Cellist Christine Hanson Brings “The Cremation of Sam McGee” to Her Hometown

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Christine Hanson was probably pretty cold during this photo / Supplied

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NOV 1 - SUE FOLEY 3 - THE PURSUIT OF HAPPINESS 8 - THE SADIES 9 - BIF NAKED 10 - JACK SEMPLE 16 - CAPTAIN TRACTOR 23 - REVOLUTION ENGINE 24 - MIKE PLUME 28 - JOEY LANDRETH 30 - YUKON BLONDE/THE ZOLAS

DEC 7 - SPARROW BLUE 8 - CRAIG CARDIFF 21 - SMALL OFFICE LIVE MUSIC CHRISTMAS PARTY (CONTACT@STATIONONJASPER.COM FOR DETAILS)

WEEKEND

B R U N C H E S

B RU N C H E S A R E B E TT E R W I T H L I V E M U S I C .

FA M I LY ST Y L E S E RV I C E . FA R M E RS ’ M A R K E T B RU N C H O N SAT U R DAY & FO L K F E ST S U N DAY B RU N C H , 11 A M – 2 P M .

S TAT I O N O N J A S P E R . C O M

18 music

Sun., Oct. 21 (7:30 pm) The Cremation of Sam McGee w/ Christine Hanson and Ensemble Festival Place From $35 via festivalplace.ab.ca

“

There are strange things done in the midnight sun by the men who moil for gold/The Arctic trails have their secret tales that would make your blood run cold.” Those two line’s open Robert W. Service’s poem “The Cremation of Sam McGee,” a short tale about a prospector who freezes to death and wishes to be cremated.

Edmonton’s Christine Hanson has created a live musical show following the classic yarn. The project originally came about when Hanson was living and performing in Scotland in the early 2000s. Celtic Connections International Festival in Glasgow comissioned her to do a piece and wanted to do something that reflected her homeland of Canada. As a Canadian citizen, the poem had always been around in her life, and she felt it would be a perfect fit.

As an interesting side note, Service lived in Scotland for a bit during his life, and one of his residences was five minutes away from where Hanson was living at the time.

Hanson’s rendition of “The Cremation of Sam McGee” is a sonic journey to the land of the Yukon.

Hanson composed all of the original music for the show herself and plays cello on stage—backed by an eight-piece band of Canadian musicians. Hanson’s composition of the music blends together Celtic folk and jazz influences, as well as some country and classical thrown in.

“It’s music that’s accessible and enjoyable to a number of people—whether they’re young or adults. Kids seem to like to too,” Hanson says.

The show also uses the paintings of Ted Harrison, a Canadian artist who painted a series of paintings based on “The Cremation of Sam McGee.” “Coincidentally, I grew up with Ted Harrison’s artwork in my home as a child,” Hanson says. “It was something that I recognized and was very familiar with because my mother is a fan of his work.”

Harrison’s artwork is projected on stage as Hanson and her band perform. Though Harrison passed away three years ago, he gave Hanson permission to use the images as well and commissioned her to

VUEWEEKLY.com | OCT 18 - OCT 24, 2018

make music for his limited edition of artwork before his death.

Scottish poet Gerry Cambridge is the voice of the poem on stage.

Throughout the show, Cambridge narrates to the audience and takes them through the land of the Yukon, sometimes throwing in a dash of harmonica playing as well.

Hanson brought Cambridge over from Scotland to keep with the Scottish theme of her work. Cambridge is the founder and editor of The Dark Horse poetry magazine.

Though the show originally came out in 2006, this will be the first time that it has played in Canada, and Hanson couldn’t have thought of a better place than Edmonton for it’s Canadian premiere.

“Playing in one’s hometown and to be featured at one of the better venues in your hometown with some of the best musicians—that’s a privilege. I feel very fortunate to do that.”

Though Hanson and her band have yet to play their first Canadian show, they are already setting their sights on touring the show across Canada and up North.

