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VUEWEEKLY // JUL 29 – AUG 4, 2010



#771 • Jul 29 – Aug 4, 2010

UP FRONT // 4/ 4 7 8 9 9

Vuepoint ZeitGeist Dyer Straight Issues Bob the Angry Flower

DISH // 10/ 10 Veni, Vidi, Vino

ARTS // 12/ 13 Hopscotch

FILM // 16 16 DVD Detective

MUSIC // 21/ 24 Enter Sandor 33 Music Notes 34 New Sounds 35 Old Sounds 35 Quickspins


BACK // 36


Edmonton gets Warped. Founder Kevin Lyman reflects on the tour's longevity


36 Free Will Astrology 38 Queermonton 39 Alt.Sex.Column


Arts Film Music Events


Swapping Edmonton's poet laureate position for a songwriter reflects art's daily importance


Winter's Bone a tale of resilience

VUEWEEKLY.COM SLIDESHOW // Michael Franti & Spearhead


• Slideshow Neil Young, Calgary Folk Fest ARTS

• Slideshow Latitude 53's Draw FILM

• Sidevue Southing Off: Brian Gibson looks at the return of the Old South and American remakes FRONT Fri, Jul 23 / Michael Franti & Spearhead / Calgary Folk Fest

• Podcast Municipal media

VUEWEEKLY // JUL 29 – AUG 4, 2010

FRONT // 3


Vuepoint Disappearing act samantha power



ighteen months, over 60 witnesses, 300 pages of testimony, trips to Edmonton, Calgary and Fort McMurray—it's a lot of research to simply shut down with no conclusion. The destruction of the draft final report of the oil sands and water resources study by the Parliamentary standing committee on the environment is coming under some much-deserved criticism as members of the committee voted behind closed doors last month to halt the production of the final report and destroy draft copies. And no one is saying why. If no effective information could be gained from this investigation the standing committee would have figured that out earlier than what is now a year later. Testimony finished in March, and the committee has been meeting in private since that time to finalize a report. If the problem were the testimony being unpublishable or unusable in a report, the issue would have been closed four months ago, so the problem lies with the final report and consensus on a conclusion. Either committee members cannot agree what to publish, or

they do not want to publish it. David Schindler declared it a cover up in the Hill Times this week. Francis Scarpagellia, a Liberal MP and member of the standing committee declared on June 15 in a press release that Conservative members of the committee were holding up the report. Two days later the committee voted to destroy the draft report, leaving a single copy in the committee clerk's office. Scarpagellia has stated that he will be working on a final report, and that since the testimony is public, advocacy groups and other parties are free to do the same. But a final report from a political party or an advocacy group means a very different thing to Parliament and the Canadian public than a full report from an official all-party committee of Parliament. The job of standing committees is to bring to light laws that are not being implemented, policy areas that need improvement and issues that need further research. The only thing that's clear in this situation is that this committee will not fulfil its job and so Canadians have to do theirs and start asking some tough questions about why this resolution was shut down. V






Dyer Straight


Bob the Angry Flower


PODCAST >> Municipal media

IssuE no. 771 // JUL 28 – AUG 4, 2010 // Available at over 1400 locations

10303 - 108 street, edmonton, AB T5J 1L7

t: 780.426.1996 F: 780.426.2889 E: w: Editor / Publisher MANAGING Editor associate mANAGING editor NEWS Editor Arts / Film Editor Music Editor Dish Editor Outdoor Adventure Editor EDITORIAL INTERN Staff writer creative services manager production ART DIRECTOR Senior graphic designer WEB/MULTIMEDIA MANAGER LISTINGS



ROB LIGHTFOOT // 780.426.1996 // 780.426.1996 // DPS MEDIA // 416.413.9291 MIKE GARTH // AARON GETZ //


PETE NGUYEN // Ricardo Acuña, Mike Angus, Josef Braun, Rob Brezsny, Jonathan Busch, Laura Collison, Gwynne Dyer, Jenn Fulford, Brian Gibson, James Grasdal, Joe Gurba, Whitey Houston, Andrea Nemerson, Stephen Notley, JProcktor, Steven Sandor, LS Vors 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 783783 Alberta Ltd. 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

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With six weeks to an election, Edmontonian Jeff Samsonow has collected media-minded Edmontonians to cover the issues and happenings in this year's election. Vue talks to him about his hopes for the initiative CHECK OUT VUEWEEKLY.COM/EXTRA FOR THIS WEEK'S PODCAST

Letters VUEWEEKLY // JUL 29 – AUG 4, 2010

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


An ounce of prevention

Ballooning prison budgets could develop communities

ing than do those who serve out part of their sentence in the community. Internationally, many jurisdictions, including the United States and the UK, are moving away from mass incarceration, not only because it has not reduced crime, but because of the great expense involved.

Laura collison //


tatistics Canada released a report on July 20 showing crime rates in Canada continue to decline, as they have for the past decade. Despite this trend, and extensive research against the effectiveness of incarceration, the Conservative government continues to make "tough on crime" a cornerstone of its legislative agenda. A recent report from the Parliamentary Budget Office indicates expanding prison spaces will require billions of dollars in funding as the Conservative government continues to introduce legislation that will incarcerate people for longer periods of time. But the numbers suggest Canadians have little to fear. The crime rate dropped three percent last year and 17 percent since 1999 while the crime severity index, which measures the seriousness of crime, dropped by four percent this year and 22 percent since 1999. Justin Piché, a PhD candidate at Ottawa's Carleton University, is calling for a moratorium on what he characterizes as punishment legislation. Piché challenges the government's claim that there is a need to get tough on crime. Much of the legislation introduced—such as an end to credit for time served before sentencing changes to conditional sentencing, and proposed amendments to the Youth

NOT THE ANSWER >> Incarceration is an expensive answer to crime Criminal Justice Act—will result in more people being incarcerated for longer periods of time. The government argues that long prison sentences act as a deterrent, preventing people from committing crime and therefore contributing to community safety. Piché disagrees. "Deterrence and incapacitation are antiquated ideas of punishment," he says. "They have been proven failures and this is why over history we've tried to move away from these punishments, at least rhetorically." Robert Nichols, professor of Political

// Supplied

Science and Philosophy at the University of Alberta, elaborates on the problems with this legislation. "There is very little to no evidence that placing people in prison deters or prevents future crime," he says. "In fact, the evidence points to incarceration, especially longer periods of incarceration and higher incarceration rates, increasing chances of recidivism and escalating the nature of the type of crimes people commit." Corrections Canada's own numbers show that those who serve their full sentence in prison have a higher rate of reoffend-

At a time of fiscal restraint and deficit reduction, prison expansion makes little economic sense. In Canada, a report from the Parliamentary Budget Officer examining the Truth in Sentencing Act found the costs of implementing this bill alone will exceed $9.5 billion a year by 2015, up from $4.4 billion this year. However, these figures are tentative, as the federal government would not release information to the PBO on its plans for prison expansion. Investment in social spending to address the causes of crime before people become criminalized costs much less. Research conducted by Irving Waller at the University of Ottawa found that every dollar spent on community level social spending saves four to seven dollars in prison spending. And the human cost is immeasurable. The need for investment in social spending over prison spending becomes even more clear when we look at who goes to prison. One of the legacies of Canada's colonialism is the incarceration rates of aboriginal people

in Canada. In the prairie region, First Nations people represent about 10 percent of the general population and account for over 60 percent of the prison population. Most people in prison have issues beyond criminalization, including mental illness, addiction and poverty. The Elizabeth Fry Society has found that 80 percent of incarcerated women and 90 percent of aboriginal women in Canada report having been physically and/or sexually abused. Nearly 80 percent of men entering prison do not have a high school diploma and 65 percent were unemployed at the time of arrest. If there is concern about public safety, Nichols says we should look to homes, families and social networks of people around us that are looking out for us and protecting us to keep us safe. This can be achieved through investment in communities and preventing people from being in situations that put them in contact with the prison system. Instead of locking people up, we should be asking why so many people are struggling, says Piché. He criticizes the recent trend of provinces expanding facilities to house the growing number of inmates with mental illnesses: "Rather than build prisons to accommodate people with mental illness, we should be asking why they are in prison in the first place." V

News Roundup INTO THIN AIR


he item "oil sands and Canada's water resource," has disappeared from the agenda of Parliament's standing committee on the environment, leaving those who testified to wonder why. With over 300 pages of testimony collected from 60 witnesses since it began a year ago, the study has been suspended one year after beginning with no explanation as to why. Minutes from the June 17 meeting reveal the committee agreed to cease the study; no votes were recorded as the meeting was held in private, as procedure allows during the drafting of a report. It was also decided that a copy of the draft report be kept in the Committee clerk's office and the rest of the draft reports destroyed. Liberal MP and member of the committee, Francis Scarpaleggia, has publicly condemned the Conservative members of the committee and the Harper government for preventing the report from getting out. EdmontonStrathcona MP Linda Duncan, also a member of the committee, expressed on her website her disappointment in the lack of a report, and stated her intention to release a report of her own based on the data collected.

"I listened to some other people the same day I spoke and I know [the committee] got a lot of negative material. I'm sure that's why there's no write-up. To me that's a violation of the principles of democracy, and I'm very angry about it." – Professor David Schindler, water expert and witness to the committee. The Hill Times July 26, 2010



new report out of Saskatchewan reveals nuclear power may not be an economical or environmental savings for energy production. The Canadian Centre for Policy Alternatives has released the report "In the Red: The Green Behind Nuclear Power" which examines the economic costs of constructing nuclear power plants, something the Alberta government has been considering and the Ontario company Bruce Power has proposed for Peace River. The report concludes that nuclear power will not reduce GHG emissions, the case for exporting surplus power is exaggerated as any excess power would

compete with low cost hydro from BC, Manitoba and Washington. The report reveals nuclear power could potentially triple electricity rates, and carries the highest capital costs compared to other energy production.


of Albertans work in the four most dangerous industries



ith a higher workplace fatality rate than the rest of Canada, the Alberta Federation of Labour has discovered that companies in Alberta are also only paying a fraction of workplace compensation premiums compared to other provinces. In response to recent reports of Alberta WCB employees receiving bonuses for reducing premiums, the AFL is concerned these lower premiums lead to an inability to support and rehabilitate workers. President of the AFL Gil McGowan says, "Given these realities, the Alberta WCB should be collecting more premiums and paying out more for benefits and rehabilitation than other provinces. The fact that they don't—and instead are constantly focused on premium reductions for employers—shows that the Alberta WCB's priorities are seriously confused." samantha power //

VUEWEEKLY // JUL 29 – AUG 4, 2010

15% versus about

in other provinces


1.4 inspectors per 100 000 workers in Alberta; nationally there are 2.1 per 100 000

QUOTE OF THE WEEK "Whatever happens with the corporate dudes is irrelevant. The only thing that matters is what they are going to do about this mess." — Chris Foss, boat captain from Port Sulphur in response to BP CEO Tony Hayward resigning. Associated Press

FRONT // 5


Citizen powered

Campus community radio strengthened with new mandate as vital to the stability of the sector. The role of volunteers was recognized as so central to the functioning of staver 140 campus and community tions that the CRTC review process recradio stations in the country can ognised it needed more time to evalucount on some consistent funding. ate their role, and hopes to have a new While spending years reliant on the process for volunteers in time for the donations of listeners a new Ca2011 renewal of most stations' linadian Radio-telecommicacenses. tions Commission policy Robinson points out that will dedicate new funding volunteers and the comon a yearly basis to cammunity members are the pus community stations. people who have made In a year-long review procampus community radio cess the commission dework and for this policy termined that the campus to even come forward. "It's community radio sector will the work of volunteers that receive a new mandate, new makes stations run, and it's funding and greater support for that same dedication by volunvolunteers. teers that helped "It's a huge first bring about this step," explains new policy." Shelley RobinNot only did son, executive the commission director of the Campus community stations recognize the National Campus centrality of voland Community unteers, but the Radio Associacommunity surtion. Currently rounding each the campus and station. With the Total broadcasting power = community ranew policy comes dio sector rea new mandate lies on projectfor community based grants, and campus stadonations from tions. No longer listeners and levdefining themies from students selves against at post-secondothers, but deary institutions. fining what stalisteners within signal range tions themelves "The money's awesome, but are: rooted in if you worked it the community. out, 140 stations, The policy reads roughly $750 that stations are 000, that's about distinguished $5000 per staby the place in tion," Robinson the community says. "It's great reflecting the that they recog"communities' nize we need money and [are] giving needs, values, and the requirement for us the credibility of the fund." volunteers in programming and other The money will be collected from aspects of station operations. This commercial stations on a percentage helps ensure that the programming is basis and distributed to the Communidifferent from that of commercial and ty Radio Fund of Canada which was espublic radio." tablished in 2007, but has only worked In an odd twist against what many see off of project-based funding since that as the crumbling of traditional media, time. "Project-based funding is great, the changing state of journalism may but it doesn't address the systemic conhave made it easier for the CRTC to decerns," explains Robinson. fine campus community radio's mandate. "As newspapers combine and With budgets ranging from the tens of fold, and as commercial radio feels it's thousands to half a million, the sector not centred in local communities the itself is a collection of stations serving value of what we do is more evident communities as diverse as Cambridge now that fewer people are doing it," Bay, Nunavut, with a population of just Robinson says. over a thousand, to the campus station Robinson is hopeful about this new at McGill University, serving tens of policy taking effect this fall. "Commuthousands of students and community nity radio in Canada is used to being members. But in the end, the needs marginal. You're no longer marginal. of stations were consistent: volunteer [This policy] shows people we're here training and funding for equipment— and we're worth giving money and we outcomes the CRTC policy recognized need to build on that momentum." V samantha power



Quick Facts: broadcast in 63 languages

90 000 watts

23 million 6000 volunteers

21 000 hours

of programming

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VUEWEEKLY // JUL 29 – AUG 4, 2010


Digital divide

Canada fails those without digital tv In just over one year, Canada is scheduled transition when politicians feared that to complete the digital television transitoo many consumers were not ready. tion, as stations switch from analogue Unlike the US, there will not be a Cato digital broadcasts. While cable and nadian subsidy program. While the adsatellite subscribers will not notice the ditional costs could affect lower income change, over one million Canadians that Canadians, who are also more likely to rely on over-the-air signals will rely on the over-the-air signals be affected. Despite the experather than cable or satellite rience in other countries that services, Canadian Heritage left consumers without digiMinister James Moore has tal converter boxes staring at firmly rejected a similar ly k e e vuew blank screens, the Canadian proach. mgeist@ el government seems content A successful transition also Micha to leave the switch to the pridepends upon educating CaGeist vate sector, implausibly claiming nadians about the changes. For "industry-led solutions will ensure a example, the United Kingdom has essmooth transition for consumers." tablished Digital UK, an independent, The basic notion of the transition is not-for-profit organization to lead its fairly straightforward. For decades, Caprocess. The organization is funded by nadian broadcasters have used specthe country's private broadcasters and trum to transmit over-the-air analogue was established at the request of the broadcast signals. government. It maintains a comprehenBefore the widespread use of cable sive website and has launched a nationand satellite, many Canadians used anwide advertising campaign. tennae—"rabbit ears"—to access those By contrast, other than the occabroadcast signals. sional CRTC release—Chair Konrad On August 31, 2011, Canadian broadvon Finckenstein has been sounding casters will switch from analogue to the alarm bells on the digital transition digital broadcasts. The shift to digital for months—the issue has attracted brings several advantages including betvirtually no public attention in Canada. ter image and sound quality, as well as Moore has told Canada's broadcasters more efficient use of spectrum, which that Canadians had "fair notice" about will open the door to new telecom serthe transition and that the broadcastvices. It also requires those relying on ers should be prepared to complete the over-the-air signals to obtain a digital switch on schedule, emphasizing the converter box to convert the digital sigtransition "must remain on track." nal back to analogue. But most Canadian broadcasters see little value in investing in a public Contrary to popular belief, many Caeducation campaign without governnadians still rely on over-the-air signals. ment support, particularly since they In its latest update on the transition, are already spending millions on digithe Canadian Radio-television and Teletal transmitters. In fact, the mandatory communications Commission estimatdeadlines for the transition were only ed that up to 857 000 households in established after it became apparent larger markets do not subscribe to eithe broadcasters would not make the ther cable or satellite. On top of those switch voluntarily. households, tens of thousands of rural The CRTC has tried to push the issue households also depend upon over-theonto the public agenda, but has thus far air signals. faced government opposition and broadThe CRTC has opened the door to a caster indifference. As a result, when satellite alternative for rural communiCanada's broadcasters flip the switch ties, but households that rely on overnext summer, hundreds of thousands of the-air signals in larger markets will Canadians may find themselves on the need a digital converter box in order to wrong side of a new digital divide. V continue to watch programs on their existing televisions. In the United States, Michael Geist holds the Canada Research the government subsidized the cost of Chair in Internet and E-commerce Law the transition, establishing a coupon at the University of Ottawa, Faculty of program that ultimately cost over $1 bilLaw. He can be reached at mgeist@vuelion and forced a six-month delay of the or online at



VUEWEEKLY // JUL 29 – AUG 4, 2010

FRONT // 7


Between two masters

Kosovo is caught between international law and the UN Just before Kosovo's unilateral declaration of indebefore the 1999 war and now account for 95 perpendence from Serbia in 2008, Vuk Jeremic, the cent, are Albanian-speaking Muslims who were Serbian foreign minister, warned that in Afrimercilessly oppressed by the ultra-nationalca alone "there are about 50 Kosovos waitist Serbian regime of Slobodan Milosevic. ing to happen." The 50 African wannabes can take heart, as the International Court Milosevic abolished the autonomy that of Justice has just ruled that Kosovo's Kosovo had enjoyed in the former Yugok e e w e@vue gwynn tion was not illegal, as international law slavia, and by the late 1990s his troops e Gwynn contains no "prohibition on declarations and police were regularly beating, jailing of independence." and killing Kosovars whom they suspected Dyer The International Court of Justice is a conserof seeking its restoration. He drove some Kovative body whose judges are almost evenly split besovars into a guerrilla war against the Serbian retween those whose home countries have recognized gime, and then killed around 10 000 people in an Kosovo's independence and those that have not, but indiscriminate attempt to terrorize the Kosovars into ten of the fourteen judges on the panel voted for the submission. ruling. The ruling does not oblige other countries to The Kosovars were not saints in all this, but they recognize Kosovo's independence, but it definitely obviously owe no allegiance to a state that treated shifts the balance in favour of secession. them in such a vile manner. In the end, in 1999, the What's sauce for the goose is sauce for the gander: United States and the European members of NATO minorities seeking independence anywhere will be decided that Serbian behaviour was intolerable, and encouraged by the court's ruling. Five of the Europewaged an 11-week war of aerial bombardment to an Union's 27 members refuse to recognise Kosovo force Serbian troops to evacuate Kosovo. Then they precisely because they fear that their own minorities occupied it—and started looking for a way to leave. might use its independence as a precedent: Cyprus The only way to get out was to create a sovereign (Turkish Cypriots), Greece (Macedonian Turks), SloKosovo state, with protection for the rights of the vakia (Hungarians), Romania (also Hungarians) and remaining Serbian minority (now just 120 000 out Spain (Catalans and Basques). of two million). When Serbia steadfastly refused Further afield, China worries about Tibet and to accept the independence of a province it sees as Xinjiang and Russia frets about all sorts of potenthe cradle of the nation—"our Jerusalem," in Vuk tial secessionist movements (20 percent of RusJeremic's words—the US and the major European sia's population are minorities), so both countries countries told the Kosovars that they could declare sternly condemn Kosovo's secession from Serbia. their independence unilaterally. In fact, only 69 countries have recognised Kosovo. Kosovo could not reasonably be expected to stay Countries with restive minorities of their own have in Serbia after all that has happened, but it is a hard not, and it is therefore still not a member of the case, and it makes bad law. Or at least it changes the United Nations. law in ways that we may regret. There is an old legal adage that "hard cases make bad law," and that is certainly at work in Kosovo. The The International Court of Justice is right: interKosovars, who were 90 percent of the population national law does not ban declarations of independence. But the deal that underlies the creation of the United Nations, and that has spared us from great-power wars (and probably quite a few smaller wars) over the past 65 years, does forbid any changes in the borders of UN members that are imposed by force. That deal is embedded in the UN Charter: thou shalt not change a border by force. What they really intended in 1945 — quite understandably, given what they had just been through — was to stop cross-border wars of aggression. In practice, however, the Charter has also been used to delegitimize unilateral declarations of independence all over the world. Once upon a time, a breakaway province could establish its independence simply by demonstrating that it controlled all of its territory and had established a viable government. That is no longer true. The UN has become a trade union of the existing sovereign states, operating as a closed shop and refusing to recognize secessions even after they have succeeded in fact. It was a largely unintended side effect of the UN Charter, and although it has suppressed violence in some places, it also helped to perpetuate terrible injustices in many others. The decision of the International Court of Justice undermines this interpretation of the Charter, and probably means that more secessions actually succeed in the end. Whether that is a good thing or not depends on which side of the fence you are on, but it probably means more violence, at least in the short term. V



Gwynne Dyer is a London-based journalist whose articles are published in 45 countries. His column appears each week in Vue Weekly.

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VUEWEEKLY // JUL 29 – AUG 4, 2010



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.

Silencing dissent

Targeted cuts gut Canadian advocacy organizations Ricardo Acuña //

Last week the Canadian Council for International Cooperation (CCIC) became the latest victim of the Harper government's war on civil society organizations that dare critique or recommend alternatives to government policy. On purely strategic terms, one would think that CCIC is the kind of organization that the Harper Conservatives would want providing a public critique. The presence of multi-national organizations and conservative church groups make them far less radical and extreme than they could, or should, be. And so the recent CCIC decision speaks volumes about the degree to which this government is afraid of any dissent, even constructive moderate dissent.

