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JAN 29, 2011


VUEWEEKLY // JAN 20 – JAN 26, 2011



IssuE no. 796 // JAN 20 – JAN 26, 2011

UP FRONT // 4/ 4 7 8 9

Downstream from mainstream

Vuepoint Dyer Straight In the Box Bob the Angry Flower

The Canoe Theatre Festival heads into uncharted waters

// 16

DISH // 13/ 14 To the Pint


ARTS // 16 20 Prairie Artsters

FILM // 22 22 DVD Detective

MUSIC // 27/ 34 New Sounds 35 Old Sounds 35 Quickspins 36 Music Notes


BACK // 37 38 Free Will Astrology 38 Queermonton 38 Lust for Life

LISTINGS 21 Arts 26 Film 28 Music 37 Events


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IssuE no. 796 // JAN 20 – JAN 26, 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 //

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COVER PHOTO EDEN MUNRO // CONTRIBUTORS Mike Angus, Malcolm Azania, Chelsea Boos, Josef Braun, Rob Breszny, Erika Domanski, Gwynne Dyer, Jason Foster, Amy Fung, Brian Gibson, Hart Golbeck, Tamara Gorzalka, James Grasdal, Whitey Houston, Brenda Kerber, Fawnda Mithrush, Brendan Munro, Stephen Notley, Roland Pemberton, Mel Priestley, Mimi Williams Distribution Todd Broughton, Alan Ching, Barrett DeLaBarre, Mike Garth, Aaron Getz, Raul Gurdian, Justin Shaw, Dale Steinke, Wally Yanish

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

VUEWEEKLY // JAN 20 – JAN 26, 2011




Vuepoint Ethical facts BRYAN BIRTLES //


ewly-minted Environment Minister Peter Kent has set off a storm of controversy by parroting disgraced Conservative organizer Ezra Levant's claim that Canadian oil is more "ethical" than sources from elsewhere in the world before his first briefing by his new department. The claim— which stems from the idea that Canada's commitment to human rights somehow mitigates its destructive environmental practices in the oil patch—was shortly echoed by Prime Minister Harper. Instead of cleaning up the tar sands, the government has decided that what's really necessary is a cleaning up of the resource's tarnished image, as if a makeover will cure the myriad of cancers suffered by communities downstream or magically bring back the hundreds of birds killed by tailings lakes every year. What is particularly troubling is that Kent felt free to make such an assertion prior to having any in-depth knowledge of what is going on in the area, a fact that proves the Conserva-


tive government is acting on what it wants to believe, instead of the facts at hand. Canadian oil is no more ethical than any other oil—the two concepts the Conservatives are desperately trying to push together are joined by no more than the party's own logical fallacies. That Canada doesn't put its citizens in jail for disagreeing with the governing party has nothing to do with the fact that the extraction methods utilized by companies in the tar sands account for five percent of Canada's greenhouse gas emissions. Further, human rights is a pretty poor peg for the government to stand on, considering its trampling of civil liberties at last summer's G20 Summit and the disregard it has consistently displayed for the health and land rights of the indigenous communities living near the tar sands. If the Conservative government is so concerned with producing harmful products ethically, it may want to look at getting into the business of heroin production; after all, Afghani warlords have the market cornered and their human rights abuses are vast and well documented. 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.



The Edmonton Indy returns. Are you glad to see it back?

6.90% yes 79.3% no 13.8% Cars? Awesome. THIS WEEK:

Should city council have entered into negotiations with the Katz Group for a new downtown arena?

1. Yes 2. No 3. They needed more information before proceeding

Check out to vote and give us your comments. 4 // UP FRONT


In response to "Missing Memorial" (Jan 13 – 19, 2011) Mary Burlie worked with the poor on an international scale, and travelled to many countries giving lectures about the poor and how their lives could be made better. So suggesting that Mary Burlie Park belongs in Boyle Street puts a constraint on the simple fact that Mary wasn't constrained to helping the poor just in Boyle Street. That the Mary Burlie Park needs to be

improved for hundreds of thousands of dollars ... well, I think the price is based on just one plan that is something of a "White Elephant" in my opinion. I am very sure that full consultation with more than private business would yield a viable revitalization of the park for a fraction of the cost cited by the Association. To simply take away this public park does take away from the poor, and

they too have a right to its use as it is or revitalized. As for the memorial that resides in the park? What better place for it than in a park named after a woman who helped so many women find hope for their futures—so many women who through that hope made their futures for themselves, and their children, better.

I am writing in response to Samantha Power's article ("DIY meets WTF" Jan 13 – 19, 2011) because the sight of those five lovely vaginas, pinned to an article, as it were, on tacky craft got me in a flurry. Their author, seller VulvaLoveLovely, is one of the few sellers on Etsy whose craft products actually are politically meaningful, culturally relevant, not to men-

tion feminist savvy. ... The highly individualized vaginas created by the crafter come at a time when the rates of female genital cosmetic surgery are escalating, pathologizing any vagina that does not fit the culturally imagined cookie cutter ideal of the "designer vagina." I wish to end just by saying that the embedding of this photo of vagina

necklaces in an article on crap-as-craft is rather unfortunate. This is especially so in light of the VulvaLoveLovely's succinct articulation of what women and their vaginas come to signify in our culture: "I felt dirty, I felt useless, I felt ashamed and I felt used, thrown away, I felt like a piece of garbage."

VUEWEEKLY // JAN 20 – JAN 26, 2011

Mark A Robert — Comment on website.


A thin line

The right to free speech and the freedom from slander is a delicate balance MIMI WILLIAMS //


he mayor of Nanaimo, BC sues citizens over offensive bumper stickers; the mayor of Vaughan, ON sues a radio station and its morning-show hosts after a string of on-air insults, which included calling her "an angry large woman;" the mayor of Bega Valley, NS sues a Franciscan nun for calling him ''exceedingly aggressive and controlling'' in a letter she circulated to media outlets. Strategic Lawsuit Against Public Participation (SLAPP), a term coined by academics almost 30 years ago, describes one of the tactics used by corporations to silence critics. Most US states have enacted legislation to rein in the practice, starting in Washington in 1989, but the first Canadian judgement to recognize SLAPP, Fraser vs Saanich, wouldn't be for another 10 years. Dismissing the claim of a developer who sued a number of citizens and a town council over zoning bylaws, the BC Supreme Court stated, "It was a meritless action designed to silence or intimidate." Following the decision, the NDP government passed Canada's first anti-SLAPP legislation, repealed when Gordon Campbell's Liberals took power a few months later. Anti-SLAPP bills introduced in New Brunswick in 1997 and in Nova Scotia in 2003, failed in both instances.

Today the Canadian Civil Liberties Association (CCLA) has intervened in a number of SLAPPs, which it believes are used as to curb debate and discussion on matters of public importance. The CCLA has been concerned that lawsuits being launched by elected officials against citizens are a new manifestation of the once-corporate phenomenon. The association undertook a review of 20 years of court records and has identified a steady increase in these suits over the past five years, a trend that is "of great interest to us," says Nathalie Des Rosiers, the CCLA's general counsel. But Judith Garber, a professor in the department of political science at the University of Alberta, questions whether these sorts of lawsuits should be considered SLAPPs at all. "SLAPPs are coordinated efforts by business to suppress public debate over matters of public interest," she insists. "Given that the Internet has brought us so much more less-responsible, less-considered commentary, one would expect that the number of aggrieved politicians would increase," she says. "But they're not SLAPPs." In Edmonton, Mayor Stephen Mandel has launched a lawsuit against Nathan Black, accused of defaming Mandel in several blog posts during the past municipal election. In his statement of claim, the mayor alleges Nathan

Black defamed him by implying Mandel had a personal financial interest in closing the downtown airport and was in a conflict of interest by voting on the matter. Black, who admitted to misrepresenting himself as a Seattle journalist, denies having anything to do with the blog. Garber was surprised Mandel chose

amounted to an egregious, obvious attempt at a drive-by smear during an election," says McCalla. Gordon Stamp would like to know what those "reasonable boundaries" are, if only to spare others the stress he recently went through. Stamp, a 50-year-old city realtor, produced and distributed 300 copies of a leaflet

Stamp feels the mayor was attempting to silence his criticism with the threat of litigation. "We have more than the right to question our elected officials," he argues, "we have the responsibility." He predicts citizens will become afraid to express their opinions if they have to start worrying about defending themselves against lawsuits from elected officials. to sue Black, describing the alleged statements as "pretty wimpy" relative to the usual parry-and-thrust common in political life. "He was already so discredited," she says, suggesting the lawsuit really just served to bring more attention to the statements that Black allegedly made. City lawyer David McCalla, representing Mandel, disagrees. He says while the mayor is no fan of litigation, Black crossed "all reasonable boundaries" of acceptable political discourse. "Nathan Black hid behind the anonymity of the Internet in what

during the election campaign. With the heading "Mayor Stephen Mandel ... Manipulating the process from the very beginning," the leaflet listed headlines gleaned from local media about the mayor's involvement in the proposed downtown arena discussions. The bottom of the leaflet reads, "Can we trust Stephen Mandel to represent our interests? Or do his loyalties lie elsewhere?" Stamp says the heading and the questions represented his personal thoughts on the matter and he stands by what he did. Stamp spent about $30 to photocopy the leaflet and



hile the National Energy Board of Canada approved one of the largest pipelines in Canada this month, across the border the Environmental Protection Agency vetoed the largest mountaintop removal project proposed in the US. The Natural Resources Defense Council is calling the action courageous: "In the face of the political and industry forces pressuring EPA to ignore the damage this mine would cause, it took guts for the agency to follow the science and the law," ACCESS DENIED


hile months of debate have continued over the attack on Wikileaks, a new study reveals government information is getting harder to uncover, especially in Canada. A study by the researchers at University College in London show Canada to have the worst access-to-information laws. In comparing New Zealand, Britain, Ireland and other parliamentary democracies, Canada came in last. The paper stated, "Canada comes last as it has continually suffered from a combination of low use, low po-

litical support and a weak information commissioner since its inception." Among the greatest problems were a lack of access to government information online and a fee requirement for information requests. CBC journalist David McKie found access-to-information requests by journalists dropped by 23 percent in 2010. McKie blames overworked journalists and understaffed offices for a lack of resources to follow through on the often labour-intensive process of requests.



BUILDING CITIES says Jon Devine of NRDC. Mountaintop removal has been a constant pressure in West Virginia, stripping mountains to create coal mines—unlike conventional mining, mountaintop removal flattens and remakes the landscape. The proposal would have covered 2200 kilometers of mountain and six miles of streams. The NRDC is now campaigning for these protections to extend to other Appalachian communities and to implement the federal Clean Water Act.

also sent it out to a number of candidates by email. In November, Stamp received a letter from McCalla. Identifying his firm as "solicitors for Mayor Stephen Mandel," the letter advised Stamp the mayor intended to commence legal action against him for defamation, based on the contents of the leaflet. After a month of worry, Stamp received a subsequent letter advising him that Mandel would not be commencing court proceedings after all. "Mr Mandel feels he has better things to do with his time and money than to continue to engage in this debate with you," McCalla wrote on November 30. "I don't know how this can be viewed as anything other than a pressure tactic," Stamp says. When asked if Stamp might have a point, McCalla replies, "The mayor has decided not to pursue that matter," though he added he still felt the leaflet was defamatory. Then why not pursue the matter in court? He declared the matter "old news" and stated he had no further comment. Stamp feels the mayor was attempting to silence his criticism with the threat of litigation. "We have more than the right to question our elected officials," he argues, "we have the responsibility." He predicts citizens will become afraid to express their opinions if they have to start worrying


ith the federal budget to be announced in March the Federation of Canadian Municipalities is calling for many of the temporary infrastructure funds to become permanent. While temporary funds have gone toward improving the over $123 billion infrastructure deficit, the FCM warns there is still a long way to go. "Longer-term planning, more efficient programs, and a growing emphasis on repairs and rehabilitation— these are essential building blocks for solving our infrastructure problems once and for all," says James Fiacco, chair of the upcoming Infrastructure Summit and Mayor of Regina. The Building Canada Plan, the federal governments current municipal funding strategy, is due to come to an end in 2014 and many municipal infrastructure projects have relied on stimulus spending through the Economic Action Plan. With over $15 billion having gone into municipal projects through the stimulus spending the plan is due to end this year. "As the stimulus blitz ends, and all governments get their books back in order, we have a chance to pause and plan for the future," said Fiacco.

VUEWEEKLY // JAN 20 – JAN 26, 2011

QUOTE OF THE WEEK "All I'm offering is a history lesson that this city did go through before and we ended up assuming the major-

ity of the risk associated with it. I'm not saying the Katz Group of companies is comparable to Pocklington, but I think the public understands the risk and they want us to ensure this city does not make a deal that we can't have guarantees for." —Councillor Linda Sloan during the downtown arena debate Edmonton Journal Jan 18, 2011


The right did wrong Engler explores Canada's lost reputation Malcolm Azania //


ike many people around the planet, Canadians spent much of the last 10 years mocking the US for being led by a group of war-mongering, anti-environment, fundamentalist neoconservatives. But since 2005, Canada has had its own version bunkered inside the PMO: the Stephen Harper neo-cons. Owing to particularly effective political craft, the minority government has successfully outmanoeuvred every political party in the country. And according to Yves Engler, author of books such as The Black Book of Canadian Foreign Policy, Harper's international swaggering has cost Canada its reputation and a seat on the United Nations Security Council. But how? The Democratic Republic of Congo is one of the most materially rich countries on the planet, and has been under colonial occupation and genocide, neocolonial dictatorship or war and civil war for a century and a half. Foreign companies, including Canada's First Quantum, have exploited the DRC's instability to win mining concessions; First Quantum drew UN censure for doing so. The DRC has since been attempting, against great odds, to put its house back in order, including by asserting energy sovereignty. "The Harper government," Engler says, "tried to block debt forgiveness on the specific grounds that the Congolese government had retaken the concession, and despite the moral implications, was going to back a Canadian mining company which has a very questionable track record in the Congo. "One of the UN-based reporters in New York said explicitly that a number of African countries were citing what the Harper government had done to block [the Democratic Republic of] Congo's debt forgiveness as one of the reasons they were antagonistic to the Canadian government. This was basically not reported outside of the business press." Even with the gravity of the DRC case, are the Harper neo-cons really that much worse than the Jean Chretien/ Paul Martin neo-liberals they drove out of office? "They're more extreme," says Engler. "Tangibly what that means is a more open willingness to support anything that Canadian mining companies do abroad, anything that Israel does, and take hardline positions vis-à-vis the left wing governments in Latin America." When Engler addresses Edmontonians on January 27 he'll be discussing several other Harper provocations, such as repeatedly sabotaging international climate negotiations, maintaining aid to the Honduran government following the coup of its democratic president, militarizing aid to Haiti, and gearing up for a war of aggression against Iran. While Engler says that Canada's increasingly regressive international behaviour is partly in service of Canadian mining


VUEWEEKLY // JAN 20 – JAN 26, 2011

magnates and Harper's right-wing JudeoChristian base, there's a more profound problem: the weakness or tacit agreement of Harper's parliamentary foes and the media. "It becomes convenient for the Conservatives to pursue their most extreme vision," says Engler. "There's little sense among the decision-makers within the Liberals and the NDP that foreign policy issues have much consequence when it comes to elections." Being a middle power, Canada does not extend across the world like America. Yet in some places, its feet can still leave craters. In 2004, US, French and Canadian-backed coup plotters overthrew the democratically elected Haitian government of President Jean Bertrand Aristide. The United States exiled him to the Central African Republic, although Aristide now resides in South Africa. Canada, says Engler, played Marc Antony to the American Caesar, and not only, prior to the coup, by starving the country of aid and funnelling funds to NGOs so as further to weaken its government. "Aristide was taken out by US marines with Canadian troops standing by at the Toussaint Louverture airport in Port-auPrince," says Engler of the then-Liberal government's complicity. "The physical removal was really the culmination of a multi-year destabilization campaign in which Canada played a fairly significant role, organizing the Ottawa Initiative on Haiti in January of 2003." That gathering organized Canada, France, the US and the Organization of American States around a single criminal conspiracy: to overthrow the government of Haiti, place the country under UN trusteeship and disintegrate the Haitian army. As far as Engler knows, Quebec's L'actualité was the only North American magazine to report on the plot (on March 15, 2003) before its execution a year later. Within the 13 000-strong UN occupation force, Canada has played a leading role for the last seven years, building and funding new police to occupy bastions of support for the ousted president. Those police have been "going into the poor neighbourhoods and massacring people. Thousands of people were killed in post-coup political violence, and Canadian hands were all over the scene. The Conservatives have broadly continued the anti-democratic, anti-poor policy of the [Liberals] in Haiti." Haiti and the DRC, as Engler demonstrates, are simply two examples of how effectively the myth that Canada is exclusively a force for good, covers a lengthy history of internal colonialism and international bullying. V Thu, Jan 27 (7 pm) The Right Did Wrong: How Stephen Harper's government destroyed Canada's reputation as an honest broker and lost the vote for a seat at the UN Security Council Education Building, Room 165 (87 Ave & 113 St), U of A Campus, FREE (donations accepted)


History repeats The war on terror looks familiar

Communist party congresses are genother countries in the region. After erally tedious events, and the 11th cona decade, all the Vietnamese troops gress of the Vietnamese Communist were withdrawn from Cambodia, and party is no exception. The changes in even there Hanoi has virtually no inpersonnel at the top are decided by fluence today. the elite inner circle of the party long As for some vast Communist plot to before the congress opens, and the overrun Southeast Asia, it was never rhetoric is in the same wooden lanmore than a fantasy. Indeed, within guage that Communists always use. four years of uniting Vietnam, the The nation must "renew the growth Communist regime in Hanoi was at model and restructure the econowar with Communist China over my to speed up industrializaa border dispute. In a perfect tion and modernization with world, most people would fast and sustainable develprobably prefer to spare opment," outgoing party their country the burden of a generation of Communist leader Nong Duc Manh told eweek u v @ e gwynn the congress on its openrule, but Vietnam is not a e Gwynn ing day. "The strategy is to disaster, and it is no threat strive towards 2020 so that to anyone else. Dyer our country will basically beSo, once again, what was the come an industrialized nation." Well, war about? How did three American that's a novel approach, isn't it? presidents allow themselves to be The talk is all about fighting inflation misled into fighting such a pointless, and corruption (there's quite a lot of unwinnable war? Dwight Eisenhower, both those things in Vietnam), while John Kennedy and Lyndon Johnson maintaining a high economic growth were all intelligent men, and Eisenrate (6.8 percent last year). Ordinary hower also had much experience at people are struggling to maintain their the highest level of military and dipstandard of living (although they are lomatic decision-making. far better off than they were 20 or 40 To varying degrees, they all fell for years ago), and resent being bossed a strategic vision of the world that around by the Communist elite— was mere fantasy, driven by ideology. but they feel helpless to do anything Or rather, in Eisenhower's case and to about it. some extent also in Kennedy's, they In other words, it's not all that diffound it politically impossible to referent from the situation in, say, Thaisist the demands of those who did live land, just a little to the west, apart fully within that fantasy. So American from the fact that the economic elite foreign policy had little connection in Vietnam are Communist party memwith reality for several decades, and a bers and their businessman cronies. lot of people died. Thailand is technically a democracy, The point is that this sort of thing but if you are a rural "red shirt" in happens all the time. The "war on terThailand your views on those in power ror" now is functionally almost indiswill be little different from those that tinguishable from the anti-Communist many Vietnamese peasants privately crusade of the 1950s and 1960s, alhold about the Communist party. It's a though the actual wars involve much more traditional elite in Thailand, but lower levels of casualties. For Vietit clings to power just as tightly, and nam in 1960, read Iraq in 2003—or, rewards itself even more lavishly. perhaps, Iran the day after tomorrow. So what was it all about, then? It doesn't only happen to Americans, Why was there a 15-year war in Vietof course. The various British invanam (1960 –  '75) that killed 58  000 sions of Afghanistan in the 19th cenAmerican soldiers, and between one tury were driven by the conviction and three million Vietnamese? The US that the rapacious Russians wanted to government insisted at the time that seize Britain's Indian empire, although it was about stopping Communist exthe thought hadn't even occurred to pansionism in Vietnam before it swept the Russians. Germans spent the dethrough all of Southeast Asia. The cade before the First World War worCommunists, who controlled North ried that they were being "encircled" Vietnam, said it was only about reunitby the other great powers. ing the country. Who was right? But these delusions mainly afflict the great powers, because weaker counIn retrospect, it's clear that the Comtries cannot afford such expensive munists were telling the truth. They follies. They have to deal with reality won the war in Vietnam despite all the as it is—which is why the Vietnamefforts of the United States, but the ese Communists, for example, never "domino effect" in the rest of Southdreamed of trying to spread their faith east Asia never happened. In fact, the across the rest of the region. They Vietnamese Communists never even were and are pragmatic people with tried to knock the dominoes over. purely local ambitions, so the resoluApart from invading Cambodia in tions of the 11th party congress are of 1978 to drive the Khmer Rouge, a little interest to anybody else. V much nastier group of Communists, from power, Communist-ruled VietGwynne Dyer is a London-based journam has never sent troops abroad nalist. His column appears every week or interfered in the internal affairs of in Vue Weekly.