Alexander Sorochan

VUEPICKS

HIGH TUNES

Carbolizer w/ Borys, Static Control, and Dream Hair // Sat., Oct. 20 (8 pm) Carbolizer—a lovechild of Joy Division and Crystal Castles—has seen the debut of new music at Sled Island and will dip their blend of esoteric lyrics, thumping rhythms and three-gigabyte entertainment in Edmonton. Carbolizer is the musical embodiment of a Black Mirror episode, sans the existential dread. (The Sewing Machine Factory, $10 at doors) // RH

Pharis and Jason Romero // Fri., Oct. 19 (7:30 pm) Soaring Harmonies, fingerpicking, and pleasantries from Pharis and Jason Romero take you on a joy ride of comfort and love. Their newest album, Sweet Old Religion, keeps with that faithful folk sound—a sound that raptures an audience into Pharis and Jason Romero’s fluency of travelling, heartbreak, and the long, hard road of life. (Arden Theatre, tickets via ticketmaster.ca) // RH

THREE ALBUMS TO GET BLITZED TO

Delhi 2 Dublin w/ Frase, and Bardic Form // Sat., Oct. 20 (7 pm) If anything could describe your Grade nine essay on Canadian identity, perhaps it would have been Dehli 2 Dublin. The combination of funk, bhangra, and celtic music is a recipe for virtuosity and fun.

Dehli 2 Dublin has been entertaining audiences since 2006 around the world and their show is bound to magnetize any audience. (The Station on Jasper, $25 at doors) // RH

Bit of Country Joe and the Fish, Creedence, and Herbie Mann for Ya to Burn a Couple To

Electric Music for the Mind and Body — Country Joe and the Fish

Creedence Clearwater Revival — Creedence Clearwater Revival

If your parents came from the 1960s and you still had a hi-fi in the living room growing up, there’s a good chance you remember Country Joe McDonald’s famed 1969 Woodstock performance where he gets the crowd to spell out and shout “FUCK” repeatedly. But if you never dug any deeper than that, you missed Country Joe and the Fish’s finest hour: the groundbreaking psyche rock record, Electric Music for the Mind and Body.

By the mid 1960s, drug culture took the distorted rock and roll fury of pioneers like Link Wray and filtered it through a kaleidoscope of drugs and psychedelia.

There is, perhaps, no finer early example of this than Electric Music for the Mind and Body.

Rife with droning organ and tambourines, dissonant and distorted guitars, and nods to the I Ching and the Summer of Love ethos, this record raised the sails and charted the course for San Francisco’s counterculture music scene. Turn on, tune in, and drop out, man.

Best known for recording five of the greatest, most authentic rock and roll records in a matter of only two years, Creedence Clearwater Revival’s sound endures. But among all of the legendary success, there’s little said about CCR’s psych rock roots in Berkeley, California, and their self-titled debut, recorded in that pivotal year of the hippie—1967.

Given the record’s origin story, John Fogerty’s expression of blistering guitar and psychedelic effects—from reverse tape loops to the entrancing eight-minute version of “Suzie Q”—are no mystery.

Hell, even the album cover, with its art nouveau vibe and the band interlaced with tree trunks, is on point for the period. Yet Creedence Clearwater Revival was just misplaced enough it never really got traction among hippies, nor mainstream music critics. Therefore, it’s never been a serious part of the discussion about psychedelic music or the lore of CCR. Fortunately, now is the perfect opportunity to reconsider this lost classic in a newly legal frame of mind. Play it as loud as the landlord will let you.

Volunteers Wanted

2005.

Artist to Artist

Can You Read This?

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Volunteer 2 hours a week and help someone improve their Reading, Writing, Math or English Speaking Skills.

Call Della at P.A.L.S. 780-424-5514 or email volunteers@palsedmonton.ca

Normally, I would never say, “Dude, there’s this 1960s jazz flutist you need to hear; he’s going to blow your mind.” But that’s exactly what I’m about to do.

In 1969, Herbie Mann and a few of his jazz pals headed down to American Sound Studios in Memphis, Tennessee to make a record that’s neither entirely jazz nor rock but a gritty, melodic fusion of the two. What makes the record so unique is the reliance on the studio’s house band, the Memphis Boys—R&B session players who recorded with the likes of Aretha Franklin and Bobby Womack, among many others. Their contribution and the blazing guitar of Sonny Sharrock are the secret ingredients that make Memphis Underground so unique.

Memphis Underground deserves more than a stingy listen. Prepare yourself, dig in, and play it loud. This record will take you on a journey. It’s no wonder Hunter S. Thompson counted it among his favourites.

Travis Grant

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2005.

