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VUEWEEKLY // MAY 26 – JUN 1, 2011

VUEWEEKLY // MAY 26 – JUN 1, 2011



VUEWEEKLY // MAY 26 – JUN 1, 2011



IssuE no. 814 // MAY 26 – JUN 1, 2011

UP FRONT // 6/ 6 Vuepoint 7 News Roundup 8 Political Interference 9 Dyer Straight 10 Bob the Angry Flower

DISH // 11/ 12 Provenance 14 To the Pint

ARTS // 15


Shadow Theatre reunites its most famous stage couple

// 15

SLIDESHOW Sharon Jones & The Dap-Kings TUE, May 24 / Starlite Room

FILM // 20 22 DVD Detective

MUSIC // 24/ 28 Music Notes 30 New Sounds 31 Live Sounds 31 Quickspins

BACK // 34 34 Queermonton 34 Back Words 34 Free Will Astrology

LISTINGS 19 Arts 23 Film 32 Music 35 Events

VUEWEEKLY.COM/SLIDESHOWS >> for more of Paul Blinov's photos

10303 - 108 street, edmonton, AB T5J 1L7 t: 780.426.1996 F: 780.426.2889 E: w:

IssuE no. 814 // MAY 26 – jun 1, 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 // EDITORIAL INTERN.............................................. Steven Wagers // creative services manager.................... MICHAEL SIEK // production.......................................................... CHELSEA BOOS // ART DIRECTOR....................................................... PETE NGUYEN // Senior graphic designer........................... LYLE BELL // WEB/MULTIMEDIA MANAGER........................ ROB BUTZ // LISTINGS ................................................................ GLENYS SWITZER //

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

COVER illustration PETE NGUYEN // CONTRIBUTORS Ricardo Acuña, Chelsea Boos, Josef Braun, Rob Brezsny, Alexa DeGagne, Gwynne Dyer, Jason Foster, James Grasdal, Fish Griwkowsky, Joe Gurba, Carolyn Jervis, Whitey Houston, Stephen Notley, Leah Orr, Garth Paulson, Bryan Saunders, Melissa Stevenson, LS Vors, 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 // MAY 26 – JUN 1, 2011





New territory

Renewed weekly vision to serve Edmonton


ostvue Publishing Limited Partnership purchased all of the assets of See Magazine and its related titles on May 16. After purchasing Vue Weekly in January it was apparent to us that the market no longer supports two alternative weeklies, so we thought it made sense to merge the two papers and retain the strengths of each. A combined operation will allow us to increase our circulation by extending Vue Weekly through the existing network of distribution points that have been established and maintained separately by each paper. We will have a larger sales force that, instead of competing with each other, will now be able to address themselves directly at the other media who have been taking market share from both weeklies. We will have more strength editorially and in production, as well as having a larger pool of talented freelancers to draw on


for contributed material. Our original plan when we bought See Magazine was to continue to operate the two weeklies for some time and to create a team of employees from both weeklies to direct a soft merger. Events overtook us, however. We faced immediate demand from our advertisers and many of our readers and contributors to combine our operations as quickly as possible. Even some of our suppliers pushed us to merge. So we decided to just go ahead and get it done. This approach means that we are all in new territory and we're going to make some mistakes. But we will work them out and in the end we will produce a better paper, both for the alternative community and the larger cultural community that we serve. Bob Doull President, Postvue Publishing LP

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.



SlutWalks have become popular methods of raising awareness around sexual assault and victimization. On June 4 Edmonton will hold it's own SlutWalk, will you be marching along?

"Physical appearance, sexual orientation, class, cultural background etc should have absolutely NOTHING to do with the threat of sexual assault."


Yes, it's important to demonstrate physical appearance has nothing to do with the threat of sexual assault.



No, it's a misdirected effort and sends the wrong message.

"Slut walk is counterproductive and is insulting to past feminist gains. I feel this walk is run by bored middle-class politically bankrupt third wavers that are looking for an excuse to show off. Like it or not, slutty clothes are put on to attract a gaze (usually men), not 'girlpower.'"

VUEWEEKLY // MAY 26 – JUN 1, 2011

THIS WEEK: The Alberta Party will hold a leadership vote this weekend. In the run-up to the leadership race the party sold over 1000 memberships. Does the leadership race encourage your interest in the party?

1. Yes. A new leader will set the party's direction. 2. No. I have no interest in the Alberta Party. 3. What's the Alberta Party?

Check out to vote and give us your comments.

It's not what you wear

SlutWalks battle to inform against victim-blaming in cases of sexual assault the way it's wielded and raise awareness that the 'slut was asking for it' rape myth is just that." The rape myth Gawlak is referring to is the idea that a woman—by dressing or behaving a certain way—can avoid being



But SlutWalk has also garnered a lot of criticism, particularly around the use of the word "slut." Gail Dines, professor of sociology and women's studies, has been

The stereotype of the drunk slut getting grabbed while walking home alone from a seedy bar in a bad part of town because of her short skirt, heels and fishnets by a man who can't control his overwhelming lust is a myth, plain and simple."

// Chelsea Boos

oronto Police Constable Michael Sanguinetti's advice at a York University security seminar to "avoid dressing like sluts" in order to dissuade sexual assaults has become infamous—and a rallying cry for women around the world. Sanguinetti has since apologized, but for some Edmontonians retractions aren't enough. "Apologies after the fact are meaningless," says Kasia Gawlak. "The policy should be to take victims seriously, not blame them for their own violations." Gawlak is one of the organizers for SlutWalk Edmonton, scheduled to take place on June 4. The event's Facebook page describes it as "a protest, a rally and a demonstration of frustration and anger. No one is responsible for the violence perpetrated against them, no matter what they wear, who they associate with or who they are." Since the first SlutWalk, held in Toronto on April 3, dozens of walks in cities in Canada, the US, Europe and Australia have been held or are being organized. In the words of SlutWalk Toronto, "What began as a reaction to one comment, a reaction that we had originally imagined only to include a handful of our closest friends exploded into a movement that we never could have expected."

particularly critical of the event, stating, "The organizers claim that celebrating the word 'slut,' and promoting sluttishness in general, will help women achieve full autonomy over their sexuality." Some organizers and participants have said they are trying to reclaim the word and remove its power as an insult. Lindsay Beyerstein of notes, "Slut

Walk is satirizing the whole slut construct. Who's a slut? We all are. Or none of us are. And who cares? It's a stupid, meaningless concept anyway." But Gawlak maintains the importance of having the conversation. "Perhaps by bringing the word 'slut' out into the cold light of day, together we can work toward taking the negative power out of

NewsRoundup ARCTIC DEVELOPMENT Inuit Tapiriit Kanatami, a national Inuit organization representing 55 000 Inuit across the country, has called on the federal government to create a social charter. Mary Simon, president of the ITK, believes that although legal changes have helped Inuit across the country, there is much work to be done to alleviate the material deprivation Inuit face in Canada. Simon stated: "Our political breakthroughs have occurred in the midst of ongoing and still unresolved economic hardships and challenges." Many Inuit in Canada continue to

raped. However, according to Statistics Canada's 2006 Sexual Offences in Canada report, 79 percent of sexual offenses were committed by a friend, acquaintance or family member. A (US) Federal Commission on Crime of Violence Study found that only 4.4 percent of all reported rapes involved "provocative behavior on the part of the victim" and that most convicted rapists do not remember what their victims were wearing. As Gawlak says, "The stereotype of the drunk slut getting grabbed while walking home alone from a seedy bar in a bad part of town because of her short skirt, heels and fishnets by a man who can't control his overwhelming lust is a myth, plain and simple." SlutWalks have also come under fire for being irresponsible in their messaging. They've been accused of promoting "slutty" behaviour to young women and have been seen as nothing more than an excuse for a couple thousand women to walk around in their under-

'slut' in the name of their event, there is absolutely no way what Michael Sanguinetti said or the implications of it would have received the level of attention they did from the media and the public." SlutWalk organizers are aware that the name and the movement aren't for everyone. They acknowledge that some people may not be able or want to participate under the "slut" banner and that's OK with them. "More sexual assaults aren't reported than are," says Gawlak. "We hope by raising awareness that not everyone accepts the 'blame the victim' mentality, more victims will come forward and more perpetrators will be held accountable." For all its complexity, SlutWalk's message is actually quite simple. A victim's clothing, behaviour, sexual history and reputation should never be used to shift blame away from the person responsible for a rape: the rapist. As a placard from SlutWalk Toronto said: "Don't tell us how to dress. Tell men not to rape." V


SLOWING INFECTION RATES live in poverty, do not have access to education, have a life expectancy 13 years lower than the average Canadian and are 11 times more likely to commit suicide. With Prime Minister Harper having placed a renewed emphasis on the resource development of the Arctic, Simon is concerned about the impacts that development will have on the human populations in the region. Simon would like to see the development of a social charter to address these needs, guaranteeing housing, physical security and access to health care and education.