VUEWEEKLY // JAN 20 – JAN 26, 2011



Birthday wishes

... without many presents for the Oilers Happy birthday to ... Nik Khabibulin, who May 24, 2010: Last episode of Law & Orturned 38 on January 13. The Oilers' gift der on TV. to Khabibulin? A 5-2 win in San Jose. DeSep 13, 1990 – May 24, 2010: No Edmonvan Dubnyk was in net. Happy birthday ton Oilers Stanley Cup victories. to ... Wikipedia, which launched Basically, what I'm suggesting is Oilon January 15, 2001. On Januers history can be broken down ary 15, 2011, the Oilers lost into two separate, but equally 5-2 to the LA Kings. Luckily, important, groups: the prewe can change the result on Law & Order dynasty squad e e w e ox@vu Wikipedia until someone fixes that won five Stanley Cups intheb oung & it. Happy birthday to ... Frank and the post-Law & Order that Dave Y s e tl ir B Zamboni, American inventor of hasn't won any Cups. These are Bryan the eponymous ice resurfacer, who their stories. Cha-chung. DY would have turned 110 on January 16. The Oilers were Zamboni-ed 3-2 by the Double down on Dubnyk Ducks in Anaheim to celebrate Frank's big Maybe the time has come to start runday. And happy birthday to ... Oiler legend ning with the Oilers' goalie of the future, Mark Messier, who turned 50 on January Devan Dubnyk. In his last three starts— 18. The Oilers lost 4-1 to Minnesota on an admittedly small sample size—he's Mess's 50th. NOT Moose-Approved! 2-1 against two tough and one weak opponent, but it's important to remember Lt Anita Van Buren always had it in who he's doing it behind; not Ryan Whitfor us ney, not Jim Vandermeer and not Shawn Good news, everyone! It is possible a Horcoff. And between you and me, the crippling jinx has been eliminated. Things Bulin Wall is looking a bit less like the may look up for the Oilers. Follow my Berlin Wall during the height of the Cold timeline: War, and a bit more like it on November 1984 – 1988: First four Stanley Cups 9, 1989. If this team wants to run with May 24, 1990: Fifth, and to date, last, youth, maybe it's time to do it on the Oiler Stanley Cup is won. back end as well and split the games Sep 13, 1990: First episode of Law & Orevenly from here on out. Dubnyk's cerder hits television. tainly deserved it. BB





Passionate about the environment? Interested in the taxi industry?

about defending themselves against lawsuits from elected officials. While not commenting specifically about Stamp's experience, the CCLA shares his concern. "We do believe this is a serious problem relative to public debate," says Cara Zwibel, director of the CCLA's Fundamental Freedoms Program. Even the threat of litigation against citizens is problematic, she cautions. "When people are afraid of being sued in the first place, that has a huge impact on the democratic process," Zwibel says. Both Garber and Zwibel note that recent decisions show Canadian courts are trying to strike a balance between the rights of individuals to protect their reputation with the right of the media and the public to free expres-

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VUEWEEKLY // JAN 20 – JAN 26, 2011

The Law & Order hockey episode

Thinking about L&O reminded me of the "hockey episode" from season eight. It was co-written by Canadian David Shore, who later created House. Here are some of the character's last names from the episode: Nicholls, Stapleton, Gilbert, Hodge, McSorley, Howe, Anderson, Lindros, Sutter, Goring and Cashman. Too bad we've already proven the show was pure poison and a horrible jinx to Edmonton. DY Roll the dice

With defenceman Mike Commodore clearing re-entry waivers this week, two things spring to mind; first, why didn't the Oilers get in on that? Commodore's skills and magic beard could really help our injury-depleted blue line. Second, why are we worrying about re-entry waivers for Souray? As soon as that jerk gets healthy—he's out with another injury at the moment—it's time to ship him for a third-round pick, a bag of pucks or, if necessary, just the bag that holds the pucks. It's time to remove this mill stone from the team's neck. Every time he comes up he's a distraction; it's time to say good riddance, no matter the price—as long as it doesn't count against the cap. BB Oiler player of the week

Jeff Petry: lots of minutes and steady play since being called up. DY Magnus Paajarvi: for breaking the embarrassing 0/44 powerplay "streak." BB

sion about matters of public interest. "People who enter public life cannot reasonably expect to be immune from criticism, some of it harsh and undeserved," the Supreme Court of Canada wrote in Grant vs Toronto Star. "But nor does participation in public life amount to open season on reputation." The ruling was a significant departure. In the past, the only defence against libel or defamation was to prove what you said was true. The SCC said the law should be changed to protect statements that are "reliable and important to public debate." The court has expanded the boundaries for individuals who communicate with the world on matters of public interest, while cautioning them to do so responsibly. Gordon Stamp, along with the CCLA, hopes the decision will give elected officials food for thought about taking or threatening legal action against citizens. V


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VUEWEEKLY // JAN 20 – JAN 26, 2011



No flash in the pan

Winter Light continues to celebrate Edmonton's coldest season

Somewhere over the rainbow Mike Angus //


inter Light Festival (winterlight. ca) is an annual festival that celebrates the uniqueness of Edmonton's winters. For nine weeks, you can partake in several festivities designed to bring community warmth and "light" into our cold, short days. One such event is Flashpoint, a freestyle jump competition for top skiers and snowboarders while professional photographers compete for the best shot. This year the jump/photography competition will be held in conjunction with the Edmonton Ski Club's 100th Anniversary celebrations, displaying the spectacular physicality

// David Bloom

of skiers and snowboarders. Professional photographers take the event to the next level, capturing jumpers set against the night sky to explore the artistic elements of sport photography. Both athletes and photographers will be competing for cash and sponsored prizes, and while the jumpers are wowing the crowd with their best stuff, photographers will be under the gun to come up with their best photos in just 10 minutes—an all-around adrenaline rush. Edmonton photographer Ian Jackson, photography coordinator, explains the dazzling relationship between athletes and photographers that inspired the event. "There's a special relationship between any sports photographer and

their sport of choice; when it comes to snowboarding and ski jumping, it's death-defying, and the photographers are putting themselves in that position as well," he offers. "This is why it's a select group of photographers, because they have the experience and professionalism to know where to be and not to be when shooting the jumpers. Safety is the first priority. "With the deadline and the challenge that's there, there's a huge adrenaline rush ... This is why sports photographers are a unique breed. They're adrenaline junkies." Angus Sagan is the coordinator for the jumpers, and he's excited to host the event at the Edmonton Ski Club—the city's oldest sports association—as

part of its centennial anniversary on Connors Hill. "Having that location right in the heart of the city is excellent for Edmonton, I think it's nice that we're using that facility at the same time for this centennial celebration so we can showcase where the sport of skiing and now snowboarding has progressed, and hopefully provide a really great show for the audience." Following Flashpoint, the 100 Lantern Ski Parade will light up the hill— lanterns to be carried by longtime ESC members, young racers and accomplished alumni from the ESC. Both events are free, with fireworks at 10:30 pm. The Black Ties & Toques 100th Anniversary Gala will also be hosted that evening at the Muttart Con-

FALLLINES Dip into Jasper in January

A few years ago, Jasper in January's organizers were looking for events to enliven their festival. Old, unsupported events got weeded out and new vibrant activities got slotted in. One of the new events was the Polar Bear Dip. It has become an extremely popular event, this year held at 1 pm on Sunday, January 22 at Edith Lake. If you want to get your heart rate up, show off to some family and friends and raise money for diabetes research, jumping into a hole in the ice at Edith Lake is definitely the way to go.


servatory. Tickets for the gala are $150 and available at TIX on the Square. Winter Light showcases Edmonton's unique sense of place, climate and environment as a beautiful and interesting winter city, and deals with the reality of Edmonton's climate, atmosphere, and urban scale. Besides Flashpoint, Winter Light also includes Silver Skate, Ice on Whyte and more during January and February. Last year, Winter Light created over 86 public performances, featured 147 artists, and drew record audiences of over 120 000 people. V Sat, Jan 22 (6:45 pm) Flashpoint Edmonton Ski Club, Free


If you want a little more lake fun on the ice and not in it, head over to Mildred Lake behind the Jasper Park Lodge for a moonlight skate and Cabane à Sucre taking place from 6 – 9 pm.

Jasper in January has snow and ice ... sculptures

The Jasper in January festival is in full swing. The weatherman has been most cooperative, slamming a few really nice winter storms onto the slopes of Marmot Basin. In excess of 75 cm have

fallen in the past two weeks and it appears there is more to come. I hit the slopes with 40 cm of fresh stuff a week ago and it was an amazing experience. Temperatures have climbed back into the pleasant single-digit zone as well, so skiers and boarders can really get out there and rip it up. If you are heading up this week, stop and have a look at the amazing ice sculptures in front of the Sawridge Inn, the first hotel on your right when you enter the townsite from the east. A great time to visit is near dusk when the ice is illuminated in many

VUEWEEKLY // JAN 20 – JAN 26, 2011

colors by the setting sun. No worries if it gets a little chilly: Sawridge Inn staff can set you up with some hot chocolate as you enjoy the warmth of a nearby log burning fire. If you are hungry on Saturday night, stop in the Sawridge for an Italian-themed skiers' buffet.

Party Time at Jasper in January

If you're heading to Jasper this weekend, get ready to eat, drink and party. On Friday night the famous Chili Cook Off will take place at the Jasper Activity

Centre. Afterwards you can head to the Atha-B for a live performance by Tupelo Honey. Saturday, after you return from the slopes, head downtown for a family street party. Sponsored by Atco, Jasper's local power company, this year's lineup is immense. The street will be filled with street performers, line dancing rodeo queens, airbrushed tattoos, food and refreshments and much more. It all ends with an amazing fireworks display after which you can head for ladies night at the De'd Dog or a little more Tupelo Honey at the Atha-B. V

VUEWEEKLY // JAN 20 – JAN 26, 2011


Dream becomes reality

A long-imagined extended ski trip to the States finally begins Powder Mike //

Powder Mike and his family are Edmonton-based skiers; his real job is a director of an Edmonton-based engineering company, but he's packed the family and equipment into a Class C Winterized Motorhome to spend three months touring the United States' finest ski spots. He's recording his travels for Vue Weekly.


t's an amazing thing when a dream becomes a reality. Over two years ago my family started planning an extended ski trip to the States and it was hard to imagine at the time it was possible.  With two young daughters, a busy life in Edmonton and plenty of commitments, leaving for three months to ski would take a lot of planning.   The key to our trip is a Class C winterized Motorhome.  Having a portable ski condo means we can follow the snow and set our own agenda.   Now three weeks into the trip—we are in the States—the skiing has been superb with the best snow conditions in Wyoming, Utah, Colorado and California in recent years. We have found powder and our timing has been perfect.  Backing up a bit, it was three ski seasons ago when we saw that our girls


// Pete Nguyen

were getting old enough and strong enough to ski the hard stuff at Marmot Basin. My wife and I realized that a trip to all the classic resorts was possible so we signed the girls up with the Jasper Ski Team Nancy Greene programme to sharpen their skills and were amazed at the results.  Suddenly, the Tram at Jackson Hole, WY, deep powder at Alta, UT, long runs at Big Sky, MT and back-

country terrain at Silverton, CO were within reach.   As the trip planning progressed, a Ushaped route through Montana, Wyoming, Utah, Colorado, New Mexico and California would hit all the major Western resorts with a mandatory stop at Disneyland.  I had grown up seeing my parent's organizing a yearly ski patrol and friends ski trip to places such as

VUEWEEKLY // JAN 20 – JAN 26, 2011

Sun Valley, Jackson Hole and Alta. The images of their black-and-white Super 8 movies showed wooden-seat, no-safety-bar chairs rising over massive snow banks.  Below, nylon clad White Stag skiers with shiny metal poles and safety straps kept their heels together while carving up virgin power slopes.  With childhood impressions such as these, I had a deep desire to see the same places.

Now that the route was set it was time to research the areas to go to. Many areas were a given: Jackson Hole, Grand Targhee, Steamboat, Aspen, Vail, Tahoe, Alta, Squaw and even Taos, New Mexico as a start. According to Wikipedia there are over one hundred ski areas in the six states we would be visiting. This would take some digging. From my ski patrolling contacts at Marmot Basin I had a chance to interview many people that have gone Stateside.  Unfortunately after many stories of epic powder days, I came to the conclusion that the best area to go to was the one that got over a foot of snow the night before. Without exception, I heard that you have to go to Telluride/Aspen/ Snowbird/Copper/etc, as it snowed like crazy and you can't miss it.    In the end the tick list had 16 must-go areas and nine like-to-go, as time and conditions permit. With 12 weeks of skiing and 25 areas, perhaps the plan was a bit ambitious. It was time to get serious: as the French alpinist Gaston Rébuffat said, "A goal without a plan is just a wish."  The mitigating factor, however, is a saying I heard long ago: "Never leave snow to find snow."  With this as a motto, even though we may not hit 25 resorts, the ones we will get to I'm sure will be spectacular. V 


Good second act

Adventurous cuisine

The Next Act's new owners were in need of change

Co-owner Mike Rebalkin in the refurbished Next Act Brendan Munro //


t age 30, Mike Rebalkin woke up one morning, looked in the mirror and saw a man in need of change. Having moved through the ranks from dishwashing to supervising over 100 staff as general manager at Fuller Family Restaurants (Joey's / Earl's), he had learned the business from the ground up and had taken on the many challenges that came with supervising a staff, building a brand and helping with an ambitious expansion of the business into the United States. Something was missing though. Some deep sense of purpose forced him to realize that one day he would need to run his own restaurant. It had been the subject of conversation for many years between him and childhood friend Nathan McLaughlin, who as a Red Seal and Executive Chef was responsible for cooking at camps of 800 – 1000 oilfield workers. McLaughlin also wanted something more fulfilling, but until earlier this year, those conversations about opening their own restaurant had just been thoughts spoken out loud. Determined to make this dream a reality, Rebalkin gave his notice, sold his condo in Vancouver and moved back to Edmonton to set up shop. Through family connections, they learned that the Next Act pub, located on Calgary Trail, just off Whyte Avenue, might be available. Moving quickly, they

recruited the services of longtime mutual friend Saylish Haas, an accomplished retail manager and the financial whiz of the trio, to join them in the venture. Within six months they found themselves the owners of a restaurant. "It almost didn't happen," starts Rebalkin. "Two hours before we were going to complete the transfer of the business, we got a call from the bank saying there was a problem with the building appraisal. There were a lot of phone calls to lawyers and bankers in the next couple hours, but we got it figured out with literally five minutes to spare." It has been a whirlwind experience ever since. From that point came the revamping of the menu under McLaughlin's supervision and a renovation of the pub's interior, which had remained largely unchanged since its transformation 25 years ago from the Strathcona Coffee Factory to the original incarnation of the Next Act. The result was a trendy, hipster dining and drinking joint, where patrons gather after an evening in the theatre district in a unique setting. The bar has ditched the sports highlights in favour of replays of classic black-and-white cinema on the television screens. The music draws from an eclectic library, loud enough to be enjoyed and heard over the din of other patrons carrying on conversation, but not so loud to drown out your own words or those of your friends. "We have really great support from our

Moriarty's expands on French comfort food

// Bryan Birtles

customers, including actors, directors, producers, plus we get a lot of traffic from the neighborhood. Our customer base is very diverse and we attract a really interesting crowd ranging from their 20s to 60s," adds Rebalkin. "Our intention is to keep everything simple, but deliver great food, a good drinks list and fair prices. We're a foodfirst pub. That's our focus." Since re-opening in August, the owners "have been married to the job," in Rebalkin's words, putting in 12 – 16 hour days. McLauglin runs the management of the kitchen, Rebalkin the day-to-day, HR and marketing roles and Haas the finances, but the hats they each wear on any given day can vary. "We're learning how to run a business for ourselves and at first it was really tough," Rebalkin says, "but it's changing every day for the better and we have a lot of experience as a team that we can draw from, which is helpful." As for the future, the partners see their ambition as their greatest strength. "We want to create something special for Edmonton and offer a unique experience to our customers," he explains. Asked if they're having fun, Rebalkin smiles. "It's like thinking out loud." V Mike Rebalkin, Nathan McLaughlin, Saylish Haas The Next Act 8224 - 104 St, 780.433.9345

VUEWEEKLY // JAN 20 – JAN 26, 2011

The sinister visage of Moriarty belies the food inside Erika Domanski //


t was my boyfriend's birthday and I wanted to take him somewhere great for his special day. We have plenty of favourite restaurants, but I was excited to step out of the ordinary and impress him with something new and stylish and Moriarty's Bistro and Wine Bar came to mind. Cleverly located next door to Sherlock Holmes Pub downtown, Moriarty's is—as in Conan Doyle's stories—the yin to Sherlock's yang. I made the reservation ages in advance and received a phone call a few days beforehand to confirm. Parking downtown never ceases to be a pain; as all the meters were taken, we opted for the parkade across the street that boasted a place to park for $2.50. It turned out that they were actually charging $5 and that their payment machine was broken. Frustrated and running late, we abandoned the car and hurried over to the restaurant. A cosmopolitan bistro is what I had in mind for the evening, and much to my delight that's exactly what was awaiting us. The room is smaller than I had expected, but it was gorgeous and dimly lit—the perfect villain's lair. From the inky black chairs and picture frames to the plush white leather booths, I was impressed by the contrast in colours and also in contemporary chic mixed with gothic ambiance. We were seated

// Bryan Birtles

promptly in one of the comfortable booths and settled ourselves in for a romantic meal. The service was friendly and attentive throughout our visit and we were quickly delivered a Guinness and a dirty martini. For me, no martini can be dirty enough but the colossalsized olives served as a peace offering. Starting with French comfort food, the cuisine is twisted into unique bistro fare. As soon as I read "Candied Bacon" ($9) I knew that they had me. Served with house-pickled asparagus, five burgundy strips of bacon were set down in front of us. A raspberry sauce was smeared across the plate for dipping which complemented the sweetand-smoky flavour of the bacon. We also began with the gold beet chips ($6) which came with an avocado dip. Thick and packed with avocado flavour and a citrus kick, the salty beet chips easily dove right in. The chips were crisp and still warm, but not overcooked. Both of these appetizers were a huge hit but it was around this point that it occurred to us that the restaurant was very loud. Three huge parties of women were seated around the room and being such a small space the sound really has nowhere to go. We could barely hear the jazzy music overtop the white noise of people talking. Upon finding the hazelnut mahi mahi in a chai cream sauce with lobster and truffle CONTINUED ON PAGE 14 >>

DISH // 13


Challenge and opportunity Scottish independent brewer offers up a complex brew Harviestoun Old Engine Oil Harviestoun Brewery, Alva, Scotland $4.50 for 330 ml bottle

Sometimes I like a challenge. And the recent arrival of a flight of beer from Scottish independent brewer Harviestoun certainly presented itself as one. This is a brewery that could try to claim it is historic, given that it opened in a 200year-old brewery. However, it's too honest, having only started in 1985. Since that time the brewery has moved from a fast-growing independent, to a small portion of a global brand (Scottish and Newcastle, now controlled by HeinekenCarlsberg), back to being independently owned again. Harviestoun has a number of detect a deep, sweet front of quality beer worth trying, but molasses, chocolate, rich carathe one that caught my beer .com mel and brown sugar. This is ly k e e ew geek imagination was its Old followed by hints of roast and int@vu tothep n Engine Oil—a great name if coffee. Also there is a touch o s a J there ever was one. This beer is of woody sharpness and tartFoster truly an enigma. I will explain, but ness in background—a kind of let me first describe what I tasted. light acidity. Hop bitterness is only in It pours an inky black, very much like a background, but enough to balance the stout. Its dark tan head is thick and rich big sweetness of this beer. and holds on through the entire session. For good measure it leaves a wall of lacing This is a rich, thick beer that presents a down the glass. The aroma is of chocolate, formidable body. It is big, impressive and tosome coffee, dark raisin and plum and a tally ideal for winter. The name is spot-on hint of sourness. The taste is complex. I as it has both the look and the viscosity of engine oil, but don't let that turn you off. What is my challenge? Some beer guides call this beer an old ale—a rich, higher-alcohol English beer meant for aging. Others, including the brewery, call it a traditional porter, which was the 18th-century




// Elizabeth Schowalter

Budweiser (in a good way). Which is it? It might be a hybrid. It is too big for a porter, offering the heft of an old ale. Yet its chocolate, light roast and hint of sourness are flavours not normally found in old ales. If I were to have to make a choice, I would call it a decent version of an 18th-century porter, which were markedly different than what we have today. Historically they were bigger, bolder and more sour, creating the impression of a full meal. Old Engine Oil seems closer to this than a modern version of an English old ale. Regardless, this is one impressive beer. Call it what you want, just make sure you try a bottle. V


risotto ($24) on the menu, there was absolutely no way that I could consider ordering anything else. My expectations were high and the dish looked beautiful with a hefty piece of fish crusted in hazelnut. The sweet nutty flavour mixed with the delicate hint of chai was beautiful but, unfortunately, the mahi mahi itself was on the dry side and slightly overdone. The risotto was an unexpected consistency, light and fluffy, almost like a stuffing, with lots of bits of lobster throughout. The unmistakable truffle flavour was a little lost, but with so much lobster I was willing to ignore it. One of my boyfriend's favourite dishes is short ribs, so the root beer short ribs ($23) was an easy sell for him. I barely got a bite, but the meat was tender and cooked to perfection. I found myself searching for the taste of root beer as it was very subtle. The coffee porcini mash on the side was amazingly bold and flavourful. We were full after two huge entrees but would not allow the desserts to


pass us by, especially since dessert is a birthday requirement. The dishes came out with a sparkler shooting its flecks of light in every direction; an appreciated touch. We decided to try two desserts, the root-beer crème brulee ($11) and the French profiteroles ($11). The crème brulee was excellent, but the profiteroles were enjoyed just a little bit less. The vanilla-tea cream puffs sound to die for, but in truth they were a little dry and lacklustre. The rich chocolate gelato stuffed within them attempted to add some moisture, but didn't quite hit the mark. I was most impressed by the value. Not only did we enjoy two each of alcoholic beverages, appetizers, entrees and desserts, but the cuisine was pleasing to discerning tastes. Our bill for two only came to a mere $100—which was helpful when we returned to find a parking ticket on the car. V Mon – Fri (11 am – 12 am); Sat (12 pm – 12 am) Moriarty's Bistro and Wine Bar 10154 - 100 St, 780.757.2005


History of cotton candy

Jason Foster is the creator of, a website devoted to news and views on beer from the prairies and beyond.