Artist to Artist

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music 19

SAVAGELOVE

ADULTCLASSIFIEDS

ONE EYED JACKS

I have a secret: For the past three months, I’ve been attending a local Jacks club (a men-only masturbation event). As someone recovering from sexual abuse, I find the party to be safe, therapeutic, and just sexy fun. I feel like I need this! Unfortunately, I spotted one of my employees at last week’s event. Although I’m openly gay at my workplace, being naked, erect, and sexual in the same room as my employee felt wrong. I freaked out, packed up, and departed without him seeing me (I hope). I’m his manager at work, and I feel that being sexual around him could damage our professional relationship. It could even have dangerous HR consequences.

I realize he has every right to attend Jacks, as much right as me, but I wish he weren’t there. I want to continue attending Jacks, but what if he’s there again? Frankly, I’m terrified to discuss the topic with him. Help!

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“I hate to say it, but now that JACKS knows his employee attends these events, he really has to stop going,” said Alison Green, the management consultant behind the popular Ask a Manager advice column (askamanager.org) and the author of Ask a Manager: How to Navigate Clueless Colleagues, Lunch-Stealing Bosses, and the Rest of Your Life at Work.

And why do you have to stop

going to your beloved JO club?

“In an employment relationship where he’s in a position of power,” said Green, “JACKS has a responsibility to avoid any remotely sexual situation with an employee.”

Green also strongly advises against pulling your employee aside and working out some sort of shared custody agreement—you get Jacks to yourself every other week—because initiating a conversation with a subordinate about when and where he likes to jack off would be a bad idea. She also doesn’t think you can just keep going in the hopes that your employee won’t be back.

“If he continues to attend and it got back to anyone at their workplace, it would be really damaging to his reputation— not the fact that he was at the event to begin with, but the fact that he continued to attend knowing an employee was also participating,” said Green. “It would call his professional judgment into question, and it’s highly likely that HR would freak out about the potential legal liability that arises when you have a manager and a subordinate in a sexual context together.”

It seems crazy unfair to me that you should have to stop going to parties you not only enjoy, JACKS, but that have aided in your recovery. And Green agrees—it isn’t fair— but with great power (management) comes great responsibility (avoiding places where your employees are known to jack off).

Dan Savage

“It’s never going to feel fair to have to drop out of a private, out-of-work activity just because of your job,” said Green.

“I’m hoping it’s possible for JACKS to find a different club in a neighbouring town. Or he could start his own club and offer a safe haven for other managers hiding out from potential run-ins with employees—Jacks for middle managers or something!”

While I had Green’s attention, I asked her about other sorts of gay social events that might toss a manager and an employee into a sexual context—think of the thousands of men who attended the Folsom Street Fair in San Francisco last month. Gay men (and others) walk around in various states of undress or dress up, and a lot of flirting, groping, and more goes down.

Should gay men in management have to skip events like Folsom lest they run into men they supervise?

“Public events are different from private clubs,” said Green. “A private club is more intimate, and a public event is, well, public. And it’s not reasonable or practical to expect managers to entirely curtail their social lives or never attend a public event. But a private club that’s organized specifically and primarily for sexual activity is in a different category.”

However, gay managers who run into employees at events like Folsom or circuit parties shouldn’t ogle, hit on, or photograph their employees.

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ALBERTA-WIDECLASSIFIEDS “If someone who reports to you is in a sexual situation,” said Green, “you should keep moving and give them as much space as you reasonably can.”

I’m going to give myself the last word here: You’ve been attending that JO club for months and saw your employee there only once, JACKS, so I think you can risk going back at least one more time.

I would hate to see you deprived of release (and see your recovery set back!) if your employee was there only that one time.

Follow Alison Green on Twitter @AskAManager.

1. The unvarnished truth: “We’re sorry, but we aren’t really feeling it.”

2. The little white lie: “Oh, my goodness. I think the clams we ate earlier were off. I’m so sorry, we’re going to have to call it a night.”

My wife recently came out as bisexual after spending time with a woman who awakened her feelings. I suspected for a long time that my wife was probably bisexual, so I had no issues telling her to explore this side of her sexuality. My only caveat for opening our marriage was that I wasn’t comfortable with her entering into a relationship with another man. This pissed my wife off, she told me I was being irrational, we fought about it, blah blah blah.

Fast-forward a few weeks. My wife swiped right on a guy on Tinder and then checked in with me to see if the boundaries had shifted. I have a hotwife-type fetish, so I gave her the okay to swap sexy texts and we agreed on a possible threesome. It didn’t pan out, my wife was bummed, we moved on.