This same work has significantly raised our awareness of how our lifestyle, consumption and foreign policy choices actually serve to exacerbate poverty and injustice around the world. It is almost certainly these latter two areas of activity that led International Co-operation Minister Bev Oda to announce on July 22 that CCIC would no longer be receiving funds from CIDA for its ongoing activities. Although minister Oda has not addressed the CCIC decision directly in public, she did release a statement that CIDA's new funding policies will "will streamline the application process and reduce the administrative burden for project applications, leaving more money for real development work on the ground" and "ensure [Canadians'] aid dollars go toward effective international development." Surely, if your goal was increased

hands of Canadians to enable them to tell the difference between bad policy and good policy, and teaches them how to advocate for the latter. Clearly this government would rather spend a billion dollars to silence the legitimate protests of its people than spend a small portion of that to ensure that those people are informed and engaged. It's the same preference that has resulted in the partisan de-funding of groups like the Canadian Council on Social Development, Rights and De-

mocracy, KAIROS, the Canadian Arab Federation and numerous women's groups across the country. A government that is genuine in seeking out the best possible policy alternatives and ensuring that their decisions do no harm should welcome dissenting views and informed critique of those policies and decisions—to the extent of funding the organizations providing those views and critiques. Transparency, accountability and democracy depend on a multitude of voices and opinions, and it is the responsibility

of government to ensure that those voices and opinions have the resources necessary to be heard. The elimination of these voices from the public realm has resulted in Canada being a very different country today than it was just ten years ago. Isn't it time to stand up and defend our democracy while we still can? V Ricardo Acuña is the Executive Director for the Parkland Institute, a non-partisan public policy research institute housed at the University of Alberta


Ms. Oda's statement is clearly code for "we didn't like some of the things they were saying, so we are going to remove their ability to say those things." The CCIC was established in 1968 by international development organizations to act as a coordinating body for their work overseas and in Canada. With over 90 members today, including groups as diverse as Save the Children Canada, OXFAM, World Vision Canada, the Canadian Red Cross, faith groups and labour unions, CCIC has grown to play a number of critical functions. One of these functions has been to increase the effectiveness of civil society organizations by providing training and organizational development for its members. CCIC has been key in providing organizations across the country with the skills and knowledge to increase their transparency and accountability while minimizing waste of donor and government dollars. At the same time, because of its broad and diverse membership and their experience on the ground in Canada and around the world, CCIC has been at the forefront of analyzing, critiquing and proposing foreign and development policy alternatives. In this arena it has been able to strongly articulate policy options based on the experiences not just of Canadians, but also of partner organizations on the ground in the poor communities that Canadian International Development Agency (CIDA) purports to help. And perhaps most importantly, through its nationally coordinated education, awareness and advocacy campaigns, CCIC has been able to genuinely engage hundreds of thousands of Canadians in a quest for more just and sustainable development alternatives.

effectiveness and a reduced administrative burden, you would want to keep funding an organization that did extensive research on what was working and what wasn't, coordinated organizations to minimize duplication and ensured that best practices and methodologies spread quickly throughout the entire sector. As with other examples we have seen in the last couple of years, however, Ms. Oda's statement is clearly code for "we didn't like some of the things they were saying, so we are going to remove their ability to say those things." Much of CCIC's work was spent critiquing government policy, researching and promoting alternatives. They saw their role as one of keeping government honest and ensuring that their policies and practices around the world were actually contributing to their goal of eliminating poverty and injustice. As such, CCIC was openly critical of such things as the lack of transparency and accountability in official aid, the role of the G8 and G20 in exacerbating global poverty and Canadian free trade with Colombia, a chronic and severe human rights violator. The Harper government has shown time and time again that their preference is for a civil society sector that will nod blindly in agreement with bad policy, rather than one that will publicly critique bad policy in the hopes of making it better. Even less tolerable than that is a civil society sector that puts research and information in the

VUEWEEKLY // JUL 29 – AUG 4, 2010

FRONT // 9



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Northern Italy

Twenty-five years on, Saccomanno's move still looks like a good one

CHOP SHOP >> Frank Saccomanno gets down to business ls vors //


alentine's Day, 1985. The weather is unseasonably mild. The film Witness occupies top spot at the box office. Bryan Adams and Madonna dominate the airwaves with "Run to You" and "Like a Virgin," respectively. Peter Lougheed is premier. And somewhere, north beyond the perpetually busy Yellowhead Trail, tucked in behind the CN rail yard,

// Lewis Kelly

the winter air is touched with tomatoes and basil. Today, the Italian grocery store-café Saccomanno's is offering free spaghetti with tomato sauce. The business cut its teeth in retail in Little Italy, eventually moved north to larger quarters, and added a café. Its new home is nestled in the transition zone between the neighbourhoods of Killarney and Lauderdale, which are scarcely known for their breadth and depth of food-related busi-

nesses. The move is a gamble, but the spaghetti's siren song is irresistible. A mass exodus begins as CN staff migrate across the road and soon the tiny, 300 square foot dining room is packed. Twenty-five years later, Joe Saccomanno gazes proudly over a much-expanded café and a retail section that boasts a dizzying array of cold cuts and cheeses and Mediterranean staples like pasta, olives and canned tomatoes. The son of Calabrian immigrants, he muses at the

magnitude of change experienced by the building over the past decades. "When we started here, nothing was commercial in our kitchen. We had a stove and microwave like you have at home." Today, Saccomanno's includes an open dining room with a long counter, a massive flat screen TV, and clusters of square tables with comfortable chairs. A pasta machine cranks out supple, golden noodles of many shapes. A cooler sparkles with bubbly spring water, chinotto and limonata. Lengths of sausage and wheels of cheese are displayed like precious artifacts in a glass cooler. "When we expanded the restaurant part, we diminished the retail section," Joe explains. "We started with sandwiches and different kinds of pasta, which are really popular with the people from the CN buildings. Now we serve veal or chicken parmigiana, lasagna, cannelloni, salads and pizza." Saccomanno's pizzas have amassed a multi-generational following. As part of a school lunch program, scores of sixinch pizzas are supplied to schools in the area. Hoards of voracious soccer fans crowded the café during the World Cup, their appetites for pizza as fervent as their devotion to the "beautiful game." Though the likes of Cannavarro and Gattuso have yet to discover Saccomanno's, Edmonton-born Oiler Fernando Pisani is known to frequent this spot. The retail section brims with Canadagrown apples and tomatoes when they are in season. Joe notes that those who still make tomato sauce the traditional way—simmering the crimson orbs with

olive oil and basil over gentle heat—covet these tomatoes. Saccomanno's also sells winemaking supplies. Although the concept of winemaking carries with it an aura of complexity commensurate with PhD-level chemistry, Joe remarks that making wine at home is not nearly as difficult as one might imagine. He adds that good quality grape juice makes the difference. It was indeed a gamble to move outside the city's geographic hot spot of all things gastronomical. Much has changed since that mild February day in 1985, though, when a tiny home-style kitchen produced volumes of spaghetti for the masses. Cooking equipment evolved, spaces renovated and clientele diversified. Joe continues to enjoy his rapport with the regular customers, and ponders another expansion. This time, he muses, it might be a second location in the city's southwest. It is an area of exponential growth, both in terms of population base and businesses, but locally owned ventures are rare. Perhaps, like the aroma of spaghetti and tomato sauce that wooed diners on the north side, the inhabitants of the southwest will find prosciutto and parmigiano-reggiano at their doorstep. V SaccomanNo's 10208 - 127 Ave 780.478.2381



You decant go without it Decanting wine opens up a new world of flavour Not only is it true that "life is what you that the complex combination of soil, climake of it," as Eleanor Roosevelt mate, exposition and local tradition said; wine is what you make of define the style of wine right in I D I V it, too. In other words, to maxithe bottle) adding charm and VENI, mize your wine experience, sense of realness. Others think a decant may be just what sediment is unsightly, even m o .c ly ek vuewe that bottle needs to awaken in that 1993 Bordeaux that's jenn@ flavours, smooth out harsher been aging in your basement, Jenn d r tannin and show you its drinkas sediment naturally occurs in o f l u F ing potential. the bottle aging process. There are a couple of different reaSecond, wines that have grippy, harsh sons why decanting has existed as long tannin—either from youthfulness of the as winemaking. In centuries past, most wine or tannic grape varietals that are wines didn't go through the fining and known to be saliva-sucking terrors— filtration processes before bottling and need to be decanted. What this does therefore had plenty of sediment on the is provide a whole lot of air contact to bottom. Today, many wine nerds obsess the wine, called aeration, which has an that the sediment is like little pieces of effect of softening tannin and encouragthe terroir (a French term for the notion ing complex flavours in the wine to show


10 // DISH

themselves. For example, one of my personal favourites is this huge GSM (Grenache, Syrah, Mourvèdre blend) from the Languedoc province of France that has acerbic tannin and flavours quite similar to bitter coffee that transforms into raspberry mocha with softer, more subtle tannin when decanted. In essence, a wine can be decanted by simply opening the bottle and pouring out a small portion so there is slightly more surface area exposed to the air. Some wine aficionados are advocates of the bottle decantation method solely for aged wines, while others believe this to be the premium method of decanting for all wine. Aged wines do better with a slower decanting process because with

VUEWEEKLY // JUL 29 – AUG 4, 2010

bottle age, tannins soften naturally, developing more complex flavours. Conversely, younger, more tannic wines need a longer time to open up, and you may find yourself cracking that bottle open a day ahead of your desired drinking time. A decanter may be a better option to the 24-hour patience test. Exponentially speeding up the decanting process, one wine may be ready to consume immediately after being poured into the decanter, while others may need more time to breathe. This depends heavily on the age of the wine, fullness of body and harshness of the tannin. While bolder, more tannic wines will need to decant for a longer period of time, the mid-priced, slightly harsh wines just need an hour or two. Generally, red wine benefits more from the decanting process than white wine, but in some cases full-bodied white wines may need a decant. A half hour should suffice to enhance any flavours. Remember, each wine is its own unique

beast and no exact science can tell you the precise minute when the wine has reached its peak of deliciousness. Tasting the wine frequently as it evolves and blossoms into all of its glory is pretty damn exciting. Drink it when it tastes good, because left too long, oxidization will occur, developing unpleasant flavours and aromas. So what's available on the market for the average consumer to decant wine? Decanters come in all shapes and sizes, from simple to extravagant and made of everything from crystal to plain glass. Some of the latest glassware technology includes polycarbonate glass, which is a nice option because it is unbreakable. Vinturis are the latest trend-craze on the market, offering single glass or bythe-ounce aeration. You simply pour the vino through the aerator straight into the glass, making this the faster aerator on the market. Alongside the efficiency, Vinturis are fun to use, and the noise of the air sucking into the Vinturi is pretty cool. V


Suburban subversion

Southwest bistro bucks geographic stereotypes

SO FRESH, SO CLEAN >> Brunch in the 'burbs done right LS Vors //


ike the concentric growth rings of a tree, suburbs have grown around cities en masse since the mid-1950s. They are rarely renowned for their amenities—corner stores, gas stations and so forth—let alone luxuries such as coffee shops and diners. Rather, the North American suburb is defined by complex mazes of crescents and cul-de-sacs, large garages intended for multiple vehicles, gated communities with trendy names and large houses that frequently display an alarming degree of sameness. Through the lens of post-modern urban cynicism, this epitomizes ant-like conformity for the masses. This rather dim view of Suburbia is tempered, though, by the presence of a perennially busy bakery-bistro wedged in the city's eversprawling southwest. Fresh Start Bistro occupies the centre of Riverbend Square, sheltered from busy roads by a curtain of gangly deciduous trees and burnished umber venetian blinds. The carefree intonations of background music are scarcely audible above the sizable weekend crowd, which spills through a side door onto a makeshift sidewalk patio. To maximize efficiency, one orders at the front counter, takes a number and awaits their chosen victuals at any number of comfortable tables or benches. Fresh Start's menu covers considerable ground. Grilled panini, quiche and hamburgers are available, but their offerings are clearly skewed towards brunch. Hence, we order the Croissant Melt ($9.99), Cinnamon French Toast ($9.99) and Smoked Salmon on a Bagel ($9.99). I am content to sip a mug of well-bodied coffee ($2.99) and contemplate the olive-grey houses in repose beyond the aspen trees. My smoked salmon bagel arrives in short order, followed by the croissant melt and French toast. Coral-pink slices of smoked salmon are

// Bryan Birtles

loosely folded like cloth handkerchiefs and topped with a scatter of celadon capers and several rings of sharp purple onion. They recline atop two halves of an in-house baked bagel, which itself is rather dense. Its piscine and botanical accoutrements, however, deftly balance a sly whisper of smoke with peppery bite. Cinnamon French toast (or "Freedom toast" if one subscribes to GW Bush's short-lived snubbing of all things Gallic) features four triangles of multigrain bread caressed with caramel sauce, sliced strawberries and toothsome slices of apple. The eponymous spice infuses, but does not overwhelm, each morsel of bread and fruit. The toast itself succeeds with uniform tenderness and nary a hint of crusty edges, and the generous drizzle of caramel sauce trumps any need for syrup. The croissant melt compiles multiple brunch components into sandwich form. Scrambled eggs are liberally flecked with red and green peppers and laced with cheddar cheese. Combining the cheddar with the egg avoids the deluge of grease that typically ensues when a breakfast sandwich is crowned with a slice of cheese. Two thick slices of bacon walk the line between crunchy and soft, while the croissant itself is devilishly flaky. A side of fried potatoes is dusted with paprika and rosemary, a worthy stand-in for hash browns. One minor quibble concerns the fruit cup that accompanies each dish. So many fruits and berries are in season, and yet this cup contains primarily cantaloupe and honeydew melon. A few lonely pieces of fresh pineapple provide zippy contrast to the melons' musky sweetness, but the entire composition would be much improved by, at the very least, some strawberries or grapes. A strategically placed display of pastries, cookies and squares tempts those not yet satiated by bacon and bagels. All are made from scratch in Fresh Start's kitchen and, though it is indeed a difficult decision, we select a Raspberry

Coconut Square ($3.99) and Chocolate Pecan Tart ($4.99). The square is attractively crosshatched with glossy crimson raspberry ribbons atop a meringue-like cloud of coconut. It is remarkably light and sings with the vivid vibrancy of berries. The tart is the raspberry square's seductive antithesis: a buttery pastry shell crowded with rich pecans and dark chocolate. They are a sweet, but not excessive coda to a solid brunch. The suburbs do lack the gastronomical diversity of established, central neighbourhoods. Fresh Start Bistro, however, attests that Suburbia is far from a culinary wasteland. V mon – thu, sat (7 am – 5 pm), Fri (7 am – 7 pm), sun (9 am – 3 pm) fresh start bistro 484 riverbend square 780.433.9623

VUEWEEKLY // JUL 29 – AUG 4, 2010

DISH // 11


Online at >>ARTS

Slideshow >> Draw


Changing of the guard

Swapping the position of poet laureate for a songwriter would be more reflective of art's daily importance David Berry //


hen Edmonton named Roland Pemberton, aka Cadence Weapon, our third poet laureate in May of last year, we turned heads in both directions. There were those who were sharply opposed to the decision, who took the appointment of a person better known for his music as a misguided, populist move at best and an affront to what a poet laureate is supposed to be at worst. Then there were those who praised it as a rare forwardthinking decision, an acknowledgment of the broad definition of poetry or even just an opportunity to engage a wider swath of the population with a position that, though it's not even a decade old, can feel a bit antiquated. Of these, I'd count myself pretty firmly in the latter camp. So much so, in fact, that I think that when it comes time for Pemberton to vacate the post next July, Edmonton should go one step further and reconsider the post of poet laureate entirely. Instead of returning to the old well and going back to another traditional choice, I think it's time we scrap the poet part entirely and use Pemberton as a jumping-off point for founding a new position altogether: songwriter laureate. Before Edmonton's poetry community goes off to write sonnets about my grotesque taste or sub-literacy, I should say that I don't have anything against poetry as an art form. As a graduate of the University of Alberta's English program before it became a pseudo-philosophycriticism degree, I've got an institutional-

// Luke Ramsey

ized appreciation for the stuff, and I even managed to internalize some of the lessons about the joys of rhythm and rhyme for their own sake. I'll admit that I find the modern predilection for free verse a little baffling, insomuch as I think once you entirely untether yourself from artistic restraints, you destroy a lot of what makes art so exhilarating, but that's an accusation I could level just as easily at free jazz, and anyway I'm not so arrogant as to confuse taste with truth. No, this is a matter of cultural impact. As laid out by the city, the poet laureate essentially has two main responsibilities: to

reflect the city through readings of poetry, and to act as an ambassador for the literary arts. It isn't explicitly laid out as such, but I'm willing to argue that "reflecting the city" is the most important aspect of that particular job description: for a start, anytime the word "ambassador" isn't followed reasonably quickly by a country name, it's usually a political term for "what we want to appear to be providing at least token support to." Less cynically, though, that understanding of the position is a relatively recent invention: historically, the poet laureate was a documenter of the life and times of a city (or country or what

have you), speaking to the public and promoting a certain level of civic engagement through a popular and accessible form. The very idea that the poet laureate needs to act as an "ambassador for the literary arts" is indicative of its decreasing relevancy to the public. I'm not trying to argue that poets aren't capable of representing their city: The Office Tower Tales, produced by former poet laureate Alice Major while she was in the position, mines a lot of humour and pathos from a quintessentially Edmonton experience— chatting over lunch at a food court. But the underlying idea that the literary arts— or, really, any art form—need someone to remind us of their importance is selfdefeating: it inherently suggests that the art form is something that needs to be preserved, that can't stand up without institutional support. And all that does is reinforce the notion that art is something somehow removed from the average person's everyday life. But music—particularly popular music, for which the loose definition "songs with lyrics" will suffice in this case—is an art form that is all around us: I mean, you're not going to flip this page and suddenly discover a poetry section taking up the back half of our paper, and it's a reasonable assumption that Vue's audience is more arts-aware than the average Edmontonian. Popular music ranks with film or television as the most prevalent art form in our everyday lives. Partly because of this prevalence, though, many people don't really consider them as such, which is unfortunate and wrong-headed but true all the same. If nothing else, the legitima-

cy that a city-sponsored position could confer on an art form like songwriting could serve as a patently direct reminder of the importance and vitality of the arts in peoples' lives.

Certain themes arise: faith, the passage of time and mortality are all at play in Murray's mind, though his takes on each tend to vary and he's unable to stick to one point of view. I suppose then that Glimpse doesn't offer particular insight into where Murray himself stands, but an undecided mindset here is kind of fun, particularly when his humour shines through and reinforces the form: these thoughts are distilled, but also unfiltered, unjudged, left to blossom from however they first appeared to a poet confident enough to choose no side over another. Murray's already begun to establish himself as a noteworthy poet in the country, and Glimpse certainly hints as to why: each brief meditation offers at the very least an confident perspective on the world around him, and when

he really digs deeper, offers that kind of intense momentary mind-rush the best lengthier poems do. If Glimpse has any weaknesses, outside the occasional aphorism that feels too simplistic and included for wordplay—"DNA rhymes with TnA" stands out—it's that after enough tidbits, you start to crave something more substantial. So really, Glimpse is just that: an introductory glance into what Murray is capable of in language and thought—it just happens to also be a worthwhile text in its own right, too. V

And it's not as if we're talking about a huge difference in medium here, either. I'm happy to support arguments that, say, television—even some of the exceedingly intelligent television that's regularly produced these days—is a fundamentally different and arguably poorer intellectual and spiritual experience than reading a book. But the essential difference between poetry and popular music is that the latter has music behind it. You could argue that the musical flourishes make things like rhythm and emotional impact more obvious in lyrics, but I'm not convinced that's inherently a bad thing, and anyway melding music and lyrics is debatably a more complex process at that. I think you could also argue that the broader commercial and popular appeal of music attracts a wider and therefore deeper pool of talent than poetry, too, but here again we run the risk of arguing tastes, so I'm willing to leave it at the fact that these are related and comparable art forms, though only one is capable of drawing a crowds of a thousand or more onto a closed-down city street on a Sunday afternoon. Poetry certainly has its place, and I'm wouldn't presume to discourage anyone from practising or appreciating it. But when it comes time to pick an art form that truly represents the city and encourages people to engage with the arts, songwriting is the better choice. V


Confident refinement Glimpse a strong collection of aphorisms Paul Blinov //


phorisms are a tricky little shade of language arts: they're delicate, curt compositions reaching for some brief flourish of poetic truth, and in doing so trying to avoid coming across like quotes on an inspirational calendar: universal, but blandly so, to be endlessly quoted into oblivion instead of offering actual affect or meaning. How do you craft a short line that resonates without skirting cliché? It's a form that calls for a confident imagination, capable of cautious refinement,

12 // ARTS

and George Murray's rewarding take on the form is a little less serious, a little crisper, and more rewarding than most attempts. Glimpse: Selected Aphorisms, collects 409 of his own one-or-two-line thoughts that aim to offer "crystallized poetic essence," and mostly succeed in doing so. It isn't a book to be read cover to cover. Few poetic works are, really, but each of these aphorisms deserves some individual rumination, and, set five to a page, that's difficult to do in a marathon session. Instead, Glimpse is worth multiple flip-throughs, as when

given time to be thought over, the wealth of information, though divided into short morsels, is bountiful. There's a skewed, intelligent humour at work in lines like "Solipsists should mind their own business" and "Acceptance is a matter of ignorance." But his insights into art and imagination seem strongest: "The artist obsessed with eyes is young; the one obsessed with seeing a little older; the one obsessed with what seeing has done to his eyes is the eldest" presents a wisened glimmer of thought into his own craft, where a handful of words speak mountains of thought.

