vue weekly 802 mar 3 2011 by Vue Weekly

LOOK UP LISTINGS ONLINE DISH + ARTS + FILM + MUSIC + EVENTS 2 // UP FRONT

VUEWEEKLY // MAR 3 – MAR 9, 2011

COVER

INSIDE

IssuE no. 802 // MAR 3 – MAR 9, 2011

UP FRONT // 4/ 4 5 5 6 7 7

Vuepoint Issues News Roundup Dyer Straight In the Box Bob the Angry Flower

DISH // 8/

GET FLEXIBLE The Expanse Movement Arts Festival bends in new ways

// 33 SNOW ZONE

9 Living Proof 10 Provenance 11 To the Pint

ARTS // 33 FILM // 37 39 DVD Detective

// 32

MUSIC // 42/ 43 Backlash Blues 46 New Sounds 47 Loonie Bin 47 Old Sounds

BACK // 49 50 Free Will Astrology 50 Lust for Life 50 Queermonton

LISTINGS 36 Arts 41 Film 47 Music 49 Events

10303 - 108 street, edmonton, AB T5J 1L7 t: 780.426.1996 F: 780.426.2889 E: office@vueweekly.com w: vueweekly.com

IssuE no. 802 // MAR 3 – MAR 9, 2011 // Available at over 1400 locations Editor / Publisher.......................................... RON GARTH // ron@vueweekly.com MANAGING Editor............................................. EDEN MUNRO // eden@vueweekly.com associate mANAGING editor................... BRYAN BIRTLES // bryan@vueweekly.com NEWS Editor........................................................ SAMANTHA POWER // samantha@vueweekly.com Arts / Film Editor........................................... PAUL BLINOV // paul@vueweekly.com Music Editor....................................................... EDEN MUNRO // eden@vueweekly.com Dish Editor........................................................... BRYAN BIRTLES // bryan@vueweekly.com creative services manager.................... MICHAEL SIEK // mike@vueweekly.com production.......................................................... CHELSEA BOOS // che@vueweekly.com ART DIRECTOR....................................................... PETE NGUYEN // pete@vueweekly.com Senior graphic designer........................... LYLE BELL // lyle@vueweekly.com PRODUCTION INTERN........................................ Elizabeth Schowalter // scho@vueweekly.com WEB/MULTIMEDIA MANAGER........................ ROB BUTZ // butz@vueweekly.com LISTINGS ................................................................ GLENYS SWITZER // glenys@vueweekly.com

SALES AND MARKETING MANAGER............ ROB LIGHTFOOT // rob@vueweekly.com LOCAL ADVERTISING.......................................... 780.426.1996 // advertising@vueweekly.com CLASSIFIED ADVERTISING............................... 780.426.1996 // classifieds@vueweekly.com NATIONAL ADVERTISING.................................. DPS MEDIA // 416.413.9291 ADMINISTRATION/DISTRIBUTION............... MIKE GARTH // michael@vueweekly.com ADMINISTRATION/PROMOTIONS................ AARON GETZ // aaron@vueweekly.com

CONTRIBUTORS Ricardo Acuña, David Berry, Josef Braun, Jeremy Derksen, Pete Desrochers, Gwynne Dyer, Jason Foster, Brian Gibson, Tamara Gorzalka, James Grasdal, Michael Hingston, Jan Hostyn, Carolyn Jervis, Brenda Kerber, Fawnda Mithrush, Bill Moore-Kilgannon, Aden Murphy, Stephen Notley, Roland Pemberton, Mel Priestley, Jenn Prosser, Mimi Williams, Dave Young Distribution Todd Broughton, Alan Ching, Barrett DeLaBarre, Mike Garth, Aaron Getz, Raul Gurdian, Justin Shaw, Dale Steinke, Wally Yanish

Vue Weekly is available free of charge at well over 1400 locations throughout Edmonton. We are funded solely through the support of our advertisers. Vue Weekly is a division of Postvue Publishing LP (Robert W. Doull, President) and is published every Thursday. Vue Weekly is available free of charge throughout Greater Edmonton and Northern Alberta, limited to one copy per reader. Vue Weekly may be distributed only by Vue Weekly's authorized independent contractors and employees. No person may, without prior written permission of Vue Weekly, take more than one copy of each Vue Weekly issue. Canada Post Publications Mail Agreement No. 40022989. If undeliverable, return to: Vue Weekly 10303 - 108 Street Edm, AB T5J 1L7

VUEWEEKLY // MAR 3 – MAR 9, 2011

UP FRONT // 3

UP FRONT

VUEPOINT

GRASDAL'S VUE

Help with the basics samantha power // samantha@vueweekly.com

Canada seems a bit confused about what's happening in Libya. The federal government spent weeks deciding to send war ships. Two planes left Libya without retrieving Canadian citizens. The Harper government was unsure whether to sanction the government, resulting in a freeze on transactions with the Libyan government. But the federal government isn't the only one confused. National media are undecided on what to call Libyan protesters. Where Egyptians were protesters and revolutionaries, the word "rebels" has somehow slipped into the discussion, even though they are then connected to the same movement from Tunisia and Egypt. Liberal leader Michael Ignatieff may have summed it up when he described that Canada should be part of the solution, but "nobody in their right mind goes into a civil war unless it's absolutely necessary and people are being massacred in large numbers and there's no other ways to stop it." That's a lot of caveats for intervention. As there should be. Although Canada helped draft the "responsibility to protect" doctrine the UN often uses in international conflict situations, interfering in the civil unrest of a nation can do more harm than good. Few argued for Western intervention

YOURVUE

in the case of the recent revolution in Egypt. The West could no longer argue for Mubarak with thousands of his own citizens in the streets. And the responsibility to protect was minimal. Although some lives were lost it was not at a scale that Ignatieff is describing in his caveats. As well, the borders were not flooded with refugees. But in Libya, thousands are flooding across adjoining borders. Journalist Robert Fisk states estimates at 75 000 refugees. The reports of violence are dire and the numbers high. Perhaps this is not about the "responsibility to protect" doctrine, but a more basic UN mandate. While peacekeeping has undesired connotations in this context—revolution requiring action—peacekeepers are at the front line of refugee crisis in Libya, Tunisia and Egypt. The UN High Commission for Refugees, on the ground in Tunisia, has said they've reached a crisis. On Wednesday Canada sent one frigate to join an assembling flotilla off Libya. The mandate was hazy, and Defense Minister Peter McKay believes the mandate could change by the time it reaches Libya. But while the Canadian and US governments debate the merits of revolutionaries in Libya and the movement that may replace Gaddafi's, thousands of Libyans, Tunisians and Egyptians could really use a hand in finding some basic assistance. V

Your Vue is the weekly roundup of all your comments and views of our coverage. Every week we'll be running your comments from the website, feedback on our weekly web polls and any letters you send our editors.

WEBPOLL RESULTS

THIS WEEK

With the volatile and unpredictable events in North Africa,

The province has decided subsidized housing will no longer be centralized in Edmonton's downtown and north side. Six projects will be constructed outside of inner-city and distressed neighbourhoods.

ONLINE EXCLUSIVE

VUEWEEKLY.COM

Check the Vue Weekly website for new podcasts on current events: vueweekly.com/podcasts

should the Canadian government be spending public money evacuating citizens from the region? 1. Yes, we have a responsibility. 2. No, they chose to travel there. Check out vueweekly.com to vote and give us your comments. COMMENT

92.8%

Yes, it's good city planning

4 // UP FRONT

7.14%

No, it will negatively affect communities

Whether she is 100 percent correct or not is really taking away from the fact that she is pushing the boundaries of approximately three billion people as everyone in the English (and otherwise) speaking world knows about her and follows her. Do you really think they will dissect the lyrics (the way you have) that intently to discern whether or not gay people were born with a "gay gene?" Sorry but being gay in Edmonton puts me in that category and I am a person who seriously tries on a daily basis to make life better for queer culture in Alberta and elsewhere. ... As it stands she fights tooth and nail for the gay community and our deserved rights. I recommend you leave the speaking to people who have already made a difference and stop drinking the hatorade! Long Live Lady Gaga. "Gaga the misinformed" (Feb 24 - Mar 2, 2011) —Mark St James

VUEWEEKLY // MAR 3 – MAR 9, 2011

Listen at vueweekly.com/podcasts

COMMENT >> PROVINCIAL BUDGET

Issues

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

Confused business model

The Alberta government misses the revenue analysis yet again Ricardo Acuña // ualberta.ca/parkland

Every year at budget time Alberta's conservative politicians trot out the same mantra: responsible fiscal management means that government finances should be run pragmatically, like you would run a business. It's hard to argue with this sentiment, until you look at how they implement the mantra. In every budget commentary I've seen thus far from these folks, including the government's own defense of the budget, their exclusive focus is on how much the government is spending and on what. The government boasts that spending has been maintained, and the right wing opposition argues that spending is out of control. Yes, there has to be much attention paid to what government is spending, as this is what determines what types of services, programs and infrastructure we will have available to us. But to what business does "responsible fiscal management" mean dealing only with the expenditure side of the financial statement and ignoring revenues? Here's what it looks like in Alberta.

We're one of the wealthiest jurisdictions in North America. The price of oil, our primary resource, has skyrocketed over the last year and is currently pushing the $100 mark again. Albertans enjoy the highest average weekly earnings in the country, and oil companies are generating record profits. With all of these advantages, you would think that Albertans would be enjoying gold-plated public services, world-class infrastructure, and a hefty provincial savings account. The sad truth, of course, is quite different. We are instead looking at a $3.4 billion deficit, a savings account that's all but gone, public services that yield middle-ofthe-pack results compared to other provinces, and real dollar cuts to the budgets of those same public services. You would think that, in light of this situation, all those self-proclaimed responsible fiscal managers on the right would be questioning why we're starving our public services in the midst of so much wealth, but they're not. The only solutions they are proposing are those which would further cut funding to public services and infrastructure, and not generate one extra penny in revenues. Would any CEO really focus only on a

Finance Minister Lloyd Snelgrove introduces a divisive budget

struggling company's expenses without once stopping to consider that there might be a problem with the company's revenue stream? When the price of oil goes up, gas stations adjust prices at the pump immediately because they need the

extra revenue to cover their expenses. When the price of building materials and labour go up, construction companies increase their prices to ensure they can still build quality structures while being able to cover expenses. But when the

NewsRoundup FULL PUBLIC INQUIRY According to the Canadian Civil Liberties Association, despite the public hearings on the actions of police during the G20 protests, the organization believes there must be a full public inquiry into the events. "It is imperative that there be a full public inquiry into what happened during the G20 to ensure that it does not happen again," says Nathalie des Rosiers, CCLA General counsel. "The maintenance of public confidence in law enforcement demands nothing less." A new and final report by the CCLA and National Union of Public and General Employees compiles an overview of the human rights violations based on testimony at the public hearings. "During the hearings

Canada has received an improved grade in its efforts to integrate new immigrants. The Migrant Integration Policy Index compiled by the British Council and the Migration Policy Group rated Canada to third place out of 31 countires measured. The index uses 200 indicators to measure opportunities for immigrants in their new country. Using labour opportunities, political participation, education and anti-discrimination as well as the possibility for family reunion, the index is used to determine which social policies are working to assist new immigrants. This is the third edition of the index since 2004. Canada moved up from fifth place on the previous index.

RECLAIMING SECURITY The NDP has revealed new documents showing the provincial government will decrease the amount of money collected for financial risks associated with land reclamation. "Albertans are liable for billions' worth of mine reclamation work because the Tories have failed to collect enough to cover our risk," says NDP MLA Rachel Notley. "Now with this new plan, they will continue letting big oil off the hook at the expense of Albertans' financial and environmental future. This docu-

ment proves Albertans can't trust the Tories to stand up for our interests with the energy industry." According to documents revealed by the NDP, the Alberta government will be decreasing the amount of money collected from oil companies over the next nine years. The New Mine Financial Security Plan will not become operational until 2012 and will not begin to collect security higher than the current program until 2020. Under this new program mines would be

CONTINUED ON PAGE 7 >>

SAMANTHA POWER // samantha@vueweekly.com

CREATING A NEW HOME we heard shocking stories of police excesses at the G20 Summit," said James Clancy, NUPGE National President. "In many cases, it seems as if these excesses, which included widespread violations of the Charter of Rights and Freedoms, were committed with complete impunity." Opposition members of Parliament attempts to commission a full public inquiry have so far failed but Liberal MP Mark Holland and NDP MP Don Davies showed full support for the CCLA's recommendations. Davies says, "It is now clear that only a full public inquiry will be able to get to the bottom of the Harper government's G20 billion-dollar boondoggle and provide Canadians with the answers they deserve."

cost of providing public services goes up, these folks advocate cutting services, running deficits and burning through savings instead of adjusting revenues to cover

required to provide a deposit of $30 million for reclamation purposes, while the Pembina Institute estimates total liability ranges anywhere from $18 billion to $33 billion by 2025. During the recent hearings for the new Total Joslyn mine, Total's proposed reclamation of their minesite would require at least $1 billion. Notley and the NDP would like to see the provincial government abandon this plan and consult with the public to institute a new more stable and equal plan.

VUEWEEKLY // MAR 3 – MAR 9, 2011

QUOTE OF THE WEEK

“I know the people involved, very credible people. But I’m not going to chuck any health-care worker under the bus unless they have protection in legislation (and) a full public inquiry.” —MLA Raj Sherman on his allegations that doctors have taken bribes to cover up patient deaths while on the surgery wait-list. Edmonton Journal Mar 1, 2011

UP FRONT // 5

COMMENT >> INTERNATIONAL POLITICS

A Chinese revolution Will the Arab protests spread to China?

Moammar Gadhafi's speeches grow ever or chaos, civil war, and national disintegramore delusional: last Thursday he accused tion. The "integrity of Libya" is allegedly at al-Qaida of putting hallucinogenic pills into stake. Also like the Chinese ruling party, he the coffee of unsuspecting Libyan 17is willing to kill hundreds or even thouyear-olds in order to get them to sands of his own fellow-citizens in attack the regime. But he also order to maintain his rule. said something important. Ruthlessness will not save Defending his massacres of Gadhafi now: he has already kly.com lost control of more than half Libyan protesters, he pointed uewee nne@v y w g to the example of China, arguthe country, and the oil revee Gwynn ing that "the integrity of China nues that enable him to reward r Dye was more important than [the his allies and pay mercenaries people] on Tiananmen Square." will soon dry up. But ruthlessness The Chinese regime will not be grateful certainly did save the Chinese Communist to him for making that comparison, but it regime in 1989, when the army slaughis quite accurate. Gadhafi, like the Chinese tered between 300 and 3000 young proCommunist Party, claims that there are democracy protesters in Beijing's central only two choices: his own absolute power, square. Might it need to deploy such vio-

R DYEIG HT

STRA

lence again in order to survive? So far the current wave of revolutions has been an entirely Arab phenomenon, apart from some faint echoes in Iran, but the example of successful non-violent revolution can cross national and even cultural frontiers. It won't matter that it's a very long way from the Arab world to China if large numbers of young Chinese conclude that the same techniques could also work against their own local autocracy. It is very unlikely that that sort of thing is brewing in China now. There were online calls for a "jasmine revolution" last week, but few people actually went out onto the streets of Chinese cities to protest, and those who did were swiftly overwhelmed

by swarms of police. Even the word "jasmine" is now blocked in internet searches in China, and tranquillity has been restored.

What if the Chinese economic miracle stalled? Then the situation could change very fast, for the regime is not loved; it is merely tolerated so long as living standards go on rising quickly. The reality is that few Chinese under the age of 30 know much about the savage repression of 1989. Moreover, despite a thousand petty grievances against the arbitrariness and sheer lawlessness of state power in China, they are just not in a revolutionary mood—and they will not be so long as the goose keeps laying the golden eggs. But what if the Chinese economic miracle stalled? Then the situation could change very fast, for the regime is not loved; it is merely tolerated so long as living standards go on rising quickly. And what could cause it to stall? Well, the economic sideeffects of the current wave of revolutions in the Middle East might do the trick. Sometimes, it really is all about oil. The last two times the world economy really took a nosedive, way beyond the normal, cyclical recessions, were both oil-related. In 1973, after the Arab-Israeli war of that year and the subsequent embargo on Arab oil exports, the oil price quadrupled. In 1979, when the Iranian revolution cut that country's oil exports, the impact was almost as severe. So could it happen again? Non-violent revolutions should not affect oil exports at all. Heavy fighting of the sort we are now seeing in Libya can damage oilproducing facilities and drive out foreign workers who are needed to run those facilities, but Libya is not a big enough producer to affect the global supply situation much by itself.

6 // UP FRONT

VUEWEEKLY // MAR 3 – MAR 9, 2011

What drove the oil price up to $120 a barrel at one point last week (it later fell back to $110) was not the loss of Libyan

production, but the fear that, as the contagion of revolution spreads, one or more of the major Middle Eastern oil exporters may fall into the same chaos. Then, the oil pundits predict, the price could hit $180 or even $220. Never mind the direct impact of such an astronomical price on the Chinese economy (although China imports a lot of oil). Far worse for China would be the fact that the whole global economy would go into a period of hyper-inflation and steeply falling consumption, for China is now integrated into that economy. So the Chinese goose stops laying its golden eggs, and young Chinese start looking around for someone to blame. They would, of course, blame the regime—and at that point, the Middle Eastern example of successful non-violent revolution becomes highly relevant. Which is not to say that non-violent revolution is really possible in China. The Party has always been willing to kill its opponents, and there is no proof that it has changed, even though another generation has passed since 1989 and none of the original killers are still in office. But the current generation of Chinese young people barely remember 1989. They would not be deterred by the memory of what happened to their predecessors. V Gwynne Dyer is a London-based journalist. His column is found every week in Vue Weekly.

IN THE BOX

PROVINCIAL BUDGET

DAVE YOUNG & BRYAN BIRTLES // INTHEBOX@vueweekly.com

Meeting a deadline

Oilers' trades and welcoming March games The past week saw three Oiler games and the annual trade deadline. First off, Oiler Director of Player Development Mike Sillinger was not traded. Sillinger, for trivia buffs, played for 12 different teams and was traded nine times in his storied career. That aside, here's your game recaps: The Oilers lost 5-0 to St. Louis (Sillinger played for the Blues), lost 3-2 to Boston (one team Sillinger didn't play for) and won 2-1 after a shootout to the Nashville Predators (another Sillinger team). Dustin the wind

At deadline day, Dustin Penner was traded to the LA Kings for young d-man Colten Tuebert, a first-round pick and a conditional pick. It was suggested that Penner or Ales Hemsky might be dealt and it turned out to be Penner. Here's a summary of Penner's Oiler career: - 304 games played with 93 goals, 93 assists and 144 penalty minutes. - Thirteen game-winning goals - Five points (two goals, three assists) in one game (vs Columbus in Oct 2009) - Seven two-goal games; no hat tricks - Three game misconducts; five fights - A decrease in "barley-based drinks" (as he described his weight control regime to Scott Oake) - 26th in all-time Oiler scoring (total points) just ahead of Mike Grier and just below Janne Niinimaa - 27th in all-time Oiler scoring (points per game) just ahead of Dave Lumley and just below Andrei "The Tank" Kovalenko - 10th Oiler to wear #27 (Big Georges Laraque and Dave Semenko are also on that list) - Zero playoff games DY

the rebuild. I'm not saying that it's next year, but I'm wondering if re-signing a power forward like Penner should have been part of the process. BB In like a lion, playing like a lamb

I did some useless statistics generation and here’s what I learned about the Oilers' fortunes during the first game of March. These stats are taken from the "post-last-Cup" era (1990-91 season until today): The team has only won seven of the last 20 March openers; three were home wins. The last three March openers have been against Nashville; the first two were losses. Despite losing 13 OR 14 of these games, the cumulative score has been 66-65. The best March opener was a 7-4 win against Vancouver in 1994. DY

<< CONTINUED FROM PAGE 5

those increased costs. The really irresponsible part is that even a cursory analysis is enough to demonstrate that there is ample room to adjust revenues and remain competitive. When it comes to taxes, for example, the government itself likes to boast that tax revenues in Alberta are some $10 billion lower than they would be under the tax system of the next lowest province. In other words, we could raise anywhere up to $10 billion more every year in taxes and still be the lowest tax jurisdiction in the country. In business terms this would be equivalent to BMW deciding to sell all their new cars for $10 000 a piece and losing millions, when the market would bear a price four to 10 times higher. Wouldn't someone who advocated running government like a business take this into consideration? A similar situation exists in terms of oil royalties. With the price of oil going

through the roof, and oil companies making record profits, the government has decided to make permanent an incentive program which cost us $1.6 billion in the 2010-2011 fiscal year alone. If you're keeping track, that's almost half of the deficit projected in the new budget. In other words, despite the fact that we already had some of the lowest royalties in the world, and despite the fact that there was no shortage of investment in Alberta's oil patch, the government decided that it would be prudent to give these incredibly profitable companies an extra $1.6 billion of our money—money that could have gone into savings, or toward eliminating the deficit, or toward properly funding health care and education, or some combination of the three. Instead, we will actually be generating less revenue from crude oil royalties in this budget than we will from gambling and liquor—way to use those natural resources for the good of province. Once again, in business terms, we're selling off our most valuable asset at fire-sale

prices despite growing demand and increasing value. How does that make good business sense or equate to responsible fiscal management? Don't ask the Wildrose Alliance—their entire existence is premised on the supposed need to avoid maximizing the return we get from our most valuable resource. Yes, responsible fiscal management means working to maximize outcomes and minimize costs, but that's not all it means. It also means maximizing the returns you get from your assets and ensuring that your revenues are sufficient to at least cover your expenses. The fact that the Tories, Alliance and, increasingly, the Liberals don't seem to get this puts the lie to their pragmatism and shows that what they're really about is an ideological campaign to maximize corporate profits while the public interest and Alberta's future sustainability suffer. V Ricardo Acuña is the executive director of the Parkland Institute, a non-partisan not-forprofit housed at the University of Alberta.