She has started chatting up other guys on Tinder. Nothing has happened yet between them, but I feel like I’m being pulled ahead of where I’m comfortable in exploring an open marriage. I’m not opposed to simple hookups, but a separate relationship with a man?

The intimacy and affection parts bug me. How do you acclimate to this kind of adjustment? Or do I throw the brakes on and reverse?

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So you gave your wife permission to explore her bisexuality—with

CRAPSHOOT HOOKS

My husband and I are visiting Italy right now. We decided to try out the local hospitality and have had two bad hookups. Both of us knew early on in the encounters that we weren’t enjoying it, but we didn’t know how to extricate ourselves.

What is the proper way to end a failed hookup with minimum insult/hurt to the third person?

TEXANS SEEKING AMORE

other women—and she jumped on Tinder and started swiping right on men? Even though you’d told her that wasn’t something you were comfortable with? And it now appears that your wife doesn’t just want to have sexual experiences with women and men (but mostly with men), but relationships with other women and men (but mostly with men)? And she only checks in with you about your boundaries to see if they’ve crumbled yet?

This isn’t how someone opens up a marriage, PFFT, unless that someone isn’t interested in staying married. So you’re going to need to hit the brakes and get some clarity from your wife.

You’re willing to open your marriage up to allow for outside sexual experiences, preferably ones you get to take part in (hot-wifing scenes, threesomes), but you’re not interested in polyamory— that is, you don’t want your wife to have a boyfriend. If a boyfriend is what she wants, and she’s unwilling to compromise and can’t negotiate with you in good faith, you don’t want to be her husband.

On the Lovecast, cartoonist Ellen Forney on dating with bipolar disorder: savagelovecast.com. mail@savagelove.net @fakedansavage on Twitter ITMFA.org

•• AUCTIONS •• RV PARK & CAMPGROUND Drayton Valley, AB. Ritchie Bros.

Auctioneers Unreserved Auction, October 24 in Edmonton. 11.3 +/title acres, 51 sites and 6 cabins, 2000 +/- sq ft shop, stocked fish pond. Jerry Hodge: 780-7066652; Brokerage: Ritchie Bros.

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STRIP MALL - Slave Lake, AB. Ritchie Bros. Auctioneers Unreserved Auction, October 24 in Edmonton. 0.36 +/- title acres, 8800 +/- sq ft (8) unit multi-tenant commercial strip mall. Jerry Hodge: 780-706-6652; Brokerage: Ritchie Bros. Real Estate Services Ltd.; rbauction.com/ realestate.

MODULAR HOME - Millet, AB. Ritchie Bros. Auctioneers Unreserved Auction, October 24 in Edmonton. 1216 +/- sq ft 2012 Forest River Housing Inc modular home, 3 bedroom, 2 bathroom.

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MODULAR HOME - Keephills, AB. Ritchie Bros. Auctioneers Unreserved Auction, October 24 in Edmonton. 1416 +/- sq ft 2008 Winalta modular home, 3 bedroom, 2 bathroom. Jerry Hodge: 780-706-6652; rbauction.com.

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•• COMING EVENTS ••

VUEWEEKLY.com | OCT 18 - OCT 24, 2018

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28th RED DEER CHRISTMAS Antique & Vintage Show and Sale. October 20 & 21, Saturday 10-5 & Sunday 10-4. Westerner Park. 300 sales tables. Furniture - Collectables - Retro. Carswell’s 403-343-1614.

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at the back 21

JONESIN’ CROSSWORD

Matt Jones

“Suit Yourself”--all four are represented.

Across

1 Swingin’ Fitzgerald 5 Senate spots 10 “It’s my turn!”

14 Olympic skater/commentator Johnny 15 “Halcyon” singer Goulding 16 Exploration org.

17 Cartoon detective played by Matthew Broderick and French Stewart 20 “Negatory” 21 Actress Emma 22 Ear irritation?

23 “This is reallllly wonderful ...”

25 Homer’s neighbor 26 Actresses West and Whitman 28 Comprehended 30 Beans that often get refried 32 Flip option 36 Golfer Ernie 39 “Aw gee, that’s peachy keen!”