SAVE FOR THE FUTURE Jack Mintz, former chair of the financial investment and planning advisory committee, has re-stated Alberta's need to save for the future. In 2007 with the committee's findings Mintz released a recommendation that Alberta must save $110 billion by 2030. At the time the committee warned of

wear. Not so, says Gawlak. "I think the number one way SlutWalks around the world are affecting real change is by raising awareness and initiating dialogue," she says. "It is my firm belief that had SlutWalk Toronto not used the word

potentially severe tax hikes in 2030 if the savings plan was not implemented. Today Mintz expressed his disappointment Alberta has not moved further ahead while other regions reliant on oil have, with Alaska having saved $36 billion and Norway reaching over $512 billion.

This week the Alberta government announced it would move forward on a plan to reduce rates of sexually transmitted infections—a plan the Alberta Liberals say should have been in place years ago. Alberta has one of the highest rates of STIs in the country. The five-year plan proposes to reduce rates through education, enhanced testing and hiring more staff. "Alberta rates for chlamydia, gonorrhea and syphilis exceeded the national rate in 2009," said Dr André Corriveau, Alberta's Chief Medical Officer of Health. "But, we are confident with the implementation of the actions in this strategy—including prenatal testing, an expanded system for contact tracing and hiring more prevention workers—we will see these rates dramatically decrease and bring us below the national rate within the strategy's timeframe." While Minister of Health and Wellness Gene Zwozdesky agrees that this strategy will help to reduce Alberta's high rates, Alberta Liberal Leader David Swann wonders what took so long.

VUEWEEKLY // MAY 26 – JUN 1, 2011

"We've been urging the government to take action on this issue for years," Swann said. The Liberals state the government has had a plan together as early as 2006, but failed to implement it. Swann believes that the recurring issue of doctor intimidation has played a role in the delayed implementation. In 2008 Dr Sam Houston was censured

for standing up for four special infections experts who had been dismissed during a syphilis epidemic. Dr Swann advocates prevention as a key method of resolving the high rates, but would like to see more than just awareness campaigns. Swann advocates more emphasis on vaccination and regulations to curb health problems.

QUOTE OF THE WEEK “The premier is travelling through the province like a political Santa Claus, merrily announcing new school buildings, but the predicament of Edmonton Public Schools demonstrates where the real dangers lie." —NDP MLA Rachel Notley on recent education staff cutbacks May 24, 2011



No debate

Closed doors

City Council is making big decisions out of public view mimi williams //


ast week, city council voted to proceed with development of a downtown arena, but the proposed plan for the arena is not the only outcome of the decision. The vote raises a number of questions about the way our elected municipal officials operate. The vote, taken late in the evening after a lengthy private session, was made without any notice to the public and without any supporting documentation provided to members of city council. In comments to the Edmonton Journal, Councillor Linda Sloan described the process as manipulative, with councillors reduced to being "puppets, with Mr Katz, Mr Bettman and the mayor pulling the strings." Sloan has been vocal in her opposition to the project from the start, but the manner in which the vote was taken had even those who are inclined to be supportive of the deal voting against it. Councillor Kerry Diotte says that the vote was too important to be rushed the way it was. "I don't believe the public was wellserved by the fact city council met behind closed doors to discuss the arena deal, then came out of the in-camera to


vote on a motion that saw the deal take another giant step," says Diotte. Battles about council secrecy have been waged for years. When the late Laurence Decore was mayor from 1983 to 1988, council met weekly in private. Dubbed "teapot sessions," the practice was quickly dispensed with by Jan Reimer when she took office in 1989, telling the Edmonton Journal it was not her style to do "backroom deals over rum

in spades. Two years ago, the Alberta Federation of Labour, the Canadian Union of Public Employees Local 30 and the Civic Service Union 52 filed an action in the Court of Queen's Bench challenging Edmonton city council's decision to sell off EPCOR’s power generation business to the newly-formed Capital Power. Around the same time, Bill Pidruch-

I don't believe the public was well-served by the fact city council met behind closed doors to discuss the arena deal, then came out of the in-camera to vote on a motion that saw the deal take another giant step. and cokes." Following Reimer's defeat, the practice crept up again. In 1998, Alberta NDP Leader Brian Mason—then a member of council—raised issues about closed-door meetings, going so far as to formally request a legal opinion about the practice. His questions led to former mayor Bill Smith curbing the amount of private decision-making, but not ending it entirely. Mayor Mandel has re-established the practice

ney, a local lawyer and former head of the Alberta Securities Commission, attempted to get an injunction against the sale. Both applicants argued that council had violated the Municipal Government Act (MGA) by holding a "behind-closed-doors" shareholders' meeting to make the decision. AFL president Gil McGowan explains that the unions believed council acted illegally. "We argued that the process followed by council contravened important sections of the Municipal Government Act, in particular the sections requiring councils to make their decisions in public forums and the sections related to delegation," he says. City lawyers argued that when it made its decisions about EPCOR, it wasn’t acting as a city council but as a "shareholder," and therefore the MGA did not apply. In the end, the court ruled against the unions. Which brings us back to the arena decision made by council last week. At the time of the EPCOR decision, the judge was clear that his ruling was specific to the EPCOR situation. Darrell Lopushinsky, a lawyer with the city law branch, told See Magazine that the "natural person powers" the judge cited in that case were not an official excuse for council to do whatever it pleases. "It doesn't give them carte blanche to do whatever they want," he said. Observers of last week's arena decision, on both sides of the debate, are left wondering if that isn't exactly the case. V

VUEWEEKLY // MAY 26 – JUN 1, 2011

Who's buying our water now? As a rule, Albertans are not fond of old It is possible, for example, to formally guys in suits in other parts of the world adopt a public trust doctrine which entelling us what we should be doing. It is shrines the notion that the government not surprising then that many in the provholds water in trust for its citizens and ince did not react well earlier this month the environment. Within that doctrine when Peter Brabeck-Letmathe, chairyou can then set up a system of man of multinational food and public water allocation where water corporation Nestlé, said the government decides who in a speech in Geneva that AlE C gets water and for what, and must weigh every allocation berta should be the first place R E T N I eekly in the world to set up an exagainst its impact on the pub@vuew ricardo o change where water could be lic interest and environmenr a Ric d bought, traded and sold in the tal sustainability. That doesn't Acuña same way other commodities are. mean that water could not be Many were further surprised when, allocated to economic development in the same speech, Brabeck-Letmathe asor agriculture, it just means that in times serted, "We are actively dealing with the of shortage the litmus test is the public government of Alberta to think about a interest rather than the ability to outbid water exchange." Environment Minister others for water rights. Rob Renner says he does not remember In either case, the process should not if the government has had conversations begin with an arbitrary determination with Nestlé or not, but Brabeck-Letabout which system is best, but rather mathe's statements remain concerning with a genuine assessment of the values, for a number of reasons. priorities and conservation goals we want First off, it comes as a bit of a slap in the an allocation system to meet followed face to Albertans who were promised alby the development of the system which most three years ago that there would be will best meet those needs and goals. formal public consultations on a new waIn order for that to happen, however, ter allocation system for the province. No two things need to be in place. The first such consultations have taken place, nor is a genuine formal consultation with Alhave they been announced, yet somehow bertans about what their values and prithe chairman of Nestlé seems to have no orities are when it comes to water. The problem announcing his intentions for Alsecond is the political will to consider all berta water. of the alternatives and options available The comments also provide one more for water management. To date, and afindication that the only feedback the ter three years of supposedly working on government seems to be listening to the issue, we have seen neither of these is that which recommends the estabfrom the government. Isn't the managelishment of a full-out water market or ment of our water supply too important exchange in the province. In 2010 the an issue to be left in the hands of special government received three high-profile interests like Nestlé, and whoever else reports from groups composed largely the government is meeting with behind of business people and economists closed doors? which proposed expanding Alberta's Now, as we enter what appears to be currently limited water market as the the season of political leadership races, only option for the province. Then earand as we gear up for an election in lier this month, the report of the Pre2012, is a great opportunity for all Almier's Council for Economic Strategy bertans to make some noise and ensure put forward a similar recommendation. that the government lives up to their reAnd now the chairman of one of the sponsibilities by moving toward a water world's largest bottled water compapolicy that reflects our values and internies is recommending likewise. ests and has been built only after careful There are other proven and viable opand sincere evaluation of all the options. tions out there for allocating water, but If we don't, we will once again be leaving the province does not seem interested a critical piece of Alberta public policy in in hearing about them. Instead it appears the hands of an old guy in a suit someto be focused exclusively on the market where in Geneva. V option, which will ultimately benefit big industrial uses of water, and individuals Ricardo Acuña is the executive director with money, at the expense of small farmof the Parkland Institute, a non-partisan ers, water for basic human needs, First public policy research institute housed at Nations and environmental sustainability. the University of Alberta.