BOB THE ANGRY FLOWER

Must miss TV

If I wanted to watch a bunch of middle-age guys checking their Blackberrys all day, I'd work at a corporation. The CSI reruns that Spike TV shows all day every day are more interesting than the morgue that was trade deadline day. Though it's commendable how fast montages and analysis can be cut together, the whole day always seems to turn out to be more bupkis than something worth watching. The whole thing could be better covered in a half-hour segment after the deadline. Or if Maggie the Monkey took over the hosting duties. BB Oiler Player of the week

Deadline Dread

It'll likely be impossible to gauge whether or not GM Steve Tambellini's deadline moves were the right ones. Especially for a last place team like the Oilers, it's tough to see the team's highest-scoring player shipped out when there are questions about moving forward with the rebuild, with not getting mired in an unending cycle of draft picks and hope. But no one knows if Penner would have re-signed: he still has a home in California from his playing days in Anaheim, perhaps he wanted to go back? Only time will tell whether the exit of Penner is a case of addition by subtraction or a setback, but the time is coming when this team will need to hit fast forward on

Ales Hemsky: Guy's been on a hot streak, let's talk extension. BB Linus Omark: A shootout game winner in the Nashville win. DY

VUEWEEKLY // MAR 3 – MAR 9, 2011

UP FRONT // 7

DISH

Find a restaurant

ONLINE AT DISHWEEKLY.CA

Where to eat

Numchok Wilai offers worthy fare at a decent price Jan Hostyn // jan@vueweekly.com

don't profess to know much about the intricacies of Thai cuisine, but I do enjoy eating it—a lot, actually. I figured I had a pretty good handle on what our city has to offer Thai restaurant-wise until I heard about one that was named in the 2010 edition of Where to Eat in Canada: Numchok Wilai. I hadn't even known it existed. That simply wouldn't do. We walked in knowing we wanted to try the vegetarian spring rolls ($4.95) and the fresh spring rolls with shrimp ($6.50), and since Thai beer just seems to go with Thai food, we decided that Singhas ($5.25 each) were the required drink of the night. Out came the spring rolls—one plate full of the gloriously deep-fried and slightly greasy variety, the other sporting the more virtuous rice-paper wrapped bundles. I'm usually partial to the lighter, fresher rice-paper rolls, but these ones just didn't work for

me. Two of the four were missing the promised shrimp and the all-important dipping sauce turned out to be a thick blob that looked—and tasted— exactly like peanut butter. It had no complexity to it at all and, frankly, if I'm going to eat peanut butter, I'd rather spread it on toast. We battled over the deep-fried ones—which were yummy. I especially appreciated the bursts of sweetness added by the unexpected nuggets of corn. Those plates were cleared, and our other dishes started coming fast and furious. Steamed rice ($1.50), coconut rice ($1.95) and sticky rice ($2.50) all found a spot on the table along with nuer nam mun hoy ($10.95), moo pad preaw wan ($10.95), stir fried gai lan ($7.95) and a last-minute addition, Pad Thai ($10.95). We had to order the rad na chicken—a noodle dish with chicken, broccoli and Thai-style gravy—but our friendly waiter told us very firmly we really didn't want to do that. Evidently it's supposed to taste okay, but you have to get past the smell first. We heeded his advice. Part of what I love about Thai cooking is that, when it's done well, all the meat is impossibly tender and the array of delectable sauces imparts a whole new dimension of flavour to the perfectly cooked rice and veggies. For the most part, Numchok Wilai got this right. Beef, chicken, pork and shrimp all showed up in one dish or another and everything was admirably tender, even the shrimp that came nestled in the Pad Thai. Nuer nam mun hoy—essentially beef and broccoli with cauliflower, carrots and mushrooms—turned out to be the overwhelming favourite at our table. The veggies were crisp but tender, the perfect combo to maximize their sauce-soaking-up ability. And the sauce was definitely worth soaking up. The veggies tasted so divine they disappeared in no time. Luckily the stir fried gai lan (Chinese broccoli), swimming in a soy and garlic sauce, helped to ease my longing for more veggies.

8 // DISH

// Eden Munro

From there I moved onto the Pad Thai. The chicken and shrimp were deliciously tender, but the noodles bordered on gummy and weighed the dish down. I sampled the moo pad preaw wan, a classic take on sweet and sour pork, even though that has never been my thing. The sweet and sour fan at our table thoroughly enjoyed it, though.

VUEWEEKLY // MAR 3 – MAR 9, 2011

I opted to indulge in something sweet without the sour instead: deep-fried banana and ice cream ($4.50). Warm bananas topped by copious amounts of ice cream are always good, but when you wrap them in a crispy spring roll wrap, add a large dollop of whipped cream and then drizzle everything with chocolate sauce, well, yum. That was my introduction to Num-

chok Wilai. It didn't wow me enough to supplant any of my favourite Thai haunts, but it does offer up worthy fare at a decent price. V Mon – Fri (11:30 am – 2:30 pm & 4:30 pm – 10 pm); Sat & Sun (4 pm – 10 pm) Numchok Wilai 10623 - 124 St, 780.488.7897

LIQUOR

The Vesper

You can't make 007's signature martini without Lillet

// Elizabeth Schowalter

It's an esoteric French liqueur, and it and feels like honey on your palate, makes a cameo in both the film and but it finishes with a distinctive bitter book versions of Casino Royale. For this edge like grapefruit pith. You certainly reason alone you've likely already couldn't drink a lot of it in one shot, decided to adore or despise it. and you definitely need to serve To the haters, I ask that you it well-chilled. Still, Lillet's inhear me out. triguing flavour will force you Admittedly, Lillet is a to drink a whole glass as you .com decide whether you like or pretty weird drink: it's made weekly e u v of@ from a blend of 85 percent livingpro hate it. e Hann white Bordeaux and 15 perWhich leads me back to Lynch James Bond, that icon of pop cent citrus liqueurs made from bitter oranges and grapefruit peel. culture who is also reviled and It's also aged in oak barrels for a period loved in equal measures. Lillet was of time before it is bottled. (There's red created in 1872 and, after heavy marversion of Lillet too, but it's only availketing, became very popular in France able in the United States.) in the early 1900s, peaking in the On its own, Lillet smells of an ex1920s. By the time James Bond made otic combination of sweet orange, pink his debut in Ian Fleming's 1953 novel grapefruit and some other indescribable, Casino Royale, Lillet had a place in any perfumed essence. Lillet tastes sweet well-stocked bar.

LIVING F

PROO

Prior to the novel's release, Lillet was enjoyed almost exclusively as an aperitif—a drink sipped before dinner, usually served chilled over ice with a slice of lemon or lime. In Casino Royale, however, James Bond creates a martini he dubs the Vesper, made from three parts Gordon's

gin, one part vodka and half a part Kina Lillet, shaken over ice and served with a thin slice of lemon peel. (The "Kina" in the name was dropped in the 1930s when the liqueur became known simply as Lillet; apparently no one told Bond.) Despite its fictional origins, the Vesper went on to enjoy underground fame, reemerging in 21st century cocktail culture after the 2006 release of the film version of Casino Royale. If there's one thing Bond's Vesper teaches us, it's that Lillet is best enjoyed in a mixed drink. Though it makes an intriguing aperitif, there's a reason it fell into obscurity: the taste is simply too bizarre for most, even in its modernized form. (Lillet's recipe was reformulated in the 1980s with the intention of making it sweeter and more appealing to modern palates.) Lillet can be mixed with any clear liquor—vodka, gin, white rum, even silver tequila—with good results. Its flavours marry well with innumerable liqueurs, especially ones based around citrus-like fruit flavours such as Grand Marnier, Cointreau, Domaine de Canton and Campari. A spirit of adventure is always required when playing with any new liqueur, but you're going to end up with something alcoholic no matter what—what's the worst that could happen? V

VUEWEEKLY // MAR 3 – MAR 9, 2011

DISH // 9

PROVENANCE

Pete Desrochers // Desrochers@vueweekly.com

The history of clam chowder

Say it with me: "Chow-dare"

The word "chowder" has its roots in the Latin word calderia, which originally meant a place for warming things, and later came to mean cooking pot. The word calderia also gave us cauldron. Clam chowder dates back to the early settlements in America along the New England coast. It is any of several chowders containing clams and a fish broth, diced potatoes and onions—all of which are sautéed in the drippings from salt pork. Clams were the primary ingredient because of their relative ease to collect at the time. Fish chowders were the forerunners of clam chowder. Original chowders were made out of just about everything that flew, swam or grew in the garden. When the main ingredient is fish or shellfish it is usually called chowder, although the term fish stew is also used. The chowder originally made by the early settlers differed from other fish stews because of the salt pork, which made it distinctive. New England clam chowder is a milkor cream-based chowder, also made with potatoes, onion, bacon or salt pork, flour and clams. It is occasionally referred to as

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Boston Clam Chowder in the Midwest. New Englanders take their clam chowder very seriously. What's fascinating is that adding tomatoes to clam chowder was shunned, to the point that a 1939 bill making tomatoes in clam chowder illegal was introduced in the Maine legislature. The next most common clam chowder is Manhattan Clam Chowder. It has clear broth, plus tomatoes for red colour and flavour. In the 1890s, this chowder was called "New York Clam Chowder." According to Good Eats magazine, the addition of tomatoes in place of milk was initially the work of Portuguese immigrants in Rhode Island, as tomatobased stews were already a traditional part of Portuguese cuisine. Scornful New Englanders called this modified version "Manhattan-style" clam chowder because, in their view, calling someone a New Yorker was an insult. Modern variations of clam chowder often include celery. This is acceptable to most die-hard chowder fans, as the natural salt can replace the salt from pork. Other vegetables are uncommon, although carrot strips may be used as a garnish for colour. V

BEER

Drink beer, do good

Instead of being a boor, use your drinking to help others Boomer's Red Ale Howe Sound Inn and Brewing Co, Squamish, BC $10.50 for 1 litre bottle

Now, BC microbrewery Howe Sound has launched "Ales for Change," a series of one-time releases with a portion of the proceeds going to non-profit or environmental groups. Each There are many problems beer will be available for in the world needing to be three to four months, and $1 m ekly.co solved. It can be overwhelmof every litre bottle will go to e w e u int@v ing for a conscious and consci- tothep the group. n o Jas entious person. And while beer The first Ale for Change was Foster generally causes us to think we released before Christmas, and know all the solutions, rarely does is now available in Alberta for it help us actually make change happen. a short period of time. It is Boomer's Except when the beer is a part of the Red Ale, named after Andrew "Boomer" change. A few months ago I wrote about Eykelenboom, a Canadian Armed Forces Unity Brew, the annual event where all of medic killed in Afghanistan in 2006. His Alberta's brewers get together to make a mother established Boomer's Legacy beer and all the proceeds go to charity. Fund, which is designed to provide funds

TO TH

PINT

for local projects in Afghanistan that get ignored by the "reconstruction" bureaucracy—projects that help the lives of Afghanistan citizens. So far it has provided funds to Afghan villages and communities for generators for water pumps, a herd of sheep, medical and school supplies and children's shoes. Boomer, we are told, was deeply committed to these small acts of support, and his mother wished to continue his efforts. Boomer was also a guy who loved red ales, hence the decision to make what Howe Sound calls a "Canadian Red Ale." The beer is a dark orange copper, verging on red. It has a creamy, long-lasting offwhite head and an inviting appearance. It

// Elizabeth Schowalter

smells of nuts, caramel and vanilla, with just a touch of hop sharpness to add complexity. It tastes much like it smells. There is a nutty malt sweetness at first, blending with caramel, some toffee and

VUEWEEKLY // MAR 3 – MAR 9, 2011

dark fruit. The finish dries out somewhat, due to a light hop bitterness. This is a beer modest in its ambition—much like the project itself. Yet it is a wonderfully enticing, easy-drinking beer. It has full flavour but light enough that drinking a whole litre isn't overwhelming—though I do advise that you share. I know there are valid critiques of this kind of ad hoc aid, in particular since Canada has contributed to the devastation of Afghanistan over the past decade. However, I think to get all huffy about the specifics misses the point of Ales for Change. This is about trying to use the forces of beer for good, and we need more of that. Besides, if you don't fully support the cause, you can find solace in knowing it is a delicious glass of beer. I look forward to seeing what they support next. V Jason Foster is the creator of onbeer.org, a website devoted to news and views on beer from the prairies and beyond.

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COMMENT >> EDUCATION

Issues

Too high a cost

Failure to invest in education is Alberta's missed opportunity

// Chelsea Boos

aden murphy // su.ualberta.ca

Last Thursday, the release of the provincial budget revealed that for a second straight year, universities and colleges will not be receiving a funding increase that keeps up with rising costs due to inflation and higher enrolment. The 1.2 percent increase of operating funding essentially amounts to another funding cut considering those factors, as well as costs for new buildings coming online. Students will once again be called on to make up the difference. The government argues reductions in university funding reduce the deficit, which benefits Alberta's future. In reality, these decisions will hurt the province's ability to grow and compete in a changing global economy. The University of Alberta found itself $60 million short for its next budget last year when its expected six percent increase in operating funding was cut to zero. The administration argued that in many faculties, tuition had not been set at appropriate levels when its increases were tied to inflation in 2006. They proposed "market modifiers" to remedy this, which would raise tuition by thousands of dollars in many faculties. The Ministry of Advanced Education and Technology approved only a handful of these proposals, but this didn't stop the institution from bypassing government regulations by implementing the ubiquitously named "Common Student Space, Sustainability and Services Fee." The fee of $145 per term (down from the proposed $225) is an example of why institutions need to be able to expect stable funding, and why legislation needs to be passed and entrenched to prevent costs from being offloaded to students on a whim. As another cost-saving measure, University staff essentially gave up a negotiated salary increase by agreeing to furlough days (days off without pay). Not only are costs rising, but the tools for dealing with them are diminishing as well. The $54 million cut from grants, bursaries and scholarships in 2009–10 was not restored this year. Student loan remission was another area hit, with the government making debt relief contingent on program completion. The $33 million of savings that this produced was not transferred to student financial aid in other ways, but instead removed from the system altogether. Alberta cannot create a robust, globally competitive education system with cuts like this. The meagre savings accumulated during the boom years do not reflect the scope of economic prosperity that Alberta is lucky to enjoy. In 2009, a year when a poor economic climate was blamed for comprehensive cuts, oilsands operators enjoyed their second most profitable year on record. When our institutions' funding is at

the mercy of the volatile prices of the commodities market, it's clear that our priorities need to be reshaped in order to maintain Alberta's enviable economic position. Alberta's postsecondary participation rate is already the lowest in the country. By cutting financial aid, the high-paying labour jobs in the energy sector appear to be even more attractive to many Albertans. Qualified, talented potential students, adverse to debt and uncertain about employment opportunities in the undervalued knowledge industry are deterred from pursuing education in favour of short-term financial benefit. This is representative of the province as a whole: emphasizing short-term gain over long-term value and prosperity. To gain creative, world-leading and viable insights into issues such as energy production, technological efficiency and medical treatment, it's imperative that research, learning and teaching be trusted and backed by public funding. There will always be a demand for innovative solutions, but the investment needed to fund these can't be expected to produce overnight. We need to create a culture in Alberta that epitomizes critical thinking, reflection and collaboration. These attributes are fostered through our education system. The Alberta government needs to demonstrate its commitment to bolstering the knowledge-intensive economy and society of the future; freezing investment doesn’t do that. Fiscal benefits are directly achievable through priorities of this kind, such as developments in medical treatments that can improve service and reduce costs in the province's most expensive sector. The higher income that usually accompanies a university education also means more tax revenue. The CD Howe Institute, a well-respected Canadian think-tank, finds that the public return on investment is nine percent for an undergraduate degree; significantly higher than any market investment. More than that, post-secondary graduates are much less likely to lean on either the health system or the social safety net, contributing much more to the pot than they use. And lastly, in periods of boom, our economic growth is more limited by a lack of skilled labour than it is our tax structure and royalty rates. If budgets continue along this trend: the province's PSE system could become inaccessible to many qualified students; graduates will leave Alberta seeking employment in places that emphasize academic work; our institutions will find it difficult to attract, develop and retain the world’s top researchers, teachers and innovators. If the provincial government continues to prioritize short-term economic decisions over investment, we may soon be posting a surplus, but we'll have paid a hefty price. V Aden Murphy is the Vice-President External for the University of Alberta Students' Union.

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COMMENT >> EDUCATION

Issues

A budgetary education

What does Alberta's budget mean for education in the province? Bill moore-kilgannon pialberta.org

All of the government and rightwing spin about the provincial deficit reminds me of those magic tricks where you are told to watch the one waving hand while the other one is busy slipping something up its sleeve. The government and some opposition parties, along with much of the media, has everyone focused on the deficit without explaining why in the wealthiest province in Canada we apparently do not have enough to even keep up with inflation and population growth in our overstretched education, environment, human services, culture and community supports. Yes, budgets do have to match revenues to expenditures, but when you look deeper into this year's budget you see the government's real priorities and who is getting the lion's share of the benefits. Here are two examples to keep in mind when you hear about cuts to essential public services. This year the "Energy Industry Drilling Stimulus Program" was supposed to have given back $732 million to the

energy industry, but is now projected to give back a whopping $1660 million. That is an additional $900 million going to very profitable energy corporations, mostly multinational corporations. The Minister also proudly declared in the budget speech that if Alberta collected taxes equal to the next closest provincial tax system, we would have at least $11 billion dollars more a year. As we are the only province in Canada with a flat tax, very wealthy Albertans pay low taxes while middle income Albertans are actually paying more than they would if we had a progressive tax system like the rest of Canada. So if we got rid of the flat tax, we could easily eliminate the deliberately created deficit, while making sure the average Albertans taxes are actually the lowest in Canada. So what will this budget mean to you, your family and community? If you are planning to have children or already have young kids and need to find quality, affordable childcare, this will continue to be a challenge as the government has cancelled its childcare space creation program (even though the federal government is still giving Alberta $25 million a year to create more

childcare). The education system will also be under further stress due to this budget. There is an increase in base instructional grant funding, but other grants are being cut that are going to have an impact on the quality of education. Once the school boards are done crunching the numbers, we are going to hear about teachers and other key staff people in the educational system being laid off, and some programs will be cancelled. The result for you and your kids: probably larger class sizes, more school fees and continuing pressure to close down community schools. If you, your kids or grandkids have plans to go on post-secondary education, this provincial budget is also going to make it more difficult to get into these programs as technical institutes, colleges and universities across the province are going to again be dealing with deficit budgets. While there is some additional support ($20 million) for hiring new faculty, this will not even address the cuts that happened last year at the U of A, let alone all of the other institutions across the province. There is no new infrastruc-

ture programs planned to help expand, even though Alberta still has the lowest post-secondary education participation rate in the county. Students will also further feel the bite as the new student financial aid package will be cutting $33 million by making sure support only goes to those students who complete their degrees. Ouch. We hope that Alberta follows the example of many other provinces in the development of comprehensive poverty reduction strategies. However, this budget is not good news for many individuals and families struggling to break out of the poverty cycle. The budget has cut income supports from $499 million to $467 million even though our income support programs are among the lowest in Canada. The ongoing commitment to the 10-year plan to eliminate homeless is commendable, but the rent subsidy program that helps prevent people from becoming homeless in the first place has taken yet another cut this year (down to $75.1 million from $144 million in 200809). Without an overall plan to address the poverty issues that lead to homelessness, this plan will not achieve its important goal.

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The further cuts to employment and training programs (from $195 million in 2009 to $176.5 million in 2010 to $162 million in 2011) will also mean that many people who are struggling to get a better job will remain in poverty. Immigration programs have also been cut 15 percent (from $60 to $51 million) and English as as second-language programs have been cut a huge 27 percent this year. This not only morally wrong, if we do not support new immigrants to Alberta, this ultimately will cost our economy and our communities more over the long run. Seniors and adults with developmental disabilities will also continue to struggle without enough trained professionals, as funding for homecare and disability service workers will not address the staffing crisis facing these sectors. While the additional six percent increase to the health care budget is certainly positive, with inflation and population growth this increase will not be able to fully resolve the shortage of acute care beds and crisis in mental health. Without a commitment to build more long-term care spaces (rather than the lodges CONTINUED ON PAGE 24 >>

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Music and taxes Music education that goes beyond the conservatory

// Pete Nguyen

Bryan Birtles // bryan@vueweekly.com

n the music business, the music part is very often the easiest. Whether self-taught, a student of the Royal Conservatory or a university setting, music is a pull for many artists that is irresistible, and practice something that comes easy. And with personal computers having the capacity to make records comparable to what studios create, even that aspect of the business is no longer a mystery. But with the music industry rapidly changing from a few major labels controlling most aspects to a group of small businesses dealing with independent artists, it pays to know a thing or two about how to run the business side of the music business. The Alberta Music Industry Association's series of seminars aim to teach musicians about the aspects of the music business that they don't often think about. "I think a lot of artists don't consider their career as a business and that's what it is, a business. You're trying to promote yourself and your business,"

explains Brittany Morse, AMIA's communications administrator and former program coordinator. "There's things you can claim [on your taxes] that people aren't claiming and they're losing thousands of dollars by not claiming those receipts. Or with entertainment law, what things should you do to protect your work as an artist?" The sessions provided by AMIA focus on things like taxes for musicians, entertainment law, how to utilize traditional and social media, things that exist in the backs of the minds of many musicians, overshadowed by the dayto-day concerns of writing a better song or booking a more lucrative tour. The sessions are free for AMIA members and cost only five dollars for musicians or industry professionals who aren't members, and give access to people that aren't normally at the beck and call of struggling artists. "An ad saying 'tax info session' might not be very appealing because you're sitting around talking about taxes," admits program coordinator Carly Klassen, "but you've got two people coming out from the Canada Revenue Agency

and spending three or four hours and you can sit one on one and ask them any question you want and it's free or five dollars." The info sessions started 25 years ago when the organization—originally called the Alberta Recording Industry Association—did what were called "Networking Nights." Networking re-

genres together because if you know everyone in your music community there's no need to leave Alberta. Alberta's amazing: the talent we have all across the board in every genre, there's no need to leave the province if you come out and meet these people." "Producers are meeting artists, artists are meeting studios—it's all about a collaborative environment and

I think a lot of artists don't consider their career as a business and that's what it is, a business.

mains a large part of the attraction to these nights, which pull in musicians, studio engineers, bookers, managers and record label employees of all stripes. AMIA works hard to keep the topics interesting to the widest possible swath of industry professionals. "We try not to have genre-specific info sessions because it's all about the common goal. So if it's taxes, people in rock, hip hop, pop, folk should come out," says Klassen. "It's bringing all the

that's really what the info sessions are about," Morse agrees. "It's just a way to bring people together for the common goal of promoting Alberta's music industry." As a non-profit organization, AMIA is committed to helping music professionals succeed, and the sessions are a big part of the group's mandate. Even if it takes a bit of courage to attend, it's important knowledge to have no matter what stage a musi-

VUEWEEKLY // MAR 3 – MAR 9, 2011

cian's career is at. "I understand it's uncomfortable sometimes to go to those info sessions alone and just go up and talk to somebody: I get it, it's uncomfortable. But you're a musician, you sing in front of hundreds of people—just go introduce yourself," laughs Klassen. The info contained in each session is dictated by the members themselves, says Morse, and anyone looking for information on a specific topic should feel free to write or call the association. "After May we start our planning sessions again and we're eager to have new topics, things that are what the industry needs to know," she says. "The only way we can discover what those needs are is for the artists and representatives of the music industry to speak out and say what they want to know. We want to fulfil those needs and the only way we can is when people inform us of what those needs are." V Alberta Music Industry Association amia.ca

EDUCATION // 17

EDUCATIONRoundup EDUCATION ACT

Although political speculation is that the spring sitting of the Alberta legislature will be less than exciting, education advocates may be busy securing the future of the province's schools. The provincial ministry of education has been involved in developing a new education act over the last year, with the results to be tabled in the legislature this spring. Groups such as the Alberta School Councils Association lobbied for issues such as pri-

vate schools to be funded at a lower level than public schools, and for school boards to remain elected. The Alberta Teachers Association lobbied for similar issues: elected school boards and the ability for teachers to run for office. The ATA also criticized the accountability and public money going toward charter and private schools. The act is slated to come forward in this legislative session.

SAMANTHA POWER // samantha@vueweekly.com

ILLUSTRATIONS: CHELSEA BOOS

MISSING SPACES

TRADING A BAD DEAL

While the Conservative government has tagged its most recent budget as a way of securing social funding while not increasing government revenues, there is at least one program that will be losing out. Creating Child Care Choices, launched in May of 2008, was a 250-million dollar program aimed at creating 14 000 child care spaces over three years. While the program created 18 000 spaces and was only meant to last three years, child care services in the province are still reeling from the $7.5 million budget cut last year and waiting lists continue to grow. Public Interest Alberta has been working on a child care campaign for several years and executive director Bill MooreKilgannon says, "Alberta still spends among the lowest of all provinces per capita on childcare, and Alberta's young families need a real commitment to maintain the investment in a quality childcare system."

