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VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011



IssuE no. 793 // DEC 30, 2010 – JAN 5, 2011

UP FRONT // 4/ 4 5 6 7 7

Vuepoint Issues Dyer Straight In the Box Bob the Angry Flower

DISH // 8/ 10 Veni, Vidi, Vino

Selling in // 24

The music industry tries to balance cred and cash


ARTS // 14 15 Hopscotch

FILM // 17 17 DVD Detective 18 Sidevue

MUSIC // 21/ 26 New Sounds 27 Old Sounds 27 Quickspins 28 Backlash Blues


BACK // 29 30 Free Will Astrology 30 Queermonton 30 Lust for Life

LISTINGS 16 Arts 20 Film 22 Music 29 Events

Check out all of our slideshows from 2010 at 10303 - 108 street, edmonton, AB T5J 1L7 t: 780.426.1996 F: 780.426.2889 E: w:

IssuE no. 793 // DEC 30, 2010 – JAN 5, 2011 // Available at over 1400 locations Editor / Publisher.......................................... RON GARTH // MANAGING Editor............................................. EDEN MUNRO // associate mANAGING editor................... BRYAN BIRTLES // NEWS Editor........................................................ SAMANTHA POWER // Arts / Film Editor........................................... PAUL BLINOV // Music Editor....................................................... EDEN MUNRO // Dish Editor........................................................... BRYAN BIRTLES // creative services manager.................... MICHAEL SIEK // production.......................................................... CHELSEA BOOS // ART DIRECTOR....................................................... PETE NGUYEN // Senior graphic designer........................... LYLE BELL // WEB/MULTIMEDIA MANAGER........................ ROB BUTZ // LISTINGS ................................................................ GLENYS SWITZER //


SALES AND MARKETING MANAGER............ ROB LIGHTFOOT // LOCAL ADVERTISING.......................................... 780.426.1996 // CLASSIFIED ADVERTISING............................... 780.426.1996 // NATIONAL ADVERTISING.................................. DPS MEDIA // 416.413.9291 ADMINISTRATION/DISTRIBUTION............... MIKE GARTH // ADMINISTRATION/PROMOTIONS................ AARON GETZ //

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

CONTRIBUTORS Ricardo Acuña, Mike Angus, Chelsea Boos, Josef Braun, Rob Breszny, Pete Desrochers, Gwynne Dyer, Brian Gibson, Hart Golbeck, Tamara Gorzalka, James Grasdal, Joe Gurba, Jan Hostyn, Brenda Kerber, Stephen Notley, Roland Pemberton, Dave Young Distribution Todd Broughton, Alan Ching, Barrett DeLaBarre, Mike Garth, Aaron Getz, Raul Gurdian, Justin Shaw, Dale Steinke, Wally Yanish

VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011




Vuepoint Only the beginning samantha power //


ongratulations are in order: after a two-year campaign the Royal Bank of Canada has completely rewritten its environmental policy. Most significant is a new clause demanding RBC clients gain the free, prior and informed consent of Aboriginal groups on proposed projects that will use their land. The Rainforest Action Network, having campaigned for RBC to end its financing of companies in the tar sands for the past two years, points out this new policy not only recognizes Indigenous rights to their land, but defines consultation along the lines of the recently approved United Nations Declaration on the Rights of Indigenous Peoples. While putting words on paper is a significant step forward, the work is clearly not over, as evidenced in the notes of apprehension from activists responding to the announcement. Brant Olsen, with RAN, commends RBC on their bold policy while campaigner with the Indigenous Environmental Network Clayton-Thomas Muller hopes "these new policies move RBC away from financing cor-



porations like Enbridge that continue to violate Indigenous peoples' rights and the environment." Other activists have not been so diplomatic, calling the new policy greenwashing—RBC's attempt to gain congratulations and sweep the issue away. But if this is their intent, they'll have a hard time getting away with it. RAN has proven during its two-year campaign that it's willing to get personal, targeting not only RBC, but CEO Gord Nixon's wife, appealing to her for help in securing the Indigenous rights clause. Most importantly it has pointed to specific projects it wants stopped—the Enbridge Gateway pipeline from Alberta to Kitimat, BC. If the Enbridge project is finally submitted to the National Energy Board this year, Enbridge will most likely look to RBC for its financing and it will be RBC's first test to see just how closely it will be documenting consultation procedures. For the rest of Canada it will be a test case on how the UN declaration could impact Canadian business dealings where Aboriginal treaty rights are involved. Either way, one thing's for certain: this is only the beginning of the scrutiny of RBC. V

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

WEBPOLLS go to and have your say

Last week

As the year draws to a close, what is the story that will impact Alberta the most in the upcoming year? The health care crisis and debate 50% The recent recommendations on environmental monitoring in the tar sands 37.5% The inability to resolve Alberta's deficit 12.5%



This Week Michael Ignatieff has said his job in 2010 was to get his party ready for an election. Do you think a 2011 federal election is likely? 1. I can't wait to vote 2. Harper's government will live to see 2012 Check out to vote and give us your comments.

A new trade agreement crossing the Atlantic ocean may have consequences for how city council does business. The Canada-European Union Comprehensive Economic and Trade Agreement proposes to remove trade barriers across the Atlantic ocean, but may pose problems for the local buying power of city councils across Canada. We talk to Stuart Trew, trade campaigner for the Council of Canadians, about the local impacts.

VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011



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.

Down for the count

Can the Conservatives recover from the pummelling of 2010? The "saved by the bell" rule in boxing means that a boxer who is on the verge of losing a match, or in the process of being counted out, when the bell rings to signal the end of the round is saved from losing—he can take his one minute break and come back to try again at the beginning of the next round. That must certainly be how Premier Ed Stelmach feels as 2010 comes to a close, and he gets a short break before starting the next round. The pummelling of the province's Conservative caucus this year began almost immediately, as MLAs Rob Anderson and Heather Forsyth crossed the floor on January 4 to sit for the Wildrose Alliance. They left due to what they called dysfunction and lack of democracy, and said that, as far as they and their constituents were concerned, the government was completely unsalvageable. The following month the government was subjected to another nasty round of hooks and jabs from all sides of the political spectrum when it introduced its 2010 provincial budget—a budget that, despite being labeled a "hold the line budget" by the government projected a deficit of $4.7 billion and included significant spending cuts to areas like post-secondary education, arts and culture, education and environmental monitoring. The education cuts played out especially badly for the provincial government, as school boards that were already struggling to deal with understaffing and overcrowding made it clear that the budget cuts would mean laying off even more teachers. After a huge public backlash, the government was ultimately forced to backtrack and pay for the rais-

Then in October more ducks died on tailings lakes in the north. Environment Minister Rob Renner later showed up in Cancun to find a full-page ad featuring him in a sombrero and a tongue-in-cheek message on behalf of multi-national energy companies thanking him for fighting against progress on climate change and for their interests. As the legislative session came to a close in late November of 2010, the government lost its third caucus mem-

Fighters always seem to believe that, after being saved by the bell, they'll be able to come back in the next round and gain the upper hand. Mr Stelmach is no different.

es for teachers that they had committed to three years previous. The environment portfolio was another one that sent Premier Stelmach flying back into the ropes every time it came up. A large US-based NGO took out billboards encouraging a boycott of Alberta because of the tar sands, numerous states and foreign governments considered adopting clean fuel standards to avoid fuel derived from bitumen, and a number of multi-national corporations also looked at the possibility of no longer using tar sands derived fuel. While the government was trying to

deflect all of those attacks, Dr David Schindler released a study demonstrating the level of toxins present in the Athabasca river downstream of the tar sands, and highlighting the lack of adequate monitoring by both the federal and provincial governments. Although Alberta's environment and energy ministers tried to fight back against Dr Schindler, both Premier Stelmach and the federal government were forced to concede that there might be some merit to the study, and both launched highprofile inquiries into environmental monitoring and water quality.

ber, Raj Sherman. This one, however, was kicked out of caucus after having done serious damage to the government's credibility on the health care file by pointing out the level of disarray that existed in the province's emergency rooms, and the failure of the government to adequately address a series of other problems in the system. At the same time, the government was forced to adjust its deficit projections for the year to an even $5 billion, and a new poll was released showing the Wildrose Alliance in a virtual tie with the Conservatives. And just before Christmas, the federal panel on water monitoring reported back with the finding that not only was current monitoring of the tar sands inadequate, it was virtually nonexistent. That same day the Premier be-



echnology may be assisting with the survival of language. A group of BC First Nations have launched the FirstVoices application for iPhones and other mobile Apple products. The application is an extension of archives collected at which includes seven Aboriginal communities. The app is searchable and includes pronunciations as well as photos. The First Peoples' Heritage, Language and Culture Council is hopeful it will assist in bringing ancestral languages to a new generation of users. "Youth are more likely to incorporate technology into their language learning, which is critical for the survival of our languages," says Tracey Herber executive director of the Council. "It can also be a challenge for off-reserve First Nations

gan backtracking on his previous promise to have Alberta back in the black by the 2012 fiscal year. Fighters always seem to believe that, after being saved by the bell, they'll be able to come back in the next round and gain the upper hand. Mr Stelmach is no different, suggesting in his year-end interviews that things are looking up and his government will have its feet solidly under it again early in the new year. The reality, however, is usually that enough damage has already been done

that a boxer will just step back in the ring and the pummelling will continue. The government has thus far vowed to fix health care, get the provincial economy back on track and implement genuine environmental monitoring in the new year. They also have to bring in a new budget within the first three months of the year. Will they really be able to make it happen, or will they just be stepping into the knock-out punch that's out there waiting for them in the next round? Either way, 2011 promises to just as interesting politically in this province as 2010 was. V Ricardo Acuña is the executive director of the Parkland Institute, a non-partisan public policy research institute housed at the University of Alberta.


to learn their languages without direct access to fluent Elders or language programs. This app will make language more accessible to both groups," says Herbert. The Council which created and manages the website, is partnering with The First Peoples' Cultural Foundation to create the funding necessary for the developed archives to move to the mobile app. The announcement of the app came just a week before the Canadian government announced their commitment to increase funding for the Aboriginal Languages Initiative. The initiative is meant to support the preservation and promotion of aboriginal languages. The new funding formula comes into effect this April and is based on regional distribution of languages as well as renewed funding for established projects.



esterners are in favour of taking the lead on carbon reduction programs according to a new survey by the Canada West Foundation. In response to the statement "Canada should wait to see what the United States will do before implementing its own carbon reduction policies," 60.8 percent disagreed, indicating Western Canadians are ready for provincial and federal governments to start planning carbon-reduction strategies that belong to Canada. According to the survey, 32.6 percent of respondents felt the Canadian government was doing enough to shift to a clean energy strategy. The survey was conducted in November and included 130 financial analysts and economists in the four Western provinces.


VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011

“On the centre-left, we have to be just as smart as conservatives were on the centreright when they coalesced. We've got to learn from that, otherwise we'll end up with Harper governing with 37 percent of the vote again.” Deputy leader of the NDP, Thomas Mulcair The Globe and Mail Dec 28, 2010




The US plays both sides of the WikiLeaks debate "Behind the ostensible government sits enthroned an invisible government owing no allegiance and acknowledging no responsibility to the people." Theodore Roosevelt, two-term president of the United States, said that, and WikiLeaks founder Julian Assange quoted him in a manifesto he wrote four years ago, adding: "The more secretive or unjust an organization is, the more leaks induce fear and paranoia in its leadership ... " By that criterion, how is the United States government doing after a year that saw .com first Pentagon and then State weekly e@vue gwynn Department documents pube Gwynn lished by WikiLeaks in the tens r of thousands? Dye In truth, none of the "secrets" that Assange has revealed are all that momentous. Defence Secretary Robert Gates was right when he said: "Is this embarrassing? Yes. Is it awkward? Yes. Consequences for US foreign policy? I think fairly modest." Yet some of his cabinet colleagues verge on the hysterical. Secretary of State Hillary Clinton declared on November 29: "This disclosure is not just an attack on America—it's an attack on the international community  ...  There is nothing laudable about endangering innocent people, and there is nothing brave about sabotaging the peaceful relations between nations." Endangering innocent people? Like King Abdullah of Saudi Arabia, who the Internet. It has released only a few was urging the United States to attack dozen documents at a time, each of Iran, or Italy's Prime Minister Silvio Berwhich has been carefully edited in colusconi, whom a US diplomat described operation with five leading newspapers as being Russian Prime Minister Vladimir to ensure that no innocent people are Putin's "mouthpiece?" Neither man has endangered. doubled his bodyguard, nor has either It's puzzling. Some parts of the US govcountry broken off relations with the ernment seem quite relaxed about AsUnited States. sange's actions, while other parts seem WikiLeaks did not simply dump a quardetermined to put him in prison for the ter-million State Department cables on next few decades. "We are talking about




VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011

// Pete Nguyen

one of the most serious violations of the Espionage Act in our history," said Attorney General Eric Holder. "To the extent that we can find anybody who was involved in the breaking of American law ... they will be held responsible." How can someone who isn't an American citizen, and wasn't in the United States, have broken an American law? No way, CONTINUED ON PAGE 7 >>



It's no Gulf spill


Tough week for the Oil, but no need to panic In case holidaying kept you from the sports ated 30 iconic superheroes to represent page, here's what the Oilers were up to reeach NHL team. And after spending a cently. On the night before the night before good portion of the first half of my life Christmas (December 23) the Oilers reading comics, I appreciate this faced the Kings in Los Angeles but mash-up. Fans can vote online lost 3-2 after a shootout. Box( to deing Day in Vancouver saw the termine the order in which the Oilers convert a 2-0 second heroes will be unveiled. To make things more interesting, period lead into a 3-2 loss. Then uewee v @ x o intheb Buffalo came to town and beat the Oiler hero is pitted against oung & Dave Y the Oilers 4-2. In other, non-Oiler the Flames icon. As of Tuesday Birtles n a y r B news, Darryl Sutter jumped/was night, the unveiling is set for Janpushed from the GM seat down in uary 7 and our squad is barely leadCowtown. ing with 52 percent of the vote. DY



Huselius? Really?

We're at the tail end of a decade of Oiler hockey. Since the beginning of the 200001 NHL season, the following players have had game-winning goals or decisive shootout winners, victimizing our poor Oilers. Here are the repeat offenders. Jerks, the lot of them: 7 Game Winners: Daniel Sedin 5 Heartbreakers: Owen Nolan, Brian Rolston, Joe Sakic 4 Oiler-Killers: Marian Gaborik, Kristian Huselius, Jarome Iginla, JM Liles, Brenden Morrow, Keith Tkachuk 3 Edmonton Losses: Jason Arnott , Todd Bertuzzi, Rene Bourque, Martin Erat, Valtteri Filppula, Ryan Getzlaf, Tomas Holmstrom, Daymond Langkow, Marian Hossa, Paul Kariya, Matthew Lombardi, Mike Modano, Brendan Morrison, Markus Naslund, Joe Pavelski, Corey Perry, Dion Phaneuf, Sergei Zubov 2 Lucky Games: Steve Bernier, Phillippe Boucher, Dan Boyle, Dustin Brown, Brent Burns, Mike Cammalleri, Dan Cleary, Matt Cooke, Dallas Drake, Chris Drury, Pascal Dupuis, Radek Dvorak, Patrick Elias, Peter Forsberg, Kurtis Foster, Mikhail Grabovski, Bill Guerin, Martin Hanzal, Derian Hatcher, Patric Hornqvist, Jaromir Jagr, Joey Juneau, Chuck Kobasew, Viktor Kozlov, Guillaume Latendresse, Vinny Lecavalier, Patrick Marleau, Dean McAmmond, Ladislav Nagy, Alexander Radulov, Sami Salo, Henrik Sedin, Patrick Sharp, Lee Stempniak, Brad Stuart, Mats Sundin, Marek Svatos, Alex Tanguay, Raffi Torres, Doug Weight, Dennis Wideman, Wojtek Wolski. DY

New Year's Resolutions

With the new year fast approaching— or perhaps already passed by the time you're reading this—it might be good to think about resolutions a few Oilers might like to make:

technically, but the United States might still be able to get a close ally like Britain to hand him over if it could argue that Assange was actively spying on it. That will be hard, since he almost certainly wasn't. He had good legal advice when he set up the "dead letter box" where the leaks are collected, and it is designed NOT to reveal the sources of the leaks even to WikiLeaks itself. Indeed, Assange says that he never heard the name of the person whom the US accuses of being the leaker, 23-year-old army Private Bradley Manning, until he read it in the newspapers. The United States cannot make a case for espionage against Assange unless it can plausibly claim that he encouraged and helped Manning to steal the documents. Given that it probably isn't true, it can only do that by forcing Manning to say that it is true. That may not be impossible, because he has been held

in solitary confinement for the past seven months. He has so far refused to say what his interrogators want, but he is facing 52 years in prison if he is convicted of leaking the documents. He is entirely alone 23 hours out of 24, and even his hour of exercise takes place in an empty room where he walks figures-of-eight. "It's an awful thing, solitary," as John McCain wrote of his experience as a prisoner of war in Vietnam. "It crushes your spirit." And once Manning is a pathetic wreck of a human being, they will offer him a plea bargain: a much reduced sentence for his own actions if he will also incriminate Assange. Then the United States could lay a charge against Assange that might result in his extradition–although that is far from guaranteed, since nowhere do political crimes lead to automatic extradition. But does the US government really want to go all the way down this road? The usual suspects out in the backwoods

are howling for blood, so domestic politics demands that at the moment the administration must make a great show of outrage and vengefulness. On the other hand, the grown-ups in the government know that the way to get through the WikiLeaks drama with the least damage internationally is just to ignore it. That is why Vice-President Joe Biden could say on December 16 that "I don't think there's any substantive damage" from the WikiLeaks episode–and then on NBC's "Meet the Press" the following day, accuse Assange of being a "hi-tech terrorist" who is putting lives at risk. It's called "talking out of both sides of your mouth," which is what politicians have to do a lot of the time. Which side should we believe? Obama's people probably don't know that themselves yet. Domestic politics will decide. V Gwynne Dyer is a London-based journalist. His column appears every week in Vue Weekly.


Ales Hemsky: same as every year, shoot more. Andrew Cogliano: purchase comprehensive dental insurance. Oilers defence: Let's have a game where our goalie faces less than 30 shots once in awhile. Dustin Penner: more references to Eastbound & Down in post-game comments. Tom Renney: it's time to pick a tough guy and go with him, the Oil's rotating cast of bruisers is stunting the development of all of them. Linus Omark: don't let the bastards drag you down. I saw that plain Jane shootout move against the Kings—it didn't work, did it? Bring back the magic! Oilers management: you gotta rethink the Octane. I'm begging you. The Oilers have kept one resolution from last year and that has been to keep down the injuries. At only 58 man games lost to injury at the time of writing—almost half the season now—that's just over 10 percent of last year's 530 total. BB Oiler Player of the Week

Worst Christmas Ever

After I pronounced last week would be the best Christmas ever for the Oil, the guys lost the last three in heartbreaking fashion, the kind of "good game but still a loss" that everyone went into the season expecting out of this exciting but nonetheless inexperienced bunch. While the playoff dream is still alive, most fans would have to admit that it's on life support at this point. Still, we can take solace in the fact that we're not New Jersey. What the hell is going on over there? BB Stan Lee Cup

I know it's just a marketing gimmick, but I'm getting a kick out of the "Guardian Project." Comics legend Stan Lee has cre-

Ales Hemsky: for returning from injury and getting an assist against Buffalo. DY Jeff Petry: first NHL point in his first NHL game and the call-up deftly handled nearly 23 minutes on the ice after Whitney went down. BB

VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011


DISH Simplicity's sake

The Marc strives for a new take on French food

Co-owner Patrick Saurette hits the Marc with his new restaurant // Bryan Birtles

Jan Hostyn //


he Marc is not Il Portico. It doesn't look like Il Portico, it doesn't smell like Il Portico and it certainly doesn't taste like Il Portico. After all, the dishes rolling out of the Marc's kitchen have a definite French tone to them, and Il Portico was classic Italian. But set foot in the Marc and you may, for a very brief moment, feel like you've spiralled back in time and are once again about to indulge in a steaming plate of Il Portico's renowned pasta. What is familiar, and may very well throw you off, is the array of smiling faces floating about the sleek room. Two of those faces belong to Patrick and Doris Saurette, the owners of the Marc. Both spent a good number of years inside the walls of Il Portico and Patrick, who acted as the general manager for the last decade of its life, really became known as the face of Il Portico. But look closely and you'll also notice other faces that once graced the interior of Il Portico. "We do have a number of servers who were with us at Il Portico," asserts Patrick Saurette. "It's like a little reunion of sorts." Familiar faces aside, the Marc and Il Portico are very different restaurants.