DISH >> Correction In last week's Dish section, a story about the restaurant Press'd, The Sandwich Company was mistakenly attributed to someone other than the author, Jan Hostyn. Vue Weekly regrets the error.

14 // DISH

VUEWEEKLY // JAN 20 – JAN 26, 2011

Although cotton candy was introduced to fair-goers the same year as the Ferris wheel, European chefs were spinning extravagant sugar desserts as early as the 1400s. There were, however, significant differences. Sugared floss was difficult to make and extremely time consuming, so it was considered a rather extravagant treat for the very rich. The sugar strands were thicker and more like blown glass than today's sweet pink threads. The candy could be formed into golden webs, eggs, bird's nests, castles and other artistic creations. Making cotton candy was also dangerous. Sugar, water, juice, starch and other flavourings were boiled in large pots. When the molten concoction was ready, the confectioner had just a few seconds to pull it out of the bowl with a fork or whisk and fling it through the air. The strands would quickly cool and solidify in the air. Obviously, it was not the most sanitary of processes. Also, the chef had to be wary of burns. Early recipes warn to use plenty of oil on the skin to keep the blistering hot liquid from sticking. In 1897 two candy makers from Nashville, William Morrison and John C Wharton, created the first candy-floss machine. It would melt the sugar, water and colouring, then use centrifugal force to push the melted mixture through a screen to create the strands of sugar. After the strands collect in

a pan or bowl, they're twirled onto a paper or cardboard cone and ready to be served. In 1900 they got the patent for their invention, and in 1906 they sold it at the St Louis World's Fair for a whopping 25 cents. That was more than the price of a ride on the newly-introduced Ferris wheel, and over half the price of admission to the World's Fair itself. Still, the candy—known at the fair as "Fairy Floss"—was a huge hit. There are conflicting stories as to who actually invented modern candy floss. The city of New Orleans claims that one of its own is the true inventor; his name was Josef Delarose. A third claimant, Thomas Patton, had also come up with a cotton candy machine. Supposedly he got a patent in 1900 as well, and introduced his product at the Ringling Brothers Barnum and Bailey Circus that year. The Morrison / Wharton machine was electric while others were creating similar machines that were gas and flame powered. They didn't last, so in most culinary circles, the Tennessee gentlemen are considered the fathers of cotton candy. Candy floss has changed very little over time—only the machinery to make it has improved. There are now more colors, and it is now often sold in plastic bags instead of on paper cones. Yet the original flavour has remained constant ... as have the messy, sugary young faces and the sticky hands. V

VUEWEEKLY // JAN 20 – JAN 26, 2011

DISH // 15


ew works in Canadian theatre are usually a one-shot deal. That's problematic: the most important developments happen when a script gets out in front of an audience, where a company can find out what its work really means, the moments that hang or sag, and from there rework it for the better. Or they would, but when the final curtain falls, that's often the last real staging a show will get. "So often in Canadian theatre you only get to do something only once, and it's really during the period of production that you learn the most about it," says Michael Clark, Workshop West's artistic director and co-curator for the Canoe Theatre Festival, a weeklong chance for artists to essentially spurn that notion of one-time only with a company that's dedicated to developing the new. Of the roster of shows Clark and co-curator/ Workshop West general manager Keltie Brown have brought together for the festival's fourth iteration, there are some notable roots in the company's past: Kenneth Brown's Spiral Dive, a three-part war epic that's already running as part of the festival, got its first scene reading in the inaugural Canoe as part of a collective creation; BASH'd, Chris Craddock and Nathan Cuckow's gay rap musical—which ran off-broadway for three months, as well as across Fringes and right here in town at the now defunct Roost club, returning this week for a well-deserved victory lap—started off as a skit at WW's Loud & Queer and saw further development at the Springboards festival. Two parts of Spiral Dive also got the Springboards boost. "That's what the theatre company is about, right? So it's kinda cool to see it actually happening," Clark says. The creative nurturing of new playwrights is Workshop West's mandate for most of its theatre season. But with Canoe, that focus tilts toward unknown styles of play creation: the focus is on showcasing works that push the artistic form away from carefully-penned scripts, towards different kinds of play creation processes. "The dialogue with the audience around Canoe, I would say, is learning more about the diversity of play creation practices that are becoming leading edge practice in Canada. So I say, a lot of the dialogue with the playwright theatre is thematic— what is the play about, because we're all very familiar with the form. Whereas here the discussion is more about the form," Clark explains. "So that's why it's really fun to bring in international touring art-

// Eden Munro


16 // ARTS

Absurdesque German Theatrelabour puts an absurdist spin on an already absurdist piece. The cast of The Bald Soprano has been trapped in the play for 25 years, with only the play's lines—all culled from ESL dictionaries—and their bodies to express what's really going on in their heads. Look for an immensely physical performance. Adventures in Whitewater Theatre Like sitting in on a rehearsal of potential future Canoe projects: Blake William Turner's physical take on Beowulf, a puppet n' clown version of Cyrano, and The Run Project, Tracey Power's investivation into Einstein's ideals and the concept of time

Uncharted waters The Canoe Theatre Festival explores new processes of creating theatre by Paul Blinov series of not-quite-finished works-inprogress, from companies still developing their experimental works. "It's really for the art nerds out there, but it's an opportunity to get inside the room with some companies that are potential future canoe companies, and see how they create the work that is ... really weird and interesting stuff," Brown explains. That weird and interesting stuff hails from near and far (see sidebar), set to give audiences curio performances and provide artists with the chance to see

So often in Canadian theatre you only get to do something only once, and it's really during the period of production that you learn the most about it." ists and people who do work that is totally outside of what is normally seen here, because that broadens the scope of 'what is theatre', and brings the discussion to the form as well as the content." They're pulling back the curtain further than this year, for the first time with a new readings series dubbed "Adventures in Whitewater Theatre." It was the brainchild of Brown: a free readings

Festival Breakdown

how their work actually reads. For Siegmar Schröder, artistic director of Theatrelabour, the German company on the bill (who came to Canoe a few years ago with Body Fragments), offers up Absurdesque; after their last outing, he thinks its absurd-take-on-an-absurd play will be a better fit for Canadian audiences than their last appearance. "Absurdesque is a bit more comic, so it's

normal that people also laugh," Schröder explains, at home in Germany. "But the other performance was very serious, and in Germany nobody laughed at all. But we came to Calgary, and we were seeing that the public were laughing, and doing something like 'hoh, hoh hoh hoh,' this kind of noise, and we were thinking, what is happening? "The actors were very shy after the performances, asking the organizer, 'Was it OK?' The organizer said 'Yes, very good.' 'But the public, did they like it?' The organizer said, 'Yes, it was very good.' So we did not know that [Canadian audiences] would react completely in another way than in Germany. So now we're a little bit more prepared when we come to Western Canada." Annie Dugan doesn't know quite yet, how audiences will respond to her aerial spectacle Operation EVAsion, an aerial silk show documenting the life of Eva Perón, the polarizing Argentinian figure whose body took a 24-year journey from death to burial. It's a black comedy world premiere for Dugan's local Firefly theatre, directed by Citadel mainstay/Dugan's husband John Ullyatt, and for Firefly, a risky project more grounded in storytelling than

VUEWEEKLY // JAN 20 – JAN 26, 2011

acrobatics. Dugan notes that the balance between aerial work and storytelling is a delicate one. "Every time we do a show it seems to be different; every project calls for a different balance," Dugan explains. "But in this show, the story is so complicated that storytelling has the main weight, has the main focus. And the movement has to create images that help tell the story. It can't distract from the story. So it does make it a lot harder. "Aerial acrobatics are usually done in five to 10 minute chunks, because it's difficult, and you're always putting pressure on your body, and you can only handle putting that much pressure on your body for so long. So physically, it's challenging, but even moreso, you have to make really good choices about when to move, and how to move, and we have to figure out what the balance is between the aerial work and the storytelling." V Until Sun, Jan 23 Canoe Theatre Festival Various venues Complete schedule at

BASH'd An award-winning gay rap opera, detailing a Romeo-meets-Romeo doomed romance. It manages to be sharply funny, sad and political without dulling any of those edges. The cast recording is due out in 2011. Operation EVAsion Firefly Theatre's dark comedy of an aerial spectacle: With performer/creator Annie Dugan suspended in the air, follow Eva Perón's body through its 24-year journey from death to burial. Performance Creation Canada Gathering Looking for something a little more behind-the-scenes? Under the thematic heading of “Environment and Art”, the PCCG is a selection of speakers, performance and discussion on how space of all kinds informs the creation of art. Sound Machine Multimedia meets dance theatre in this production from Switzerland's Company Drift. Researchers invent a machine that can pick up the inaudible, including the “sonic cacophony of a lemon.” Much merriment and experimental movement ensues. Spiral Dive Kenneth Brown's physical war epic, broken into three parts, detailing a young Albertan pilot experiencing the horrors of the Second World War both on and off the battlefield. Tumit Yellowknife-based Reneltta Arluk paired up with U of A prof Kate Weiss to physicalize this tale of a soon-to-be-mother looking back as she prepares to move forward in her life. V


Sovereign citizenship

Free-Man On The Land explores an alternative to governed society Paul Blinov //


or the first time in Azimuth Theatre's history, we have been working solid, eight-hour days for the whole entire time," states Murray Utas, Azimuth's artistic producer. "We started the week between Christmas and New Year's, and rolled into the new year to get ready for it." Free-Man On The Land isn't going to be a sit-back-and-be-entertained piece of theatre, then. Penned by co-artistic producer Steve Pirot, it's ambitious and thick and political, a deconstruction of the rigid, dense entanglement of laws that make up our society, and an examination of an alternate approach—legally opting out of Canada, in what's been called the Free-Man movement. The idea is sovereign citizenship. "There's a lot of people that have gone off the grid, as they say, in how they live their life. And this is taking it a step further," Utas explains. "It's basically challenging the idea of ... you register yourself when you have a birth certificate. That birth certificate has a number on it, like a corporate code, that basically registers your corporation with the Government of Canada. Further than that, then you introduce your idea of having a driver's licence, and then licensing not only your vehicle to drive on the government roads, but licensing your person to drive on the government roads. "And where the disconnect happens," he continues, "is that if you know your rights as a human being, you should be able to separate yourself from your corporation, which is all these legal things that include your birth certificate, driver's licence

and registering your vehicle. And then you step back and act as the human: you represent your person so you don't have to connect the two together." Picking apart all the legalities of society is, well, dense; Utas notes that a friend who's exploring the concept himself has a near lawyer-like understanding of law, at this point. So to ease audiences into the complexities of the concept, Pirot's channeled the idea into the titular Free-Man, Richard "of the Svoboda Family." He's in trouble with the government for trying to live as a sovereign citizen within their borders. "What I love is there's no fourth wall in this piece of theatre," Utas says. "Yeah, we're performing and we're storytelling and we're doing all of that, but everyone has come to the Living Room Playhouse to have a meeting about this Free-Man On The Land movement. So you all in the audience are sitting there, and you're waiting for a lecture to happen. We just kinda never get around to it until the end, because there's all sorts of other forces that are driving in and out." Utas and the rest are well aware it's an idea slated to challenge its audience—that is, to an extent, the point. But they're livening it up with theatrical elements: Live music and projected animation will help colour in the complexities of the big picture as they delve deep into them. Dale Ladouceur, the musician they enlisted, was originally slated to just compose and perform music. Now, she's also a character in the story. "About a month and a half ago, they said do you mind if we give you a couple of lines," she says. "And I said, 'Well, I'm not an actor, but I'm gonna

be there, so OK.' And then I get the last version of the script and I'm on many of the first 53 pages of the script." Not that she minds. Composing for theatre turned out to be ideal, and she found the well of inspiration of visuals, script and characters to run rich and deep. Using a Chapman Stick— the youngest instrument out there at a tender 40 years old, with five bass and five melody strings meant to be tapped rather than strummed— Ladouceur goes from providing background score to front-and-centre songs. "There's a few moments that Steve said, 'And Dale sings a song that steers the story ahead.' So that was my prompting," she laughs. Given her own dabblings in activism, she's found the script much to her taste. "This is an incredibly ambitious piece, and some of the stuff that is said in this piece, I believe that it is going to blow some people's minds. When they're talking about birth certificates, or when they're talking about the individual, what a person is, what defined a person. There's a lot of stuff that is going to really make people think. It's a very unorthodox kind of play. I don't do a lot of theatre, but from what I have done and what I've seen, this will really take a can opener to a lot of people's cerebellums." V Thu, Jan 20 – Sat, Jan 22 (8 PM) Wed, Jan 26 – Sat, Jan 29 (8 PM) Wed, Feb 2 – Sat, Feb 5 (8 pm) Free-Man On The Land Written by Steve Pirot Directed by Laura Raboud Starring Pirot, Murray Utas, Desmond Parenteau, Dale Ladouceur The Living Room Playhouse (11315 - 106 ave), Pay What You Can

A Northern Light Theatre and Shadow Theatre Co-Production

WARNI impro NG! per u se may r esult in Sh ockin g Crime s

January 19 - February 6, 2011 at the Varscona Theatre Tix on the Square 780-420-1757 & Northern Light Theatre 780-471-1586


VUEWEEKLY // JAN 20 – JAN 26, 2011

ARTS // 17



Meat Puppet inspired by controversial reality television

Rainer Hersch tackles the question of artistic greatness with Mozart

On-screen schadenfreude

Amadeus, Amadeus

Fawnda Mithrush //


o know where playwright Leif OlesonCormack found his inspiration for the upcoming Shadow/Northern Light presentation of Meat Puppet, one need look no further than NBC's controversial To Catch a Predator series. For those still hiding under rocks in order to avoid anything resembling reality television (or sensationalized telejournalism), NBC's series featured reporter Chris Hansen working with civilian watchdog groups and police to bait and catch pedophiles—and subsequently arresting these "predators" on television. The series gained notoriety after one investigation turned sour and Louis Conradt, who happened to be a prominent Texas District Attorney, shot himself after the show's SWAT team entered his home and exposed his pedophiliac tendencies. Oleson-Cormack describes his play as an examination of the "icky" things done by all parties involved in a very similar investigation—everyone except the alleged pedophile. In Meat Puppet, Chuck Dalmer (John Hudson) is an ambitious journalist trying to raise the stakes on his popular exposé series, Red Letter. When a highprofile celebrity crosses the show's radar, Dalmer pushes to air the arrest live as a ratings grab. "To Catch a Predator was a show that really troubled me because most people, or a lot of people at least, watch it for laughs. It's so creepy. It's basically a huge tragedy: in three seconds, a man's life is destroyed by his own acts. And the way they handle it is very comical, and I don't know how something that horrible could be funny," Oleson-Cormack says. Part of his intention in writing the play, which started out as his MFA Playwriting thesis at the University of Calgary

Caught on camera in Meat Puppet // Ian Jackson, Epic

two years ago, was to explore the idea of the audience becoming distant to the point where they're able to find real human tragedy funny—not unlike the way one becomes entranced by horrific trainwrecks or disturbing viral videos. "It becomes such that we see everything through a screen," he says. This theme, contemporary as it is, holds particularly strong for young Clay (Cody Ray), the investigating police officer's teenage son. Incidentally, while Marcia (Sharla Matkin) struggles to keep her son off YouTube, the Red Letter team holes up in her home, which is just across the street from their celebrity target.

"Clay, he's from that generation where watching the most disgusting things online is a sort of rite of passage, like "Two Girls One Cup." Yeah, I've sat through that. Yeah, I saw a man fucked to death by a horse. I don't know why people are attracted to that sort of thing, and I'm guilty of it too, but I wanted to explore that." Before you wonder: yes, Meat Puppet is a comedy. Oleson-Cormack points out that there's irony in the laughs brought about by these instances of tragedy and humiliation, and perhaps a prompting for some audience self-evaluation. "The fact that To Catch a Predator deals with pedophiles gives us the excuse to laugh, because we're all above it. There is this superiority in the audience that allows us to watch that show and laugh as if they're not human," he explains, nodding to Jerry Springer and Judge Judy as further examples of that superiority complex. "It's comforting, and that's kind of what's troubling. Seeing someone's life being so horrible—really, am I in that kind of state where I need to just look at trash to feel better about myself?" Last time we checked, Two Girls One Cup had over 10 million views, and millions more in recoiling audience reactions caught on tape. Seems like taking pleasure in others, uh, misfortune is a staggering phenomenon at best. V Until Sun, Feb 6 (7:30 pm) Meat Puppet Directed by Trevor Schmidt Written by Leif Oleson-Cormack Starring April Banigan, John Hudson, Sharla Matkin, Cody Ray Varscona Theatre, (10329 - 83 Ave), $10 – $26

18 // ARTS

VUEWEEKLY // JAN 20 – JAN 26, 2011

Piano Man, he takes a stand Mel Priestley //


here is little question that Wolfgang Amadeus Mozart is one of music's great artists—yet there was a period of time after his death, and even during his life, when he and his work were all but unknown. This issue of artistic greatness, and specifically what qualifies an artist as great, comprises the heart of Mozart: Ze Komplete Hystery, a one-man show written and performed by British musician and comedian Rainer Hersch. "When you think of all the great artists, most of them are recognized after their death—which is not much use to them, frankly," Hersch states. "People also need your support now; you should be looking around now for things that are artistically of value, which provide something, rather than being told about it 200 years later." Hersch wrote the initial version of Mozart several years ago and first performed it at the 2006 Edinburgh Fringe Festival. However, the current production, staged by Edmonton's Fringe Theatre Adventures, differs considerably from its first run. "This is sort of a new incarnation of it," Hersch explains. "But the bones of it are the same." Along with changing the format from a multi-character show to a one-man act, Hersch also took considerable liberties with his presentation of historical facts. "I enjoyed doing it in 2006 ... but I realized that it was too factual. Too honest. Too historically accurate." Hersch explains. He needed to include an element of fantasy in order to successfully

use humour as a vehicle for issues that would otherwise be quite sobering. "Mozart's got a few messages, I think," Hersch states, "but they sneak in there unannounced." In addition to the aforementioned issue of artistic greatness, Hersch also notes that his play is about child prodigies. "Mozart was a classic child genius." Hersch says. "There are plenty of people like that who suffer for being a child genius." Yet child prodigies and artistic greatness notwithstanding, Hersch emphasizes that the show is ultimately a comedy. "It's just a funny show with jokes in it that everyone will get," he explains. "You don't have to know anything about Mozart to get this show." As both a veteran stand-up comedian and a classically-trained pianist, Hersch has sought to unite his two passions and create a musical stand-up routine. He agrees that this pairing is rather unusual. "I sort of wandered into it," he admits. "For years I didn't think it was possible to bring the two together." This production of Mozart will mark Hersch's return to Edmonton; he has previously visited the city several times while touring other shows on the Fringe circuit. "I'm looking forward to experiencing Edmonton in real time," Hersch states. "This is going to be really great to come back—and, strangely, out of the Fringe. And in –25 weather!" V Thu, Jan 20 – Sun, Jan 30 (8 pm) MOZART: ZE KOMPLETE HYSTERY Written & Performed by Rainer Hersch TransAlta Arts Barns, Westbury Theatre, (10330 - 84 Ave), $19 – $23