CETA, the Canadian-European Comprehensive Economic Trade Agreement, has implications for school boards. The international trade agreement being negotiated by the federal government with the European Union will remove certain negotiating powers of school boards. Like municipalities, school boards would lose the ability to legislate procurement practices. While contracts with school boards are already open to all, the new agreement would give European companies legal grounds to challenge local decisions. Municipal governments in BC have already expressed their concern over loss of local job creation and awarding of local contracts. Last year the Union of BC Muncipalities called for cities to be exempted from the European trade talks. This past February the Chilliwack School Board followed suit and passed a resolution not only calling for an exemption, but also demanded the provincial government provide more information to school boards about the impact of the trade negotiations on school boards. The federal government hopes to have the negotiations completed by the end of the year.

RIGHTING WRONGS

THE WORLD COMES TO CANADA

The copyright bill currently being debated in Parliament will affect more than just musicians. Bill C-32, the copyright modernization act, is meant to bring copyright law in line with international standards, but consumers are concerned over the increased barriers to accessing content. When introducing the new legislation last year Industry Minister Tony Clement stated, "This legislation will ensure that Canada's copyright laws are forward-looking and responsive in a fast-paced digital world." The bill provides greater rights to create digital locks on creative content used in businesses and gives greater tools to combat piracy. Students are concerned over the need to exempt content created for educational purposes. The Canadian Federation of Students submitted recommendations to ensure students had equal access to necessary content. Dave Molenhuis, National Chairperson of the Canadian Federation of Students believes, "a few simple amendments would ensure fair copyright for all Canadians. "Educational fair dealing will grant students and teachers access to copyrighted materials while ensuring that creators continue to be compensated fairly for the use of their work." Bill C-32 is currently going through special hearings which could delay third reading of the bill until the fall.

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International students are coming to Canada in greater numbers. A report by Statistics Canada tracking international student numbers between 1992 and 2008 reports an increase in international students by four percent. As of 2008 eight percent, over 87 000, of all university students are international students. British Columbia, Manitoba

and Nova Scotia represent the highest numbers of international students. The demographics of international students has also changed with more students enrolled at the bachelors level they're more likely to be from the ages of 18 – 24, and the number of female international students has increased from 39 percent in 1992 to 45 percent today.

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Difficult subjects

Alberta author wants more conversation on a troubled provincial past samantha power // samantha@vueweekly.com

ou may have to dig for it in the official history books of the University of Alberta, but amidst stories of successful alumni, founding professors and residents who left their mark, the darker history of the institution can be found. Eugenics as not only a science but a political mandate carried out by the Alberta government is not often talked about today, and certainly not its connections to the province's oldest academic institution. But slowly the subject is being broached. Jane Harris-Zsovan is one of those people breaking the silence on the issue. "I wanted to write it because it's not talked about," says Harris-Zsovan of her book Eugenics and the Firewall: Canada's Nasty Little Secret. The book details not only the history of eugenics in Alberta, but it's impact on the province's politics. While eugenics practices flourished across the Western world in the early 20 century, it seemed to have a particular hold on Alberta. Many congressional governments in the United States attempted to create laws regarding the forced sterilization of its less desirable populations, but Alberta was one of the first to actually pass and implement a forced sterilization law. The Sexual Sterilization Act received royal assent on March 21, 1928 and targeted the mentally unfit for forced sterilization. While the act detailed the requirement of consent from either the patient or the guardian, implementation quickly ignored those procedures. The facts of what really happened are still not clearly understood today, but Harris-Zsovan wants Albertans to know the details. "It's difficult to deal with," says Harris-Zsovan. "None of this is taught in school. Even [former Premier] Klein after the Muir judgement didn't understand what happened. He didn't understand that the law hadn't been followed, he just thought it was a bad law." That misunderstanding leads to a condemnation of leaders who have had numerous positive impacts on Canadian society, but are tied up in a complicated story of eugenics. "I got tired of seeing people like Tommy Douglas being connected to eugenics and a general misunderstanding of what happened here," says Harris-Zsovan. "We have to realize that people were tar-

// Chelsea Boos

geted. The eugenics movement targeted people throughout Europe and the western world. It targeted women's groups and political movements." Harris-Zsovan believes if these people were alive today, they wouldn't believe the eugenics story as readily: "These were very practical people and I'm sure that the people who were on board didn't envision the extent to which it would go." That extent stretched over 40 years and resulted in the sterilization of over 3000 Albertans. Many were lied to, told they were having appendectomies, and many sterilizations fell outside the scope of the legislation: while the sterilization law was targeted at the mentally unfit, anyone not ascribing to a mainstream cultural ideal could suffer at the hands of the four person eugenics board. Women—especially single mothers— aboriginals and immigrant populations from Eastern Europe were more likely to be sterilized. Soon even the minor condition that the four-person eugenics board had to approve the procedure was being ignored. The chair of the board since it's inception, Dr JM MacEacheran— who was also the founding professor of

the U of A's psychology and philosophy departments—had shown to be approving sterilization orders without approval from the rest of the board. Today the history of these violations and the origins of the law are not easily discussed. When Leilani Muir brought her case forward to the provincial government for wrongful sterilization the gov-

ago when the law was implemented. "There is a real reticence to say something contrary. You don't want to rock the boat," she says, "and it doesn't serve us very well." But even as she points out in her book, there are some changes happening. On the same campus that once housed Dr MacEacheran, University of Alberta professors were responsible for bringing to

We have to realize that people were targeted. The eugenics movement targeted people throughout Europe and the western world. It targeted women's groups and political movements. ernment's first tactic was denial. In 1996 when Muir went ahead with her case over 700 victims came forward with other claims, including sexual assault and wrongful confinement. The Alberta government faced over $126 million in lawsuits. The government argued people had acted according to the "laws of the day." Harris-Zsovan believes we're not much better off today than we were 80 years

light some of the worst abuses by the eugenics board. Dr Kennedy McWhirter and Jan Weiger brought forward evidence showing the board had approved sterilizations based on very "sketchy evidence" of mental deficiency, and that the board was made up of people with "questionable knowledge of genetics." In the years since the Sexual Sterilization Act was repealed the University of

VUEWEEKLY // MAR 3 – MAR 9, 2011

Alberta has hosted a conference marking the 35th anniversary of its ending in 2007. The conference hosted Leilani Muir to speak on her successful lawsuit against the provincial government and David King, the MLA responsible for finally repealing the law. More recently, this past fall the University of Alberta was also host to a "living archives on eugenics in Western Canada." The conference was part of a project, of the same name, spearheaded by Dr Robert Wilson. Wilson is working with four different universities and 24 people to compile a living history of eugenics, its history and impacts on Western culture. The project received a Social Sciences and Humanities grant from the federal government. As Wilson points out on the archives website, "an understanding of why and of how eugenics operated as it did in Western Canada is relevant not only to the 3.6 million Canadians with a disability, but to all Canadians who embrace human diversity and strive to build inclusive communities." It's a start to recognizing the lessons of the past and, as Harris-Zsovan says, "to set the record straight." V

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Taxation without representation Alberta's university students push institutions to take new fees to a vote jenn prosser // prosser@vueweekly.com

e are in a time when high levels of apathy are increasingly apparent in traditional forms of student involvement. Many post-secondary institutions are seeing a decline in students willing and wanting to run for elected positions through their student associations. Voter turnouts in these elections are stagnating as low as 15 percent for some institutions and rarely peak above 30 percent. Despite this disengagement from student politics, students are showing their concern over fee increases using methods outside of traditional institutions. A cold February day in 2009 saw over 500 students from three of Alberta's universities march to the Legislature to loudly voice their displeasure about proposed mandatory non-instructional fees. This level of engagement and issue-based passion is what the members of the Council of Alberta University Students are hoping to capitalize on. Alberta's student associations have a strong history of going to their constituents to decide on appropriate fees. In the last 10 years U of A students have voted in 11 fee-related referendums, U of C students in 19 and U of L students in six. Those referendums have varied from decreasing SU fees to approving yearly fees

for new buildings, athletics, Students' Union operations, or independent medias such as campus-community radio and newspapers. "Putting fees to referendum has been what the UCSU has done since we were created, it is the only way we increase or take away fees. That is the practice that we use and that is reasonable for out institutions to use," says Hardave Birk, current Chair of CAUS and the Vice-President Academic for the U of C SU. The mandatory non-instructional fee put in place by the U of A and U of C administration last year increased the financial barrier students carry significantly. It was an issue that translated to the Students' Union elections at U of C, as well as many other PSE institutions. Birk comments, "it definitely affects access. At the U of C we had a $450 fee put on us, at the U of A there was a $250 fee put in place. At the U of C that is almost like paying for an entire extra course to go to school. Furthermore, what services are being provided under that fee? They are services already being provided and the students do not have the option to say: 'we don't want those services provided for us.'" Instructed last summer by the Minister of Advanced Education and Technology—then Doug Horner, who has recently

stepped down to pursue PC party leadership—the three Alberta-based student organizations developed a plan to regulate mandatory fees in such a way that it would have to be presented to a student association before the institution could impose it upon the student body. This would then allow the SA to put the fee to a student-wide referendum. While the U of A administration—as well as other PSE institutions in Alberta—has a consultation process in place to develop fees with student input, the disregard of student needs and wants in 2009 showed that process to be faulty. Why the referendum? This process hardly guarantees a stoppage to increasing fees. In the last 10 years, students at U of A have voted in favour of fee increases eight times out of 10 referendums, including an SU operated Health and Dental plan that increased their fees by $192/yearly. U of C, and U of L are no different. Both schools have seen the majority of fee increase pass through referenda. Birk believes even though they pass, the referena provide an opportunity for dialogue, "it is also about the institutions being able to rationalize to students, to explain to students why those fees are necessary." Keith McLaughlin, the vice-chair of CAUS and Vice President Academic of the ULSU agrees. "Referendums are the best way to gauge students support for a pro-

posal. It is a way to force the institutions to rationalize their funding and fee increase proposals. If they want to increase a fee above the rate of CPI, they have to demonstrate to students why that fee is needed and where that money is going too. We [the ULSU] whole-heartedly believe that if you craft a well reasoned, rational argument to students about why their fees should be increased, if it is a strong argument they will agree with you." The agreement put forward by three organizations did stipulate that the fee increase would go through student council first then to a referendum if the council voted it down. McLaughlin believes he could see the U of L SU support a non-instructional fee if the rational was sound: "We care about

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quality of education here as well. As long as it has a tangible benefit for students, and it is not an astronomical fee hike that is going to really challenge low-income students, then I could see the SU certainly supporting a fee hike of that nature." Realistically though, if any institution put forward a fee of the likes in 2009 Birk says unequivocally, "it would have gone to referendum. Our student council would have not passed the fee that was put forward last year ... the university didn't consult with the students, or explain the reasoning." It doesn't seem the institutions agree with the three student advocacy organizations. No administration seems open to the referendum clause as of right now, despite their successful use of it in the past. Students will continue to press on though, says Birk. "We are looking for the government to take leadership on this for sure, and we will continue to push that message forward. I think there are still a lot of opportunities to move forward on this issue." V

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Learning to parent

Teenage mothers struggle to graduate as they learn to be parents mimi williams // mimi@vueweekly.com

magine being 16 years old. You're not old enough to legally enter into a contract, so getting a cell phone is a hassle, never mind renting an apartment. Now, imagine being 16, homeless, with no job, no references and no high school diploma. And, now you've got a baby. While the past few decades have seen a steady decrease in the number of teen pregnancies—decreasing 36.9 percent between 1996 and 2006 according to the Sex Information and Education Council of Canada—it doesn't make the path for teens becoming parents less daunting, nor the impacts less important. According to a 2008 StatsCan pub-

lication, the timing of motherhood significantly impacts one's chances of finishing high school or pursuing post-secondary education. The report concludes that teenage mothers were 17 percent less likely to complete high school and between 14 - 19 percent less likely to complete postsecondary studies than their childless peers. These numbers are consistent with the 1999/2000 Youth in Transition Survey, which also identified teenage pregnancy and child-rearing as factors related to dropping out of high school. Because job skills acquisition and related earnings growth tend to be concentrated at the start of one's working life, teenage motherhood can affect a woman's long-term wage rates and like-

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introduction to Xcode and Interface Builder exploration of the Apple Object Model working with Multiple Views assessing data using SQLite using Apple Libraries for building applications network access programming techniques performance optimization and App publishing

EDUCATION FOR THE REAL WORLD

AN INSTITUTE OF TECHNOLOGY COMMITTED TO STUDENT SUCCESS

24 // EDUCATION

lihood of employment throughout her income-earning years. Teenage mothers without a high school diploma were nine percent less likely to obtain fulltime employment and were more likely to be unemployed than mothers who graduated from high school. For those who did find employment, their wages were less, with real composite wage rates for teenage mothers with no diploma at $10.93/hr compared to $13.29 overall. However, adult mothers with less than a high school education were also 10 percent less likely to be in fullyear full-time employment and 13 percent more likely to be not working than their peers with high school diplomas. Teenage mothers with a high school diploma showed no difference in likelihood of employment than their adult counterparts, indicating that educational attainment has more of an impact on future socio-economic standing than child-bearing does. So in 1997, Edmonton Public Schools partnered with the Terra Association to operate a program for pregnant and parenting teens at Braemar School, which had been closed a decade earlier due to declining enrollments. An all-girls school, 140 students range in age from 15 to 19 years old, although they have seen students as young as 13 years old in the past. While the girls attend classes, their infants and toddlers spend the day at Terra's licensed, accredited on-site child care. Breastfeeding moms are provided pagers during the school day to accommodate their children's feeding schedules. Girls are given three weeks off school for "maternity leave" when they give birth; following that, they are expected back in class. Shelley Boonstra, a Student Support Worker with Terra, works at Braemar. With a background in early childhood education, Boonstra says a good part of her time is spent helping students over the various bureaucratic hurdles they must leap. On-site support services include goal and career planning and access to labour market information. Students are provided assistance with timetable planning as well as assistance applying for post-secondary, apprenticeship and summer school opportunities. Study support and time management coaching is also available.

A budgetary education << CONTINUED FROM PAGE 15

and assisted-living facilities that are not equipped to support people with high medical needs), we will continue to have far too many seniors in our acute care hospitals and at home desperately waiting to get the medically necessary care and support they need. Finally, the Ministry of Culture and Community Supports was further cut back again this year, in particular with deep cuts to "Community and Voluntary Support Services” (from $142.4 million

VUEWEEKLY // MAR 3 – MAR 9, 2011

Boonstra says the biggest gap in services is for pregnant and parenting youth under 16 years of age. "These girls have no government funding options available and don't qualify for a childcare subsidy to enable them to work or attend school," she says. Financial responsibility then falls to the teen's parent or guardians, which is not a viable option for many of the students at Braemar. "As a result, a lot of these teens are coming from unstable homes that they can't leave because they have no financial support," Boonstra explains. This

stay at Hope Terrace is approximately one year and there is usually a waiting list with at least 20 names on it. Kheri Taylor-Milos is a Registered Social Worker who works part-time for Candeo Housing Association, a small faith-based charity which provides subsidized housing to low-income, femaleled single, parent families at a four-plex in Edmonton's west end. The organization recently welcomed its first family: a student from Braemar and her newborn son. Like Boonstra, Taylor-Milos goes on at length about the challenges teen

Can you imagine bundling up a baby on a day like today and hauling a carriage on public transit for an hour and a half just so you can attend school? These girls manage to do that, every single day. negatively impacts Braemar's completion rates, which are significantly lower than the Edmonton Public and Catholic school districts' averages. According to Alberta Education, the number of students in the province completing high school has been steadily increasing and has leveled off with just over 79 percent of students obtaining their diplomas within five years of starting Grade 10. At Braemar, completion rates remain consistently below 20 percent, with teens reporting three main reasons behind their decision to discontinue studies: inadequate financial support, lack of quality, affordable childcare and inadequate housing. "All of these girls have a real desire to finish high school and go to great lengths to do so, but they face considerable challenges," says Boonstra. "Along with financial hardship comes the reality that our students are vulnerable to unscrupulous landlords and have a really hard time finding safe, affordable housing." To address this need, Terra operates a 13suite apartment building, Hope Terrace, near the Stadium LRT. Tenants, who must be working or attending school, pay $525 for a one bedroom or $660 for a two bedroom and their actual cost for power. A live-in caretaker provides after hours support and a family housing worker helps tenants develop effective parenting and living skills. The average

to $105.4 million). While cultural industries funding has managed to keep pace with inflation, many of Alberta's artists and arts groups are still struggling after dealing with 16 percent cuts from last year. The "I love Alberta Art" campaign coordinated by the Professional Arts Coalition of Edmonton will certainly need to keep ramping up the political pressure. So this budget is clearly not good news for our families and our communities. The question is what are we going to do about it? Do we just sit back while our essential services are being cut and

parents must overcome. Pointing to the temperatures hovering near the minus 30 degree Celsius mark, she dares anyone to question the commitment of Braemar students. "Can you imagine bundling up a baby on a day like today and hauling a carriage on public transit for an hour and a half just so you can attend school?" she asks. "These girls manage to do that, every single day." Not only does StatsCan data show that teenage childbearing's impact on educational achievement but it can lead to longer-term effects on labour force participation and income. Teen moms who fail to complete high school are very likely to be living below the low income cut off in all jurisdictions. However, the same studies show us that teenage mothers with a high school diploma had similar labour market participations and household income levels as their childless counterparts, suggesting that education is more important than teen parenting in determining labour force participation and income in the long run. Last June, Shelley Boonstra was among the proud Terra staff, families and children of Braemar's 38 graduates—the largest graduating class in the school's history—who attended the school's graduation ceremony at City Hall. She's hoping that this year's class is even larger. V

let corporations cash in thanks to their financial backing of the Conservative and Wildrose Parties? It's time that Albertans see past the smoke and mirrors and make sure we are not going to be tricked out of the quality of life our families and our communities deserve, while a few take home the massive profits from the sell off our precious natural resources. V Bill Moore-Kilgannon is the Executive Director of Public Interest Alberta. To learn more about PIA's public-interest advocacy campaigns, go to pialberta.org.

VUEWEEKLY // MAR 3 – MAR 9, 2011

EDUCATION // 25

26 // EDUCATION

VUEWEEKLY // MAR 3 – MAR 9, 2011

EDUCATION // 27

All ages

It's never too late to learn the basics of skiing Jeremy derksen // jeremy@vueweekly.com

ake a person with average-sized feet and have him insert them into two rigid plastic casts. Then clip the casts into 160 centimetre-long wood planks, put a stick in each hand, push him downhill and voila: skiing. It's an odd sport on first impression. Initially, all the extra appendages make moving awkward but in the long run they serve the purpose of speeding downhill on snow, thereby generating that ultimate fix: the adrenaline rush. For the most part, that's why skiiers do it. But for the person who's never experienced the sport, it can be pretty intimidating. Equipment aside, skiing has its own vernacular and fashion code. Then there's the terrain. For some beginners, that bunny hill is Mount Everest. And that's where Edmonton's local ski clubs come in. The four clubs in the Greater Edmonton area—Sunridge, Edmonton Ski Club, Snow Valley and Rabbit Hill—are veritable skier and snowboarder factories. On a busy weekday at Rabbit Hill, says assistant snow school manager Don Wetterberg, as many as 800 kids may learn the basics on its slopes.

28 // EDUCATION

School groups make up the majority of snow school clientele, but a fair number of adults also take beginner classes. Whatever the reason—a company ski trip, to keep up with the kids, impressing a girlfriend or boyfriend or just seeking a new thrill—taking up skiing later in life is fairly common. And Wetterberg has good news for adults just coming, or returning, to the sport. "With adults you can explain things better," he says. "Generally adults will progress a lot faster because they're more mature and developed."

Instructors, provides a similar service for the boarder crowd. "As instructors, it's important to teach people in the appropriate terrain, so we would never put someone at the top of the hill to start a lesson," says Wetterberg. "We always go from

Taking a lesson from a ski pro goes beyond what your mom, dad or cousin may have taught you on that vaguely remembered ski trip years ago. No taking you to the top of a mountain and abandoning you to find your own skidding, careening way down. Professional ski instruction in Canada is a largely standardized practice, owing to the efforts of the Canadian Ski Instructors' Alliance. Founded in 1938, the CSIA is the main provider of training and certification for ski instruction at hills across the country. It now claims more than 20 000 member instructors nationwide. CASI, the Canadian Association of Snowboard

the ground up." Occasionally, Wetterberg admits, a novice will think they're ready to hit the top and then get freaked out once they get there. But helping a beginner get past that fear, he says, can lead to some of the most enriching experiences. He remembers an Australian student who had never seen snow, much less skied, coming to Rabbit Hill for the first time. "They were petrified," he recalls. "But they caught on to everything. When those kinds of lessons happen it's fantastic. It makes you feel good as an instructor to see them enjoying themselves. We got up the chairlift inside of an hour and at the end I said,

'that was one of the most fun times I've ever had.'" Corinne Lutter hadn't skied in 20 years, since high school, when she signed up for a Discover Skiing class at Snow Valley in January 2011. "Fear had kept me from trying skiing again," she says. "I

Fear had kept me from trying skiing again, I was nervous about falling and getting injured. But actually it was fine. I didn't fall over once.