VUEWEEKLY // JUL 29 – AUG 4, 2010

Available now Glimpse: Selected Aphorisms by George Murray Ecw Press 90 pp, $16.95


Found in translation

Roberto Bolaño's short fiction sees an english release A story might begin like so: "William Burns, from Ventura, California, told this story to my friend Pancho Monge, a policeman from Santa Teresa, Sonora, who passed it on to me ... " There's the suggestion that what's about to unfurl was simply transcribed from a friendly conversation, or perhaps a drunken, wee-hour confession. Sometimes the names of the characters are the same as .com those of real people, such as weekly h@vue tc o c s p the late porn actor John Hol- ho Josef mes. Sometimes these names raun B read as obvious covers for the author himself. These qualities imbue the stories in Roberto Bolaño's The Return (New Directions, $30) with a seductive intimacy, the allure of secrets being shared, of something once hiding THE RETURN>> Bolaño mixes fact with dreamlike invention // Courtesy of New Direcitons in the world being excavated. But then we remember that there's no such place They also emphasize the freedom Bothe life of a girl he dated in his youth. as Santa Teresa in the state of Sonora, laño might have found in working within Clara remains a peripheral figure in his that John Holmes died in 1988, not 1990, diverse milieux, that the author of such life—it's only when she vanishes that and that it might be advisable to avoid ambitious novels as 2666 and The Savhe recognizes his need for her. "Prefiguconfusing Arturo Belano with Roberto age Detectives was having fun sinking his ration of Lalo Cura" concerns the child Bolaño, however compelling the illuteeth into the microworlds of Russian of a renegade priest and the female sion. Bolaño's best stories often hover thugs, the adult film industry, necrostar of the Olimpo Movie Production in this twilight realm where the convicphile French clothing designers and inCompany, now a confused adult trying tion of the narrator's voice, speaking to ternational soccer stars. Yes, death lurks to make sense of his mother's career. us softly as though over the airwaves, in most every corner, but the titular tale Passing through life with a moniker like allows us to lose sight of the frontiers assures us that dying is actually pretty CONTINUED ON PAGE 14 >> between the factual, the apocryphal and much like it's depicted in the Patrick the dream-drawn invention. A lucid voice Swayze/Demi Moore mega-hit Ghost, speaking to us of obscure and illucid and that forging connections with some things. If you like spending time in this living person will set us free to leave our place, keep reading. shells behind and roam the afterlife. The 13 stories in The Return, transDedicated to Mexican author Juan Villated by Bolaño's award-winning steady loro, "Buba," the soccer story, recalls Chris Andrews, are culled from two cola winning streak that may or may not lections already published in Spanish, have been the result of magic blood rit1997's Llamadas telefónicas and 2001's uals undertaken by an African playing Putas asesinas. The selections seem arfor Spain. It may have also been the reranged in pairs: two about Russia, two sult of a peculiar and impermanent sort about mentally unstable women, two of friendship between young men with about the porn industry. These little their lives still ahead of them. The nardiptychs make for a pleasing fluidity. rator of "Clara" attempts to chronicle


VUEWEEKLY // JUL 29 – AUG 4, 2010

ARTS // 13


Paul Blinov //

Sat, Jul 24 / DRAW / Latitude 53 See more of PAUL BLINOV'S photos from the Calgary Folk Fest at vueweekly.COM



Lalo Cura—"la locura" means madness in Spanish; Bolaño liked the name so much he recycled it in 2666—our narrator obsesses over how names determine our fate. Lalo was born in a neighbourhood called The Impaled. "The name glows like the moon. The name opens a way through the dream with its horn and man follows that path." It also reminds him of how many times his mother was impaled by her co-stars while acting in the bizarre, surrealistic blue movies authored by a mysterious German working in Latin America. Bolaño's synopses of these movies make for some lively reading. Coming just a month after The Return, The Insufferable Gaucho (New Directions, $28.50), also translated by Andrews—who even has a story dedicated to him—is a somewhat slimmer collection of short work. There are fewer, longer stories, and a couple of these might just be among the finest writings available in English from Bolaño. The titular story concerns a retired lawyer and judge who, following the departure of his adult children from his Buenos Aires home and the collapse of the Argentine economy, moves to his long-abandoned ranch in las Pampas, where he very gradually sheds an entire way of life and adopts another. Along the way he becomes familiar with the local rabbit population, some of which prove to be shockingly bloodthirsty, their appearances resembling something out of Paul Bowles. Bolaño's evocation of place is rife with typically odd details and utterly immersive. There's something almost like optimism here, too, a sense that there are brief windows in our lives that, should

14 // ARTS

VUEWEEKLY // JUL 29 – AUG 4, 2010

we heed their invitation, will offer up the opportunity to change everything. A sort of homage to Kafka's final short story, the unambiguously titled "Rat Police" at first glance seems like the least likely Bolaño project yet: a detective fiction set in the sewer-washed world of rats. Rats, we're told, rarely make art and they rarely murder, so this story is about the exceptions to the rule, narrated by a rat cop whose life brushes against both phenomena. As is often the case in Bolaño's cosmology, art and murder share something essential that's never quite articulated but dangles brilliantly in the imagination. The rat authorities lack of interest in what appears to be serial murders could almost read as a dry run for the under-investigated killings in 2666. The Argentine novelist at the centre of "Alvaro Rousselot's Journey" discovers he's plagiarized by a European filmmaker. Still a minor author, perhaps vaguely flattered, he lets it slide. Time passes, Rousselot publishes another novel, the filmmaker makes another movie—and plagiarizes Rousselot again! Not only that, the filmmaker actually kind of improves on the source material. Rousselot still doesn't take legal action. In fact, he despairs that the filmmaker might have abandoned him, that he might lose his best reader, "the reader for whom he had really been writing, the only one who was capable of fully responding to his work." The story is very funny, shaped by unexpected encounters, and there is a delicious irony at work here, but there's also an allusion to the secret destinies that seem to lay waiting for everyone, should they take off the lid and peer into the burbling stew. What you see might make your blood curdle. It might also startle you with the beauty of its design. V


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ARTS // 15



Online at >> FILM


Southing Off

Brian Gibson looks at the return of the Old South and American remakes

Sacha Guitry


To the Bone

Winter's Bone offers a tale of resilience maintain a mafia-like grip on the meager local economy. "Never ask for what ought to be offered," Ree instructs her little brother, which is another way of saying steer clear of anything that feels like less than straight-ahead generosity.

Josef Braun //


omewhere in the Ozarks, though it could be any number of places cradled beyond the fringes of modern prosperity, we can no doubt find communities just like this, where men are either absent or to be found cooking up drugs, driving trucks or just getting wasted and mean and violent, while tough women do the grunt work, finding something to eat, holding down the fort—perhaps literally—and just generally negotiating for their family's survival. Sometimes music is played on fiddles and guitars, and when this happens it's just about the only time we see men and women enjoying each other's company in Winter's Bone, though surely there are other unseen interactions, love making at least, that would explain how these people keep going, how one generation follows another. Debra Granik's adaptation of Daniel Woodrell's novel embraces both the harsh beauty of its setting and the utter bleakness of its portrait of life among these rural poor, their abandoned cars, muddy clothes and burnt-down meth labs, their lack of work and surplus of weight. Unlike Ang Lee's 1999 adapta-

HARD KNOCK LIFE >> a 17-year-old is responsible for her siblings in Winter's Bone tion of Woodrell's Ride With the Devil, it's a fairly humourless movie, though I think its tone is imposed less by Granik's striving for seriousness than by the needs of story and genre. This is a thriller driven by desperation. Ree Dolly (Jennifer Lawrence) is only 17, but she alone is responsible for raising her much younger siblings. Her mother's incapacitated and her father's who-knows-

// Supplied

where, maybe dead. She needs to find out, because he's apparently skipped bail and the family's property could be taken away. Ree spends the movie going from one unfriendly door to another in search of someone, anyone, who can help, even her extended family, not necessarily an advisable resource in this place where blood ties can lead to bloody conflicts and certain households

Yet, while there are definitely times in Winter's Bone when the menace feels overcooked, generosity is not alien to this place or to this story. Though Ree gets threatened, beat-up and abandoned, she also has a neighbour that lends her feed for her horse; a friend saddled with a small child and a dink for a husband who nonetheless gives her a ride when she needs it; an uncle's girlfriend who gives her a joint to chill out after a terrifying encounter in the uncle's kitchen; she meets one of her dad's girlfriends, played by Twin Peaks' Sheryl Lee, who tries to give her a useful lead on dad's whereabouts (so that's what would have become of Laura Palmer had she lived); she's saved from possible death by that same very scary aforementioned uncle (John Hawkes, a near ghost of a man); she's given some good advice from a US military recruiter who can see that she, like so many in her part of the country, is considering the army just for the money.

Ree's already proven her resilience before the story even begins by caring for her family and home and teaching the kids to fend for themselves, even to hunt and skin squirrels if occasion calls. "Do we eat those parts?" her little brother asks, looking at the squishy, steaming guts. "Not yet," Ree answers flatly. Ree will prove her fortitude again and again, discovering inner resources she probably didn't even know she had along the way, and Lawrence gives a tremendous performance, one that feels like pure adrenaline with no time to waste on ingratiating winks. But the story rewards Ree's almost mythical testing of will, not with anything like a fantasy happy ending but with the simple reassurance that when things go from bad to worse, with a little bit of luck, someone will be there who gives a shit, and will extend any free hand they can. V Opening Fri, Jul 30 Winter's Bone Directed by Debra Granik Written by Granik, Anne Roselini Starring Jennifer Lawrence, John Hawkes Garneau Theatre (8712 – 109 st)



I'm a pretender

Close-Up documents a strange case of impersonation It's not stark enough to be considered parer who would be otherwise nondeody, but Abbas Kiarostami is setting up a script—but he's far less interested in pretty sharp contrast with the first scene the sensational aspects of the story. of Close-Up, his sort-of documenFor Kiarostami it is less the story tary about a man pretending to of a lifetime than the story of be a famous Iranian filmmaker, a life, not so much how but finally out on a typically lush why exactly Sabzian not new DVD release from Criteonly passed himself off as m o .c ly eek rion. In it, we're following a Makhmalbaf, but continued @vuew e v ti c vddete reporter, Hossain Farazmand, d the charade for as long as he avid D on his way to try and find the did, meandering through the Berry Ahankhahs home pretending to home of the Ahankhahs. Full of ingratiating talk for the cabbie who's set up shots, talking to them about driving him and bluster about a story starring roles, eating lunch and making that only comes along once in a lifetime, idle chat about the film business. he lays the groundwork for our story: at That's only emphasized by his technique, the Ahankhahs, there is a man purporting which intersperses Sabzian's courtroom to be famous Iranian filmmaker Mohsen testimony with recreated moments from Makhmalbaf, and he is going to expose Sabzian's deception of the family— him in a sensational piece. starring all the real people who were Kiarostami is going to expose this actually involved as themselves. That's man too—Hossain Sabzian, a laboura pretty brilliant stroke, as it not only



16 // FILM

focuses the questions of reality brought up both by the act of filmmaking itself and, of course, Sabzian's actions, but also puts us, insomuch as is possible, directly into the emotional lives of everyone involved, gives us full access to the scope of Sabzian's humanity and lets us understand where he's coming from. As much as we could talk about the philosophical implications of real people playing out a story where a man pretends to be another—and a filmmaker, no less—it is that emotional investment, I think, that really makes Close-Up something special. That's really what makes Kiarostami's film feel like more than just a clever conceit, and as smartly as he attends to his headier questions, Close-Up's most powerful moments come as we get further into Sabzian. Most of that happens through the court

VUEWEEKLY // JUL 29 – AUG 4, 2010

testimony, where he is asked to explain himself by a stern but understanding judge. I haven't any clue if court in Iran is always this forthright, but Sabzian has an earnestness and a genuine understanding of self that seems quite rare whatever the circumstance. His descriptions of what Makhmalbaf's films mean to him are often quite beautiful in their simplyexpressed way, and seem purely infused with the kind of poetic but pure romanticism that artists themselves often ascribe to their work. More touching still are his descriptions of what it means to have people treat him like Makhmalbaf: I guess that's the obvious reason for doing what he did, but the disarming way he talks about being respected and having people genuinely want to be around him says far more about the dream of celebrity than libraries of academic texts or bemoaning columns. But then, of course, there's the open question as to whether any of that is sincere. As one of the Ahankhah sons rightly points out, Sabzian has proven rather adept at lying about who he is, and it's entirely possible that all this talk of

dignity and respect is just another bit of his act. Sabzian wasn't really malicious in his deception—he only accepted money, and not even a great deal of it, once—and the fact he's actually in the film speaks to some degree of reconciliation with everyone involved, but still, it's entirely possible that he's just very adept at knowing what people want to hear. As the judge points out, there are times when it seems he's speaking for the camera, and his familiarity with Makhmalbaf would suggest that he knows a bit about what this particular audience would like to hear. None of that really gets resolved, thankfully, and instead our climax is an absolutely gorgeous, simple shot of Sabzian riding on a scooter with Makhmalbaf himself, heading towards the Ahankhah home to make amends. In sharp contrast to its title, Close-Up ends with a distant shot of its subject, at times barely even visible behind bushes and between cars, suggesting that, however much he tells us, we won't ever really know much of anything about Sabzian. He's simply a man that once pretended to be another man, and take of that what you will. V


Last man standing

Solitary Man fun and crude, but a little lacking Josef Braun //


he title is ironic, though the movie itself at times seems to be not entirely aware of this irony, nonsensically scoring its opening credit sequence with Johnny Cash's rendition of the titular Neil Diamond ditty about a young man's unease with cheating women, which is rather the opposite of what's going on here. Six years after the mere mention of a potential heart problem prompted a late mid-life crisis and a catastrophic and very public personal meltdown, career luxury-car peddler Ben Kalmen (Michael Douglas) seems capable of just about anything other than being alone. He may have split from his wife Nancy (Susan Sarandon in a pretty thankless supporting role), but most nights he's on the prowl for fresh flesh, preferably under 40, which according to Ben is the threshold beyond which the body "thickens." Not only do women support the sating of Ben's carnal desires, or more to the point, his self-esteem, they also supply him with important business contacts— Ben's heavily reliant on nepotism since his being arrested for fraud (see aforementioned meltdown). See, the problem isn't so much that Ben has sex with the barely legal daughter (Imogen Poots, very good) of his rich girlfriend Jordan (Mary-Louise Parker), but that he was going out with the rich girlfriend in the first place. Jordan is only the most luscious embodiment—thickened or no— of Ben's desperate cynicism in action. He's using her, shamelessly. When push comes to shove comes to shit-kicking, which it will once that daughterly dalliance comes to light, it appears Ben will give up or sell-out just about anybody, including his adoring grandson, the subject of some emotional blackmail undertaken by Ben's daughter, Susan (Jenna Fischer).

neyed ensemble crime caper premise, and that more or less lines up with my response to Solitary Man. I found myself rooting for the movie right to the end, enjoying certain audacious twists and its willingness to let its hero sink pretty low while ostensibly en route to redemption, and Douglas gives a beautifully modulated, unapologetic and detailed performance from the get-go (though it's one that promises to be topped by his return as Gordon Gecko in the forthcoming Wall Street sequel). But Ben seems oblivious, his mind made up about what mercenary tactics one must engage in to succeed in life, which results in some fun, pretty crude and not devoid of truth life lessons offered by Ben to gawky college sophomore Dan (Jesse Eisenberg, who's only in his mid-20s but might be playing college sophomores until he's 50). I think

// Supplied

what ultimately makes Solitary Man a bit unsatisfying is that it strives to embrace the virtues of friendship, family and solidarity, yet, even in Nancy's eleventhhour offer of rescue from still greater disaster, the whole movie, like Ben, remains fundamentally solipsistic. Not a single character besides Ben emerges as anything more than a functionary, and for his final moment on screen Ben looks like he might work up the energy to shrug in response to it all. V Opening Fri, Jul 30 Solitary Man Directed by Brian Koppelman, David Levien Written by Koppelman Starring Michael Douglas Princess Theatre (10337 - 82 ave)



Photo: Al Seib Costume: Dominique Lemieux © 2001 Cirque du Soleil

Solitary Man was co-directed by journeyman scenarists Brian Koppelman and David Levien, who previously collaborated in this same capacity for 2001's Knockaround Guys, that movie where Seth Green got to die along to a Bob Dylan song. I vaguely remember feeling some sympathy for that earlier picture despite its finally rather hack-

MAN ABOUT TOWN >> Michael Douglas isn't quite a Solitary Man


9?HGK;:KIEB;?B$9EC -.&#*+'#.&&&

ALE2 – EDMONTON – ANN JRNL – 1 JUILLET (BANDEAU INSIDE) VUEWEEKLY //2010 JUL 29 – AUG 4, 2010 N annonce : 025695_ALE_EDM_1 juillet Date de Livraison : 25 juin Linéature : O

Publication : Format Fini :

Vue Weekly 10.25” x 1.7”

Date de Parution : 1 juillet 2010 Couleur : CMYK

100 lpi. Safety : XXX Infographiste : Eric


N1 O

FILM // 17


Swapping stages for cameras

Presenting Sacha Guitry remembers the cinema of a forgotten master

CHEATING SCOUNDREL >> A scene from Guitry's The Story of a Cheat Josef Braun //


hadn't heard of him either, yet the writer, director and star of everything in Eclipse's Presenting Sacha Guitry was Paris' most popular and prolific playwright of the 1920s. Guitry's reluctant turn toward the cinema—which

18 // FILM

VUEWEEKLY // JUL 29 – AUG 4, 2010

// Supplied

seemed to him an inferior and technically fussy medium, one attempting to pickle the ephemeral vivacity of theatre—was initially done only as a method of reaching a larger audience. Yet the story of Sacha Guitry is as compelling a piece of evidence as I've seen that great things can arise when an artist is coerced to work in a form other than the one in which he or she feels most comfortable. I can imagine Guitry's stage work as very fleet-footed, pithy and entertaining, but I'd be surprised if it had anything on the playful innovation or unbridled narrative accumulation or sense of quiet spaces within a noisy world that one finds in the quartet of movies collected here. Far from stage-bound—it was actually based on Guitry's only novel—The Story of a Cheat (1936) could only have been conveyed through Guitry's rigorous, sometimes audacious embracing of montage, voice-over and an audiovisual dissonance unique to movies. The Cahiers crowd would dub it "pure cinema." As Guitry's titular grifter writes his memoirs his words summon up images from the past, or in any case his own no doubt fabulous version of it—no one in these flashbacks speaks, so no one can contradict the narrator or subvert his total control. He was born to provincial grocers and had a litter of siblings, all of them killed by a poisonous fungus dinner the child cheat was denied because he swiped change from

the register. So he learned very early that crime pays, and as his biography unfolds at absurd, breakneck speed, he moves between France and Monaco, becomes a card shark, a soldier, a master of disguise and a croupier. He tries to go straight now and then, but he's always dragged back, perhaps because the particular rules of Guitry's universe insist that anything that happens once will happen again and again. A chronicle of crossed destinies that traverses continents and centuries in its attempt to follow the movement of small precious objects as they're passed between royals and thieves, The Pearls of the Crown (1937) seems ripe material for an Italo Calvino novel, but Guitry rendered it instead as a dizzying historicalapocryphal-completely made-up cinema spectacle, one incorporating over 80 locations and some 200 characters, many of them famous monarchs, three of which are played by Guitry and another three by his spouse and regular costar Jacqueline Delubac, so witty and lovely and possessing of a smile that would later grace the visage of Brook Adams. The Pearls of the Crown is in part a cosmic-comic study in simultaneity. The dialogue is divided between three languages—four if you count Guitry's "Abyssinian," which is actually French played backwards—though you need only understand one of them to get the gist of any given scene. Language lessons become grounds for seduction,

half an entire conversation consists solely of adverbs, a statue comes to life—twice, lovely heads are chopped off, wars are fought, revolutions erupt, men scour the globe on wild goose chases and those milky pearls are bequeathed from one generation to another. You feel like Guitry could keep telling the story forever, yet when it ends it ends at precisely the only place it could have. A twisty comedy of complicated love, Quadrille (1938) is chronologically the last movie in Presenting Sacha Guitry. It's perfectly delightful, utterly engrossing and most obviously based on a play. I'd rather end by describing Désiré (1937), which seems much more modest than its predecessors yet might be my favourite. Guitry plays the dapper and meticulous titular valet who arrives very late one night in the hope of finding work with Delubac's Odette Cléry, a retired and obviously wealthy actress currently involved with a starchy politician. From the start Désiré's new gig is unnervingly tenuous—Odette telephones Désiré's previous employer and discovers that his position was terminated only on account of certain romantic tensions that arose between the two—and you get the sense that Désiré's gift for suddenly improvising monologues that feel like resolved conversations is the only thing keeping him off the streets. Guitry's age and portly figure—he resembles a cross between Jean Gabin and the elderly Fritz Lang—make his assuming the role of the haplessly seductive Désiré seem comical or simply the whim of a director's vanity, yet this bit of counter-intuitive casting makes the protagonist only more interesting, and his situation far more desperate. Meanwhile, the off-screen action and dearth of locations feels less like canned theatre than it does an exploration of the cloistered world of servants, and the story's focus on erotic dreams and private conversations provide a sense of intimacy and nocturnal quietude. It all ends as simply and strangely as it began, and for all its talk there's so much left unsaid, leaving us strangely moved. Guitry is customarily compared to Noël Coward, but something in Désiré at least reminded me of Robert Walser. Here's hoping that we can continue to discover more from this forgotten master. V Now available on DVD Presenting Sacha Guitry Featuring The Story of a Cheat, The Pearls of the Crown, Quadrille, Désiré