8 // DISH

"When we were deciding what type of restaurant we wanted to open, we knew it wasn't going to be Italian. Italian is just way overdone in Edmonton, and it's not done very well," states Saurette. "And then there would always be that comparison to Il Portico." Instead, the Saurettes settled on a French-bistro theme. "We started out in this industry working at La Bohème and Claude's so, really, we cut our teeth on French food. We thought it was time to go back to our roots and bring Edmonton a new approach to French food—something fresh and upbeat and inexpensive." Saurette cautions that the Marc is not what most people would think of when they think of a French restaurant. "We're not old-school French. We're more innovative, modern, youthful. The only thing French is the food; everything else is comfortable." The food is rooted in the classic thought of sauces, stocks and wellprepared meats. "The first thing I wanted to talk to the chef about was the use of humble guts: flank steak, braised lamb shank, beef bourguignon. Rich and robust grandmotherly things done days in advance." So far, the most popular dish is proving to be the duck confit: slow-roasted duck

cooked in duck fat and served with a sour cherry sauce. Anything featuring fish is also making a strong showing. Overall, Saurette describes the menu as "masculine," something he finds slightly amusing considering the Marc is more marketed toward the female demographic. "They're the ones making the decisions about where to go for dinner." The menu is kept purposefully small in an effort to capitalize on the Sau-

rette's attempt to buy local whenever possible. "Having a smaller menu forces us to change it more frequently," explains Saurette. "That way we can incorporate seasonal styles. It also makes the specials board much more important. That's where the kitchen really has a chance to shine." What you won't find at the Marc is a stuffy atmosphere, elaborate presentation and huge portions. "Simplicity" is the one word that escapes often from Saurette's mouth when discuss-

ing the restaurant. "We're trying to make it youthful in the simplicity of the presentation, price, plate and atmosphere." Entrées come in around the low $20 range and, even though each dish comes with a starch and veggies, additional sides are offered. The idea is that the sides—like lavender honey baby carrots and maple-candied parsnips—are there to offer a bit of variety. "It's not a TV dinner we're putting out in front of our customers every night." Saurette also stresses that, "The dishes are the appropriate size." Diners want to be satisfied—not stuffed. "We wanted to differentiate ourselves from our competitors. We're not about humungous platters of food that you simply can't finish. I mean, is it really important to take that doggie bag home?" A large communal table at one end of the room and seating at the bar add to the simple, relaxed theme. And while Saurette acknowledges it might take a while for Edmonton to embrace the concept of sitting down for dinner at a table they share with strangers, he urges people to give it a try. "Those who do typically love it." And just to make sure the Marc is easily accessible, the Saurettes try to keep 25 percent of the tables open for walk-ins. "We don't want people to think they always have to have a reservation. They should be able to pop in at the last minute, whether it's for a quick bite before the hockey game or just for a relaxed night out." Simple. Modern. Relaxed. And that's the Marc. V Patrick Saurette The Marc 9940 - 106 St - 100 Sterling Place, 780.429.2828

RECIPE Diver Scallops with Peas a la Francais

three per person and finish with a touch of sea salt.

This is one of the Marc's most popular appetizers at the moment. It's also relatively easy to prepare at home.

Peas a la Francais:

(courtesy of Patrick Saurette, the Marc)


1 cup petite peas (Green Giant frozen) 12 pearl onions, peeled and blanched 60 grams of shredded iceberg lettuce Salt and white pepper

Pat the scallops dry and sauté in a heavy skillet with some clarified butter. Quickly, on high heat, crisp both sides of the scallops and continue cooking until the interior is done medium. When done, place on top of the pea mixture. Serve

Quickly sauté the petite peas, iceberg lettuce and pearl onions in a touch of butter until the lettuce is wilted and everything is warm. Season with a touch of salt and pepper. Next add about half of the cream sauce to the pea mixture and warm.

12 large Canadian diver scallops

VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011

Cream Sauce (makes about 1 cup): 1 oz butter 1 oz flour 8 oz of hot chicken stock 1 oz heavy cream

Heat the butter in a saucepan. Add the flour to the melted butter, followed by the chicken stock. Simmer five to six minutes. Add the cream, a touch of sugar and season to taste with salt and white pepper. Set sauce aside. Serves four


The history of gin

Gin is a re-distilled alcohol whose predominant flavour comes from juniper berries. It is broadly categorized as "distilled gin" or "compound gin." The first refers to the traditional re-distilling of clear, neutral spirits with the juniper berries. Compound gin is nothing more than simply flavouring neutral spirit with essences or other natural flavourings without re-distillation. Dr Fransiscus Sylvius of the Netherlands started producing gin in 1650 as a medicine for kidney problems. It was widely sold in pharmacies, before making its way to England. Because gin could be made cheaply and easily, it quickly became a popular beverage and the poor man's alcohol of choice. It was far cheaper than beer or wine, and in the early years was not taxed. Alcoholism became rampant in poorer areas, leading to still-familiar expressions as "gin joints" and "gin mills" for disreputable bars. Shady characters and prostitutes were often to be found on "gin lane." Interestingly, gin and tonic is likely the first and oldest highball, thanks to gin's immediate appeal with the British military. Soldiers were given liberal rations of gin, as it was cheap and in many cases safer to drink than water. Soldiers sent to distant lands were faced with additional challenges such as scurvy and malaria. Quinine, the first known reliable antidote for malaria, is found in tonic water. Many soldiers refused to drink tonic water alone, but found it very pleasant when added to gin. As for scurvy, the citrus peel additives to gin were not enough to cure scurvy, but were often enough to help prevent it. The style of gin most common today is referred to as London dry gin. This type of gin is distilled with hints of lemon and bitter orange peel, anise, angelica root, licorice, cinnamon, savory, lime and grapefruit peel, saffron, frankincense, coriander and nutmeg. Some of the more popular gin cocktails include: Gin Fizz, Tom Collins, Gimlet, Salty Dog, Pink Gin, Singapore Sling and White Lady. Of course, we can never forget the classic martini, with just a hint of Vermouth ... and three olives, please. V Pete Desrochers


VUEWEEKLY // DEC 30, 2010 â&#x20AC;&#x201C; JAN 5, 2011

DISH // 9


NYE for oenophiles

Where you gonna go? What you gonna drink? Over the last year Edmonton's wine bar scene has virtually exploded, with some half a dozen popping up in and around town. And with New Year's Eve approaching, there's no better time to head VIDI and check one (or more) of them VENI, out to ring in 2011. Here's a quick guide to Edmonton's emerging uewee wine line and what they've got gus@v mikean planned for the big night. Mike

// Chelsea Boos


Moriarty's Bistro and Wine Bar (10154 - 100 St, 780.757.2005) Classic French cuisine meets modern bistro, with a thorough (and affordable!) wine list. Also features one of Edmonton's only Enosystems. Open New Year's Eve, call for reservations. Tzin Wine and Tapas (10115 - 104 St, 780.428.8946) One of Edmonton's most ravishing and intimate wine rooms, they also offer an award-winning tapas menu. Spots are still available for NYE first sitting, 5:30 pm – 7:30 pm: three-course set menu with wine pairings and complimentary bubbly for $75. Call ahead for reservations, as this cozy room fills every night. Corso 32 (10345 Jasper Ave, 780.421.4622) Chef Daniel Costa's newest venture in modern Italian. Taking NYE reservations for seatings at 6 pm and 9 pm. Five-course dinner ($80) with optional beverage pairing ($35). 4th & Vine Winebar and Bistro (113588 - 104 Ave, 780.497.7858) Taking reservations for NYE; tapas from 4 pm – 7 pm, or a four-course chef's offering starting at 7 pm. $75 includes two oz wine flight pairings. Sabor Divino (10220 - 103 St, 780.757.1114) An airy, romantic room that gets lively

10 // DISH


with live music and dance, the menu is a contemporized take on traditional European cooking, with a well-balanced wine list. They are still taking reservations for NYE first seating 5:30 pm – 8 pm, threecourse dinner $80. Second seating and dance is sold out, but call to inquire about midnight's celebrations.

$110) and late (four-course, $150).

Lit Italian Wine Bar (10132 - 104 St, 780.757.6688) One of the newest kids on the block, Lit boasts an exclusive Italian wine list as well as a mouthwatering and reasonablypriced menu. Taking reservations for NYE set dinner, $60 with live jazz.

Bibo Wine Bar (9918 - 89 Ave, 780.437.5588) Although closed NYE, this 10-seat true wine bar is still one of Edmonton's bestkept secrets.

Hardware Grill (9698 Jasper Ave, 780.423.0969) An old standard and one of Canada's most reputable wine lists, taking reservations for both early seating (three-course,

VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011

Jeffrey's Cafe and Wine Bar (9640 - 142 St, 780.451.8890) Opting for a quieter night out? Jeffrey's is keeping regular hours, featuring light fare and fine wine selection. Also available for private parties.

d'Lish Urban Kitchen and Wine Bar (10418 - 124 St, 780.482.2242) Closed NYE and re-opening January 3, but worth a mention as the newest face in Edmonton's wine scene. Open late for a glass of wine or dinner in its youthful, laid-back, groovy atmosphere. V

SNOW ZONE Oh lonesome me

Silver Summit's solitude is a selling feature Bryan Birtles //


aving had my fill at the Edson A&W—that Canadian institution found in every town along every highway, which can fuel a road trip just as well as a Tim Hortons' double-double can—I was set to maneuver my vehicle up the unpaved road that leads to Silver Summit. While the road may be without asphalt, it's hardly treacherous; the most dangerous part about the final leg of the drive was the distractions caused by the scenery, the trees having recently been frosted by the kind of snow that appears as if it came from a can, dry and glistening in the mid-morning sun. After a series of twists and turns, the hill reveals itself to you all at once, its expanses thrusting upwards after you've taken the final bend of the road and been split from the trees. Boasting 1000 feet of vertical, Silver Summit is the largest resort in the province outside of the Rocky Mountains, but its cozy, modest lodge makes it feel like you're just stepping out into a friend's backyard. Michele Sheppard is that friend. Along with her brother Paul Damm, she runs the operation, which has been in her family for well over 40 years. Her father, Rick Damm, helped open the place as part of a larger group, but when the other owners grew tired of operating a ski hill, he

The author, preparing to bust some pow, and the lodge's moose mural


VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011

// Bryan Birtles




was able to buy it outright. "I was brought up out here," Sheppard says, justifiably proud of what her family has built here in the valley of the McLeod River. "I was little coming out here and my kids were little coming out here and it's nice for my dad because now his great grandson is coming out here." Those family ties are what Silver Summit feels built upon. Open weekends from December to mid-May (depending on weather), the hill also remains open during school holidays such as Spring break and Christmas holidays, giving families the opportunity to ski in a more challenging environment than city hills provide, but without the cost associated with heading to the much more expensive mountain resorts. Sheppard sees her hill as a rung on a ladder towards the more difficult mountain terrain for those just learning how to ski, and as a way to challenge those used to city hills. "It's almost like we're a good stepping stone to the mountains," she says. "The people that come from the city that are just starting to ski, maybe they've skied at Rabbit Hill or Snow Valley and then they can come ski here for a season." The skiing itself is pretty magnificent. It's the solitude that hits you first; from the top of Silver Summit's

chairlift looking across the hill and down the mountain range, there are few people spoiling the place's backcountry vibe. The runs are even better; enveloped by trees, the silence permeates your space until you start to jump at the noise the snow makes as it's being thrown up by your feet, thinking its another person just be-

Summit. "A lot of people don't even know we're here which just blows my mind," she says. "It's like Alberta's best-kept secret. That's why a lot of people like to come here, because they think no one ever comes here, but we're trying to change that." The last run of the day is at 4 pm

The silence permeates your space until you start to jump at the noise the snow makes as it's being thrown up by your feet hind you, the sound echoing through the corridor. The terrain is forgiving, even for a novice like me. Bombing in and out of patches of trees for the first time felt thrilling but altogether safe, the ground giving way, my rented skis bending when they needed to, holding fast when required. The snow is allnatural—the hill prides itself on not having snow-making equipment—and it has just the right amount of hold. The solitude allows for risk-taking and the bending of comfort zones, a black diamond run taken slowly, with feet positioned in full-on pizza slice. That solitude is one of the hills greatest strengths is not lost on Sheppard, but its something she's trying to strike a different balance with. In her mind there's a way to keep that feeling of skiing all by yourself while letting others in on the secret of Silver

and, with the light quickly fading, it becomes imperative I get a few more good jumps in before packing up and heading out. They come off perfectly, the fresh air rushing over my beaming face as my pace quickens. I make long, looping turns while making my way back towards the hill's rental shop, not eager to take the skis off for the final time that day, wishing I was staying over in one of the lodge's 22 rooms. Instead, I have to load up and vacate the hill before the light dies. A quick stop in Edson's Boston Pizza for more Canadian road-trip fare and I'm careening back to Edmonton, cheeks flushed and eyes aglow. V


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VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011 &05B'HF0LG:HHNB9XH%:B35,17LQGG

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Raging Elk Cardboard Derby at Fernie

Every January, the folks down at Fernie Alpine Resort host an amazingly fun event called the Raging Elk Cardboard Box Derby. I'm notifying you three weeks in advance so you can get those creative

juices flowing. This year the event takes place on Saturday January 22. The rules are few and quite simple. Your team of one to four participants is limited to using cardboard, glue, tape and paint for

Avalanche Awareness Days The annual Avalanche Awareness Days are just around the corner. This year they'll be taking place on January 15 â&#x20AC;&#x201C; 16 and you can expect most of the mountain resorts to get in on the action. If you've never been, this is definitely a good first step into understanding the unforeseen dangers of our backcountry. Check your favourite hill's events page or bulletins for specific event information. You can expect to view and partake in several activities, including transceiver operations, snow-stability demos and, if available, the

your construction materials. Past entries have included pirate ships, hot tubs, firebreathing dragons and more pirate crafts. Unlike some similar events, this is not a speed event: creativity and the ability to land near a target bull's eye is what defines the winner. Most important is ensuring that your craft stays together. I'm guessing that several rolls of duct tape are critical to ensure strength and stability. Ripping cardboard at high speed tends to deposit its inhabitants rather quickly and unceremoniously. Last year one of the teams sped past the target and took out two safety fences before coming to rest. If you are on a tight post-Christmas budget, then you might want to choose the Raging Elk Hostel in town. It may even give you an opportunity to get some tips from the competition. ever popular avalanche dogs. Watching them hunt through the snow for a buried object is quite an impressive sight. The instructors and guides hosting the activities love talking about their craft. Be sure to take some time and let them feed you the critical information you need before you even consider tackling the backcountry. Following up this public event with some personal avalanche training would be the best route to take. These guys will give you a taste and show you the gear. Maybe you'll even get really passionate and join the Canadian Ski Patrol or another mountain rescue team.

VUEWEEKLY // DEC 30, 2010 â&#x20AC;&#x201C; JAN 5, 2011


ARTS An ink-and-paper blog I n s t a n t B o o k s A r e Yo u r F u t u r e t u r n s o n l i n e e n t r i e s i n t o m i n i a t u r e a r t p r o j e c t s Paul Blinov //


t seems almost misleading to dub Matt Prin a blogger in the same way bloggers en masse are: given the don't-ask-tell-all nature of most online writing—diaries, essentially, left unlocked and wide open in public places, hoping to get stumbled upon and read deeply—Prin deserves a little more credit for making something a little more engaging out of his online entries. He does post stories from his life, but he's turned each one into a miniature art project. His Instant Books are tiny, miniaturized novellas, drawn and written by Prin; each one (dimensions: two by three inches) is hand-written and illustrated, then scanned and uploaded onto Instant Books Are Your Future. They read as sometimes charming, sometimes poignant snapshots of the ups and downs of real world living, but Prins knows his way around words, and he's clever in dressing them up in an interesting way, drawing you into his world with scribbles and sketches as much as with wordplay and story. The idea came when Prins, originally from Edmonton, was living in New York

14 // ARTS

and looking in vain for writing work. He had a copy of Esther K Smith's group effort. He's titled it Alpha"So I wasted all my money," he How to Make Books—the title says it books; it features a different story by laughs. "And I pretty much spent all—and originally planned to make a different author for every letter of that time in New York writing every every type of book it blueprinted. But the alphabet. Some are local contribuday, just about the experiences down he's stuck to the miniature form, due tors (Josh Holinaty, Omar Mouallem), there. And I and some are was just sick people Prin's of writing so I mean, a blog is really a personal thing. It's like a journal, met during his much for no- really, right? Except it's often just quickly hammered out, travels: several, body but myhe notes, are self, so I de- and I don't know ... some are really good, but the majority from an Italian cided I should seem like personal journals written for that person, instead arts commune do a blog." he met while His hope, he of for an audience. I tried to make it a little more accessible living in that notes, was to country. He's make a blog by, I guess, making it more artistic. looking into "that wasn't having the sereally blog-gy." in part to liking the format and findries published when it's finished. "I mean, a blog is really a personal ing himself "too lazy" to do them all. "I just wanted to get my friends inthing. It's like a journal, really, right?" Now, there are more than two hunvolved with it, because I know a lot of he reasons. "Except it's often just dred entries on the blog, made by very talented people, and they're all just quickly hammered out, and I don't Prins and friends, and hopefully in sort of scattered around everywhere." know ... some are really good, but the the future, any contributor willing to Prin also notes the stylistic influmajority seem like personal journals put in the effort. ence of autobiographical graphic novwritten for that person, instead of for Prins is accepting Instant Book subels; Prin names Joel Matt, author of a an audience. I tried to make it a little missions (there's a very easy YouTube confesional series called Peep Show— more accessible by, I guess, making it tutorial linked on his site), and he's is detailing Matt's struggles with his more artistic." in the midst putting up a coordinated catholic upbringing, social inadequacy

VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011

and addiction to pornography—noting that, while unabashedly tell-all, somehow the format makes such confessions work. "I hadn't read anything like that: it was very vulgar, very crude, but very honest, very personal stuff," Prins recalls. "I just thought it was really impressive. It just seems really brave of him to put out all this horrible stuff about himself, but at the same time it makes you feel good as the reader, I think, because you realize all these fucked up things you're doing and are ashamed of, everyone has the same things going on." Instant Books is, essentially, his way of doing the same. "It's kind of cathartic. I think it's healthy to do that, and I kind of fell out of love with fiction. I mean I still love to read fiction, but I find personal types of stories more engaging, anyway." V



Dark nights

Adalbert Stifter's Rock Crystal provides solace at solstice "In most places, midnight as the very hour ecdotes of her own childhood Christmases; of his birth is solemnized by ritual of great paintings, photographs, or other such imagsplendor, to which the bells ring out their es culled from or invoking of antiquity. I've heartsome invitation through the still just read Adalbert Stifter's novella Rock darkness of the wintry air; then Crystal (New York Review of Books with their lanterns, along dim Classics, $14.95), quoted above. It familiar paths, from snow-clad was written in, I believe, 1853. I mountains, past forest-boughs was immediately entranced and even moved by the book's deliencrusted with rime, through k e e w @vue crackling orchards, folk flock to hopscotch cate evocation of a time of year Josef the church from which solemn that as an adult I've come largely strains are pouring—the church to dread—I'm irreligious, have no Braun rising from the heart of the village, children, dislike frantic shopping and enshrouded in ice-laden trees, its stately hate most Christmas music—and this relawindows aglow." tionship between Christmas's former allure I realize now that, as a child, whatever and such elements as the darkness of long magic surrounded Christmas for me seemed nights unadulterated by streetlamps and drawn exclusively from the past: old movies luminous skyscrapers, genuine quietude, and old storybooks; my grandmother's anancient rites and activities, and the serenity


of an era that predates modern consumerism, now seems very obvious to me. I didn't want to be transported to a mall; I wanted to be transported back to several decades before my birth. I've always had a special attachment to Ingmar Bergman films— maybe I just wanted to share my holidays with Fanny and Alexander. The story of Rock Crystal is easy enough to summarize: two children travel from their tiny Alpine village to a slightly larger Alpine village to visit their grandmother on Christmas Eve; on the way back they're lost in a snowstorm and forced to pass the night outdoors. The problem with offering such a synopsis is that this little drama constitutes only about half of Rock Crystal's pagecount. The first third or so, in which Stifter's trickling prose runs through descriptions of

the villages of Gschiad and Millsdorf, their inhabitants and customs, their relationship to the world beyond and most especially to the natural splendour surrounding them, initially seems to promise no drama at all. It seems rather like a work of wondrous, affectionate anthropology, until we gradually realize that everything Stifter details foreshadows the children's journey: the hubris of their shoemaker father, the gifts provided by their grandmother, the discovery of the remains of a baker in the woods. Stifter draws his narrative from an exacting sense of place, an approach that, along with Rock Crystal's setting, may have had a considerable influence on Visitation, a wonderful recent novel by the contemporary German author Jenny Erpenbeck. I don't know how I first came to hear about Stifter, who was born in Bohemia in 1805, and died in Austria in 1868. Everything I've read refers to him as unknown or forgotten, but my finally getting around to reading Stifter was prompted by WG Sebald,

that specialist of the forgotten, who cited Stifter as an influence and, indeed, whose ornate sentences not only owe something to Stifter's, but whose particular obsession with history possessed an unmistakable precedent in Rock Crystal, whose descriptions are so rapturous that it's as though posterity depends on sheer urgency and devotion. (Incidentally, Stifter's description of how the residents of Gschaid "are obliged to keep their dead with them over the winter till they can bring them to the valley for burial after the snow has melted" reads almost exactly like the description of dealing with the dead in Sebald's own Alpine village offered in Sebald's 1998 Writers & Company interview with Eleanor Wachtel.) In the writings of both Stifter and Sebald, memory is a living force, the past inextricable from the now, and the dead remain somehow present. Reading their work inevitably comes with an air of melancholy, but it also comes with deep consolation, perhaps most of all during these longest nights of the year. V

theatre // PREVUE

Out with the old ...