VUEWEEKLY // JAN 20 – JAN 26, 2011

ARTS // 19



Southern differences Empirical dance experiment Last week, I trekked down to Calgary for included a mixture of faces new and old a few days of art openings, performancwho are all willing to still participate. es, studio visits and gallery visits. While Alberta's other major city is geographiOne significant difference, or lack, that cally close to Edmonton, we all know I've brought up before in relation to Edthe two cities couldn't be further apart monton and Calgary is the southern priviin identity. This spills over into the arts lege of generating critical writing for each scene, from its roster of commercials to exhibition. Each gallery produces a critical artist-run centres and, most notably, in text for each publication, no bigger than the foundation of The Alberta College an event invite, commissioning and supof Art and Design. porting a roster of guest writers. This One thing I'll say off the bat is that is by no means unusual practice Calgary artists are just better at across this country, but when self-mythologizing. And while comparing a city that parthe brain drain hits Calgary just ticipates and creates dialogue as hard as Edmonton, if not and a city that doesn't within e e w e vu amy@ harder, its base is replenished the same province, the differy Am by the art college, and its growences are like night and day. Fung ing roster of successful alumni. Next up was TRUCK Gallery, A breakdown of the visit started where Ontario-based artist Roula on Thursday, when I arrived at ACAD for Partheniou was paired up with local artist the PopSex! opening at Illingworth Kerr Hyang Cho for a mediation on permutaGallery. Organized and funded by the tions and combinations. In the opinion of a University of Calgary, PopSex! brought fellow attendee and myself, the local artist together artists from Calgary and Berlin outshined the visitor. to respond to the remnants of Magnus The third stop of the night was the main Hirschfield's Institute for Sexual Science. draw where everyone ended up: The DiAs an international exhibition with an rectors' Show at Stride Gallery. In its adjoining academic conference, it was 25th year, the gallery invited all its past welcoming to see faculty and alumni alike executive directors to create something come together in this exhibition, includfor this commemorative group show. Like ing Wednesday Lupypciw, Keith Mura healthy artist-run gallery, the small-butray, Anthea Black, Heather Stump and mighty space has featured over a dozen Mireille Perron, along with other notable directors, almost all women, at its helm in Calgary-based artists such as David Folk the last quarter century. and RICHard SMOLinski. The show stood as a snapshot of a The next evening was spent hopping from growing family, with the exhibition text one artist-run centre to the other for an evewritten by longtime board directors and ning of talks and openings. First up was The Calgary mainstays Chris Cran and John New Gallery, where Clive Robertson was in Will. The Directors' Show proves how town to talk about Then and Then Again, rewarding it is to have a melange of perhis exhibition on the history of artist-run sonalities and skills and visions within culture in Canada. As someone who spent any organization's history. a considerable amount of time in Calgary First visits were also made to Pith Gallery in the '70s and who co-founded Centerfold and Studios and The Haight Gallery, small magazine in Calgary, now known as FUSE independent spaces that will bring the next Magazine, Robertson is also supposedly wave of artist-run culture in Calgary. V the man who coined the phrase, "artist-run culture." The show was archival at best, but Amy Fung is the author of the interesting part was the crowd, which



relay attempts unison without instruction Fawnda Mithrush //


'm highly critical of the idea of group mind. I think it's—for obvious reasons—dangerous," says Ame Henderson, the choreographic mind behind Toronto's acclaimed and experimental Public Recordings contemporary dance company. For reasons not so obvious, it's odd to hear her say this as she describes the process for creating relay, the piece that brings her group to Edmonton for its first ever performance here. Relay, she says, was laid out to be an exploration

It seems to be a near impossible exercise, but there's something very visceral about it, and it's very palpable to an audience: you can really feel this sensorial awareness that the dancers are practising. of unison—a somewhat rare quality in contemporary choreography. The piece would attempt to discover whether or not physical unison could occur among a group of people without any blatant, common instruction. "The piece started with this question, and that was trying to make a new unison," Henderson says. "Could they move together without leading or following, and without anyone telling them what to do?" It was potentially an impossible task, which led to some very exciting discoveries around a type of movement vocabulary, she says, noting that it's not a conventional, synchronized movement that

All together now

developed. "When you look at it, it's more of like a fluttering, not a perfect unison. I think an audience will follow it where it's trying to go." One early discovery made while working over relay's two-year development period was what happened when all eight dancers tried to dance with their eyes closed. It was a moment that Henderson decided to preserve in the beginning of the performance. "It seems to be a near impossible exercise, but there's something very visceral about it, and it's very palpable to an audience: you can really feel this sensorial awareness that the dancers are practising. In the extreme sensory deprivation of not being able to see and having to use other senses, the bigger ideas of the piece that we were working on became so real. It has this double edge of being so earnest in its attempt, that we'll even try to do it without being able to see. That reveals its impossibility, but something else comes out of that, and that is this desire to move together. You can feel that kinesthetic response between bodies." Sounds rather scientific, but Henderson tends to use this unconventional jargon when describing her dance. She views her works much like a scientist would her own carefully plotted laboratory experiments. "An experiment desires to find something that it does not know, but discovers that by setting up strict parameters in which to work. It's about setting up the

20 // ARTS

VUEWEEKLY // JAN 20 – JAN 26, 2011

// Omer Yukseker

conditions for something to happen so that you can observe. I try to follow that notion with the way that I make dances," Henderson says. "I think about choreography as a set of conditions that allow a situation to emerge." In addition to the unison concept, Henderson had the dancers' own memories of past performances inform their movement choices in relay. "It was based on the thinking of the dynamic dance archive that's stored in each of the dancers' bodies. In this we've repurposed some of those memories, and it's become kind of a sampling machine, those memories become the impetus for the group movement experiences. It's skating between feeling with our past and trying to do something new together in the moment." Though the term "experimental" is bandied about often in contemporary dance circles, Henderson's take on it seems actually quite empirical. "I think of what I do as being quite formal. Although there's a lot of openness and possibility for things to occur from night to night, the dancers are working with a lot of set conditions and structures that allow them to make discoveries in the moment of performance." V Fri, Jan 21 & Sat, Jan 22 (8 pm) Relay Timms Centre for the Arts (89 Ave & 112 St) $20 – $30




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VUEWEEKLY // JAN 20 – JAN 26, 2011

ARTS // 21


"Most people consider the Golden Globes to be tea leaves for the Oscars, but that may have changed in recent years." HE WATCH CHANNEL ZERO // ONLINE AT VUEWEEKLY.COM

Telltale hearts

Blue Valentine contrasts a love story's birth with its death by excising everything that happened in the middle, Blue Valentine neglects to give us a fully convincing sense of what this couple has shared, of the real hard work of marriage, of any sort of deeper connection between them besides the circumstantial. This manner of using only glimpses of a relationship's progress to suggest something larger, complex and meaningful can work heartbreakingly well in, say, a song—given the working-class, East Coast flavour, we might imagine Blue Valentine as a Bruce Springsteen song, or, given the film's title, early Tom Waits—but as a feature film this love story feels a bit underloved by its authors.

Josef Braun //


s Blue Valentine begins, a small child searches for an ominously absent pet. It's a smart method of alerting us to a more general suspicion that something's missing in the lives of its central characters, the child's parents Dean (Ryan Gosling) and Cindy (Michelle Williams). Perpetually robed in paint-splattered pants and goofy animal sweaters, Dean's an affectionate, playful father to little Frankie (Faith Wladyka), but he's also childish and needy and starts drinking bright and early because apparently drinking doesn't hamper his ability to paint houses. Cindy is by necessity more authoritative, probably the only one who makes sure Frankie eats reasonably well and gets to school on time. Cindy's a nurse in a nearby clinic. A doctor there is eager to convince her to accept a transfer. Cindy's procrastination in discussing the matter with Dean is conspicuous. We then meet Dean and Cindy several years earlier, not long before they first met each other, when Dean worked for a Brooklyn moving company and Cindy studied medicine. A pattern is quickly established: for every scene that draws the younger Dean and Cindy closer together we're given a counter-scene that shows the current Dean and Cindy

Blue Valentine's like a Springsteen song

moving farther apart. Blue Valentine, the sophomore feature from director Derek Cianfrance, proposes to carve out a love story by contrasting the moment of its birth with that of its apparent death, replete with bad sex, screaming and violence. There are many insightfully rendered fragments of this relationship scattered throughout the film, many ex-

traordinarily frank, even touching moments of vulnerability between Gosling and Williams, often shot in tight closeups that at once heighten a feeling of intimacy and mutual isolation, so I've been struggling to sort out why it is that the film ultimately left me feeling unsatisfied. My best guess is that by focusing exclusively on either end of their story,

Much of what works well here occurs in the first half, including Cianfrance's imaginative use of instrumental versions of Grizzly Bear tunes. Dean's conversations with his male coworkers at the moving company about how men and women fall in love possess a shaggy fraternal warmth that recalls similar scenes in David Gordon Green's George Washington, particularly because of Dean's somewhat overstated naïveté. Cindy's more introverted and remote, yet the way we see her coasting through a mismatched relationship with a wrestler, caring for her grandmother or ignoring the freaky outbursts of her father,

a guy who's got major problems with meatloaf, tells us something about her. As is so often the case in romantic love, Dean and Cindy's convergence seems dependent on coincidence and impulsive decisions. Their courtship is basically a single impromptu date, incorporating a ukulele serenade and tap dancing, that's very cute to watch unfold. They meet by chance, and by chance Cindy gets pregnant right around the same time. Feeling such longing for a woman he really doesn't know yet, and having no clear ambitions to betray in any case, Dean hurls himself into becoming a husband and father, or at least the idea of it. Cindy's reasons for being with Dean may be more practical, and fair enough, I guess. But I don't think anyone who has ever given themselves to long-term love will recognize the foundations of something like that here. So do see the film for those sometimes vivid glimpses—just don't expect it to all add up. V Opening Friday Blue Valentine Directed by Derek Cianfrance Written by Cianfrance, Cami Delavigne, Joey Curtis Starring Ryan Gosling, Michelle Williams



Raw and unbridled

Two Fuller films showcase his mastery of sensationalism For those who invest their hours in the emerges from melodrama, and where pocareful examination of cinematic artfuletry rises out of action like smoke signals. ness, Sam Fuller's movies have a way of "If anything irritates anyone," Fuller once grabbing your presumptions by the declared, "that makes me happy." throat, throwing them out the Criterion's new editions of Shock window, kicking them down the Corridor (1963) and The Naked street and setting fire to them Kiss (1964) form a sort-of dipjust before they get run over by tych portrait of Fuller's eweek a truck. Fuller was a master of tion from a career forged partly ve@vu ti c te e raw, unbridled sensationalism. dvdd within the studios to one of f e Jos His method of social critique arduous independence. LowBraun budget, sparely furnished, continuwas to lunge at a sensitive subject before dragging it half-conscious ity-negligent and starkly illuminated into the hot-lit arena. His work prompts us these movies prowled the greasy periphernot to forgo the appreciation of cinematic ies of American life for tales of murder and elegance but to redefine it. A black menprostitution, corrupt public services and petal patient convinces himself he's a white dophilia, incest and repressed rage. supremacist and leads a posse of fellow Opening and closing with an epigram from inmates howling down a corridor to exact a Euripides that implicitly instructs us to remock-lynching, or a bald-headed prostitute gard what unfolds here as myth rather than beats her drunken pimp to the floor with realism, Shock Corridor concerns an ambia spike-heeled shoe, and we're hurtled into tious reporter named Johnny Barrett (Peter a territory where tenderness is the progBreck) who pretends to have sexually aseny of audacity, where emotional precision saulted his sister so as to gain admission



22 // FILM

to a mental hospital where a patient was murdered by a still-unidentified assailant. The woman reluctantly posing as the victimized sibling is actually Johnny's girlfriend Cathy (Constance Towers), an unhappy burlesque dancer whose nightly act is captured in an extended long shot that renders Cathy puny and isolated, her choreography far more awkward and tawdry than would a conventional montage of close-ups and medium shots. In one of the movie's masterstrokes, Fuller revisits the burlesque act during Johnny's institutionalized nightmares, in which a miniature ghost version of Cathy dances scantily-clad around Johnny's sleeping head, taunting him with allusions to the desires that, now living in confinement, he can no longer satisfy. The murder mystery is to some degree a macguffin, Fuller's excuse to get his hero into the ward with its seemingly endless central corridor and mould the inmates into overt surrogates for the ostensibly normal Americans outside the hospital gates.

VUEWEEKLY // JAN 20 – JAN 26, 2011

There's the aforementioned black KKK leader, a communist turned southern Civil War nut, a nuclear physicist who worked on the Manhattan Project but has regressed into infantile doodling and a dude who thinks he's pregnant. EST, nymphos and hallucinations abound. Fuller piles on hysteria with a paint roller—no one could actually believe this to be an accurate representation of the mentally ill—yet there's a precision to the neuroses that aspires to some vivid, outrageous parable. One of the movie's most stirring effects is Johnny's peculiar voiceover, which seems to be coming from a halfbusted speakerphone on the other end of a drainpipe. Or maybe it's just coming from the other end of that long, abysmal corridor from which it seems no one fully returns. The Naked Kiss opens with that arresting sequence noted above, the one with the bald-headed hooker, Kelly (Towers again, utterly fearless). She's got a soft spot for tykes, is an autodidact with a thing for Beethoven and Byron, and is capable of changing her life completely if they'd let her. She's also got one wicked violent streak. Two years after breaking ties with her chiseling pimp, Kelly finds herself in a small town. A local cop named Griff (An-

thony Eisley) tells her to keep her tricks on the other side of the river. Kelly opts for retirement instead and finds work at a hospital for sick kids. She discovers a hidden talent for inspiring joi de vivre in the youngins through dress-up games and elaborately arranged musical performances. Kelly also wins the heart of Grant (Michael Dante), scion of the town's founder, a wealthy bachelor who uncannily intuits Kelly's dreams of self-betterment. The relationship irks Griff, Grant's best friend, who attempts to drive Kelly out of town. But complications arise and Kelly's past is exposed in tandem with the perverse underbelly of the town itself. Fuller feasts on the hypocrisy of it all, though his relish never interferes with his bracing narrative economy. The Naked Kiss is a scathing take on the "woman's picture," like Douglas Sirk with all the nerves exposed, complicated in its vulgarity and the intensity of its affection for its flawed heroine. Deliciously over the top, it's perfect in its own way, and might be seen as the last fully realized work Fuller would make, capping a period where the writer/director/producer seemed permanently on fire. He'd made 17 movies in 15 years. In the next 33 he'd make only five more. V

The great director Charlie Chaplin retrospective, week two

with an inflatable globe. Paulette Goddard, Chaplin's best leading lady, brings her charming feistiness to Hannah. Chaplin's famous climactic speech—a denunciation of greed, hate, cynicism ("We think too much and feel too little"), nationalism and "machine-men"—vocalizes his art's constant concern: the elastic, anarchic possibilities of the individual versus the rigid, controlling mechanisms of the state. Taking a step back to re-examine Nazi Germany for the inhuman absurdity it was, Chaplin reveals how "Life is a tragedy when seen in close-up, but a comedy in long-shot." Monsieur Verdoux

increasingly superficial, TV-driven America and lacks much zip and sharpness—not to mention the awkward relationship between Shahdov and a young adwoman (Dawn Addams). But the brutality of the McCarthy era's anti-leftist paranoia, which had exiled Chaplin, is exposed. A politically precocious boy, Rupert (Chaplin's son Michael), is victimized by the House of Un-American Activities Commission, whom Shahdov fittingly makes fools of. For after all the self-serious sanctimony of censors and politicians during his career, Chaplin's deeply human and humane comedy, comprising one of the greatest film-canons ever, still gets the last laugh. V

Thu (9 pm), Mon (9 pm)

Chaplin gives quite the look Brian Gibson //


he Chaplin showcase at Metro continues with a wider survey, sweeping us through a trio of short '20s features and Chaplin's most-acclaimed film, past Chaplin's Nazi-satire and serial-killer comedy, to an elegy for Chaplin's vaudeville past that finally paired him with fellow great Buster Keaton. Yet the foremost comic chronicler of the American Dream was hounded by the right and blacklisted in the '50s, leaving his adopted country (returning in 1972 to accept his only Oscar, an honorary one). "A Dog's Life," "Shoulder Arms" and "The Pilgrim" Fri (9 pm), Sun (7 pm)

"A Dog's Life" (1918;  ) is both classic slapstick and condensed Chaplin. The gags are the flourishes of the director's signature, to be drawn out more stylishly in his features: artfully dodging the police, sneaking food out from under a vendor's nose, frenzied dancing, escaping the law with a sidekick (a ragged little mutt), coming across his love (Edna Purviance) and dreaming of a future with her. "Shoulder Arms" (1918;  ) isn't so much a war satire as a series of occasionally languid comic vignettes about life in the trenches. The Tramplike soldier also goes undercover in the foliage, ambushes some enemy soldiers, who can't see the tree for the forest, and frees his comrade (Chaplin's brother Sydney) from a firing squad before rescuing a tender Frenchwoman (Purviance) and deceiving the Kaiser on an inspection tour. "The Pilgrim" (1923;  ) is a jittery escaped convict (Chaplin), disguised as a priest. Chaplin's chaplain is taken for the new minister in town and there's the puncturing of a few holy hypocrisies (at the time, some censor boards and church authorities condemned the film). Then the imaginings of the convict without convictions in the hallowed, heavenly hall—the church choir of 12 looks like a jury and, offered the Bible, he immediately raises his right hand. It's all capped by a slap-happy child, a sweet love interest (Purviance, in her last feature with Chaplin), and the wrong rector trying to do right by surreptitiously thwarting the robbery efforts of a former cellmate.

City Lights Fri (7 pm), Sun (2 pm), Mon (7 pm)

City Lights (1931; ) ends with what critic James Agee called the "greatest single piece of acting ever committed to celluloid"—the famous look between the Tramp and the once-blind flower girl (Virginia Cherrill). His is that playfully coy look the Tramp began making in the features, but it's touched here with a raw vulnerability and unbearable anticipation— desperate but not quite pathetic, pleased for her yet so faintly hopeful for himself. It's also mirroring our anticipation of a happy ending. Chaplin's masterpiece of cinematic romance—a film enthralled with elastic movement (the boxing match is choreographic genius), a story dancing with sharp twists of fate, a comedy besotted with misidentification and trading places—is also a look-back on the giddy '20s. Chaplin began it before the crash, but the film is full of lurches and tumbles, often fuelled by alcohol. Precisely because romance is undercut by reality—much as the party of the Roaring '20s was shut down by the Depression—throughout, that last look means so much. Surely he, down-and-out but still strangely dignified, and she, sight restored thanks to him, will finally connect, they'll kiss and all the antics and struggles will be worth it. No— Chaplin knew that, in front of the camera, the lingering, longing look alone will last. The Great Dictator Sat (7 pm), Sun (9 pm), Tue (9 pm)

Splayfooted choreography's slotted into goose stepping conformity and Trampishness flipped into tyranny in Chaplin's first talkie, The Great Dictator (1940; ), cinema's most important political satire. It first weaves through the fog of war (big, misfiring guns, confused sides, a passing-the-buck hierarchy) only for one unwitting veteran, a Jewish barber (Chaplin), to come out of hospital into a peacetime Tomainia ruled by dictator Adenoid Hynkel (Chaplin). Beneath his party's Doublecross symbol, Hynkel's spitting, firing gibberish is a scathing parody of Hitler's ranting oratories. There's remarkable whimsy: the barber's little sidewalk reel after being clonked with a frying pan, the self-preening Hynkel's world-domination-fantasy dance

Monsieur Verdoux (1947;  ) is Chaplin's black-ice comedy, based on Orson Welles' idea, inspired by reallife murderer Henri Landru. Verdoux (Chaplin) is a chilling serial-killer whose slick charm, love for flowers and romantic streak (he even quotes Keats' "Endymion") only masks his ruthless profit-plan. The picture's an indictment of patriarchy and capitalism as murderous systems (Verdoux's 30 years as a banker was ended by the Depression; by film's end, banks are foreclosing family homes) as Verdoux sees uxoricide as a business enterprise, with wives as short-term investments before "liquidating" them and cashing in on their life-savings. Brash-talking, sharpeyed Annabella Bonheur (Martha Raye) is just one of Verdoux's many intended "till-death-do-us-part" victims. Doubleedged dialogue and comical moments of near-capture make for a kind of sardonic slapstick. Verdoux remarks that one murderer can be executed even as wars kill multitudes, because the world encourages scientific mass-killing and "numbers sanctify." Such social criticism further fuelled the right-wing backlash against Chaplin; some American theatres boycotted the picture and many would refuse to screen his next.