The things we do for war Post-traumatic stress study reveals new information

American and British soldiers have been fighting in last moment, they became conscientious objectors. Iraq and Afghanistan for about the same length of Marshall had stumbled upon the single most importime, and their casualty rates have been about the tant fact about the modern battlefield: most of the same. More than 30 percent of the American troops soldiers present were not really taking part in the batsubsequently suffer Post-Traumatic Stress Disorder tle. Moreover, this secret refusal to kill could not be (PTSD), a condition that involves memory suppression solely an American trait, or else the US Army would and uncontrollable anxiety. Only four percent of Brithave lost every battle it fought against the Germans ish troops do. It's a statistic that suddenly undermines and the Japanese. In fact, it was true of every army that long-held assumptions. fought in the Second World War. My own long-held assumption, in this case, was that Significantly, however, it was only the private infanthe rise of PTSD in Western armies was mainly trymen, alone and unobserved in their foxholes, due to a major change in the way they trained who silently refused to kill (but never admittheir troops. Before 1945, like all the other ted it to their comrades). Men on crewarmies, they just trained soldiers to shoot. served weapons like machine-guns, whose After 1945, they started training their solfailure to do their duty would be seen by m .co weekly diers to kill people. their comrades, did what the army expecte@vue gwynn e The change was triggered by a discovery ed of them. n n y w G that General SLA Marshall made during The lesson US military leaders drew was Dyer that while the soldiers' private morality made the Second World War. He sent out teams to interview American infantry companies imit hard for them to kill, the right training could mediately after combat, with a guarantee that each overcome their moral inhibitions. So they changed soldier's testimony would remain absolutely conthe training. fidential—and he learned that up to 90 percent of those American infantrymen had found it impossible By the early 1950s, US Army basic training sought to to kill enemy soldiers. lay down reflex pathways that bypassed the inhibitions, They did not run away, they may even have shot their by training soldiers to snap-shoot at human-shaped weapons into the air–but they simply could not look down the sights and kill another human being. At the CONTINUED ON PAGE 10 >>



VUEWEEKLY // MAY 26 – JUN 1, 2011




targets that only appeared for a few seconds. They also addressed the problem directly, psyching their young soldiers up until they believed that they actually wanted to kill. It worked: by the time of the Vietnam war, 90 percent of American infantry were firing their weapons in combat and trying to kill their targets. Other Western armies adopted the same training techniques, with equally impressive results. But there is a obvious psychological price to be paid for all this, or so it seemed. The Vietnam war in the 1960s was when the incidence of PTSD among American veterans began to soar. They had been tricked into doing something that was morally abhorrent to them, and that was why so many of them fell apart afterwards. Veterans of earlier wars had suffered high-than-average levels of alcoholism, depression and suicide, but that was nothing to compare with the PTSD plague that infected the new generation of veterans. The psychological manipulation they had been subjected to seemed to be the key—but then along comes this statistic saying that American soldiers are seven times more likely to suffer from PTSD than British soldiers. The research, led by Neil Greenberg, a Commandotrained naval officer and Professor of Mental Health at King's College London, even points out that while the mental-health risk increases for American soldiers who do several tours of combat, there is no such link


10 // UP FRONT

VUEWEEKLY // MAY 26 – JUN 1, 2011

for British soldiers. So what is actually going on here? American writer Ethan Watters's recent book, "Crazy Like Us: The Globalisation of the Western Psyche," offers a highly subversive answer. It is that American society has been permeated by psychoanalytical beliefs about the fragility of the human mind. This creates an expectation, he argues, that people who have been through horrible experiences will be traumatized. The veterans are simply falling in with that expectation, and exhibiting the symptoms that the theory says they should be showing. In Britain, where the psychoanalytical approach never got such a hold on popular culture, this expectation is much rarer—and so are the symptoms of PTSD. Watters then goes on to speculate that the very high incidence of PTSD in American veterans is also due to the decline of religion, patriotism and other belief systems that once gave a kind of meaning, however imaginary, to human suffering. This is just ideologically driven nonsense: Britain, where the PTSD rate is seven times lower, is also less nationalistic and far less religious than the United States. But Watters' core question remains. Is PTSD really caused by what happened to veterans while they served in the military, or by the expectations of the civilian society they returned to afterwards? Suddenly, there is a case to answer. V Gwynne Dyer is a London-based journalist. His column appears every week in Vue Weekly.


Find a restaurant


Victorian BiBO

Mill Creek wine bar evokes gaslight past LS Vors //

multifarious feast for the eyes, BiBO evokes a sparely-lit London alleyway circa 1860. A few incandescent bulbs encased in tinted glass throw saffron-coloured light that manages to be both warm and cool. A chalky white set of deer antlers and a porcelain Madonna gaze down at a long, wooden counter with tall stools for patrons to perch on, while the glass-eyed leer of a stuffed pheasant keeps watch from a nook near the ceiling. Rows of wine bottles are multiplied by a long mirror, and the imbibing options are neatly handwritten on a large chalkboard. Coat hooks made of dolls' arms are both mesmerizing and macabre, and the laptop computer behind the counter seems completely anachronistic. Knowledgeable oenophile Dianna Funnell rules BiBO from behind its wooden counter and has an uncanny ability to select wines for patrons based on oft-vague descriptions of flavour and aroma. To whit—I request a white that is "refreshing and not overly sweet" and Funnell deftly pours a goblet of Sandhill Chardonnay 2009 Vintage ($9.90). This white originated in British Columbia's Okanagan Valley; its flavour is subtle, relaxed and clean while its aroma hints of chilled honey and crisp morning air. My fellow gourmand requires red, and wishes for something "young and bold." Funnell fulfils her request with a glass of 1975 Red Co Cabernet ($12). This assertive red tastes younger than expected, has a nuance of acidity and

// Melissa Stevenson


BiBO's Victorian interior

smells a bit like dried fruit luxuriating in rum for a Christmas cake. BiBO's strength is clearly wine but, being a member of the Culina group, proffers a brief but intriguing menu. This list of victuals includes prosciutto and Sylvan Star Gouda tostada ($10) and duck hot dogs with orange mustard and pikliz ($10). Simple dishes are prepared behind BiBO's counter while more

complex dishes are brought over from neighbouring Culina Mill Creek's kitchen. The tostadas appear in short order, and feature toasty, chewy triangles of bread stuffed with melted Gouda and pieces of salty prosciutto. Prosciutto is assertive and the flavour of cheese is lost in its shadow. Although the entire dish is initially reminiscent of an upscale grilled cheese sandwich, it is onedimensional and would be improved by

VUEWEEKLY // MAY 26 – JUN 1, 2011

the addition of fruit chutney to balance out the heavy hit of salt. The duck hot dogs (how I wish they were called "hot ducks" instead) are served in tiny, fluffy buns alongside a clump of curly arugula. A hot dog is only as good as its bun, and these buns possess a crisp exterior that gives way to a tender interior. A drizzle of citrusy mustard awakens these hot-ducks, which are rich, slightly chewy, and a far

cry from traditional wieners. A shredded cluster atop each sausage appears at first to be cheese but is the "pikliz" or pickled vegetables, which add an astringent crunch to the dish. Ultimately, the hot ducks are a novel and satisfying interpretation of hot dogs. We select flourless chocolate torte ($8) as dessert and glasses of Olivares Altos de la Hoya Monastrell ($9.90). This red skillfully treads the border between dry and sweet, smells a bit like fresh blackberries and tastes boldly of apples, berries and a whisper of dark chocolate. It pairs easily with our wedge of chocolate dessert, which is dusted with icing sugar and accompanied by a halved strawberry. The torte is smooth, bittersweet and devilishly rich. The richness necessitates its miniature size, but we regret that it was finished so soon. BiBO seats only 12 and does not take reservations, so one must either rely on chance to get a seat or pop in during the pre-supper lull. It's worth a look to see the Tim Burton-esque Victorian décor alone, but equally rewarding to chat with sommelier Dianna Funnell and savour a worldly goblet of vino. The menu is creative, but some dishes are far stronger than others. The summation of BiBO is not unlike the Victorian Era itself: sometimes moody, macabre or tongue-in-cheek anachronistic, but ultimately a balance of dark and light. V Tue – Thu (5 pm – 10 pm); Fri (5 pm – Late); Sat (6 pm – Late) Bibo 9919 - 89 Ave, 780.437.5588