VUEWEEKLY // MAR 3 – MAR 9, 2011

was nervous about falling and getting injured. But actually it was fine. I didn't fall over once," she enthuses. Moreover, she enjoyed herself. "I'm not really a winter person, I hate snow ... but it's a great way to be active in the winter, and you're outdoors. It feels good to be out in the fresh air." Afterwards, Lutter wrote a blog entry on the Snow Valley website about her experience. And she's hoping to get skiing again soon. "I am keen to get back out there, I just need to convince my friends." The best time for a lesson at Rabbit Hill, says Wetterberg, is on weekends. He recommends getting to the hill ear-

ly—as close to opening as possible— and getting a private lesson to pack as much instruction as possible into your lesson. Then, take to the hills to practice your new skills before the crowds arrive. "You've got that hour lesson," he says, "but you've got to get the mileage in to incorporate it into your skiing." So all it takes for a person to learn to ski is to travel a mile in a skier's somewhat awkward boots. And skis. And poles. And pretty soon, you'll be going downhill, fast. V Find Corinne Lutter's blog entry on her Discover Skiing experience at snowvalley. ab.ca/blog

ON THE WEB Canadian Ski Instructors' Alliance / Canadian Association of Snowboard Instructors: snowpro.com Local ski areas: rabbithill.com snowvalley.ab.ca edmontonskiclub.com sunridgeskiarea.com

VUEWEEKLY // MAR 3 – MAR 9, 2011

EDUCATION // 29

Passing experience along

// EPIC Photography

The Citadel Theatre lets professional actors mentor the young companies

Paul Blinov // paul@vueweekly.com

ast year, when the Citadel Theatre tied all of its educational programs together under the auspicious banner of The Robbins Academy, it was a restructuring meant to unify their programs together and let them play off each other. In a way, each differing branch—Play Development, Outreach, the Foote Theatre School for all-ages, the 16-and-up Young Companies or the full-on Professional Program—was to provide extra strength for the others to draw from through sheer unified will. Now, it seems that unity is happening in a more literal way. For a second year, the students of the Young Companies are being paired up with members of the Professional Program in a interprogram mentorship. "A guidance councilor isn't going to be able to talk to you about a career in theatre," says James MacDonald, director of the Professional Program and one who's made quite the career for himself onstage. "It's pretty important to have somebody, particularly somebody who's extremely non-judgmental, and non-threatening to you, to be

30 // EDUCATION

able to ask anything to." The Professional Program, now in its third year, is dedicated to giving actors with a few years' experience a chance to revisit their training, with fourweeks of professional development in Banff, followed by a mainstage Citadel show (or, in this year, two shows; both The Three Musketeers and Little Women: The Musical are being cast from the professional company). The Young Companies, then, are aiming for the same path, but a few years behind. "Our kids are in the process of going to university, so that's what they're concerned about," explains Doug Mertz, director of the Foote theatre school as well as the Young Companies. "What kind of school should I go to, and where should I audition, and should I look at schools in the States? And these [Professional Program] people have a wide range of experience, so they can answer a lot of these questions, much more so than we can, because it's been a lot longer since we've gone from university, and sometimes things change pretty rapidly." Mertz notes that the mentorship itself isn't about technical acting skills,

but more sharing the life experience of someone a few miles farther down the road. Mertz and MacDonald have thrown a mixer and paired up the Young Company with their Pro-program mentors, though aside from a few more planned group events, making the most of the relationship is left to each pairing. The Professional Program works 10 am to six in the

like this, 'cause you can't predict the kind of challenge that somebody's gonna have. But really, what you can do is foster the sense of a good relationship between them. [...] You set the ground rules, or set the conditions for it, and then, ideally—and given the company we have in the Professional Program, and the companies in the Young Companies, I'm very confident—they main-

A guidance councilor isn't going to be able to talk to you about a career in theatre, it's pretty important to have somebody, particularly somebody who's extremely non-judgmental, and non-threatening to you, to be able to ask anything to. evening while the Young Companies start at six and go until 10 pm. Most of the mentoring has to happen on their own time. "I like to structure things," MacDonald says. "I did that last year more; I was like this is what this program is, this is the way you'll do it, and this is what you should be doing and this is the way you should communicate. But it just doesn't work that way with something

VUEWEEKLY // MAR 3 – MAR 9, 2011

tain that connection on their own." And this year, there is more opporunity for face-to-face time; given that the Professional Program have a pair of Citadel shows, not just one, they're here for months, not weeks, giving them plenty of time to be asked questions and met with—though that said, the mentoring itself isn't necessarily sit down, carefully planned out teaching. It's not about extra technical acting

training. Mertz and MacDonald note that by simply establishing a relationship, advice can be asked for or offered when it's needed. The questions that will inevitably arise in the Young Company's future that can be answered through Facebook, phonecalls or whatever other means of quick connections are available. "It's not, 'we're going to sit down and have a little interview,'" MacDonald explains. "It's literally, 'Hey, I was thinking today ... I had this challenge today in rehearsal where I wasn't sure about this, what do you think about this?' and the other person can respond in their own time." "I think the greatest advantage is just benefiting from their experience: what they've been through, what they know," Mertz says. "Sometimes, you have to find those things out for yourself, even if someone tells you something, it doesn't necessarily mean it's going to register. But maybe in five years, they'll go. 'oh I remember when so and so told me about that, and there it is.'" V The Robbins Academy citadeltheatre.com

VUEWEEKLY // MAR 3 – MAR 9, 2011

EDUCATION // 31

SNOW ZONE Look up

Star Party reveals the cosmos

Joe Gurba // joe@vueweekly.com

n its the third year, the wildly popular Star Party, the capstone of the Winter Light Festival, reveals the cosmos in all their sidereal glory. It may come as a surprise to some that Edmonton is home to many professional astronomers such as Erin Walton, Peter McMahon and even Warren Finlay—who's penned a book on deep-sky objects that is used by astronomers internationally—all of whom will be sharing at the Star Party. "Because of our northern latitude and long winter nights, we are able to see events that are more difficult to see in the south," co-ordinator and astronomer Sherrilyn Jahrig shares, "and a lot of those have to do with things that don't happen often, like the appearance of certain comets." Edmonton also occupies prime real estate to witness various other cosmic phenomena such as noctilucent clouds and a great deal of Aurora. As Jahrig explains, "If we didn't have light pollution in Edmonton we could actually see aurora quite often. But most people haven't seen it. They have to

32 // SNOW ZONE

VUEWEEKLY // MAR 3 – MAR 9, 2011

get out to a dark place." Elk Island Park offers just the right recluse from artificial light. Hundreds of telescopes and assistants will be stationed on picturesque Astotin Lake on Saturday night. In addition, this year the Star Party will also offer expensive night vision telescopes and goggles to use. Besides star gazing, the festival also offers a wide variety of activities and heated venues to warm up in. The golf course restaurant will be alive with dining and a lantern-lit patio for dancing. Children can revel in the Snowlar System—the massive orbits carved in the snow. All kinds of games, prizes and zipfy sleds will be provided free of charge. Come shed the cloak of street lights and witness the majesty of the stars. Shuttles to Elk Island Park leave from Kingsway Mall on the half hour starting at 3 pm until 8 pm. V Sat, Mar 5 (4 pm – 10 pm) Star Party Part of the Winter Light Festival Elk Island National Park WINTERLIGHT.CA

ARTS

"In one stunning duet, a well-muscled, shirtless man lifts his lithe, graceful partner onto his planted feet, furling her torso and legs up and around his body, into the air and then swiftly down onto his feet again."

Wen Wei Dance // Online at Vueweekly.com

COVER // DANCE

Bend with the times Expanse continues its growth as a founding director steps back

Fawnda Mithrush // fawnda@vueweekly.com

even years ago, Azimuth Theatre producer Murray Utas sat down with dancer Amber Borotsik to cook up a scheme: the two ventured to fill a hole in Edmonton's arts community at a time when the niche in question was looking particularly bleak—in a city of festivals for every ilk and artistic interest, there was nothing dedicated to exploring movement. The pair emerged as festival producer and director of Expanse in 2004 (shortly after the cancellation of the Grant MacEwan Dance Program). Since then, Utas and Borotsik nurtured their infant fest, originally conceived to fill small spaces like the Azimuth's 55-seat house, into the thriving beast it is today: Edmonton's only festival dedicated

to celebrating the contemporary body in all its expressive quirks and charms, now residing in the considerably larger Roxy Theatre. "Audiences are game now," says Borotsik. "There is a hunger that perhaps wasn't here, that's what I feel. It's a hunger for adventure, not just for a dancer's beauty and pleasantness." And, after six seasons of forward push, Year Seven would see dramatic change for the still-young festival. Last fall, Borotsik announced that Expanse 2010 would be her last as Festival Director. "Yeesh—it was one of the hardest things I have ever done," she says, adding how much she has loved creating and developing Expanse for its first "six awesome years." Borotsik now acts as Expanse's new Outreach Coordinator, taking movement workshops to jr and senior high school students throughout

the year. "Now I get to spread the Expanse gospel, and introduce the festival to people who may not have heard about it before. Most importantly, I get to dance," she says. "Dancing is the key for me." In the meantime, Utas found himself with another pretty significant hole to fill. "That was a very interesting day," recalls Utas. "As producer what I didn't want to do was panic and pull the trigger on 'I need a festival director and I want it now!' I didn't think that would be wise. So I sat back and thought, 'OK, maybe I need to program this year, and we will spend a whole year looking for the right person.'" So, with as much growth as it had seen over its first half dozen years, Expanse 2011 is a festival still transforming.

"As we move forward, I'm reinventing what the face of the festival should be. That's one of the reasons that I have not rushed into it," notes Utas. "I thought 'Let's let the energy of this festival ride.' And it's starting to pick up speed." Helping to keep that momentum, this year the Edmonton Real Estate Board stepped in as Expanse's title sponsor and principal investor in the new Outreach program, which will send two protégé dancers to Calgary for the One Yellow Rabbit summer lab intensive in June. The Realtors' also continue to offer the New Works Development grant: in 2011, up-and-coming choreographer Raena Waddell joins the ranks of previous recipients Tania Alvarado, Linda Turnbull and Kathy Ochoa. The award has allowed Waddell to create her first full-length program to debut at this years festival. "We have watched the artists grow, and Raena has been involved with us since the beginning, every year," explains Utas. Now back to the creative grind after her tour with Brian Webb's Prairie Dance Circuit, Waddell's star in the dance community is one that has been steadily brightening since her appearance in Azimuth's Playhouse at the inaugural Expanse. "This is such a dream because I've been comfortable with creating 15- to 17-minute pieces," says Waddell. "This was an opportunity for me not to be defined by a time limit. It was a little intimidating, but also very exciting. As of today I have 43 minutes," she grins. Her piece, titled A Matter Of Life and Breath, features Waddell and Good Women dancers Ainsley Hillyard and Alida Nyquist-Schultz. With collaborative guidance from Heidi Bunting ("the Matron Saint of the Expanse Festival," proclaims Utas), Waddell's concept for the piece sprung from a scientific study examining the relationship between physical breath, the heart and emotional expression. "I wanted to play with the idea of how our ability or inability to breathe properly affects our movement through space, but also how it affects our connections with people around us," Waddell says. Visceral afflictions like suffocation and heart attacks inspired the movement, she notes, as well as ideas of heartache, madness, conflict and love. "Whatever happens, I think this may be the impetus for me to begin producing my own work," Waddell says of the grant opportunity. "Certainly the presentation at Expanse isn't the end: I can only see my collaboration with Heidi continuing, as well as with Good Women. They are the people to be working with in the city right now." It's a testament to the talent of local movers that the 2011 Expanse program— with the exception of Calgary import Denise Clarke—is entirely home-grown, particularly in a city where a majority of

VUEWEEKLY // MAR 3 – MAR 9, 2011

contemporary dance performances are shipped in from out of town. "[After the jury selections], all I had to do is look at it from a producing point and ask: am I putting too many resources into a 10-minute piece that's going to come from out of our city, when I can actually focus in?" says Utas. So focus "in" he did. The local artists appearing in Expanse this year have become not only familiar, but anticipated by Edmonton dance audiences. The Good Women Dance Collective will unveil Distaff, a new piece in collaboration with musician Roxanne Nesbitt, where three dancers perform while attached to various string instruments with, well, more strings. "My head explodes when I think of Distaff," smiles Borotsik. Another familiar face is that of Eryn Tempest, returning from her recent work at the Banff Centre for the Arts in collaboration with Kate Stashko in the Parhelion Dance Laboratory debut of the timely fragmentation of mme q. Ryan Cunningham, co-founder of Alberta Aboriginal Arts, will present excerpts from a multi-disciplinary piece called They Shoot Buffalo, Don't They?, and Surreal SoReal's physical theatre guru John Lachlan Stewart appears with Blue: The Myth of the Business Bird. Steve Pirot directs Amy Kubanek in a new work, That is all that is going on here, while acclaimed One Yellow Rabbit choreographer Denise Clarke will make the QEII voyage north to present Sign Language, a solo piece she's been honing and performing since 2001. Utas, with producing hands in two rather large festival pies (the other being Nextfest), professes that Expanse's success and future direction lies in its very nature: not that of a single, heavilyhyped presentation, but in its conglomerate, sample-happy form. "I don't want to paint with any elitist brush over it—some people are afraid of theatre and some people are afraid of dance because they think 'what if I don't get it? What if I look dumb?' I think that model is not in the spirit of a festival. The spirit of a festival is come, have fun, and embrace everything that we're doing here. People are starting to give over to that, and I think that's an important thing to strive for, as opposed to a 'we're so avant garde' attitude," he says, jutting out his chest with playful pomposity. "I always say festivals are like zombies: they're not much for acceleration, but once they get moving and get a hold of you, look out. Then you become a zombie, and you just have to give over to it!" V Thu, Mar 3 – Sun, Mar 6 EXPANSE Movement Arts Festival Roxy Theatre (10708 - 124 St) schedule at azimuththeatre.com

ARTS // 33

ARTIFACTS PAUL BLINOV // PAUL@vueweekly.com

REVUE // VISUAL ARTS

Not another landscape

Walter Phillips' works make an alternate artistic narrative to the Group of Seven // Walter Phillips

Carolyn Jervis // Carolyn Jervis@vueweekly.com

An Evening With Uncle Val / Thu, Mar 3 – Sun, Mar 13 (7 pm) Andy Jones is a true Canadian comedy legend, born in Newfoundland and continually returning to the Rock as a source of comic inspiration. An Evening With Uncle Val traps one of his finest characters—a curmudgeonly, 70-year-old fisherman—in the hectic "big city" turbulence of St John's. It's Jones' fifth one-man show in 30 years. (TransAlta ArtsBarns' Westbury Theatre [10330 84 – Ave], $19 – $23 String Quartet No. 2 / Sat, Mar 5 Edmonton-born Vivian Fung's sending home a Canadian Premiere. Fung— who's a doctorate graduate of Julliard—has crafted the original String Quartet No 2, to be performed by Shanghai String Quartet. Its six movements clock in at just under 20 minutes and explore a fusion of east and west influences. The evening includes a handful of other pieces, too, so don't fret about not getting your money's worth. (Convocation Hall, University of Alberta, $10 – $30

34 // ARTS

f you are at all acquainted with the closest thing we have to Canadian artists that are household names, you are likely familiar with the Group of Seven. Their work has formed our contemporary understandings of how early 20thcentury Canada was seen through the eyes of visual artists, of quiet desolate expanses of wild land untouched by humanity and infused with an elemental life force. The Art Gallery of Alberta's exhibition, Walter J. Philips: Water & Woods, provides evidence of an alternate narrative about artists' understandings of our country when it was young. Part of what is engaging about this exhibition is the experimentation with style and material used by Phillips. Yes, there are familiar scenes of Canadian wilderness, of the quiet and uninhabited land, the pedestrian tropes for which the Group of Seven and to some extent Emily Carr is known. What sets Phillips apart is his adoption and interpretation of existing approaches to art making, such as his application of Art Nouveau ideals uncovered in the delicate and highly stylized trees in works such as "Norman Bay, Lake of the Woods I,"

Norman Bay, Lake of the Woods I

(1920). This woodcut envisions nature as a decorative and ornamental space. Unlike his contemporaries, the quiet of these images lacks the feeling that the land is harsh and wild. In doing this Phillips draws upon a British 19th-century approach to the landscape, finding the beauty in its taming and ordering by human hands. Equally fascinating is the artist's filtering of the Canadian outdoors through

VUEWEEKLY // MAR 3 – MAR 9, 2011

a lens inspired by Japanese prints. In "York Boat on Lake Winnipeg," (1930) Phillips brings the flatness and ribbonlike linear waters typical in Japanese woodcuts to his interpretation of a small boat on rough waters. In an exhibit dominated by highly realistic, all-too-familiar images of the Canadian landscape in soft watercolour, it is these experiments in print that make the show more engaging and worth a look. His use of approaches to art mak-

ing across cultures partnered with Phillips' part in resurrecting the woodcut results in the most interesting images across the featured body of work. Also of note is "The Bather No.1," (1923) that depicts a young boy knee deep in a body of water, the ripples that surround him echoing the colours of his pastel blue shirt and soft pink skin. These are the works that make you want to look closer for just another minute, marveling over the artist's careful attention to his craft in these small decorative scenes. It is a more provocative optical experience than looking at yet another highly realistic majestic mountaintop or misty waterfall. Focusing on Phillips' prints provides an opportunity to marvel at a Canadian contribution to the international art stage and the cross-cultural inspirations of this very talented and significant artist. There are works here that provide a muchneeded alternate story about the land in this country as interpreted by an artist in the early decades of the 1900s. V Until Sun, Jun 5 Walter J Phillips: Water & Woods Art Gallery of Alberta (2 Sir Winston Churchill Square)

REVUE // THEATRE

There are no evil wizards Gargamel a low-key, profoundly tragic comedy Mel Priestley // mel@vueweekly.com

here are no little blue men in this show. There aren’t any evil wizards either. It’s easy for a performance’s title to get played up when discussing it, especially when that title references something particularly unusual or evocative. (Evil cartoon wizards trying to turn little blue cartoon men into gold? Hell yeah!) But the title of Trent Wilkie’s Gargamel is misleading when taken literally, as its reference acts as a foil for the protagonist’s struggles to cope with tragedy and come to terms with his relationship to God; it’s about the idea of Gargamel, not the cackling wizard himself. Low key yet profound, Wilkie’s tragic comedy certainly leans more towards tragedy than humour. Dave (Wilkie) has suffered a bad head injury in a car accident that killed his fiancée; the play follows his life some time after, as he camps out in his sister Betty (Joleen Ballendine)’s house. He suffers repeated fainting spells and visions of a spectral Louis Riel (Matt Stanton), who prods him further down the incongruous path of calling out the Almighty in a bare knuckle brawl.

It sounds a little incongruous for the simple reason that it is, and deeply so. The play raises several serious metaphysical questions, yet their gravity is masked by the numbing banality of mundane life. It’s an open and uncomfortably honest performance. The characters are all unadorned by pretense: even the pseudo-New Age rolfing practitioner Alex Andre (Craig Buchert) is ironically self-deprecating, swigging a Lucky Lager whilst leading a yoga session. Gargamel relies heavily on film segments (designed by Jason Ludwig) to show flashbacks and help elucidate the inner workings of David’s mind. It is in these film clips that Wilkie’s talent really shines. He’s no stranger to working with the medium, as his sketch troupe Mostly Water Theatre often incorporates video in their shows. Yet, though the multimedia component makes for a richer performance, as the play progressed it also caused me to experience a growing desire to see Gargamel transformed into a full screenplay. It wasn’t that the theatric portions were no good—far from it; all of the roles were capably delivered—I simply think it would be even stronger as a film. The dialogue already seems more filmic

than theatric in many places, and the choppy scene shifts and setting transitions could be ironed out on the screen. (Though a little extra rehearsing would resolve the bulk of this performance’s technical lags.) Gargamel is an introverted production based on deep philosophical issues, but it has enough levity to keep it from being too pedantic. And despite the esoteric title, its central theme concerns everyone—no matter their position on god (or The Smurfs, for that matter). This is a play about coming to terms with all that is bigger than us, everything that’s outside our ability to control and in some cases even comprehend. In short, Gargamel is about figuring out how to deal with life—and sometimes everyone could use a few tips on how to go about that. V Until Sat, Mar 5 (7:30 pm) Gargamel Written by Trent Wilkie Directed by Mike Robertson Starring Wilkie, Matt Stanton, Craig Buchert, Joleen Ballendine, Ellen Chorley Varscona Theatre ( 10329 - 83 ave), $15 – $20

VUEWEEKLY // MAR 3 – MAR 9, 2011

ARTS // 35

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THE BREMEN TOWN MUSICIANS Â&#x153; EY[dYZ

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36 // ARTS

VUEWEEKLY // MAR 3 â&#x20AC;&#x201C; MAR 9, 2011

FILM

EXTENDED OLIVIER ASSAYAS INTERVIEW /ONLINE AT VUEWEEKLY.COM

Che, Part III

Olivier Assayas on crafting his epic Carlos convince the peasants, how the terrain can be unfavourable, how the local politicians don't support your actions, how the enemy has grown stronger because it's come to understand your tactics, and so on. So it's really a study in strategy, and this is something very few movies can deal with because it simply requires time. Strategy is about complexities, about small details, about understanding the connection between ideas and reality. The length of the film allowed it to deal with issues that shorter films cannot. Che gave me the conviction that I could shoot for something like that.

Josef Braun // josef@vueweekly.com

e blows something up and then retires to a quiet room to admire his chiseled naked figure in a full-length mirror. He seduces a colleague by placing a grenade between her teeth. "Weapons," he explains, "are an extension of my body." Revolution turns this guy on—or is it simply the promise of spectacular violence undertaken with whatever justification? He committed acts of terror, including murder and hostage-taking, on behalf of a people located half a world away from his native Venezuela, and attained a very peculiar, confused sort of celebrity. The celebrity would eclipse the revolutionary until celebrity was all that was left. "You'll be hearing my name a lot," he ensures us, referring not to his given name of Ilich Ramírez Sánchez, but to his more austere nom de guerre: Carlos. Carlos is also the title of Olivier Assayas' 333-minute biopic, made for French television, 160 minutes in the version screening here this weekend, starring the valiant Venezuelan Édgar Ramírez. With its focus on action, its frenetic post-punk soundtrack, its jump cuts that jump just a few frames forward, as though our storyteller's at once impatient and doesn't want to miss a thing, the film is engaging and surprisingly fleet-footed. Like its eponymous central character, the flamboyant terrorist who came to prominence in the 1970s, Carlos is a corpulent and muscular work, carefully tracking the evolution, or rather devolution, of the mind and body of a figure both utterly singular and representative of certain ideological shifts of the period. It was my great honour to interview Assayas, whose body of work, which includes Irma Vep, demonlover, Clean and Summer Hours, is so prolific and diverse, and contains a couple of my favourite films of the last 15 years or so. We met at a Toronto hotel. He wore a smart little cardigan over a T-shirt emblazoned with the cover art for Sonic Youth's Goo. He's 55, wiry, and there remains something boyish about him. His nervous manner of speaking is countered by his convictions, his volubility countered by the precision of his answers, even when delivered in a second language. A former critic and editor of Cahiers du cinéma, Assayas has no trouble talking about movies. VUE WEEKLY: Did you see this film as an opportunity to explore and perhaps critique a political ideology? OLIVIER ASSAYAS: To me there was a broader arc that concerned the story of a generation, this question of whether or not to be involved in the armed strug-

The revolution has landed

gle. After 1968, people really believed that revolution was imminent. But the years passed and nothing happened. You had unrest and activism, but ultimately this revolution didn't seem like it was coming. That was when militants started asking questions. Maybe they lacked the right approach. Maybe the solution was to take up weapons, as had been done in Third World countries, or in Europe in the distant past. In France the conclusion was that no, it wasn't a good idea. But in other countries, like Germany, Italy or Japan, that was the route they chose. Carlos was just one step ahead. When he was 19 he had a gun in his hand. He was fighting with the Palestinians in Jordan. He was militant and active at a very young age. So in a sense, he went faster and further than anyone else of his generation, but acted in the background of the political mainstream of the time. So I realized how emblematic his story could be of a particular idea that this generation had lingering in their minds. He is, of course, a very unique character with an exceptional fate, but somehow I realized how connected his fate was to the story of his time. VW: A significant part of Carlos' story is told through the body of your lead actor, Édgar Ramírez. His performance required a truly exceptional commitment, and not simply in terms of weight gain. Did you use different tactics with him than you'd used with actors in the past? OA: Frankly, Édgar was pretty much on

his own. His input in this film goes way beyond embodying Carlos. He was a partner in creating this film. He had a vision of Carlos. He understood exactly what was going on. I kind of helped him and we discussed things, but these discussions were not frequent. VW: Were you aware from the start of just how fundamental the link would be between Carlos' shifting physicality and his shifting philosophy, between his sense of sexual potency and his desire for violence? OA: It was always essential. For me, the film, or at least one layer of the film, was, as you say, the story of the body of Carlos. It's a layer nourished by historical fact. It's highly relevant that at the end of this story everything falls apart, including his body. Sometimes it was very tough on Édgar. VW: I understand he underwent therapy afterwards to deal with the trauma of playing Carlos. OA: I only discovered this when I read the interview he gave for the press notes. I was surprised. But I understood. The one thing that kind of disturbed me when I started working on this film was this question: was I ready to spend a year and a half of my life with Carlos, who's basically a very unpleasant character? Do I want to be in touch with the darkness of that character? I did not have any kind of easy answer for that. But meeting Édgar was key to solving the problem because, frankly,

he was going to take over Carlos. He was going to lift that burden from my shoulders. I was in a better position because I was able to witness Édgar struggling to make sense of Carlos, to absorb the unpleasantness of the character. I think he did an extraordinary job, but I can understand why it's been very hard on him. He had to think like and be like Carlos, which involved damaging his own body in the process, for a very long time, much longer than what's typically demanded of actors. VW: The formal structure of Carlos is obviously hugely ambitious. Did you have any models that inspired or encouraged you? Was Steven Soderbergh's Che useful to you? OA: Yes, it was. It's a completely different film, but it was inspiring in the sense that, first of all, I enjoyed watching this four-and-a-half-hour film. It could have gone on and I would have been game. But in terms of the texture of the film, here is a movie that uses a mythical character—that uses the star power of this character—to deal with some very interesting issues. Che is a case study in guerilla warfare, how it can be used to win a war and lose a war. The first part is triumphant, it's about how you move from the bush into the villages, how you win over the peasants, how you enter the city, how you negotiate an urban guerilla situation, how you then move onto the capital and eventually win the war. The second part in Bolivia shows you exactly the opposite, how you never