An interactive Gameshow rings in the new year Paul Blinov //


ecember is, traditionally, a pretty quiet time for theatre. There are usually a couple of Christmas Carols and festive shows going on, and some other runs finishing up, but by the month's midpoint artists tend to take the holiday and spend it keeping warm and seeing with friends and family. So when David Belke started up his Decemberama series last year, he'd filled a niche of sorts by organizing a series of month-spanning yuletide performances to take in. Now, he's filling another, left until the last weekend of the year, and focused on the 51 that preceded it: The Great Gameshow Showdown Shindig. Belke's put together a celebratory mishmash of interactivity and competition to give 2010 a proper send off: contestants will be drawn from the audiences each night to compete in answering questions and "doing stunts' for a chance a prizes. Everything tests knowledge of 2010, and while there will be winners throughout the night, there will be winner at the end gets a chance at a far grander prize with the Calendar Dash, a final, presumably timed test for the year en masse. Think The Price Is Right with an "Auld Lang Syne" vibe. The impromptu energy that a gameshow conjures up, for contestants (and audiences) who don't know what's coming next, is what inspired Belke. "I've always loved improv, and always loved the game aspect of it," Belke, says "And I've loved game shows from my youth." Shindig's blueprints can be traced back to a few previous Belke projects: a good 15 Fringes ago, he paired up with comedienne Cathleen Rootsaert to put on Win My Stuff. It's protagonist, in total denial

of being kicked out of his basement (yet getting the boot all the same, crafted a game show to get rid of his excess worldly possessions. And for a First Night Festival, Belke and Neil Grahan put together a "Rockin' New Years Gameshow." Like those two earlier incarnations, Shindig's DNA is coloured in collaboration. The evening's MC will be local ac-

I love the audience participation, I love the fact that it's all happening in the moment, and of course you have no guarantee of what's going to be happening next. tor/general merrymaker Julien Arnold; Natasha Napoleao will be dolling out the prizes, and longtime Belke-collaborator Paul Morgan Donald will be providing music and banter throughout the evening. But really, the audience is providing the bulk of it all: Belke and co are just the framework, though he seems confident that whoever's brave enough to take to the stage will perform admirably. "I love the audience participation, I love the fact that it's all happening in the moment, and of course you have no guarantee of what's going to be happening next. It's always exciting, it's always fresh and, if you play it right, it's a lot of fun and a lot of funny." V Thu, Dec 30 – Sat, Jan 1 (7 pm) The Great Gameshow Showdown Shindig Holy Trinity Anglican Church (10037 - 84 Ave), $8 – $15

VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011

ARTS // 15


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16 // ARTS

VUEWEEKLY // DEC 30, 2010 â&#x20AC;&#x201C; JAN 5, 2011



Going home

Can people ever really change? So I'm sitting by the window in this café and the proprietor who I'm friendly with sits besides me and starts telling me about this guy across the street who used to date his sister in high school and was always talking and talking, and there he is now, across the street, 20 years later, and still he's just talking and talking at someone as though not a moment's gone by. "If there's one thing I know about life," the proprietor announces with absolute conviction, "it's that people never change." I ask him why he feels so strongly. He tells me he's got three kids and that no matter what they m do or say as they grow up he vuewe ctive@ te e d d saw it all in them from the dv Josef day they were born. I ask him Braun if perhaps the reason they'll always seem to the same to him isn't that they never change but rather that, being his children, he'll never be able to see them any differently. The proprietor considers this for a good moment and then, quite graciously, concedes that I might have a point. I told this story to my fellow Vue contributor David Berry and he confessed that he more or less agreed with the café proprietor. People change in little ways, David said, but our essential selves stay the same. But I wonder how many little things need to change to constitute essential change; how much about who we were needs to change before something has changed right down there in that indefinable essence? When I first left home at 18 and moved to another city, every time I returned I felt this involuntary regression. I'm back in the house where I was raised, trying position his father once held, as though to feel at ease with my family and their fate, as it did with Oedipus, were simply habits, yet within minutes we all slip meandering on its way to delivering his into precisely the same dynamic we've proscribed sentence. always had, the same presumptions and I thought too about Five Easy Pieces alliances, the same grievances and use(1970), which I wrote about last week, less responses. I truly believed that I'd how Jack Nicholson's Bobby Dupea changed, significantly, yet once I entered pathologically seeks to reinvent himself that house it was as though everything as someone from not only a different was frozen in time and only physical sort of family but a different class, how escape could break the curse of stasis. he winds up just as unhappy playing the It took me some years to shake off the role of a California roughneck as that of frustration that accompanied these rea gifted Oregon concert pianist, and how unions. With the holidays here and many after returning home to find no resoluof us returning to our families, perhaps tion has no other choice but to keep for uncomfortably long visits, it got me on running from everything in order to to thinking about movies that illustrate stave off his incessant sense of vacancy. this scenario. I thought about Brand Upon the Brain! I thought of The Godfather (1972), how (2006) and Guy Maddin's hero returnAl Pacino's Michael Corleone comes ing to the lighthouse orphanage of his back home a war hero, college educated childhood to somnambulistically paint and well-spoken, so different from his its walls, and about My Own Private siblings, all of whom seem to be easIdaho (1991), where Keanu Reeves' male ing into their assigned roles within the hustler embodies the role of Prince Hal. family's ethnic tribalism and business of organized crime, and yet by the time the But the movie that finally struck me as story closes Michael has assumed the being most emblematic of the experience



Junebug: a particularly interesting homecoming

that had been on my mind was Junebug (2005), the debut of director Phil Morrison and writer Angus MacLachlan. After years away, living in Chicago, George (Alessandro Nivola) returns to his rural North Carolina home with Madeline (Embeth Davidtz), his new wife. What's especially interesting about this homecoming is how George initially recedes from the

seems to change before Madeline's eyes into the homey, family-loving Christian his parents raised him to be. "Ye who are weary ... Jesus is calling, o sinner, come home," George sings in a voice so pure it could've come from a boy. Morrison subtly emphasizes the role home and place play in George's transformation through still, often unpopu-

I'm back in the house where I was raised, trying to feel at ease with my family and their habits, yet within minutes we all slip into precisely the same dynamic we've always had, the same presumptions and alliances, the same grievances and useless responses. central storyline upon arriving home. While Madeline awkwardly attempts to ingratiate herself to her in-laws, George seems to be constantly passing out on the sofa, exploring empty rooms or going out. It's only when he's called upon by the local pastor to sing a hymn that George breaks the spell and instantly

lated, almost painterly shots of houses, rooms, vast lawns, and churches with immense parking lots. Madeline is a diplomat's daughter, born in Japan and raised between South Africa and DC—a person without roots, as far as George's mother's concerned—and no matter how hard she tries she'll always stick out

VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011

everywhere she goes in George's town, while George, after only a short time there, virtually disappears—from Madeline's view—right into the town's tapestry. Then a crisis emerges, George helps his sister-in-law through the crisis, and when he emerges from the event he's suddenly anxious to leave. In what is perhaps the movie's boldest move, George and Madeline depart and the story ends with George callously expressing his relief at getting out of that place. Yet we're not meant to take this as a simplistic finale. I think we're to intuit that George's family will go on with their lives and George will go on with his and both paths involve some mixture of free will and stubborn changelessness. It's only when returning home for a few hours, a few days, maybe a few weeks (!), we are all susceptible to this eerie magic that renders us a child once more, unable to assert our individuality and wondering how we ever made it out of the driveway on our own. Until of course we do make it out, and repeat the experience all over. V

FILM // 17



Scream beyond the screen Overturn the artistic-death sentence for Jafar Panahi

A scene from Jafar Panahi's Offside

I have mentioned Iranian director Jafar Panahi five times before in this space, but this, the sixth time, is the gravest. This time, this situation, casts a dark shadow over his art, an art that's not just been a part of the Iranian New Wave but of Iran's youth wave, one of this world's largest young national populations demanding change. But there is a small chance that you, dear Vuer, over here in your small corner of Canada, can turn the tide this time, cutting reel life so there's no tragic ending. I hope you'll excuse my personal, even pleading appeal and the seriousness of this New Year's address. It is, after all, a time for reflection and for giving, and this time you may able to give life to a man who's given much to us through art. The first time I mentioned Panahi in this space was in my July 8, 2009 column about user-technology, Iranian film, and the then-raging post-election protests of Mahmoud Ahmadinejad's suspiciously easy victory over MirHossein Mousavi. I wrote then that "Panahi and other directors have been laying the ground for these protests, if only by surveying the streets, reflecting the many hopeful, tired, insistent, distracted, inquiring, cheeky and pensive faces of Iran. The critics' trend-watch may have sailed on to the Romanian New Wave, but Kiarostami and Co have always been about revealing struggling Iranians to themselves, anyway." Even though Panahi's films have been suppressed at home, they've found their way to many émigrés and

18 // FILM

Panahi's stubbornly stayed in Iran to make films that reflect the streets of Iran back to the men, women and children who trudge, pedal, motorbike or motor along them each day. The second time was an update at the bottom of my August 5, 2009 column. Panahi had been arrested while trying to place flowers on the grave of Neda Agha-Soltan, whose murder in the streets by police was caught on video and posted online. He was later released but, after he wore green (the colour of opposition supporters) as a juror at the Montreal Film Festival in September, he was hit with a travel ban, then arrested again on March 1. (Let's not forget that Panahi was treated shamefully by US officials in April 2001 when, as was reported and he declared in a letter of protest issued by FIPRESCI, he was racially profiled, harassed, and chained to a bench for hours on a stopover.) Nine months later, at the Cannes Film Festival, Juliette Binoche—there for the premiere of her film Certified Copy, directed by Iranian maestro Abbas Kiarostami—broke into tears at a press conference when she heard that Panahi, still in jail, had gone on hunger strike. (Kiarostami scripted Panahi's lovely feature debut, The White Balloon, also inspired by Albert Lamorisse's famous film.) As I noted in my May 26 column, Panahi's chair on the Cannes jury, which he'd been appointed to at the festival, was left empty; but it looked as if he was going to be released. By late May, Panahi had indeed been

freed—on $200 000 bail, with a possible indictment still pending. My June 9, 2010 column on soccer films mentioned Panahi's sixth feature Offside, which culminates in a joyous outbreak of the personal and political, as women, forbidden to watch games in the

class riven (Crimson Gold), wrong that women can't watch a soccer match (Offside). And these injustices ring out so sharply because Panahi's art sounds out life's wrongs at their most poetic, painful pitches of truth. This is the sixth time I write about

If art can not only deeply reflect but affect life, this must be one of those times. stadium, celebrate the just-announced qualification of Iran's national men's team for the 2006 World Cup. It's a film of masked dissent, as I mentioned in my original review: "Droll comedy and wry ironies artfully disguise Panahi's poignant questioning of national pride, governing the public good, and even the sadness mixed in with past victories." At the end of 2009 in this space, both Panahi's Crimson Gold—a kind of Tehran Taxi Driver—and Offside appeared as #83 in my list of the Best Films of the 2000s. The point of this column-threading, I hope, is clear—it's to at least offer the inky ghost-traces of just how much Panahi's films, and the news of his arrest, have affected me. That's because his social-realist films offer the deep bravery and unwavering honesty of conviction— not the dogmatic conviction of "I'm right" but the certainty that "this is wrong": wrong that women's lives in today's Iran are so circumscribed (The Circle), wrong that today's Tehran remains so

Jafar Panahi because now, horribly, the unreal-life verdict is in. Panahi has been sentenced to six years in jail and a 20-year ban on making films or writing scripts, talking to local or foreign media, and travelling abroad. It is not only a gag order but a blindfold for the 50-year-old director. This is not the time to debate the merits of international pressure (and how much that will play into the Iranian regime's excuses about Western interference) or to sit back and only let those in the film community speak up (though it's difficult to entirely forget the petition circulated this year for a comparatively pathetic cause—the one opposing Roman Polanski's arrest for potential extradition to the US on the rape sentence he fled). Jafar Panahi has communicated to us through film, has used his artistic talent for the greatest imaginable social good, and now we must respond by urging his release, his return to the limits of artistic freedom in his country, limits he's already stretched so profoundly.

VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011

Let festival organizers put together protest retrospectives, let directors speak up, let news services report this sad sentence. But do not let this alone. If art can not only deeply reflect but affect life, this must be one of those times. Remember why Panahi must be released. Watch his films first or again—via rental, Netflix, streaming, or whatever means—and tell your friends to watch his films. Start with the beautifully allegorical, kidscentred The White Balloon and The Mirror, then move on to The Circle, Crimson Gold, and Offside. (IMDB lists an "Untitled Jafar Panahi Project" currently in post-production. Let's hope that it can be finished and released, and let's make sure it's not his last.) Tell your friends about his films; share them. Then give money to Amnesty International. Sign this petition put together by cinema organizations and this online petition. Email Cannon.L@ our Minister of Foreign Affairs to demand that our government officially protest this sentence and demand Panahi's release in the name of artistic and cultural freedom. We do not have Panahi's filmic eye for beauty and honesty, but we can still see, in his films, that beauty and truth. "Action!" must lead to action and images to words when the director's been disappeared and only his audience remains. Now is the time when we must get out of our seats and, instead of merely leaving behind some applause and then silence, we remain, immovable, and speak truth to power. V

Culture clash

Gulliver's Travels sticks close to gimmick

Giant Jack Black gets a wedgie from a giant-er robot

Josef Braun //


fter serving a decade as the lonesome and wildly unambitious mailroom guy for an NYC daily, Lemuel Gulliver (Jack Black) plagiarizes his way into becoming a gung-ho journo sailing solo through the Bermuda Triangle when all he actually wanted was a date with the cheerful, pretty and impossibly naïve travel editor Darcy (Amanda Peet). Gulliver gets lost at sea and wakes to find himself in Lilliput, where the people are super tiny, pre-industrial and speak with rather inexplicable English or Scottish accents. The Lilliputians try to hold their colossal intruder captive but wind up making him their general instead after he saves their princess (Emily Blunt) from kidnappers and puts out a raging inferno by letting loose a massive piss all over their little kingdom. Drawing upon the sizeable gimmick if not any of the substance of the first part of Jonathan Swift's beloved novel, Gulliver's Travels updates the status quo while leaving the 18th century Lil-

liputian setting more or less intact. Joe Stillman and Nicholas Stoller's adaptation actually owes a lot more to Mark Twain's A Connecticut Yankee in King Arthur's Court: whatever traces of satire are to be found in the movie emerge from the inevitable culture clash. Gulliver the pudgy American encourages his new friends to overlook class restrictions when it comes to romantic love, but his other innovations, which include brewed coffee, billboards, rampant consumerism and some sort of unplugged variation on Guitar Hero, ultimately prove less welcome. Gulliver's reign as resident big shot comes to a humiliating end when a giant robot gives him a wedgie and forces him to confess to numerous false claims about his heroic past: his impulse to rip-off other people's material has now extended to the appropriation of Star Wars and Titanic, stories he makes out to be autobiographical, as well as the music of Kiss, Prince and Guns N' Roses. Gulliver essentially views his arrival in Lilliput as an opportunity to pretend to be the author of some particularly

crass version of Western civilization, while rendering Swift's sly adventure tale into a fantastical family-friendly rom-com that lets the schmucks land all the foxy ladies and the kids believe that monarchies can be not only benevolent but bursting with the urge to perform elaborate musical theatre numbers. Yes, Black gets to sing a little, dream of cheeseburgers and show a significant portion of his bum, which is all well and good, but there aren't too many bits of comic business worthy of his so often underused talents. Also worth noting is the rather surprisingly substandard special effects, with their inconsistent proportions and mismatched lighting, which I don't know whether to find charming or just shamefully negligent. V Now Playing Gulliver's Travels Directed by Rob Letterman Written by Joe Stillman, Nicholas Stoller Starring Jack Black, Amanda Peet


VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011

FILM // 19


FRI, DEC 31, 2010 – THU, JAN 6, 2011

JACKASS 3D (R) Digital 3d DAILY 2:00, 4:45, 7:30,

THE FIGHTER (14A coarse language, substance

THE TOURIST (PG coarse language) FRI�SUN 1:25,

HEREAFTER (PG mature subject matter, coarse


TANGLED (G) FRI�SUN 1:40, 4:15; MON�THU 4:40 THE FIGHTER (14A, coarse language, substance


language) DAILY 6:40, 9:20

LIFE AS WE KNOW IT (PG language may offend, s

CHABA THEATRE�JASPER 6094 Connaught Dr, Jasper, 780.852.4749

DATE OF ISSUE ONLY: THU, DEC 30 LITTLE FOCKERS (PG crude sexual content, not

recommended for young children) THU, DEC 30: 7:00, 9:00

YOGI BEAR (G) THU, DEC 30: 7:00, 9:00 CINEMA CITY MOVIES 12 5074-130 Ave, 780.472.9779

TEES MAAR KHAN (PG coarse language) Hindi

W/E.S.T. DAILY 1:10, 4:00, 7:20, 10:00

NO PROBLEM (14A, violence) DAILY 6:45, 9:45 MAR JAWAN GUR KHAKE (PG, violence) DAILY

1:00, 3:50

BURLESQUE (PG not recommended for children,

coarse language) DAILY 1:30, 4:05, 6:55, 9:30

LOVE AND OTHER DRUGS (18A coarse language, sexual content) DAILY 1:45, 4:00, 6:50, 9:15 THE NEXT THREE DAYS (PG violence, coarse language) Digital Cinema DAILY 6:30, 9:25 UNSTOPPABLE (PG coarse language) DAILY 1:55,

substance abuse) DAILY 1:50, 4:25, 7:15, 9:55 SECRETARIAT (G) DAILY 1:40, 4:20, 7:00, 9:50

DAILY 12:50, 3:40, 6:30, 9:20

THE TOURIST (PG coarse language) DAILY 1:50,

substance abuse) DAILY 1:35, 4:10, 7:05, 9:35

4:50, 7:50, 10:20


for young children, frightening scenes) DAILY 1:25, 3:55


1:20, 3:45

GULLIVER’S TRAVELS 3D (PG) Digital 3d DAILY 12:15, 2:40, 5:10, 8:10, 10:25 LITTLE FOCKERS (PG crude sexual content, not

recommended for young children) DAILY 12:25, 2:50, 5:20, 8:00, 10:40

TRUE GRIT (14A violence) DAILY 1:10, 4:00, 7:00, YOGI BEAR 3D (G) Digital 3d DAILY 12:10, 2:20, 4:40, 6:50, 9:00