Thu, Jan 20 – Tue, Jan 25 The Films of Charlie Chaplin (Week 2) Written and directed by Charlie Chaplin Metro Cinema (9828 - 101A Ave)

Limelight Sat (9:15 pm), Sun (4 pm)

Limelight (1952;  ) is a magnificent elegy for the vaudeville and stage era that made Chaplin a star—in the very medium that ended vaudeville. It's London, 1914 (the year of Chaplin's first film), and Calvero (Chaplin), a washedup sot of a clown, saves young dancer Terry (Claire Bloom, shot to fame by this). The famous scene with Buster Keaton—an addled pianist alongside Chaplin on the violin—is sublime pantomime. Calvero's knowledge that Terry loves another more than he puts a twist in the director's May–December romances, but it's Chaplin's sharp selfawareness of fading stardom, in a world moving on to the next bright young talent, that's so wrenching. A King in New York Tue (7 pm)

Chaplin is the exiled Shahdov, A King in New York (1957;  ) after a coup. It's a scattershot satire of an

VUEWEEKLY // JAN 20 – JAN 26, 2011

FILM // 23

24 // FILM

VUEWEEKLY // JAN 20 – JAN 26, 2011

The DileMma

Now playing Written by Allan Loeb Directed by Ron Howard Starring Vince Vaughn, Kevin James, Winona Ryder

Good movies cruise along; bad movies seem like a sinking ship. Then there's The Dilemma; a Titanic wreck that makes you wonder if anyone was at the helm. The plot's lost in a Bermuda triangle of exhausted-formula, genre-muddle and hackneyed storytelling. The "bromance," that hot-(but not like that!)-for-buddy picture of the last 10 years, has now officially hit its pathetic low. There's the flat opening, where best pals and business partners Ronny (Vince Vaughn) and Nick (Kevin James) strike poses with each other on the dance floor in front of girlfriend Beth (Jennifer Connelly) and wife Geneva (Winona Ryder). Their business effort to marry the "gay"ness of an electric car with the machismo of a muscle car. Ronny's all-consuming dilemma about whether or not to tell Nick he saw Geneva cheating. Nick most upset that Ronny slept with Geneva 20 years ago, in college (be-

They call it buddy love

fore Nick dated her). And the happy ending of two men in hockey jerseys rolling around on centre ice, hugging each other. Ronny and Nick dish out mealy metaphors of life-as-a-football-game and love-as-a-stew, but this genre-muddle is like the Fog Bowl or a slopped-up hash. Dark drama, slapstick, an addiction-subplot and rambling, wannabe-funny speeches are jumbled up. A fight's by turns scary and absurd, Geneva flips from being cunningly self-protective into a cuckold full of contrition, and a marriageproposal's made meaningless. Director Ron Howard's never been toprank but now he's bottoming out. There's

The Green Hornet

Bumbling crime fighters

Now playing Written by Seth Rogan, Evan Goldberg Directed by Michel Gondry Starring Rogan, Cameron Diaz, Jay Chou, Christoph Waltz

Rich, irresponsible party-boy Britt Reid (Seth Rogan) inherits his journalistically tried-and-true father's independent daily paper, strikes up a friendship with dad's coffee maker/expert mechanic (Jay Chou) and, while out committing a prank together, the duo accidentally saves a couple from a gang. They decide to fight crime full-time, using the paper as a way to make them look like villains for some inane, stonerlogic reason I can't fully fathom. It doesn't

really matter: this Green Hornet remake is so high on being tongue-in-cheek, it forgets about logic or timing, and endlessly bangs out one note of comedy. Given the enormous amount of talent assembled for the finished product, it's puzzlingly bad: with co-writer Evan Goldberg, Rogan's put out both Pineapple Express and Superbad, uncommonly good comedies at bending a stoner mentality around improv, comic timing and situations that get increasingly blown out of proportion. But here, the problem seems to be Rogan trying to channel his dude's dude style of comedy without giving it any kind of sympathetic world to play off of, which both of those movies were carefully framed with. Instead, it's just

maybe one striking shot, the flashbacks are pointless, and lingering looks at Dodge cars are simply prostitutional. The script, from Allan Loeb (The Switch), sags with clichés, cribs a speech from sports-flick The Miracle not once but twice, and updates Vaughn's character from Swingers, 15 years ago, into a man-friend-obsessed, psycho idiot. Guys' feelings and worries are frantically turned into fighting, tough-talk and sex appeal. What a pathetic trick. It would've been more honest, complex, touching, and funny as Best Studdy Buddies Forever: The Porno. Brian Gibson


some rich stoner using privilege to live out a cool fantasy who ends up in over his head, while everyone else looks on in stupified amazement. At least Batman only pretended to be self-absorbed. It doesn't help that Rogan's Reid might be the least likable protagonist of 2011, though everyone's pretty cold here, from Chou's stilted Kato to Cameron Diaz's completely paycheque-cashing turn as secretary Lenore Case. Even Christoph Waltz—the scenestealing Nazi in Inglorious Basterds—feels paltry and looks uncomfortable as crime lord Benjamin Chudnofsky. And, yes, the movie's being billed as tongue-in-cheek, but that honestly seems like it's just being used to justify the endless tirade of puns being tossed out without a shred of irony or self-awareness. Michel Gondry, known for indie flicks like Eternal Sunshine of the Spotless Mind and The Science of Sleep, directs, but adds almost no sign of it actually being him, though he does handle some ridiculous fight sequences well. Really The 2011 Green Hornet remake isn't a comic-book movie. It isn't a superhero movie. It's not even really all that much of an action-comedy. It's a Seth Rogan movie, but an underdeveloped one. And that, it turns out, is not much of anything at all. PAUL BLINOV


VUEWEEKLY // JAN 20 – JAN 26, 2011

FILM // 25

FILM WEEKLY FRI, JAN 21, 2011 – THU, JAN 27, 2011


CHABA THEATRE�JASPER 6094 Connaught Dr, Jasper, 780.852.4749

LIFE AS WE KNOW IT (PG language may offend, substance abuse) DAILY 1:50, 7:20

TRUE GRIT (14A violence) DAILY 1:10, 4:10,

MEGAMIND 3D (G) DAILY 1:10, 3:50, 6:45, 9:10

YOGI BEAR (G) DAILY 12:50, 3:10, 6:15

RED (14A violence) DAILY 1:15, 4:05, 6:35, 9:30

TRON: LEGACY 3D (PG) Digital 3d FRI�SAT,

THE SOCIAL NETWORK (PG coarse language, substance abuse) DAILY 1:35, 4:10, 7:05, 9:35 UNSTOPPABLE (PG coarse language) DAILY 6:30, 9:00

TRUE GRIT (14A violence) FRI�SAT 7:00, 9:10;


TRON: LEGACY (PG) FRI�SAT 7:00, 9:10; SUN�


SUN�THU 8:00 THU 8:00

CINEMA CITY MOVIES 12 5074-130 Ave, 780.472.9779


(PG) FRI 4:20, 6:50, 9:20; SAT�THU 1:25, 4:20, 6:50, 9:20

DAILY 1:00, 4:30, 8:00

14231-137 Ave, 780.732.2236

NO STRINGS ATTACHED (14A sexual content, substance abuse, not recommended for children) No passes DAILY 1:40, 4:20, 7:30, 10:05

FASTER (14A brutal violence) DAILY 4:30, 9:55

COUNTRY STRONG (PG coarse language, sub-

DAILY 1:05, 4:00, 7:10, 9:50

SEASON OF THE WITCH (14A violence) DAILY stance abuse) FRI�SAT, MON�THU 1:00, 3:50, 6:50, 9:40; SUN 3:50, 6:50, 9:40

LITTLE FOCKERS (PG crude sexual content, not recommended for young children) DAILY 2:00, 5:00, 7:50, 10:15

DAILY 1:35

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

7:15, 9:50

not recommended for young children) DAILY 8:15

CLASS CONCERT ANDS GISELLE: BOLSHOI BALLET LIVE (Classification not available) SUN 12:00

A STAR IS BORN (STC) SUN 12:30 CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585

THE METROPOLITAN OPERA: DON CARLO ENCORE (Classification not available) SAT 10:30 CLASS CONCERT AND GISELLE: BOLSHOI BALLET LIVE (Classification not available) SUN


CITY CENTRE 9 10200-102 Ave, 780.421.7020

NO STRINGS ATTACHED (14A sexual content,

substance abuse, not recommended for children) Dolby Stereo Digital, Stadium Seating DAILY 12:10, 3:05, 7:30, 10:30

THE GREEN HORNET (14A violence, coarse

language) Dolby Stereo Digital, Digital 3d, Stadium Seating DAILY 12:40, 3:40, 7:00, 10:00

THE KING'S SPEECH (PG language may

offend) Dolby Stereo Digital DAILY 12:00, 3:00, 6:40, 9:40

TRUE GRIT (14A violence) Stadium Seating, Digital Presentation DAILY 12:15, 3:15, 7:15, 10:15

THE FIGHTER (14A coarse language, substance

abuse) DTS Digital, Stadium Seating DAILY 12:30, 3:30, 6:45, 9:30

COUNTRY STRONG (PG coarse language,

substance abuse) DTS Digital, Stadium Seating DAILY 12:25, 3:25, 6:55, 9:55

BARNEY'S VERSION (14A coarse language, sexual content, substance abuse) DTS Digital, Stadium Seating DAILY 12:05, 3:10, 6:30, 9:45 TRON: LEGACY (PG) Digital 3d, Stadium Seat-

recommended for small children) DAILY 7:05, 9:05

NO STRINGS ATTACHED (14A sexual content, TRUE GRIT (14A violence) DAILY 6:55, 9:15; THE GREEN HORNET (14A violence, coarse language) DAILY 6:45 9:20; SAT, SUN 1:45

THE FIGHTER (14A coarse language, substance abuse) DAILY 6:50 9:10; SAT, SUN 1:50

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

NO STRINGS ATTACHED (14A sexual content, substance abuse, not recommended for children) No passes FRI 4:20, 7:05, 9:50; SAT�SUN 1:40, 4:20, 7:05, 9:50; MON�THU 7:05, 9:50

THE GREEN HORNET (14A violence, coarse

language) Digital 3d, No passes FRI 4:05, 7:00, 10:00; SAT�SUN 1:15, 4:05, 7:00, 10:00; MON�THU 7:00, 10:00

9:10; SAT�SUN 2:00, 4:25, 6:55, 9:10; MON�THU 5:00, 7:40

TRON: LEGACY (PG) Digital 3d FRI 3:50, 6:45,

9:35; SAT�SUN 12:45, 3:50, 6:45, 9:35; MON�THU 4:50, 7:50

LITTLE FOCKERS (PG crude sexual content, not

recommended for young children) FRI 4:40, 7:20, 9:55; SAT�SUN 1:50, 4:40, 7:20, 9:55; MON�THU 5:40, 8:30

TRUE GRIT (14A violence) FRI 4:00, 6:35, 9:20; SAT�SUN 1:10, 4:00, 6:35, 9:20; MON�THU 5:15, 8:00

SEASON OF THE WITCH (14A violence) FRI 4:50, 7:15, 9:40; SAT�SUN 1:45, 4:50, 7:15, 9:40; MON�THU 5:50, 8:35 THE KING'S SPEECH (PG language may offend) FRI 3:40, 6:30, 9:15; SAT�SUN 12:50, 3:40, 6:30, 9:15; MON�THU 4:45, 7:45

THE DILEMMA (PG course language) FRI 4:30, 7:10, 9:50; SAT�SUN 1:40, 4:30, 7:10, 9:50; MON� THU 5:30, 8:15

THE GREEN HORNET (14A violence, coarse

not recommended for young children) FRI 4:30, 7:25, 9:55; SAT�SUN 1:45, 4:30, 7:25, 9:55; MON� THU 7:25, 9:55

TRUE GRIT (14A violence) FRI 4:35, 7:30, 10:10;

substance abuse, not recommended for children) DAILY 6:50, 9:25; SAT�SUN, TUE 12:50, 3:25

GREEN HORNET (14A course language and violence) DAILY 7:05, 9:30; SAT�SUN, TUE 1:05, 3:20 THE DILEMMA (PG course language) DAILY 6:55, 9:05; SAT�SUN, TUE 12:55, 3:05

YOGI BEAR 3D (G) DAILY 7:15, 9:10; SAT�SUN, TUE 1:15, 3:10

BLACK SWAN (14A sexual content, disturbing

content, not recommended for children) DAILY 7:00, 9:15; SAT�SUN, TUE 1:00, 3:15

LITTLE FOCKERS (PG crude sexual content, not recommended for young children) DAILY 7:10, 9:20 TANGLED (G) SAT�SUN TUE 1:10, 3:20 TRUE GRIT (14A violence) DAILY 6:45, 9:00; SAT�SUN, TUE 12:45, 3:00

PRINCESS 10337-82 Ave, 780.433.0728

DAILY 7:10, 9:10; SAT�SUN 2:00

tent) DAILY 7:00, 9:00; SAT�SUN 2:30

SCOTIABANK THEATRE WEM WEM, 8882-170 St, 780.444.2400

NO STRINGS ATTACHED (14A sexual content,

substance abuse, not recommended for children) No passes DAILY 1:20, 4:20, 7:20, 10:15

YOGI BEAR 3D (G) Digital 3d FRI 4:25, 7:00, 9:20; SAT�SUN 1:50, 4:25, 7:00, 9:20; MON�THU 7:00, 9:20

THE GREEN HORNET (14A violence, coarse language) Digital 3d, No passes DAILY 12:30, 1:30, 3:30, 4:30, 6:30, 7:30, 9:30, 10:30

TRON: LEGACY 3D (PG) Digital 3d FRI 3:50,

6:50, 9:45; SAT�SUN 1:00, 3:50, 6:50, 9:45; MON� THU 6:50, 9:45

THE DILEMMA (PG course language) No

THE FIGHTER (14A coarse language, substance

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

THE KING'S SPEECH (PG language may of-

SEASON OF THE WITCH (14A violence) FRI, SUN�WED 1:50, 4:50, 7:50, 10:20; SAT 1:30, 4:50, 7:50, 10:20; THU 1:50, 4:15, 10:20

abuse) FRI 4:05, 7:20, 10:05; SAT�SUN 1:20, 4:05, 7:20, 10:05; MON�THU 7:20, 10:05 fend) FRI 4:00, 6:45, 9:35; SAT�SUN 1:05, 4:00, 6:45, 9:35; MON�THU 6:45, 9:35

BLACK SWAN (14A sexual content, disturbing

content, not recommended for children) FRI 4:10, 6:55, 9:40; SAT�SUN 1:25, 4:10, 6:55, 9:40; MON� THU 6:55, 9:40


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 Mall, Sir Winston Churchill Ave, St Albert, 780.458.9822

DATE OF ISSUE ONLY: THU, JAN 20 TRUE GRIT (14A violence) THU, JAN 20: 12:40 2:50 4:55 7:10 9:15

5:55 9:05

LITTLE FOCKERS (PG crude sexual content, not recommended for young children) THU, JAN 20: 1:35 3:35 5:35 7:30 9:20

THE GREEN HORNET (14A violence, coarse language) THU, JAN 20: 1:45 4:20 7:00 9:10

TANGLED (G) THU, JAN 20: 1:00 3:05 5:10 7:00 8:55

LEDUC CINEMAS Leduc, 780.352.3922

THE FIGHTER (14A coarse language, substance abuse) SAT�SUN 1:05, 3:35; DAILY 7:05, 9:35 NO STRINGS ATTACHED (14A sexual content, substance abuse, not recommended for children) SAT�SUN 1:00, 3:35; DAILY 7:00, 9:35 BLACK SWAN (14A sexual content, disturbing content, not recommended for children) SAT�SUN 3:35; DAILY 7:05, 9:35 THE GREEN HORNET (14A violence, coarse

language) Digital 3D SAT�SUN 12:55, 3:30; DAILY 6:55, 9:30


9828-101A Ave, Citadel Theatre, 780.425.9212



BLACK SWAN (14A sexual content, disturbing content, not recommended for children) FRI 4:10, 6:50, 9:25; SAT�SUN 1:20, 4:10, 6:50, 9:25; MON� THU 5:10, 8:05


NO STRINGS ATTACHED (14A sexual content,


VUEWEEKLY // JAN 20 – JAN 26, 2011

NO STRING ATTACHED (14A sexual content,

SAT�SUN 1:55, 4:35, 7:30, 10:10; MON�THU 7:30, 10:10

language) Digital 3d FRI 3:45, 6:40, 9:30; SAT�SUN 1:00, 3:45, 6:40, 9:30; MON�THU 5:20, 8:10

substance abuse, not recommended for children) FRI 4:20, 7:00, 9:45; SAT�SUN 1:30, 4:20, 7:00, 9:45; MON�THU 5:25, 8:20

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

127 HOURS (14A gory scenes, disturbing con-


4211-139 Ave, 780.472.7600


LITTLE FOCKERS (PG crude sexual content,

THE DILEMMA (PG course language) DTS

YOGI BEAR 3D (G) Digital 3d FRI 4:25, 6:55,

9:00 ==

RABBIT HOLE (PG mature subject matter)

FRI 4:15, 7:15, 10:10; SAT�SUN 1:30, 4:15, 7:15, 10:10; MON 10:10; TUE�THU 7:15, 10:10

YOGI BEAR (G) THU, JAN 20: 12:55, 2:35 7:30



THE DILEMMA (PG course language) No passes

ing DAILY 12:20, 3:20, 7:05, 10:05

Digital, Stadium Seating DAILY 12:50, 3:50, 7:20, 10:20

26 // FILM

LITTLE FOCKERS (PG crude sexual content, not

SAT�SUN 1:55

THE DILEMMA (PG course language) No passes

4:35, 8:00, 10:25



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

DUE DATE (14A crude content, substance abuse) DAILY 1:50, 4:40, 7:00, 9:40

6601-48 Ave, Camrose, 780.608.2144

abuse) FRI�TUE, THU 1:50, 4:40, 7:40, 10:20; Wed 4:40, 7:40, 10:20; Star & Strollers Screening Wed 1:00

TANGLED 3D (G) Digital 3d DAILY 1:20, 4:00,

DAILY 1:30, 4:30, 7:10, 10:00


substance abuse, not recommended for children) DAILY 7:00 9:25; SAT�SUN 2:00

THE GREEN HORNET 3D (14A violence, coarse

DHOBI GHAT (STC) DAILY 1:20, 3:45, 6:40, 9:15

4:15, 7:30, 9:45

THE FIGHTER (14A coarse language, substance

language) Digital 3d, No passes DAILY 12:45, 3:40, 6:40, 9:30 language) Ultraavx, No passes DAILY 1:45, 4:50, 7:45, 10:30

HOW DO YOU KNOW (PG coarse language)

MON�THU 1:15, 4:15, 7:20, 10:10; SUN 4:15, 7:20, 10:10

BLACK SWAN (14A sexual content, disturbing content, not recommended for children) FRI�TUE, THU 12:30, 3:20, 6:45, 9:20; WED 3:20, 6:45, 9:20; Star & Strollers Screening: WED 1:00

THE GREEN HORNET 3D (14A violence, coarse

BURLESQUE (PG not recommended for children, coarse language) DAILY 1:30, 4:05, 6:55, 9:25


7:00, 9:45




BLUE VALENTINE (18A sexual content) Digital Cinema DAILY 12:40, 3:40, 6:40, 9:40 LITTLE FOCKERS (PG crude sexual content, not recommended for young children) DAILY 1:40, 4:40, 7:40, 10:15 TRUE GRIT (14A violence) FRI, SUN�THU 12:50, 3:50, 6:50, 9:50; SAT 3:50, 6:50, 9:50


5:00, 8:00

THE FIGHTER (14A coarse language, substance abuse) FRI�TUE, THU 1:45, 4:45, 7:45, 10:30; WED 4:45, 7:45, 10:30; Star & Strollers Screening: WED 1:00 TRON: LEGACY AN IMAX 3D EXPERIENCE (PG) DAILY 1:00, 4:00, 7:00, 10:00


BLACK SWAN (14A sexual content, disturbing

content, not recommended for children) DAILY 12:30, 3:20, 6:30, 9:20

TANGLED (G) DAILY 12:45, 3:45, 6:45, 9:10 THE METROPOLITAN OPERA: DON CARLO ENCORE (Classification not available)

SAT 10:30

WESTMOUNT CENTRE 111 Ave, Groat Rd, 780.455.8726

THE KING'S SPEECH (PG language may offend) Dolby Stereo Digital FRI 6:30, 9:25; SAT�SUN 12:45, 3:35, 6:30, 9:25; MON�THU 5:00, 8:000

TRUE GRIT (14A violence) Dolby Stereo Digital FRI 6:45, 9:35; SAT�SUN 1:00, 3:45, 6:45, 9:35; MON�THU 5:10, 8:10

BLACK SWAN (14A sexual content, disturbing content, not recommended for children) DTS Digital FRI 7:15, 10:00; SAT�SUN 1:15, 3:55, 7:15, 10:00; MON�THU 5:30, 8:30 THE GREEN HORNET (14A violence, coarse language) DTS Digital FRI 7:00, 9:50; SAT�SUN 12:30, 3:20, 7:00, 9:50; MON�THU 5:20, 8:20 WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922


9:25; SAT�SUN 3:25

TANGLED (G) DAILY 7:10; SAT�SUN 1:10 THE TOURIST (PG coarse language) DAILY 7:05, 9:40; SAT�SUN 1:05, 3:40 NO STRINGS ATTACHED (14A sexual content, substance abuse, not recommended for children) DAILY 7:00, 9:35; SAT�SUN 1:00, 3:35 THE GREEN HORNET (14A violence, coarse language) Digital 3d SAT�SUN 12:55, 3:30; DAILY 6:55, 9:30



Hitting The Original Mark

The Details lays the groundwork for a full-length with an EP

It's all in the Details With a new album on the horizon, Winnipeg's the Details chose to fire off an opening salvo, releasing an EP of two new songs and three older ones before dropping the full-length. The result, The Original Mark EP, is a tight set that leaves plenty of room to breathe within the songs, hinting at an impressive direction for the future. Drummer Shaun Gibson spoke with Vue Weekly recently about the creation of the EP.

to the studio fully formed, or are they sketches that were then filled out once the recording starts? SG: We've gone both ways. For our first album, Draw a Distance. Draw a Border. we spent about six months in the studio working out the songs.  For the new record, and the songs from it that appear on The Original Mark EP, we didn't have much of a choice but to go in with the songs 95 percent completed.  .com ly k e e vuew We had less than two weeks eden@ VUE WEEKLY: How long did Edeno of studio time booked, so we it take to make The Original got right down to business once Munr Mark, from the initial songwriting we got there. through to the end of the recording? SHAUN GIBSON: Because a few songs VW: What did Stephen Carroll and Branon The Original Mark EP are outtakes don Reid bring to the EP as producers? from the last album, you could say this SG: Stephen Carroll was our extra set of EP is about three and a half years in the ears in the songwriting process. We stole making.  We were very happy to find a his time between Weakerthans tours, proper home for those leftover songs, spending half a year with us working on and we think they provide a nice foundaarrangements and individual parts before tion for the newer tracks, which will also we went into the studio. Once there, Stebe found on our upcoming full-length. phen was master of guitar tones. As we were preparing for the studio, VW: What's the songwriting process like Brandon Reid was recording the Nationfor the Details? al's High Violet album, so he was only SG: It's very collaborative.  Sean (Vidal, around for the studio sessions.  Brandon guitarist/vocalist) and Jon (Plett, vocalwas the guy behind the board and the ist/guitarist) will bring in the initial ideas, only person in the room allowed to play some more thought out than others, and with any of the expensive equipment then we spend weeks or months spin(compressors, preamps, iPhones, etc).  ning them through the band cycle.  Many He has an incredible ear, and we were repeople who listen to our albums may not ally lucky to have him there. realize that there are multiple songwriters in this band, which I think is a sucVW: The Original Mark EP features two cessful result of the four of us putting a songs off of your forthcoming album. creative touch on each and every song. Why did you decide to release those two ahead of the record, coupled with the VW: Does the band bring the songs three unreleased tracks?