VUEWEEKLY // MAR 3 – MAR 9, 2011

VW: It strikes me that, in a way, Carlos is really Che Part III, in that you're now looking at what becomes of revolutionary actions after the precedents of Cuba, after Bolivia, and going from Latin America in the '50s and '60s and into the Europe of the 1970s. OA: Absolutely. That's a very interesting way of looking at it. It's like that famous phrase about how history repeats itself in the form of a comedy. It's about how Carlos uses the image of Che at a later historical moment for his own ends. You have Che, who, whatever you think of his ideas, was kind of a hero. He was a theoretician and a revolutionary. He was involved in internationalizing the Cuban Revolution. He was ready to put his life on the line and wound up dying for his ideals. He was also a good writer and left a lot of reflections on his life and times. Carlos, by contrast, is a soldier. He's not a thinker. He's a guy who executes missions. He was very aware of his media image and knew it was beneficial to connect it to Che's image, but it's somehow pathetic. VW: Was it always obvious to you how you wanted to end Carlos? OA: It was pretty clear that the film would end with his arrest. His story really does end where we end it. He'd already been surviving himself for years at that stage. He's become irrelevant. VW: Kind of a ghost. OA: Precisely—he's a ghost of himself. So once he's finally arrested, it was like something that just had to happen. He hardly even resists it, and no one will help him out, not even the Sudanese. I think even Carlos knew that this was the end of the movie. V Opening Friday Carlos Directed by Olivier Assayas Written by Assayas, Dan Franck. Starring Édgar Ramírez Princess theatre (10337 - 82 ave)

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FILM // 37

Winter Soldier Fri, Feb 4; Sun, Feb 6 (7 pm) Sat, Feb 5; Mon, Feb 7 (9 pm) Produced by the Winterfilm Collective Metro Cinema (9828 - 101A Ave)



He can't remember how many times he'd seen prisoners bound and blindfolded with copper wire and thrown from mobile US aircraft, but Rusty Sachs, 27-year-old veteran of the US Marine Air Wing, thinks it must have been somewhere between 15 and 50 times. Sachs describes this activity, performed in the spirit of competition (the prisoners were being tossed from choppers not only for sadistic amusement or some perverse notion of efficiency, but to see who could throw theirs the furthest), in the opening moments of Winter Solider (1972). This documentary, chronicling the Winter Solider Investigation, which took place during the winter of 1971 in a Detroit Howard Johnson, wisely gets right down to business. Nothing that's discussed over the course of the film's 96-minute running time is for the faint of heart or anyone nurturing illusions about Americans in Vietnam. Winter Solider, along with Hearts and Minds, is one of the essential films about Vietnam, and as such is utterly devastating. The film was produced by the Winterfilm Collective, which included Sachs, documentarian David Grubin and Barbara Kopple, who would go on to make Harlan County, USA (1976), another of the greatest, most valiant nonfiction films of the era. But the decision to attribute Winter Soldier to a collective rather than a single filmmaker or even handful of filmmakers is appropriate. Few films seem as necessarily subservient to simply assembling participants for the purpose of condensing and conveying vital information. What sensibility emerges feels very much the product of likeminded activists whose private ambitions are secondary to the event unfolding before the cameras.

Winter Soldier documents the atrocities of 'Nam.

Solidarity is woven into the film's core. All we get are testimonies, both formal (speakers on stage, with a microphone, before a small public) and informal (veterans and citizens comparing notes during breaks in the hearings). Among those veterans who speak out against the war is future Presidential candidate John Kerry. The images, particularly the long, unbroken close-ups, are somewhat overexposed, with lots of hot white in the Caucasian faces, the details blasted from the background, nothing to distract from what's being said and how, all of it very wintry indeed. What's discussed? The list of atrocities could consume all the space available for this review and some. Torture, rape, mutilation, humiliation, disembowelment, destruction of property. The slaughter of children. The regarding of all Vietnamese as the enemy, especially once they're dead. Wildly inflated body counts. Nightmares. Patriotism. Racism, perhaps as a bottom

line that goes so much deeper into history and the social fabric than the thencurrent conflict. Soft-spoken and handsome in his dark beard, Scott Camil, who was discharged after having received 13 medals and attained the rank of Sergeant, recalls going to Vietnam to find out what kind of a man he was. Even after witnessing countless flamboyant violations of the Geneva Convention, Camil still believed he was doing what was right for his country. Beyond the atrocities committed, beyond policy, beyond whatever we can regard as history or as an ongoing, fundamental concern about government and war, Winter Solider haunts us with the question of how it is Scott Camil became what he became for the four years he served. At least we know that whatever he became, he could somehow, eventually, come back from it, and tell his story. Josef Braun

// josef@vueweekly.com

Drive Angry Now playing Directed by Patrick Lussier Written by Lussier, Todd Farmer Starring Nicolas Cage, Amber Heard, William Fichtner



Much of today's self-aware B-movies and grindhouse flicks are craftily shrugging in their bad-goodness. They can serve up merely what their titles—Snakes on a Plane, Hobo with a Shotgun—dictate and no one can say they were promised more. So Drive Angry delivers ... car- and revenge-porn. No surprise there, but nothing of much interest either. After all, it's hard to shift gears and become interested in one man's searing, suffering pain over his daughter's horrible death after we've just seen: a man speared through the eye, another axed in the forehead, a woman splattered by a car, two cops killed and a dozen thugs mowed down. But then, the man even recalls his daughter's death in gruesome, exploitative detail: "burning is nothing compared to watching your child's head torn off." The man's Milton (Nicolas Cage), and any relation to the great 17th-century writer

38 // FILM

VUEWEEKLY // MAR 3 – MAR 9, 2011

Driving? Check. Angry? Double-check.

would only be found in a movie that doesn't have, as its best line, "fuckin' devil worshippers, they freak me out ... turn my shit white." That's some of the tough talk from take-no-BS but oh-so-sexy Piper (Amber Heard), playing a kick-ass Daisy to Milton's unkillable Bo in a story that's Dukes of Hazzard meets Ghost Rider. Y'see, Milt's come up from Hades to rescue his infant granddaughter from, and avenge his daughter's murder by, Satanic cult-leader Jonah King. William Fichtner, as the Accountant (Lucifer's death-collector), offers a breezy, just-doing-my-job relentlessness, lending the movie the winking, faux-seriousness it needs. Otherwise, especially coming

after the carnage of so much pulpy fiction, backstories and explanations drag, while gestures towards emotion seem pointless—who'd want to save and raise a baby in this distorted South's pit of violence, anyway? The action's mostly comicbook broadness or slo-mo fetishizing, the villain—in Bond-movie fashion—takes his time before never killing anyone, and nobody but Milton can shoot well. The true immortal, though, is the American muscle car, which (despite all the hellfire reminding us of global warming) keeps on roarin' on ... but then, what else can we expect of a movie called Drive Angry? Brian Gibson

// brian@vueweekly.com

COMMENT >> DVD

How sweet it ain't

cigarette girl is tough to get past. Of course, we keep watching, riveted to the bitter end, even if by that point the artifice is showing.

The Sweet Smell of Success a mercilessly cynical story A stack of newsprint smacks down on paveon everybody to get to the top of something. ment, bound, tossed off a truck, like a kidBut that mercilessness has its costs. napping victim, in synch with the final We follow Sidney Falco (Tony Curtis), a pow! of Elmer Bernstein's hysteripress agent hanging by a thread. He cal jazz aria, and we're off to troll leaves his topcoat in the office to two bracing mid-fifties Manhatsave on coat checks. It's unclear tan nights. New from Criterion, if he sleeps or ever finishes a hot m o kly.c Sweet Smell of Success (1957), dog. At least he has more than uewee v @ e v cti directed by Alexander Mackend- dvddete one suit: in a beautifully comJosef rick and scripted by Clifford Odets posed early scene the frame's diBraun vided by a door, on one side Falco and Ernest Lehman, is one of the great New York movies, with relentchanges his pants, on the other his lessly imaginative location photography by secretary lingers with concern. Falco's franthe legendary James Wong Howe. It's riddled tic to suck up to JJ Hunsecker (co-producer with razor-sharp dialogue ("The cat's out of Burt Lancaster), the towering columnist who the bag and the bag's in the river"). There's an can make or break anybody, who can save edge of seething violence, most of it coming Falco from ruin with a sentence about a clithrough language and music. It's a mercilessent in the evening edition. Hunsecker has a ly cynical story where everybody's stepping sister named Suzie (Susan Harrison) who's

DVCD TIVE

DETE

in love with a guitar player. She could be in love with a monk for all he cares. He wants her for himself, though for what purpose it's ambiguous (if unambiguously repulsive). He assigns Falco the task of destroying the romance. Everything hinges on that. Curtis is brilliant, nervous yet intensely focused, a dog that can bark and plead in the same sentence, twisting himself into pretzels to work magic, seated, in a key scene, just behind Lancaster as though perched at the heels of his master—or moments away from pushing him off his pedestal. Something in Curtis' performance looks forward to Ray Liotta in Goodfellas (1990). His Falco starts with his soul already sullied, yet as his actions become more appalling we can't help holding out for his return to sanity, though the bit where he pimps out the

The only true innocent in Sweet Smell is, of all people, a (white) jazz musician. Suzie, psychologically frail, shivering in her furs, is ostensibly innocent too, though with Hunsecker as her brother, and a final twist revealing her capacity for manipulation, we have to presume something seedy deep within. Anyway I can go along with these ingénues, but there's something about Hunsecker I confess I never completely believe—though he's precisely the sort of symbol of corruption and power Odets seemed to need to believe in. Hunsecker's based on real-life gossip columnist Walter Winchell, who was unhealthily obsessed with his daughter rather than his sister (which might explain why Suzie's less than half her brother's age). Hunsecker's basis in Winchell inevitably recalls Citizen Kane (1941) and Kane's basis in real-life media titan William Randolph Hearst. Were he

cast in the role, Orson Welles surely would have identified with Hunsecker, smiled a little, had some fun, and for moments make us want to be Hunsecker, however uneasy the thought. Though rigidly compelling, Lancaster by contrast seems no fun at all. His contempt for Hunsecker's all too clear. He seems uninterested in conveying much inner life, save a few moments involving Suzie, like that glance he casts through a crack in the curtains while she sleeps. Turns out Welles was actually Lehman's first choice to play Hunsecker, something I learned from the audio commentary by author James Naremore (whose More Than Night is one of the strongest books on film noir). The highlight of Criterion's superb supplements, Naremore's is a model commentary track. Without ever snowing us, he moves nimbly between historical context, production anecdotes, technical data and performance analysis, outlines which writer was responsible for what, and draws attention to so many subtle and terrific little bits of behaviour. V

Sell Out!

Fri, Mar 4; Sun, Mar 6 (9 pm) Sat, Mar 5; Mon, Mar 7 (7 pm) Written and directed by Yeo Joon Han Starring Jerrica Lai and Peter Davis Metro Cinema (9828 - 101A Ave)



When Sell Out!'s opening scene is a mix of the surreal, the metaphysical and blatant satire along with nudity and brutal violence, it is easy to feel disoriented at first. Director, writer, producer, editor and composer—he even wrote the horrible karaoke songs in this pseudo-musical—Yeo Joon Han introduces his main character, Rafflesia Pong, the host of an unsuccessful Malaysian arts talk show, by having her interview him. What ensues is a ridiculous satire on Yeo Joon Han himself. The initial scene becomes both a capsule of what Sell Out! is as a whole and a beat-you-to-the-punch self-deprecating review of the film you are about to watch. Two "FONY Conglomerate" employees are led in strange directions by their dual bosses who dictate their lives. When go-getter Rafflesia Pong films her bed-ridden fiancé die she finally gets the ratings to compete with Eurasian reality show host, Hannah Edwards Leong, and she ditches the arts programme to do a show that films people in their dying moments. Meanwhile, head of the electronics department, Eric Tan, played by Peter Davis, has invented a super soya machine but unfortunately it needs a builtin break-down mechanism so that the company can make more money when it breaks. The two bosses take Eric to an exorcist to extract his inner dreamer but instead of it disappearing it stays around as a separate

entity, falls in love with Rafflesia Pong, convinces Eric not to install the break down mechanism, and dies for Rafflesia's show. As a comedy, Sell Out! treads a fine line between very base and accessible humour with the karaoke songs and the standard give-and-take between boss and employee, balanced with a more subtle insider comedy that targets western influence in eastern countries and the madness of greed. Though many critics rave over the hilarity of Sell Out!, the simple jokes were rather tiring and the complicated jokes were of the variety that causes people to laugh much harder than necessary to prove to the people around them that they "get it." More admirably, the lens through which the jokes are viewed is a broader anti-commercialism that targets the sad foolishness of a society built on consumerism, taylorism and greed. The real strength of Sell Out! is not the painful songs or the ridiculous humour but rather the commentary. Spoofing his own award-winning short film, Adults Only, Yeo Joon Han closes Sell Out! with the same dialogue and situation but with the context of this entire film behind it. The rest of the film lives up to the director's own prescription. Aside from the mediocre Peter Davis and Jerrica Lai, the acting is so bad it might be on purpose. The dialogue is terrible. There are plenty of gut busters for everyone but for those more intuitive who are looking for something beautiful, there are a few undeniable "moments of poetry." Joe Gurba

// joe@vueweekly.com

VUEWEEKLY // MAR 3 – MAR 9, 2011

FILM // 39

hall Pass

Cedar Rapids

Now playing Directed by Bobby and Peter Farrelly Written by Farrelly brothers, Kevin Barnett, Pete Jones Starring Owen Wilson, Jason Sudeikis, Jenna Fischer

Opening Friday Directed by Miguel Arteta Written by Phil Johnson Starring Ed Helms, John C Reilly, Anne Heche





Hitching on the trailer, you'd think Hall Pass is just another buddies-out-to-get-laid movie. But it's co-written and directed by the Farrellys (There's Something About Mary) and the story has the smart, relaxed, real-life drive of their best comedies. Fred (Owen Wilson) and Rick's (Jason Sudeikis) wives see through their blustering guy-talk and wishful ogling—it's middle-aged male delusion. And when Fred's wife Maggie (Jenna Fischer) gives him a "hall pass" (one week of freedom from the marriage), Fred's not sure if it's a punishment or a release. The more pathetic, egotistical Rick sees his as heaven-sent, after his wife Grace (Christina Applegate) issues him a hall pass in the

Spending a week away from marriage wisely?

wake of the most hilariously humiliating solo-sex scene in recent years. And after so many years of generally crappy mainstream comedies, the Farrellys manage to drop two poop sight-gags that are shockingly funny. A few scenes drift a little, though Wilson's rather charming as a nice guy going a bit astray. And after her work in Going the Distance, Applegate's impressive once

again in this genre. Her character also gets the movie's most surprisingly thoughtful line, as she's touring a mansion superstuffed with materialism: "This is why the terrorists hate us." There's one lazy, female-fearing joke about a sex act that dumbly assumes women are somehow genitally numb, but a hilarious male-nudity scene is even funnier for its near-offensiveness. Even the post-credit sequence—the hall-pass fantasy of Stephen Merchant's Ascot-wearing Brit—is damn amusing. It's too bad, then, that the wives' storyline (when they're off in Cape Cod as their hubbies fumble with their hall passes) is so unfunny and uncomplicated. They're simply burdened with most of the plot's emotional and dramatic weight. Maybe if they'd had their fairer share of mishaps and comic humbling, the ending to what turned out to be a likeable (though not quite lovable) romcom would be truly heartfelt. Brian Gibson

// brian@vueweekly.com

40 // FILM

VUEWEEKLY // MAR 3 – MAR 9, 2011

There are scenes in Cedar Rapids where Ed Helms (of Hangover and Office fame) hyperventilates, weeps or flips out like a nervous child. In one scene he becomes hysterical on a climbing wall. In another he embraces a naked man in a locker room. The most striking thing about all these scenes is how mercilessly unfunny they are, how painful to behold. You may find yourself gripping your armrests, white-knuckled, pleading sotto-voiced for these scenes to end. But then they do end, you settle back in your seat, and after a few minutes you find yourself strangely re-engaged, because here's the thing about Cedar Rapids: as a comedy it is, with a few exceptions, hopelessly conventional, lacking edge or freshness, bereft of wit, surprise and sharp timing. Yet it's also kind of cute, endearing, almost fleetingly sort-of-maybe touching. I had to sit through the whole movie before I realized this. Cedar Rapids is directed by Miguel Arteta, who made Chuck and Buck, The Good Girl and Youth in Revolt, and if you look very carefully you'll detect the sensibility of someone who truly cares about what happens to ordinary people when they get into a lot of trouble. If only the movie wasn't straining,

red-faced and trembling as though constipated, to make us guffaw while we slowly learn to see beyond screenwriter Phil Johnson's cookie-cutter plotting and appreciate the surprisingly intriguing characters he and the actors have crafted, each of whom in their own way instruct the protagonist on how to accept life's niggling contradictions. Helms plays Tim Lippe, an agent attending a trade conference on behalf of Brown Star Insurance, located in Brown Valley, Wisconsin, whose city limits Tim has apparently never crossed. This is a coming of age tale about a man in his early 40s, so most of the running gags concern Tim's stupendous naïveté being battered by the crudity and cynicism of the world beyond the confines of his cozy, cloistered village. For the duration of the convention Tim shares a hotel room with a cheerful square played by Isiah Whitlock Jr (whose blackness Tim is only briefly alarmed by) and a drunken, garrulous pussyhound played by John C Reilly. He becomes smitten with a married vixen played by Anne Heche. By my estimation, the movie's funniest, or at least most appallingly fascinating moment occurs when Helms and Heche begin to make out in the hotel pool after hours and Reilly, also in the pool, though fully clothed and wearing a trash can lid on his head, and, if I've got this right, actually starts to masturbate as he watches them. Josef braun

// josef@vueweekly.com

FILM WEEKLY FRI, MAR 4, 2011 – THU, MAR 10, 2011 s

CHABA THEATRE�JASPER 6094 Connaught Dr, Jasper, 780.852.4749

UNKNOWN (14A violence) FRI�SAT 7:00, 9:00;

TOR'S FAN CUT 3D (G) Digital 3d FRI�SAT 12:10,

2:40, 5:20, 7:55, 10:30; SUN 12:00, 2:35, 5:10, 7:45, 10:15; MON�THU 9:40

I AM NUMBER FOUR (PG frightening scenes, not

recommended for young children) Digital Cinema FRI� SAT 12:15, 3:00, 5:30, 8:15, 10:45; SUN 12:10; MON�WED 2:30, 5:00, 7:20, 10:00; THU 1:15, 3:45, 7:20, 10:00; SUN 2:35, 5:00, 7:40, 10:05

UNKNOWN (14A violence) FRI�SAT 12:15, 2:45, 5:10,

SUN�THU 8:00

7:45, 10:15; SUN 12:45, 3:25, 7:15, 10:15; MON�THU 1:30, 4:10, 7:10, 9:50

I AM NUMBER FOUR (PG frightening scenes, not

JUST GO WITH IT (PG crude content) FRI�SAT 12:00,

recommended for young children) FRI�SAT 7:00, 9:00; SUN�THU 8:00

CINEMA CITY MOVIES 12 5074-130 Ave, 780.472.9779

TANNU WEDS MANNU (PG) Hindi W/E.S.T. DAILY 2:00, 5:00, 8:30

THE LION OF PUNJAB (14A) Punjabi W/E.S.T.