40 Dairy dweller 41 Prepared nuts used for baking and pastries, maybe 46 Rotation-producing force 47 Like some missiles 51 Number after acht 52 Canadian major league team, on scoreboards 55 Dictation expert 56 “You Will Be My ___ True Love” (song from “Cold Mountain”) 57 In the neighborhood of 59 Hong Kong director Andrew (whose “Infernal Affairs” was remade as “The Departed”) 60 Pink Floyd classic from “The Wall” 64 Diva’s delivery 65 Chili powder ingredient 66 Fantasia, in 2004 67 Breed of tailless cat 68 GE competitor 69 Father, in France

Down

1 “Dallas” dynasty 2 “The Raven” heroine 3 Follow a podcast 4 “Crumpled Papers” artist Jean 5 Branch 6 “Goodbye Yellow Brick Road” singer John 7 Exclusively

22 at the back

ARIES (March 21-April 19): “Humraaz” is a word in the Urdu language. Its literal meaning is “secret sharer.” It refers to a confidante, a person in whom you have full trust and to whom you can confess your core feelings.

Is there such a character in your life? If so, seek him or her out for assistance in probing into the educational mysteries you have waded into. If there is no such helper you can call on, I advise you to do whatever’s necessary to attract him or her into your sphere. A collaborative quest may be the key to activating sleeping reserves of your soul wisdom.

8 Worn out 9 Circle div.

10 State with a town called Speedway 11 Like some poetry on the fridge 12 Operate 13 “Heartbreaker” singer Benatar 18 Lauder of cosmetics 19 Let in 24 Burnt stuff 27 Song that’s tough to do in a group 29 Mother of Perseus 30 Plug point 31 180∞ from NNE 33 Director Guillermo ___ Toro 34 Elliott of 2018’s “A Star Is Born” 35 Prefix for scope 36 “Spring ahead” time in D.C. 37 Alex, in “Madagascar” 38 “I Put a Spell On You” singer ___ Jay Hawkins 42 Credit report company with a notable 2017 breach 43 “No idea” 44 Failing the white-glove test 45 Dog trainer’s command 48 Dupe 49 Beguile 50 Bar order 52 “Paper Moon” Oscar winner O’Neal 53 Time’s 2008 and 2012 Person of the Year 54 Batmobile passenger 58 Arm bone 60 GoPro, e.g.

61 Rita of 2018’s “The Girls Tour” 62 “His Master’s Voice” company 63 “___/Tuck” (medical drama) ©2018 Jonesin’ Crosswords

FREEWILL ASTROLOGY

TAURUS (April 20-May 20): Taurus author Roberto Bolaño suggests that the world contains more beauty than many people realize. The full scope and intensity of this nourishing beauty “is only visible to those who love.”

When he speaks of “those who love,” I suspect he means deepfeeling devotees of kindness and compassion, hard-working servants of the greater good, and free-thinking practitioners of the golden rule. In any case, Taurus, I believe you’re in a phase when you have the potential to see far more of the world’s beauty. For best results, supercharge your capacity to give and receive love.

GEMINI (May 21-June 20): Once upon a time you were walking along a sidewalk when a fairy floated by and whispered, “I’m willing to grant you three wishywashy wishes for free. You don’t have to do any favours for me in return. But I will grant you three wonderfully wise wishes if you perform three tasks for me.” You asked the fairy, “What would those three tasks be?” She replied, “The second task is that you must hoodwink the devil into allowing you to shave his hairy legs.

The third task is that you must bamboozle God into allowing you to shave his bushy beard.” You laughed and said, “What’s the first task?” The fairy touched you on the nose with her tiny wand and said, “You must believe that the best way to achieve the impossible is to attempt the absurd.”

CANCER (June 21-July 22): You crabs tend to be the stockpilers and hoarders of the zodiac. The world’s largest collections of antique door knobs and Chinese restaurant menus and beer cans from the 1960s belong to Cancerian accumulators. But in alignment with possibilities hinted at by current astrological omens, I recommend that you redirect this inclination so it serves you better. How? One way would be to gather supplies of precious stuff that’s really useful to you. Another way would be to assemble a batch of blessings to bestow on people and animals who provide you with support.