DISH // 11



Six things about poutine 1) The dish is believed to have originated in rural Quebec in the 1950s. A number of communities, including Drummondville, St-Jean-sur-Richelieu, Victoriaville and Warwick all claim to be poutine's birthplace. 2) The name is said to have come from Warwick, where restaurant owner Fernand Lachance was asked to mix fries and cheese curds together in the same bag for a customer. "Ça va faire une maudite poutine" ("It will make a damn mess"), he exclaimed. 3) Most poutine fans agree that the cheese curds are the most important element of a poutine: they must be fresh—no more than a day or two old—so that they have a high enough humidity to squeak when bitten into. 4) In the past, poutine was looked down upon and used as a way for English Canadians to evoke a perceived lack of sophistication on the part of French Canadians, the same way French Canadians were once derisively referred to as "Pea Soups." 5) In recent years, poutine has joined the ranks of haute cuisine with a multitude of combinations being produced around the world including duck confit, foie gras, smoked salmon and other chic varieties. 6) On the 2007 CBC series The Greatest Canadian Invention, poutine placed 10th, four spots ahead of the Canadarm. V

12 // DISH

VUEWEEKLY // MAY 26 – JUN 1, 2011


ONLINE AT DISHWEEKLY.CA If you're hungry but don't know where to go, Vue's restaurant locator is just the thing. Broken down by neighbourhood, food type and price—and with links to Vue's vast archive of reviews and profiles—it'll have you full in no time.


103 AVE

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Niche (11011 Jasper Ave)

"Niche is part of a grander resurgence of fine dining along Jasper Avenue, part of an urban succession that will see bold, colonizing restaurants, such as Niche, become cornerstones."

Louisiana Purchase (10320 - 111 St)

"Boudin is a classic Cajun dish, a sausage traditionally stuffed with pork but appearing here with a filling of rice and seafood. The boudin duo appears, resplendent in a peppercorn cream sauce. The sausages themselves are moist, the rice inside tender and the seafood abundant ... "

Co Co Di (11454 Jasper Ave)

"Co Co Di restaurant, recently re-opened on Jasper Avenue is bathed in the warmth of its red-and-gold décor; the street-lamp lights reminding me of sitting in an outdoor café ... "

Elm Café (#100, 10140 - 117 St)

"The menu changes daily at the café. Pop in for breakfast and indulge in Box's early sandwich, something he calls 'free-range eggs and stuff,' or one of two muffin options from Duchess Bake Shop ... At lunch you'll find one hot and one cold sandwich, a soup and a salad. The daily choices all depend on what's fresh and what [owner] Nate Box's inspiration of the moment is."

Famoso Neapolitan Pizzeria (11750 Jasper Ave)

"The memories I have of amazing thin crust pizza in Rome still bring a smile to my face, and when I had my first bite of pizza from Famoso, I was in heaven."

VUEWEEKLY // MAY 26 – JUN 1, 2011

DISH // 13


Stay wary

What would you say to a Trashy Blonde? Trashy Blonde Brewdog, Fraserburgh, Scotland $12.50 for four bottles If a trashy blonde came on to you, what would you do? Despite the temptation, if you were smart, you would say "no thanks" because generally those kinds of liaisons end badly for all involved. But what if that trashy blonde was a beer made by an infamous brewery? You might think twice, or at eweek least I would. int@vu tothep Scotland's Brewdog is a Jason brewery with a punk attitude. Foster It breaks rules and is unapologetic about it, pushes boundaries and tries to create interesting, creative beer. I could spend an entire column talking about Brewdog—both the good and the bad. For now I will just mention that a few of its flagship beer have recently arrived in Alberta. Among the choices, I fell for the temptation of Trashy Blonde—who wouldn't?—supposedly a blonde ale with an in-your-face attitude. I have come to expect edgy beer from this brewery—it is infamous for an ongoexpecting something other than normal ing quest to create the world's strongest blonde ale. And that is what I got. beer and currently holds the record with Trashy Blonde pours a hazy, mediuma 55 percent brew. So I opened the beer straw colour, with a formidable fine white


citrusy hop bitterness and flavour. The linger is dry and sharply hoppy. Clearly hops are the primary quality of this beer, causing it to present with an assertive front, which is unusual for a beer this light in body.


14 // DISH

VUEWEEKLY // MAY 26 – JUN 1, 2011

// Chelsea Boos


head. The aroma is dominated by soft, straw-like sweetness and moderate hop aroma. The first sip brings a soft graininess up front which is quickly overtaken by a

I must admit I am quite mixed about this beer. It is well made with no flaws. However, I find it rather one-dimensional and not fitting the blonde-ale style. From blonde ale I expect a soft, balanced, easy-drinking beer. This beer is too hoppy and not soft enough to fit that profile. Some might argue Trashy Blonde is more of a pale ale, but that doesn't work for me either. The base beer is too thin and light to match the pale ale profile, although the hops hit the mark. This is an odd beer. It is well-crafted, but that doesn't seem to satisfy me. It seems like the brewery tried too hard to transform what could be a straightforward quaffer into an aggressive beer. The light malt and intense hop don't mix well. This trashy blonde leaves me confused and torn. On one level she calls to me, but at the same time leaves me wary. Maybe it is an appropriately named beer after all. V Jason Foster is the creator of, a website devoted to news and views on beer from the prairies and beyond.


hen Shadow Theatre announced its 19th season last year, there was something left unsettled: the final play was absent from the the brochure. In its place was a simple note, but one that might have had more pull than even a beloved play: that John Sproule and Coralie Cairns, one of Edmonton's most treasured stage couples, would be reuniting for the occasion—even if the specifics had yet to be finalized. The reunion marks the end of a fiveyear dry spell since the pair were together anchoring a Shadow show (a couple of Fringe productions in between notwithstanding). "I went to Vancouver for a couple of years," Sproule explains, sitting backstage in the Varscona theatre. "And then I was in some Shadow shows that you weren't in," he says to Cairns, sitting adjacent on a greenroom couch. "I was in Later Life ... " "And I was supposed to do that, but," she starts, before letting him finish the thought: "You went to Australia." They've both been longtime artistic associates for Shadow Theatre, the company they met at years ago with a production of Catching the Train, a "rock 'n' roll musical" that played at the nowlong-gone Phoenix Theatre downtown. "I played your cocaine-snorting boyfriend ... " Sproule says "And we just clicked," continues Cairns. "We just enjoyed working together. We were on the same page. This may have nothing to do with it, but both of us are twins. We just kind of understood each other. So that was the very first play, and John brought us back together for one of David Belke's plays." That was The Reluctant Resurrection of Sherlock Holmes, which led the pair to more and more works together with the company: they tackled Edward Alabee's twisted domestic drama, Who's Afraid of Virginia Wolf ?; they filled out the pentameters of Benedick and Beatrice in Much Ado About Nothing; they were the company's quintessential couple. And now, they're back again. "They're just so comfortable together," remarks John Hudson, Shadow's longtime artistic director. "It gives them a great freedom as actors to take risks and experiment, because they know the other one will be there to support them. Chemistry is just one of those intan-

Onstage reunion

Coralie Carins and John Sproule return in Love Song By Paul Blinov

// Paul Blinov


gibles, isn't it?" he chuckles. "It always has been [there] for them, even when they didn't know each other very well. The first play we did together where they met was Catching the Train, and it was there right from the beginning from them." Their onstage reunion comes in Love Song, a play somewhat removed from

their stage-coke-snorting beginnings, towards something a little more heartfelt, though no less human. Cairns and Sproule play Joan and Harry, a couple who've settled into a comfortable, if not particularly loving, later stage of their relationship, with constant concerns about Beane (Frank Zotter), Joan's brother, a modern sort of Boo Radley: reclusive, socially frozen, struggling to

find any sort of tangible relationship to ground his life. Then a mysterious woman (Vanessa Holmes) breaks into Beane's apartment, setting transformation into motion for him, Joan and Harry. It's a charming comedy, one that handles love softly but fully, acknowledging the depths it can sink to as it ultimately celebrates the resplendent beauty of it all.