DAILY 1:35, 4:55, 8:15

THE DILEMMA (PG coarse language) DAILY 1:25,

4:40, 7:20, 9:50

SEASON OF THE WITCH (14A violence) DAILY 9:15

COUNTRY STRONG (PG substance abuse, coarse language) DAILY 1:50, 4:35, 7:10, 9:50

GULLIVER’S TRAVELS (PG) DAILY 1:45, 4:15, 6:30 LITTLE FOCKERS (PG crude sexual content, not

TANGLED 3D (G) Digital 3d DAILY 1:30, 4:20, 7:00, 9:35 HARRY POTTER AND THE DEATHLY HAL� LOWS: PART 1 (PG frightening scenes, violence, not

recommended for young children) DAILY 1:10, 4:45, 7:50

MEGAMIND (G) DAILY 1:15, 3:50, 6:40 INSIDE JOB (PG language may offend) DAILY 1:00, 4:10, 6:45, 9:20

CINEPLEX ODEON NORTH 14231-137 Ave, 780.732.2236

RANGO (PG) No passes FRI�TUE, THU 1:00, 4:00, 7:00, 9:50; WED 4:00, 7:00, 9:50; Star & Strollers Screening: WED 1:00

BEASTLY (PG) DAILY 2:00, 4:50, 7:45, 10:00

7:45, 9:50; MON�THU 1:15, 3:30, 5:35, 7:45, 9:50

abuse) FRI�SAT 12:30, 3:00, 5:45, 8:25, 10:50; SUN�WED 12:30, 3:30, 7:25, 10:00; THU 3:30, 7:25, 10:00; Star & Strollers Screening: THU 1:00

NO STRINGS ATTACHED (14A sexual content, substance abuse, not recommended for children) FRI�SAT 10:50; SUN�THU 9:00

not recommended for children) FRI�SUN 12:00, 2:45, 5:15, 7:50, 10:20; MON�THU 1:55, 4:30, 7:00, 9:25

127 HOURS (14A gory scenes, disturbing content)

SPIKE AND MIKE'S SICK AND TWISTED FESTI� VAL OF ANIMATION 2011 (R) MON 9:30

CITY CENTRE 9 10200-102 Ave, 780.421.7020

RANGO (PG) Dolby Stereo Digital, Stadium Seating DAILY 1:00, 3:50, 6:50, 9:30

THE ADJUSTMENT BUREAU (PG coarse language)

Dolby Stereo Digital, No passes, Stadium Seating DAILY 12:20, 3:30, 7:00, 10:00

HALL PASS (14A nudity, crude sexual content, substance

abuse) No passes, Dolby Stereo Digital DAILY 12:30, 3:05, 7:15, 10:10

content) Stadium Seating, Digital 3d, DTS Digital DAILY 7:50, 10:25

Stadium Seating DAILY 12:50, 3:45, 7:30, 10:15

3:30, 6:45, 9:20; Sun 3:30, 6:45

DAILY 1:10, 3:50, 6:50, 9:40

THE KING'S SPEECH (PG language may offend) DAILY 12:40, 3:20, 6:30, 9:15

DON QUIXOTE�BOLSHOI BALLET LIVE (Clas-

sification not available) SUN 12:00

CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585

RANGO (PG) No passes FRI�SAT 1:00, 3:30, 6:00, 8:30;

GNOMEO AND JULIET 3D (G) Stadium Seating, Digital 3d, DTS Digital DAILY 12:15, 2:30

BARNEY'S VERSION (14A coarse language, sexual

CLAREVIEW 10 4211-139 Ave, 780.472.7600

GNOMEO AND JULIET 3D (G) Digital 3d FRI�SUN 1:50, 4:15, 6:35, 8:50; MON�THU 4:50, 7:50

JUST GO WITH IT (PG crude content) FRI�SUN 1:10, 3:55, 6:45, 9:30; MON�THU 5:25, 8:15

UNKNOWN (14A violence) FRI�SUN 6:55, 9:35; MON�THU 8:05

I AM NUMBER FOUR (PG frightening scenes, not recommended for young children) FRI�SUN 1:30, 4:25, 7:05, 9:40; MON�THU 5:35, 8:20

BIG MOMMAS: LIKE FATHER, LIKE SON (PG) FRI�SUN 1:45, 4:20; MON�THU 5:20

JUSTIN BIEBER: NEVER SAY NEVER�DIREC� TOR'S FAN CUT 3D (G) Digital 3d FRI�SUN 1:00, substance abuse) No passes FRI�SUN 1:25, 4:10, 6:50, 9:25; MON�THU 5:15, 8:00

No passes FRI�SUN 12:00, 2:20, 4:45, 7:40, 10:10; MON� WED 1:25, 3:45, 7:15, 9:45; THU 3:45, 7:15, 9:45; Star & Strollers Screening: THU 1:00

DRIVE ANGRY 3D (18A gory brutal violence,

DRIVE ANGRY 3D (18A gory brutal violence, sexual

BEASTLY (PG) FRI�SUN 2:00, 4:40, 7:00, 9:20; MON�

JUSTIN BIEBER: NEVER SAY NEVER�DIREC�

HALL PASS (14A nudity, crude sexual content,

substance abuse) FRI�SUN 1:45, 4:15, 7:25, 10:10; MON�THU 7:25, 10:10

sexual content) Digital 3d FRI�SUN 2:10, 4:50, 7:20, 9:50; MON�THU 5:50, 8:30 THU 5:40, 8:40

RANGO (PG) FRI�SUN 1:20, 4:00, 6:40, 9:15; MON� THU 5:10, 8:10

THE ADJUSTMENT BUREAU (PG coarse language) No passes FRI�SUN 1:40, 4:30, 7:10, 9:45; MON�THU 5:30, 8:25

UNKNOWN (14A violence) DAILY 6:45, 9:00; SAT� SUN, TUE 12:45, 3:05

PRINCESS

3:40, 6:40

recommended for young children) FRI�TUE, THU 12:45, 3:45, 7:45, 10:30; WED 12:45, 3:45, 10:30 10:15

I AM NUMBER FOUR: THE IMAX EXPERI� ENCE (PG frightening scenes, not recommended for

10337-82 Ave, 780.433.0728

BLACK SWAN (14A sexual content, disturbing

content, not recommended for children) DAILY 9:10; SAT�SUN 3:20

THE FIGHTER (14A coarse language, substance abuse) DAILY 7:00; SAT�SUN 1:00 CARLOS (14A violence, nudity) DAILY 6:30 & 9:30; Sat-Sun 2:00; No 6:30 show on Mar 9

SCOTIABANK THEATRE WEM WEM, 8882-170 St, 780.444.2400

RANGO (PG) Digital Cinema, No passes FRI�TUE,

THU 12:50, 3:50, 6:45, 9:40; WED 3:50, 6:45, 9:40; Star & Strollers Screening: WED 1:00

BEASTLY (PG) DAILY 12:30, 2:40, 5:00, 7:30, 9:50 THE ADJUSTMENT BUREAU (PG coarse

language) No passes FRI�TUE, THU 1:20, 4:20, 7:20, 10:10; WED 4:20, 7:20, 10:10; Star & Strollers Screening: WED 1:00

DRIVE ANGRY 3D (18A gory brutal violence,

sexual content) Digital 3d DAILY 1:40, 4:40, 7:40, 10:20

HALL PASS (14A nudity, crude sexual content, substance abuse) DAILY 1:50, 4:50, 7:50, 10:30

young children) FRI�WED 1:30, 4:15, 7:00, 9:45

JUST GO WITH IT (PG crude content) DAILY 1:10, 4:10, 7:10, 10:00

GNOMEO AND JULIET 3D (G) Digital 3d DAILY 1:15, 4:30, 6:50, 9:10

JUSTIN BIEBER: NEVER SAY NEVER 3D (G) Digital 3d DAILY 9:30

THE KING'S SPEECH (PG language may offend)

DAILY 12:30, 3:30, 6:30, 9:20

WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922

THE KING'S SPEECH (PG language may offend)

DAILY 7:00, 9:35

GNOMEO AND JULIET 3D (G) SAT�SUN 1:10, 3:25 I AM NUMBER FOUR (PG frightening scenes, not recommended for young children) SAT�SUN 1:05, 3:40; DAILY 7:05, 9:40 HALL PASS (14A nudity, crude sexual content, substance abuse) SAT�SUN 1:00, 3:25; DAILY 7:00, 9:25 RANGO (PG) Sat-Sun 1:10, 3:35; DAILY 7:10, 9:35

JUSTIN BIEBER: NEVER SAY NEVER�DIREC�

recommended for young children) FRI�SUN 1:25, 4:10, 6:55, 9:50; MON�THU 6:55, 9:50

UNKNOWN (14A violence) FRI�SUN 1:00, 3:50, 6:50, 9:40; MON�THU 6:50, 9:40 JUST GO WITH IT (PG crude content) FRI�SUN 1:15, 4:10, 7:05, 9:55; MON�THU 7:05, 9:55

GNOMEO AND JULIET 3D (G) Digital 3d FRI� SUN 2:00, 4:30, 7:20, 9:35; MON�THU 7:20, 9:35

THE KING'S SPEECH (PG language may offend)

FRI�SUN 1:05, 4:00, 6:45, 9:30; MON�THU 6:45, 9:30

GARNEAU

8712-109 St, 780.433.0728

INCENDIES (14A disturbing content, mature subject matter) DAILY 6:45, 9:15; SAT�SUN 2:00

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

HALL PASS (14A nudity, crude sexual content,

substance abuse) No passes DAILY 1:20, 3:20, 5:20, 7:20, 9:20

JUST GO WITH IT (PG crude content) DAILY 7:05,

9:10

GNOMEO AND JULIET (G) DAILY 12:45, 2:35, 4:20 UNKNOWN (14A violence) No passes DAILY 9:15 RANGO (PG) No passes DAILY 1:00, 3:10, 5:10, 7:15, 9:15

BEASTLY (PG) DAILY 12:40, 2:20, 4:00, 5:55, 7:25, 9:25

LEDUC CINEMAS

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

HALL PASS (14A nudity, crude sexual content,

HALL PASS (14A nudity, crude sexual content, substance abuse) FRI�SAT 12:30, 2:55, 5:30, 8:05, 10:30; Sun 12:50, 3:45, 7:20, 9:50; MON�THU 1:30, 4:10, 7:45, 10:10

sexual content) Digital 3d DAILY 9:25

6:10, 7:45

BEASTLY (PG) FRI�SUN 12:10, 2:20, 4:30, 7:30, 10:00;

content) Digital 3d FRI�SAT 12:45, 3:15, 5:50, 8:20, 10:40; SUN 12:45, 3:15, 5:40, 8:10, 10:30; MON�THU 1:45, 4:45, 7:40, 10:15

DRIVE ANGRY 3D (18A gory brutal violence,

THE KING'S SPEECH (PG language may offend) Stadium Seating, DTS Digital FRI�WED 12:10, 3:00, 6:40, 9:40; THU 12:10, 3:00, 9:40

3:50, 6:30, 9:10; MON�THU 5:00, 7:45

THE ADJUSTMENT BUREAU (PG coarse language)

1:20, 4:05, 7:00, 9:45; MON�THU 7:00, 9:45

TANGLED (G) DAILY 1:30, 3:25m 5:15

SUN�THU 1:00, 4:00, 6:30; Ultraavx: FRI�SUN 12:00, 2:30, 5:00, 7:30, 10:00; MON�THU 1:30, 4:30, 7:15, 9:40 MON�THU 1:15, 3:20, 5:30, 7:35, 10:10

RANGO (PG) Digital Cinema, No passes FRI�SUN

nudity) Stadium Seating, DTS Digital DAILY 12:00, 3:20, 6:30, 9:50

BEASTLY (PG) DTS Digital, Stadium Seating DAILY

THE FIGHTER (14A coarse language, substance abuse)

2020 Sherwood Dr, Sherwood Park 780-416-0150

I AM NUMBER FOUR (PG frightening scenes, not

2:45, 5:10, 7:30, 9:45

TRUE GRIT (14A violence) FRI�SAT, MON�THU 12:45,

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DON QUIXOTE�BOLSHOI BALLET LIVE (Clas-

sification not available) SUN 12:00

JUSTIN BIEBER: NEVER SAY NEVER 3D (G) Digital stance abuse, not recommended for children) FRI�SUN 1:30, 4:15, 7:15, 10:05

MON 8:00

TOR'S FAN CUT 3D (G) Digital 3d FRI�SUN 1:00, 3:50, 6:40; MON�THU 6:40

content, substance abuse) Stadium Seating, DTS Digital, Digital Presentation DAILY 6:35, 9:45

NO STRINGS ATTACHED (14A sexual content, sub-

Royal Alberta Museum, 102 Ave, 128 St, royalalbertamuseum.ca/events/movies/movies.cfm

FRI�SAT 1:30, 4:00, 6:15, 8:30, 11:00; Sun 4:00, 7:00, 9:15; MON 1:10, 3:30, 5:45, 8:00; TUE, THU 1:10, 3:30, 5:45, 8:00, 10:15; WED 1:10, 3:30, 10:15

GNOMEO AND JULIET 3D (G) Digital 3d DAILY 12:30, 3d DAILY 10:10

THE KING'S SPEECH (PG language may offend)

THE ADJUSTMENT BUREAU (PG coarse language) No passes FRI�SUN 1:40, 4:20, 7:15, 10:00; MON�THU 7:15, 10:00

BIUTIFUL (14A coarse language, disturbing content,

1:40, 4:30, 7:20, 10:15

recommended for young children) DAILY 6:55, 9:15; SAT�SUN 1:55

THE KING'S SPEECH (PG language may offend)

language) Digital 3d FRI�SAT 10:45; SUN 10:10

JUSTIN BIEBER: NEVER SAY NEVER�DIREC� TOR'S FAN CUT 3D (G) Digital 3d DAILY 1:45, 4:45,

JUST GO WITH IT (PG crude content) Ultraavx DAILY

I AM NUMBER FOUR (PG frightening scenes, not

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UNKNOWN (14A violence) Dolby Stereo Digital,

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GNOMEO AND JULIET (G) SAT�SUN 1:50

THE GREEN HORNET 3D (14A violence, coarse

HALL PASS (14A nudity, crude sexual content, substance abuse) DAILY 1:15, 4:10, 7:10, 9:55

ommended for young children) Digital Cinema FRI�SUN 1:50, 4:40, 7:50, 10:25; MON�THU 1:50, 4:40, 7:50, 10:25

UNKNOWN (14A violence) DAILY 1:00, 4:00, 7:15,

9:10; Sat-Sun 1:45

CEDAR RAPIDS (14A crude coarse language, substance

DRIVE ANGRY 3D (18A gory brutal violence, sexual

7:35

I AM NUMBER FOUR (PG frightening scenes, not recommended for young children) DAILY 6:50, 9:00; SAT�SUN, TUE 12:50, 3:00

sexual content) DAILY 6:50 9:00

THE TREASURE OF THE SIERRA MADRE (G)

12:30, 2:35, 4:40, 6:45, 8:50; SUN 12:30, 2:35, 4:40, 6:45; MON�WED 1:45, 3:45, 7:00; THU 1:45, 3:45

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I AM NUMBER FOUR (PG frightening scenes, not rec-

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content) Digital 3d DAILY 2:10, 5:00, 8:00, 10:30

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GNOMEO AND JULIET 3D (G) Digital 3d FRI�SAT

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GNOMEO AND JULIET (G) FRI�SUN 1:30, 3:35, 5:40,

FRI�SAT 12:15, 2:50, 5:20, 8:00, 10:35; SUN 12:00, 4:00, 7:45, 10:15; MON 1:25, 4:30, 7:00, 10:05; TUE�THU 1:25, 4:30, 7:10, 9:50

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HALL PASS (14A nudity, crude sexual content, sub-

stance abuse) FRI�SUN 1:10, 3:25; DAILY 7:10, 9:25

RANGO (PG) FRI�SUN 12:55, 3:20; DAILY 6:55, 9:20 THE ADJUSTMENT BUREAU (PG coarse language) FRI�SUN 1:00, 3:30; DAILY 7:00, 9:30

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HALL PASS (14A nudity, crude sexual content,

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DRIVE ANGRY 3D (18A gory brutal violence, sexual content) DAILY 7:05, 9:20

VUEWEEKLY // MAR 3 – MAR 9, 2011

FILM // 41

MUSIC

To living klezmer!

Raise a glass to the Whiskey Rabbi's further adventures

Geoff Berner and fine feathered friends Mary Christa O'Keefe // marychrista@vueweekly.com

eoff Berner doesn't deal in fossils. Sure, the Vancouverite's Whiskey Rabbi trilogy (launched in 2005 with an album titled exactly that, followed by 2007's Wedding Dance of the Widow Bride and 2009's Klezmer Mongrels) was an odyssey through his Eastern European Jewish cultural roots funneled through feral scholarly investigations and a punk ethos, but he focuses on klezmer's continued relevance rather than embalming it in shallow sentimentalism. Berner's new release, Victory Party, crystallizes his Janus-faced approach, demonstrating that to find our bearings, we need a map of the past in our pockets—and he's swaddled the lesson in a spectacular freak-out of clarinet, strings, accordion and the thrillingly unexpected, led through a wide swath of emotional wilderness by his expressive voice. Victory Party is sometimes a celebration, but also a protest and warning. "The theme came with the Obama victory in 2008, the sense of Pyrrhic victory—we win but everything is destroyed," Berner explains. "The other thing that inspired that song was this

42 // MUSIC

VUEWEEKLY // MAR 3 – MAR 9, 2011

weird story this 94-year-old German klezmer violinist told me. He said this Jewish guy came back from the camps in '45, set up his old Berlin bar again and paid Germans to play klezmer music while he drank himself to death. The fiddler said he picked up klezmer because that was the best gig in town! A very compelling story of victory." Victory Party's contemporary resonance is grounded in the kind of jarring contradictions that are the hallmark of chronic power imbalances. Comfortingly, there's been a throughline of dissidence pointing the finger from the underbelly, often using art and wit. "That kind of dark humour is there in klezmer music and old Yiddish songs. It's not something you have to impose on the culture. You just have to dig it up—that radical tradition is there. It's that whole thing Utah Phillips says about how remembering is a subversive act." Hailing art forms as having been "revived" obscures their history, and they've rarely actually been dead. "Because mainstream culture doesn't have a memory, it doesn't recognize old ideas as old—they think they're new, every time," laughs Berner. "Revivals

and reinventions are often about selling records and concert tickets by giving the impression there's something new, because that's what people and the press respond to." Yet contradiction sits there, too. "In the end, it's true, though: if you write about what's going on in the world, what you see around you, you're bound to come up with some stuff that's new, accidentally." Berner concludes, "In the end, it comes down to good stuff and bad stuff. The bad stuff cuts out aspects of human experience; cuts politics out, or the dark side of romantic relationships, or the drug and alcohol aspect of human existence. Art like that becomes kitsch. There's always been kitschy, crappy klezmer and there's always been the real deal. The kitschy stuff allows people to ignore things they'd rather not think about and is easier to play in the town square in front of children, but there's always the undercurrent of the real stuff—and that's what I'm shooting for." V Fri, Mar 4 (8 pm) Geoff Berner with his trio & Sara Hart With Kris Demeanor The Artery, $12

COMMENT >> FAME

On An Island

Arcade Fire, Vincent Moon and fame's variability

Arcade Fire: Unexpected grammy-winners

After being bludgeoned into submisband is actually too famous. The filmsion by years of accolades for albums maker Vincent Moon, famous for his Take with dubious critical standing and the Away Shows (short musical films that similarly dour selection of Grammy winrecord bands playing in unique environners that very evening, I was completely ments) and the rejected AF documentary blindsided by the Album of the Year vicHistoire De Feu, recently told Toronto's tory by MontrĂŠal's Arcade Fire for The Eye Weekly that Arcade Fire is "not good Suburbs. Other people watching people." Most pointedly, he critiwith me saw the writing on cized the band's perceived indie H S A the wall: that the band had stature: "What I hate about L K AC performed immediately be- B the band now is that people fore (the production seemed call them an indie band and om .c ly k e e @vuew to tilt a bias towards bands they're not an indie band, roland that had performed at the Rolanrdton they are a mainstream band. ceremony earlier that evening), ... Those guys are just making Pembe the positioning as the only critithings on a very big level, a very cally viable album of the bunch and, mainstream way of thinking. The way oh yeah, the fact that Arcade Fire is a they deal with their business is really dishugely famous band. gusting for me." The band's award is the highest creative watermark for the trophy since 2004's Vincent Moon's newest work is called improbable win by Outkast for SpeakAn Island. A 50-minute film being shown erboxxx/The Love Below. The Suburbs is around the world in free "private-public" a triumph of harnessing the band's two screenings, it follows the Danish band divergent strengths: lyrical intimacy and Efterklang around the small island of Als grandiose presentation. The album resowhile contributing mobile and elaborate nates with the audience through sociorenditions of songs from the group's logical deconstructions of the language 2010 album Magic Chairs. It's a fantasand developmental systems that make tic, off-kilter performance film that finds up their neighbourhoods. It's stadiumthe band generating organic, entertainindie, music perfectly positioned for ing songs out of the environment amidst popularity. clever framing and set-work by Moon. But who is the band famous to, exactOne has them performing through the ly? The group's sold out Madison Square forest on a moving vehicle, while anothGarden, it's held the number one spot er zooms in on vocalist Casper Clausen on the Billboard Hot 100 and has played in a room filled with the ensemble only Saturday Night Live twice. But it did all to back out to show a much larger idioof these things without a huge single, a syncratic cast than there was previously. major label or any commercial tie-ins. When watching Clausen sing with a The group has eschewed doing anything large group of children and his eightoutside of its ethical guidelines and has piece live group later in the film, one presented a consistent image of purity. can't help but consider Efterklang's simiThis hasn't stopped the Internet from larity to Arcade Fire. Perhaps this is what lampooning the surprise success with drew Moon to the project, a second whoisarcadefire.tumblr.com featuring chance at capturing a world-beating muincredulous responses from pissed-off sical family before the world at large got Bieber acolytes and the likes of Rosie to spar with them. Then again, Efterklang O'Donnell and Dog the Bounty Hunter. might already be more famous than I've But, to some former collaborators, the given them credit for being. V

BLUES

VUEWEEKLY // MAR 3 â&#x20AC;&#x201C; MAR 9, 2011

MUSIC // 43

MUSIC WEEKLY FAX YOUR FREE LISTINGS TO 780.426.2889 OR EMAIL LISTINGS@VUEWEEKLY.COM

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for a Kiss; 6:30pm (door), 8pm (show); all ages; $25 at Scotish Imports, TIX on the Square

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Eclectic mix every Thu with DJ Dusty Grooves

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Fridays at Eleven: Rock, hip hop, country, top forty, techno

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FRI MAR 4

RED PIANO BAR Hottest

TJ the DJ every Thu and Fri; 10pm-close

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

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mic hosted by Carrie Day, and Kyler Schogen; 7-9pm

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44 // MUSIC

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every Fri; no cover

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Marsh (CD release, two piece rock/pop/freakout)

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Lounge DJ every Sat

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hop, and electro every Sat with DJ Hot Philly and guests

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The Edmonton Chamber Music Society: Shanghai Quartet; 8pm; $30 (adult)/$20 (senior)/$10 (student) at TIX on the Square, Gramophone

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Day, Something Like That

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Schogen Band

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Y AFTERHOURS Release

Saturdays

SUN MAR 6 BEER HUNTER�St Albert Open stage/jam every Sun; 2-6pm BLACKJACK'S ROADHOUSE�Nisku

Open mic every Sun hosted by Tim Lovett

BLUE CHAIR CAFÉ Sun

Brunch: Jim Findlay Trio; 10.30am-2.30pm; donations

BLUE PEAR RESTAURANT Jazz on the Side Sun: Audrey Ochoa; 6pm; $25 if not dining

FLUID LOUNGE Hip hop

HAVEN SOCIAL CLUB

FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro

HILLTOP PUB Open stage/

Sold Out Sat: with DJ Russell James, Mike Tomas; 8pm (door); no line, no cover for ladies before 11pm

B�STREET BAR Acousticbased open stage every Sun evening; hosted by Mike "Shufflehound" Chenoweth

HOOLIGANZ Live music

BLACK DOG

CROWN PUB am hosted by

HORIZON STAGE Trevor

levels every Sat: Main Floor: Menace Sessions: alt rock/ electro/trash with Miss Mannered; Underdog: DJ Brand-dee; Wooftop: Sound It Up!: classic Hip-Hop and Reggae with DJ Sonny Grimezz

and dancehall; every Fri

with DJ Damian; every Fri

GAS PUMP DJ Christian;

every Fri; 9:30pm-2am

JUNCTION BAR LGBT

Community: Rotating DJs Fri and Sat; 10pm

NEWCASTLE PUB House, dance mix every Fri with DJ Donovan REDNEX�Morinville DJ Gravy from the Source 98.5 every Fri RED STAR Movin’ on Up:

indie, rock, funk, soul, hip hop with DJ Gatto, DJ Mega Wattson; every Fri

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; every Fri

SUEDE LOUNGE Juicy DJ spins every Fri

TREASURY In Style Fri: Edmonton Spring Classic (a fashion design competition), DJ after party, $23

VINYL DANCE LOUNGE

TJ the DJ every Thu and Fri; 10pm-close

Everyone Everywhere, Unicron, Strangers, Bomb Squad Rookie, Capsize; 7:30pm

BLUES ON WHYTE

BAR�B�BAR DJ James;

WILD BILL’S�Red Deer

CASINO YELLOWHEAD Matt Minglewood Band; 7pm (door); $29.95 at TicketMaster

AZUCAR PICANTE DJ

every Fri

CASINO EDMONTON Whiskey Boys

180 DEGREES DJ every Fri

City, Treeburning, Peribothra; 9pm (door); $12 (door)