SG: "The Original Mark" and "Surface Breaks" are both very representative of the upcoming album. To ease the transition from the last album to the new one, we thought we'd put them out first. The other songs we've been very proud of, but they didn't quite fit on the last album. We knew that the full-length was going to take a while to come out, and so putting out the EP was sort of a last minute idea which gave us motivation to hit the road with some new songs to play. VW: If you were to trace the musical map that led you to The Original Mark, what would it look like? SG: At first there was no map. We were lost regarding what we were going to do next. Then it seems we used the "walking time" feature on Google Maps to find the recording of the full-length, because it came together very slowly. The Original Mark EP is sort of like stopping to refuel on our way to the full-length, and we're glad we found it on the map. VW: Is there anything else you'd like to say about the EP or the making of it? SG: The painting used for the artwork was done by our very talented friend Jude Griebel, who also painted the artwork for the upcoming full-length. Maybe I'm biased, but I think it's a pretty good-looking EP. Fri, Jan 21 (8 pm) The Details With the Wheat Pool, Trent Buhler & The Lucky Pennies Haven Social Club, $10

VUEWEEKLY // JAN 20 – JAN 26, 2011

MUSIC // 27


THU JAN 20 ACCENT EUROPEAN LOUNGE Doug Hoyer (folk), Carmen Lucia (R&B); 9:30-11:30pm; no minors; no cover ARDEN THEATRE Quartango; 7:30pm; $30 BLUE CHAIR CAFÉ Jamie Philp Trio; 8pm; $8 (adult)/$5 (student); last set free BLUES ON WHYTE Morgan Davis CAFÉ HAVEN Tatm Reeves; 7pm CARROT CAFÉ Zoomers Thu afternoon open mic; 1-4pm COLAHAN'S Back-porch jam with Rock-Steady Freddy and the Bearcat; every Thu 8pmmidnight CHRISTOPHER'S PARTY PUB Open stage hosted by Alberta Crude; 6-10pm

LIVE WIRE Open Stage Thu with Gary Thomas MARYBETH'S COFFEE HOUSE�Beaumont Open Mic Thu; 7pm NAKED CYBER CAFÉ Open stage; every Thu, 9pm; no cover NEW CITY LEGION All the Kings Men, Ides of Ruin, Scantily Clad and the Well Dressed Men NORTH GLENORA HALL Jam by Wild Rose Old Time Fiddlers O'BYRNE'S Barry Campbell (blues/R&B); 9pm; no cover RENDEZVOUS Metal night every Thu

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 ON THE ROCKS Salsaholic Thu: Dance lessons at 8pm; Salsa DJ to follow SPORTSWORLD Roller Skating Disco: Thu Retro Nights; 7-10:30pm;

IRISH CLUB Jam session; 8pm; no cover IVORY CLUB Duelling piano show with Jesse, Shane, Tiffany and Erik and guests JEFFREY'S CAFÉ Barbara Leah Meyer (jazz); $15 JEKYLL AND HYDE Every Fri: Headwind (classic pop/rock); 9pm; no cover L.B.’S Jared Sowan, Hippie Juktionl 9:30pm-2am LIZARD LOUNGE Rock 'n' roll open mic; every Fri, 8:30pm ; no cover


ON THE ROCKS Mustard Smile, DJs

ARTERY The Jon Cohen Experimental, Smokey (Field and Stream)

PAWN SHOP Owls By Nature (CD release), The Fight, Fire Next Time, The Weekend Kids; 8pm (door); $5 (adv at BlackByrd,


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

BLACK DOG FREEHOUSE Big Rock Thu: DJs on 3 levels–Topwise Soundsystem spin Dub and Reggae in The Underdog

L.B.'S Thu open jam with Kenny Skoreyko, Fred Larose and Gordy Mathews (Shaved Posse); 9pm-1am

GAS PUMP Ladies Nite: Top 40/ dance with DJ Christian

HAVEN SOCIAL CLUB The Sounds of Edmonton Series: The Wheat Pool, The Details with Trent Buhler and the Lucky Pennies; 8pm; $10 (adv at YEG Live)

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


JEFFREY'S CAFÉ Two Island Girls (calypso); $10

FUNKY BUDDHA�Whyte Ave Requests with DJ Damian

FESTIVAL PLACE Tuck and Patti (jazz); 7:30pm; $36 (table)/$34 (box)/$30 (theatre)

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

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

JAMMERS Thu open jam; 7-11pm

FLUID LOUNGE Girls Night out

EXPRESSIONZ CAFÉ Uptown Folk Club: open stage; 7pm

RUSTY REED'S HOUSE OF BLUES Jimmy and the Sleepers; $5

WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close

J AND R Open jam rock ',n' roll; every Thu; 9pm

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

COAST TO COAST Open Stage every Fri; 9:30pm

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

THE DOCKS Thu night rock and metal jam

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

ELECTRIC RODEO�Spruce Grove DJ every Thu

CASINO YELLOWHEAD Mojave Iguanas (country/rock)

MACLAB CENTRE�Leduc Sultans of String (Spanish Flamenco, Arabic folk, Cuban rhythms, and French Manouche Gypsy-jazz); 8pm; $27 (adult)/$22 (student/senior) at TIX on the Square

STARLITE ROOM Sarah Harmer, Gentleman Reg; no minors; 7pm (door); $29.50 at TicketMaster, Blackbyrd,

HAVEN SOCIAL CLUB Brandon Quigley, Whiskey Wagon, guests; 8pm; s$10 (door)

DRUID IRISH PUB DJ every Thu at 9pm

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

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

DRUID IRISH PUB DJ every Thu at 9pm


BILLY BOB’S LOUNGE Escapack Entertainment

BRIXX Dex and Gorys Bingo Death Match BUDDY'S Thu Men’s Wet Underwear Contest with DJ Phon3 Hom3; 9pm (door); no cover before 10pm CENTURY ROOM Underground House every Thu with DJ Nic-E CHROME LOUNGE Every Thu: 123 Ko

AVENUE THEATRE Rezza Reckt, Brothers Grimm, Kryple and Mores; no minors; 9pm (door); $10 BLACKJACKS ROADHOUSE Marshall Lawrence (blues); 7:30pm; no cover BLUE CHAIR CAFÉ David Shepherd and Carrie Day; 8pm; $10 BLUES ON WHYTE Morgan Davis BOHEMIA Russian Mixtape Party; featuring Micelli, Mitchmatic, The Reverend Charlie Scream and Sermon on the Mountain, Metropolis is Burning, Action News Team, Miek Headache; no minors; 7:30pm; $6-10 (door) BRIXX Brixx of Babylon and Temple of Sin Industrial Festival with Komor Kommando, Sangsara, Psykkle, Virtual Terrorist and DJs in Temple, Komor, Gory and Lunchpail

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

(member)/$20 (guest)

Classical WINSPEAR Late Night Percussion: Edmonton Symphony Orchestra premiere Rough Music: Late Night with William Eddins, Colin Currie (Scottish percussionist); 9:30pm; $20-$40

DJs 180 DEGREES Skinou *Wear*Red* Fri: with Femcee DJ Eden Lixx AZUCAR PICANTE Every Fri: DJ Papi and DJ Latin Sensation BANK ULTRA LOUNGE Connected Fri: 91.7 The Bounce, Nestor Delano, Luke Morrison BAR�B�BAR DJ James; no cover BAR WILD Bar Wild Fri BLACK DOG FREEHOUSE Fri DJs spin Wooftop and Main Floor: Eclectic jams with Nevine–indie, soul, motown, new wave, electro; Underdog: Perverted Fri: Punk and Ska from the ‘60s ‘70s and ‘80s with Fathead BLACKSHEEP PUB Fri Bash: DJ spinning retro to rock classics to current BUDDY’S Fri: DJ Arrow Chaser; 8pm (door); no cover before 10pm CENTURY ROOM Underground House every Fri with DJ Nic-E CHROME LOUNGE Platinum VIP Fri THE COMMON Boom The Box Fri: nu disco, hip hop, indie, electro, dance with weekly local and visiting DJs on rotation plus residents Echo and Shortround DRUID IRISH PUB DJ every Fri at 9pm


ELECTRIC RODEO�Spruce Grove DJ every Fri

ST BASIL’S CULTURAL CENTRE Full Moon Folk Club: Tremoloco, Rick Shea; 7pm (door), 8pm (show); $17 (adv) at TIX on the Square/$20 (door)/children under 12 half-price at door

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

STARLITE ROOM Through the Trenches, Last Horizon, Corpus Malignus, Jimmy Zenn STEEPS�Old Glenora Live Music Fri WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close WILD WEST SALOON D.L.O. WOK BOX Fri with Breezy Brian Gregg; 3:30-5:30pm X�WRECK'S The Kyler Schogen Band, 8pm

THE COMMON So Necessary Thu: Hip hop, classic hip hop, funk, soul, r&b, '80s, oldies and everything in between with Sonny Grimezz, Shortround,

CARROT Live music Fri: all ages; Will Cramer; 7pm; $5 (door) CASINO EDMONTON Souled Out (pop/rock)

YARDBIRD SUITE TrudelBourbonnais Duo, Okto Echo; 8pm (door), 9pm (show); $16

COMMON LOUNGE 10124-124 St CONVOCATION HALL Arts Bldg, U of A, 780.492.3611 CROWN AND ANCHOR 15277 Castledowns Rd, 780.472.7696 CROWN PUB 10709-109 St, 780.428.5618 DIESEL ULTRA LOUNGE 11845 Wayne Gretzky Drive, 780.704. CLUB DEVANEY’S IRISH PUB 9013-88 Ave, 780.465.4834 THE DOCKS 13710 66 St, 780.476.3625 DOW'S SHELL THEATRE�Fort Saskatchewan 8700-84 St, Fort Saskatchewan, 780.992.6400 DRUID 11606 Jasper Ave, 780.454.9928 DUSTER’S 6402-118 Ave, 780.474.5554 DV8 8307-99 St, EDDIE SHORTS 10713-124 St, 780.453.3663 EDMONTON EVENTS CENTRE WEM Phase III, 780.489.SHOW ELECTRIC RODEO�Spruce Grove 121-1 Ave, Spruce Grove, 780.962.1411 ELEPHANT AND CASTLE�Whyte Ave 10314 Whyte Ave EXPRESSIONZ CAFÉ 9938-70 Ave, 780.437.3667 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 HILL TOP PUB 8220-106 Ave, 780.490.7359 HOOLIGANZ 10704-124 St, 780.452.1168 HORIZON STAGE 1001 Calahoo Rd, Spruce Grove, 780.962.8995 HYDEAWAY 10209-100 Ave, 780.426.5381 IRON BOAR PUB 4911-51st St, Wetaskiwin IVORY CLUB 2940 Calgary Trail South JAMMERS 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 LEVEL 2 11607 Jasper Ave, 2nd Fl, 780.447.4495 LIVE WIRE 1107 Knotwood Rd. East LIZARD LOUNGE 13160-118 Ave MACLAB CENTRE�Leduc 4308-50 St, Leduc MARYBETH'S COFFEE

HOUSE–Beaumont 5001-30 Ave, Beaumont MORANGO’S TEK CAFÉ 10118-79 St MUTTART HALL Alberta College, 10050 Macdonald Dr 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 ORLANDO'S 1 15163-121 St PAWN SHOP 10551-82 Ave, Upstairs, 780.432.0814 PLEASANTVIEW COMMUNITY HALL 10860-57 Ave QUEEN ALEXANDRA HALL 10425 University Ave RED PIANO 1638 Bourbon St, WEM, 8882-170 St, 780.486.7722 RED STAR 10538 Jasper Ave, 780.428.0825 RENDEZVOUS 10108-149 St RIC’S GRILL 24 Perron Street, St Albert, 780.460.6602 ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253 ROSE AND CROWN 10235-101 St R PUB 16753-100 St , 780.457.1266 RUSTY REED'S HOUSE OF BLUES 12402-118 Ave, 780.451.1390 ST BASIL’S CULTURAL CENTRE

ESMERELDA'S Ezzies Freakin Frenzy Fri: Playing the best in country FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro with DJ Damian GAS PUMP Top 40/dance with DJ Christian JUNCTION BAR LGBT Community: Rotating DJs Fri and Sat; 10pm NEST�N.A.I.T. Freeze Your Beaver (Back To School Winter DJ Party): with DJ Mikey Wong, DJ Dusty Grooves, the Toronto Raptors' official DJs 4 Korners; 7pm-1am; $5 (NAIT student)/$15 (non-NAIT student) at Nait Students' Association on campus NEWCASTLE PUB Fri House,

VENUE GUIDE 180 DEGREES 10730-107 St, 780.414.0233 ACCENT EUROPEAN LOUNGE 8223-104 St, 780.431.0179 ARTERY 9535 Jasper Ave ARDEN 5 St Anne St, St Albert, 780.459.1542 AVENUE THEATRE 9030-118 Ave, 780.477.2149 AXIS CAFÉ 10349 Jasper Ave, 780.990.0031 BANK ULTRA LOUNGE 10765 Jasper Ave, 780.420.9098 BILLIARD CLUB 10505 Whyte Ave, 780.432.0335 BILLY BOB’S Continental Inn, 16625 Stony Plain Rd, 780.484.7751 BLACK DOG FREEHOUSE 1042582 Ave, 780.439.1082 BLACKSHEEP PUB 11026 Jasper Ave, 780.420.0448 BLUE CHAIR CAFÉ 9624-76 Ave, 780.989.2861 BLUE PEAR RESTAURANT 10643123 St, 780.482.7178 BLUES ON WHYTE 10329-82 Ave, 780.439.3981 BOHEMIA 10575-114 St BRIXX 10030-102 St (downstairs), 780.428.1099 BUDDY’S 11725B Jasper Ave, 780.488.6636 CASINO EDMONTON 7055 Argylll Rd, 780.463.9467 CASINO YELLOWHEAD 12464153 St, 780 424 9467 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

28 // MUSIC

VUEWEEKLY // JAN 20 – JAN 26, 2011

10819-71 Ave SECOND CUP�Mountain Equipment 12336-102 Ave, 780.451.7574; Stanley Milner Library 7 Sir Winston Churchill Sq; Varscona, Varscona Hotel, 106 St, Whyte Ave SECOND CUP�Sherwood Park œ,((-;dgn]jZYjJ\$ Sherwood Park, 780.988.1929 œ Summerwood Centre, Sherwood Park, 780.988.1929 SIDELINERS PUB 11018-127 St, 780.453.6006 SNEAKY PETE'S 12315-118 Ave SPORTSWORLD 13710-104 St SPORTSMAN'S LOUNGE 8170-50 St STARLITE ROOM 10030-102 St, 780.428.1099 STEEPS�College Plaza 11116-82 Ave, 780.988.8105; Old Glenora 12411 Stony Plain Rd, 780.488.1505 STOLLI’S 2nd Fl, 10368-82 Ave, 780.437.2293 TAPHOUSE 9020 McKenney Ave, St Albert, 780.458.0860 TREASURY 10004 Jasper Ave, 7870.990.1255, WHISTLESTOP LOUNGE 12416132 Ave, 780. 451.5506 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, YESTERDAYS PUB 112, 205 Carnegie Dr, St Albert, 780.459.0295

dance mix with DJ Donovan NEW CITY LEGION I Love '80: Danceparty with DJs Blue Jay, Nazz Nomad REDNEX�Morinville DJ Gravy from the Source 98.5 RED STAR Movin’ on Up Fri: indie, rock, funk, soul, hip hop with DJ Gatto, DJ Mega Wattson ROUGE LOUNGE Solice Fri SPORTSWORLD Roller Skating Disco Fri Nights; 7-10:30pm; STOLLI’S Top 40, R&B, house with People’s DJ TEMPLE Options with Greg Gory and Eddie Lunchpail TREASURY In Style Fri: DJ Tyco and Ernest Ledi; no line no cover for ladies all night long Y AFTERHOURS Foundation Fri

SAT JAN 22 180 DEGREES Dancehall and Reggae night every Sat ALBERTA BEACH HOTEL Open stage with Trace Jordan 1st and 3rd Sat; 7pm-12 ARTERY Tatam Reeves (CD release party) AVENUE THEATRE Capture the Hills, Our Last Crusade, Exits and Trails, others; all ages; 5:30pm (door); $12 (door) AXIS CAFÉ Lisa Nicole Grace (folk/pop), Chloe Albert, Chanda Cooper BLACK DOG FREEHOUSE Hair of the Dog: Sean Brewer (live acoustic music every Sat); 4-6pm; no cover BLUE CHAIR CAFÉ Going to Graceland; 8pm; sold out BLUES ON WHYTE Morgan Davis BOHEMIA Ramshackle Day Parade; local noise/experimental music; no minors; 7pm; $5 (door)

Big Sea; all ages; 6:30pm; $45.50, $59.50 L.B.’S Sat Jam with Gator and friends: 5-9pm; Jared Sowan, Hippie Juktionl 9:30pm-2am MORANGO'S TEK CAFÉ Sat open stage: hosted by Dr. Oxide; 7-10pm MUTTART HALL Celtara (Celtic, CD release); 8pm; $15 at TIX on the Square, O’BYRNE’S Live band Sat 3-7pm; DJ 9:30pm ON THE ROCKS Mustard Smile, DJ PAWN SHOP The Shakedowns, Radioflyer, Sky Hook, One Day Late; 8pm (door); $5 (adv at Blackbyrd) QUEEN ALEXANDRA HALL Edmonton Blues Society: Big Hank and friends; 7:30pm (door), 8pm (music); $5 (member)/$10 (guest) RED PIANO Hottest dueling piano show featuring the Red Piano Players; 9pm-2am RENDEZVOUS Kyrosphere, Necronaut, Micelli, JP early coming out the womb party; 10:30pm; $8 RUSTY REED'S HOUSE OF BLUES Sat jam: 3-6pm; Jack Semple, $20 WILD WEST SALOON D.L.O. YARDBIRD SUITE Art Pepper and Eleven Tribute; 8pm (door), 9pm (show); $18 (member)/$22 (guest)

Classical WINSPEAR Concerto for Percussion: Edmonton Symphony Orchestra premiere Rough Music: William Eddins, Colin Currie (Scottish percussionist); 9:30pm; Sat for Symphony Prelude with D.T. Baker at 7:15pm in the Upper Circle (3rd Level) Lobby; $20-$71


BRIXX The Apresnos, Frankie McQueen, Heaviside

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

CARROT Open mic Sat; 7:3010pm; free

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

CASINO EDMONTON Souled Out (pop/rock) CASINO YELLOWHEAD Mojave Iguanas (country/rock) COAST TO COAST Live bands every Sat; 9:30pm THE COMMON Do You Wanna Get Funky: EDDIE C, Chester Fields, Dane; 9pm; $7

BLACK DOG FREEHOUSE Sat DJs on three levels. Main Floor: Menace Sessions: alt rock/electro/trash with Miss Mannered BLACKSHEEP PUB Sat DJ BUDDY'S Sat: Feel the rhythm with DJ Phon3 Hom3; 8pm (door); no cover before 10pm

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

ROSE BOWL/ROUGE LOUNGE Acoustic open stage every Mon; 9pm

BRIXX Really Good… Eats and Beats: DJ Degree, friends; every Wed music starts at 6pm; $5

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

RUSTY REED'S HOUSE OF BLUES Charlie Trouble with Pete Turland

CROWN PUB Creative original Jam Wed (no covers): hosted by Dan and Miguel; 9:30pm12:30am

TEMPLE Oh Snap! Oh Snap with Degree, Cobra Commander, Battery, Jake Roberts, Ten-O, Cool Beans, Hotspur Pop and P-Rex; every Sat Y AFTERHOURS Release Sat