Artifacts Wide Open Wide / Thu, May 26 (8 pm); Fri, May 27 (8 pm) A coast-to-coast tour of Queer cinema divided into two one-night-only programs, Wide Open Wide showcases queer artists' artistic visions that even today rarely have a place to play and push their own boundar-

Settling on Love Song was a process that took longer than they thought it would—the final decision was made earlier this year, Sproule says with mock sheepishness—but Love Song seemed the right fit for not only them, but also the season. "There were some two-handers that were horrifyingly bleak tragedies that were not quite right for the spring," Sproule says. "[Love Song]'s a bit of a fable. Some things that happen are quite odd. Beane is challenged, but it's not about someone who's mentally ill. It's more of a fable of this person who is isolated and lonely and then has dreams. ... I think it's about all of us who live in isolation sometimes, or are alone and make choices, and how we have to use imagination, but we can't live in a fantasy world. "There are some sections that are just really funny. There's this great sense of adventure and there's some great comedy in it. But there's also a seriousness that tugs at the heartstrings but it isn't coying; there's a kind of honesty about it that's quite wonderful." Hudson, who directs, agrees. "It's nice to do a play that's not cynical and ironic," he says, "basically saying love is transformative and it's awesome. It sort of speaks to our need as human beings—it's just such a primal need for us." It won't be another five years before Sproule and Cairns end up on the Varscona stage together: next season— Shadow's 20th anniversary—already has them set to trod the boards together (with a play already picked, to boot). But without getting too far ahead, the pair seem content to coexist together in the here and now. The play's not just about them, but they get to enjoy the company in the moments they have. "Ultimately, it's Beane's story," Cairns concludes, "but there's a really nice ... we have a lot of fun with our characters. We're a couple and we're enjoying ourselves." V Until Sun, Jun 12 (7:30 pm) Love Song Written by John Kolvenbach Directed by John Hudson Starring Coralie Cairns, Vanessa Holmes, John Sproule, Frank Zotter Varscona Theatre (10329 - 83 Ave) $10 – $26


ies in both content and format. From local Filmmaker Trevor Anderson's narrative landmark exploration "The High Level Bridge" to more abstract works—Maureen Bradley's "Sisyphus" is described simply as "A handprocessed message to a broken heart and soul"—it's seeking to redefine notions about sexual identity (and

more) as it entertains and engages. (Metro Cinema [9828 - 101A Ave]) International Children's Festival / Tue, May 31 – Sat, Jun 4 Celebrating its 30th year of kidfriendly delight, the International Children's Festival is pulling in daz-

VUEWEEKLY // MAY 26 – JUN 1, 2011

zling acts from all over the globe: from the far-reaching—iL CiRCo's Viaggio sounds like a youth-targeting multicultural take on Commedia dell' Arte—to the more traditional—St Albert Children's Theatre's putting on Alexander and the Terrible, Horrible, No Good, Very Bad Day—to the unique hybrids like Baobab, a co-pro-

duction between Quebec's Théâtre Motbus and the SÔ Company from Mali. Plus there are plenty of free onsite activities and roving entertainers. And let's just admit it: you'd be just as thrilled to see some of these acts as any grade-schooler. (St Albert, various locations; full schedule at

ARTS // 15

From Cradle To Stage Wed, May 25 – Sat, May 28 (8 pm) Written by Mike Czuba, Sherryl Melnyk, Robert Zimmer Directed by Vivien Bosley, Sarah Jackson, J Nelson Niwa Starring Gabby Bernard, Alexandria Rose, Melanie Kerr, Bob Klakowich Walterdale Playhouse (10322 - 83 Ave), $12 - $16 If there's something to be learned at the Walterdale Playhouse this weekend, it's that one-act festivals like From Cradle to Stage are an amazing place to discover new artistic talent. Take for instance Gabby Bernard, who stars as the title character, Poetry, in Robert Zimmer's one-act Poetry Unbound. The script was performed as a stage reading, but it was easy to forget this at times because of Bernard's amazing, emotionally charged delivery and her brilliant energy. Unfortunately, Zimmer's script itself lacked in comparison. Though funny at times, the satirical Poetry Unbound was a fairly pretentious work, a good part of which depended on inside jokes about the local arts scene. Luckily, Poetry Unbound was followed by Even the Walls Have Eyes—easily the best show of the night. Written by Sherryl Melnyk, it's the superbly penned story of Andrea (Melanie Kerr), a woman who attends the funeral of her abuser. Shocking drama was perfectly balanced with humour, the language of the script felt amazingly natu-

16 // ARTS

ral and the memory "echoes" behind Andrea onstage only added to the effect. If there were one complaint, it would be that actor Melanie Kerr put a bit too much energy into the physical aspects of her delivery and not quite enough into vocalization or intent. At times, her excessive use of body language was distracting. After a brief intermission, the night was capped off by Hope Is Dead, written by Mike Czuba and directed by J Nelson Niwa. Hope's about a suicidal teenaged girl and a mentally ill homeless man, and how they end up saving each other. Though the initial premise was promising, it felt as though Czuba's concept wasn't fully finished and the script still needed some refinement. This isn't to say that the script wasn't entertaining. As the character "Old Man," Bob Klakowich was a bit like Robin Williams on stage: a delightful combination of pain, gentle humour and crazy ("I am the Monkey King—protector of this bridge!"). Fantasy? Escapism? In the context of the play: no, not really. In fact, if there was one thing that I noticed it was that the Walterdale's evening of one-acts was a mostly serious affair, asking tough questions and critiquing the way in which society operates. Maybe a bit too serious, but important all the same. Bryan Saunders



The Cripple of Inishmaan Until Sat, May 28 (7:30 pm) Written by Martin McDonagh Directed by Mitchell Cushman Starring Jason Chinn, Natascha Girgis, Betty Moulton, Glenn Nelson Studio Theatre (87 Ave & 112 St), $10 – 20 In the playbill director's notes for The Cripple of Inishmaan, Mitchell Cushman notes how he and designer Nicole Bach tried to realize the claustrophobia of the tiny island community. Even if it isn't quite there in the set—the sculpted rocky cliffs and standing pools of water (!) under the high ceilings of the Timms Centre don't really evoke it, even from a gorgeous set that pushes most of the action centre-forward, with rocky craigs that rise up and block off much of the space—it comes through on a more subtle level. There is, in the almost-dozen characters we see, a strange mix of coping with and rebelling against the entrenched ideas and decisions of a tiny, rural, islandbound society, too small and too bitter for its own good. Within Martin McDonagh's clever script, well-realized in this Studio Theatre production, a proverbial underdog story emerges: an American film crew sets up filming on a nearby island, the crippled orphan Billy (Jason Chinn) takes his chances to get away from the cattiness of his community—here, he'll forever be the orphan and the cripple, nothing else—by swindling

VUEWEEKLY // MAY 26 – JUN 1, 2011

Cripple Billy gets no respect in Inishmaan

his way aboard a boat, and makes a go at honest-to-goodness escape. What becomes of him there, and its repercussions on the town itself, are to be seen for themselves, but without saying too much, the unfolding events are hellishly funny. Martin McDonagh's writing is dark, brutish and clever. He foreshadows the ominous, but usually wraps it up up in some form of misdirection: he exposes the darkner sides of people without skimping

// Ed Ellis


on comedy or getting too confessional. Cushman's direction keeps it all moving, despite a certain lack of dramatic push n the script, and the hands of a brilliant ensemble—and it really feels like one, with nobody taking centre stage, even Billy, absent from the stage for longer periods than most protagonists—talking heads and catty scenes get lifted to higher appreciations. The snapping comic timing of CONTINUED ON PAGE 18 >>

VUEWEEKLY // MAY 26 – JUN 1, 2011

ARTS // 17


Natascha Gurgis as one of Billy's aunts; Glenn Nelson as Johnnypateenmike, happily accepting his role as town gossip, flips from smug demands to coward who relents at the threat of violence—and there is plenty of that. These people are not kind to one another. Hellen, the pretty girl on the island and target of Billy's af-

18 // ARTS

fections, willfully played by Sarah Sharkey, may be the meanest of the bunch. Mammy, Johnnypateenimke's 90-year old drunk mother, is a hoot in the hands of Sandra Nicholls. They all masterfully elevate already solid material, giving it a sense of dynamic, in a grim comedy where even silver linings have shadows attached. PAUL BLINOV