Colleen Rae

Catalyst

Music of Today: Faculty Composers; 7pm

AVENUE THEATRE

UNION HALL Ladies Night Connected Las Vegas Fridays

Y AFTERHOURS

Foundation Fridays

SAT MAR 5 ALBERTA BEACH HOTEL

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

ARTERY Light Travels (Signals From Tomorrow, CD release)

VUEWEEKLY // MAR 3 – MAR 9, 2011

Radioflyer, Letters to Elise, Soundscape, Crestwood mic every Sat: hosted by Blue Goat; 3:30-6pm every Sat

Panczak (country); 7:30pm; $25 (adult)/$20 (student/ senior)/$5 eyeGO

IRON BOAR PUB Jazz

in Wetaskiwin featuring jazz trios the 1st Sat each month; $10

IVORY CLUB Duelling

piano show every Sat with Jesse, Shane, Tiffany and Erik and guests

JEFFREY'S CAFÉ Rault Brothers (folk, blues)$15 MCDOUGALL UNITED CHURCH Journeys

from Africa: Edmonton Metropolitan Chorus, Wajjo Drummers, Anna Beaumont, Remi Do (piano); 8pm; $12 (adv, adult)/$15 (door, adult)/ $10 (adv, senior/student)/$12 (door, senior/student) at TIX on the Square

MEAD HALL Psychotic

Gardening, Eyam, Sub Atomic Chaos, Desecrate The Gods; 8pm (door), 9pm (show); $8

NEWCASTLE PUB Paula Perro and No Foolin (blues), 100 Mile House, local DJs; silent auction; 8pm (door); $10 (door), proceeds to the Heart of the City Music and Arts Festival

BANK ULTRA LOUNGE

FREEHOUSE DJs on three

BLACKSHEEP PUB DJ

every Sat

BRIXX BAR Oh Snap: Step'd Up Saturdays with Degree, Cool Beans, Specialist, Spenny B, Mr Nice Guy, Ten 0; 9pm (door); free before 10pm/$5 after BUDDY'S Feel the rhythm

every Sat with DJ Phon3 Hom3; 8pm (door); no cover before 10pm

JTB every Sun until Feb 20

DEVANEY’S IRISH PUB

Celtic open stage every Sun with Keri-Lynne Zwicker; 5:30pm; no cover

DOUBLE D'S Open jam every Sun; 3-8pm EDDIE SHORTS Acoustic jam every Sun; 9pm

BALLROOM The Next Big

Thing: (vocal/band), Dance showcase; Mixmaster (DJ); hottest talent search every Sun; until May 29

EXPRESSIONZ CAFÉ YEG live Sun Night Songwriters Stage; 7-10pm

EXPRESSIONZ CAFÉ

Mashed In Saturday: Mashup Night

Country/country rock Jam and Dance hosted by Mahkoos Merrier, 2nd Sun every month, 1-5pm, admission by donation; YEG live Sun Night Songwriters Stage; 7-10pm

THE COMMON Goodlife

FESTIVAL PLACE Buddy

DRUID IRISH PUB DJ

jam every Sun

BUFFALO UNDERGROUND Head

Saturdays: funk, breaks, house, electro and disco with Allout DJs, Kenzie Clarke, Bron, Kinsella; 9pm; $5 (door)

every Sat; 9pm

ELECTRIC RODEO� Spruce Grove DJ every Sat

Wasisname and the Other Fellers; 2pm; $34 (adult)/$24 (child) at the Festival Place box office, TicketMaster

HYDEAWAY Open stage IRISH CLUB Duff Robison

O'BYRNE'S Stuart Bendall (pop/rock); 6:30pm; no cover

FLUID LOUNGE Intimate

Saturdays: with DJ Aiden Jamali; 8pm (door)

J AND R BAR Open jam/ stage every Sun hosted by Me Next and the Have-Nots; 3-7pm

ON THE ROCKS Heather

FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro every Sat with DJ Damian

NEWCASTLE PUB Sun Soul Service (acoustic jam): Willy James and Crawdad Cantera; 3-6:30pm

GAS PUMP DJ Christian

O’BYRNE’S Open mic every

McKenzie Band

OVERTIME�Downtown

Saturdays at Eleven: RNB, hip hop, reggae, old school

every Sat

Sun; 9:30pm-1am

ON THE ROCKS Battle of

the Bands

ORLANDO'S 2 PUB Open stage jam every Sun; 4pm

SECOND CUP�Mountain Equipment Co-op Live

music every Sun; 2-4pm

Classical ALBERTA COLLEGE� Muttart Hall Featuring

DEVANEY'S IRISH PUB

Singer/songwriter open stage every Mon; 8pm; no cover; hosted by Sean Brewer

KELLY'S PUB Open stage every Mon; hosted by Clemcat Hughes; 9pm

PLEASANTVIEW COMMUNITY HALL

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

Reinhard Berg, Beth Raycroft, Sandra Munn, Alissa Cheung, Sarah Ho, Dan Sutherland, Alden Lowrey, The Big Horns Tuba Quartet; 2pm; admission by donation; proceeds to scholarships for students studying music

stage every Mon; 9pm

MCDOUGALL UNITED CHURCH Edmonton

Classical

Columbian Choirs: Spring Bouquets; 2:30pm; $15 at 780.430.6806, door

ROBERTSON WESLEY UNITED CHURCH

Alberta Baroque Ensemble: Baroque Strings: Caroline Stinson (cello), Erich Buchmann (violin); 3pm; $25 (adult)/$20 (student/senior) at Gramophone, TIX on the Square, door

WINSPEAR CENTRE

Sundays at 3: David Titterington (organ); 3pm; $25 (adult)/$20 (student/ senior)

DJs BACKSTAGE TAP AND GRILL Industry Night: every

ROSE BOWL/ROUGE LOUNGE Acoustic open RUSTY REED'S HOUSE OF BLUES Little Charlie Trouble, Pete Turland

ROBERT TEGLER STUDENT CENTRE From Carnival to

Prayer: a Mardi Gras concert: The Concordia Community Chorus; $12 (adult)/$10 (student/senior) at TIX on the Square, Concordia Student Accounts, door

DJs BLACK DOG FREEHOUSE Main Floor: Blue Jay’s Messy Nest: every Mon with DJ Blue

FILTHY MCNASTY'S Metal Mon: with DJ S.W.A.G.

LUCKY 13 Industry Night every Mon with DJ Chad Cook

NEW CITY LEGION

Madhouse Mon: Punk/metal/etc with DJ Smart Alex

Sun with Atomic Improv, Jameoki and DJ Tim

TUE MAR 8

BLACK DOG FREEHOUSE

BLUES ON WHYTE Big Dave

Sunday Funday: with Phil, 2-7pm; Sunday Night: Soul Sundays: '60s and '70s funk, soul, R&B with DJ Zyppy

McLean

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

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

SECOND CUP� Summerwood Open stage/

open mic every Tue; 7:30pm; no cover

CENTURY GRILL Century

Open stage every Tue; hosted by Paul McGowan; 9pm

WUNDERBAR

HOFBRAUHAUS Stuesdays: Every Tue Wunderbar's only regular DJ night YARDBIRD SUITE Tue

Night Sessions: the ABtrio: Dan Davis (saxophone), Keith Rempel (bass), Thom Bennett (drums); 7:30pm (door); $5

DJs BLACK DOG FREEHOUSE Main Floor: alternative retro and not-so-retro every Tue; with Eddie Lunchpail; Wooftop: eclectic electronic sounds every Tue; with DJ Mike Duke

BRIXX Troubadour Tue: hosted by Mark Feduk; 9pm; $8; Nadine Kellman and Andrew Scott

Bashment Tue: Bomb Squad, The King QB, Rocky; no cover

CROWN PUB Underground

every Tue; dance lessons 8-10pm

SPORTSWORLD Roller

PADMANADI Open stage

Anxiety Variety Society Bingo vs. karaoke with Ben Disaster, Anonymouse every Tue; no minors; 4pm-3am; no cover

BLUES ON WHYTE Big Dave McLean

RUSTY REED'S HOUSE OF BLUES Big Rock open jam

with Moses Gregg, Grant Stovel with guest

ELEPHANT AND CASTLE� Whyte Ave Open mic every Wed (unless there's an Oilers game); no cover

EXPRESSIONZ CAFÉ Open stage every Wed; 7-11pm; admission by donation FIDDLER'S ROOST Little

NEW CITY LEGION High

RED STAR Experimental

Indie Rock, Hip Hop, Electro with DJ Hot Philly; every Tue

WUNDERBAR HOFBRAUHAUS Stuesdays:

Wunderbar's only regular DJ night every Tue

Wed; 8-10pm

STEEPS TEA LOUNGE� Whyte Ave Open mic every Wed with Rene Wilson (from Subatomics); 7:30pm

WUNDERBAR HOFBRAUHAUS Open mic

every Wed, 9pm

DJs BANK ULTRA LOUNGE

Rev'd Up Wed: with DJ Mike Tomas upstairs; 8pm

BLACK DOG FREEHOUSE Main Floor: RetroActive Radio Wed: alt '80s and '90s, Post Punk, New Wave, Garage, Brit, Mod, Rock and Roll with LL Cool Joe; Wooftop: Soul/breaks with Dr Erick

BRIXX BAR Really Good... Eats and Beats: every Wed with DJ Degree and Friends BUDDY'S DJ Dust 'n' Time every Wed; 9pm (door); no cover

Flower Open Stage every Wed with Brian Gregg; 8pm-12

THE COMMON Treehouse

GOOD EARTH COFFEE

DIESEL ULTRA LOUNGE

HOUSE Breezy Brian Gregg every Wed; 12-1pm

HAVEN SOCIAL CLUB

CHROME LOUNGE

O’BYRNE’S Celtic jam every Tue; with Shannon Johnson and friends; 9:30pm

Sleeman Mon: live music monthly; no cover

EDDIE SHORTS Acoustic jam every Wed, 9pm; no cover

HOOLIGANZ Open stage every Wed with host Cody Nouta; 9pm

LOUNGE Reggae on Whyte: RnR Sun with DJ IceMan; no minors; 9pm; no cover

BLACK DOG FREEHOUSE

CROWN PUB Jam/open stage every Wed; 8pm

Open stage every Wed with Jonny Mac, 8:30pm, free

every Tue; free pool all night; 9pm (door); no cover

Ave Latin and Salsa music

R PUB Open stage jam every Tue; hosted by Gary and the Facemakers; 8pm

Room Wed Live: featuring The Marco Claveria Project; 8-11pm

BUDDYS DJ Arrow Chaser

SAVOY MARTINI

MON MAR 7

Dave McLean

BRIXX BAR Really Good…

SPORTSMAN'S LOUNGE

FUNKY BUDDHA�Whyte

every Tue; with Mark Davis; all ages; 7:30-10:30pm

BLUES ON WHYTE Big Eats and Beats: DJ Degree, friends every Wed; 6pm (music)

L.B.’S Tue Blues Jam with Ammar; 9pm-1am

Skating Disco Sun; 1-4:30pm; sports-world.ca

Main Floor: Glitter Gulch: live music once a month

Jam every Tue; with Alicia Tait and Rickey Sidecar; 8pm

stage every Tue; with Chris Wynters; 9pm

FLOW LOUNGE Stylus Sun

BLACK DOG FREEHOUSE

SIDELINERS PUB All Star

At The Crown: underground, hip hop every Tue with DJ Dirty Needlz; open mic every Tue, 10pm, $3

DRUID IRISH PUB Open

WED MAR 9

SECOND CUP�Mountain Equipment Open mic every

NISKU INN Troubadours and Tales: 1st Wed every month; with Tim Harwill, guests; 8-10pm

PLEASANTVIEW COMMUNITY HALL

Acoustic Bluegrass jam presented by the Northern Bluegrass Circle Music Society; Slow pitch for beginners on the 1st and 3rd Wed prior to regular jam every Wed, 6.30pm; $2 (member)/$4 (non-member)

Wednesday's

Wind-up Wed: R&B, hiphop, reggae, old skool, reggaeton with InVinceable, Touch It, weekly guest DJs; Gudda Gudda live; $15

IVORY CLUB Open DJ night every Wed; 9pm-close; all DJs welcome to spin a short set LEGENDS PUB Hip hop/R&B with DJ Spincycle LEVEL 2 LOUNGE Wing It Wednesdays: DJ Competion; 9:30pm; every Wed

NEW CITY LEGION Wed

Pints 4 Punks: with DJ Nick; no minors; 4pm-3am; no cover

NIKKI DIAMONDS Punk and ‘80s metal every Wed

RED STAR Guest DJs every Wed

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

Style Wed: Hip-Hop; 9pm

RIVER CREE Live rock band

STOLLI'S Beatparty Wed:

every Wed hosted by Yukon Jack; 7:30-9pm

RUSTY REED'S HOUSE OF BLUES Fred 'Mad Dog'

STARLITE ROOM Wild

House, progressive and electronica with Rudy Electro, DJ Rystar, Space Age and weekly guests; 9pm-2am

LaRose Trio

VENUE GUIDE 180 DEGREES 10730-107 St, 780.414.0233 ACCENT EUROPEAN LOUNGE 8223-104 St, 780.431.0179 ALBERTA COLLEGE�Muttart Hall 10050 MacDonald Dr ARTERY 9535 Jasper Ave AVENUE THEATRE 9030-118 Ave, 780.477.2149 BANK ULTRA LOUNGE 10765 Jasper Ave, 780.420.9098 BLACK DOG FREEHOUSE 10425-82 Ave, 780.439.1082 BLACKJACK'S ROADHOUSE� Nisku 2110 Sparrow Drive, Nisku, 780.986.8522 BLACKSHEEP PUB 11026 Jasper Ave, 780.420.0448 BLUE CHAIR CAFÉ 9624-76 Ave, 780.989.2861 BLUE PEAR RESTAURANT 10643-123 St, 780.482.7178 BLUES ON WHYTE 10329-82 Ave, 780.439.3981 BOHEMIA 10575-114 St BRIXX BAR 10030-102 St (downstairs), 780.428.1099 BUDDY’S 11725B Jasper Ave, 780.488.6636 CASINO EDMONTON 7055 Argylll Rd, 780.463.9467 CASINO YELLOWHEAD 12464153 St, 780 424 9467 CENTURY GRILL 3975 Calgary Tr NW, 780.431.0303 CHROME LOUNGE 132 Ave, Victoria Trail COAST TO COAST 5552 Calgary Tr, 780.439.8675 COMMON LOUNGE 10124124 St CONVOCATION HALL Arts Bldg, U of A, 780.492.3611 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 THE DOCKS 13710 66 St, 780.476.3625 DOW'S SHELL THEATRE�Fort Saskatchewan 8700-84 St, Fort Saskatchewan, 780.992.6400 DRUID 11606 Jasper Ave, 780.454.9928 DUSTER’S PUB 6402-118 Ave, 780.474.5554 DV8 8307-99 St 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 ELEPHANT AND CASTLE� Whyte Ave 10314 Whyte Ave EXPRESSIONZ CAFÉ 9938-70 Ave, 780.437.3667 FESTIVAL PLACE 100 Festival Way, Sherwood Park FIDDLER’S ROOST 8906-99 St FILTHY MCNASTY’S 10511-82 Ave, 780.916.1557 FLOW LOUNGE 11815 Wayne Gretzky Dr, 780.604.CLUB FLUID LOUNGE 10888 Jasper Ave, 780.429.0700 FUNKY BUDDHA 10341-82 Ave, 780.433.9676 GAS PUMP 10166-114 St, 780.488.4841 GOOD EARTH COFFEE HOUSE 9942-108 St HALO 10538 Jasper Ave, 780.423. HALO HAVEN SOCIAL CLUB 15120A (basement), Stony Plain Rd, 780.756.6010 HILLTOP PUB 8220-106 Ave, 780.490.7359 HOOLIGANZ 10704-124 St,

780.995.7110 HORIZON STAGE 1001 Calahoo Rd, Spruce Grove, 780.962.8995 HYDEAWAY 10209-100 Ave, 780.426.5381 IRON BOAR PUB 4911-51st St, Wetaskiwin IVORY CLUB 2940 Calgary Trail South JAMMERS PUB 11948-127 Ave, 780.451.8779 J AND R 4003-106 St, 780.436.4403 JEFFREY’S CAFÉ 9640 142 St, 780.451.8890 JEKYLL AND HYDE 10209-100 Ave, 780.426.5381 JUNCTION BAR AND EATERY 10242-106 St, 780.756.5667 KAS BAR 10444-82 Ave, 780.433.6768 KELLY'S PUB 11540 Jasper Ave 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 LIZARD LOUNGE 13160-118 Ave MARYBETH'S COFFEE HOUSE–Beaumont 5001-30 Ave, Beaumont, 780.929.2203 MCDOUGALL UNITED CHURCH 10025-101 St MEAD HALL 10940-166A St MUTTART HALL Alberta College, 10050 Macdonald Dr NAKED CYBER CAFÉ 10354 Jasper Ave, 780.425.9730 NEST NAIT Main Campus, 11762-106 St NEWCASTLE PUB 6108-90 Ave, 780.490.1999 NEW CITY LEGION 8130 Gateway Boulevard (Red Door) NIKKI DIAMONDS 8130 Gateway Blvd, 780.439.8006 NISKU INN 1101-4 St

NORTH GLENORA HALL 13535-109A Ave NORWOOD LEGION 11150-82 St O’BYRNE’S 10616-82 Ave, 780.414.6766 ON THE ROCKS 11730 Jasper Ave, 780.482.4767 ORLANDO'S 1 15163-121 St OVERTIME�Downtown 10304111 St, 780.465.6800 OVERTIME Whitemud Crossing, 4211-106 St, 780.485.1717 PAWN SHOP 10551-82 Ave, Upstairs, 780.432.0814 PLEASANTVIEW COMMUNITY HALL 10860-57 Ave QUEEN ALEXANDRA COMMUNITY HALL 10425 University Ave REDNEX BAR�Morinville 10413-100 Ave, Morinville, 780.939.6955 RED PIANO BAR 1638 Bourbon St, WEM, 8882-170 St, 780.486.7722 RED STAR 10538 Jasper Ave, 780.428.0825 RENDEZVOUS 10108-149 St RIC’S GRILL 24 Perron Street, St Albert, 780.460.6602 ROBERT TEGLER STUDENT CENTRE Concordia University College of Alberta ROBERTSON WESLEY UNITED CHURCH 10209-123 St ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253 ROSE AND CROWN 10235101 St R PUB 16753-100 St, 780.457.1266 RUSTY REED'S HOUSE OF BLUES 12402-118 Ave, 780.451.1390 SAWMILL BANQUET CENTRE 3840-76 Ave SECOND CUP�Mountain Equipment 12336-102 Ave, 780.451.7574; Stanley Milner Library 7 Sir Winston Churchill

Sq; Varscona, Varscona Hotel, 106 St, Whyte Ave SECOND CUP�Sherwood Park 4005 Cloverbar Rd, Sherwood Park, 780.988.1929 ʸ Summerwood Summerwood Centre, Sherwood Park, 780.988.1929 SIDELINERS PUB 11018-127 St, 780.453.6006 SNEAKY PETE'S 12315-118 Ave SPORTSWORLD 13710-104 St SPORTSMAN'S LOUNGE 8170-50 St STARLITE ROOM 10030-102 St, 780.428.1099 STOLLI’S 2nd Fl, 10368-82 Ave, 780.437.2293 SUEDE LOUNGE 11806 Jasper Ave, 780.482.0707 TAPHOUSE 9020 McKenney Ave, St Albert, 780.458.0860 THAT'S AROMA 11010-101 St, 780.425.7335 TREASURY 10004 Jasper Ave, 7870.990.1255 UNCLE GLENNS 7666-156 St, 780.481.3192 VINYL DANCE LOUNGE 10740 Jasper Ave, 780.428.8655 WHISTLESTOP LOUNGE 12416-132 Ave, 780. 451.5506 WILD BILL’S�Red Deer Quality Inn North Hill, 7150-50 Ave, Red Deer, 403.343.8800 WILD WEST SALOON 12912-50 St, 780.476.3388 WINSPEAR 4 Sir Winston Churchill Sq; 780.28.1414 WOK BOX 10119 Jasper Ave WUNDERBAR 8120-101 St, 780.436.2286 Y AFTERHOURS 10028-102 St, 780.994.3256 YESTERDAYS PUB 112, 205 Carnegie Dr, St Albert, 780.459.0295

VUEWEEKLY // MAR 3 – MAR 9, 2011

MUSIC // 45

NEWSOUNDS Lucinda Williams Blessed (Lost Highway) 

The murmurs began quietly at first, but have quickly turned towards a rumbling consensus suggesting that Lucinda Williams' latest, Blessed, is a return to the form the songwriter was in back in 1998 when she released Car Wheels on a Gravel Road. That was the album that put her on the radar for many, thrusting her into the spotlight as a songwriter with a stunning ability to expose raw nerve endings in her music. But to suggest that the years since that record have been somehow less revealing, or that the records Williams has cut haven't gone as deep, would be to ignore the fact that she's not playing by any particular rules as an artist. Williams isn't out following some altcountry playbook: her catalogue is filled out by a series of albums that have carried her from the time-capsule beginnings of Ramblin', her 1979 debut album of folk and blues covers, through to the perfectly produced Car Wheels and on to the raw and bloody rock 'n' roll of World Without Tears and the atmospheric excursions in Essence and West, among others. It's tough for a songwriter to disconnect themselves from the industry's desire to package and repackage the same songs over and over until the

audience grows tired and moves on, and it's more difficult still to willingly depart from a proven track record and let the music evolve, but that's been Williams approach so far. Blessed, then, is a strong record not because it sounds so similar to Car Wheels on a Gravel Road but because it takes the bite of that record and layers it with all of the sounds of the years since. The end result is not one of musical schizophrenia but instead of a finely balanced album: the music throughout walks a line between moody atmospherics—the swirl of guitars and organ on "Convince Me"—soulful ballads—the moving "Soldier's Song"—and gutbucket rock 'n' roll—"Buttercup," a chugging, it's-sofucking-over song for an ex-lover. But while Blessed is solid as an album, certainly staking a claim to one of the upper tiers of Williams' catalogue, the real gem is the picture that the deluxe version of the record offers, pairing the 12 finished tracks with the demos that Williams recorded at her kitchen table with just her voice and an acoustic guitar. Those versions are not basic tracks: they're raw, occasionally off-tune glimpses at the bones of the music, the singer's voice creaking and cracking as she works her way through the material, carrying the full emotional weight upon herself. The demos are rough on the ears, but the songs are there and they remain as powerful in that early state as they are in the full-band versions that populate Blessed. Coupled with the final album it becomes clear that one of the things Williams does incredibly well is to trust the players in her band, letting them colour the songs with their own spirits, lifting them up and turning them into something that goes off in a whole new direction. In that way, the two versions of Blessed's songs illustrate just how Williams has been able to record so many albums without treading often on the same ground: it's all in the details brought by the musicians. V Eden Munro

// eden@vueweekly.com

Bright Eyes The People's Key (Saddle Creek) 

The prodigal son comes home, sort of: Conor Oberst returns to the Bright Eyes moniker, returns to his watermark Saddle Creek label, and—after doing his own Bob Dylan/people's poet thing for a couple of unsatisfying albums—departs his Americana acoustics for a spacier, more lively take on emotive socio-political music. There's more electric guitar and, fittingly, the highlights are in that bigger, brasher vein: the double take of crashing guitar pop in "Jejune Stars" and laser-rock of "Shell Game"—"I don't wanna play / It's a shell game," he bemoans while firey synth and guitar explode in the background—and the Digital Ash-type synthesized rock of "Haile Selasse." It's occasionally heavy handed, with a couple of bizarre speeches thrown in throughout, but it's a welcome expansion of sound for a perpetually wayward boy. Paul Blinov

// paul@vueweekly.com

Drive-By Truckers Go-Go Boots (ATO) 

The title track is smoky soul, except the story it tells is straight out of a modern-day noir tale where you're never quite sure what's happening, but there's no doubt that it's bad. There are plenty of shades of grey throughout, but those tend to make the darkest moments darker, and there are some seriously dark moments here: "Used to be a cop but I got to be too jumpy / I used to like to party till I coughed up half a lung" or "The Reverend had his wife done in by a guy I knew in high school." Still, as much as the Truckers' dip into the bad times, the band can also part the clouds with an uplifting note: "When you're about 20 cents shy of a quarter, count on me" on "Buckets of Mercy." A strong and focused album with a well-rounded heart. Eden Munro

// eden@vueweekly.com

Ringo DeathStarr Colour Trip (Sonic Unyon) 

An awesome punname can only get you so far. So, to Ringo DeathStarr's credit, Colour Trip is a blast of shoegaze rock 'n' roll, a welcome take on an iconic sound. The fuzzy stomp that kicks off the album sets the general tone: crunching guitars, unimpressed deadpan harmonies, splashy drumming, the occasional solo for good measure, while "Two Girls" has an urgent, driving rhythm that sets it apart. Diversifying that sound further could do the group well, but even as is, it's fun and energetic. Paul Blinov

// paul@vueweekly.com

46 // MUSIC

VUEWEEKLY // MAR 3 – MAR 9, 2011

LOONIEBIN // VUE STAFF

Charge of the Light Brigade "Fastest of the Losers"

A slow build is suddenly bulldozed by bombastic drums and bass. Some decent lines here and there might have been the start of something more epic—"You and I, the fastest of the losers / So ahead of our time"—but ultimately lose out to the sludge-rock approach that bogs it all down.