FILM WEEKLY FRI, JUL 30 – THU, AUG 5, 2010 s

CHABA THEATRE�JASPER 6094 Connaught Dr, Jasper, 780.852.4749

DESPICABLE ME (G) DAILY 1:30, 7:00, 9:15 INCEPTION (PG violence) DAILY 1:30, 6:35, 9:15

CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585


5074-130 Ave, 780.472.9779

KHATTA MEETHA (PG violence) Hindi

W/E.S.T. FRI�SAT 1:15, 4:35, 7:45, 11:00; SUN� THU 1:15, 4:35, 7:45

MEL KARA DE RABBA (PG violence) DAILY 1:10, 3:50, 6:40, 10:00

JONAH HEX (14A, violence) FRI�SAT 1:40, 4:50, 7:20, 9:30, 11:25; SUN�THU 1:40, 4:50, 7:20, 9:30 THE KARATE KID (PG violence, not recom-

mended for young children) DAILY 1:05, 4:00, 7:00, 9:55

KILLERS (PG violence, coarse language) FRI�

SAT 1:45, 4:40, 7:05, 9:25, 11:40; SUN�THU 1:45,

4:40, 7:05, 9:25

MARMADUKE (G) DAILY 1:25, 3:40 SEX AND THE CITY 2 (14A sexual content,

not recommended for children) DAILY 6:35, 9:40


3:50, 6:30



passes DAILY 11:30, 2:00, 4:30, 7:00, 9:30

DINNER FOR SCHMUCKS (14A) No passes FRI�TUE, THU 1:00, 4:00, 7:15, 10:20; Wed 12:30, 3:30, 7:15, 10:30 matter) No passes DAILY 12:10, 3:15, 6:40, 9:20

RAMONA AND BEEZUS (G) DAILY 11:50, 3:10, 6:30

SALT (14A) No passes FRI�WED 12:40, 1:30, 3:45, 4:30, 6:45, 7:45, 9:45, 10:30; THU 12:40, 3:45, 4:30, 6:45, 7:45, 9:45, 10:30; Star & Strollers Screening: THU 1:00 INCEPTION (PG violence) DAILY 11:30, 12:00, 3:00, 3:30, 6:30, 7:00, 10:15, 10:30

THE SORCERER'S APPRENTICE (PG violence, frightening scenes) DAILY 12:15, 3:20, 7:20, 10:10 DESPICABLE ME (G) DAILY 12:50, 3:40 DESPICABLE ME 3D (G) Digital 3d FRI� TUE, THU 11:40, 2:15, 5:00, 7:30, 10:20; WED 11:40, 2:10, 4:35, 7:30, 10:20

PREDATORS (18A gory violence) FRI�TUE, THU 1:10, 4:10, 7:25, 10:25; WED 1:10, 4:10, 10:25



2:00, 4:45, 7:30, 9:45, 11:55; Sun-Thu 2:00, 4:45, 7:30, 9:45

violence) DAILY 12:25, 3:35, 7:10, 10:25


GROWN UPS (PG crude content, language

3d FRI�SAT 1:00, 3:45, 6:50, 9:10, 11:30; SUN� THU 1:00, 3:45, 6:50, 9:10

THE TWILIGHT SAGA: ECLIPSE (PG may offend) DAILY 12:20, 3:50, 6:55, 9:40

KNIGHT AND DAY (PG violence, coarse

ROBIN HOOD (14A) FRI�SAT 1:20, 4:15, 7:25,

language) DAILY 9:15


TOY STORY 3 3D (G) Digital 3d FRI�TUE, THU 12:45, 3:55, 7:05, 10:00; WED 12:45, 3:55,

11:15; SUN�THU 1:20, 4:15, 7:25 6:45, 9:15


IRON MAN 2 (PG violence, not recom-

mended for young children) DAILY 1:35, 4:30, 7:10, 9:50

HOW TO TRAIN YOUR DRAGON (PG violence) DAILY 1:30, 4:10, 6:30, 9:00

CINEPLEX ODEON NORTH 14231-137 Ave, 780.732.2236



CITY CENTRE 9 10200-102 Ave, 780.421.7020

INCEPTION (PG violence) DTS Digital,

Stereo Digital DAILY 12:50, 3:45, 7:00, 10:10



RAMONA AND BEEZUS (G) DAILY 12:30, 3:30, 6:20

SALT (14A) No passes DAILY 12:15, 1:20, 2:45, 4:00, 5:10, 6:30, 7:50, 9:00, 10:20 INCEPTION (PG violence) FRI�TUE, THU

12:05, 1:10, 3:15, 4:30, 6:50, 8:00, 10:10; WED 12:05, 3:15, 4:30, 6:50, 8:00, 10:10; Star & Strollers Screening: WED 1:00

THE SORCERER'S APPRENTICE (PG violence, frightening scenes) DAILY 1:40, 4:20, 7:10, 9:50 DESPICABLE ME 3D (G) Digital 3d DAILY 12:00, 2:30, 4:50, 7:20, 10:00

Digital 3d, No Passes, Stadium Seating DAILY 12:15, 2:45, 5:20, 7:50, 10:25


matter) DTS Digital, Stadium Seating DAILY 12:20, 2:50, 5:25, 7:55, 10:30

CLAREVIEW 10 4211-139 Ave, 780.472.7600

GROWN UPS (PG crude content, language


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

violence) DAILY 12:50, 3:45, 6:45, 9:35

GROWN UPS (PG crude content, language


may offend) FRI�TUE, THU 1:30, 4:10, 6:35, 9:10; WED 1:30, 4:10, 10:10

violence, frightening scenes) DAILY 1:20, 4:20, 6:55, 9:30

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

INCEPTION (PG violence) DAILY 1:00, 4:15, 7:30, 9:20

DESPICABLE ME 3D (G) Digital 3d DAILY 1:15, 3:40, 6:35, 9:00


VUEWEEKLY // JUL 29 – AUG 4, 2010


KITTY GALORE 3D (G) DAILY 7:00, 9:05; SAT, SUN, MON, TUE, THU 1:00, 9:05 CHARLIE ST. CLOUD (PG mature subject matter) DAILY 7:15, 9:25; SAT, SUN, MON, TUE, THU 1:15, 3:25; Movies for Mommies: Tue 11:00 am DINNER FOR SCHMUCKS (14A) DAILY 6:55, 9:20; SAT, SUN, MON, TUE, THU 12:55, 3:20

SALT (14A) DAILY 7:10, 9:15; SAT, SUN, MON, TUE,

THU 1:10, 3:15

DESPICABLE ME 3D (G) DAILY 7:05, 9:00; SAT, SUN, MON, TUE, THU 1:05, 3:00

GROWN UPS (PG crude content, language may

offend) DAILY 9:10; SAT, SUN, MON, TUE, THU 3:10

INCEPTION (PG violence) DAILY 6:45, 9:30; SAT, SUN, MON, TUE, THU 12:45, 3:30

CHARLIE ST. CLOUD (PG mature subject

THE SORCERER'S APPRENTICE (PG violence, frightening scenes) DAILY 6:50; SAT, SUN, MON, TUE, THU 12:50

6:50, 9:05; SAT, SUN, MON, TUE, THU 1:50

matter) DAILY 7:05, 9:10; SAT, SUN, MON, TUE, THU 2:05

SALT (14A) DAILY 6:45 9:15; SAT, SUN, MON, TUE, THU 1:45 DESPICABLE ME (G) DAILY 7:10, 9:20; SAT,


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

CATS AND DOGS: THE REVENGE OF KITTY GALORE 3D (G) Digital 3d, No passes DAILY 12:30, 2:30, 4:35, 6:50, 9:15


passes DAILY 12:50, 3:50, 7:10, 10:00

PRINCESS 10337-82 Ave, 780.433.0728

SOLITARY MAN (14A coarse language) DAILY 7:00, 9:00; SAT�MON 2:30

THE GIRL WHO PLAYED WITH FIRE (18A, brutal violence, disturbing content) DAILY 6:45, 9:15; SAT�MON 2:00 SCOTIABANK THEATRE WEM WEM, 8882-170 St, 780.444.2400


CHARLIE ST. CLOUD (PG mature subject

DAILY 11:30, 2:00, 4:30, 7:00, 9:20


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

matter) No passes DAILY 1:20, 4:00, 6:55, 9:30

3:50, 6:40, 9:20

SALT (14A) No passes DAILY 1:50, 4:35, 7:20,


INCEPTION (PG violence) DAILY 12:15, 3:25, 6:45, 10:05

THE SORCERER'S APPRENTICE (PG violence, frightening scenes) DAILY 1:30, 4:05, 7:05, 9:50 DESPICABLE ME 3D (G) Digital 3d DAILY 1:40, 4:15, 7:00, 9:25


GROWN UPS (PG crude content, language GARNEAU

8712-109 St, 780.433.0728

WINTER’S BONE (14A) DAILY 7:00, 9:00; SAT�MON 2:00

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

CHARLIE ST. CLOUD (PG mature subject

2:45, 4:30, 6:15, 7:55, 9:35

CHARLIE ST. CLOUD (PG mature subject

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



Stadium Seating, Digital 3d, DTS Digital DAILY 12:10, 2:35, 5:00, 7:25, 9:50



passes DAILY 12:50, 3:00, 5:10, 7:20, 9:30

4:10, 6:40

6601-48 Ave, Camrose, 780.608.2144

THE KIDS ARE ALRIGHT (STC) Stadium Seating, Dolby Stereo Digital DAILY 12:40, 3:30, 7:10, 10:15


(Classification not available) WED 6:30


matter) No passes DAILY 1:20, 3:20, 5:15, 7:15, 9:20

may offend) DAILY 9:25


matter) DAILY 1:45, 4:40, 7:10, 9:40

THE SORCERER'S APPRENTICE (PG violence, frightening scenes) DTS Digital, Stadium Seating DAILY 1:00, 3:55, 6:45, 9:45

PREDATORS (18A gory violence) DAILY 9:20

12:50, 3:40, 6:45, 9:30

CHARLIE ST. CLOUD (PG mature subject

may offend) DAILY 2:00, 4:40, 7:30, 10:10


matter) No passes DAILY 12:20, 2:50, 5:15, 7:40, 10:15

Passes DAILY 2:00, 4:30, 7:00, 9:15

SALT (14A) No Passes, Stadium Seating,


CHARLIE ST. CLOUD (PG mature subject


violence) DAILY 12:35, 3:50, 6:30, 9:40

Dolby Stereo Digital DAILY 12:05, 2:40, 5:15, 7:45, 10:20

passes DAILY 1:50, 5:00, 7:45, 10:30

1:10, 4:00, 6:50, 9:50

Stadium Seating DAILY 12:00, 12:30, 3:20, 4:00, 6:40, 8:00, 10:00

2:20, 4:40, 7:00, 9:15

passes DAILY 12:40, 3:00, 5:20, 7:30, 9:45


2:50, 5:15, 7:40, 10:10

CHARLIE ST. CLOUD (PG mature subject


SALT (14A) No Passes FRI�SUN 1:50, 4:50, 7:15, 9:45; MON�THU 1:50, 4:50, 7:15, 9:45


DINNER FOR SCHMUCKS (14A) No passes CHARLIE ST. CLOUD (PG mature subject matter) No passes DAILY 12:15, 3:10, 6:40, 9:15


12:30, 3:20, 6:30; WED 3:20, 6:30; Star & Strollers Screening: WED 1:00

SALT (14A) No passes DAILY 11:40, 12:40, 2:20, 3:40, 5:00, 6:50, 7:50, 9:45, 10:45 INCEPTION (PG violence) DAILY 11:30, 3:00,

6:30, 10:00

INCEPTION : THE IMAX EXPERIENCE (PG violence) DAILY 12:00, 3:30, 7:00, 10:30


violence, frightening scenes) DAILY 12:50, 3:50, 7:20, 9:50

DESPICABLE ME 3D (G) Digital 3d DAILY 11:50, 2:15, 4:40, 7:10, 9:30


lence) DAILY 1:15, 4:15, 7:15, 10:15

GROWN UPS (PG crude content, language may offend) DAILY 1:30, 4:20, 7:40, 10:40 TOY STORY 3 3D (G) Digital 3d FRI�TUE, THU 1:00, 4:00, 6:45, 9:40; WED 1:00, 4:00, 9:40

WESTMOUNT CENTRE 111 Ave, Groat Rd, 780.455.8726


INCEPTION (PG violence) Dolby Stereo Digital


SALT (14A) Dolby Stereo Digital, No Passes FRI

INCEPTION (PG violence) DAILY 9:05

CHARLIE ST. CLOUD (PG mature subject mat-

DAILY 1:05, 3:10, 5:05, 7:10

SALT (14A) No passes DAILY 1:35, 3:30, 5:25,

7:30, 9:25

LEDUC CINEMAS Leduc, 780.352.3922

DINNER FOR SCHMUCKS (14A) DAILY 1:05, 3:40, 7:05, 9:40

SALT (14A) No passes DAILY 1:10, 3:35, 7:10,


FRI, MON�THU 7:20; SAT�SUN 12:30, 3:50, 7:20

7:00, 9:40; SAT�SUN 1:00, 3:35, 7:00, 9:40; MON�THU 5:30, 8:20 ter) DTS Digital FRI 6:45, 9:25; SAT�SUN 1:15, 4:00, 6:45, 9:25; MON�THU 5:20, 8:10

RAMONA AND BEEZUS (G) DTS Digital FRI 6:35; SAT�SUN 12:45, 3:20, 6:35; MON�THU 5:10

PREDATORS (18A gory violence) DTS Digital FRI�SUN 9:10; MON�THU 8:00

WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922

DESPICABLE ME (G) DAILY 1:00, 3:25, 7:00, 9:25


CHARLIE ST. CLOUD (PG mature subject

SALT (14A) DAILY 1:10, 3:35, 7:10, 9:35

matter) DAILY 12:55, 3:30, 6:55, 9:30

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


DINNER FOR SCHMUCKS (14A) DAILY 12:50, 3:30, 6:50, 9:30

PREDATORS (18A gory violence) DAILY 1:05, 3:40, 7:05, 9:40

FILM // 19


Not a pest

Ramona and Beezus marks a refreshing portrait of a nine-year-old Brian Gibson //


wo-nintey-two Klickitat Street in Portland, Oregon. No classic movie address like Sunset Boulevard or Mulholland Drive. But by the end of Ramona and Beezus, it's the cozy-yet-spirited messy little spot you're happy you dropped in on. This is an almost quaint throwback of a kids' movie, far from today's usual grossout, smart-assed or CGI-heavy stories. But as a distillation of Beverly Cleary's classic series of Ramona books, most of which came out in the '60s and '70s, the film captures the rough-edged, frank honesty of that period's classic American kids' lit (Harriet the Spy, The Great Gilly Hopkins). The beginning's cloying and mushimental, what with nine-year-old Ramona Quimby (Joey King) having a backyard heart-to-heart with Aunt Bea (Ginnifer Goodwin), or Ramona and teen sister "Beezus" (Selena Gomez) hugging Dad (John Corbett) at the door to their perfect bourgeois home. But then comes the colourful

mess, anxiety and Ramona's hapless good intentions. What seemed an episodic plot ends up enjoyably ragtag and cluttered, all of it contained by an emphasis on neighbourhood and maturity. Dad's laid off and Ramona feels her sense of home and security slipping. She tries to help out, but a lemonade-stand effort goes amusingly sour, as does a car-wash business. Even as she wonders about her place in the family—"I'm not a pest!" she insists—Ramona's wisely realized a little bit of scaring herself, in her imagination, can only steel her for what's ahead. Maturity means facing sharp twists in life, and death—the film offers some darkly bittersweet moments. From her rocky relationship with her teacher to her animated flights of fantasy, from her crackling worries over Mom and Dad fighting to her school-photo-sessiongone-awry, Ramona and Beezus is largely a superb portrait of a nine-year-old girl. King's a charmingly plucky Ramona, while Gomez plays off her as a pretty pa-

tient teen with her own insecurities lingering deep down. (Even the snotty girl in Ramona's grade gets a gentle nudge of humanity.) When Beezus, angry over another Ramona mishap, snaps "you're a pest!" at her, you feel the sting of the blow but it's not catastrophic (as in a lesser, lifeless film). In the end, Ramona's reassured by the frustrating, loving, fumbling family she's fortunate enough to have. Not everything can stay the same and end happily ever after, though. It's that simple but hard truth—which kids and grown-ups know, deep down—that makes the realistic Ramona and Beezus so refreshing and reassuring to watch. V Ramona and Beezus Directed by Elizabeth Allen Written by Laurie Craig, Nick Pustay, Beverly Cleary Featuring Joey King, Selena Gomez, John Corbett



Not to taste

Salt feels dated despite quality casting

EVIL! >> Remember when Russians were always the villain? Salt does David Berry //


t's not just the Russian bad guys with a sinister plot to use some nukes that makes Salt feel like a film that was dusted off and hurried into theatres. As directed by Phillip Noyce—who was responsible for the notable if by no means essential '90s Tom Clancy adaptations Clear and Present Danger and Patriot Games—Salt feels dated and out of step, more the work of a stodgy traditionalist unable or unwilling to change than a fresh throwback to another style of action filmmaking. While it does avoid some of the unfortunate excesses of the last decade's action films, eschewing CGI and a lot of big explosions for something much more physical, it also seems entirely unaware of the more welcome advances, too, like immediacy of camerawork or thrusting your audience into the frenzy. Where equally palpable

20 // FILM

VUEWEEKLY // JUL 29 – AUG 4, 2010

// Supplied

stuff like the Bourne films and the Bond updates they inspired get tight and handheld, Salt is shot with low-angled, mid-length shots—if you're not totally sure what that might look like, just watch any '90s action film starring Harrison Ford—that show off the stunts alright, but also just serves to drive home the point that this is nothing you haven't seen before. And the script—from developing hack Kurt Wimmer (Ultraviolet, Law Abiding Citizen)—definitely doesn't need any help in that department. I feel like people have been overselling how twisty Inception supposedly is, but that's an Escher print fed through a paper shredder and woven back together by orb web spiders compared to the connect-the-dots thoughtlessness on display here. Kicked into the highest gear it can manage by a defector's revelation that trusted CIA agent Evelyn Salt (Angelina Jolie) is actually a Soviet

sleeper with an integral role to play in a decades-in-the-making Communist plot, it tries to play spy-like games of misdirection, but lacks the imagination to do so: most of the film is given over to long chase sequences mostly because the story arch should become rather obvious by the time the first one is over. (Although, to be fair to Noyce, this is the one area where his otherwise-tired direction works, even if it sometimes feels like he hasn't watched a foot chase since The French Connection.) And we'll leave out the usual raft of action film plot holes, which are more revealing of laziness and sloppiness than stupidity. If Salt has a redeeming feature, it's the cast, who are pretty game in a film that gives them ample opportunity to leave the nuance at home (although a touch of humour from any of them might at least make the film less boring). Jolie is a pretty obvious physical presence, which works to Noyce's style, but she also gives her superspy enough grounding to give all the action scenes some weight. Liev Schrieber clearly relishes his role as Salt's superior, chucking all of his broad frame behind his stern type, while Chiwetel Ejiofor, who's making something of a career out of authority figures who fit somewhere between bureaucratic weenie and hulking menace, turns in his usual reliable performance. But none of them are inventive enough to elevate a film that reveals its modernity only by the fact its characters have Blackberries. V Now Playing Salt Directed by Phillip Noyce Written by Kurt Wimmer Starring Angelina Jolie, Liev Schreiber, Chiwetel Ejiofor





29 30

Backlash Blues

Colleen Brown Reverend Horton Heat

Online at >>MUSIC Slideshows: Neil Young, Calgary Folk Fest Vuetube: Colleen Brown performs at the Vue Weekly studio


Not straightening out

SURVIVAL GUIDE Being out in the hot sun for nine hours isn't the easiest thing for your body to handle. When you add all the moshing, skateboarding and excitement that goes along with a Warped Tour stop you've got a recipe for a potential bummer. But never fear, the best way to avoid a bummer is by planning in advance, so Vue's got you covered:

Drink water

Dehydration is your worst enemy and will ruin your day faster than some bad acid. Drink plenty of water the day before, plenty of water the day of and— oh, what the hell?—plenty of water the day after Warped Tour to make sure you stay hydrated. Seriously, aim for drinking your own weight in water—your pee should be crystal clear.

Wear sunscreen

Bryan Birtles //


elebrating 16 years as a roving, youth-oriented festival, Warped Tour is now the same age as the very population it hopes to attract year after year to the wide-open spaces necessary for the festival's multiple stages, mini ramps and merch tents. What began in 1995 as skate punk and ska festival has grown to encompass a range of genres from the street punk of the Casualties to the glib-pop of Katy Perry, who performed on last year's tour. A subtler change for Alberta festivalgoers this year is the festival's relocation; ever since Warped Tour began rolling into the land of wheat and beef it has been located in Calgary, necessitating the exodus of young music fans from the province's capital to its southern neighbour for a fix. This year, however, the festival has shifted from its longtime home at Calgary's Race City Speedway to Edmonton's Northlands. "We'd talked about going to Edmonton for a number of years," recounts festival creator Kevin Lyman. "This year when

we had an opportunity to go we did it and we're looking forward to it. I guess for the Calgary kids who want to come it'll be their turn to drive up and see it. So many people have driven down from Edmonton over the years." For Lyman, who began putting on shows while he was still in school and has come to be known as the go-to guy for touring festivals such as Warped and Taste of Chaos, among many others, the festival's age means that it now has the ability to cycle its fans into its performers. And while such a scenario can sometimes remind the punk rocker of his advancing age, the balance the tour strikes between its history and a new generation of music fans is one Lyman's proud of. "We have a lot of kids on the tour that grew up going to the tour and now play in bands, but then we also have bands like Face to Face, who played in 1995, coming back to the tour. You've got basically two generations out here," he says. "I feel old some days. These kids are getting closer to my daughters' age out here that are playing in the bands. It's hard for me to talk about the old days when so many

of these kids were in diapers at that point. Or not even born." Warped has also excelled at being able to ride out the ups and downs of the economy and the music business better than many of its counterparts. As Lollapalooza and Edgefest shut themselves down, and Lilith Fair struggles to regain the following it had in its original incarnation, travelling festivals seem to be on the wane as a whole, but Warped Tour continues to motor. Lyman chalks up this ability to keep going to the festival's ongoing pursuit of new bands and an ability to change with the times. Whereas Lilith Fair's recent return focused almost exclusively on its past glories—perhaps to its detriment—Warped melds the new with the old, combining youth cultures across generations in order to stay relevant to newcomers as well as longtime participants. "Always connecting the past and the future [is how] I look at it," says Lyman. "We try to connect to the history of where the tour comes from but always try to be cognizant of the future—listening to the kids, going online, learn-

ing about music early, booking bands like Never Shout Never or I See Stars, taking gambles on young bands early and seeing what we can do to try to move their careers forward." What keeps Lyman coming back every year, however, is the exact same thing that attracted him in the first place. Headed down the road to being either a school teacher or a freelance production manager on arena rock shows, Warped was the curve ball he was looking for, the right mix of punk rock and experiences that are out of the ordinary. "I probably could have become a big production manager or worked my way into the U2 worlds, those kinds of bands—I was heading in that direction—but to me those things are kind of predictable," he says. "They're great shows—don't get me wrong, they're fantastic—but for the production manager they're routine. There's very little routine out here for me." V

VUEWEEKLY // JUL 29 – AUG 4, 2010

Thu, Aug 5 (11 AM) Warped Tour Northlands Grounds

It might not make your day-of experience particularly unbearable— because the effects won't show up in time—but forgetting sunscreen will make the weeks after Warped Tour excruciating every time you sit down, stand up or move in any way. Or think about moving. Also, that orb of light that gives us life can also give you cancer, so cover up.