TRON: LEGACY (PG) DAILY 12:30, 3:15, 6:15, 9:15 TRON: LEGACY 3D (PG) Ultraavx DAILY 1:30, DAILY 1:00, 3:50, 6:40, 9:30

not recommended for young children) DAILY 12:20, 3:30, 6:45, 10:05

CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585


HOW DO YOU KNOW (PG coarse language)

TANGLED 3D (G) Digital 3d DAILY 12:00, 2:30, HARRY POTTER AND THE DEATHLY HAL� LOWS: PART 1 (PG frightening scenes, violence,

14231-137 Ave, 780.732.2236

RED (14A violence) DAILY 1:15, 4:15, 7:10, 9:40

BLACK SWAN (14A sexual content, disturbing content, not recommended for children) No passes FRI�SUN 12:40, 3:20, 7:10, 9:55; MON�THU 12:40, 3:20, 7:10, 9:55 5:00, 7:20, 9:50


4:30, 7:30, 10:30

scenes) Digital 3d FRI�WED 1:40, 4:45, 7:40, 10:15; THU 1:40, 4:20, 10:15

THE KING'S SPEECH (PG language may offend)

THE SOCIAL NETWORK (PG coarse language,

4:35, 7:25, 9:55

abuse) DAILY 1:20, 4:10, 7:15, 10:10


11:45, 2:00, 4:20, 6:40, 9:00, 11:15

LITTLE FOCKERS (PG crude sexual content, not

recommended for young children) FRI�TUE, THU 11:30, 12:30, 1:45, 2:45, 4:00, 5:00, 6:15, 7:15, 8:30, 10:00, 10:50; WED 11:30, 12:30, 1:45, 2:45, 4:00, 5:05, 6:15, 7:15, 8:30, 10:00, 10:50

TRUE GRIT (14A violence) FRI�TUE, THU 12:45, 3:15, 6:00, 8:25, 11:00; WED 12:45, 3:15, 6:00, 8:35, 10:00

YOGI BEAR (G) FRI�TUE, THU 12:30, 2:30, 4:30, 6:30, 8:30; WED 12:00, 2:00, 4:00 YOGI BEAR 3D (G) Digital 3d DAILY 11:30, 1:30, 3:30, 5:30, 7:30, 9:30

TRON: LEGACY (PG) DAILY 12:15, 3:00, 5:45, 8:30, 11:15

TRON: LEGACY 3D (PG) Ultraavx DAILY 11:30,

4:10, 6:35, 9:15; MON�THU 5:30, 8:05

abuse) FRI�SUN 1:30, 4:20, 7:00, 9:45; MON�THU 5:25, 8:20

YOGI BEAR 3D (G) Digital 3d FRI�SUN 12:30, 2:40, 4:50, 7:15, 9:25; MON�THU 4:50, 8:10 HOW DO YOU KNOW (PG coarse language) FRI� SUN 12:45, 3:45, 6:40, 9:30; MON�THU 5:20, 8:15

TRON: LEGACY 3D (PG) Digital 3d FRI�SUN 12:50, 3:50, 6:45, 9:35; MON�THU 5:00, 8:00 LITTLE FOCKERS (PG crude sexual content, not recommended for young children) No passes FRI 1:50, 4:30, 7:20, 9:50; SAT�SUN 1:50, 4:30, 7:20, 9:50; MON�THU 5:40, 8:30

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


LITTLE FOCKERS (PG crude sexual content, not recommended for young children) DEC 31: 12:50, 3:10, 7:00; JAN 1�6: 7:00, 9:20; JAN 1�2, 4: 12:50, 3:10 TRUE GRIT (14A violence) DEC 31: 12:40, 3:15, 7:20; JAN 1�6: 7:20, 9:45; JAN 1�2, 4: 12:40, 3:15


THE TOURIST (PG coarse language) DEC 31: 1:00,

4:00, 6:50, 9:40; SAT�SUN 1:10, 4:00, 6:50, 9:40; MON�THU 5:10, 8:25

FRI�SUN 1:20, 4:40, 7:10, 9:20; MON 5:45, 8:35; TUE�THU 5:45, 8:35

DUGGAN CINEMA�CAMROSE 6601-48 Ave, Camrose, 780.608.2144

YOGI BEAR (G) Presented in 3D DAILY 7:05, 9:05; SAT�SUN 2:05; No late shows Dec 31

GULLIVER’S TRAVELS (PG) DAILY 7:10, 9:15; SAT�SUN: 2:10; No late shows Dec 31

TRON: LEGACY (PG) DAILY 7:10, 9:15; SAT�

YOGI BEAR 3D (G) DEC 31: 1:30, 4:00, 6:30; JAN 1�6: 6:30, 9:00; JAN 1�2, 4: 1:30, 4:00

3:30, 7:30; JAN 1�6: 7:30, 9:50; JAN 1�2, 4: 1:00, 3:30

TANGLED (G) DEC 31: 1:20, 3:40, 6:50; JAN 1�6: 6:50; JAN 1�2,4: 1:20, 3:40 CHRONICLES OF NARNIA�VOYAGE OF THE DAWN TREADER (PG frightening scenes)

DEC 31: 1:10, 3:50, 7:10; JAN 1�6: 7:10, 9:40; JAN 1,2,4: 1:10, 3:50

PRINCESS 10337-82 Ave, 780.433.0728

SUN 2:10; No late shows Dec 31

127 HOURS (14A gory scenes, disturbing content)

THE TOURIST (PG coarse language) DAILY 7:00, 9:10; SAT�SUN 2:00

MADE IN DAGENHAM (14A coarse language)

LITTLE FOCKERS (PG crude sexual content, not recommended for small children) DAILY 6:50, 9:00; SAT�SUN 1:50 GALAXY�SHERWOOD PARK 2020 Sherwood Dr, 780.416.0150 Sherwood Park 780-416-0150

DAILY 11:40, 2:30, 5:30, 8:15, 10:50

GULLIVER’S TRAVELS (PG) FRI�SUN 11:20, 1:40, 4:05, 6:40, 9:15; MON�THU 6:40, 9:15

THE FIGHTER (14A coarse language, substance

LITTLE FOCKERS (PG crude sexual content, not


TRUE GRIT (14A violence) FRI�SUN 2:00, 4:40, 7:30,

THE KING'S SPEECH (PG language may offend)

YOGI BEAR 3D (G) Digital 3d FRI�SUN 11:30, 1:50,

recommended for young children) FRI�SUN 1:15, 4:00, 7:15, 9:50; MON�THU 7:15, 9:50

10:10; MON�THU 7:30, 10:10

DAILY 1:30, 4:45, 7:45, 10:15

4:15, 7:00, 9:20; MON�THU 7:00, 9:20

THE TOURIST (PG coarse language) DAILY

TRON: LEGACY 3D (PG) Digital 3d FRI�SUN 12:45,

DAILY 7:00, 9:00; SAT�SUN 2:30

DAILY 6:50 & 9:10; SAT�SUN 2:00

SCOTIABANK THEATRE WEM WEM, 8882-170 St, 780.444.2400


SUN 11:45, 2:10, 4:45, 7:15, 9:40; MON�TUE 2:10, 4:40, 7:15, 9:40; WED�THU 2:10, 4:45, 7:15, 9:40

LITTLE FOCKERS (PG crude sexual content, not recommended for young children) FRI�SUN 11:20, 12:20, 2:00, 3:00, 4:30, 5:30, 7:10, 8:00, 9:50, 10:45; MON�TUE, THU 12:10, 2:00, 3:00, 4:30, 5:30, 7:10, 8:00, 9:45, 10:30; WED 12:15, 2:00, 3:00, 4:30, 5:30, 7:10, 8:00, 9:45, 10:30 TRUE GRIT (14A violence) DAILY 12:40, 3:40, 7:20, 10:15

YOGI BEAR 3D (G) Digital 3d FRI�SUN 11:00,

1:20, 3:50, 6:30, 9:00; MON�THU 1:20, 3:50, 6:30, 9:00

12:55, 3:25, 5:45, 8:10, 10:40

3:45, 6:50, 9:45; MON�THU 6:50, 9:45

BLACK SWAN (14A sexual content, disturb-

HOW DO YOU KNOW (PG coarse language) FRI�

TRON: LEGACY 3D (PG) Digital 3d FRI�SUN 12:00, 3:30, 6:45, 9:45; MON�TUE, THU 1:45, 4:45, 7:45, 10:45; WED 1:50, 4:45, 7:40, 10:45

THE FIGHTER (14A coarse language, substance

HOW DO YOU KNOW (PG coarse language)


THE FIGHTER (14A coarse language, substance

ing content, not recommended for children) No passes FRI�SUN 12:00, 2:45, 5:15, 8:00, 10:45; MON�THU 12:00, 2:45, 5:15, 8:00, 10:45

TANGLED 3D (G) Digital 3d DAILY 12:15, 2:30, 4:50, 7:10, 9:45

HARRY POTTER AND THE DEATHLY HAL� LOWS: PART 1 (PG frightening scenes, violence,

not recommended for young children) DAILY 1:00, 4:10, 7:30, 10:45

DUE DATE (14A crude content, substance abuse)

FRI�TUE, THU 10:30; WED 11:00

CITY CENTRE 9 10200-102 Ave, 780.421.7020

LITTLE FOCKERS (PG crude sexual content,

not recommended for young children) No passes, Stadium Seating, Dolby Stereo Digital DAILY 12:15, 2:50, 5:25, 8:00, 10:35

TRON: LEGACY 3D (PG) Dolby Stereo Digital,

Stadium Seating, No passes DAILY 12:00, 3:00, 7:00, 10:00

THE KING'S SPEECH (PG language may offend)

SUN 1:05, 3:50, 7:05, 9:55; MON�THU 7:05, 9:55

abuse) FRI�SUN 1:20, 4:10, 7:20, 10:05; MON�THU 7:20, 10:05 scenes) Digital 3d FRI�SUN 12:15, 3:15, 6:45, 9:30; MON�THU 6:45, 9:30

TANGLED (G) FRI�SUN 11:40, 2:05, 4:35, 7:10,

9:35; MON�THU 7:10, 9:35

HARRY POTTER AND THE DEATHLY HAL� LOWS: PART 1 (PG frightening scenes, violence,

not recommended for young children) FRI�SAT 11:45, 3:00, 6:30, 10:00; SUN 11:45, 3:00, 6:30, 10:05; MON, WED 6:30, 10:00; TUE, THU 6:30, 10:05


8712-109 St, 780.433.0728

BLACK SWAN (14A sexual content, disturbing

content, not recommended for children) DAILY 6:50, 9:10; SAT�SUN 2:00

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

Dolby Stereo Digital DAILY 12:20, 3:10, 7:20, 10:15


3d, Dolby Stereo Digital, Stadium Seating DAILY 12:50, 3:40, 7:10, 10:10

HOW DO YOU KNOW (PG coarse language)

Dolby Stereo Digital, Stadium Seating, No passes DAILY 12:30, 3:50, 6:50, 9:45

THE TOURIST (PG coarse language) Dolby Stereo

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

THE FIGHTER (14A, coarse language, substance

abuse) Dolby Stereo Digital, Stadium Seating DAILY 12:40, 3:30, 6:30, 9:20

YOGI BEAR 3D (G) Dolby Stereo Digital, Stadium Seating, No passes DAILY 12:25, 2:40, 5:00, 7:15, 9:30 TRUE GRIT (14A violence) Dolby Stereo Digital, Stadium Seating, No passes DAILY 12:05, 3:20, 6:40, 9:55 CLAREVIEW 10 4211-139 Ave, 780.472.7600

HARRY POTTER AND THE DEATHLY HAL� LOWS: PART 1 (PG frightening scenes, violence,

YOGI BEAR (G) No passes FRI, DEC 31: 12:35 2:10

3:45; SAT, JAN 1�THU, JAN 6: 12:35 2:10 3:45 5:20 6:55

HARRY POTTER AND THE DEATHLY HAL� LOWS: PART 1 (PG frightening scenes, violence,

not recommended for young children) SAT, JAN 1�THU, JAN 6: 8:30

FRI�SUN 1:00, 4:00, 7:00, 10:10; MON�TUE 12:50, 3:45, 6:45, 9:50; WED�THU 12:50, 3:50, 6:45, 9:50 abuse) FRI�TUE, THU 1:30, 4:50, 7:50, 10:40; WED 1:25, 4:50, 7:50, 10:40

TRON: LEGACY AN IMAX 3D EXPERIENCE (PG)FRI�SUN 11:00, 1:50, 4:40, 7:30, 10:30; MON� THU 1:00, 4:00, 7:00, 10:00


THE DAWN TREADER (PG frightening scenes) Digital 3d DAILY 12:30, 3:20, 6:40, 9:30 THE TOURIST (PG coarse language) DAILY 1:10, 4:10, 7:40, 10:20 TANGLED (G) FRI�SUN 11:10, 1:40, 4:20, 6:50, 9:20; MON�THU 1:40, 4:20, 6:50, 9:20


violence, not recommended for young children) FRI�SUN 11:30, 2:50, 6:30, 10:00; MON�THU 12:00, 3:15, 6:30, 10:00

WESTMOUNT CENTRE 111 Ave, Groat Rd, 780.455.8726

TRUE GRIT (14A violence) No passes, Dolby Stereo Digital FRI�SUN 1:15, 3:55, 6:45, 9:25; MON�THU 5:00, 8:00

GULLIVER’S TRAVELS (PG) No passes, Dolby

THE TOURIST (PG coarse language) FRI, DEC

Stereo Digital FRI�SUN 12:45, 3:10, 7:20, 9:35; MON�THU 5:20, 8:30

TANGLED (G) FRI, DEC 31: 1:00 3:05; SAT, JAN

LITTLE FOCKERS (PG crude sexual content, not recommended for young children) No passes, DTS Digital FRI�SUN 1:00, 3:40, 7:05, 9:45; MON� THU 5:30, 8:20

31: 1:10 3:15; SAT, JAN 1�THU, JAN 6: 1:10 3:15 5:15 7:20 9:15 1�THU, JAN 6: 1:00 3:05 5:10 7:00 8:55


DEC 31: 12:45 2:30 4:15; SAT, JAN 1�THU, JAN 6: 12:45 2:30 4:15 6:00 7:40 9:20

LITTLE FOCKERS (PG crude sexual content, not recommended for young children) No passes FRI, DEC 31: 1:35 3:35; SAT, JAN 1�THU, JAN 6: 1:35 3:35 5:35 7:30 9:20 LEDUC CINEMAS Leduc, 780.352.3922


not recommended for young children) FRI�SUN 8:00; MON�THU 7:50

UNTIL JAN 4: 1:00, 3:40, 7:00, 9:40


7:10, 9:25

THE DAWN TREADER (PG frightening scenes) Digital 3d FRI�SUN 1:00, 3:40, 6:30, 9:10; MON� THU 4:45, 7:45

20 // FILM

9828-101A Ave, Citadel Theatre, 780.425.9212


TRON: LEGACY (PG) DEC 31: 12:30, 3:20, 6:40; JAN 1�6: 6:40, 9:40; JAN 1�2, 4: 12:30, 3:20

HOW DO YOU KNOW (PG coarse language)

3d DAILY 11:40, 2:25, 5:00, 7:45, 10:30


TRUE GRIT (14A violence) No passes FRI 1:10,

2:20, 5:10, 8:00, 10:50

abuse) DAILY 12:40, 3:15, 5:50, 8:35, 11:15


4: 1:05, 3:35, 7:05, 9:35

THE TOURIST (PG coarse language) Dolby Stereo Digital FRI�SUN 12:30, 3:25, 6:30, 9:10; MON�THU 5:10, 8:10 WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922

YOGI BEAR (G) DAILY UNTIL JAN 2: 1:10, 3:20,

7:10, 9:20

TRON: LEGACY 3D (PG) Digital 3d DAILY UNTIL JAN 2: 1:00, 3:40, 7:00, 9:40

YOGI BEAR (G) DAILY UNTIL JAN 4: 1:10, 3:25,

LITTLE FOCKERS (PG crude sexual content, not recommended for young children) DAILY UNTIL JAN 4: 12:55, 3:30, 6:55, 9:30

LITTLE FOCKERS (PG crude sexual content, not recommended for young children) DAILY UNTIL JAN 4: 12:55, 3:30, 6:55, 9:30

2: 1:05, 3:35, 7:05, 9:35

VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011



deadm u5 While Niagara Falls-born artist deadmau5's name reportedly comes from the fact that he once found a dead mouse in his computer, it's interesting to note that his moniker mashes together two of the most enduring tropes of modern band names together to create his own: animals and death. In the spirit of his mashup, here are some band names that might be perfect for anyone looking to follow in deadmau5's footsteps.

Wolf Parade + Cannibal Corpse

Wolf Corpse

Wolf Corpse would create a sludgy, blues-inspired drone rock whose only singing would be howling and would give one the feeling that you were all alone on a snowy prairie, quietly rotting away under a vast expanse of sky. First single: "If a Wolf Rots in a Forest and No One is Around, Does it Make a Smell?"

The Byrds + The Burning Hell

The Burning Byrds

The Burning Byrds would make folk-inspired rock music that warms the heart, but a key feature of the band's albums would be that all of them would come with a DVD that played on a loop a video of bird corpses being used like firewood, not unlike a much creepier version of Shaw's fireplace channel. First single: "I'll Feel a Whole Lot Better (Once I Get this Fire A-Goin')"

Flock of Seagulls + Slaughter

Flock of Slaughter

A short-lived comedy band, Flock of Slaughter would no doubt have trouble convincing audiences that while the group's music might be funny, it's certainly not a joke. Unfortunately, the band is pretty much a joke and creative differences quickly escalate into a bloodbath as the band members turn on each other and fight to the death in a recording studio. Only the drummer survives as he was out getting pizza at the time. First single: "I Ran (So as Not to be Butchered)"

The Monkees + Death From Above

Death From Monkees

Monkeys are scary creatures—not only do they have incredible strength, but they can also swing around at high speeds confusing enemies. That's how Death From Monkees would sound: it would have the strength and heft combined with lightning fast speed. And the singing would be nothing but screeching. First single: "You're a Woman, I'm a Believer"

An Horse + Grateful Dead

Dead Horse

Wait, what? There is a band called Dead Horse that was from Austin, Texas and played death metal while incorporating elements of country and western music? Are you trying to tell me that the group broke up in 1996? And the band has songs about animals and songs about death, such as the aptly named "Murder Song," from 1989's Horsecore or a cover of the B-52s' "Rock Lobster" from 1991's Peaceful Death and Pretty Flowers? Seems like a perfect opener for deadmau5, I guess. Thu, Dec 30 (7 pm) deadmau5 Shaw Conference Centre $55.10 – $76.10

Fri, Dec 31 (8 pm) The Mau5querade Ball Featuring deadmau5 Showtek, Skrillex Shaw Conference Centre, $109.60 – $141.10

VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011

MUSIC // 21


THU DEC 30 ACCENT EUROPEAN LOUNGE Sarah Mallandaine and Daniel Etoroma (acoustic/folk/pop); 9:30pm (show); no cover BLUES ON WHYTE Jackson and Taylor BOHEMIA CAFÉ Paint My Decks: No Ego DJs; no minors; 8pm (show); no cover, donation for Edmonton Foodbank BRIXX Radio Brixx: rock and roll with Tommy Grimes; 8pm COLAHAN'S Back-porch jam with Rock-Steady Freddy and the Bearcat; every Thu 8pmmidnight CHRISTOPHER'S Open stage hosted by Alberta Crude; 6-10pm CROWN PUB Crown Pub Latin/ world fusion jam hosted by Marko Cerda; musicians from other musical backgrounds are invited to jam; 7pm-closing DUSTER'S 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 ELECTRIC RODEO�Spruce Grove Open Stage Thu: Bring an instrument, jam/sing with the band, bring your own band, jokes, juggle, magic; 8-12 HOOLIGANZ Open stage Thu hosted by Phil (Nobody Likes Dwight); 9pm-1:30am J AND R Classic rock! Woo! Open stage, play with the house band every Thu; 9pm JAMMERS Thu open jam; 7-11pm L.B.'S Thu open jam with Kenny Skoreyko, Fred Larose and Gordy Mathews; 9pm-1am LEVA CAFÉ Ben Stevenson; 8-10pm LIVE WIRE Open stage Thu with Gary Thomas