SUN JAN 23 ARTERY Gypsy Jazz Roundup Django's 101st Birthday Bash 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: PM Bossa; 10am-2:30pm; donations BLUE PEAR RESTAURANT Jazz on the Side Sun: Charlie Austin; 6-9pm; $25 if not dining 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 open stage: with Keri-Lynne Zwicker; every Sun, 5:30pm; no cover DOUBLE D'S Open jam every Sun; 3-8pm EDDIE SHORTS Acoustic jam with Rob Taylor; every Sun, 9pm EXPRESSIONZ CAFÉ YEG live Sun Night Songwriters Stage; 7-10pm

GAS PUMP Blues Jam/open stage every Sat 3-6pm, backline provided HAVEN SOCIAL CLUB Craig Cardiff, Kris Glabush; 8pm; $15 (adv at YEG Live)/$20 (door) HILLTOP Open stage/mic Sat: hosted by Sally's Krackers Sean Brewer; 3-5:30pm HORIZON STAGE Masabo; 2pm; $15 (all ages) 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 JEFFREY'S CAFÉ PM Bossa (contemporary jazz); $15 JUBILEE AUDITORIUM Great

HALO For Those Who Know: house every Sat with DJ Junior Brown, Luke Morrison, Nestor Delano, Ari Rhodes JUNCTION BAR LGBT Community: Rotating DJs Fri and Sat; 10pm NEWCASTLE PUB Top 40 Sat: requests with DJ Sheri 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) RED STAR Sat indie rock, hip hop, and electro with DJ Hot Philly and guests

TUE JAN 25 BLUES ON WHYTE Michael Charles BRIXX Troubadour Tue CROWN PUB Underground At The Crown: underground, hip hop with DJ Xaolin and Jae Maze; open mic; every Tue; 10pm; $3 DRUID IRISH PUB Open stage with Chris Wynters; every Tue, 9pm; Jan 25 guest James Murdoch L.B.’S Tue Blues Jam with Ammar; 9pm-1am NEW CITY LEGION High Anxiety Variety Society Bingo vs. karaoke; no minors; every Tue; no cover

HOOLIGANZ Open stage Wed: with host Cody Nouta; 9pm HORIZON STAGE The Nylons; 2pm, 7:30pm; $30 (adult)/$25 (student/senior)/$5 eyeGO at Horizon Stage box office, TicketMaster NISKU INN Troubadours and Tales, Tim Harwill, guests; 1st Wed every month; 8-10pm PAWN SHOP Danko Jones, Raptors, The Michael James Band; 8pm (door); $20 (adv at Blackbyrd, 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

STEEPS TEA LOUNGE�College Plaza Open mic: with Layne L'Heureux every Wed, 8pm

ON THE ROCKS Seven Strings Sun: Matt Blais and Still Within ORLANDO'S 2 Open stage jam; every Sun, 4pm

ELECTRIC RODEO�Spruce Grove DJ every Sat

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

NEW CITY LEGION Madhouse Mon: Punk/metal/etc with DJ Smart Alex

HAVEN SOCIAL CLUB Open stage with Jonny Mac, 8:30pm, free


O’BYRNE’S Open mic; every Sun, 9:30pm-1am

DV8 Tarantuja, Shithawk, Deathspot Radio, The Rock 'n' Roll Rats; 9pm-2am

FILTHY MCNASTY'S All The King's Men; 4-6pm; free

LUCKY 13 Industry Night with DJ Chad Cook every Mon

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

ARDEN On Stage Series: Evgeny Starodubtsev (piano); 11am (brunch), 12 pm (performance); $50

FESTIVAL PLACE Carlene Carter (country); 7:30pm; sold out

FLUID Mon Mixer

GOOD EARTH COFFEE HOUSE Wed with Breezy Brian Gregg; 12-1pm

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


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

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

FIDDLER'S ROOST Little Flower Open Stage Wed with Brian Gregg; 8pm-12

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

EDMONTON EVENT CENTRE Axwell; 8:30pm (dor); tickets at TicketMaster, Foosh, Rain Salon (WEM), Shadified Salon (Northgate)

ESMERALDA’S Super Parties: Every Sat a different theme

BLACK DOG FREEHOUSE Eclectic Nonsense, Confederacy of Dunces, Dad Rock, TJ Hookah, Rear Admiral Saunders

EXPRESSIONZ CAFÉ Wed Open stage; 7-11pm; admission by donation

PADMANADI Tue open stage with Mark Davis; all ages; 7:3010:30pm


EDMONTON EVENT CENTRE Axwell (dance/electronic); no minors; 8:30pm

BAR WILD Bar Gone Wild Mon: Service Industry Night; no minors; 9pm-2am

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

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

DOW SHELL THEATRE�Fort Saskatchewan Professional Series: DALA: Kaitlyn-Marie Robertson, Billie Jo Smith; 8pm; $25.50 (adult)/$22.50 (senior/youth) at 780.992.6400, TicketMaster

EMPIRE BALLROOM Rock, hip hop, house, mash up


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

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

CENTURY ROOM Underground House every Sat with DJ Nic-E

EDDIE SHORTS Saucy Wenches every Sat

WINSPEAR U of A Music: Making Music (fundraiser); 8pm; $20 (adult)/$15 (student/senior)

HYDEAWAY New Sun Open stage jam

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

CROWN PUB Acoustic blues open stage with Marshall Lawrence; every Sat; no cover


CONVOCATION HALL Bill Street (sax) with Roger Admiral (piano); 3pm; $20 (adult)/$15 (student/senior)at Dept of Music office, door

DJs BACKSTAGE TAP AND GRILL Industry Night: with Atomic Improv, Jameoki and DJ Tim BLACK DOG FREEHOUSE Sun Afternoons: Phil, 2-7pm; Main Floor: Got To Give It Up: Funk, Soul, Motown, Disco with DJ Red Dawn FLOW LOUNGE Stylus Sun SAVOY MARTINI LOUNGE Reggae on Whyte: RnR Sun with DJ IceMan; no minors; 9pm; no cover SPORTSWORLD Roller Skating Disco Sun; 1-4:30pm

MON JAN 24 BLACK DOG FREEHOUSE Sleeman Mon: live music monthly; no cover BLUES ON WHYTE Michael Charles DEVANEY'S IRISH PUB Breezy Brian Gregg hosts singer songwriter open stage every Mon; 8pm PLEASANTVIEW COMMUNITY HALL Acoustic instrumental old time fiddle jam hosted by the Wild Rose Old Tyme Fiddlers Society; 7pm

SECOND CUP�124 Street Open mic every Tue; 8-10pm SECOND CUP�Stanley Milner Library Open mic every Tue; 7-9pm SECOND CUP�Summerwood Open stage/open mic Tue; 7:30pm; no cover SIDELINERS Tue All Star Jam with Alicia Tait and Rickey Sidecar; 8pm

RIVER CREE Wed Live Rock Band hosted by Yukon Jack; 7:30-9pm RUSTY REED'S HOUSE OF BLUES Gord Matthews

WUNDERBAR HOFBRAUHAUS Open mic every Wed, 9pm

Classical WINSPEAR Violin and Viola: Edmonton Symphony Orchestra, William Eddins (conductor), Andrew Wan (violin), Charles Pilon (viola); 7:30pm


SPORTSMAN'S LOUNGE Open stage hosted by Paul McGowan; every Tue, 9pm

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

STEEPS�Old Glenora Every Tue Open Mic; 7:30-9:30pm

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

YARDBIRD SUITE Tue Night Sessions: Fusionauts; 7:30pm (door), 8pm (show); $5

DJs BLACK DOG FREEHOUSE Main Floor: CJSR’s Eddie Lunchpail; Wooftop: with DJ Gundam BRIXX Troubadour Tue: hosted by Mark Feduk; 8pm; $8 with Elliot and David Shepherd. BUDDYS Tue with DJ Arrow Chaser; free pool all night; 9pm (door); no cover ESMERALDA’S Retro Tue; no cover with student ID FUNKY BUDDHA�Whyte Ave Latin and Salsa music, dance lessons 8-10pm RED STAR Tue Experimental Indie Rock, Hip Hop, Electro with DJ Hot Philly

WED JAN 26 ARDEN THEATRE Loudon Wainwright III; 7:30pm; $35 BILLIARD CLUB Big Rockin' Wed with live music by "Erin Faught"; 10pm BLACK DOG FREEHOUSE Main Floor: Glitter Gulch Wed: Slates BLUES ON WHYTE Michael Charles

BRIXX Really Good... Eats and Beats with DJ Degree and Friends BUDDY'S Wed: DJ Dust 'n' Time; 9pm (door); no cover DIESEL ULTRA LOUNGE Wind-up Wed: R&B, hiphop, reggae, old skool, reggaeton with InVinceable, Touch It, weekly guest DJs FLUID LOUNGE Wed Rock This IVORY CLUB DJ ongoing every Wed; open DJ night; 9pm-close; all DJs welcome to spin a short set LEGENDS Hip hop/R&B with DJ Spincycle NEW CITY LEGION Wed Pints 4 Punks with DJ Nick NIKKI DIAMONDS Punk and ‘80s metal every Wed RED STAR Guest DJs every Wed STARLITE ROOM Wild Style Wed: Hip-Hop; 9pm STOLLI'S Beatparty Wed: House, progressive and electronica with Rudy Electro, DJ Rystar, Space Age and weekly guests; 9pm2am; TEMPLE Wild Style Wed: Hip hop open mic hosted by Kaz and Orv; $5

VUEWEEKLY // JAN 20 – JAN 26, 2011

MUSIC // 29

THE Jon Cohen Experimental Fri, Jan 21 (8:30 pm) The Artery, $12

Touring alone has its benefits. Sure, hitting the road without any accompaniment might make weeks spent on the highway seem that much lonelier. But the trade-off is the chance to strip down your songs to what you can create alone on stage, testing to see if the arrangements still hold up, tweaking here and there, night after night, to test your own new works and maybe reanimate the old ones in new ways. "If the songwriting is good, it can survive any transformation," says Jon Cohen, taking a call in Toronto, about three dates into his Canada-crossing tour. It's his fourth treck of the year as MontrĂŠal-based the Jon Cohen Experimental. It's also the first one he's done solo, crossing the country via Greyhound bus: the tour's early itinerary has Cohen travelling with a friend, but by the time he makes it to Alberta, they'll have long since parted ways.

30 // MUSIC

Jon Cohen's solo tour goes heavy on the experimental

"We're going to split up after Windsor, and then I'm really going to be on my own," he explains, "I'm a little bit ... I wouldn't say nervous, but anxious at the idea, but at the same time, excited about developing this little set I've been working on. And, so far, the reception's been amazing. I feel like I'm finding a whole new musical side of myself

VUEWEEKLY // JAN 20 â&#x20AC;&#x201C; JAN 26, 2011

that I didn't know I had, and would not have known I had, had I taken the band with me." Cohen's been "trying this Owen Pallett thing out," using a bass guitar to channel the dreamy, ethereal-thundercloud that rumbles over the songs on Behold, his second solo release. It's melodic, jangling jam-pop, with understated vocals hovering just above

the surface. Murray Lightburn of the Dears (Cohen's old band) pops up on the recording, as do members of Stars and the Stills. Cohen notes that he's giving away free copies of Behold to the first 15 or so people to show up to the show, and though his solo interpretations will stray from the recorded songs, he's found the transition from full band set-up to what's Greyhound friendly for one has been surprisingly smooth. "I've been amazed at how easily the songs on Behold have been able to metamorph into this new set much more so than the new material I'm bringing into the set. It was like butter," he chuckles, "Instantly transformable, and recognizable, and it kinda breathed some new life into them by doing that. And now I, once again, really enjoy playing them. You can imagine after four tours, playing the same stuff over and over again, one could start to grow a little sick of it." PAUL BLINOV



Fri, Jan 21 (7 pm) With Rick Shea Full Moon Folk Club (St Basil's Cultural Centre), $20 While it might seem crazy to anyone else, bandleader and multi-instrumentalist Tony Zamora of Los Angeles-based Tremoloco is sanguine about the prospect of leaving sunny California for the northernmost reaches of Canada during one of winter's coldest months. To hear him tell it, there's no place the band is likelier to be. "We have such an identity crisis with being the Mexican-folk-country-honky tonkzydeco-blues band that it's actually driven us literally crazy. So where else would a bunch of nuts who grew up in LA go in the worst time of the year but to the furthest part of Canada?" he laughs. "The idea behind the tour for the promoters was that we would bring a little Mexico to Alberta. I know a lot of folks go down to Mexico during the winter months for a vacation. At least the music will be there." For Zamora—who gained fame within LA's industry as an accomplished sideman before setting out on his own in Tremoloco— Mexican music was the furthest thing from his mind when he was first learning his craft as a musician. When he was growing up, he considered the mariachi music his parents and uncles would play around the house old people's music, whereas he wanted to listen to the Beatles. Over time—and with a little help—he came to love the Latin music of his heritage. "My older brothers were musicians as well,

Pretty hot, even without the shag haircuts and leather pants.

all of them, and they kind of mentored me when I was a little kid and taught me some things that I didn't really listen to at the time but now I realize was so great, and that was to be diverse," he recounts. "There's only so many Beatles and Elvises so if you wanna be a working musician you gotta learn a few other things. Under protest I learned some Latin stuff and I'm so glad. They would give me 10 bucks to learn something and come play it and be the novelty kid at one of their wedding gigs. It ended up seeping in and now I love it, I love that tradition. I don't think I'd look so hot with a shag haircut and leather pants anymore." Tremoloco started as a collection of sidemen from the East LA scene getting together to play covers but morphed into an original band under Zamora's leadership. Though he explains that it's

been odd being the guy in charge, the experience of being in control instead of being told what to do is one he's found liberating. "You're at the mercy of the artist as a sideman and if it's a wonderful artist and they treat you well then that's great but if its not then you're just looking for a pay cheque. I still love playing with other people—all of us play with a lot of different people— but the funnest thing is I'm in control of everything. The guys have a nickname for me which is 'Jefe,' which means chief or boss. At first I thought, 'I don't wanna tell people what to do, I've had that done to me as a sideman,' but somebody's gotta be the chief," he says. "Hopefully I'm not too big a butthead about it." Bryan Birtles


VUEWEEKLY // JAN 20 – JAN 26, 2011

MUSIC // 31

32 // MUSIC

VUEWEEKLY // JAN 20 – JAN 26, 2011

Owls By Nature

Owls By Nature play a dangerous version of "Will It Blend?" // Candice Ste-Croix

Fri, Jan 21 (8 pm) The Fight, Fire Next Time, the Weekend Kids Pawn Shop, $5 There's a duality to Edmonton-based Owls By Nature that comes through when talking to bassist and vocalist Sean Hamilton: the group is both impulsive and careful, hasty and cautious. The desire to get things right—from the recording, to the mixing and mastering, to the cover art—has delayed the release of the group's debut album, entitled Backwater, for nearly a year. After starting work in April, the band has trucked along at a very measured pace, making sure everything is right before continuing, finally culminating in this weekend's release show. But for the band's first tour, caution was thrown out the window of the group's converted handi-bus. "The first time we went we didn't even have a CD out: we just had a demo and no shirts. We have a converted handi-bus so we put a bed in there and a couple friends and we went for a month through Western Canada. We tried to book as much as we could in advance and then we found stuff along the way, and busking lots. We called it the Vancouver or busk tour," Hamilton explains. "It sucked by the end of the first one, not having enough money for smokes or even A&W and just hoping you can get enough from the next show to fill up the van and get to the next town was an awakening experience." Though subsequent tours have been better planned, that first one has grown legendary for the band—which has swelled from a twosome consisting of Hamilton and guitarist and vocalist Ian McIntosh to a sometimes seven-piece band—because of the amount of money that was lost. "We came back pretty broke—actually, a funny story is that Ian and me actually ended up living in the handi-bus for two or three weeks once we got back," Hamilton laughs. "The joke was that if we played in our hometown we'd need a hotel on our rider so we could sleep in a bed."

So when it was time to do the album, Owls By Nature set out to do it right. From heading down to Calgary and recording with Casey Lewis on the advice of friends to the amount of rehearsal beforehand to doing the album art themselves after nothing met the band's expectations, everything about the release is considered. "[Prior to recording] we did 17 or 18 days straight where we had at least three hours of jamming; we were

pretty ready to go by the time we got in there," Hamilton says. "It was something that [McIntosh] and I spent a lot of time on so we wanted to do it right. Then album art took forever because we're finicky as can be and we ended up doing it ourselves. By the time it was all said and done and we got the pressing back it's January and we're ready to release it." Bryan Birtles





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VUEWEEKLY // JAN 20 – JAN 26, 2011

MUSIC // 33

NEWSOUNDS Social Distortion Hard Times and Nursery Rhymes (Epitaph) 

Eden Munro //


ocial Distortion's singer/guitarist/ songwriter Mike Ness has always seemed a songwriter born of the same everyman world as Bruce Springsteen and Joe Strummer, and Hard Times and Nursery Rhymes suggests that he's got no plans to venture far from that road. If there's a difference here from past efforts, though, it's that the Ness of today appears less conflicted than in the past, comfortable in his own skin even when the road is rough. That could very well be the result of age and the knowledge that if he's made it this far in life then he must have a fairly decent grasp on what it takes to survive. The album's title certainly hints at age playing a role here, the duality in the name suggesting a clashing of themes: an acceptance of the tough times of adulthood with a desire to grasp onto the innocence of childhood. It could also be said that there's a line that runs through the album dividing it between the simplicity of childhood and the complexities of adulthood. After the initial dark rumblings of the instrumental "Road Zombie," a sense of

comfort flows from Ness's pen in "California (Hustle and Flow)," a loose and easy Stonesy shuffle where he sings, "Take me down / Take me on down the line / Shake me down / Shake me on down the line," with soulful female backing vocals offering support and guitarist Jonny Wickersham pulling out a lowdown rock 'n' roll solo in the run-out. It's solid, but doesn't veer very close to the cliff, preferring to stick to safer, well-travelled roads. "Gimme the Sweet and Lowdown" is a little tougher, with punchy verses that crash straight ahead, and "Diamond in the Rough" finds Ness leaning heavily on the country strumming sensibilities that have often been heard in his songwriting, from Social D's "Ball and Chain" to Ness's acoustic solo material. It's a fine start to the album, but it's a little too comfortable in both approach and sound—everything here sounds just a touch too clean and simplified for a band that's been through as many wringers as Social D has—to carry it much farther. Ness must have felt the same, because when he digs into "Bakersfield"—"So I walked out of that lonely truck stop / With my head hanging down / Wondering how in the hell I got myself into this mess / And more importantly, how I was going to get myself out of it"—the meshing of his sorrowful voice with the squealing notes that Wickersham wrenches out of his guitar signify a turned corner for the band, as though Ness and company have found that delicate balance suggested by the title, and they continue on like that through to the end of the album. Ness is at his best when he's clawing his way through life, and that's very much the case here—"Still Alive," for example, where he sings, "And the times have changed my friend / I'll be here to the bitter end / And I'm here to make my stand with a guitar in my hand / And I'm still alive / I will survive / I can take what life's got to give"—but both Ness and the band spend too much time here on the surface and not enough in the gutter. V

Siskiyou Siskiyou (Constellation) 

When you hear gentle waves in the background of "Inside Of The Ocean," you begin to tap into the sap of Siskiyou, a Vancouver-based lo-fi folk duo with ties to Great Lake Swimmers. Aside from a few instances of trendy electric dissonance, this record is reminiscent of 2007's widespread pillage of banjos, melodicas and other middle-school music-room accoutrements. Nonetheless, having been recorded in stairwells and bedrooms, on beaches and rooftops, the recordings have a depth all their own. And though the vocals aren't the strongest suit, the songs are well written—lyrically dark but melodically pleasant enough to help us remember summer. Joe Gurba


Ghostface Killah Apollo Kids (Def Jam) 

When a tenured artist openly references one of their most highly regarded works, it's usually a red flag that means they've run out of ideas. This is seemingly true for Wu-Tang's Ghostface and for once, it isn't actually a problem; Ghost's old ideas are still fresh and worth revisiting. The rap on his recent albums has been a nagging desire for crossover success through R&B singles (or albums in the case of the woeful Ghostdini: Wizard of Poetry). This throwback (which references 2000 classic Supreme Clientele in title and 2004's The Pretty Toney Album in production quality) is pure soulful New York sample rap that is pleasantly unreflective of recent rap trends. Roland Pemberton


LAKE "You Are Alone" seven-inch (K) 

This new seven-inch from K Records regulars LAKE is a polarized split between glass-half-empty and glass-half-full sentiments. Consider first the A side reprieve, "You are alone / You are alone / There's nothing wrong with that / You are alone," angelically whispered over a slow rolling serenade that less conveys depression than blessed resignation, like sand melting into glass. By contrast, the antithetical B side, "Higher Than Merry," is an attention deficit twee parade complete with military snares and triumphant trumpets. Joe Gurba


34 // MUSIC

VUEWEEKLY // JAN 20 – JAN 26, 2011

DJ Nate Da Trak Genious (Planet Mu) 

20-year-old DJ Nate makes footwork music, a bastard child of Detroit ghettotech and Chicago house that often sounds like early '90s club music made by someone who's only had it described to them before. This music is jittery and confrontational, usually featuring angry vocal samples repeated ad nauseam and frantic tom patterns. When Nate takes on existing songs like Marvin Gaye's "Sexual Healing" and Lil Wayne's "Let the Beat Build" and "3 Peat," the results are thrilling. Calling his approach "remixing" would be reductive; he completely rewrites these songs into his language, repeating phrases, pushing the results off-tempo, bending voices like sonic fabric above an ocean of negative space. Though it may be a bit jarring for casual listening, DJ Nate is clearly inching us towards the future of club music. Roland Pemberton


LoonieBin Bumblefoot, "Bernadette" One of the new Guns N' Roses' guitar players lets loose on a cover of this Motown tune. Fans of wanking shreddery should just YouTube Michael Angelo's quad-guitar solo ( quadsolo). Fans of the Four Tops should just grab the original "Bernadette."