Wear shoes that fit

This one comes directly from the mouth of festival founder Kevin Lyman—"No flip flops ... Don't decide to be a hippy that day." Proper footwear is the basis of any good day—if your feet feel good, you feel good.

Bring what you might need

Plastic poncho in case it rains, camera, note pad and pens for autographs, a hoodie in case it gets cold. Bring what you need to bring to make sure that whatever happens you can keep on keeping on.

Don't bring what you don't need

Trying to bring drugs, alcohol or weapons onto the festival site will get you kicked out and you will be searched so don't do it. If you've got to do it, just smoke up before you get there. V

MUSIC // 21



Kick Off Party; no minors; Kick off: The Keats, Mark Chesnutt, Chris Cagle, Big Mike, Kixxsin; bigvalleyjamboree. com; tickets available at TicketMaster



instrument, jam/sing with the band, bring your own band, jokes, juggle, magic; 8-12


A Latin Twist: free Salsa Dance Lessons at 9pm


Inner City Elegance, Alex Giannakouras, Aberdeen; 7:30pm (door); $10 (adv) at YEG Live

HOOLIGANZ Open stage

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

Thu hosted by Phil (Nobody Likes Dwight); 9pm-1:30am

CAPITAL X Centre Stage:

Woo! Open stage, play with the house band every Thu; 9pm

The Be Arthurs; 1:30pm and 5:30pm

CAPITAL X Telus Stage: Shane Yellowbird, Dean Brody, Hey Romeo, 8pm COLAHAN'S Back-porch jam with Rock-Steady Freddy and the Bearcat; every Thu 8pm-midnight


hosted by Alberta Crude; 6-10pm


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

DIESEL ULTRA LOUNGE Serani (urban); 9pm-3am; $30

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

DV8 Open mic Thu hosted by Cameron Penner/ and/ or Rebecca Jane

DV8 Los Diableros, Radio Hostage; 9pm

ELECTRIC RODEO� Spruce Grove Open

Stage Thu: Bring an

J AND R Classic rock!


open jam; 7-11pm

JEFFREY'S CAFÉ Keltie Malone (pop/jazz singer); $10 JULIAN'S�Chateau Louis Graham Lawrence ( jazz piano); 8pm

L.B.'S PUB Open jam with Ken Skoreyko; 9pm LIVE WIRE BAR Open Stage Thu with Gary Thomas LYVE ON WHYTE

REXALL PLACE Hang Cool Tour: Meat Loaf, Lisa Bouchelle; 7:30pm; $89.50/$69.50/59.50 at, TicketMaster RIC’S GRILL Peter Belec

( jazz); every Thu; 7-10pm



Ave Requests with DJ Damian

GAS PUMP Ladies Nite: Top

40/dance with DJ Christian

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

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

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



LUCKY 13 Sin Thu with DJ




Hipcheck Trio and guests ( jazz, blues) every Thu; 9pm

STARLITE ROOM Early Show: Said the Whale, We are the City, Aidan Knight; all ages at 5pm, $18 at TicketMaster; Late Show: Jucifer, guests at 9:30pm, $12 at Blackbyrd, Freecloud, Listen, TAPHOUSE�St Albert

Omega Crom , Drown Her in the Massacre, The Dead Cold; 9:30pm


DJ Mark Stevens; 9pm


Mike Tomas


Thu: DJs on 3 levels– Topwise Soundsystem spin Dub & Reggae in The Underdog


Albert Hit It Thu: breaks, electro house spun with PI residents RENDEZVOUS PUB Mental Thurzday with org666

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

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


BIG VALLEY JAMBOREE� Camrose Main Stage: Chad

Venus, Peter Ryan

Old Time Fiddlers

Feed the Tiger, Etorama Trio; 7:30pm (door); $10 (door)


Living Daylights

HYDEAWAY�Jekyll and Hyde National Security

Council, Shehzadi and Jessica, Metropolis Is Burning; 8:30pm

IRISH CLUB Jam session; 8pm; no cover


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

JEFFREY'S CAFÉ Dino Dominelli (jazz band); $10 JEKYLL AND HYDE PUB JULIAN'S�Chateau Louis

BUDDY'S DJ Bobby Beatz;



Every Fri: Headwind (classic pop/rock); 9pm; no cover



DV8 The Vrolox, Rock 'n' Roll

180 DEGREES Sexy Fri ARTERY Flint, Plainclothes, Keep Me Safe; 8pm

9pm; no cover before 10pm; Shiwana Millionaire Wet Underwear Contest

Stage every Fri; 9:30pm

GLENORA BISTRO The Armada (featuring James Clarke); 8:30-10:30pm; $10

STOLLI'S Dancehall, hip hop

Escapack Entertainment

Electric Company (pop/rock)


Thu: Dance lessons at 8pm; Salsa DJ to follow



Blackboard Jungle (Pop/Rock)

Rats, I.E.D.; 9pm

SPORTSWORLD Roller Skating Disco: Thu Retro Nights; 7-10:30pm;


all ages; Lindsay Walker and Drew Malcolm; 7pm; $5 (door)

ON THE ROCKS Salsaholic

Thunder (flute and hammer dulcimer); 7pm; $15-$20 (sliding scale) Robert Rowan

CARROT Live music Fri:

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

with Tommy Grimes spinning rock and roll

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


Stage Metric, Hot Hot Heat; 8:30pm; tickets free with admission; all ages

KAS BAR Urban House: with

BRIXX BAR Radio Brixx


CAPITAL X Centre Stage: The Be Arthurs; 1:30pm and 5:30pm

OF BLUES Blue Mon: Jammin' with Jim Guiboche; 8pm-12

Orbital City, Kimberly Spears, Ministry of Zen; 8pm (door); $5

Open Mic Thu; 7pm

Options: Greg Gory and Eddie Lunchpail; 9pm


Graham Lawrence (jazz piano); 8pm

LYVE ON WHYTE Miss Understood

Underground House every Thu with DJ Nic-E

Brownlee, Samantha King, Jack Ingram, The Oak Ridge Boys, Doc Walker, Miranda Lambert; bigvalleyjamboree. com; tickets available at TicketMaster



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

Lazrtag (LA Electro)/DJ Tron, Optimixx Prime, Miyuro Fernando




BRIXX BAR Dualside,

PAWN SHOP Five Alarm Funk, Still Within, Scantily Clad and the Well Dressed Men; 9pm

780.423.HALO HAVEN SOCIAL CLUB 15120A (basement), Stony Plain Rd, 780.756.6010 HILL TOP PUB 8220-106 Ave, 780.490.7359 HOOLIGANZ 10704-124 St, 780.452.1168 HYDEAWAY 10209-100 Ave, 780.426.5381 IRON BOAR PUB 4911-51st St, Wetaskiwin IVORY CLUB 2940 Calgary Trail South JAMMERS PUB 11948-127 Ave, 780.451.8779 J AND R 4003-106 St, 780.436.4403 JEFFREY’S CAFÉ 9640 142 St, 780.451.8890 JEKYLL AND HYDE 10209-100 Ave, 780.426.5381 KAS BAR 10444-82 Ave, 780.433.6768 L.B.’S PUB 23 Akins Dr, St Albert, 780.460.9100 LEGENDS PUB 6104-172 St, 780.481.2786 LEVEL 2 LOUNGE 11607 Jasper Ave, 2nd Fl, 780.447.4495 LIVE WIRE 1107 Knotwood Rd. East MARYBETH'S COFFEE HOUSE–Beaumont 5001-30 Ave, Beaumont MCDOUGALL UNITED CHURCH 10025-101 St MORANGO’S TEK CAFÉ 10118-79 St NAKED CYBERCAFÉ 10354 Jasper Ave NEWCASTLE PUB 6108-90

Ave, 780.490.1999 NEW CITY 10081 Jasper Ave, 780.989.5066 NIKKI DIAMONDS 8130 Gateway Blvd, 780.439.8006 NORWOOD LEGION 11150-82 St, 780.436.1554 NORTH GLENORA HALL 13535-109A Ave O’BYRNE’S 10616-82 Ave, 780.414.6766 O'MAILLE'S 398 St Albert Tr, St Albert, 780.458.5700 ON THE ROCKS 11730 Jasper Ave, 780.482.4767 ORLANDO'S 1 15163-121 St OVERTIME Whitemud Crossing, 4211-106 St, 780.485.1717 PAWN SHOP 10551-82 Ave, Upstairs, 780.432.0814 PLANET INDIGO�Jasper Ave 11607 Jasper Ave; St Albert 812 Liberton Dr, St Albert PLAY NIGHTCLUB 10220103 St PLEASANTVIEW COMMUNITY HALL 1086057 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 ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253


every Thu at 9pm

Night out

Kat Princes; 8pm; donations

Grounded Star at 7pm;

'NEW CITY LIKWID LOUNGE Mod Club: with Travy D and Blue Jay


VENUE GUIDE 180 DEGREES 10730-107 St, 780.414.0233 ARTERY 9535 Jasper Ave AVENUE THEATRE 9030-118 Ave, 780.477.2149 AXIS CAFÉ 10349 Jasper Ave, 780.990.0031 BANK ULTRA LOUNGE 10765 Jasper Ave, 780.420.9098 BIG VALLEY JAMBOREE� Camrose Exhibition Centre, 1km E of Camrose on Hwy 13 BILLY BOB’S Continental Inn, 16625 Stony Plain Rd, 780.484.7751 BLACK DOG FREEHOUSE 10425-82 Ave, 780.439.1082 BLUE CHAIR CAFÉ 9624-76 Ave, 780.989.2861 BLUES ON WHYTE 10329-82 Ave, 780.439.3981 BOOTS 10242-106 St, 780.423.5014 BRIXX BAR 10030-102 St (downstairs), 780.428.1099 BUDDY’S 11725B Jasper Ave, 780.488.6636 CASINO EDMONTON 7055 Argylll Rd, 780.463.9467 CASINO YELLOWHEAD 12464-153 St, 780 424 9467 CHATEAU LOUIS 11727 Kingsway, 780 452 7770 CHRISTOPHER’S 2021 Millbourne Rd, 780.462.6565 CHROME LOUNGE 132 Ave, Victoria Trail COAST TO COAST 5552 Calgary Tr, 780.439.8675 COLAHAN'S 8214-175 St, 780.487.8887 COPPERPOT Capital Place, 101, 9707-110 St, 780.452.7800

22 // MUSIC

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 901388 Ave, 780.465.4834 DIESEL ULTRA LOUNGE 11845 Wayne Gretzky Dr DRUID 11606 Jasper Ave, 780.454.9928 DUSTER’S PUB 6402-118 Ave, 780.474.5554 DV8 8307-99 St, DV8TAVERN. com EARLY STAGE SALOON 491152 Ave, Stony Plain EDDIE SHORTS 10713-124 St, 780.453.3663 EDMONTON EVENTS CENTRE WEM Phase III, 780.489.SHOW ELECTRIC RODEO�Spruce Grove 121-1 Ave, Spruce Grove, 780.962.1411 ENCORE CLUB 957 Fir St, Sherwood Park, 780.417.0111 FIDDLER’S ROOST 8906-99 St FILTHY MCNASTY’S 10511-82 Ave, 780.916.1557 FLOW LOUNGE 11815 Wayne Gretzky Dr, 780.604.CLUB FLUID LOUNGE 10105-109 St, 780.429.0700 FUNKY BUDDHA 10341-82 Ave, 780.433.9676 GAS PUMP 10166-114 St, 780.488.4841 GOOD EARTH COFFEE HOUSE 9942-108 St HALO 10538 Jasper Ave,

VUEWEEKLY // JUL 29 – AUG 4, 2010

ROSE AND CROWN 10235101 St RUSTY REED'S HOUSE OF BLUES 12402-118 Ave, 780.451.1390 SECOND CUP�Mountain Equipment 12336-102 Ave, 780.451.7574; Stanley Milner Library 7 Sir Winston Churchill Sq; Varscona, Varscona Hotel, 106 St, Whyte Ave SIDELINERS PUB 11018-127 St, 780.453.6006 SPORTSWORLD 13710-104 St SPORTSMAN'S LOUNGE 8170-50 St STARLITE ROOM 10030-102 St, 780.428.1099 STEEPS�College Plaza 11116-82 Ave, 780.988.8105; Old Glenora 12411 Stony Plain Rd, 780.488.1505 STOLLI’S 2nd Fl, 10368-82 Ave, 780.437.2293 TAPHOUSE 9020 McKenney Ave, St Albert, 780.458.0860 UNITY CHURCH OF EDMONTON 13829-109A Ave WHISTLESTOP LOUNGE 12416-132 Ave, 780. 451.5506 WILD WEST SALOON 1291250 St, 780.476.3388 WINSPEAR CENTRE 4 Sir Winston Churchill Square; 780.28.1414 WUNDERBAR 8120-101 St, 780.436.2286 Y AFTERHOURS 10028-102 St, 780.994.3256, YESTERDAYS PUB 112, 205 Carnegie Dr, St Albert, 780.459.0295

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

RIVER CREE Leanne Rimes


STARLITE ROOM Juliette Lewis, guests; 8pm; $25 at TicketMaster, Blackbyrd, STEEPS�Old Glenora Live Music Fri

TAPHOUSE�St Albert Rockets and Dinosaurs, Letters to Elise, Neural Manifest; 8pm

TOUCH OF CLASS� Chateau Louis Tony

Dizion (pop/rock); 8:30pm


WUNDERBAR The Awesomehots!, guests

DJs AZUCAR PICANTE Every Fri: DJ Papi and DJ Latin Sensation

BANK ULTRA LOUNGE Connected Fri: 91.7 The Bounce, Nestor Delano, Luke Morrison


no cover


Wooftop and Main Floor: Eclectic jams with Nevine– indie, soul, motown, new wave, electro; Underdog: Perverted Fri: Punk and Ska from the ‘60s ‘70s and ‘80s with Fathead

BOOTS Retro Disco: retro dance


Skating Disco Fri Nights; 7-10:30pm;

STOLLI’S Top 40, R&B,

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


JULIAN'S�Chateau Louis Dennis Begoray

house with People’s DJ

40 with DJ Tysin

TEMPLE Options Dark Alt

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

with Todd and Alex



O’BYRNE’S Live band Sat 3-7pm; DJ 9:30pm

180 DEGREES Dancehall


Foundation Fri

and Reggae night every Sat


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


PLANET INDIGO�Jasper Ave Suggestive Sat: breaks

karaoke with a live band featuring Maple Tea

electro house with PI residents


RED STAR Sat indie rock,

music with DJs



the Dog: Philip Gibbs (live acoustic music every Sat); 4-6pm; no cover


Sures (video release for Gone To Bolivia and album preview); $18




Sheepdog, Canyon Rose Outfit; 9pm

CAPITAL X Centre Stage:

Hedley, Social Code; 8:30pm

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


Big River


Shredmonton Presents: Meanstreak, Kriticos, First Aid Kit, Mortillery; $5

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

RENDEZVOUS Vanity Red, Peribothra, Within the Ashes

STARLITE ROOM Dirty City Hearts, Desousa Drive, The Shakedowns; 9pm TAPHOUSE�St Albert

Degree, Cobra Commander, Battery, Jake Roberts, Ten-O, Cool Beans, Hotspur Pop and P-Rex; 9pm

TOUCH OF CLASS� Chateau Louis Tony

Dizion (pop/rock); 8:30pm

WEM�Newcap Stage

Canadian Country Music Association (CCMA): local, up-and-coming country music artists (RBC Emerging Artists Project); 2pm; every Sat until Sep 11


Robert Rowan Diet

GAS PUMP Top 40/dance with DJ Christian

Open Stage during the day/ Electric Open Stage at night with Marshall Lawrence, 1:30pm (sign-up), every Sat, 2-5pm; evening: hosted by Dan and Miguel; 9:30pm12:30am





House, dance mix with DJ Donovan



first bar for the queer community to open in a decade with DJ's Alexx Brown and Eddie Toonflash; 9pm (door); $5;

REDNEX�Morinville DJ

Gravy from the Source 98.5

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



The Old Sins; 9pm

EMPRESS ALE HOUSE Trevor Tchir; 4pm

GAS PUMP Blues Jam/ open stage every Sat 3-6pm, backline provided HAVEN SOCIAL CLUB

Chris Wynters Band (CD release), Deon Blyan; 7:30pm (door); $10 (adv)/$15 (door); adv tickets at YEG Live

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

HYDEAWAY�Jekyll and Hyde G 20 Fundraiser; 9pm IRON BOAR PUB Jazz in Wetaskiwin featuring jazz trios the 1st Sat each month; $10 IVORY CLUB Duelling

piano show with Jesse,

Skating Disco Sat; 1pm4:30pm and 7-10:30pm

STOLLI’S ON WHYTE Top 40, R&B, house with People’s DJ

TEMPLE Oh Snap!: Every

Sat, Cobra Commander and guests with Degree, Cobra Commander and Battery; 9pm (door); $5 (door)



CROWN PUB Acoustic

DV8 Slates, Kids On Fire,

metal night




Sat DJ at 9pm


and local bands

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

Formula Fri: with rotating residents DJ's Groovy Cuvy, Touretto, David Stone, DJ Neebz and Tianna J; 9:30pm (door); 780.447.4495 for guestlist

hip hop, and electro with DJ Hot Philly and guests

The Violet Hour, Oral Compensation, Chris Busche, SaveNone; 9pm


Electric Company (pop/rock)



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

Main Stage: The Travelling Mabels, Deric Ruttan, Bucky Covington, Ronnie Milsap, Kevin Costner and Modern West, Martina McBride; bigvalleyjamboree. com; tickets available at TicketMaster

Black Polished Chrome Sat: industrial, Electro and alt with Dervish, Anonymouse, Blue Jay Presents Live On Site! AntiClub Sat: rock, indie, punk, rock, dance, retro rock; 8pm (door)

(blues/roots); 9pm-1am; no cover


with DJ Damian

Songwriter's Stage: hosted by Rhea March



FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro

Sat: requests with DJ Sheri

HYDEAWAY�Jekyll and Hyde Sun Night



Blackboard Jungle (Pop/ Rock)

Freakin Frenzy Fri: Playing the best in country


acoustic oriented open stage hosted by Rob Taylor


DJ at 9pm

Rock, hip hop, house, mash up; no minors


Signature Sound Sat: with DJ's Travis Mateeson, Big Daddy, Tweek and Mr Wedge; 9:30pm (door); $3; 780.447.4495 for guestlist

DV8 Savenone; 9pm


CAPITAL X Telus Stage:



Pony Girls, DJ Avinder and DJ Toma; no cover


Platinum VIP Fri

L.B.’S PUB Darrell Kitkitz Memorial Jam: Mark Ammar and Kenny Skoreyko; 9:30pm-2am

by Keri-Lynne Zwicker, 4-7pm

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

The Be Arthurs; 1:30pm and 5:30pm


( jazz piano); 8pm

Know: house every Sat with DJ Junior Brown, Luke Morrison, Nestor Delano, Ari Rhodes


WUNDERBAR Fri with the

BUDDY’S DJ Arrow Chaser; 8pm; no cover before 10pm Underground House every Fri with DJ Nic-E

Shane, Tiffany and Erik and guests

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

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

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



Old Wives, Falklands, guests; 8pm (door); $5


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

NEW CITY Open Mic Sun

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

O’BYRNE’S Open mic Sun with Robb Angus (Wheat Pool); 9:30pm-1am ON THE ROCKS Live

music with DJs

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

Rocketry, Black Mastiff, Bombchan, Owls by Nature; 9pm (door); free show

ROYAL COACH� Chateau Louis Petro

Polujin (classical guitar); 5pm

RUSTY REED'S HOUSE OF BLUES Rusty Reed's open stage; Sun 4-8pm

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


ARTERY 99 Sevens Vol. III:

BACKSTAGE TAP AND GRILL Industry Night: with



Gobble Gobble, Glow in the Dark 7"!); 7pm

Open stage/jam every Sun; 2-6pm


Camrose Main Stage: Mashville Brigade, Jo Hikk, Crystal Shawanda, Tracy Lawrence, Corb Lund and the Hurtin' Albertans, Keith Urban; bigvalleyjamboree. com; tickets available at TicketMaster

BLACK DOG FREEHOUSE Who Made Who–The Rock and Roll Resurrection: The Maykings (revive The Who), The Dirty Dudes (revive AC/ DC); 10pm; no cover