LEVA CAFÉ Ben Stevenson; 8-10pm MARYBETH'S COFFEE HOUSE�Beaumont Open Mic Thu; 7pm NAKED CYBERCAFÉ Open stage every Thu; bring your own instruments, fully equipped stage; 8pm NORTH GLENORA HALL Jam by Wild Rose Old Time Fiddlers RIC’S Peter Belec (jazz); every Thu; 7-10pm RUSTY REED'S HOUSE OF BLUES Rault Brothers, special guest; 9pm SHAW CONFERENCE CENTRE Deadmau5; 7pm; $64.95 WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close

DJs BILLY BOB’S Escapack Entertainment BLACK DOG FREEHOUSE Big Rock Thu: DJs on 3 levels– Topwise Soundsystem spin Dub & Reggae in The Underdog BRIXX Radio Brixx with Tommy Grimes spinning rock and roll BUDDY'S Thu Men’s Wet Underwear Contest with DJ Phon3 Hom3; 9pm (door); no cover before 10pm CHROME Every Thu: 123 Ko CENTURY ROOM Underground House every Thu with DJ Nic-E COMMON LOUNGE Thu night residency: Boom the box (Allout djs); '80s, '90s party: Sonny Grimezz, Allout DJs; $5 (door) THE DRUID IRISH PUB DJ every Thu at 9pm

GAS PUMP Ladies Nite: Top 40/ dance with DJ Christian HALO Thu Fo Sho: with Allout DJs DJ Degree, Junior Brown KAS BAR Urban House: with DJ Mark Stevens; 9pm LUCKY 13 Sin Thu with DJ Mike Tomas NEW CITY LEGION Good Good Things Thu: with Schnaw and Squirrelly B; 4pm-3am; 9pm (DJs); no cover PLAY NIGHTCLUB Gameshow every Thu with Patrick and Nathan; 9pm RENDEZVOUS Mental Thurzday with org666

BRIXX/STARLITE ROOM Raygun Cowboys, The Get Down, Fire Next Time, Whiskey Face, The Hellfire; Greg Gory; '80s music with Eddie Lunchpail in the Temple; 3 room party; 7pm (door); $10 (tix at Brixx, Redemption Boutique, Blackbyrd)/$15-$20 (door) CAFFREY'S IN THE PARK Mourning Wood; $15/$30 CAMROSE RESORT CASINO The Moondogs; 8:30pm;

STOLLI'S Dancehall, hip hop with DJ Footnotes hosted by Elle Dirty and ConScience every Thu; no cover

$49.95 CASINO EDMONTON The Rum Brothers; $75 at customer service

TAPHOUSE�St Albert Eclectic mix with DJ Dusty Grooves every Thu

CASINO YELLOWHEAD California Sun (the Beach Boys Tribute); $85 at customer service


CENTURY CASINO Honeymoon Suite (rock/pop); 8pm; $69.95 at TicketMaster, Century Casino

ARTERY Grand Illusions: Ian Pidgeon (magician); DJ iiLOS Cholo, DJ Knuckleboom; 9pm2am; $12 (adv)/$15 (door) AVENUE THEATRE The Scale Breakers, Kryple, Ninelivez, Billy Blackout, Brothers Grim, H-Town; no minors; 9pm; $15 (door) BANK ULTRA Connected: Sean Tyas (DJ/Producer); 8pm-2am BEER HUNTER Dangerous Guise; $30 BELVEDERE HALL One Love, One Beat: Farafina African Culture Festival Society (Farafina), African Arts Sound, Alberta West African Society (ABWAS); fundraiser to the 2011 edition of Farafina African Culture Festival Society featuring DJ Ibrahim, DJ Collo, DJ Poor Millionare, DJ Arthur; 7pm (door); $20 (adv at TIX on the Square)/$25 (door) BILLIARD CLUB Black and White Theme: Dead Famous (CD release party); 4pm (door), 9pm (band) BLACK DOG FREEHOUSE Bombchan; 7pm (door), 10pm (show); $10 (adv) BLUE CHAIR CAFÉ Rault Brothers Band BLUES ON WHYTE Jackson and Taylor; $20

FUNKY BUDDHA�Whyte Ave Requests with DJ Damian

BOHEMIA CAFÉ Clean Up Your Act: Slates, Nervous Wreck, Jenny Woo, Ben Disaster, Denial Society, The Pezz Heads, Industrial Arts, Maintain Status Quo, Troy Snaterse, Sean

COMMON LOUNGE 10124124 St COOK COUNTY SALOON 8010103 St, 780.432.2665 CROWN AND ANCHOR 15277 Castledowns Rd, 780.472.7696 CROWN PUB 10709-109 St, 780.428.5618 DELTA EDMONTON SOUTH HOTEL�Top of the Inn/Grand Ballroom 4404 Gateway Blvd, 780.434.6415 DEVANEY’S IRISH PUB 9013-88 Ave, 780.465.4834 DIESEL ULTRA LOUNGE 11845 Wayne Gretzky Drive, 780.704. CLUB THE DOCKS 66 St, 137 Ave, Londonderry Mall, 780.235.5113 DRUID 11606 Jasper Ave, 780.454.9928 DUSTER’S 6402-118 Ave, 780.474.5554 DUKE'S 12650-151 Ave, 403.607.2113 DV8 8307-99 St EDDIE SHORTS 10713-124 St, 780.453.3663 EDMONTON DOWNTOWN Sir Winston Churchill Sq, 102 Ave and 100 St, 780.423.2822; EDMONTON EVENTS CENTRE WEM Phase III, 780.489.SHOW EDMONTON EXPO CENTRE� ALBERTA BALLROOM 7515-118 Ave, 780.486.9506 ELECTRIC RODEO�Spruce Grove 121-1 Ave, Spruce Grove, 780.962.1411 ELEPHANT AND CASTLE� Whyte Ave 10314 Whyte Ave EMPIRE BALLROOM 2687 WEM, 8882-170 St, 780.486.9494 EXPRESSIONZ CAFÉ 9938-70 Ave, 780.437.3667 FARGOS CAPILANO 5804 Terrace Rd, 780.466.7754 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, 780.423. HALO HAVEN SOCIAL CLUB 15120A (basement), Stony Plain Rd, 780.756.6010 HELLENIC COMMUNITY HALL 10450-116 St, 780.454.2382 HILL TOP PUB 8220-106 Ave, 780.490.7359 HOLY TRINITY ANGLICAN CHURCH 10037-84 Ave HOOLIGANZ 10704-124 St, 780.452.1168 HYDEAWAY 10209-100 Ave, 780.426.5381 IRISH CLUB 12546-126 St, 780.453.2249 IRON BOAR 4911-51st St, Wetaskiwin IVORY CLUB 2940 Calgary Trail South JAMMERS 11948-127 Ave, 780.451.8779 J AND R 4003-106 St, 780.436.4403 JEFFREY’S CAFÉ 9640 142 St, 780.451.8890 JEKYLL AND HYDE 10209-100 Ave, 780.426.5381 JUNCTION BAR AND EATERY 10242-106 St, 780.756.5667 KAS BAR 10444-82 Ave, 780.433.6768 L.B.’S 23 Akins Dr, St Albert, 780.460.9100 LEGENDS 6104-172 St, 780.481.2786

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

Bedard, Christopher Cookson, Grant Lawrence; Molly Minx (burlesque), Kristin Ashmore (comedy), BEERrov! (improv), DJ Dave Finkelman, DJ Nick is Dead; all ages; 7pm (show); $15 (door)

COAST TO COAST Open Stage every Fri; 9:30pm COMMON LOUNGE Austin Mcmahon, Dane, Bron, Allout DJs; $15 (adv)/$20 (door) COOK COUNTY Duane Steel; 8pm (door); $20 (adv)/$30 (door) CROWN AND ANCHOR Stella Artois presents live music with Train Wreck; $15 DELTA EDMONTON SOUTH HOTEL�Top of the Inn: Don Berner's Quintet Band (ballroom/swing, jazz); 5:30pm1:30am; tickets at TIX on the Square DELTA EDMONTON SOUTH HOTEL�Grand Ballroom: Yari Moré y su Orquesta (Latin band), DJ Moreno, DJ Stomp, DJ Señor Loco; 6pm (door); tickets at TIX on the Square DEVANEY’S IRISH PUB Alesha and Brendon (folk/rock); 9pm; no cover THE DOCKS Black and White Masquerade Ball; 6pm-2:30am; $30/$10 DUKE'S Po Prvi Put u Edmontonu: DJ Tata from Vancouver spinning all your favourite club and "domaci" hits; $20 (door) DV8 Kroovy Rookers, The Vrolox, Joey Moss, Party Martyrs; 8pm-2am; $10 EDDIE SHORTS Our sound machine, The Frolics, Lascivious Burlesque; $12

EDMONTON DOWNTOWN Churchill Sq: Street dance: Blackboard Jungle, Lizzy Hoyt, Souljah Fyah; City Hall: Foggy Minded Mountain Boys; Stanley A. Milner Library Theatre: Marco Claveria; CBC Centre Stage: The Command Sisters, Kayla Patrick, Ky Babyn; EDMONTON EVENT CENTRE The Big Bang Gala: DJs from The Internationals, Easy Love, and a set from theBaby Yu; dance and party to the craziest party anthems, club hits and Electro Mashups; 8:30pm; $32/$42/$52/$47 at Foosh, Rain Salon (WEM), Shadified Salon (Northgate), Soular (WEM) EDMONTON EXPO CENTRE�ALBERTA BALLROOM International Gala: DJ Richard Tomski; Derrek Selinger (illusion); 7pm; tickets at Rosenoir, WEM phase 1, 780.444.2302; fundraiser for Doctors without Borders ELECTRIC RODEO�Spruce Grove Love Junk; 9pm-2am; $15 (adv)/$20 (door) EMPIRE BALLROOM Flo Rida; 8-11pm EXPRESSIONZ CAFÉ Campus Thieves (rock), Scenic Route to Alaska, guests; all ages; 7pm (door), 8pm (show); $15 (adv at Expressionz Café, YEG Live)/$20 (door) FARGOS CAPILANO Rock and Blues Night: Studebaker John; $20 FILTHY MCNASTY'S Retro Promo Night HAVEN SOCIAL CLUB Going to Graceland: Featuring members of The James Murdoch Band, Le Fuzz playing Paul Simon's songs, All the King's Men; $55/$25 (adv at YEG Live); $30 (door) HELLENIC COMMUNITY HALL DJ Dre, DJ Dell; 6:30pm-3:30am; $35 (adult)/$15 (child 6-12)/$15 (after 12:01am) at 780.454.2382, door HILL TOP PUB The Threads IVORY CLUB Duelling piano show: Jesse, Shane, Tiffany and Erik, guests JEKYLL AND HYDE PUB/ HYDEAWAY Downstairs pub: Headwind, 11am (door), $5 (downstairs), ticket sales to Santa's Anonymous; Upstairs–Hydeaway: 3 bands, Kids Are OK DJs; 6pm (door), $15 (Hydeaway) J AND R Big and Fearless with Big Al and Fearless Frank (classic rock); 9pm; no cover L.B.’S Paula Perro, No Foolin'; 7pm-2am; $40/$20

VENUE GUIDE 180 DEGREES 10730-107 St, 780.414.0233 ACCENT EUROPEAN LOUNGE 8223-104 St, 780.431.0179 ARTERY 9535 Jasper Ave AVENUE THEATRE 9030-118 Ave, 780.477.2149 AXIS CAFÉ 10349 Jasper Ave, 780.990.0031 BANK ULTRA LOUNGE 10765 Jasper Ave, 780.420.9098 BEER HUNTER 7522-178 St, 780.489.7877 BELVEDERE HALL 13223-62 St BILLIARD CLUB 2nd Fl, 10505 Whyte Ave, 780.432.0335 BILLY BOB’S Continental Inn, 16625 Stony Plain Rd, 780.484.7751 BLACK DOG FREEHOUSE 10425-82 Ave, 780.439.1082 BLACKSHEEP PUB 11026 Jasper Ave, 780.420.0448 BLUE CHAIR CAFÉ 9624-76 Ave, 780.989.2861 BLUES ON WHYTE 10329-82 Ave, 780.439.3981 BOHEMIA 10575-114 St BOOTS 10242-106 St, 780.423.5014 BRIXX BAR 10030-102 St (downstairs), 780.428.1099 BUDDY’S 11725B Jasper Ave, 780.488.6636 CAMROSE RESORT CASINO 3201-48 Ave, Camrose, 780.679.0904 CASINO EDMONTON 7055 Argylll Rd, 780.463.9467 CASINO YELLOWHEAD 12464153 St, 780 424 9467 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

22 // MUSIC

VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011

LEVEL 2 LOUNGE 11607 Jasper Ave, 2nd Fl, 780.447.4495 LION’S DEN�Red Deer Quality Inn North Hill, 7150-50 Ave, Red Deer 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 MUTTART HALL Alberta College, 10050 Macdonald Dr, 780.442.5311 NAKED CYBERCAFÉ 10354 Jasper Ave NEWCASTLE PUB 6108-90 Ave, 780.490.1999 NEW CITY LEGION 8130 Gateway Boulevard (Red Door) NIKKI DIAMONDS 8130 Gateway Blvd, 780.439.8006 NISKU INN 1101-4 St NORTH GLENORA HALL 13535109A Ave O’BYRNE’S 10616-82 Ave, 780.414.6766 ON THE ROCKS 11730 Jasper Ave, 780.482.4767 OVERTIME Whitemud Crossing, 4211-106 St, 780.485.1717 PAWN SHOP 10551-82 Ave, Upstairs, 780.432.0814 PLANET INDIGO�Jasper Ave 11607 Jasper Ave; St Albert 812 Liberton Dr, St Albert PLAY NIGHTCLUB 10220-103 St PLEASANTVIEW COMMUNITY HALL 10860-57 Ave REDNEX BAR�Morinville 10413100 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, 780.444.1822 RIC’S GRILL 24 Perron Street, St Albert, 780.460.6602 RIVER CREE 300 East Lapotac Blvd, 780.484.2121 ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253 ROSE AND CROWN 10235-101 St RUSTY REED'S HOUSE OF BLUES 12402-118 Ave, 780.451.1390 SAWMILL BANQUET CENTRE 3840-76 Ave, 780.468.4115 SHADE105 10148-105 St, 780.761.0105 SHAW CONFERENCE CENTRE 9797 Jasper Ave SIDELINERS 11018-127 St, 780.453.6006 SPORTSMAN'S CLUB 5708-75 St SPORTSWORLD 13710-104 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 SUEDE LOUNGE 11806 Jasper Ave TAPHOUSE�St Albert 9020 McKenney Ave, St Albert, 780.458.0860 WILD BILL’S�Red Deer Quality Inn North Hill, 7150-50 Ave, Red Deer WILD WEST SALOON 12912-50 St, 780.476.3388 WINSPEAR CENTRE 4 Sir Winston Churchill Square; 780.28.1414 WOK BOX 10119 Jasper Ave WUNDERBAR 8120-101 St, 780.436.2286 Y AFTERHOURS 10028-102 St, 780.994.3256

LEVEL 2 Marzetti, Groovy Cuvy, David Stone, Neebz, Josh EP, Micky Sasso, Battery; $10 MCDOUGALL CHURCH Bill Bourne, Karla Anderson, Mike Lent, Back Porch Swing, Scott Cook, Jesse Dee and Jacquie B, Joe Nolan, Bob Jarhig, Chris Smith, Andrea House, Dana Wylie, Lisi Sommers; family event; 7:30-10:30pm; free with item for Edmonton Foodbank NEW CITY Black Polished Chrome: with DJ Defvish and the Gothfather; $15 (adv) at New City, Mars and Venus, Permanent Records OLD TIMER'S CABIN S.I.R.E.N.S. Charity Gala: Dave Babcock Band, Hardline Blues Band; 6:30pm (door); $100 at 780.439.7460, E: sirenscharity@ ON THE ROCKS Five on the Side; 9pm (door); $40/$25 PAWN SHOP Extravaganza: Dreamface, Mass Choir, Sister Gray, and Arias; 8pm (door); $10 (adv at Blackbyrd) RED PIANO Black and White Affair: Burlesque and dueling piano show; $125/$40/$55 RENDEZVOUS Necronaut, Reverend Kill, Corpus Malignus; 8pm (door), 10pm (show); $10 RIVER CREE Marriott Ballroom Gala: The Gong Show (rock); 7pm (door); $115 at RUSTY REED'S HOUSE OF BLUES The Rusty Reed Band, Bobbie Cameron; 9:30pm; $150 (dinner for two)/$80 (single); $50 (door) SAWMILL BANQUET CENTRE The Classics; 9pm-1am; $65 at 780.468.4115, pdoucette@ SHADE105 DJ Shocker; 21+; 9pm-2am SHAW CONFERENCE CENTRE The Mau5querade Ball: Deadmau5, Showtek, Skrillex, Mikey Da Roza, Mikey Wong, Mazik vs. Andy Eff, Seelo Mondo; no minors SHERLOCK HOLMES� Downtown Stan Gallant (rock); 8pm SPORTSMAN'S CLUB New Cat Yellow (rock); $10 (adv)/$15 (door) TAPHOUSE�St Albert The Ozzy Osbourne Experience; 8pm (door); $10 WILD WEST SALOON Jo Hikk; $35 (door) WOK BOX Fri with Breezy Brian Gregg; 3:30-5:30pm

DJs 180 DEGREES Skinou *Wear*Red* Fri: with Femcee DJ Eden Lixx BOOTS Retro Disco: retro dance BUDDY’S Fri: DJ Arrow Chaser; 8pm (door); no cover before 10pm JUNCTION Blast from the Past and Forward to the Future: DJ Squiggles; 8pm (door); $10 NEWCASTLE PUB Fri House, dance mix with DJ Donovan PLAY NIGHTCLUB Pretty People Get Nasty with Peep n Tom, Showboy and rotating guest; DJS; every Fri; 9pm (door)

BLACK DOG FREEHOUSE Hair of the Dog: Jesse Dee (live acoustic music every Sat); 4-6pm; no cover BLUES ON WHYTE Jackson and Taylor BRIXX Ringleader, The Fucking Lottery, Capture The Hills, Todos Caeran; 8pm

JUNCTION LGBT Community: Rotating DJs Fri and Sat; 10pm LEVEL 2 New Year's Day Marathon; 10am

CASINO YELLOWHEAD California Sun (Beach Boys tribute)

NEWCASTLE PUB Top 40 Sat: requests with DJ Sheri

COAST TO COAST Live bands every Sat; 9:30pm CROWN PUB Acoustic Open Stage during the day/Electric Open Stage at night with Marshall Lawrence, 1:30pm (sign-up), every Sat, 2-5pm; evening: hosted by Dan and Miguel; 9:30pm-12:30am GAS PUMP Blues Jam/open stage every Sat 3-6pm, backline provided HAVEN SOCIAL CLUB Whitemud, Enter Medic, Bad Acid; 7:30pm (door); $10 (door) HILLTOP PUB Open stage/mic Sat: hosted by Sally's Krackers Sean Brewer; 3-5:30pm IRON BOAR Jazz in Wetaskiwin featuring jazz trios the 1st Sat each month; $10 IVORY CLUB Duelling piano show with Jesse, Shane, Tiffany and Erik and guests JAMMERS Sat open jam, 3-7:30pm; country/rock band 9pm-2am L.B.’S Sat Jam with Gator and friends; 5-9pm LEVEL 2 New Year's Day Marathon: Audioholik, Battery, B3n Ladin, Boo Baker, Big Daddy, David Stone, DJ Chad, DPM, Dreadnought, Groovy Cuvy, Josh Ep, K Stylez, Micky Sasso, Schwag Dankus, The Ol Kid, Travis Mateeson, Van Damage, Wadjit; 10am-2am; $10 (door) MEAD HALL Komor Kommando, Virtual Terrorist, Chaos Theory; 8pm-2am MORANGO'S TEK CAFÉ Sat open stage: hosted by Dr. Oxide; 7-10pm NISKU INN Troubadours and Tales, Tim Harwill, guests; 1st Wed every month; 8-10pm O’BYRNE’S Live band Sat 3-7pm; DJ 9:30pm PAWN SHOP Axe and Smash, The Weekend Kids RED PIANO Hottest dueling piano show featuring the Red Piano Players; 9pm-2am STARLITE ROOM New Year's Day Dubstep Party; 9pm (door) WUNDERBAR Energetic Action and Jazz; 8pm (door); $4