Haida Art: Mapping an Ancient Language Until Sun, Jun 5 Works by Steven Loft Art Gallery of Alberta (2 Sir Winston Churchill Square) One of the most loaded questions that can be asked about the telling or retelling of cultural history is "whose story is this?" In the context of an art exhibition, the story is not written solely by the curator who put together the exhibition and wrote the curatorial essay, nor do the objects themselves write it. The story told is an ever-changing mélange of telling and interpretation by curator, content, artist, educator, location and viewer. The challenge inherent in the way these forces work to create different experiences for each person who sets foot in the gallery space builds the complexity even more when dealing with the representation of culture. This challenge grows further when considering cultures that have historically been exploited. The current exhibition at the Art Gallery of Alberta, Haida Art: Mapping an Ancient Language provides an opportunity to tell a different story about an Aboriginal culture than so often has been told in art exhibitions. Steven Loft, the current Trudeau Visiting Fellow at Ryerson University in Toronto, is an Aboriginal curator, writer and media artist who visited the AGA earlier this month to discuss some of the successes and

VUEWEEKLY // MAY 26 – JUN 1, 2011

challenges in exhibiting Aboriginal art. Loft argues that showing Aboriginal cultural objects has often been executed in a way that communicates that "the culture is dead," and the object in that context becomes a relic. "This is why there needs to be a distinct Aboriginal art history," says Loft, to put an end to the historic museum practice of presenting Aboriginal cultural objects like they represent a dead culture, and to instead speak to the life and dynamism that continues in Canada's Aboriginal creative communities. Following Loft's logic, the AGA's showing of Haida art tells the story of a living, evolving culture. This exhibition of Haida material culture features work over 2500 years old, but also includes work by Robert Davidson, a contemporary artist from the community of Haida Gwaii. The artist guided the selection of works in the show as well, speaking to another critical point to Loft in the exhibiting of Aboriginal works—that Aboriginal peoples should be able to tell their own stories. As Davidson says, "Art was our only written language," and with this thoughtfully constructed showing of ancient marine-creature hunting tools sharing space with his contemporary paintings, an interesting conversation develops between these significant objects. The exhibition encourages viewers to

ponder the development of the Haida esthetic and its rigorous use of pattern through formlines. The exhibition encourages the consideration of the visual life that the featured tools and dishes have beyond their function. The presence of Davidson's painting in that context creates space for the consideration of how the contemporary art practice is in dialogue with Haida visual cultural history. This is not just a surviving culture, but a rich, vibrant and dynamic one. The increasing presence of exhibitions such as these is exciting, particularly for Loft, who has been fighting for this thoughtful approach to exhibiting Aboriginal works. However, he also sees how much work is left to do. "Where are the Aboriginal curators and educators?" he says. As Loft advocates, it's not just the presence of and approach to Aboriginal art exhibitions that need further development, it's also the presence of Aboriginal staff within all of Canada's major art institutions, including university art history departments. Although the Haida exhibition at the AGA is a significant development worth celebration, it is only the tip of the iceberg in battle for the growth and presence of Aboriginal art and creative practices—important Canadian history and culture—in our institutions. Carolyn Jervis



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VUEWEEKLY // MAY 26 – JUN 1, 2011

ARTS // 19


Buying in on selling out

Morgan Spurlock sells an entertaining doc on product placement

Spot the product placement Josef Braun //


organ Spurlock has a knack with the high-concept, first-person documentary. Which is to say that he comes up with clever, attentiongetting, easy-to-summarize ideas and truly runs with them, no matter where they take him. (Super Size Me, in which he valiantly endangered his health by adopting a diet culled exclusively from the McDonald's menu, remains a testament to Spurlock's commitment.) Spurlock's latest, POM Wonderful Presents: The Greatest Movie Ever Sold, not only has a clever idea, that of financing a documentary about corporate sponsorship and productplacement entirely through corporate sponsorship and product placement, but he's actually constructed the documentary almost entirely around the act of him running with the idea. In fact, there's not much else to it. We see Spurlock, always energetic, always good in a room, always a smile below that handlebar moustache, go from meeting to meeting, as often as not walking away with a new business partner. (I wonder if he was hoping to fail more, just to generate more drama.)

20 // FILM

VUEWEEKLY // MAY 26 – JUN 1, 2011

There are some detours, including brief chats with Noam Chomsky, Quentin Tarantino and Ralph Nader, a whirlwind tour of the ad-free paradise of São Paulo and a peek into the brave new world of neuro-marketing, but they're appendices to the main event of Spulock selling off his movie to an airline, a car manufacturer, a gas bar and, most amusingly, a shampoo and conditioner designed for both people and horses called Mane 'n' Tail. My point is that if The Greatest Movie Ever Sold ultimately seems a little inconsequential it may be because Spurlock, hard as he surely tries, simply can't find anything all that startling to say about the already widely known fact that the movies try to sell us shit, and that by selling us shit, certain movies increase their visibility in the marketplace, to the degree where, come summer blockbuster season especially, advertising and entertainment merge into one massive, noisy, fattening, ubiquitous, vertiginous blur. Spurlock frets here and there about maintaining his integrity, but it's clear that his entire project is grounded in the notion that you can't really sell out if you're transparent about sell-

ing out, and especially if selling out is your project's ostensible central subject. What really matters here isn't how Spurlock hustles his somewhat underfed polemic but how he hustles his own brand of confrontational situation comedy. The Greatest Movie is easy enough to enjoy because Spurlock is just a very likeable, entertaining guy. The ideas for ads that he pitches to his corporate partners are ridiculous and often hilarious, especially the one for a TV spot offering vivid proof that regular consumption of POM Wonderful gives men boners. (It's those antioxidants, don't you know.) Funny thing is, if Spurlock has accomplished anything here, it's to show how advertising can really work when the product being advertised genuinely has something valuable to offer. I rushed out to get myself a big bottle of POM Wonderful immediately after the screening I attended. Will update with results. V Opening Friday POM Wonderful Presents: The Greatest Movie Ever Sold Directed by Morgan Spurlock Garneau Theatre (8712 - 109 st)


The Beaver

one but his father with only greater zeal, leading him to creep out the pretty girl with a grievous past (Winter's Bone's Jennifer Lawrence) who's paid him $500 to ghost-write her valedictorian speech. So this is, among other things, an ostensibly mainstream family drama, delivered with perplexing earnestness, about men old and young who are desperately in need of healing and the women whose sheer perseverance sees them through.

Opening Friday Directed by Jodie Foster Written by Kyle Killen Starring Mel Gibson, Anton Yelchin, Foster Princess Theatre (10337 - 82 Ave)


Let's be frank, The Beaver arrives in our theatres not so much a movie event as an appendix of sorts to the public misadventures of its lead actor. But the project, reportedly conceived some years ago by its writer, TV scenarist Kyle Killen, is in fact trying to be much more than an apologia for Mel Gibson, the movie star whose hardcore religious values, anti-Semitic babble and girlfriend abuse finally upstaged what years ago must have seemed like an almost invincible career. Gibson plays Walter Black, CEO of a failing toy manufacturing company who's plunged so deeply into a pit of depression that only a toothy puppet found

Leave it to beaver

in someone's trash can lift him out. The cure proves more troublesome than the disease, however, taking over Black's left hand and much of his enfeebled brain, with Black's latent mania simply transferred, not tamed, to an inanimate

object, while his workaholic wife (unadvisedly played by director Jodie Foster) looks on in prolonged agony and their eldest son (Anton Yelchin), though hardly the picture of social aptitude himself, continues his campaign to become any-

Foster's flat directorial approach conflates conventions from various genres, the result being confusing and oddly, almost interestingly, shapeless. The overall tone seems oblivious to the enormous quirk at its centre and right there in its title. What can be glimpsed of Gibson's performance, perhaps appropriately, is largely hiding behind his beaver, who does virtually all the talking (including an unneeded voice-over) in an annoying cockney accent, though Black never really lets his loudmouthed little mammal off the leash, not even when an absurdly unlikely

new product based on the beaver makes a big splash in the marketplace, thus temporarily vindicating Black's haphazard stab at self-help. So there's not much fun to be had in The Beaver, nor is there much that's very funny, even during the scenes which, when described, would seem impossible to play straight (let's just say that the beaver functions as a cocktail of adrenaline and Viagra for Black, and that he never, ever takes the thing off). This surely can't be the movie designed to make us all like Mel again, since it utterly fails to capitalize on the actor's considerable charisma, much less come to terms with his dark side. What it does is ask us to be patient with the mentally ill, no matter how unsavoury their behaviour, because while Black never really emerges as an actual, fleshed out character, his family works hard to assure us that there must be one in there. We may have to wait for the sequel to see it. It'll probably be a revenge movie. Josef Braun