BLUE CHAIR CAFÉ Sun brunch: Jim Findlay Trio; 10am-2:30pm; donations


Side Sun: August 1st: Peter Belec-Guitar; $25 if not dining


Atomic Improv, Jameoki and DJ Tim

Sun Afternoons: Phil, 2-7pm; Main Floor: Got To Give It Up: Funk, Soul, Motown, Disco with DJ Red Dawn

BUDDY'S DJ Bobby Beatz; 9pm; Drag Queen Performance; no cover before 10pm FLOW LOUNGE Stylus Sun NEW CITY SUBURBS Get Down Sun: with Neighbourhood Rats


RnR Sun with DJ IceMan; no minors; 9pm; no cover


Skating Disco Sun; 1-4:30pm;


Gallatea and XS, guests; no cover



Sheep Dogs, Canyon Rose Outfit; 9pm



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


Underground House every Sat with DJ Nic-E Rock, hip hop, house, mash up


CAPITAL X Centre Stage:

Mon: live music monthly; no cover

Maurice John Vaughn


ESMERALDA’S Super Parties: Every Sat a different theme

The Be Arthurs; 1:30pm and 5:30pm

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

CAPITAL X Telus Stage:

DV8 The Lower Island Dealers; 9pm


Default, Ill Scarlett; 8:30pm

CROWN PUB Latin/world


Sweeeeet Sat

Gone Gold Mash-Up: with Harmen B and DJ Kwake


Ave Top tracks, rock, retro with DJ Damian HALO For Those Who

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


Celtic Music Session, hosted

Metal Mondays: Omega Crom

NEW CITY This Will Hurt

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

VUEWEEKLY // JUL 29 – AUG 4, 2010

MUSIC // 23


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


Rose Bowl Mon Jam: hosted by Sean Brewer; 9pm


Jammin' with Jim Guiboche; 8pm-12

DJs BAR WILD Bar Gone Wild

Mon: Service Industry Night; no minors; 9pm-2am


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

BUDDY'S DJ Dust 'n' Time; 9pm

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

FLUID LOUNGE Mon Mixer LUCKY 13 Industry Night with DJ Chad Cook every Mon

NEW CITY LIKWID LOUNGE Daniel and Fowler (eclectic tunes)

by Ben Disaster; 9pm

O’BYRNE’S Celtic Jam with

Shannon Johnson and friends


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


OVERTIME Tue acoustic


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



BRIXX BAR Troubadour


Donnybrook, Withdrawal, Crucified, Ringleader, From Within; all ages; 7pm; $12.50 (adv at Avenue)/$15 (door)

BLUES ON WHYTE Maurice John Vaughn

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


stage with Chris Wynters, 9pm


Romi Mayes, Jody Shenkarek, Samantha Schultz (Folk Fest kick-off show); 7:30pm (door); $13 (adv) at YEG Live

L.B.’S PUB Ammar’s

Moosehead Tue open stage; 9pm


jam hosted by Robb Angus

stage acoustic session with Marshall Lawrence; Tue 8pm-12

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

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

SIDELINERS PUB Tue All Star Jam with Alicia Tait and Rickey Sidecar; 8pm SPORTSMAN'S LOUNGE

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


Reverend Horton Heat, Split Lip Rayfield; 8pm (door); $25at,, Blackbyrd

STEEPS�Old Glenora

Every Tue Open Mic; 7:309:30pm

Tue: The Balconies and Sean Brewer, hosted by Mark Feduk; 9pm; $8

BUDDY'S DJ Arrow Chaser; 9pm

ESMERALDA’S Retro Tue; no cover with student ID FUNKY BUDDHA�Whyte Ave Latin and Salsa music, dance lessons 8-10pm

NEW CITY LIKWID LOUNGE ‘abilly, Ghoul-rock,

spooky with DJ Vylan Cadaver

RED STAR Tue Experimental

Indie Rock, Hip Hop, Electro with DJ Hot Philly

WED AUG 4 BLACK DOG FREEHOUSE Main Floor: Glitter Gulch Wed: Mr. Something Something

BLUES ON WHYTE Maurice John Vaughn


Danny Coady Band

weekly guest DJs



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

STEEPS TEA LOUNGE� College Plaza Open mic

IVORY CLUB DJ ongoing every Wed; open DJ night; 9pm-close; all DJs welcome to spin a short set


with Jonny Mac, 8:30pm, free



every Wed night: Brad Shigeta


CROWN PUB Creative

original Jam Wed (no covers): hosted by Dan and Miguel; 9:30pm-12:30am

Jean, w/Kristin Macintyre, and Flash Jam


every Wed; hosted by Ernie Tersigni; 8pm

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


TEMPLE Wyld Style Wed: Live hip hop; $5

jamboree Wed open stage hosted by Charlie Scream; 9pm-1am




featuring The Ivory Club


Vitaminsforyou, guests

OVERTIME Dueling pianos

Series: The Command Sisters U-22 (folk), Matt Landry and the Dryland Band (pop/rock); 7:30pm $8

FOLK FESTIVAL Van Morrison and Bobby "Blue" Bland; 7-10pm; $89 (adult)/$40 (youth) at Folk Fest box office 780.429.1999, TicketMaster (not included in 4-day pass) FIDDLER'S ROOST Little

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


Acoustic Bluegrass jam presented by the Northern Bluegrass Circle Music Society every Wed evening

RED PIANO BAR Jazz and Shiraz Wed featuring Dave Babcock and his Jump Trio

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



Wed Nights: with DJ Harley

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


LEGENDS PUB Hip hop/R&B with DJ Spincycle NEW CITY LIKWID LOUNGE DJ Roxxi Slade (indie, punk and metal)


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

NIKKI DIAMONDS Punk and ‘80s metal every Wed

RED STAR Guest DJs every Wed


BRIXX BAR Really Good...

Style Wed: Hip-Hop; 9pm

BUDDY'S DJ Dust 'n' Time;

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

Eats and Beats with DJ Degree and Friends

9pm; no cover before 10pm


Wind-up Wed: R&B, hiphop, reggae, old skool, reggaeton with InVinceable, Touch It,

WUNDERBAR Wed with new DJ; no cover


A retail recovery? Eminem slaps sales troubles away

By now, you've likely seen the promotiongenre to successfully market as a valual blitz for Eminem's Recovery album, able commodity. The younger the Intereither online or on the tube. net user, the more likely he or she It's hard to miss: Vince Offer, is to file swap. That's just a stathe man who has tried to sell tistical truism. And hip-hop's us on the Slap Chop and the audience? Young music fans. ShamWow, acts as pitchman .com ly k e e @vuew for the album. There aren't Put it together, and you realsteven any album clips—nor any apSteveonr ize why Eminem and his own pearances by Eminen—just label, Shady Records, need to Sand Vince pitching the benefits of buybe so inventive when it comes to ing the CD. marketing the album. "MP3 players are boring, stop having Really, the critics have been all a boring life," Vince says. Yup, iTunes is over this effort, and it doesn't matjust like the tuna salad without the nice ter. Because the marketing machine chopped vegetables. is working. After Vince's initial shill, the Eminem Recovery has spent four straight weeks promo moves onto showing us models at number one on the Billboard charts in and Vince using the CD for many housethe US. And it's not like so many number hold applications. It is used to chop steak, ones we've seen over the past couple of burritos and tomatoes; Vince suggests it years, where an album almost wins by can be used as a coaster and to fix wobdefault against an entire field of weakbly tables. selling records. Yes, it's all meant to be edgy, tongue-inIt sold more than 700 000 copies in the cheek—but there is a clear message here. US in the first week of release. It broke While you are laughing, you are being rethe one million mark by week two. minded over and over that CDs are better. By week four, it had shot past 1.5 million That MP3s are boring. copies Basically, buy the entire album, don't Compare some of Eminem's numbers just download a song. to the competition. In the week he deOf course, there's a lot more money to buted at number one, Drake's Thank Me be made if the kids are convinced to buy Later was at number two. Eminem sold the entire album. There are two things more than 700 000 records. Drake sold: at play here, the first being that one of 74 000. That's a massive difference. the major reasons for the slump in music Since we don't have exit polls at resales as a whole is the reality that more cord stores, we won't know exactly and more consumers are going into digital how many people were influenced to e-tailers and picking just the one or two buy Recovery because Vince Offer told songs they like rather than buying whole them to. But this is for sure: if CDs are albums. So, they're spending 99 cents or indeed dying, Eminem has at least givmaybe $1.29 on an artist when, just a few en the format a shot in the arm, inspiryears back, they'd have had no problem ing it to go down fighting. V dropping nearly $20 for each CD. The other factor: because hip hop apSteven Sandor is a former editor-in-chief peals to a much younger demographic of Vue Weekly, now an editor and author than even hard rock, it is the hardest living in Toronto.



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VUEWEEKLY // JUL 29 – AUG 4, 2010

MUSIC // 25

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If you build it, they will come

Edmonton's festival landscape rumbles with potential after SOS Fest

DANCING IN THE STREET >> Shout Out Out Out Out at SOS Fest

// Eden Munro

Earlier this month, SOS Fest proved Like many concepts in Edmonton that a multi-venue festival is a sus(multiple metro lines, transit to the tainable concept in Edmonton. airport, mid-sized music venues), On stage with Shout Out we are a little behind in our apH AS Out Out Out at the festival- B A C K L proach to what should be the closing Sunday night show, necessities of cities. As much om I couldn't help but be comas we can hope for seasonal .c ly k e e @vuew roland pelled to reference a variastreet closures and conscid n Rola rton entious urbanization, it's only tion on a famous quote from Pembe the Kevin Costner film Field starting to happen now. It's of Dreams: "If you build it, they surprising a festival like this is will come." That's the problem with big only just happening in 2010 when the ideas: they always meet derision until positives and incentives for the city as they are given a chance to prove their a whole are so immediate. worth, but they can only do that if they Austin and South By Southwest are are allowed to happen. So many times a great example of a music festival they never make it out of the womb. transforming a city's identity. Located Luckily for us, sponsors and the city in perceptibly conservative Texas, the supported the industrious Kaley Bird liberal centre of the state (sound faand we got to play the big city games miliar?) took the initiative in 1987 to for once. develop a music festival that har-


nessed local flavour with a sincere interest in promoting Austin to the world and vice versa. SXSW's focus is on breaking new artists from around the world, but it's also a great springboard for the cream of the local talent pool. In 2008, the festival earned the city around $110 million. Yes, festivals like these are generators of tourism, which has been a hallmarked interest of the city for as long as it's existed. The equation is simple: cities like Edmonton, Calgary and Halifax that receive less live entertainment than the larger Canadian centres are more likely to find marketed festival-style events appealing. The audience cares more because they get less shows on average and performers from out of town enjoy the shows because they have a captivated crowd in a city that may not draw for them in other contexts. Without the long-standing artistic identity of cities like MontrĂŠal, Berlin and New York, multi-venue festivals in other cities must manufacture a reason to exist, a narrative for their proliferation. While SOS Fest is currently focused on exposing musicians from the neighbourhood, my hope is that local promoters will be more involved in the next incarnations of the event. Take our locals, appeal to more developing bands from the west coast and add some big ticket acts and you've got a city-changing event on your hands. People travel from nearby cities to perform and partake in these festivals, and the image of the city is ultimately connected to the experience these outsiders take away from such weekends. It was exciting to see a successful festival and it was exciting that it was in service of culture. People who would normally be staring at Taylor Hall lifting weights at the NHL rookie camp

with a pint of Trad in hand in Hudson's got to watch the Whitsundays's Paul Arnusch freak out with a "weird metal sound stick" (theremin) instead. Maybe that won't translate directly into them slapping on some Cheap Mondays and jamming a Sublime Frequencies compilation, but it's a start. The cultural impact of festivals is quite valuable. Not to take away from the Folk Fest and Jazz Fest, but our mark as "festival city" is more quantity than quality. We have various festivals, but they tend to focus on families or skew older. The young adult element to Folk Fest seems to be isolated to getting drunk on a hill: the music is aligned to a "mature" ethos that is in step with the perceived Albertan musical and cultural identity, appealing only to bands considered to be "organic." If SOS Fest can really gather moss, it'll finally expose Dirt City's electronic and lo-fi underbelly to the suburbs and beyond, the sound of nine months a year in the basement. Many of these shows reemphasized the city's need for venues. The Weird Canada showcase in the basement of the soon-to-be-defunct Megatunes was amazing, but it reminded me of how outsider music is frequently ghettoized.

VUEWEEKLY // JUL 29 â&#x20AC;&#x201C; AUG 4, 2010

In what you could call an off-SOS show, Makeout Videotape and Friendo made use of the Belgravia LRT station's plugs and natural tunnel reverb. The neighbours were unfriendly (naturally) and the overseers put a stop to it shortly. As I mused in a previous column ("Wide Open Spaces", Issue #727), one must consider why shows like this happen in the first place. Another "If you build it, they will come" situation. Overall, we need to huddle around SOS Fest and really focus energy on it. In 10 years you could be looking at a different profile of our city, all because of a bunch of people playing at various locations at the same time. I remember when my friends and I would moan and whine about what things would be like in Edmonton if we were in power. When I looked out at Whyte Ave, I saw engaged people, young folks being inspired by the possibilities and potential suddenly available in our city. It seems like there has been a shift. Now that they are asking us the questions, what are our answers going to be in service of? Roland Pemberton is a musician and writer, as well as Edmonton's Poet Laureate. His music column appears in Vue Weekly on the last Thursday of each month.

MUSIC // 27

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Straight from the heart

Colleen Brown looks back at her sophomore album, Foot in Heart Colleen Brown has been busy for, well, a long time now. Her second solo album, Foot in Heart, saw the light of day back in 2008, and she's worked the record plenty in the time since, both on the road and at home with her band, while simultaneously turning the volume up to 11 as one part of the classic-rock influenced Secretaries, leading to a long-awaited fulllength from that group as well. Then, in 2010, singer-songwriter Emm Gryner latched onto Foot in Heart and re-released it on her label, giving the album one more kick. For her part, Brown is showm ing no signs of slowing down, vuewe eden@ with a show at the Empress Eden Ale House this week, a series of performances at the EdmonMunro ton Folk Fest after that and then an October run opening up for Crash Test Dummies. Brown took some time recently to look back on the creation of Foot in Heart.




VUE WEEKLY: How long did it take to make Foot in Heart, from the initial songwriting through to the end of the recording? COLLEEN BROWN: The album process was a good three years. Some of the songs from Foot in Heart were written as far back as 2004, like "Fantastic Feeling," for example, which was written just after my first album A Peculiar Thing was completed (just before it was released). We started recording in the fall of 2006, so the recording process was over a full year. VW: When you were writing the songs, did you come at them in a particular way? Lyrics first? Music first? CB: Most of the time I write lyrics first. Usually I'll have a full set of lyrics, and they'll suggest a melody and then I think about what kind of feel I want the song to have and try to match the music/ chords up with all of that. It's rare for me to come up with melodies or music first, though sometimes that does happen. And then there are the songs that just appear from the ether ... VW: What were the recording sessions like for this album? Did you record as a band live off the floor or did you piece it together one track at a time? Why? CB: The plan was to record everything live off the floor, and we did that to start, but then we slowly began adding and overdubbing parts. We gave ourselves a lot of freedom to experiment with strings, horns, vocals, guitar sounds, etc. It was a very satisfying process for me, especially with the vocal arrangements. We even ended up banging on the furnace in Ian Martin's basement to get some percussion sounds—which I think basically made the track "Now That I've Found You." That's the kind of thing that only happens when you leave yourself a little room to experiment. VW: Were there any other songs written that were left off the album?


COLLEEN BROWN >> Performing live in Vue Weekly's Studio CB: Oh, of course. I'd written something like 40 new songs by this point—not all of them were songs I really wanted people to hear though! We actually recorded the bed tracks for another song called "I Only Want to Dance With You." It sounded good, but I was determined only to put songs on the record that I really loved and that fit in with my theme, as the idea of making the album an arc of a romantic relationship was really starting to solidify for me. VW: How did you decide which songs to include on the album? Did you have an idea of what you wanted Foot in Heart to be when you started, or did the finished shape emerge as the writing and recording went along? CB: Doug Organ and I had whittled away at a song list that was closer to 25 songs I was interested in recording, and settled on the 13 songs we were going to record (including the one cover song "I Can't Make You Love Me"). The idea of the theme came, along with the album title, while I was on tour across Canada in 2006—I did a solo tour from Edmonton to Toronto, so I had a lot of driving time to think about things like that. The details were ironed out in the studio though. VW: Foot in Heart was originally released a couple of years ago, but this year Emm Gryner re-released it on her Dead Daisy Records imprint. What has it been like returning to the album and supporting it as a new release for a second time? Have the songs taken on different lives for you now that you've known them for so long? CB: I guess that I'd started to focus more on the Secretaries stuff by the time Emm Gryner started contacting me about Foot in Heart. In fact, I had really resigned that the album had lived its life and was going to sit on the shelf. I'm really thrilled that we've been able to get the album into hands I had no access to with my inde-

// Eden Munro

pendent release. I still love these songs, I still think the recording sounds great sonically and I still really enjoy performing them, for the most part. I just played a show in Halifax where half the room sang along to "Love You Baby." People are starting to respond when they hear the start of "Love You Baby" and "Boyfriend," which to me is a real thrill. I've been on tour for most of the last three months, and I can see a pretty steady progression of recognition for the music, which is really heartening. When we put together our set lists now, it's approximately half new material, and half recorded material, and that latter half has shifted and evolved quite a bit. I hope that always continues to happen. I think I'll be performing songs from Foot in Heart in the live sets for years to come, so we'll always have to leave room for the songs to grow and change. The day we start to stagnate I'll have to consider opening that bakery/organic booze haunt I've been dreaming about! VW: If you were to trace the musical map that led you to Foot in Heart, what would it look like? CB: Sacred and folk songs; classical music lessons; musical theatre; Top-40 hot country(!); '90s indie rock; Tori Amos; '60s and '70s classic rock ... more or less that's how I got to where I was when we recorded. Now I'm listening to a lot more current artists—everywhere I go friends and acquaintances are feeding me new music, which is really exciting, as well as sometimes daunting. But it makes me work harder. It makes me think more about why I'm doing music, which is really because I love to perform—I love the exchange of energy. I'm trying to write songs now that are the kind of music I want to perform. V Wed, Aug 4 (9:30 pm) Colleen Brown Empress Ale House, free

VUEWEEKLY // JUL 29 – AUG 4, 2010

MUSIC // 29


Turning up the Heath Texas psycho-pioneer brings his trademark fire

BUILT FOR THE STAGE >> The Reverend Horton Heat suffers the recording studio so that he can get in front of an audience // Drew Reynolds david berry //


im Heath, more familiarly known as the Reverend Horton Heat, speaks with a laid-back drawl that kind of moseys in from the Texas expanse, but his calm air is blowing over things far more hectic on the other side of the phone line. Taking one of his rare and brief respites at his Dallas home, he's still got yet another tour to get ready for and he is frequently interrupted by requests for directions and barely audible questions that need responding. Not that he isn't used to a hectic life. "I got into this because I just wanted to play my guitar and party," he says in a kind of audible grin, "but now that Reverend Horton Heat's a successful band, I need to change my job description from 'musician' to 'email and text complier.' That's about all I do." Even for one of the legitimate legends of the psychobilly movement, someone who's been stomping out countryfried punk for better than two decades, life as a touring musician ain't easy, and you can tell Heath takes a certain pride in being hands-on, earning his way around even after all these years. No doubt a lot of that comes from the fact that, in Heath's view, it's playing in front of crowds that's the legitimate part of his job: holing up in a recording studio doesn't suit his temperament one bit. "From my point of view, being a recording artist is not even a valid art form," he lays out plainly. "Music is— I'm not comparing myself to Beethoven or Mozart or anything, but they didn't sit down and write out the notes of a symphony and then sit back and say, 'I can't wait to do that again.' It was a

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VUEWEEKLY // JUL 29 – AUG 4, 2010

means to an end for the live performance. Music isn't like writing a book or painting a painting: music breathes with an audience." That is something that should be perfectly evident to anyone who has seen one of the Reverend's fiery live performances—where his boundless energy is matched by upright bassist Jimbo Wallace and drummer Paul Simmons— but his love of the crowd also bleeds over into the less artistically gratifying world of his records, especially the latest, Laughin' and Cryin' with the Reverend Horton Heat. Though it tones down some of the faster, punkier influences that have come to define him in favour of the guts-country undercurrents that have always been around, it seems crafted almost solely with an audience in mind. A kind of parody of those old hurtingblues country songs, it has an evident humour that amounts to a rib-nudging insistence to have a good time with the boys. And, maybe unsurprisingly, Heath has found that it goes over a lot better in bars and clubs than it does through headphones or speakers. "A lot of people don't understand the new album, and think I've really slowed down or something," he explains bemusedly. "I wanted to do a country album, although it didn't completely work out that way. But once you're on stage, people seem to get what's going on and laugh and get into it. That's really what your hoping for." V Tue, Aug 3 (8 pm) The Reverend Horton Heat With Split Lip Rayfield, Hillstomp Starlite Room, $25


Sparks will fly

Winnipeg punks keep home fires burning mike angus //


art of naming ourselves Kids on Fire is positioning ourselves as a very youthful band," guitarist/ vocalist Ian Lodewyks enthuses over the phone. "That's just something you don't give up when you're into the music and lifestyle we are. It's important to burn without burning out. That is absolutely something we're never going to lose." The punk 'n' roll three piece, rounded out by bassist Leif Gobeil and drummer Steve Hallick, has only been together one year, but all three members have been hashing it out in Winnipeg's music scene—one awfully similar to Edmonton's, Lodewyks observes—for over a decade. Having known each other from other bands, the timing was just right to finally come out and say what they'd all been thinking. "The bass player and I have known each other since high school ... and I played a ton of gigs with Steve's other bands and we've always loved each other's bands. I don't know why we've never played in a band together until now, so it just made sense. "I've never played in a band where the chemistry was so instant," he continues. "Musically, it's like we finish each other's sentences, we always know exactly what the other person's going for. The songwriting process and jam process just comes so smoothly." With such instant, easy-going rapport, the band committed itself to jamming for an entire year leading up to its inaugural gig, timed smartly with the release of a self-titled debut album, available on cherry red vinyl. Recorded over a weekend and released in December 2009, it has quickly made its mark on the 'Peg, already slated as one of the best local records in 2010.