Classical WINSPEAR CENTRE Salute To Vienna: The Strauss Symphony of Canada (led by András Deák), Renée Schüttengruber (Viennese soprano), Wolfgang Gratschmaier (Viennese tenor), members of the Kyiv-Aniko Ballet of Ukraine; 2:30pm; tickets start at $49 available at Winspear box office

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

SUEDE Disco 2011 Style: Funk and Clubhouse with DJ Neebz; $10/$39.95

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

Y AFTERHOURS Luke Morrison with Anthony Donohue, Audioholic, Big Daddy, B-ILL, Christian J, Dezire, DJ Aidan, DJ Bree, DJ Chad, DJ Derkin, DJ NV, Mike Tomas, Mikey Wong, Peep'n Tom, Erin Eden, Kristoff, Seelo Mondo, Travis Matteson, Bryan Doyle; no minors; 10pm10am; $35/$45 at Foosh, Occulist (WEM), Y Afterhours

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


REDNEX�Morinville DJ Gravy from the Source 98.5

UNION HALL Beats by Johnny Infamous; $10 (adv)

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

BLACKSHEEP PUB Sat DJ BUDDY'S Sat: Feel the rhythm with DJ Phon3 Hom3; 8pm (door); no cover before 10pm CENTURY ROOM Underground House every Sat with DJ Nic-E THE COMMON Hangover Party: with AllOut DJs, Dane Gretzky, Cobrasaurus, Bron and $hortee $5

NEW CITY LEGION Black Polished Chrome Sat: with DJs Blue Jay, The Gothfather, and Anonymouse; no minors; free (5-8pm)/$5 (ladies)/$8 (gents after 8pm) PALACE CASINO Show Lounge Sat night DJ PAWN SHOP SONiC Presents Live On Site! Anti-Club Sat: rock, indie, punk, rock, dance, retro rock; 8pm (door) PLANET INDIGO�Jasper Ave Suggestive Sat: breaks electro house with PI residents PLAY NIGHTCLUB Every Sat with DJ Showboy; 8pm (door) RED STAR Sat indie rock, hip hop, and electro with DJ Hot Philly and guests


PLAY NIGHTCLUB Rotating Drag shows; every Sun; 9pm (door)

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

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


SPORTSWORLD Roller Skating Disco Sun; 1-4:30pm;

BLACK DOG FREEHOUSE Main Floor: Glitter Gulch Wed



BLACK DOG FREEHOUSE Sleeman Mon: live music monthly; no cover BLUES ON WHYTE King Muskafa DEVANEY'S IRISH PUB Open stage Mon with Ido Vander Laan and Scott Cook; 8-12 PLEASANTVIEW COMMUNITY HALL Acoustic instrumental old time fiddle jam hosted by the Wild Rose Old Tyme Fiddlers Society; 7pm

SPORTSWORLD Roller Skating Disco Sat; 1pm-4:30pm and 7-10:30pm

WUNDERBAR HOFBRAUHAUS Ningali and flEm; 9pm; $5

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


TEMPLE Oh Snap! every Sat:

HOLY TRINITY ANGLICAN CHURCH Edmonton Recital Society Emerging Artist Series: Featuring Jason Cutmore (piano); 3pm; free, donations welcome

SUN JAN 2 ARTERY Closed for maintenance from Jan 2-14 BEER HUNTER�St Albert Open stage/jam every Sun; 2-6pm BLACK DOG FREEHOUSE Who Made Who–The Rock and Roll Resurrection: The Maykings (revive The Who), The Dirty Dudes (revive AC/DC); 10pm; no cover BLUE CHAIR CAFÉ Sun Brunch: Jim Findlay BLUE PEAR RESTAURANT Jazz on the Side Sun: J.C. Jones; 6-9pm; $25 if not dining BLUES ON WHYTE Great North Blues Band BOHEMIA CAFÉ New Year's hangover party: featuring beats, drinks, visuals, B�STREET Acoustic-based open stage hosted by Mike "Shufflehound" Chenoweth; every Sun evening CROWN PUB Latin/world fusion jam hosted by Marko Cerda; musicians from other musical backgrounds are invited to jam; 7pm-closing DEVANEY’S IRISH PUB Celtic Music Session, hosted by KeriLynne Zwicker, 4-7pm DOUBLE D'S Open jam every Sun; 3-8pm EDDIE SHORTS Sun acoustic oriented open stage hosted by Rob Taylor J AND R Open jam/stage every Sun hosted by Me Next and the Have-Nots; 3-7pm NEWCASTLE PUB Sun Soul Service (acoustic jam): Willy James and Crawdad Cantera; 3-6:30pm O’BYRNE’S Open mic Sun with Robb Angus (Wheat Pool); 9:30pm-1am OIL CITY ROADHOUSE DJ Pauly D; 7pm ON THE ROCKS Seven Strings Sun: Erik Williams, Lesley Pelletier RUSTY REED'S HOUSE OF BLUES Sun open stage with the Rusty Reed Band; 3-6pm

SAT JAN 1 180 DEGREES Dancehall and Reggae night every Sat

EMPIRE BALLROOM Rock, hip hop, house, mash up


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

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

BACKSTAGE TAP AND GRILL Industry Night: with Atomic Improv, Jameoki and DJ Tim

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

RENDEZVOUS Survival metal night

Y AFTERHOURS DEKO-ZE, Nestor Delano; no minors; 11:30pm-8am; $20 (adv at Occulist, Foosh, Y afterhours)/ combo the nye ticket with a Deko-ze ticket for $10

BUDDYS Tue with DJ Arrow Chaser; free pool all night; 9pm (door); no cover


ROSE BOWL/ROUGE The Legendary Rose Bowl Mon Jam: hosted by Sean Brewer; 9pm


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

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

BRIXX Really Good… Eats and Beats: DJ Degree every Wed, Edmonton’s Bassline Community; 6pm (music); no cover CROWN PUB Creative original Jam Wed (no covers): hosted by Dan and Miguel; 9:30pm-12:30am EDDIE SHORTS Wed open stage with Will Coles, all gear provided ELEPHANT AND CASTLE� Whyte Ave Open mic every Wed (unless there's an Oilers game); no cover EXPRESSIONZ CAFÉ Wed Open stage; 7-11pm; admission by donation FIDDLER'S ROOST Little Flower Open Stage Wed with Brian Gregg; 8pm-12 GOOD EARTH COFFEE HOUSE Wed with Breezy Brian Gregg; 12-1pm HAVEN SOCIAL Open stage with Jonny Mac, 8:30pm, free HOOLIGANZ Open stage Wed: with host Cody Nouta; 9pm PLEASANTVIEW COMMUNITY HALL Acoustic Bluegrass jam presented by the Northern Bluegrass Circle Music Society; Slow pitch for beginners on the 1st and 3rd Wed prior to regular jam every Wed, 6.30pm; $2 (member)/$4 (non-member) RED PIANO Wed Night Live: hosted by dueling piano players; 8pm-1am; $5


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


TEMPLE Wyld Style Wed: Live hip hop; $5

BRIXX Troubadour Tue: with Doug Mitchell, Skidoo 32, comedy with Shawn Gramiak and JP Fournier; 8pm (door); $5 (door)

DJs BANK ULTRA LOUNGE Wed Nights: with DJ Harley

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

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

DRUID IRISH PUB Open stage with Chris Wynters; 9pm

BRIXX Really Good... Eats and Beats with DJ Degree and Friends

JUBILEE AUDITORIUM Joe Satriani, Dave Martone; 6:30pm (door), 7:30pm (show); all ages; $39.50, $49.50, $69.50 at TicketMaster

BUDDY'S Wed: DJ Dust 'n' Time; 9pm (door); no cover

L.B.’S Tue Jam with Ammar; 9pm-1am O’BYRNE’S Celtic Jam with Shannon Johnson and friends PADMANADI Tue open stage with Mark Davis; all ages; 7:30-10:30pm SIDELINERS Tue All Star Jam with Alicia Tait and Rickey Sidecar; 8pm SPORTSMAN'S Open Stage hosted by Paul McGowan and Gina Cormier; every Tue; 8pm-midnight; no cover STEEPS�Old Glenora Every Tue Open Mic; 7:30-9:30pm

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

COMMON LOUNGE Treehouse Wed: Guest DJs every week; 7pm (music) DIESEL ULTRA Wind-up Wed: R&B, hiphop, reggae, old skool, reggaeton with InVinceable, Touch It, weekly guest DJs FLUID Wed Rock This IVORY CLUB DJ ongoing every Wed; open DJ night; 9pm-close; all DJs welcome to spin a short set LEGENDS Hip hop/R&B with DJ Spincycle NIKKI DIAMONDS Punk and ‘80s metal every Wed PLAY NIGHTCLUB Movie Night every Wed; 9pm (door) RED STAR Guest DJs every Wed STOLLI'S Beatparty Wed: House, progressive and electronica with Rudy Electro, DJ Rystar, Space Age and weekly guests; 9pm-2am; TEMPLE Wild Style Wed: Hip-Hop; 9pm Y AFTERHOURS Y Not Wed

VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011

MUSIC // 23

What lies between artistic cred and selling out? Paul Blinov //

The business model infrastructure has essentially been gutted in the wake of peer-to-peer file sharing, early Internet album leaks and iTunes' 99-cent song-sharing culture. There are still pop stars who sell millions of records, of course, but even their peak numbers are far below those of earlier peers. (For comparison: *NSYNC's No Strings Attached sold 2.42 million copies its first week in 2000, making it the fastest-selling album in history. The best selling album from 2010, Lady Gaga's The Fame Monster—which was an extended version of her 2008 debut The Fame, yet still outsold any other album this year—has shipped a total of 5.8 million units to date). By now it's apparent that sales figures will never return to their millennium levels. The system's just changed too much.

24 // MUSIC

VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011

A very short history of This is hardly a fatal stroke—you could argue such a peak was unsustainable, and that music driven by industry and sales has a diluting effect on the art anyway— but it's one that has artists struggling to find new ways of getting paid for their art. Radiohead and Nine Inch Nails both put up albums that used a revolutionarily, "pay what you will" sale system (including nothing at all), but both were long-established acts with massive, loyal fanbases. What about bands who don't have the established audience to pay the bills? Music licensing—selling songs to soundtracks and commercials—is one method. Not only does a band get paid to have its song played to a large audience, it might just pull some new fans out of the deal. The flipside, of course, is that it might be in association with some product you'd rather keep your distance from. Or that's how it used to be. The delicate balance of integrity versus selling out, of avoiding what might've been decried as artistic suicide a decade ago, now seems to be just a fiscally responsible choice. Not every band is on board, of course, but the overall attitudes of the music industry appear to be changing regarding licensing, rigid borders between mainstream and "indie," or selling out and maintaining integrity are blurring together. Most bands aren't selling out: they're simply trying to sell. Alexandra Patsava is the music supervisor behind an impressive list of shows and soundtracks, including Roswell, The OC, Grey's Anatomy and, most recently, the Twilight series of movies, through her own company Chop Shop Music Supervision. "I think it can't be an issue anymore, with music sales being what they are," Patsava says, of the concept of selling out. " I think it's difficult to say no to opportunites these days. Although when I started, I had a heck of a time convincing some artists to participate in a show like Roswell, although we had very forward music at the time." The Twilight series, her latest large project, forms an interesting crux to this issue: the movies are the pinnacle of mainstream entertainment, the kind of megafranchise that 10 years ago would've been avoided by most bands concerned with their cred. But today its soundtracks are packed with more up-and-comers and indies than established successes: blues-rock stompers the Black Keys contributed a track; Bon Iver and St Vincent paired up for an exclusive duet for New Moon; the Philedelphiabased Eastern Conference Champions, who left major label Geffen after the

group's debut, has managed to build some buzz with an appearance on Eclipse. For these acts, the backlash seems to have been minor, if noticeable at all. If there's been any outcry to the Twilight soundtracks, it's been surprise that they have quality music, and left at that. The artists involved shift more units, integrity intact. Perhaps the most devoted of fans might feel a bit betrayed, but there's no public outcry. And given that the corporate side of the music industry is a shade of what it once was, what does it even mean to sell out anymore? "Central to this is this question of authenticity, and how you tell, how you differentiate between an artist who has 'sold out' versus an artist who is sincere," says Alex Carpenter, a music professor at the University of Alberta's Augustana Campus in Camrose, where he teaches a class on popular music. "And of course, it's so fluid, it can change from moment to moment or context to context. "Twilight is a great example, because you have this soundtrack of groups who would otherwise, by their fans, would be regarded as 'indie' or non-selling out bands, with an authentic artistic vision or meaningful message. And all of a sudden you plop them onto the Twilight soundtrack and you've got a problem: they did it for the money, therefore they're inauthentic. But it invites all of those other sorts of questions: what if you don't do something for money, but you do it with an enormous amount of artistic integrity, and people happen to fall in love with it, and you sell a shitload of albums? Are you a sell-out or are you just a really excellent songwriter and musician who happens to be perfectly in tune with the zeitgeist?" Carpenter points out that the argument offers just two poles: sell out, or not. It's also been around for centuries, permeating the world of classical music. Modernist composers in the early 20th century were divided between those that played serious, authentic music (that was also alienating to audiences), and those who were looking to fill concert halls. "These composers, on the one hand, are accusing the populists of selling out; memorably, one composer saying to another, 'You write music for whores'—but this is because people are filling concert halls to hear his music," Carpenter says. "And then this composer turns around and says, 'Well, you are a masturbator, in essence, because you just write music that you think is really authentic and really true to you, but nobody listens to it. You're just sitting around your house

masturbating.' As though there is nothing in between." So in an industry that's increasingly fragmented, what does lie between pure credibility and selling out? Carpenter sees iTunes, and the re-emergence of emphasizing singles—as opposed to whole albums—as the cause of a growing bulge between the two. The fact that major chains which used to differentiate "alternative" and "underground" sections now just group it all into the catch-all "rock/ pop" is telling, he notes. "ITunes seems to me to be part of this explosive sort of pluralism or fragmentation, where you have blurrings between genres, so people are making music that's a real pastiche of different styles. So who is allowed to buy that? But then iTunes, too, paradoxically, is this massive corporate enterprise, and yet at the same time I think it makes selling out more difficult, because the industry—the music industry—is so less focused, and the market is so congested, that I think it makes it difficult to sell out in the sense that it's harder for somebody to pitch something easily into a well-worn groove. "I think, ultimately, it's harder to sell out," he says, "because it's a massive, fluctuating, post-modern market." Still, some artists will never license their music, even if it could be a lucrative and fund further endeavors. New York-based the Pains of Being Pure at Heart recently announced via Twitter that they had " ... just turned down a lot of $$,$$$ because we don't want to be in TV ads. Not self righteous, just rather be unknown than known for that." But immediately afterwards, even they seemed to acknowledge those that did make that choice. "We totally love a lot of bands and songs that are in ads—we acknowledge that lots of bands need/want to do that, and it's OK." In a time when there's more choice than ever thanks to online accessibility, is being associated with something anything but a hook into your music? To Patsava, licensing remains an opportunity for bands to widen their fanbase with a demographic that might not normally find them on their own. "I think that being part of a movie like Twilight, perhaps some of these fans would not have discovered this music, " she says, "and are embracing this brand new music to them because it's part of a movie and a book that they love so much. "At this point I think that the music business has changed, opportunities have changed, and music licensing is a great way to get out there and be heard." V

What if you don't do something for money, but you do it with an enormous amount of artistic integrity, and people happen to fall in love with it, and you sell a shitload of albums? Are you a sell-out or are you just a really excellent songwriter and musician who happens to be perfectly in tune with the zeitgeist?

Selling Out $ • 1968

Buick offers the Doors $75 000 to change the chorus of "Light My Fire" to "Come on, Buick, light my fire." The band initially agrees, but singer Jim Morrison scuttles the deal when he hears of it

$ • 1969

Dennis Hopper's Easy Rider is a hit at the box office. One of the first soundtrack albums full of popular music follows and sells well, tipping labels off to a potential gold mine

$ • 1977

Kiss appears in an issue of Howard the Duck as well as the band's own comic book, setting off one of the biggest and most lucrative sell-outs in history, including pinball machines, action figures and credit cards, culminating with the Kiss Kasket in 2001 and the 2010 announcement of pet cremation urns and other memorial products

$ • 1985

Burger King sells fast food to the strains of Aretha Franklin's "Freeway of Love"

$ • 1987

Nike advertises athletic shoes using the Beatles' "Revolution"

$ • 1988

Tom Waits sues Frito-Lay after the company hires a soundalike in the wake of Waits' refusal to license a song to the company. The singer wins the case. He files suit three more times for similar infringements, winning them all.

$ • 1991

Chevrolet advertises its trucks with Bob Seger's "Like a Rock." The campaign lasts until 2004

$ • 1993

With the popularity of rap and metal on the rise, the soundtrack to Judgment Night features artists from the two genres paired up. The release peaks at #17 on the Billboard 200

$ • 1995

Microsoft licences the Rolling Stones' "Start Me Up" for Windows 95 ads

$ • 1999

Moby releases Play. Sales are slow initially, but the album later sells over 10 million copies after all 18 songs are licensed to film and television

$ • 2002

Royal Caribbean uses Iggy Pop's ode to the drug life "Lust For Life" to sell cruise vacations

$ • 2005

Aerosmith's Joe Perry says, "Doing the Gap commercial got Aerosmith more credibility then some of the albums we were doing. It is funny how that works. The times have changed."

VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011

MUSIC // 25

NEWSOUNDS Coma Cinema Blue Suicide (Fork and Spoon) 

Joe Gurba //


ith 15 songs averaging two and a half minutes a piece, Mat Cothran's Coma Cinema successfully sojourns in two alternating currents. By rotating between fast jams and slow jams, mostly power pop and indie ballads, respectively, Blue Suicide seems deliberately structured to maintain your attention. The instrumentation alone is enough to seal the four-star deal. Cothran utilizes any noise maker he can get his hands on. Guitar is the anchor point for the majority of the tracks, but every song is otherwise dressed with a buffet of sounds, be it a trumpet, a Casio, a tambourine or a laptop. Meanwhile, the inventive drum tracks work to set the songs apart from one another. We're talking small-kit percussion, laptop beats and looped stuff too. The key virtue to Cothran's percussive intuition is the finely tuned pace it creates for the record, exchanging different rhythms and tempos throughout, always pulling the listener back in. The dreamy organs and distorted pads are

easily embraced by the listener. These roots and textures he uses are redolent of Sparklehorse or Olivia Tremor Control. He also appears to be harvesting some of the strong suits from chillwave but keeping a strategic distance from the waning movement. I don't mean to imply that he is at all dubious about his production choices, but any amount of googling will identify him as a chillwave artist, though Blue Suicide seems to show some hesitancy in that regard. "Harvesting" is actually a good description of Cothran's method. Gleening some lo-fi fuzz here, some Stephin Merritt influence there, some British invasion melodies here, some folk rhythms there, he compiles his album like Magneto pulling metal from the air. Blue Suicide's cohesion, however, is achieved by the Cothran pen, writing the sort of dark love lyrics you would expect from Carissa's Weird or the aforementioned Merritt. Take, for example, "Caroline, Please Kill Me," a throwback to the Golden Age of emo with lyrics like "Caroline, your eyes are little pools of death / You're a waste of my time but I couldn't care less," and "Caroline, your eyes are dead like outer space / And I know that I am boring, I can read it in your face." Aside from all of Cothran's smokeand-mirror studio inventions, these songs are truly enjoyable with or without the decorations. Nevertheless, the strength of Coma Cinema lies with Cothran's master-chef ability to balance the ingredients, treading a fault line between the processed and natural, parleying every double-click technique with a raw, bedroom-captured counterpart. And so, unlike a lot of the future-of-music practitioners who flail for a successful experiment, Cothran is able to point a very far way forward with a firm foot anchored in good song writing. V

Bruce Springsteen The Promise (Columbia) 

In a recent interview, Steven Van Zandt, guitarist in Bruce Springsteen's E Street Band, expressed a sense of awe over his boss's restraint and focus during the creation of 1978's Darkness on the Edge of Town, a record that came on the tail of the success of the mythologizing Born to Run and at the end of a long legal battle that kept Springsteen from releasing any new material. Van Zandt's wonder comes from the fact that for every song that made it onto Darkness, Springsteen threw away another worthy contender. The Promise box set provides ample evidence of those discarded efforts—two album's worth—but it also provides a glimpse into the construction of the finished album. There's something remarkable about recorded music and the way it captures something specific in an audio archive—whether a single moment, with the music played live to tape, or a series that is then layered together into a representation of a live performance. But before the finished recording, there are myriad decisions to be made in the editing process, beginning during the writing of the songs, going through the recording of them and ending with the choice of what to include on the release. In Springsteen's case, many of the tracks that fell by the wayside would have been fine additions to a record, but, as Van Zandt said, it's impressive that Springsteen was able to identify the album he was trying to make—a darker, grittier piece of work than what had come before it—and realize that any number of songs here, like the catchy, driving pop of "Outside Looking In" or the old-school swinging soul of "Ain't Good Enough For You," would have irrevocably steered the album in a different direction: rather than letting the songs emerge from the shadows, it would have been as though someone flicked the light switch on, revealing a perhaps logical successor to Born to Run, but in the process casting out some of the subtleties that made the final album. Even some of the tracks that wouldn't have been entirely out of place—a version of "Racing in the Street" that takes a more rock-centric approach, and a desperate take on the Springsteen/Patti Smith cowrite "Because the Night"—would have resulted in an album that flowed differently from the one that Springsteen made at the time. And that's really what The Promise does best: it opens a window into the mass of material that Springsteen and the band were working on during the years that led up to Darkness on the Edge of Town, illustrating the various nuts and bolts that were on the table when the album was being built. Standing on their own, just about every song can hold its own, but the whole would have been very different had Springsteen made some alternate choices before sending Darkness on the Edge of Town to the pressing plant. Eden Munro


26 // MUSIC

VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011

Serafin Love's Worst Crime (Independent) 

When this record begins you immediately ask yourself, "Is this a boy or a girl?" Tough to say. Serafin LaRiviere's androgynous voice can operate in five octaves, and it operates very well. The music behind the voice is in itself a leather couch on the relaxation scale. Every song is it's own, holding your attention firmly throughout. There are hints of Joni Mitchell and even Joanna Newsom, but on the whole, Love's Worst Crime is a unique and surprising offering to the jazz gods.


Ian Dury & the Blockheads

Joe Gurba


No Joy Ghost Blonde (Mexican Summer) 

Montréal's eternal fount of art-rock has given birth again with No Joy, a femme fatale noise-pop duo. The majority of the songs on Ghost Blonde wouldn't add up to much if not obscured by gauzy pedals and howling reverbs. Unlike ancestral shoegaze albums such as My Bloody Valentine's "Loveless," Ghost Blonde mostly coalesces from song to song. But nonetheless, there exist some exceptional standout gems like "You Girls Smoke Cigarettes?" and the slowed down "Pacific Pride" with it's surprising psych finish. These tracks reveal No Joy's vast potential, provided they're still into this stuff when it isn't cool anymore. Joe Gurba

Do It Yourself (Stiff)

Originally released: 1979 The term "pub rock" usually sways towards the lowest common denominator. It implies that the music only works in a drunken environment, creatively stunted and intellectually ghettoized. This is the paradox of Ian Dury, the sneering frontman, gutter poet and heart of the Blockheads, a group of weirdos who topped the English charts in the late '70s with a unique, clever hybrid of disco music, British culture and punk sensibility called Do It Yourself. Ian Dury's unique worldview is likely connected to his childhood struggle with polio: He had a disproportionate body his entire adult life as a result of the illness, and he also has a rambling, frenetic vocal style, barrelling downhill on tracks like "Uneasy Sunny Day Hotsy Totsy," yet restrained and poetic on barroom bouncers like "What A Waste." Dury was notoriously difficult to work with. He was a drunk and addicted to sedatives. He'd throw cookies at people in the studio and was banned from this album's sessions near the end. His woeful 1981 album, Lord Upminster, recorded at famous

Compass Point Studios in the Bahamas with dub legends Sly & Robbie, was written on the plane over and features pretty much no extended thought and several shockingly lame ideas. Yet people put up with him because of his command of words and his sonic personality. He balances well against the smooth jazz leanings of producer and keyboardist Chaz Jankel (a man who would later be covered on Quincy Jones' Best Album Grammywinning The Dude) with a gruff off-kilter voice that strangely suits itself to both disco throb and pure punk rattle. "Don't Ask Me" is a mid-tempo thumper about not asking Dury to do anything. It features nonsensical lyrics for the most part, but goes for the heart during the middle eight: "Let me offer you my life and all my love / Let me offer you a bargain." Indeed, there is a sweetness to Do It Yourself that shows up in spite of Dury's bombast. He has a penchant for Cockney rhyming slang that affects many songs with a childlike, nursery quality. "This Is What We Find" is a character sketch about nonexistent people without the sensitive, wideband morality of similar songs by the Beatles. These characters are merely objects of neighbourhood gossip: "Home improvement expert Harold Hill of Harold Hill / Of do it yourself dexterity and double glazing skill / Came home to find another gentleman's kippers in the grill / So he sanded off his winkle with a Black And Decker drill." There are almost 20 different versions of this album's cover available. And why not? It's as if Dury and his band thought, "If no one else is going to combine a mild reggae obsession, four on the floor disco, regional quirks and punky screaming, we might as well do it ourselves." Do It Yourself is a trailblazing record that stands out as truly weird against the comparatively tucked-in orthodoxy of the rest of the British New Wave scene. V Roland Pemberton



Max Prime & Marc Pause Prime Directive: Show n' Prove (Neferiu) 

Max Prime is without a question one of the most talented emcees in Canada's elusive, distilled, rap community. On this record he does well to slow down his otherwise quantum physics flow in order to ride the '94 vibes Marc Pause must have pulled out of a time machine. Cadence Weapon and his arcane pop-culture references catwalk over one of MP's best beats, but the jam to look for is "Shouts," a chilled 808 drum beat with a sitback-relax bass line, perfect for Max Prime to talk a little shit and then document Edmonton's rap ancestry with ease. Joe Gurba




Yuck Yuck (Fat Possum)

Lannie Flowers Circles (Aaron Ave)

I will never tire Of sweet distorted basslines And gang vocal rants

The perfect name for Cranial indie pop or 70's gay porn

Tyler Ramsey A Long Dream About Swimming Across the Sea • (Fat Possum)

Face First Waiting (Independent)

Bittersweet, soothing Like streets under fresh snow or Hiding a body

Equivalent of Sleek stretch Hummer headed for Some douchebaggy bar

Touch Alienated (Neferiu)

Ruth Purves Smith & The 581 Out in the Storm (Independent)

True old-school wordsmith He's a ballerina with A sharp machete

Quaint, soft and tinkly Sort of like granddad after Eleven eggnogs

VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011

MUSIC // 27


Rollie's top 10 songs of 2010

Last week Roland Pemberton counted down his top 10 albums of the year. This week he follows up with his top 10 songs of 2010.

Arcade Fire "Sprawl II (Mountains Beyond Mountains)"

Ariel Pink's Haunted Graffiti, "Round And Round"

"Round And Round" sounded classic the first time I heard it, like a forgotten '80s radio staple. This is by design but not in the way others perceive, as if Ariel Pink is repurposing and goofing on old music. "Round And Round" is a complex deconstruction of pop-music structure, using not only sonic cues and familiar melodic elements, but also literally commenting in the self-reflexive sense. He sings "breakdown" during the breakdown. He sings about being a frontman, about "a memory and refrain." He wants to "write the songs that say, 'I like that!'" He has.

Deerhunter, "Helicopter"

A calm claustrophobia paints "Helicopter" throughout, so when the reverberated guitar coda near the end echoes into a climax, it sounds and feels like water breaking a hole through a frozen lake.

Caribou, "Leave House"

In less than six minutes, Dan Snaith steals Arthur Russell's voice, devours dubstep, funk, house and UK garage and wraps them around an irresistible flute loop, making them seem as if they all came from a homologous place.

Blue Hawaii, "Blue Gowns" Arcade Fire somehow managed to reinvent itself amidst a mere update on the band's sound. The Suburbs is mostly a retread of the stadium indie pop the group has mastered, but buried deep on the record is this colourful disco anthem where Regine takes center stage and emerges with confidence over a surprising synth canopy.

Agor Cowan and Raphaelle Standell-Preston (also of Braids) are MontrĂŠal's Blue Hawaii. In an alternate reality, this song would be in movie trailers for coming-ofage films featuring precocious girls discovering the nature of their own sexuality. Until that world comes to pass, it'll remain a jittery electro throb with Raph's world-beating vocal

El Guincho, "Bombay"

This song will be remembered mostly for it's amazing surrealist video, but in the background is a polyphonic jam that is equally trippy. Marrying skippy Latin rhythms with the watery 404 prowess of Animal Collective, El Guincho now has a breakout single to go with his acclaimed album crafting.

Gobble Gobble, "Lawn Knives"

Sherwood Park's Cecil Frena makes pop music out of the unpopular. "Lawn Knives" seems at times like hardcore music with video-game sound-effect templates, but this hybridity isn't calculated in the same frequency as Stereos. Frena's amalgam is studied and cared for. Like Max Tundra, his music is hyperactive and choppy, appealing to both sound nerds and the uninitiated.

Gil Scott-Heron, "New York Is Killing Me"

Produced by XL labelhead Richard Russell, this song's lyrics are based on John Lee Hooker's "Jackson, Tennessee," a blues song about dying from tuberculosis. Though Gil Scott-Heron's disease is self-inflicted (he has suffered from crack addiction for years), the comparison frames the hurt underlined in his fractured soulful plea and the futuristic gospel spiritual approach of "New York Is Killing Me."

Sean Nicholas Savage, "Gemini Heart"

Sean Nicholas Savage casually doles out songs that capture the emotional history of many people. I don't mean in the populist Starbucks adult-contemporary way: Savage has a seemingly unconscious ability to compartmentalize feelings we don't actively think about into pop songs.

Brazilian Money, "Doing What I Want"

Combining his penchant for weirdness (much of the song hinges upon Garrett Johnson's obsession with sitting on a cake) and gritty hooks, "Doing What I Want" is a jangly garage anthem in line with the Wicked Awesomes' "80 Gig Ipod" and Outdoor Miners' "Twelve Hundred Dollars."

Honorable Mention: Azari & III, "Reckless For Your Love (Tensnake Remix)" Breakbot, "Baby I'm Yours (Siriusmo Remix)" Crystal Castles (ft Robert Smith), "I'm Not In Love" Discodeine (ft Jarvis Cocker), "Synchronize" Four Tet, "Song Cry" Hot Chip (ft Bonnie 'Prince' Billy), "I Feel Bonnie" James Blake, "CMYK" Jai Paul, "BTSTU" Janelle Monae, "Tightrope (ft Big Boi)" LCD Soundsystem, "Pow Pow" MIA, "XXXO" Matthew Dear, "Little People (Black City)" Pat Jordache, "The Two Step" Rhianna, "Only Girl (In The World)" Teengirl Fantasy (ft Shannon Funchess), "Dancing In Slow Motion" The Roots, "How I Got Over" Voltage, "All Night" Waka Flocka Flame (ft Wale & Roscoe Dash), "No Hands" Wiz Khalifa, "Black And Yellow" Wolf Parade, "Ghost Pressure" V

28 // MUSIC

VUEWEEKLY // DEC 30, 2010 â&#x20AC;&#x201C; JAN 5, 2011

Joe Satriani // LeAnn Mueller


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After 23 years, 13 albums, and almost every guitar award there is to hand out, one has to wonder what's left for Joe Satriani to achieve. After speaking with the legendary rock instrumentalist about his 14th album, Black Swans and Wormhole Wizards, however, it's clear that the man's passion as an artist simply refuses to settle down. During the last year he's spent time touring in his "good-time supergroup" Chickenfoot (which includes Sammy Hagar and Michael Anthony, Van Halen's former singer and bassist, and Red Hot Chili Peppers drummer Chad Smith); he was the featured performer on a sold-out "Experience Hendrix" Tour, and grieved the loss of his mother in 2009—through all of which he somehow found a month to write and record Black Swans. "This process was very fast. It hit me at a time when I was very prolific," the everyouthful Satriani chatters. "We've made albums in just about every possible way. [1997's] Crystal Planet was done [really fast], where we did the same kinda thing: I wrote everything without recording it,

Mike Angus


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just using paper and pencil, rehearsed with the band for a week, and then went right into the studio and recorded live with Mike [Harris, AC/DC, Metallica and Aerosmith]. This record was similar, except instead of using pen and paper, I was using ProTools." Those familiar with Satriani's catalogue will know the artist's bent towards technology and sci-fi—two concepts that are never far from the busy guitar hero's creative process. "I spend the time writing in any direction my inspiration takes me. I don't really think about what kind of album it's going to be until ... the editing process [when] I realize there's going to be a theme of some kind for the album. It might be musical, a story I'm trying to propose made up of different angles using the songs, or it may just be a record that captures performance in an unusual way," he offers excitedly. "With the advent of ProTools, being able to record at home is really a fascinating step for me because it means I can record performances that can be used on the final recording. Being able to record at any sample rate, regardless of location, is a real step forward for all musicians."

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VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011

MAKING WAVES SWIMMING CLUB œ_]g[a% la]k&[ge'eYcaf_oYn]kW]\eœJ][j]YlagfYd' [geh]lalan]koaeeaf_&Kg[aYdaraf_Y^l]jhjY[% la[]kœ=n]jqLm]'L`m PRIDE CENTRE OF EDMONTON œ1-,(%))) 9n]$Fgjogg\:dn\œ/0(&,00&+*+,œ<Yadq2 Qgml`KhY[] Qgml`<jgh%af!2Lm]%>ja2+%/he3 KYl2*%.2+(he3b]kk8hja\][]flj]g^]\egflgf& gj_œE]fLYdcaf_oal`Hja\]2Kmhhgjl_jgmh^gj _Yq$Zak]pmYdYf\ljYfk_]f\]j]\e]flg\ak[mkk [mjj]flakkm]k3Kmf2/%1he3jgZo]ddk/0(8 `gleYad&[geœ@ANKmhhgjl?jgmh2^gjh]ghd] danaf_oal`@AN'9A<K3*f\Egf]Y[`egfl`$ /%1he3`m_]k8k`Yo&[YœK]fagjk<jgh%Af2 Kg[aYd'kmhhgjl_jgmh^gjk]fagjkg^Ydd_]f\]jk Yf\k]pmYdala]klglYdc$Yf\`Yn]l]Y3]n]jq Lm]Yf\L`m$)%,he3lm^^8k`Yo&[YœLLAI2 =\m[YlagfYf\kmhhgjl_jgmh^gjljYfk_]f\]j$ ljYfkk]pmYd$afl]jk]p]\Yf\im]klagfaf_h]ghd]$ l`]aj^ja]f\k$^Yeada]kYf\Ydda]k3*f\Lm] ]Y[`egfl`$/2+(%12+(he3Y\eaf8hja\]% []flj]g^]\egflgf&gj_œ;geemfalqHgldm[c2 >gje]eZ]jkg^l`]D?:LI[geemfalq3 dYklLm]]Y[`egfl`$.%1he3lm^^8k`Yo&[Yœ ;gmfk]ddaf_2>j]]$k`gjl%l]je$kgdmlagf%^g[mk]\ [gmfk]ddaf_$hjgna\]\Zqhjg^]kkagfYddqljYaf]\ [gmfk]ddgjk]n]jqO]\$.%1he3Y\eaf8hja\]% []flj]g^]\egflgf&gj_œKL<L]klaf_2DYklL`m ]n]jqegfl`$+%.he3^j]]3Y\eaf8hja\][]f% lj]g^]\egflgf&gj_œQgml`Egna]2=n]jqL`m$ .2+(%02+(he3b]kk8hja\][]flj]g^]\egflgf& gj_œHjae]Lae]jk?Ye]kFa_`l2?Ye]kfa_`l ^gje]fY_]--#3*f\Yf\dYkl>ja]n]jqegfl`3 /%)(he3lm^^8k`Yo&[Yœ9jl?jgmh2<jYoaf_ Yf\kc]l[`af__jgmh^gjYddY_]kYf\YZadala]k3 ]n]jqKYl$))Ye%*he3lm^^8k`Yo&[YœKmalMh Yf\K`goMh299:a_:ggcKlm\q2<ak[mkkagf' kmhhgjl_jgmh^gjl`gk]kljm__daf_oal`Yf Yd[g`gdY\\a[lagfgjk]]caf_kmhhgjlafklYqaf_ kgZ]j3Y\eaf8hja\][]flj]g^]\egflgf&gj_3]n% ]jqKYl$)*%)heœQgml`Mf\]jklYf\af_Qgml`2 D?:LIqgml`mf\]j*-3=n]jqKYl$/%1he3 qmq]\e&[Y$qmq8k`Yo&[Y ROBERTSON�WESLEY UNITED CHURCH œ )(*(1%)*+Klœ/0(&,0*&)-0/œKgmdGMLaf_2 YfD?:L%^g[mk]\Ydl]jfYlan]ogjk`ahœ*f\ Kmf]n]jqegfl`$/he3ogjk`ahKmf$)(2+(Ye3 h]ghd]g^Yddk]pmYdgja]flYlagfko]d[ge]&D?:L egfl`dqZggc[dmZYf\^adefa_`l&=2bjYn]f% k[jg^l8jom[&gj_ ST PAUL'S UNITED CHURCH œ))-*.%/.9n]œ /0(&,+.&)---œH]ghd]g^Yddk]pmYdgja]flYlagfk Yj]o]d[ge]œ=n]jqKmf )(Yeogjk`ah! WOMONSPACE œ/0(&,0*&)/1,œogegfkhY[]& [Y$ogegfkhY[]8_eYad&[geœ9Fgf%hjg^al d]kZaYfkg[aYdgj_YfarYlagf^gj=\egflgfYf\ kmjjgmf\af_Yj]Y&Egfl`dqY[lanala]k$f]okd]l% l]j$j]\m[]\jYl]kaf[dm\]\oal`e]eZ]jk`ah& ;gf^a\]flaYdalqYkkmj]\ WOODYS VIDEO BAR œ))/*+BYkh]j9n]œ /0(&,00&.--/œEgf29eYl]mjKljah;gfl]kl3 hjar]koal`K`YoYfYœLm]2Cal[`]f+%))heœ O]\2CYjYgc]oal`Larrq/he%)Ye3Cal[`]f +%))heœL`m2>j]]hggdYddfa_`l3cal[`]f +%))heœ>ja2Eg[`gFY[`g>ja2+he \ggj!$ cal[`]fgh]f+%))he YOUTH INTERVENTION AND OUTREACH WORKER œaKEKK$Mg^9œ/0(&*,0&)1/)œ Hjgna\]kkmhhgjlYf\Y\ng[Y[qlgim]]jqgml` )*%*-3qgm\gflf]]\lgZ]Ydgf] YOUTH UNDERSTANDING YOUTH œqmq]\e& [YœE]]lk]n]jqKYl$/%1heœ=2af^g8qmq]\e& [Y$L2/0(&*,0&)1/)

SPECIAL EVENTS THE GREAT GAME SHOW SHOWDOWN SHINDIG 2010 œ@gdqLjafalq9f_da[Yf;`mj[`$ )((+/%0,9n]œL`]9;E=JY\agL`]Ylj] ;gehYfqYf\L`]Hjgb][l8@gdqLjafalqœ ;gfl]klYflk\jYof^jgel`]Ym\a]f[]ZYlld]al gmlafYkhdalk][gf\hYjlq_Ye]\]ka_f]\lg l]kl_]f]jYdcfgod]\_]g^l`]q]Yjl`YloYk& 9ddkgl`]q[YfoafY[`Yf[]Yll`]_jYf\hjar] oYalaf_Yll`]]f\g^l`];Yd]f\Yj<Yk`LjanaY KlmflkHjar]k9f\Y[`Yf[]lgo]d[ge]*()) oal`YZYf_L`j]]fa_`lkgfdq;j]Yl]\Zq <Yna\:]dc]$oal`Bmda]f9jfgd\YkqgmjeYkl]j g^[]j]egfa]kœDec 30-31, Jan 1$/heœ)- Y\mdl!')* klm\]fl'k]fagj!'0 [`ad\mf\]j)*! YlLAPgfl`]KimYj] WINTERLIGHT œoafl]jda_`l&[Yœ9[]d]ZjYlagf lYcaf_bgqaf=\egflgfk[daeYl]Yf\]fnajgf% e]flœJan 8-Mar 5 WINTERLIGHT: DEEP FREEZE�A WINTER BYZANTINE FESTIVAL œGd\;q[d]:d\_$9d% Z]jlY9n]$))09n]$1*%1,Klœ\]]h^j]]r]^]kl&[Y œ;]d]ZjYlaf_l`][mdlmj]k ^gg\k$emka[$ka_`lk$ Yf\ke]ddk!$g^l`]hYklYf\Zd]f\af_l`]eoal` l`]f]o[mdlmj]kœJan 8-9

BACK // 29



Careless language

Resolve for great sex

It started with a commercial for Intervention. The as that mood of otherness is perpetuated, victims words were bold across the screen as the announc- of depression will graduate to suicide. er spoke saying "Michelle believes she is transgenProjects like Spirit Day and It Gets Better garder." There are many things wrong with that nered huge support among the homos to sentence—as if Michelle believed himself share good words. Adult queers espeto be a unicorn. The teaser goes on to cially adored the idea of loudly sharing connect the subject's orientation to support and encouragement. It's hard their drug addiction. While it's hard to to tell if the message actually landed om eekly.c expect much from A&E's clunky addicwith the young people involved on eiw e u v tam@ tions show, its presentation of trans ther side of bullying. The twentysomea r a m a T issues seems far behind the progress ka things and up loved it, but when I asked Gorzal we've made. a classroom of high school students Where I was genuinely surprised was in about it, most stared blankly. Did this movereading Maclean's the next day. It was a book ment, incredible as it was, really only preach to preview and the tagline read "Straight women the already converted? with kind, loving husbands explain why they became lesbians." Canada's biggest news and culI doubt that for most ture magazine didn't know better than to say that people's orientation switched like an on/ suicidal and unhappy off button. The tone of the article continued this queer and trans folk that way, with sexuality akin to someone deciding to go back to school or join a team sport. No one the changing of faraway becomes gay: they change their behaviour to laws can rescue them from express it openly. Doesn't the mainstream press know this by now? spiralling depression.