Queen of the Sun Sun, May 29 (4 pm ) Mon, May 30; Tue, May 31 (7 & 9 pm) Directed by Taggart Siegel Metro Cinema (9828 - 101A Ave)


Admittedly, there's still a lot of unknowns surrounding colony collapse disorder (CCD)—wherein honeybees just vanish en masse, inexplicably, never to return to their hives—one beekeeper early in Queen of the Sun: What are the Honey Bees Telling Us? pegs his own understanding of it. CCD, he notes, "Is the bill we are getting for all we have done to the bees." That may seem a little harsh, but veteran documentary director Taggart Siegel goes on to point out, repeatedly and from multiple angles, that it's also true. Human interference on every level of nature is, at the very least, more harmful than good. When it comes to bees, we veer even further into the negative: Queen of the Sun shows everything from lethal pesticides preventing pollination to genetically modified seeds passing viruses onto worker bees. It essentially makes a call to let Mother Nature work her own magic even when we try to help, in the case of a special toxin made by humans to rid bees of their own parasites which inadvertently bred stronger, immune parasites. Siegel's strongest argument comes with single-crop farming, which he posits is sim-

Queen of the bees!

ply unsustainable—Siegel's camera briefly follows a migratory beekeeper, whose job is to trucks millions of bees across the country to pollinate massive one-crop areas for the few weeks of the harvest, only to truck them elsewhere after. Once that mass of single crop has been pollinated, there's little food for bees to eat for the other 50 weeks of the year. It's harmful not only for the colonies but also diminishes bee numbers during the stressful travel on the backs of 18-wheeler trucks. It's not all gloomy: Siegel finds some colourful keepers. One brushes the backs of bees with his bristling moustache and walks

Pirates of the Caribbean: On Stranger Tides Now playing Directed by Rob Marshall Written by Ted Elliott, Terry Rossio, Stuart Beattie, Jay Wolpert, Tim Powers Starring Johnny Depp, Penélope Cruz, Geoffrey Rush


The longest amusement-park ride ever brought to CGI life rolls on in Pirates of the Caribbean: On Stranger Tides. (This entry's also based on a 1987 fantasy novel that inspired the Monkey Island video-game

series.) The least animatronic character, the feysome Jack Sparrow (Johnny Depp), acquits himself well enough, getting off some zingers in between swashbuckling and rope-swinging. There's a rollicking cart chase through London and a shallowly entertaining subtext (religion versus magic) as we stow away with Sparrow, Blackbeard (Ian McShane) and daughter Angelica (Penélope Cruz) in their quest for the Fountain of Youth, even as the Spanish and the British-sent Barbossa (Geoffrey Rush) try to beat them to it.

away untarnished­—such is his sense of harmony with the bees—as well as urban keepers who keep hives on apartment rooftops, and others still who lobby for legislation to let them do so. It points out the sense of communal support springing up for nature's buzzing pollinators. Still, If his arguments were explored as deeply as the sheer scope of them are wide, this would have far greater impact. While it covers almost every angle of the bee crisis, sometimes it feels like its running breathlessly to make every single possible point, instead of delving deeper into a few. PAUL BLINOV


Still, the smell of Disney-sanitizer wafts through—there are few bloody, mercenary moments. McShane glowers well enough, but his language isn't very black. The pouty love between a mermaid and a missionary turns into a bare-chested, inter-species Harlequin romance. Some action sequences are derivatively cartoonish: a tippy ship on a cliff that see-saws as men walk back and forth on it; a Tarzan-style swing through palm trees. And for such a talky picture, the dialogue's not charged enough. At 137 minutes, this voyage seems to ebb and flow on and on, happy to wash another sequel onto shore, and another ... Brian Gibson


VUEWEEKLY // MAY 26 – JUN 1, 2011

FILM // 21


Salt of the Earth

Margot Benacerraf's sole feature is a masterpiece

A life of work

Margot Benacerraf, now in her 80s, only taries in the vaguest sense: Luis Buùuel's ever made one feature-length film, but Land Without Bread (1933), the midpoint that film remains so extraordinary, so very fishing sequence from Roberto Rosselnearly singular, that it merits an admiralini's Stromboli (1950) or Agnès Varda's La tion on par with many more prolific and Pointe Courte (1955). Araya's astounding esteemed bodies of work. After studying images reveal a closed world formed of and gathering numerous influential sand, sea, sun and salt, and not much allies in France and elsewhere, else. Each of its inhabitants works Benacerraf returned to her nain some capacity related to the tive Venezuela, specifically to salt industry. Long lines of an island no one had heard of, shirtless men carry brimming m o .c ekly though when discovered by baskets on their heads to add vuewe @ e v ti etec the Spanish 450 years earlier dvdd to immense pyramids of salt. f e s o J it was deemed a paradise on Men break down mounds of Braun salt with sticks in unison, women account of its abundance of one resource: salt, as valuable back then preserve fish in salt, children sift salt. as gold. We can see the ruins of colonial fortresses erected to protect the island Nothing grows here; all and its salt marshes during the prologue is work and work only. of Araya (1959). But historical context quickly gives way to the seeming timelessness of hard labour, to Benacerraf's lyrical approach to depicting the life of a commuThe arrival of the water truck is a major nity that was, at the time, so isolated as to event in this place where it never rains and resemble some primordial dream. Araya there are no springs or lakes, where some is now available on DVD from Milestone, of the older women's faces are so dry the latest lost masterpiece resurrected by they appear almost mummified. An espethe same company that re-released Killer cially memorable face belongs to a cigarof Sheep (1977) and The Exiles (1961). chomping old woman who walks into a Part ethnographic study, part homage to cemetery with her granddaughter, where the workers of the developing world, part in lieu of flowers graves are adorned with tone-poem, Araya mainly recalls antecedshells. Araya's voice-over narration strains ents that can only be labeled documento remind us that these people do nothing



22 // FILM

VUEWEEKLY // MAY 26 â&#x20AC;&#x201C; JUN 1, 2011

other than work, sleep and eat. Nothing grows here; all life comes from the sea; life is work and work only: Araya's narration conveys a number of immensely interesting facts, but it's also mercilessly repetitive, focuses on certain individuals without allowing them to reveal much in the way of individual personalities, and gradually becomes a major distraction. You begin to wonder if the narration's really needed at all. One could argue that it keeps you from paying as close attention as you might otherwise, that it stifles discovery. Surely the images and diegetic sounds, includ-

life comes from the sea; life

ing those strange, haunting work songs, are more than enough to captivate and inform us, right up to the film's elegantly portentous closing scenes, in which the island's process of extraction, unchanged for centuries, is on the verge of massive change with the approach of modern industry. Araya is a masterpiece. I urge you to see it. I just wish that Benacerraf's incredible assembly of sights and sounds were allowed to speak for itself. V

Still Showing FILM WEEKLY FRI, MAY 27, 2011 – THU, JUN 2, 2011

Bridesmaids 


CHABA THEATRE�JASPER 6094 Connaught Dr, Jasper, 780.852.4749

PIRATES OF THE CARIBBEAN: ON STRANGER TIDES (PG violence, frightening scenes) DAILY 6:50,


THE HANGOVER PART II (18A nudity, crude sexual

content) DAILY 7:00, 9:15

CINEMA CITY MOVIES 12 5074-130 Ave, 780.472.9779 RANGO (PG) DAILY 1:20, 4:00, 7:20, 9:45

With SNL star Kirsten Wiig at the helm, Bridesmaids shows the social relationships of women in a multi-dimentional way that goes beyond simply being catty or desiring each other's jobs or boyfriends. Also, it's funny. Really funny.