"We knew we wanted to do something that would stand on its on, bringing elements of rock 'n' roll that had been dead for some time, and at the same time do a fresh take on everything, bringing new elements back to the punk-rock world. I think we're still working toward that goal, but our album is a good first effort in that direction," he offers. Recorded live off the floor in the studio, Kids on Fire focused on that element of grittiness that often gets lost through tedious tracking, making an effort to capture a live sound on the record. This dedication and enthusiasm is apparent in the lifestyle all three members have chosen for themselves—one they are excited about bringing on the road. "Being a punk is about how you go about your life. We starting to realize what it means to live in a punkrock world: the choices you make toward the environment and all that good stuff, but it means you're still a douche bag," Lodewyks laughs. "Growing up punk makes you a bit of an asshole, but in this band at least we're charismatic assholes. "We've been playing and touring in bands for a decade now, but this enthusiasm we're taking on the road is like we're going out for the first time, because this is the first band we really all connect with. There are elements of the chemistry of this band we've never had in other bands, so we're excited—ecstatic, really—to bring it on the road." V


School's out

But the band is still playing Bryan Birtles //


or the members of Edmonton-based funk-disco four-piece Scantily Clad & the Well Dressed Men, meeting each other in the academic setting of Grant MacEwan's music program couldn't have worked out better. Having arrived at the post-secondary institution with a clear idea of what it was they wanted to do, the members were willing and able to jump headlong into the process of creating the band. "Just like any eager first-year musicians at Grant MacEwan we were anxious to start writing," explains guitarist Brandon Baker. "We started having weekly rehearsals which turned into daily

rehearsals which turned into any moment we could possibly sneak in some rehearsal we'd be jamming." Access to rehearsal space and likeminded musicians wasn't the only advantage to MacEwan for the band, however; the environment was a boon in other ways as well. "Your knowledge is always expanding and teachers are there to answer any question you could ever possibly imagine about music," Baker says of the experience. "It's also good because you're learning stuff that you can apply to what you're doing—you learn something in class and then half an hour later you apply it in a jam. That's probably the biggest advantage." Ultimately, however, the band wasn't

simply started out of circumstance, nor as a result of close proximity. For Baker, Scantily Clad & the Well Dressed Men is the music he's been searching for and not finding. "We're trying to bring back that disco feel from the '70s where everybody is out at the club dancing and having a good time," he says of the band's sound. "I don't wanna knock the music we're hearing in clubs today, but I think it could be in a different direction and that's what we're trying to provide. I feel like there's a need for this type of music out there for people who want to go out and dance and have a good time like myself—I'm just not hearing the kind of music that I want to be dancing to." V Fri, Jul 30 (9 pm) Scantily Clad & the Well Dressed Men With Five Alarm Funk, Still Within Pawn Shop

Sat, Jul 31 (9 pm) Kids On Fire With Slates, Old Sins DV8 Tavern, free


JProcktor //

Fri, Jul 23 / Michael Franti & Spearhead / Calgary Folk Fest See more of JProcktor's photos from the Calgary Folk Fest at vueweekly.COM

VUEWEEKLY // JUL 29 – AUG 4, 2010

MUSIC // 31



The Wynters' tale Local artist reflects on 20 years

Eden Munro //

Fri, Jul 23 / Neil Young / Jubilee Auditorium Read the review and see more of Eden Munro's photos on

FACEPALM >> Chris Wynters is still recovring from touring New Zealand Lewis Kelly //


n February of 1996, Captain Tractor rolled through New Zealand on tour. At one gig, the folk-rock band out of Edmonton took the stage in front of a crowd following a sheep-shearing contest. Chris Wynters, a founding member of the band and artist-at-large around Edmonton, says the Kiwis were the toughest crowd Tractor ever played for. "They were looking at us like we were from another planet, and we really, really were," he says with a laugh. "They couldn't understand what we were saying and we couldn't understand what they were saying. There was no way to win." With any luck, the crowd gathered at the Haven Social Club on Saturday for the release of Wynters' second solo album, 2010 – 1982, will prove a little more receptive. Still, after 20 years of playing music, acting and writing both music and musical theatre, Wynters still gets at least a little nervous when going up on stage in a club. "It's scary to me to get up on stage, every time," he says, admitting that boisterous, inattentive or hostile crowds played a role in pushing him towards more work in theatre, where he does sound design and writes musicals. "One thing I really like about theatre is you've got an audience that's sitting there for two hours, quiet and listening to what's happening. Going into clubs and stuff, it's quite hard to have that sort of attention span from an audience."

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VUEWEEKLY // JUL 29 – AUG 4, 2010

// Supplied

But the London, England-born, Alberta-raised artist keeps doing it. In addition to performing solo gigs and the odd Tractor show, Wynters hosts two weekly open stages in Edmonton: one at the Druid on Tuesdays and the other at O'Byrne's on Saturdays. He admits an affection for attention. "I'm still in that world, all the time. I love to play in that environment too," he says. "I'm good at standing in front of a noisy, drunk crowd and getting it going." Over the years, he says, he's developed a thicker skin and more cavalier attitude towards the more distracted parts of an audience. "I always focus on the people that are listening. I just know that I don't really care about the people that aren't," he says. "I'm not afraid to let people know how I feel, but I'm usually pretty funny about it. I often share my feelings with the people that are listening." The inherent risk involved in getting up on stage is part of what's kept Wynters coming back to live music over the years. "I think sometimes as an artist it's not really good to be comfortable," he says. "The possibility of failure is what makes you grow as an artist, so you have to do things that are scary." V Sat, Jul 31 (7:30 pm) Chris Wynters With Deon Bylan Haven Social Club, $10 – $15







Sun, Aug 1 (7 pm) / GOBBLE GOBBLE The first 99 people at the ARTery on Sunday will be treated to a disgusting bout of musical gluttony: not only will they get to see Kumon Plaza, Sans AIDS, Rocktimus Crime and GOBBLE GOBBLE strut their stuff, the lucky few who get there in time get a free seveninch record that—it might be wise to make sure you're sitting down before reading the next phrase—glows in the dark. It's a deal good enough to make one suspect fowl play. (The ARTery, $10) —LEWIS KELLY


Fri, Jul 30 – Sun, Aug 1 / Blueberry Bluegrass Festival Mysteriously, an event featuring the words blueberry and bluegrass in its name avoided acquiring a sponsorship from Labatt Blue. Still, the Blueberry Festival features Fred Eaglesmith and the Mashville Brigade, so it can't be all bad. (Heritage Park, Stony Plain, $45 – $100) —LEWIS KELLY

Mon, Aug 2 (8 pm) / Omega Crom The last time they played in Edmonton, Omega Crom was greeted by a receptive flock of over 300 people; drunk off of death metal and Filthy McNasty's cheapest ale. This time they'll be presenting their latest effort Blood, Steal, Fire to old friends and new faces. "We like to windmill and head bang," says lead guitarist and front man Johnny Ketlo. "I couldn't picture myself one of those dudes on stage with a Ricky Martin hair-cut playing heavy metal." Omega Crom is highly anticipating its return to our fine city and is ready to show us what the band's army is made of. "It's basically rippin' time: we're gonna come there and melt some faces with our guitar insanity. The hair will be flying." (Filthy McNasty's, Free) —KIRSTA FRANKE Wed, Aug 4 (7:30 pm) / Van Morrison George Ivan Morrison, aka Van Morrison, aka Van the Man, aka the Belfast Cowboy, holds honorary doctorates in music and literature from Queen's University in Belfast and the University of Ulster, respectively. Yet somehow, he's avoided acquiring a nickname along the lines of "the Professor," "the Honorary Van Morrison" or "Doc Shamrock." The best way to remedy this sorry state of affairs is for everyone at Morrison's sold-out show in Gallagher Park to coordinate some kind of nickname-bestowing chant. Personally, I vote for "Doc Sham-rock." Extra points to anyone who christens Bobby "Blue" Bland, who'll share the stage with Dr Rock, with a more exciting handle. (Gallagher Park, $40 – $89) — LEWIS KELLY

Wed, Aug 4 (8:30 pm) / Dani Jean Dani Jean's debut album, Crazy Beautiful, sounds like the result of a team of record executives scheming to make the next Avril Lavigne. Jean unapologetically cops to the commercial vibe of her album. "I wanted it to be commercial because I'd rather go mainstream," she says. "I'm hoping that I can have music as a career, at some point." Crazy Beautiful is probably a step in that direction. Recorded in Vancouver and produced by ex-Bif Naked guitarist Doug Fury, the album oozes with simplistic guitar riffs and romantic angst. Jean says the album's fixation with heartbreak reflects her own experience at the time she wrote it. "It was just that time in my life," she says. "I think everyone that is between the age of 19 and 23 kinda goes through that phase." "I've done lots of crazy things in my life that I'm not necessarily proud of, but they're things that have helped me grow and have moulded me into the person that I am now." The person she is now is an undeniably talented singer and guitar player. Jean also plays piano, which she says her music-teaching mother began teaching her from the ripe old age of four. She writes most of her music on piano, and largely by intuition: "I just write music, just whatever flows out of me." (Lyve on Whyte, $5) —LEWIS KELLY Fri, Jul 30 (8 pm) / Juliette Lewis / Starlite Room, $25 Juliette Lewis plays, appropriately, the Starlite Room on Friday. Is she a full-on thespian-turned-musician or just moonlighting as one? We offer a truncated timetable of her work in music and acting to help you decide.


• Starsky & Hutch (2004) • My Name Is Earl (“Bounty Hunter” episode, 2006) • Sympathy For Delicious (2009) • The Switch (Aug 20, 2010)


• … Like a Bolt of Lightning (2004) • You're Speaking My Language (2005) • Four on the Floor (2006) • Terra Incognita (2009) — LEWIS KELLY

VUEWEEKLY // JUL 29 – AUG 4, 2010

MUSIC // 33


New Sounds

Menomena Mines (Barsuk) 

david berry //


his is a play," Danny Seim announces at the beginning of "Five Little Rooms," the first single off Menomena's third proper full-length. And as much as he's referring to the weirdly gothic little fable he's about to spin, it seems somewhat indicative of some of the moves Menomena is making on Mines. It's not that this is some extended concept album—although it does have some recurring themes about growing up without necessarily maturing and deterIoriating relationships—so much as that it's the album that feels most like something traditionally constructed. The group's past work showed the roots of their odd, invented-software style of cut-up composition, giving both I Am the Fun Blame Monster! and Friend and Foe a constrained cacophony feel, like the songs were always just on the verge of bursting out into freeform noise while retaining a complex pop sculpture. Here, though, Menomena is as close to a straight-ahead pop band as it's ever been, albeit one that's still heavily influenced by chaos. It doesn't always feel like the right

move: before, the exposed structure of the band's songs beautifully mirrored the always-raw but equally tricky mood of the lyrics, whereas now the songs are just a bit more, well, standard, which is a bit disappointing from a band that was up there with Animal Collective and Liars as esoteric but still emotionally powerful. There's just less of that on Mines, although the times Menomena does recapture it are almost roundly the album's best. "Dirty Cartoons" is a typically weary number, beat down with the early-30s sad-sack spirit of Matt Beringer, which slowly works in and then takes away a practical orchestra without ever losing its sense of mood. Follow-up "Tithe" begins simply as well, and while it never quite gets as screwy, its consistent build pushes its ennui into something that almost feels transcedent, like if existential crises got you into heaven. But then we get a track like "BOTE": while it superficially sounds the most like some of the group's earlier work, it just feels dense where that stuff feels intricate, a lot going on without a precise ear shaping it (and it's hurt by a stretched-too-thin lyrical conceit). Opener "Queen Black Acid" is more streamlined, but in that case it probably goes too far: were it not for the haunting melancholy of traded-off vocals and a punchy drum bit, it wouldn't sound too far off compilation-rock indie, soundtrack fodder. Still, though, the band does show some of the old brilliance. Closer "INNIT" relies mostly on a spare piano line and then some subdued atmospherics, but that only adds weight to the words, a depressingly mature treatise on necessary deceptions slowly killing a relationship. It's the first Menomena song that takes the overall melancholy into someplace haunting, and it proves that the group has some serious power even when not running at its best. V

Jom Comyn Balcony EP (Champion City)  With Balcony, his second of three planned releases this year, local boy Jom Comyn is getting very good at doing a whole lot with very little. The best example in this particular case is "New Raincoat," an unassumingly brilliant little number that uses about four lines of lyrics and a Costello-y jangle to perfectly sum up the quiet desperation of not quite being able to tell someone you want to be with them. Comyn's sleepy croak of a voice gives the song an extra layer of pathos, and its twists and turns more than cover for its humility. Like the space the album's title refers to, Comyn's music doesn't need much space to feel like a necessary addition. David Berry


Grasscut 1 Inch / 1/2 Mile (Ninja Tune) 

The glossy airport pop songs of London's electronic duo, Grasscut, bloom one by one as the album floats by like a platoon of clouds. Andrew Phillips and Marcus O'Dair, with delicate composure, dance the tightrope between the well-paved paragons of electronica and classical music. In a very European way (with the exception of the occasional noisy drum reprieve) the modern ballads put wind in your hair, composed as if for solitary travel or the self-aware wait time in a train station or airport terminal. Strongly recommended for listeners of B. Fleischmann and buyers of expensive colognes. Joe Gurba


Hank Williams III Rebel Within (Curb) 

Hank Williams III embodies neotraditional country on his last release for Curb Records. Standing apart from the alternative and adult contemporary styles of country, Williams ropes in a classical steel-guitar sound with elements of punk and hard rock to thwart the expectations of the tightly run industry that built his name's legacy. He's rolled this act out in the past, but Rebel Within keeps it interesting as each tear seems to drop in his beer more ironically than the last. Jonathan Busch


34 // MUSIC

VUEWEEKLY // JUL 29 – AUG 4, 2010

Paul Quarrington The Songs (Cordova Bay)  After late, great, Canada Reads-winning author Paul Quarrington was diagnosed with terminal cancer, he devoted himself to his lesser known talents as a singersongwriter, once begun in his countryblues band Porkbelly Futures. Reflective, confessional and understandably repetitious in style, The Songs is a musthave for fans of his celebrated novels (including Whale Music, adapted into a film for which he collaborated on the soundtrack with the Rheostatics). The emoting folk lyricism might be lost on some, especially as it reaches far into the contemplation of one's own death, but nonetheless stands out with its rare, cultural presence. Jonathan Busch


The Intelligentlemen Face Value EP (Independent) 

With a Canadian swagger the Intelligentlemen emerge from local significance to national awareness, movemaking with a signature Saskatoon sound. The new graphic vinyl release from Saskatoon’s Intelligentlemen clique is the paragon of bro rap: cold chilling underground heads rapping about rap and doing it well, splayed over butter-roasted loopdie doo instros. With the obligatory underground chip on their collective shoulder, The Intelligentlemen rail against the mainstream customs and shine heavy on chuggalug jams like Wasted Years. The majority of the album flaunts the finger-pointing esthetic of so many judiciary toned underground releases but when it’s all said and done, Face Value makes my wife dance. Nuff said. Joe Gurba


Big Boi Sir Lucious Left Foot: The Son of Chico Dusty Def Jam  Finally, a worthy sucessor to Stankonia. Big Boi crushes it like it's 2000 with this slick, intoxicating mix of dextrous rhyming, rhythms and purple drank. Myriad guest appearances and a delicious sense of fun round out the epic ballad of the Son of Chico Dusty. lewis kelly



punchy band (the Attractions) veered more towards punk than the emerging phenomenon known as disco, Originally released: 1978 thereby leaving him in the late '70s genre equivalent of No The band photographs on the Man's Land: new wave. Withom liner notes show a 23-yearout disrespecting that moveeekly.c w e u v us@ old Elvis Costello tastefully mikeang ment and its contributions to e k Mi s pop music in the '80s, Costello clad in a suit, leering at you Angu certainly resented being painted through his signature spectacles from behind a camera. With the into a corner that was too clean exception of age cut to be punk, (and a full head too intelligent of hair), very little and well-crafted has changed for to be tossed in one of pop muthe disco heap. sic's most endurWhich perhaps ing and elusive explains the iconoclasts. album's cover From the first photo a bit notes of "No Acmore: Costello tion," the listener appears to be is first struck by aiming the camhow little Cosera at you like tello's voice has a gun, turning changed in over the usual focus 30 years. In fact, towards celebit hasn't changed rity away from at all. He still FATAL ATTRACTION >> Hipster glasses circa 1978 himself, instead possesses all the crooning swagger, confronting you with his material. "Pump seething anger and seductive pleadings It Up," "(I Don't Want to Go to) Chelsea," on his most recent albums, no matter if "Little Triggers" and "Radio Radio" are the they veer from bluegrass, lounge jazz or most well-known hits here, each with its straight ahead rock 'n' roll. Unlike Bob own clever satirical stabs at pop culture Dylan, Joni Mitchell and other contemreferences, from the emerging fashion poraries, the ever-youthful Costello crimes and mindless coke drone of disco, continues to sound like the stubborn, to the eternal pleadings of a young man insatiable 23-year-old version of himself in love/lust. Costello is one of the best who was arrested for obstruction while artists at positing himself as a lover done busking outside London's Columbia Rewrong, then, in the quietest moments of cords head office, refusing to leave until the song, admitting his longing and culhe was signed to a record deal. pability in the break up. While his more That stunt paid off, however, and he was intimate songs have been accused of signed to Columbia within days of his remisogynistic lyrics, he himself counters lease, and in 1978 This Year's Model was those charges, claiming the lyrics reflect the follow-up effort to his 1977 debut My more "disappointment than disgust." Aim Is True. Reviews were mixed, as muThis Year's Model is one of Costello's sic critics and label execs were confused, highest ranking, best-selling records, and unsure how to categorize and market Rolling Stone ranks it as his best album this angrier version of Buddy Holly. His ever. For the young angry man from Lonpop sensibilities, combined with his high don, it's an incredible moment in his casense of lyricism and literacy, put him reer—one that reflects his talent, drive outside the grasp of your average pop and ambition, qualities so rarely seen in music listener; further, his tense, edgy, young emerging artists. V




HAIKU Perfue Genius Learning (Matador) Detuned pianers Wavering moaning vocals Seems like punishment




s@v uickspin

Whiteoyn Houst

Revamp Revamp (Nuclear Blast)

Like the house band for Renaissance fair in Hades You'll soil your chainmail

Ultra Mega The Dart EP (Independent)

Chris Shiflett & The Dead Peasants Chris Shiflett & The Dead Peasants (RCA)

Luke Doucet band guy Hires Luke Doucet to make a Doucet inspired disc

Not really into Cool guy acoustic strum rock But this guy I like

Mahjongg The Long Shadow Of The Paper Tiger (K)

Mt St Helens Vietnam Band Where the Messengers Meet (Dead Oceans)

Spastic synthy jams Intriguing freakouts, enjoy And have a grande mal

A stunning album Lush and complex sorta like The girls on Whyte Ave

VUEWEEKLY // JUL 29 – AUG 4, 2010

MUSIC // 35


Here comes the blinding light Local noisemakers launch their new seven-inch vinyl platter Joe Gurba //


RANG—Jared Majeski, JJ Foster, Parker Thiessen and Dean "the Jam" Watson—is back with another testament to the blaring disassociation of man. Though the group's previous offering, They Came From Planet D, was a subversive manifesto to lengthen the average attention span, these new songs clock in at to four and six minutes. Unfortunately, a blunder at the record press resulted in a batch of 45s that needed to be 33s if the entire jams were to fit on the seven-inch. But if KRANG’s vinyl doesn’t arrive in time for Saturday’s show we can all rejoice: the apocalypse has been postponed! Uniting the tripped out stagger of '70s drug rock with the noisy electro delinquence of the new millenium, KRANG’s new seven-inch, featuring "Speed of Tent" and "Spirit Animal," is an impending Armageddon. Whether the record is at the event on Saturday or not, the anticipated release show will no less march the four horsemen of post-Led Zeppelin psychrock newphoria onto the horizon of every noise connoisseur this side of

RULERS OF DIMENSION X >> Krang plots and poses

// Supplied

North America. Side A, "Speed of Tent," is a doorpounding dirge with a half-time guitar reprieve for the gods to hear. "Spirit Animal," the lengthier B-side, is a swaggering mid-tempo jawn that puts you in the desert without a compass or a name, equipped with a phantom feedback dancing in and out of the mix while the bass line catwalks up and through your disorientation. It’s a money-back guarantee that both KRANG songs bring you

home with the face-melting malignancy of noise and flaming chariots. But it’s the attention to build up and balance in the songwriting and in the mix that make these rock and roll oratorios so commendable. V

abundantly while they're working hard at what they love to do. Singer James Brown, the Godfather of Soul, was renowned for his sweltering floods, and so is baseball player Pablo Sandoval. But many unfamous people I've known would also be top candidates for King and Queen of Sacred Sweat, like my friend Julia, who practises her passion in the garden, and my friend Luke, who welds giant metal sculptures. I'm hoping you will come into your own as one of this elite group, Scorpio. The omens suggest you'd be wise to raise the heat in your alchemical furnace.

your advantage, get clear about what you're hungry for. Build a vivid image in your mind's eye of what you need.