The Barettas, "Touche" Call it indie, call it pop with a dash of punk or just call it rock 'n' roll. This Hamilton-based all-girl trio stomps hard musically and vocally with the same sort of urgency the Strokes had way back in the day.

Mother Mother, "The Stand" Boy-girl call-and-response vocals always get a workout with these Vancouver vox-rockers, but here the music's just as elastic, leaping back and forth from restrained, repetitive guitar-strums and mischievous, colourful sonic booms of sound. Old Man Markley, "For Better For Worse" Punk bluegrass is how the band describes its music, but mom-friendly-inthat-Great-Big-Sea-kind-of-way would also work. Lightweight punk with a banjo. Blech.

Anna Calvi, "Love Won't Be Leaving" A smoky breeze blows through the song, crashing cymbals and lowdown bass holding it together while Calvi lets loose a barrage of tangofied guitar alongside a sensual vocal.



Mary Star of the Sea (Reprise) Originally released: 2003

In hindsight, Zwan's Mary Star of the Sea seems like a pretty tiny footnote in Billy Corgan's bloated saga, mentioned in a short breath between the Smashing Pumpkin's disollution and eventual resurrection. Seen by Corgan as a failed one-off experiment, Mary Star of the Sea didn't sell well, but more importantly, he apparently hated making it: after Zwan disassembled in 2003, he attributed the fallout to the general atmosphere of distrust with Zwan's other members and a feeling of being leeched off of by those same bandmates—at the time, some of alt-rocks biggest up and comers, like A Perfect Circle's Paz Lenchantin and pro-band drifter David Pajo. That's what's perhaps the most interesting thing about Zwan's short lifespan, however: for how miserable it apparently was to be a part of, almost none of that rocky sentiment cracks through the grinning rainbow façade Corgan wore as its frontman. Just take a look at that pastel-on-stark-white album artwork—the only dark figure, a blackbird, is soaring off with a fourcolour jetstream while rainbow guitar


necks twist and spurt out in every direction—or skim the tracklisting: titles like "Declaration of Faith," "Endless Summer," "Heartsong" or "Yeah!"—and remember, this is the man who once deadpanned, "The world is a vampire / Sent to dra-e-a-e-ain"—let you know you aren't in the Pumpkins' darker realm anymore. And that's before you get to the music. On that front, Mary Star of the Sea's lack of coherence is most obvious. It's less the work of a unified band and more a cluttered wall of sound. Hazy, happy Technicolor guitar soaks most tracks (a by-product of having three guitarists in the band), and even when they pull back a bit, slick production dulls any edge off the hooks you could hold on to. At best (the two singles, "Lyric" and "Honesty"), Mary presents a kind of hypnotic, cheery rock; at it's worst, on the 14-minute "Jesus, I/ Mary Star of the Sea," it's a grand exercise in self-indulgence and a case of trying too hard without taking a second to self-edit—admittedly something that's pretty difficult to do if band members aren't in a place where they can trust each other off-stage. If there's something recognizable here, it's the romantic high drama and sweeping melodies (and Jimmy Chamberlain admirably holding down drums). But the songs slip into awkward melodrama without cohesion in the band. On "Honesty," Corgan sings, "I believe you mean the best that life can bring / I believe in it all." It sounds like he's trying too hard. And that's what Zwan ultimately feels like: Corgan believing that his post-Pumpkins band could be big and grand and successful without having the personnel on board to back that up, but being willing to cross his fingers and fake a smile for an entire album to try anyway. Paul Blinov



Gang of Four Content (Yep Roc)

Nick Flanagan I'm here all weak (Talent Moat)

An amazing band Amazing album, wrapped in Graphics abortion

Weak like a newborn And about as dilute as Homeopathy

Great Northern Revival ...Edmonton Underground Vol.2 (Notebook)

Times of Grace The Hymn of a Broken Man (Roadrunner)

We fucking rule it Take a big bow Edmonton Not a bad track here

Chugging heavy rock Slick and oddly convincing Like sweaty salesman

Devil Driver Beast (Roadrunner)

Roomful of Blues Hook, Line and Sinker (Alligator)

Crushing heaviness Like death in the family With more double kick

Takes eight skilled players To breathe new life into this Fucking skeleton

VUEWEEKLY // JAN 20 – JAN 26, 2011

MUSIC // 35

MUSICNOTES that glorious day, Semple's licks can be enjoyed on stage and in person. (Rusty Reed's House of Blues, $20)

Jack Semple / Fri, Jan 21 & Sat, Jan 22 (9:30 pm) With MuchMusic bringing back the Wedge and RapCity, maybe it's time to bring back the Guitar Wars program of the mid-'90s that brought Canadian guitar virtuoso Jack Semple to prominence. Maybe he could host it, and the final winner would have a jamoff against Semple's fleet fingers. Until

Concerto for Percussion / Sat, Jan 22 (8 pm) Perscussion is usually performed from the back, its timekeeping necessity obscured by the violinists in an orchestra or the singers and guitarists in a rock band, but during the ESO's upcoming performance of "Rough Music: Concerto for Percussion" by HK Gruber, the perscussion will be liberated from "its common subordinate tasks through the emancipation of rhythm." (Winspear Centre, $20 – $71)

versities, none have been harder hit than arts programs, so it is imperative that an event such as Making Music: a Gala Fundraising Event exists to fill in the gaps. Not only will the event raise money for the U of A's music programs, it will also showcase the diversity of those programs by including such disparate ensembles as the University Symphony Orchestra, the West African Music Ensemble and presentations of new electro-acoustic works. Plus you can wear a tux if you want. (Winspear Centre, $10 – $20)

Go to to see Day perform at Vue Weekly's studio.

Michael Charles / Mon, Jan 24 – Sat, Jan 29 Having taken to the road at the young age of 12 to spread his personal blues gospel, Australian Michael Charles is no stranger to life on tour, so you can expect him to be in fine form when he makes his week-long stand in Edmonton, including a show on January 26, Australia Day. It's just like Canada Day, but with Foster's instead of Labatt's. (Blues on Whyte)

Carrie Day / With David Shepherd / Fri, Jan 21 (8 pm) Folk songstress Carrie Day will return to the Blue Chair Café, bringing her poignant, personal musical musings with her. (Blue Chair Café)

The Mitts / Thu, Jan 27 (8:30 pm) If you need your garage rock spazz heavy, then look no further than the Mitts. Though some might question whether or not the members need to shave on a regular basis, no one would question that the group has the ability to make feet tap and chins wag. Also playing is Sackville, NB's illustrious Shotgun Jimmie. (Wunderbar, $6)


Making Music / Mon, Jan 24 (7:30 pm) In an era of constricting budgets at uni-

Carrie Day

36 // MUSIC


VUEWEEKLY // JAN 20 – JAN 26, 2011



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VUEWEEKLY // JAN 20 – JAN 26, 2011

BACK // 37



View from a high level

Manufactured dysfunction

Finally receiving a bit of the recognition he deand its role within the city's collective psyche." I serves, Edmonton queer filmmaker Trevor Anderthought that was big of him, and I felt pretty vinson is heading to Sundance. He'll be taking "High dicated by that. Level Bridge" with him, a short documentary that conjures up some big emotions. This film is a bit VW: Your film sets have often involved community less obviously queer than the core stories in many members, from extras to band members in sparkly of his other works, but the themes of depression short-shorts to youth assistants to Edmonton drag and suicide aren't far away topics from queer life. queens. Why the community involvement? Acclaim is piling up quick for "High Level TA: The idea of a solitary filmmaker creating Bridge"; it premiered at TIFF and earned his or her movies alone through the force an honourable mention at AFI's festival. of their own genius is total bunk, and ulGetting the whole crew down to Utah timately discouraging to young artists. won't be easy, which is why Anderson It takes a village. om eekly.c has launched a fundraising campaign w e u v tam@ offering cool giveaways in exchange for VW: How has growing up and living in a Tamar donations. I had a chance to speak with Alberta influenced the kind of art that a k l Gorza him before he takes off for Park City. you create? Any plans to move? TA: I make my movies to try to understand VUE WEEKLY: Why do you think "High Level whatever happens to be going on in my life. I Bridge" is garnering so much interest and acthink if I had other coping skills I wouldn't need claim? to make films. But right now this is my way of TREVOR ANDERSON: I do know people are ofengaging with the world. In two years I could be a ten surprised to find that it's funny. I got asked Buddhist monk living in Cape Breton, I really have no during the Q&A at the American Film Institute's idea what's going to happen to me. But no, no current AFI Fest in Los Angeles about why I had chosen plans to move. to include so many humorous moments, and I said, "What, I'm gonna make a movie about suiVW: A lot of queer filmmakers try to distance themcide without any laughs?" Even though the subselves from gay content in their works, but many of ject matter is very serious, I try to keep the style your films explore queer themes. Why? from being a total downer. TA: I guess these are just the ideas that have sprung to mind so far. I don't try to tell queer stories and VW: What are some interesting reactions you've I don't try not to tell them. I just try to tell stories received towards the film? that interest people and hopefully give the audiTA: At first, Graham Hicks of The Edmonton Sun ence an opportunity to feel something complex and accused me of making the movie in "poor taste." honest—which are the feelings I'm chasing when I Turns out he hadn't seen it. I took him a copy, he make this stuff. retracted that statement and called it " ... a beautiful and gracious film, an artistic tribute to those View Trevor's movies and more at dirtcityfilms. who have jumped from the bridge, and also a pocom. He'll be accepting donations at indiegogo. etic contemplation of the High Level Bridge itself com until January 30. V


It seems like every time you turn around, there's anit's not unreasonable to expect that her desire will other news story about the huge numbers of women be lower, her arousal may be slower, and she will suffering from Female Sexual Dysfunction and some have a harder time having an orgasm. promising new treatment on the horizon. But according to Dr Barbara Mintzes, author of Sex, Lies, Dr Mintzes believes that the definition of FSD and the Pharmaceutical Industry, co-authored by tends to create dysfunctions where none really exRoy Moynihan, FSD is much less an actual condition ist. "Much of this advertising of prescription medithan a recent construction, defined mainly by drug cines relies on a blurring of the lines between norcompanies in order to allow them to market mal life and treatable medical conditions," she drugs for women. This is a bold argument says. It certainly is cause for question: are and Dr Mintzes discusses how she came these sexual issues actual medical condito take such a strong position. tions or are they just things that all of "My interest in it comes from years of us go through at some time in our lives? om eekly.c w watching the way that medicines are If it's true that 43 percent of women e u v @ brenda being marketed, and the strong influsuffer from some form of female sexual a d n e Br er dysfunction, then perhaps FSD, at least to ence of pharmaceutical promotion on Kerb prescribing and medicine use, treatment some degree, is normal. guidelines, and even the way diseases are deBut what's the harm? If we have the ability to fined and diagnosed," she explains, "I'm interested diagnose and treat these issues, shouldn't we be in female sexual dysfunction as an extreme examdoing it? "I see a serious problem in terms of womple of this trend." en's equality, of labelling women as having something When you look at the actual definition of FSD, you wrong with them, of having 'hypoactive sexual desire can see her point. Mosby's Medical Dictionary dedisorder' if they are less interested in sex than what fines it as "impaired or inadequate ability of a woman they believe or their partner believes is the norm," to engage in or enjoy satisfactory sexual intercourse Dr Mintzes says. "To promote this pill, there's a need and orgasm." What women in the world hasn't fit first to promote the idea that it is needed, and this this definition to some degree at some point in her sort of constructed choice is likely to have a negative life? This is exactly the problem, Dr Mintzes argues. effect on women's autonomy and feelings of selfThe definition is so broad and inclusive of so many worth, not a positive one." different issues, that it's difficult to pin down exactly With the number of messages we are bombarded what's being diagnosed and treated. The message with on a daily basis, telling us what's wrong with our from the drug companies is that there are simple, sex life and how to fix it, perhaps this is a perspective medicinal cures for each of these issues, when in of the FSD story that we really need to see. Maybe, reality, the cause of any one of these problems just maybe, there is nothing wrong with you. Now may be any number of factors, many of which can that's a radical idea. V be emotional and relational. In addition, any one of the issues they include as a part of the definition, Brenda Kerber is a sexual health educator who has such as pain, arousal and desire problems, and orworked with local not-for-profits since 1995. She is gasm difficulties, can be caused by any one of the the owner of the Edmonton-based sex-positive adult other—if a woman has had pain when she's had sex, toy boutique The Traveling Tickle Trunk.



FREEWILL ASTROLOGY ARIES (Mar 21 – Apr 19) The age-old question comes up for review once again: which should predominate, independence or interdependence? The answer is always different, but in the coming weeks, at least, my view is that you should put more emphasis on interdependence. I think you'll reap huge benefits from wholeheartedly blending your energies with allies whose power and intelligence match yours. TAURUS (Apr 20 – May 20) I find many of you Tauruses to be excessively self-effacing. Even as my heart melts in the presence of Bulls underestimating their own beauty, I may also feel like shaking some confidence into them, barraging them with frustrated exhortations like "Believe in yourself as much as I believe in you, for God's sake!" But I'm guessing I won't be tempted to do that anytime soon. You appear to be due for a big influx of self-esteem. GEMINI (May 21 – Jun 20) It will be a good week to let your mind go utterly blank while slouching in front of a TV and sipping warm milk, as you berate yourself with guilty insults for the mistakes you've made in your life. I'm kidding! Please don't you dare do anything like that. It would be a terrible waste of the rowdy astrological omens that are coming to bear on you. Here are some better ideas: Go seek the fire on the mountain! Find a new emotion in the wilderness! Study the wisest,

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wildest people you know so that you, too, can be wildly wise! CANCER ( Jun 21 – Jul 22) This would be an excellent week to grieve madly and deeply about the old love affairs that shattered your heart. I've rarely seen a better astrological configuration than there is now for purging the residual anguish from those old romantic collapses. So I suggest you conduct a formal ritual that will provide total exorcism and bring you maximum catharsis. Maybe you could build a shrine containing the photos and objects that keep a part of you stuck in the past, and maybe you could find the bold words and innovative gestures that will bid goodbye to them forever. LEO ( Jul 23 – Aug 22) The History channel has a reality show called Ice Road Truckers. It documents the exploits of drivers who haul heavy loads in their 18-wheelers for long distances across frozen rivers in Alaska and northwest Canada. If you have any truck-driving skills, Leo, you'd be a good candidate to apply for a gig on the show. According to my analysis of the astrological omens, your levels of courage and adventurousness will be at an all-time high in 2011. May I suggest, though, that you try to make your romps in the frontier more purely pleasurable than what the ice road truckers have to endure? VIRGO (Aug 23 – Sep 22) Pop chanteuse Katy

ROB BREZSNY // Perry is renowned not only for her singing ability but also for her physical appearance. That's why it was amusing when her husband, the trickster Russell Brand, Twittered a raw photo of her that he took as she lifted her head, awakening from a night of sleep. Without her makeup, Katy's visage was spectacularly ordinary. In accordance with the astrological omens, Virgo, I urge you to do what Russell Brand did: expose the reality that lies beneath and behind the glamorous illusion, either in yourself or anywhere else you find a need. LIBRA (Sep 23 – Oct 22) While I was growing up, I was taught to regard my analytical mind as a supreme tool for understanding reality. I've never stopped believing that. However, I eventually realized I had to add the following corollaries if I wanted to thrive: my imagination and intuition are as essential; I need to regularly express my playful, creative urges; to maintain my emotional well-being; I have to work with my dreams, which occur in a realm where the analytical mind is not lord and king. Does any of this ring true for you, Libra? Now is an excellent time to cultivate other modes of intelligence besides your analytical mind. SCORPIO (Oct 23 – Nov 21) If you're planning on spending any time hibernating during the next few months, this would be an excellent time to do it. Your reaction time is slowing down,

VUEWEEKLY // JAN 20 – JAN 26, 2011

which is a very healthy thing. Meanwhile, your allergy to civilization is acting up, your head is too full of thoughts you don't need, and your heart craves a break from the subtle sorrows and trivial tussles of daily life. So go find some sweet silence to hide inside, Scorpio. Treat yourself to a slow-motion glide through the eternal point of view. SAGITTARIUS (Nov 22 – Dec 21) "Dear Rob: All my life I've been passionate about the big picture—learning how the universe works. Too often I neglect to pay enough humble attention to myself. It's embarrassing. Loving the infinite, I scrimp on taking care of the finite. Any advice?" You're in luck! Members of the Sagittarian tribe have entered a phase when they can make up for their previous neglect of life-nourishing details. In the coming weeks, I bet you'll find it as fun and interesting to attend to your own little needs as you normally do to understanding the mysteries of the cosmos. CAPRICORN (Dec 22 – Jan 19) All the most credible studies say that the crime rate is steadily decreasing, and yet three out of every four people believe it's rising. What conclusions can we draw from this curious discrepancy? Here's one: the majority of the population is predisposed towards pessimism. You can't afford to be victimized by this mass psychosis. If you are,

it will interfere with and probably even stunt the good fortune headed your way. Try to root out any tendencies you might have to be absurdly gloomy. AQUARIUS ( Jan 20 – Feb 18) In the early 20th century, many women at the beach covered most of their bodies with swimsuits made of wool. If they went in the water, they'd emerge about 20 pounds heavier. Your current psychic state has resemblances to what you'd feel like if you were wearing drenched woolen underwear and a drenched woolen clown suit. My advice? Take it off; take it all off. Whatever your reasons were for being in this get-up in the first place are no longer valid. PISCES (Feb 19 – Mar 20) In comedian Sarah Silverman's memoir, The Bedwetter: Stories of Courage, Redemption, and Pee, she confesses that she was still wetting her bed at age 19. Depression was a constant companion and she took a lot of Xanax. Yet somehow she grew into such a formidable adult that she was able to corral God himself to write the afterword for her book. How did she manage that? "This is so trite," she told Publishers Weekly, "but ... sex." I predict that a comparable reversal of fortune is ahead for you, Pisces. Some part of your past will be redeemed, quite possibly with the sexy help of a divine ally.



chelsea boos //



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 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: chaz_beau@ for info

MUSICIANS 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


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

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HELP WANTED 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 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) 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

Volunteers needed Strathcona Place Senior Centre: Zumba Instructor, kitchen preparation and dining room servers. Call Mary at 780.433.5807 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: capital_city_cleanup/snow-angels.aspx Do you remember someone who believed in you when you were a child? Be that person in a child's life today. All it takes is one hour a week, which may not be much to you but will make all the difference in the life of a child. Be a Big Brother or Big Sister! Be a Mentor! Call Big Brother Big Sister today. 780.424.8181 Volunteer for Dreamspeakers 2011 festival Looking for volunteers whether it’s for a few hours or for the duration of the festival. Go to for info and to download the Volunteer Application Form 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: Volunteer For Northern Light Theatre: In 2011 T: 780.471.1586: E:


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. Donations for Share the Warmth will be accepted at the Winter Light office and festival sites, and at Snow Valley, 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.


ExXxclusive 40 Something Petite Companion SeXXXy 5 foot - 90 lb Brown Eyed Brunette, Available Daily 9am-7pm by Appt Only 780.887.4989 - Jackie James No blocked/private calls or text, please


Call for submissions: artists, digital musicians, and proposals. "TechArt International 2011". Send CV, images, project description to

Some of the most profound social commentary is found on the gritty surfaces of large cities. Like Banksy in London, Jean-Michel Basquiat in New York and Roadsworthy in Montréal, artists in Edmonton use irony, humour and wit to raise awareness about political and social problems they see in the world. Their city is their canvas, and society is their muse. Although this stencil is less ambitious than some you find in major metropolises, its message is no less noble. It draws attention to the strict gender roles our society adheres to and the marginalization of people who don't fit into neat categories of male and female. This piece takes a populist approach, encouraging dialogue and contextualizing the issue in the public domain where it often goes unacknowledged. The tactic used is similar to peaceful protest or civil disobedience. The artist is asserting their freedom of speech in a nonviolent method, while transforming a plain cement wall into a work of art for everyone's enjoyment. V


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


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:

1.900.451.2853 (75 min/$2495)

Call for entries: 2011 Dreamspeakers; fill out a Submission Form; Deadline: Feb 28, 2011; Info E: info@

Purchase time online now!


VUEWEEKLY // JAN 20 – JAN 26, 2011

BACK // 39

40 // BACK

VUEWEEKLY // JAN 20 – JAN 26, 2011

vue weekly 796 jan 20 2011  

vue weekly 796 jan 20 2011