OLDSOUNDS The Kinks Lola Versus Powerman ... (Pye) Originally released: 1970

Kisses "A Weekend in Brooklyn"

The late 1970s/early 1980s weigh heavily here: Joy Division, Pet Shop Boys, late-night synths and choppy new-wave guitars—there are plenty of glimpses here. But Kisses overcomes the nostalgia of the sound by turning out a song that captures a mood without being heavy handed.

Sirenia "A Seaside Serenade"

Symphonic metal without the complexities that would give it some depth. It's all straightforward guitars and synths with a few violins thrown in, and it starts dragging practically before the song even starts.

Eddie Spaghetti "Always On My Mind"

Does the world need another cover of "Always On My Mind"? No. Not even from Eddie Spaghetti. But at least he doesn't embarrass himself with his take, and it is pretty close to the highlight of his third solo effort—the guitar solo's real pretty, and Spaghetti croons an OK tune—but still, of all the songs in the world, this obscure little gem is the one he dug up?

One of the best things the Beatles ever did was break up. The individual members did plenty to disgrace the stone after that, of course, but they still have the nearly untouched perfection of the '60s; the Stones would be much easier to defend if Exile on Main Street was their Let it Be. The Kinks never reached the heights of either of their British Invasion compatriots, but they sure did teach them a thing or two about depths. Spurred on by the increasingly acrimonious relationship of brothers/lead songwriters Ray and Dave Davies and a very unfortunate turn towards the easier-to-swallow, sometimes downright loungy side of melodious rock, the vast majority of their recorded output post-1970 is almost unlistenable, particularly if you have any experience with the clever and effortlessly catchy singles they filled the '60s with. The 1970 more-or-less concept album Lola Versus Powerman and the Moneygoround, Part One, is pretty much the signpost for the downturn. A fly-over of the band's thoughts on the music industry they were by then thoroughly entrenched in, it's the last overall good Kinks album, it's as much a preservation

of the pop craftsmanship and hazy melancholy that pervades their '60s classics as a stark vision of the schmaltz and wankery that was to come. That tension is summed up more or less perfectly in "A Long Way From Home," a slow little piano-and-guitar ballad that typifies much of the ambivalence—or, really, barely muted disgust—Ray and Dave have towards the rock industry. It is a slow, sad track that drifts into treacle thanks to Ray's growing mawkishness. It's not hard to picture the Kinks of Village Green playing it more subtly melancholic, nor the Kinks of Preservation drowning its basic honesty with sentiment. They hew much closer to their ideal cloudy but poignant grudging acceptance of change on "This Time Tomorrow," where Ray's titular refrain seems as much a hopeful encouragement as a depressed realization that today will be gone soon enough. Dave gets his own chance at a similar sentiment in the his commiserative "Strangers," which basically finds hope and brotherhood under the ceaseless pressure of life's unforgiving boot heel. Both of these songs walk a fine line between pity and exultation at being faced with an inevitability, and they're two of the finer songs in a canon that is impressively full of sublimely traipsing around that territory. The rest is a mixed bag. The two big hits are a wryly fun number that has to be one of the top-two songs about hanging out with a transvestite ("Lola") and a pumped-up bit of schmaltz that sounds like the band trying to rip off the easy mood of the former ("Apeman"). Duelling numbers about how shitty music industry people really are (Ray's "Top of the Pops" and Dave's "Rats") are catchy enough with being sticky, and are more self-serving than particularly poignant. That would, unfortunately, become something of a tendency for the Kinks on their subsequent albums. V David Berry

// david@vueweekly.com

VUEWEEKLY // MAR 3 – MAR 9, 2011

MUSIC // 47

Tomas Marsh Sat, Mar 5 (10 pm) Crown Pub

For local band Tomas Marsh, being a duo wasn't exactly the plan, but it seems to have worked out. Singer and multi-instrumentalist Kelsey Thomson-Marshall originally envisioned his new band would be a trio, but when the bass player he and drummer Annelin Messmer were supposed to jam with didn't show up, the two decided they would jam out anyway and found that a duo suited their needs just fine. "It's the less-is-more thing," explains Thomson-Marshall over the phone. "It's kind of nice because we don't have to deal with a lot of the politics of having a larger band. I've been in a lot of larger bands and that's pretty much why we kept it to two. We set our own rehearsal times and booking shows is easy. There's not a lot of back and forth, we just get things done and it's nice. There's fewer people doing it but more gets done." Still, the format has caused a fair share of struggles: Thomson-Marshall explains that it was initially a little difficult for the band to fill out and define its sound, but it's a problem the duo has solved. "We probably tried out a hundred different songs but very few of them actually work, just because it's two people," he says of the process the group went through. "We try out a whole bunch of songs and I've grown up and can accept that the song isn't working so let's not force it. Having an awesome, professional partner for a drummer really helps the situation."

Two's company

The group's heavily-woodshedded sound will be on display this weekend when it prepares to release its debut full-length, Starman, and shows off some glitzy costumes in the process. "We like to put on a show as best we can," says Thomson-Marshall. "I love David Bowie and bands that dress up, Gary Glitter, he's one of my favourites even if he's plagued with personal problems. I like those guys that'll put on a show,

Light Travels Sat, Mar 5 With Chasing Jones The Artery, $10

Most bands worry about whether or not they'll get drink tickets at the next gig, or if the funding will come through for an album. Very few have to worry about ghosts. But for Light Travels—whose debut EP, Signals From Tomorrow, is being released this weekend—brushes with the paranormal are regular occurences at the group's rehearsal space: guitarist Matt Spearin's parents' house. "There's definitely been a number of creepy occurences that have happened there," singer Alicia Glenn says. "Funny little things: we had a heavy wooden turtle that was sitting on a table and one day it went flying off the table. Hearing noises coming from the basement and

48 // MUSIC

VUEWEEKLY // MAR 3 – MAR 9, 2011

thinking it's another person in the house but there's nobody there. At the beginning I was a little nervous about it but you just kind of get used to the vibe and it becomes something you get used to eventually." Originally from Ontario, Glenn had been developing a solo career at home when the oil industry brought her nowhusband out west. Through MySpace, she found Light Travels and found that writing with the guys in the band was really easy, so she happily joined up. "When I moved here I was looking firstly for a band to play my own music," she says. "After a lot of back and forth I agreed to meet up with them and it was all history from there. They said they would play a bit of my stuff but in the end I ended up singing more of their stuff and then we

that really dress up I love that stuff. Even Kiss—I'm not partial to their music but their show is just amazing and I think that's been lacking a lot. Don't get me wrong: it's good to have the music stand for itself but I really like seeing a show. I guess that's what we're trying to do, put on a good show and get our freaky side out a bit." Bryan Birtles

// bryan@vueweekly.com

just started writing together." Spearin and keyboardist Justin Disnard usually hash out the music and Glenn comes up with the lyrics. The band, she says, draws inspiration from plenty of places, including the odd surroundings the group rehearses in. "With this band we tend to inspire each other. It might sound kind of cheesy but Matt and Justin are really great at coming up with mood pieces that I find extremely easy to write to. I don't know why that is but I can just sit down and listen to what they're playing and it just comes to me," she says. "We've also had some fun recurring themes throughout the band like the haunted house that we're practicing in. Things like that can be an inspiration lyrically." Bryan Birtles

// bryan@vueweekly.com

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VUEWEEKLY // MAR 3 – MAR 9, 2011

BACK // 49

COMMENT >> LGBTQ

COMMENT >> ALT SEX

The Oscars were all right? Hold the celebration Queer representation lacking at Academy Awards

International Women's Day comes at an auspicious time

This year was supposedly a great one for lesbians in Brokeback Mountain ended in death and loneliness. film. Oscar hosts Anne Hathaway and James Franco William Hurt's incredible performance in Kiss of the said as much at the beginning of this year's show. This Spider Woman sees him killed in the end. Even Milk proclamation is due to two films, The Kids Are All closes on assassination. Right and Black Swan. The first about lesbian parentWhile it sucks that I can't see many representations ing and the latter, Hathaway claims, about "dancing of myself on screen, at least I can see vague examples. lesbians." That statement is probably a bit confusThe Kid Are All Right is the kind of film we never get ing to anyone who saw Black Swan. Does it to see. It's one of very few movies out there feature one hot and graphic scene between about more than homophobia. At its core, two women? Sure. Is anything else about Kids captures an unseen aspect of normal the film queer? Not particularly. family life that just happens to be gay, and The comment only reveals Hollywood's for that I applaud it. om .c ly k e vuewe strange relationship with gays. Many outStill, I left the theatre after Kids a bit tam@ a siders claim the industry is full of queers, frustrated. It features three scenes of Tamar ka heterosexual sex between Julianne Moore and yet the number of films or series proGorzal duced on queer issues is still slim. While a few and Mark Ruffalo, and none between the two films featuring gay characters debut each year, those roles are pretty exclusively played by straight people. Historically, many gay Gay actors are still, in 2011, mostly in the closet. The movies have won, but they few who do come out each year leave hundreds or thousands still hiding away. almost exclusively feature

This Tuesday, March 8, marks the 100th anniversaservices, they just don't want government money ry of International Women's Day, a day to celebrate used for it. But it's not that simple. Access to mathe social, political and economic achievements of ternal health care, contraception, sex education women all over the world. This anniversary comes and abortion is limited all over the world, particuonly weeks after the US Congress voted to strip larly for those who live in small and remote comall federal funding from Planned Parenthood, one munities. Indeed, even though abortion is legal of the main providers of reproductive health seracross Canada, specialized abortion clinics exist in vices in America. The proposal was brought only seven provinces. up in order to deny government funding to In many rural and remote areas, even in any service that even talks about the opCanada, all sexual health services are tion of abortion. If the vote is approved provided under the same roof by the by the Senate, millions of women, and same organization. There simply aren't .com ly k e e @vuew men, in the US will lose access to rethe resources to create separate facilibrenda productive health care and sexual health ties. Most of these places rely on govBrendear education services. Happy International ernment funding and foreign aid to surKerb Women's Day! vive. What Harper has done outside of his Mock celebration aside, we as Canadians should own country is to force organizations to make be concerned about this. The same kinds of arguthe impossible choice between not offering any ments for withholding vital services can, and indeed kind of abortion service and shutting their doors have already been used in Canada. This spring, afcompletely, denying much needed care to millions. ter making public professions of his government's If we actually want to support maternal health commitment to global maternal and child healthcare globally, we need to support access to aborcare strategies, Prime Minister Stephen Harper tion services everywhere. also revealed Canada would not be funding any We have come a long way and there is a lot to global services that provided either abortion sercelebrate on this 100th anniversary of International vices or education. So they're committed to materWomen's Day. But when it comes to access to safe, nal health, but only on their terms. Terms that the accurate and accessible reproductive health servicmajority of Canadians do not agree with. Harper is es, we are on the verge of taking some huge steps now co-chair of the commission tasked with trackbackwards. We can celebrate the fact that it is leing how the $40 billion dollars dedicated to the gal in Canada for women to make choices regarding Global Strategy for Women's and Children's health their own bodies, and we can urge our government is actually being used. Harper has said he believes to respect that right for women all over the world, the initiatives can create "a wave of hope" through including our sisters to the south. V the developing world. I guess that hope is only for women who don't want or need an abortion. Brenda Kerber is a sexual health educator who has worked with local not-for-profits since 1995. She is Those in favour of these anti-choice measures the owner of the Edmonton-based, sex-positive adult say that they are not actually preventing abortion toy boutique, The Traveling Tickle Trunk.

EERN Q UN TO MO

Despite claims, this was a quiet year for gays in film. Kids had been nominated for four awards but took home none. Swan received five nominations, winning one. There were a few small, authentically queer moments during the show. Inception's Lora Hirschberg, a sound designer with Skywalker Sound, did kiss her wife before walking up to the podium. Producer Iain Canning also thanked his boyfriend while receiving a producer win for The King's Speech. That's where the notably out winners end. Historically, many gay movies have won, but they almost exclusively feature death, crime, deep sorrow and unhappy endings. Monster was about a murderous lesbian who dies, Philadelphia featured AIDS and dying, Boys Don't Cry saw a trans man raped and killed, The Hours had numerous suicidal gays and

death, crime, deep sorrow and unhappy endings.

women. It works for the script: their sex life is broken. Still, I wonder why films like Black Swan can get away with more overt scenes of female sexuality. Its longest sex scene is the one featuring Natalie Portman and Mila Kunis, two young, attractive and very feminine women. Or maybe it's Swan's themes, part of it a downward spiral created by Kunis' arrival. These are after all, not exactly two women in love. It's hard to figure out why these things are so much to ask for. We can look around our homes, our workplaces, our friends to find diverse representations of people other than white, other than straight. Is that really so much to ask for on our movie screens? V

LUST E LIF

FOR

FREEWILL ASTROLOGY ARIES (Mar 21 – Apr 19) "The most fundamental form of human stupidity is forgetting what we were trying to do in the first place," said Friedrich Nietzsche. So, if you're the US government and you invade and occupy Afghanistan in order to wipe out al-Qaeda, it's not too bright to continue fighting and spending obscene amounts of money long after the al-Qaeda presence there has been eliminated. What's the equivalent in your personal life, Aries? What noble aspiration propelled you down a winding path that led to entanglements having nothing to do with your original aspiration? It's time to correct the mistake. TAURUS (Apr 20 – May 20) The Carnival season gets into full swing this weekend and lasts through Mardi Gras next Tuesday night. Wherever you are, Taurus, I suggest you use this as an excuse to achieve new levels of mastery in the art of partying. Of all the signs of the zodiac, you're the one that is most in need of getting immersed in rowdy festivities that lead to maximum relief. In the words of literary critic Mikhail Bakhtin a celebration like this is a "temporary liberation from the prevailing truth and from the established order." GEMINI (May 21 – Jun 20) When Bob Dylan first heard the Beatles' Sgt Pepper's Lonely Hearts Club Band, he only made it through the first few tunes. "Turn that shit off!" he said. "It's too good!" He was afraid his own creative

50 // BACK

process might get intimidated if he allowed himself to listen to the entire masterpiece. I suspect the exact opposite will be true for you in the coming weeks, Gemini. As you expose yourself to excellence in your chosen field, you'll feel a growing motivation to express excellence yourself. The inspiration that will be unleashed in you by your competitors will trump any of the potentially deflating effects of your professional jealousy. CANCER ( Jun 21 – Jul 22) Jungian storyteller Clarissa Pinkola Estes says one of her main influences is the Curanderisma healing tradition. "In this tradition a story is 'holy,' and it is used as medicine," she told Radiance magazine. "The story is not told to lift you up, or to entertain you. The story is meant to take the spirit into a descent to find something that is lost or missing and to bring it back to consciousness again." You need stories like this, Cancerian, and you need them now. It's high time to recover parts of your soul that you have neglected or misplaced or been separated from. LEO ( Jul 23 – Aug 22) You've been pretty smart lately, but I think you could get even smarter. You have spied secrets in the dark, and teased out answers from unlikely sources, and yet I suspect there are even greater glories possible for you. For inspiration, Leo, memorize this haiku-like poem by Geraldine C Little: "The white spider / whiter still / in the lightning's flash."

ROB BREZSNY // FREEWILL@vueweekly.com VIRGO (Aug 23 – Sep 22) I wouldn't try to stop you, Virgo, if you wanted to go around singing the Stone Roses' song "I Wanna Be Adored." I wouldn't be embarrassed for you if you turned your head up to the night sky and serenaded the stars with a chant of "I wanna be adored, I deserve to be adored, I demand to be adored." And I might even be willing to predict that your wish will be fulfilled—on one condition, which is that you also express your artful adoration for some worthy creature. LIBRA (Sep 23 – Oct 22) "The difference between the right word and the almost right word," said Mark Twain, "is the difference between lightning and the lightning bug." Because the difference between the right word and the almost right word will be so crucial for you in the coming days, Libra, I urge you to maintain extra vigilance towards the sounds that come out of your mouth. But don't be tense and repressed about it. Loose, graceful vigilance will actually work better. By the way, the distinction between right and almost right will be equally important in other areas of your life as well. Be adroitly discerning. SCORPIO (Oct 23 – Nov 21) "Dear Rob: In your horoscopes you often write about how we Scorpios will encounter interesting opportunities, invitations to be powerful, and creative breakthroughs. But you rarely discuss the deceptions, selfish deeds, and ugliness of the human heart

VUEWEEKLY // MAR 3 – MAR 9, 2011

that might be coming our way -- especially in regards to what we are capable of ourselves. Why do you do this? My main concern persevering through difficulty. - Scorpio in the Shadows." Dear Scorpio: You have more than enough influences in your life that encourage you to be fascinated with darkness. I may be the only one that's committed to helping you cultivate the more undeveloped side of your soul: the part that thrives on beauty and goodness and joy. SAGITTARIUS (Nov 22 – Dec 21) Acupuncturists identify an energetic point in the ear called the spirit gate. If it's stuck closed, the spirit is locked in; if it's stuck open, the spirit is always coming and going. The ideal, of course, is that the spirit gate is not stuck in any position. Then the spirit can come and go as it needs to, and also have the option of retreating and protecting itself. I'd like you to imagine that right now a skilled acupuncturist is inserting a needle in the top of your left ear, where it will remain for about 20 minutes. In the meantime, visualize your spirit gate being in that state of harmonious health I described. CAPRICORN (Dec 22 – Jan 19) In his parody music video, "Sickest Buddhist," comedian Arj Barker invokes a hip hop sensibility as he brags about his spiritual prowess. Noting how skilled he is at meditation he says, "The instructor just told us to do a 45-minute meditation / but I nailed it in 10." I expect you will have a similar

facility in the coming week, Capricorn: Tasks that might be challenging for others may seem like child's play to you. I bet you'll be able to sort quickly through complications that might normally take days to untangle. AQUARIUS ( Jan 20 – Feb 18) The sixth astronaut to walk on the moon was engineer Edgar Mitchell. He asserts that extraterrestrials have visited Earth and that governments are covering up that fact. The second astronaut to do a moonwalk was engineer Buzz Aldrin. He says that there is unquestionably an artificial structure built on Phobos, a moon of Mars. Some scientists dispute the claims of these experts, insisting that aliens are myths. Who should we believe? Personally, I lean towards Mitchell and Aldrin. If you have to choose between competing authorities any time soon, Aquarius, I recommend that like me, you opt for the smart mavericks instead of the smart purveyors of conventional wisdom. PISCES (Feb 19 – Mar 20) If I were you, Pisces, I'd make interesting fun your meme of the week. For best results, you should put a priority on pursuing experiences that both amuse you and captivate your imagination. As you consider whether to accept any invitation or seize any opportunity, make sure it will teach you something you don't already know and also transport you into a positive emotional state that gets your endorphins flowing.

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ARTIST TO ARTIST The Alberta Screenwriters Initiative: The Alberta Association of Motion Picture and Television Unions (AAMPTU) seek feature film scripts of any genre (max length, 250 pgs), from Alberta based screenwriters. Deadline: Mar 14; info: contact Nicholas Mather at 780.422.8174, writersguild.ab.ca Whyte Avenue Art Walk–Old Strathcona: July 15-17; Artist Registration in person at the Paint Spot; Mar 5 Pro Coro Canada audition for substitute positions in all voice parts; Sat, Mar 5; fee of $20; book in adv T: Marg at 780.420.1247

Volunteer at ElderCare Edmonton: help out with day programs with things like crafts, card games and socializing. Call Renée for info at 780.434.4747 Ext 4

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McMullenGallery: Seeking proposals for the exhibition year May 2012 – April 2013; deadline: Mar 31, 4pm; info at capitalhealth.ca Any artist, musician, or performance artist interested in being featured for the Local Art Showcase @The Old Strathcona Antique Mall, please be inspired to contact Jenn@oldstrathconamall.com

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Volunteer website for youth 14-24 years old. youthvolunteer.ca

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I'm out to sing the songs that'll prove to you that this is your world, and it has hit you pretty hard, and knocked you down for a dozen loops. No matter how hard it's run you down or rolled over you, no matter what colour, what size you are, how you're built, I'm out to sing the songs that make you take

The Nina Haggerty Centre for the Arts: looking for artists to provide mentorship to our artists with developmental disabilities. Share your talents and passion while gaining work experience. Info: volunteer@ninahaggertyart.ca

chelsea boos // che@vueweekly.com

pride in yourself and in your work. And the songs I sing are made up for the most part by all sorts of folks just about like you. —Woody Guthrie People on their daily commute down 107 Street near Jasper Avenue may have

noticed the words "you are beautiful" scrawled simply in a snow bank with a mitten-ed finger a few weeks ago. It was a spontaneous, yet transformative gesture, seemingly created for the sole purpose of helping other people take pride in themselves. The simplicity and acces-

sibility of the idea is where its strength lies. It has a power that is only attained by its author's willingness to share it with new audiences, allowing people to engage with it and own it. It is poesis like this that breaks up the predictability of our everyday lives, in-

VUEWEEKLY // MAR 3 – MAR 9, 2011

spiring a deeper connection to this place. The ephemeral message takes aim at the inhumanity of urban life. The city can be an alienating place after all. It is built for transporting people, not necessarily for moving them; a place where loving yourself is a profound social act. V

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VUEWEEKLY // MAR 3 – MAR 9, 2011