Last January, I ran across a number of blogs and We resolve to treat our partners and potensex advice columns offering up lists of sex resotial partners with the care and respect they delutions for the coming year. Almost all of serve. them fell into two main categories: one, be more adventurous and learn new Out of that love, we resolve to take things, and two, look better and be good care of our sexual health and our more attractive. partners' by making informed choices m o .c ekly I agree with the idea of making sex about birth control and STI prevention. vuewe @ a d n bre resolutions. Sex is a big part of our In our everyday interactions with chila d Bren er dren and young people, we resolve to lives. If we make resolutions about our b r e K careers and our weight, why not about be proud of and open about our sexuality, our sex lives? But I think we can do better in order to teach them that sexuality is not a than these superficial notions, and come up with shameful thing. resolutions that could really make a difference We resolve to tell our children the truth about in our lives, maybe even in the lives of those sex, STIs and contraception, and not attempt to around us. A few suggestions I have for our sex scare them away from sex. lives in 2011? We resolve to respect the sexual expression of We resolve to allow ourselves to be sexual those in our communities, even if it's very differpeople and to reflect that in all aspects of our ent from our own. And more than that we should lives. look to stand up for our family members, friends, We resolve to stop trying to look and act the neighbours and co-workers when they are victims way we think we should, and start acting and of sexual violence and discrimination looking the way we want to, a way that feels 2011 should be a time when we strengthen our authentic and true. And while we're thinking of resolve to stand up for our sexual and reproductive authenticity, we should resolve to spend more rights and refuse to allow our choices to be limited time thinking about what we really want and or dictated by government. need when it comes to sex, rather than just We should look to opportunities to speak out about what others need or want from us. We about and oppose foreign policy that puts limits on should think of the things we want sexually and the access to birth control and abortion services adhere to saying no to things we don't want. for those in developing countries. Guilt should be abolished in 2011. We resolve While in our everyday lives we should look to the to stop feeling guilty about enjoying masturbaultimate reason behind these sex resolutions: to tion. And we resolve to love all aspects of our seek out and to achieve the very best, most satisunique sexuality, even the ones that we might fying sex, whatever that might mean for us . wish we could change. Instead of the guilt drivHere's to a happy, healthy, 2011 for all of us. V ing our desire to change our appearance we must look at our own bodies with kindness, apBrenda Kerber is is a sexual health educator who preciation and love. And not just for ourselves. has worked with local not-for-profits since 1995. We resolve to teach our children that sex for She is the owner of the Edmonton-based sex-posipleasure is a good thing! tive adult toy boutique, The Traveling Tickle Trunk.



While 2010 might just go down as a landmark year for queers, where queer depression started a conversation and a separate discussion eventually led to the US finally repealing Don't Ask Don't Tell. Gay enlistment was on all sorts of mainstream news carriers, as were the sensationalized deaths due to bullying. But I doubt that for most suicidal and unhappy queer and trans folk that the changing of faraway laws can rescue them from spiralling depression. Words have a much more immediate effect and despite what childhood rhymes might have told us, words absolutely kill. Whether they are the pointed, angry taunts of a determined bully, or the careless language of a disengaged society. As long

I can only hope that the new year brings more equality, not the homogenized version advertised by strange new queer corporations, but the human variety. Where all minorities and people of difference can really and truly share the same healthy experiences as others. I want a world that's more about helping sister queers to survive and I hope that all the compassion and strength generated from the suicide aftermath continues on in daily conversations and ongoing campaigns. It's a slow battle and we keep taking our hits, but it will it be so fabulous once we arrive. V



FREEWILL ASTROLOGY ARIES (Mar 21 – Apr 19) "Just because everything is different doesn't mean anything has changed," said writer Irene Peter. That should be cautionary advice for you in 2011. From what I can tell, it will be relatively easy for you to rearrange the way things look, but trickier to transform them from the inside out. You'll have to push hard to make sure that seductive ideas are translated into concrete details. I think you can do it. TAURUS (Apr 20 – May 20) In 1967, John McCain was shot down during a bombing mission in Vietnam. He was captured, jailed and tortured in the notorious Hanoi Hilton prison camp. When he ran for president in 2008, his candidacy got an endorsement from an unlikely source: Tran Trong Duyet, the Vietnamese prison commander who had supervised his torture. In the coming months, Taurus, I expect you to experience a turnaround that will have comparable poetic justice. Maybe an adversary will praise you, a person who wounded you will make amends, or a force of nature that once opposed you will come over to your side. 2011 will be a Year of Vindicating Reversals. GEMINI (May 21 – Jun 20) Can you finally escape the pain you got imprinted with during adolescence? Do you have the power to do what few of us have done, which is to get out from under the weight of the past, shed the inertia of your

30 // BACK


memories, and live brave and free in the raw truth of now? If there will ever in your life be a time when you can accomplish at least some of this noble quest, Gemini, it will be in 2011. CANCER ( Jun 21 – Jul 22) Decades ago, the US built a network of sleek expressways to make it easy for cars to travel between cities. But it took little account of what the human soul might enjoy. "The Interstate highway system has made it possible," said Charles Kuralt, "to go from sea to shining sea without seeing anything." Do not let this be your operative metaphor in 2011. Your potential for rapid, extensive progress is sizable, but it would be a mistake to barrel along with your eyes fixed on the prize in the distance as you neglect what's happening along the way. Be both global and local; romance the details as you revel in the big picture. LEO ( Jul 23 – Aug 22) Fixing people's teeth is one of Dr Peter Kertesz's specialties. The British dentist has a thriving business in London. Now and then he's also called on to practice an exotic variation: animal dentistry. Recently, he corrected the tooth problems of two tigers in a zoo. Other species he has helped include elephants, whales and pandas. In 2011, Leo, I suggest you consider branching out like Dr. Kertesz. What would be the equivalent, in your domain, of expanding the ways you use your primary skills?

VIRGO (Aug 23 – Sep 22) "What can I do with this eternal longing?" That's the first line of "Assouf," a song by the African band Tinariwen. During the rest of the tune, the singer never offers a definitive answer to that plea, but as he tumbles and rumbles over the possibilities, the band plays a lot of righteous music. I suggest that you make Tinariwen's cry your question of the year in 2011. It will be an excellent use of your time to meditate on how to call forth, nurture and direct your ineffable, insatiable yearning.

the ceiling of the Sistine Chapel. As he worked for four years, covering 12 000 square feet with sublime images, he sometimes complained and felt resentful. He feared his enemies had convinced the Pope to give him this task in order to demonstrate how mediocre his painting was. Today this work is regarded as a masterpiece. In 2011 you may face a version of Michelangelo's dilemma, Scorpio: being offered a job you don't consider your forte. It's quite possible, however, that accepting this "diversion" will yield interesting results.

LIBRA (Sep 23 – Oct 22) In 2011, I believe you will have the chance to weave your fortunes together with an abundance of allies who are good for you. They will be your equals, they will share at least some of your most important values, and they will respect you for who you are. That's excellent news, right? My only worry is that you might shy away from the demands that such invigorating collaborations will make on you. It would be less work, after all, to fall back into reliance on more prosaic relationships that don't ask so much of you. Please don't take the easy way out, Libra. Rise to the occasion!

SAGITTARIUS (Nov 22 – Dec 21) "When I became a man I put away childish things," said Sagittarian author CS Lewis, "including the fear of childishness and the desire to be very grown up." I suggest you take up that attitude yourself in 2011, Sagittarius. One of your top assignments in the coming months will be to play with greater intensity and more frequency and a heightened imagination. If you want to achieve your adult goals, you'll be wise to recreate your childhood wisdom on a higher octave.

SCORPIO (Oct 23 – Nov 21) Sculpture was Michelangelo's first love. Yet in 1508 he was coaxed into painting prodigious frescoes on

CAPRICORN (Dec 22 – Jan 19) "We Americans are the best informed people on earth as to the events of the last 24 hours," wrote historian Will Durant some decades ago. "We are the not the best informed as to the events of the last sixty centuries," he concluded. We are

VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011

adrift in the Age of the Short Attention Span. In 2011, Capricorn, it's crucial for you to be in close touch with both the lessons provided by the grand sweep of human civilization and by your own personal history. AQUARIUS ( Jan 20 – Feb 18) "The third-rate mind is only happy when it is thinking with the majority," said author AA Milne. "The second-rate mind is only happy when it is thinking with the minority. The first-rate mind is only happy when it is thinking." According to my reading of the astrological omens, life will be conspiring to strengthen your first-rate mind. You will have everything going for you if you make it your intention to sharpen your wits, and see the world with greater clarity and objectivity. PISCES (Feb 19 – Mar 20) "Anything you're good at contributes to happiness," said philosopher Bertrand Russell. If I had my way, Pisces, you'd write that on a note and tape it to your bathroom mirror for the duration of 2011. I think it would raise your appreciation for the power your personal gifts have to bestow blessings on both yourself and others. And I hope it would inspire you to spend a lot of quality time finding out all you can about what you're good at and deepening your capacity to do what you're good at.


Deep Freeze: A Byzantine Winter Festival, Jan 8-9 and experience the arts on 118th Ave. Info on volunteer opportunities E:

Want to be part of Edmonton's New Art community collective? Send info ASAP to d_art_man@hotmail. com for jury in upcoming show

Volunteer Lunch Deliverer/Driver: If you're available Mon-Fri, 11am-2pm, 1-2 days/week, be part of the team. Mileage reimbursed for delivery routes. T: 780.429.2020, E:; W: mealsonwheelsedmonton.rog

Free art demo Saturdays: Naess Gallery–Paint Spot, 10032-81 Ave, 780.432.0240

Volunteer For Northern Light Theatre: In 2011 T: 780.471.1586: E:

Musicalmania! needs experienced violinist w/strong acting/communication skills for upcoming musical theatre production. Call 780.460.2937 Call for submissions: artists, digital musicians, and proposals. "TechArt International 2011". Send CV, images, project description to d_art_man@ Expressionz Café: looking for family friendly performers and presenters for the monthly marketplace at 9938-70 Ave. Info E: Expressionz Café: looking for visual artists and creative business/wellness, green vendors for the Monthly Marketplace. Located south of Whyte Ave, 9938-70 Ave. Info/book vendor space E: Musicalmania! needs strong supporting cast members for upcoming shows. All ages welcome. Call 780-460-2937


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

Pro Photo Lighting Instruction with Fri-Mon Light Kit rental Only $25 Gift cert. avail

Musicalmania! needs a strong tenor with musical theatre experience. Paid position, some touring involved. Call 780.460.2937


Call to local artists, musicians, performers for Yuk Yuk's new "Thursday Night Variety Show". Call 780.481.9857 and ask for Chas or email: for info

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

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Need a volunteer? Forming an acting troupe? Want someone to jam with? Place up to 20 words FREE, providing the ad is non-profit. Ads of more than 20 words subject to regular price or cruel editing. Free ads must be submitted in writing, in person or by fax. Free ads will run for four weeks, if you want to renew or cancel please phone Glenys at 780.426.1996/fax 780.426.2889/e-m or drop it off at 10303-108 St. Deadline is noon the Tuesday before publication. Placement will depend upon available space Writers Guild of Alberta: Submissions open for the 2011 Alberta Literary Awards. Deadline: Dec 31. For info/submission guidelines, W: Expressionz Café is looking for café and special concert events volunteers. T: 780.437.3667. General kitchen help: front of house, food prep, baking, etc. Shifts available Mon-Fri, 9am-12pm, 11am-2pm, 1-4pm, and evening shifts for special concert events (Wed-Sun 6-10pm)

CALLING ALBERTA YOUTH! YES GRANTS Youth Environmental Stewardship grant for youth between the ages of 16-26. If you have a project or idea on how to improve Alberta’s environment you may be eligible for a grant of up to $5000 to bring your idea to life, and make a lasting positive change in your community Info/application at Application deadline: Jan 31, 2011

Any artist, musician, or performance artist interested in being featured for the Local Art Showcase @The Old Strathcona Antique Mall, please be inspired to contact

Top acting training Apply today!


chelsea boos //

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




MUSICIANS Musicalmania! needs experienced violinist w/strong acting/communication skills for upcoming musical theatre production. Call 780.460.2937 Call for submissions: artists, digital musicians, and proposals. "TechArt International 2011". Send CV, images, project description to Morango's Tek Café is looking for bands and musicians for shows on Friday Dr. Oxide at ..... Vocalist wanted – Progressive/Industrial/metal; age 17-21. Contact Musicalmania! needs a strong tenor with musical theatre experience. Paid position, some touring involved. Call 780-460-2937


Depression sufferers needed: Low energy, interest, drive? Trouble sleeping or concentrating? Researchers at U of A need your help/ Call 780.407.3906 Carrot Community Arts Coffeehouse seeks two volunteers who want experience in visual arts administration: Artisan Coordinator, and Window Gallery Coordinator; E: Lorraine Shulba at for info/apply The Candora Society of Edmonton–Board Recruiting;; promotes positive growth in the lives of women, children/families in Rundle/Abbottsfield communities. Info: Elaine Dunnigan E: edunnigan@ Volunteer Meal Deliverer/Driver: "Life is a Highway" why not volunteer to be in the driver's seat? Come make a difference every day. Volunteer with Meals on Wheels as a driver. Call 780.429.2020 The Learning Centre Literacy Association: Seeking volunteer tutors to help adults develop reading, writing, math skills. Require High School reading, writing, and/ or math skills; openness to tutor and learn with adults with various life experiences, including homelessness. Locations: Boyle Street Community Services and Abbottsfield Mall. Contact: Denis Lapierre, DowntownCentre, 780.429.0675, E:; Susan Skaret, Abbottsfield Mall Centre, 780.471.2598, E: 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: Carrot Café seeks volunteers: baristas to serve coffee, tea and carrot muffins; full training given on making specialty coffees and teas. Also need volunteer to clean daily from 7:30am, Tue-Fri, or once a week on Sun. For info contact Irene Yauck at, 780.471.1580 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, Mechanics needed: The Edmonton Bicycle Commuters' Society operates a volunteer-run community bike workshop called BikeWorks, 10047-80 Ave (back alley), also accepting bicycle donations; E:; W: The Sexual Assault Centre: recruiting volunteers for the 24 hours crisis line. If you're empathetic, caring, non-judgmental, want to gain experience, contact Joy T: 780.423.4102, E: for info Volunteers instructors needed–Tap Dancing, Line Dancing. Wed: kitchen helper, Fri: dining room servers; Wed evening dinners: dishwashers, kitchen prep and servers. Mary 780.433.5807 The Support Network: Volunteer today to be a Distress Line Listener. Apply on line thesupportnetwork. com or call 780.732.6648

amateur adult musicians and singers to learn and perform concert band and choral music under professional music direction. Contact Darlene at 780.432.9333;

S.C.A.R.S.: Second Chance Animal Rescue Society. Our dogs are TV stars! Watch Global TV every Sat at 9:45 AM where new, wonderful dogs will be profiled.


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

Volunteer website for youth 14-24 years old. Calling all Snow Angels: The City of Edmonton would like to encourage you to participate in an act of generosity: become a Snow Angel for a senior who has trouble shoveling their walkways. If someone has been a Snow Angel to you or someone you know, nominate them for recognition and prizes. Info: cleanup/snow-angels.aspx

The Nina Haggerty Centre for the Arts: looking for artists to provide mentorship to our artists with developmental disabilities. Share your talents and passion while gaining work experience. Info: CNIB's Friendly Visitor Program needs volunteers to help and be a sighted guide with a friendly voice. Help someone with vision loss. W:; T: 780.453.8304

Events are what bring a city to life. Walking past bulletin boards and poster poles filled with layer upon layer of posters, you may not see an event you would attend, but you may, like me, appreciate the effort that goes into making a scene vibrant. Posters on the main streets of Edmonton represent a large part of our visual culture and create texture and interest, while communicating details about events happening in the city. One poster that stands out in particular right now is this one by Karen Campos for a New Year's Eve party

at the Artery. What struck me was the jittery, tight letters knocked out against the organic, abstract image in the background. Purple, pink and blue cosmic dust collide, suggesting a supernatural event. It really captures the excited, magical feeling in the air on New Year's Eve. The hand lettering stands in contrast to the simple sans serif typeface. It shows an element of the do-it-yourself movement present in an event of this kind, organized by people who belong to the creative scene and want to see the artistic community grow and flourish. V


Warm socks, mittens, parkas, scarves and toques are redistributed to people in need, and to agencies that serve the inner city community Items should be clean and warm. Wool socks are particularly useful Donations for Share the Warmth will be accepted at the Winter Light office and festival sites, and at Snow Valley. To donate used clothing before the festival starts, The United Way will take them through their Coats For Kids program. Drop-off your new or used coats at any Page the Cleaner location

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

VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011

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CREATE MEMORABLE EVENTS EVENT PLANNERS ARE IN HIGH DEMAND NAIT’s Continuing Education Special Events Management certificate prepares students to enter many industry streams including corporate, hospitality, non-profit and private consulting. NAIT’s flexible learning options let you earn your certificate part-time on the weekends. Develop practical knowledge and skills, network and learn from award winning industry professionals.

Courses include: • Introduction to Event Management

Financial and Risk Management

Theme Development

Event Plan Development and Management Strategy

Foodservice, Hospitality Etiquette

Marketing, Advertising and Sponsorship Plans

Special Events Capstone Project

Optional Courses:

Procurement, Contracts & Negotiating for Special Events

Wedding Planning

Green Events

Human Resources and Volunteer Management

Golf Tournament Organization

Special Event Lighting and Staging

Watch for the new Wedding Certificate!

Enrol now. Classes start January 18, 2011. Fee: $300 per course


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VUEWEEKLY // DEC 30, 2010 – JAN 5, 2011


vue weekly 793 dec 30 2010  

vue weekly 793 dec 30 2010