Sat, Jul 31 (8 pm) KRANG With Netherward, Gab’d Sideliner’s Pub, $5

HOROSCOPE ARIES (Mar 21 – Apr 19)

can nations and killing 5.4 million people Success coach Tom Ferry says our ability between 1998 and 2006. I bring it up as to pursue our dreams can be damaged now is an excellent time for you to fill in by four addictions: an addiction to what gaps in your education and learn the rest other people think of us; to creating of any story that you've been missing, not melodrama in a misguided quest for ex- just concerning events in the world but citement; to believing we're imprisoned also in regards to your personal history. by what happened in the past; to negative thoughts that fill us CANCER ( Jun 21 – Jul 22) with anxiety. The good news, A psychic in Colorado was arY Aries, is that in the coming rested for bilking her clients. G LO weeks you will find it easier A S T R O om Nancy Marks allegedly told .c ly k e we than usual to free yourself people that their money was l@vue freewil from addictions one, three possessed by nasty spirits, Rob y and four. On the other hand, and that the best solution was Brezsn you may be extra susceptible to to hand the money over to her. addiction two. Look at what can you The cops claim she collected 290 do to avoid trivial brouhahas. 000 of the evil dollars before she was nabbed. My message to you, Cancerian: TAURUS (Apr 20 – May 20) Some Your bank account has a divine blessing of the biggest whales feed primarily on it. At least temporarily, this makes on tiny organisms like protozoa, algae you a kind of cash magnet; you have an and krill. They swim around with their unusual power to attract legal tender. mouths open, gulping seawater, using Take advantage! Say this sacred mantra: filtering structures in their upper jaws "O monnee gimmee summ." to sieve out the stuff they want to eat. Their strategy for getting a meal has LEO ( Jul 23 – Aug 22) resemblances to an approach you may Can you force things to grow? Is it posbenefit from using: sifting through a lot sible to induce ripening simply by aggresof superfluous material to get the rich sively exerting your willpower? Normally basics you seek. Discernment isn't the I'd say no, but these days I think it's within only skill you'll need; relaxed patience your capacity. Don't misunderstand. I'm will be crucial, too. not saying you could go up to a tomato plant and magically transform mid-size GEMINI (May 21 – Jun 20) green tomatoes into big orange beauYou know about the Second World War, ties. But from a metaphorical perspecbut do you know about the planet's tive, you could accomplish something worst conflict since then? It was the like that. What fragile bud would benefit Second Congo War, involving eight Afri- from bursts of your vitality? What sweet


36 // BACK


young thing might thrive with your invigorating help?

VIRGO (Aug 23 – Sep 22)

In James Hillman's book The Dream and the Underworld, he says the majority of dreams we have each night are unpleasant. But that's not true for me. Way more than 50 percent of mine are educational, entertaining and not at all bad or scary. As you enter the intense dreaming phase of your cycle, Virgo, get ready to encounter intriguing characters who'll have the power to heal you. A mercurial teacher could relieve you of a delusion. The wind and rain may play music that dissolves your fear.

LIBRA (Sep 23 – Oct 22)

During the Tang Dynasty, a golden age of Chinese culture, educated people didn't use clichéd salutations to begin and end their encounters with each other. No "Hi, how you doing?" or "See you later. Take care." Instead, they improvised creatively, composing poetic riffs appropriate for the occasion. "Your face is especially bright today. Are you expecting to see a lucky cloud?" or "I'll bask in your glories again later. In the meantime, may you find a brisk blend of elegance and mischief." I'd love to see you do something like that, Libra. It's prime time to boost your alliances to a higher octave. Give more to your collaborators, and ask for more, too.

SCORPIO (Oct 23 – Nov 21)

I admire people who sweat freely and

VUEWEEKLY // JUL 29 – AUG 4, 2010

SAGITTARIUS (Nov 22 – Dec 21)

The wind coming off the creek has picked up, so the branches of the lemon tree outside my office window are swaying vehemently. Is the tree upset? No. From what I can tell, it's enjoying the raucous movement. I can even imagine that it knows how lucky it is: it wouldn't be able to dance so expressively without the help of the gusts. I hope you'll interpret your experiences in the coming week with a similar perspective, Sagittarius.

CAPRICORN (Dec 22 – Jan 19)

While flying over water, an eagle can spot a fish swimming from 300 feet away. As it prowls through a winter landscape, a coyote can detect the presence of a mouse bustling beneath thick snow. I suspect you'll have a comparable knack for tuning in to things that are of keen interest, Capricorn, even if they are hidden or located at a distance. To maximize

AQUARIUS ( Jan 20 – Feb 18)

Lola, a woman I know, has mastered the art of self-contradiction and she makes no apologies. For instance, she's perfectly at ease with the fact that she is not only a lesbian anarchist skater punk, but also a devout Christian who doesn't consume drugs or alcohol, drives a Lexus SUV, and volunteers as a massage therapist at a hospice. Your internal paradoxes may or may not be as extreme as hers, Aquarius, but I urge you to express them with the panache that she does.

PISCES (Feb 19 – Mar 20)

My friend Erica went to a Chinese herbalist, seeking help for a skin problem that hadn't been healed by six other doctors. "Very rare condition," the herbalist told her. There was only one thing he knew that would work: Erica would have to travel to the Ruoergai Marshes in Sichuan Province, China and track down a White-tailed Eagle, whose fresh droppings she would gather up and apply to the affected areas of her skin. As the prospect of such a pilgrimage was daunting, Erica decided instead to simply imagine herself carrying it out. After a week of such meditations, her skin had improved. In 21 days, she wasn't completely cured, but she was much better. The moral of the story, Pisces: simply visualizing a heroic healing quest may help fix your glitch. V


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VUEWEEKLY // JUL 29 – AUG 4, 2010

BACK // 37


Safe haven

Hate crimes report reveals there is no safe city for queers Ever since I came out, people have been that could happen in Vancouver. And why? asking why I don't just move to Vancouver. I visited Vancouver last year, as I do every As the story goes, Alberta is a bad and year. This time I was training with other scary place for queers, a backwards, queer youth. They were aghast at redneck land of prejudice and viotheir interpretation of Alberta's lence that one ought to escape mood towards queer people. from as quickly as possible. Hearing about things like I've always responded that our Bill 44, they found us to be om .c ly k e vuewe province was a more interestlaughably behind on the hutam@ a ing place to live: there's work to man rights front. A day after Tamar ka arriving, we all found out about be done here and I'd rather make Gorzal my home in a place that needs me. the young, straight ally who was Activism over hedonism, or something. bashed outside of Van's Queer Prom—a But I've also always been aware of somereminder Vancouver has its own problems thing: Vancouver seems to have its own to work out. problems with gay bashing. I remember nine years ago when Aaron Webster was These are not isolated incidents. Last beaten and murdered by a group of teens in month, statistics Canada released a report Stanley Park. As a teenager I wondered how on police-reported hate crime in 2008. The







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38 // BACK

numbers are clear. Edmonton had four reported attacks in 2008 motivated against sexual orientation, Calgary had six and Vancouver reported a huge 34. Things are not particularly great for Canada overall. Hate crimes against race, religion and sexual orientation increased by 35 percent since 2007. The largest jump was in those motivated by homophobia. Numbers of bashings remained almost the same between 2006 and 2007, but doubled in 2008. Sexual orientation accounts for 16 percent of attacks, numbering 159 incidents across Canada. Perhaps the scariest statistic of all is that 75 percent of the incidents against gays involve a violent offence, three times as many as other hate crimes. Of course, Statistics Canada's measuring techniques has its drawbacks. Incidents are

Common Law Copyright Notice CNN – 195011217004BFF All rights reserved re; common-law copyright of tradename/trademark, LARRY EDGAR ZACHOW© as well as any all derivatives and variations in spelling of said trade-names/trademarks – Copyright 1950 Larry-Edgar: Zachow. Unauthorized use of LARRY EDGAR ZACHOW© is strictly prohibited and is so indemnified and held harmless by Debtor, i.e. “LARRY EDGAR ZACHOW ©” in Hold-harmless and Indemnity Agreement No. 195011217004BFF.

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

ARTIST TO ARTIST ARTSHab 1 studio apartment available Sep 1, $986 per month. Details at or phone Jeff at 780.439.9532 / 780.690.9687 Night 32 Productions Inc. seeks a qualified screen writer for a TV pilot titled Ghostwater, a horror-cop drama. First draft has been written. Forward contact info and a sample of your work. Also looking for a comedy writer who understands bar and blue collar humor. Kevin Sisk, Associate Producer: The Canadian Liver Foundation is looking for a LOCAL ARTIST to help create a piece for our Masque Gala in early Oct. The piece will be given to the doctor we will be honouring at this year’s event as a thank you for their support of those affected by liver disease. Event is at the Muttart Conservatory on Oct 2. Info: Carmen Boyko, Canadian Liver Foundation T: 780.444.1547; toll-free: 1.888.557.5516; F: 780.481.7781 Wild Oranges Theatre Company is seeking male and female actors for support roles for a main stage Fringe play. Must be available on weekends for rehearsal and committed to 6 shows Aug 12 -22. Pls contact Kayla at or 780.217.9994 Wanted, a few good men; Musicalmania needs strong male soloist (tenor) and chorus members for Fringe production. T: 780.460.2937 Call to Artists, Musicians, Writers, Performers for Expression of Interest. Deadline: Jul 31, 2010 “Art in Our Park” Festival & Art Sale | James Ramsey Park (Edmonton), Sat, Sep 18

VUEWEEKLY // JUL 29 – AUG 4, 2010

only counted if they are reported to the police and confirmed as hate crimes. Not only are many attacks never reported, but police may not record them as prejudiced attacks. For example, Shannon Barry's vicious gay bashing will not be counted in the 2010 report, since Edmonton Police Services did not identify it as such. And victims need to feel comfortable reporting the attacks, which could amount for some of the higher numbers in places seen as more gay-friendly. Perhaps Vancouver is just better at identifying hate crimes. They've certainly had enough practice. Michael Kandola was sentenced this year for a 2008 attack along Davie Street against a gay couple. This June, David Holtzman and Peter Regier were beaten, punched and bitten outside their own downtown Vancouver apartment. Brothers Parminder and Ravinder Bassi were caught on tape smiling and running immediately after the incident. On Canada Day another homophobic attack Movements Dance is accepting applications for Dance Instructor for its 2010/2011 season. Applicants should have an extensive background in West African and Caribbean dance with a min of 5 yrs experience. For info call 780.415.5211 Old Strathcona Antique Mall: Any artist or musician interested in hanging art or performing in monthly showcases contact; visual art will showcase for one month Expressionz Café, 9938-70 Ave, looking for visual artists and artisans for weekly art market and rotating gallery space. T: 780.437.3667; W:

occurred on Davie; Alexandre Tchernychev and Aaron Alexander Hahn were soon arrested. The saddest recent case also occurred in the supposed gay village. Father of two Richard Dowrey offered to buy a drink for Shawn Woodard while both were patronizing the Fountainhead Pub, a popular queer restaurant. The two were playing pool when Woodward struck Dowrey for coming onto him. Dowrey went into a coma and has what friends referred to as catastrophic brain damage. He now requires constant care. Witnesses report that immediately after the incident Woodward made no apologies, reportedly saying, "He's a fag, he deserved it. The faggot touched me." Those are just a few of the attacks recently coming out of Van City, Western Canada's supposed gay utopia. Come on, Vancouver. Be the city that queers across Canada want you to be. I love travelling down Davie and seeing the rainbow flags left and right on shop fronts. I'd just like to see them dripping a little bit less red. V


Vanilla spice

How to return from a dip in kinkland Dear Andrea: husband needed some encouragement, I have been a fan for a long time, but but now it seems it is all we do. Even never thought I would write to though it is sometimes super hot, you. I have noticed a trend in I'm also, sometimes, a tiny bit recent columns toward people bored. I sometimes wish he without interest in sex and found me as sexy and irrem figured you might want to exsistible as myself as he does vuewe altsex@ plore the flip-side. when I am in my submissive a e r d An son role. However, I notice that on My husband and I are in our Nemer early 40s. We have been together the rare occasions when we have 15 years and married for 9. We have non-B&D sex, it is not as exciting for sex about once a week, which is all we can either of us. And my master,  er, I mean manage with two little kids, two full-time husband, is capable of very tender acts of jobs and everything else. lovemaking, but only, it seems, when I am For about the past five years much of our blindfolded and tied to the bed. Is there sex has centered around light B&D play: any way to make non-B&D sex as arousmaster and servant, blowjob olympics, silk ing as our little games?  scarves, G-strings and high heels. We both Thanks, find this kind of play arousing. At first, my MWLF




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Kaleido Festival is in need of BLACK HOCKEY TAPE and BLACK WOOL for an on-site collaborative art piece during Kaleido, Sep 10-12. Drop-off items at the Carrot Coffeehouse, 9351-118 Ave

We are a party / wedding band that already has over 10 gigs booked. Looking for a lead guitarist to fill out our sound. Call 780.271.0030 today!

"Be Idle Free" - youth video contest: The City of Edmonton's Carbon Dioxide Reduction Edmonton (CO2RE) program focuses on reducing greenhouse gas emissions in Edmonton. For contestants 7-11 years old, 12-14 years old and 15-18 years old. Entries received from Jul 15-Sep 30. Info Art Gallery welcoming artwork for display and sale. Expressionz is a meeting place for all modes of creative expression. We hold workshops, a weekly open stage, events and have space for meetings, healing practices. Located south of Whyte Ave at 9938-70 Ave. For info or to add your name to the list of artists E: expressionzcafe@; T: 780.437.3667 Call for entries: 2011 Dreamspeakers; Deadline: Mar 31, 2011; Info E: Send entries to: Attn: Executive Director, Dreamspeakers Festival Society, 8726-112 Ave, Edmonton, AB, T5B 0G6 Call to artists: Art From the Unknown, Edmonton; Deadline: Sep 10. Info: 780.414.0702 Edmonton Writer in Exile Committee invites applications for its PEN Canada Writer in Exile residency in 2010-2011. Deadline: Jul 31; Info at Allied Arts Council/Spruce Grove Art Gallery: call for Alberta artists 55 and over to participate in the 2010 Senior Art Show. Deadline: Sep 17. 780.962.0664, E: Actors to meet monthly to work on scenes and monologues with optional coaching from professional director and actor. email: Night 32 Productions Inc. seeks a qualified screen writer for a TV pilot titled “Ghostwater” a horror-cop drama. The first draft has been written. Please contact Kevin Sisk, Associate Producer at with contact info and sample of your work

MUSICIANS Singing competition. Majestic Mountain Music presents the first season of NovastarZ. Call Dan at 587.989.6243 or e-mail $1000 cash prize, as well as recording time and many other cool prizes. Looking for fresh new originals only The Richard Eaton Singers auditions for the 2010/2011 season on Mon, Aug 23, 6pm in Rm 1-29 in the Fine Arts Bldg, U of A. Contact Jochen Eggert at info@ Experienced drummer/singer with digital drums looking for work. Call 587.989.6243 Professional metal band seeks dedicated guitarist and bass player. No coke heads etc Call Rob 780.952.4927 Seeking folk/bluegrass/improv/country type small string band to work with me on some cool innovative performances. Must be willing to try new takes on some traditional work. 780.239.5758 Metal band All Else Fails seeking drummer. Committed, dependable, financially stable and able to tour often. or Mitch@780.707.3908

Dear Mwlf: Most letters starting off "I have been a fan for a long time "end up with something like "but you really fucked up this time," so that was nice, thanks. You're actually doing fine in the how often department. Once a week may be few people's fantasy but it is most people's reality. You are—surprise!—normal. Now as for what you're doing fine with ... here are your kudos for branching out a good 10 years into your relationship. Despite constant exhortations to try! new! sex! tricks! (check out the cover of every women's mag printed since 1970 or so, for instance) most couples tend to gradually contract their repertoires, not necessarily on purpose, but out of habit, lack of attention, and the sense, right or wrong, that "good enough" is actually good enough. Don't get me wrong, good enough actually is good enough, often enough. But just as often people stop exploring and then end up wondering why the surrounding territory looks so

Pro level trio require experienced drummer. Please be able to rehearse at least once/wk and have an upbeat attitude. T: 780.299.7503


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

The Canadian Liver Foundation: looking for new members who can assist with fundraising and promotion of the Northern Alberta Chapter. Contact: Carmen Boyko T: 780.444.1547; Toll-free: 1.888.557.5516 Edmonton Mennonite Centre for Newcomers, need volunteers to help immigrant children and youth of all ages–volunteer in a homework club. Phillip Deng at 780.423.9516, Do you remember someone who believed in you when you were a child? Be that person in a child's life today. All it takes is one hour a week, which may not be much to you but will make all the difference in the life of a child. Be a Big Brother or Big Sister! Be a Mentor! Call Big Brother Big Sister today. 780.424.8181 Volunteer website for youth 14-24 years old. The Edmonton Immigrant Services Association is looking for volunteers to help with its New Neighbours, Host/Mentorship, Language Bank, and Youth Programs. Contact Alexandru Caldararu (Volunteer Coordinator) at 780-474-8445 or visit: for more info Edmonton International Fringe Theatre Festival is looking for volunteers for the 2010 Fringe, Aug 12-22; Info:

Volunteer with Strathcona County RCMP Victim Services Unit and assist victims of crime and trauma. Call Katie at 780.449.0183 Volunteers required for studies at UofA. Call 780.407.3906; E: Reimbursement provided U of A is seeking major depression sufferers interested in participating in a research study. Call 780.407.3906; E: The Support Network: Volunteer today to be a Distress Line Listener. Apply on line or call 780.732.6648

SERVICES NARCOTICS ANONYMOUS Help Line 24 Hours a Day–7 Days a Week If you want to stop using, we can help Local: 780.421.4429/Toll free: 1.877.463.3537 Have you been affected by another person's sexual behaviour? S-Anon is a 12-Step fellowship for the family members and friends of sex addicts. Call 780.988.4411 for Edmonton area meeting locations and info,

Grow a Row with Edmonton Meals on Wheels; local gardeners and farmers to donate their fresh produce 780.429.2020 for info; Katherine Dalusong E: katherine.

SACE–Public Education Program: Sexual Assault Centre of Edmonton ( provides crisis intervention, info, counseling, public education. T: 780.423.4102/F: 780.421.8734/E:; Crisis Line: 780.423.4121

Edmonton Immigrant Services Association: looking for volunteers to help with Youth Tutoring & Mentorship, New Neighbours, Language Bank, and Host/Mentorship programs. Contact Alexandru Caldararu 780.474.8445; W:

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

Mechanics needed: The Edmonton Bicyle Commuters' Society operates a volunteer-run community bike workshop called BikeWorks, 10047-80 Ave (back alley), also accepting bicycle donations; E:; W:


The Candora Society of Edmonton–Board Recruiting;; promotes positive growth in the lives of women, children/families in Rundle/Abbotsfield communities. Info: Elaine Dunnigan E: Mediation & Restorative Justice Centre Edmonton: Vol Facilitator Recruitment 2010; volunteering/complete a volunteer application form; 780.423.0896 ext. 201


me as sexy and irresistible as myself?" I think you're feeling, despite all the attention lavished on your lingerie and such, a bit under-appreciated, a trifle invisible. You need him to see you, not just the damsel in distress he has tied to the railroad tracks. Tell him. Honestly, he has no idea. And try not to think of BDSM and vanilla as opposites. This is, like practically everything else, more of a spectrum than an on/ off switch. You don't have to ditch the whole BDSM dynamic. Why not try losing the hardware but keeping the power exchange going? Have him hold you down instead of tie you down. Keep body contact, keep eye contact, keep talking. There's nothing wrong with requiring (or at least desperately desiring) some power-exchange with your sex. You just don't want to feel like you could leave him the stilettos and the peekaboo bra and walk away and he wouldn't notice you'd left. Try the S/M-inflected vanilla for a bit. At least it would be different. Love, Andrea

Volunteers instructors needed–Tap Dancing, Line Dancing and Calligraphy. Wed: kitchen helper, Fri: dining room servers; Wed evening dinners: dishwashers, kitchen prep and servers. Mary 780.433.5807 People between 18-55, suffering from depression or who have never suffered from depression are needed as research volunteers, should not be taking medication, smoking, or undergoing psychotherapy and not have a history of cardiovascular disease. Monetary compensation provided for participation. 780.407.3906

Alberta board development program recruiting volunteer instructors for not-for-profit organizations. Call 780.427.2001. Deadline: Oct 1

damned familiar and, dare we say it, dull. Anyway. Pro-S/M educators often present lists of myths like "sadists actually want to kill you" and "anyone who does this must have been abused as a child" and "once you've had kinky you never go back." Most of these are obvious rubbish but that last one ... well, it's not true either, but you are hardly the first to find it hard to re-acclimate to so-called vanilla sex after a lengthy sojourn in kinkland. I don't believe you can get "addicted" to silk scarves and stilettos. Neither do I believe, as some do, that our bodies or psyches inevitably build tolerance to sexual sensation and require ever more extreme acts to achieve the same response. I am not sure that the answer for you lies in "making non-B&D sex as arousing as your little games." I mean, sure, that would be good, but remember how in all those columns about female libido it keeps coming back around to things like women responding strongly to feeling desired? Or, as you put it yourself, "I sometimes wish he found

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

ADULT STEAMWORKS GAY & BI MENS BATHHOUSE. 24/7 11745 JASPER AVE. 780.451.5554 WWW.STEAMWORKSEDMONTON.COM THE NIGHT EXCHANGE Private Erotic Talk. Enjoy hours of explicit chat with sexy locals. CALL FREE* NOW to connect instantly. 780.229.0655 The Night Exchange. Must be 18+. *Phone company charges may apply



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



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

1.900.451.2853 (75 min/$2495) Purchase time online now!


VUEWEEKLY // JUL 29 – AUG 4, 2010

BACK // 39

40 // BACK

VUEWEEKLY // JUL 29 – AUG 4, 2010

Vue Weekly 771 Jul 29 - Aug 4 2010  

Vue Weekly 771 Jul 29 - Aug 4 2010.pdf

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