LEO (July 23-Aug. 22): Chinese mythology tells us there used

to be 10 suns, all born from the mother goddess Xi He. Every 24 hours, she bathed her brood in the lake and placed them in a giant mulberry tree. From there, one sun glided out into the sky to begin the day while the other nine remained behind. It was a good arrangement. The week had 10 days back then, and each sun got its turn to shine. But the siblings eventually grew restless with the staid rhythm. On one fateful morning, with a playful flourish, they all soared into the heavens at once. It was fun for them, but the earth grew so hot that nothing would grow. To the rescue came the archer Hou Yi. With his flawless aim, he used his arrows to shoot down nine of the suns, leaving one to provide just the right amount of light and warmth. The old tales don’t tell us, but I speculate that Hou Yi was a Leo. VIRGO (Aug. 23-Sept. 22): You now have maximum command of a capacity that’s a great strength but also a potential liability: your piercing brainpower. To help ensure that you wield this asset in ways that empower you and don’t sabotage you, here’s advice from four wise Virgos. 1. “Thought can organize the world so well that you are no longer able to see it.”—psychotherapist Anthony de Mello 2. “Keep some room in your heart for the unimaginable.”—poet Mary Oliver 3. “I like to wake up each morning and not know what I think, that I may reinvent myself in some way.”— actor and writer Stephen Fry 4.

“I wanted space to watch things grow.”—singer Florence Welch.

LIBRA (Sept. 23-Oct. 22): “There are works which wait, and which one does not understand for a long time,” wrote Libran author Oscar Wilde. “The reason is that they bring answers to questions which have not yet been raised; for the question often arrives a long time after the answer.”

That’s the weird news, Libra. You have been waiting and waiting to understand a project that you set in motion many moons ago. It has been frustrating to give so much energy to a goal that has sometimes confused you. But here’s the good news: Soon you will finally formulate the question your project has been the answer to.

And so at last you will understand it. You’ll feel vindicated, illuminated, and resolved.

SCORPIO (Oct. 23-Nov. 21): Many seekers who read horoscope columns want common-sense advice about love, career, money, and power. So I hope I don’t disappoint you by predicting that you will soon have a mystical experience or spiritual epiphany. Let me add, however, that this delightful surprise won’t merely be an entertaining diversion with no useful application. In fact, I suspect it will have the potential of inspir-

VUEWEEKLY.com | OCT 18 - OCT 24, 2018

Rob Brezsny

ing good ideas about love, career, money, or power. If I had to give the next chapter of your life story a title, it might be “A Thousand Dollars’ Worth of Practical Magic.”

SAGITTARIUS (Nov. 22-Dec. 21): In 1962, when she was 31 years old, Sagittarian actress Rita Moreno won an Academy Award for her role in the film West Side Story.

In 2018, she attended the Oscars again, sporting the same dress she’d worn for the ceremony 56 years before. I think the coming weeks will be a great time for you, too, to reprise a splashy event or two from the past. You’ll generate soul power by reconnecting with your roots. You’ll tonify and harmonize your mental health by establishing a symbolic link with your earlier self.

CAPRICORN (Dec. 22-Jan. 19): The committee to reward unsung good deeds hereby acknowledges your meritorious service in the trenches of the daily routine.

We praise your tireless efforts to make life less chaotic and more coherent for everyone around you. We’re grateful for the patience and poise you demonstrate as you babysit adults who act like children. And we are gratified by your capacity to keep long-term projects on track in the face of trivial diversions and petty complaints. I know it’s a lot to ask, but could you please intensify your vigilance in the next three weeks? We need your steadiness more than ever.

AQUARIUS (Jan. 20-Feb. 18): You need a special pep talk that’s best provided by Aquarian poet Audre Lorde. Please meditate on these four quotes by her. 1. “Caring for myself is not self-indulgence, it is self-preservation.” 2.

“We have been raised to fear the yes within ourselves, our deepest cravings.” 3. “You cannot use someone else’s fire. You can only use your own. To do that, you must first be willing to believe you have it.” 4. “Nothing I accept about myself can be used against me to diminish me.” 5. “The learning process is something you can literally incite, like a riot.”

PISCES (Feb. 19-March 20): Warning: My horoscopes may interfere with your ability to rationalize your delusions; they could extinguish your enthusiasm for clichés; they might cause you to stop repressing urges that you really should express; and they may influence you to cultivate the state of awareness known as “playful wisdom.” Do you really want to risk being exposed to such lavish amounts of inner freedom? If not, you should stop reading now. But if you’re as ripe for emancipating adventures as I think you are, then get started on shedding any attitudes and influences that might dampen your urge to romp and cavort and carouse.

CURTIS HAUSER

VUEWEEKLY.com | OCT 18 - OCT 24, 2018

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24 Fire it up!

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VUEWEEKLY.com | OCT 18 - OCT 24, 2018