HOP (PG coarse language) DAILY 1:00, 3:30, 7:00, 9:20 YOUR HIGHNESS (18A crude sexual content,

nudity) DAILY 1:45, 4:25, 7:15, 9:30


passes FRI 4:25, 8:00; SAT�SUN 1:15, 4:25, 8:00; MON�THU 4:50, 8:00

FRI 4:30, 7:00, 9:15; SAT�SUN 2:00, 4:30, 7:00, 9:15; MON�THU 4:40, 7:30


KUNG FU PANDA 2 (G) No passes: FRI 4:00, 6:30, 8:50; SAT�SUN 1:20, 4:00, 6:30, 8:50; MON�THU 5:25, 8:10


FRI 12:30, 1:00, 4:00, 4:30, 7:30, 10:50; SAT 12:00, 12:30, 3:30, 4:00, 7:00, 7:30, 10:30, 10:50; SUN 12:15, 12:30, 3:15, 4:00, 6:30, 8:00, 9:30; MON�WED 1:20, 2:00, 4:20, 5:00, 7:20, 9:00, 10:15; THU 2:00, 4:20, 5:00, 7:20, 9:00, 10:15; Star & Strollers Screening: THU 1:00

PIRATES OF THE CARIBBEAN: ON STRANGER TIDES 3D (PG violence, frightening scenes) Digital

No passes FRI 12:00, 3:30, 7:00, 10:30; SAT 1:00, 4:30, 7:30, 10:50; SUN 12:00, 3:30, 7:30, 10:30; MON�THU 1:00, 4:00, 7:00, 10:00

8:25, 11:15; SUN 12:45, 3:45, 7:00, 9:50; MON 1:05, 4:00, 7:00, 10:05; TUE�THU 1:05, 4:00, 6:55, 10:05



KUNG FU PANDA 2 3D (G) Digital 3d, No passes:

RIO 3D (G) Digital 3d: FRI 4:20; SAT�SUN 1:30, 4:20; MON�THU 5:15


FRI�SAT, THU 10:00; SUN 9:50; MON 9:40; TUE�WED 9:20

BRIDESMAIDS (14A crude content, coarse language,

6601-48 Ave, Camrose, 780.608.2144

KUNG FU PANDA 2 (G) Presented in 3D DAILY 7:00

THE HANGOVER PART II (18A nudity, crude sexual content) DAILY 6:45 9:05; SAT�SUN 1:45 9:40; Sat-Sun 1:50

SOMETHING BORROWED (PG coarse language,

THOR 3D (PG violence, frightening scenes) Digital

HARRY POTTER AND THE PHILOSOPHER'S STONE (PG frightening scenes) Digital Cinema SAT

DAILY 1:25, 4:40, 7:30, 10:00

CINEPLEX ODEON NORTH 14231-137 Ave, 780.732.2236

THOR 3D (PG violence, frightening scenes) Digital 3d DAILY 1:50, 4:50, 7:40, 10:45

PRIEST 3D (14A violence) Digital 3d FRI�SAT, MON�

THU 2:10, 4:40, 6:55, 9:10; SUN 4:40, 6:55, 9:10

KUNG FU PANDA 2 (G) No passes FRI�TUE, THU 11:50, 2:00, 4:20, 6:40, 9:00; WED 4:20, 6:40, 9:00; Star & Strollers Screening: WED 1:00 KUNG FU PANDA 2 3D (G) Digital 3d, No passes DAILY 12:40, 3:10, 5:30, 7:50, 10:10

RIO (G) FRI�SUN, TUE�THU 1:20, 3:50, 6:30; MON 1:20, 3:50

THE HANGOVER PART II (18A nudity, crude sexual

content) No passes FRI�SUN 12:10, 12:50, 1:30, 2:40, 3:20, 4:00, 5:10, 6:00, 7:00, 8:00, 8:20, 9:30, 10:30, 10:50; MON�THU 12:10, 12:50, 1:30, 2:40, 3:20, 4:00, 5:10, 6:00, 7:00, 8:00, 8:30, 9:30, 10:30

PIRATES OF THE CARIBBEAN: ON STRANGER TIDES (PG violence, frightening scenes)

No passes FRI�SUN, TUE�THU 11:45, 3:00, 6:20, 8:50, 9:40; MON 11:45, 3:00, 6:20, 9:40, 9:45

PIRATES OF THE CARIBBEAN: ON STRANGER TIDES 3D (PG violence, frightening scenes) Digital 3d, No passes DAILY 12:20, 3:30, 6:50, 10:00

PIRATES OF THE CARIBBEAN: ON STRANGER TIDES 3D (PG violence, frightening scenes) Ultraavx, No passes DAILY 1:00, 4:15, 7:30, 10:40

10:30; MON 7:00


CITY CENTRE 9 10200-102 Ave, 780.421.7020

THE HANGOVER PART II (18A nudity, crude

sexual content) Dolby Stereo, No passes, On 2 Screens, Stadium Seating, Bargain Matinee, Child Admission Price: DAILY 12:15, 12:20, 2:50, 2:55, 5:25, 5:30, 8:00, 8:05, 10:35, 10:40

PIRATES OF THE CARIBBEAN: ON STRANG� ER TIDES 3D (PG violence, frightening scenes)

Digital 3d, Digital Presentation, No passes, Stadium Seating, Thx, Bargain Matinee, Child Admission Price: DAILY 12:05, 3:30, 6:45, 10:15

BRIDESMAIDS (14A crude content, coarse lan-

guage, sexual content) Dolby Stereo, Bargain Matinee, Child Admission Price: DAILY 12:40, 3:40, 7:15, 10:10

KUNG FU PANDA 2 3D (G) Digital 3d, Child Ad-

mission Price, Bargain Matinee, Digital Presentation, Dolby Stereo Digital, No passes, Stadium Seating: DAILY 12:05, 2:35, 5:05, 7:35, 10:20

THE BANG BANG CLUB (14A coarse language,

brutal violence) Dolby Stereo, Bargain Matinee, Child Admission Price, Stadium Seating: FRI�WED 12:50, 3:50, 7:00; THU 12:50, 3:50

FAST FIVE (14A violence) Child Admission Price, PIRATES OF THE CARIBBEAN: ON STRANGER TIDES (PG violence, frightening

sexual content) FRI�SAT, MON�TUE, THU 1:40, 4:30, 7:05, 9:50; SUN, WED 4:30, 7:05, 9:50; Star & Strollers Screening: WED 1:00

HARRY POTTER AND THE PHILOSOPHER'S STONE (PG frightening scenes) SAT 10:30; MON 7:00 THE SOUND OF MUSIC (G) SUN 12:30 THE BOLSHOI BALLET: COPPELIA�LIVE (Classification not available) SUN 12:00

CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585 THOR (PG violence, frightening scenes) FRI�SAT 8:15, 11:00; SUN 7:55, 10:30; MON�THU 6:45, 9:40

THOR 3D (PG violence, frightening scenes) Digital 3d FRI�SAT 12:10, 2:40, 5:25, 8:30, 11:10; SUN 1:20, 4:30, 7:15, 10:25; MON�THU 1:20, 4:30, 7:30, 10:10

9:00; SAT�SUN 11:00, 1:30, 4:00, 6:30, 9:00; MON�THU 6:30, 9:00

KUNG FU PANDA 2 3D (G) Digital 3d, No passes RIO (G) FRI 4:00, 6:40; SAT�SUN 1:10, 4:00, 6:40;

BRIDESMAIDS (14A crude content, coarse language, SOMETHING BORROWED (PG coarse language,

KUNG FU PANDA 2 (G) No passes FRI 4:00, 6:30,


Dolby Stereo, Stadium Seating: FRI�WED 9:40

sexual content) DAILY 12:45, 3:40, 7:20, 10:20

3d FRI 4:30, 7:20, 10:05; SAT�SUN 1:40, 4:30, 7:20, 10:05; MON�THU 7:20, 10:05

FRI 4:35, 7:00, 9:30; SAT�SUN 11:40, 2:05, 4:35, 7:00, 9:30; MON�THU 7:00, 9:30

FAST FIVE (14A violence) DAILY 1:10, 4:10, 7:10, 10:15

2020 Sherwood Dr, Sherwood Park 780-4160150

sification not available) SUN 12:00 THU 7:00

scenes) Bargain Matinee, Child Admission Price, DTS Stereo, No passes, Stadium Seating: DAILY 12:00, 3:15, 7:00, 10:25

PRIEST 3D (14A violence) Digital 3d, Digital Presen-

MON�TUE 9:00

WED, Jun 1; THU, Jun 2: 7:00

PARKLAND CINEMA 7 130 Century Crossing, Spruce Grove, 780.972.2332 (Spruce Grove, Stony Plain; Parkland County)

KUNG FU PANDA 2 3D (G) Presented in 3D DAILY 6:55, 8:50; SAT, SUN, TUE 12:55, 2:50 KUNG FU PANDA 2 2D (G) DAILY 7:00pm & 8:55; SAT, SUN, TUE 1:10, 3:00 HANGOVER 2 (18A) DAILY 7:10, 9:30; SAT, SUN, TUE 1:05, 3:15

PIRATES OF THE CARIBBEAN: ON STRANG� ER TIDES (PG violence, frightening scenes) DAILY guage, sexual content) DAILY 6:50, 9:15; SAT, SUN, TUE 12:45, 3:10


ARTHUR (PG not recommended for young children)


THOR (PG violence, frightening scenes) Presented in 3D DAILY 6:55, 9:20; SAT�SUN 1:55




6:45, 9:30; SAT, SUN, TUE 1:30, 3:40

sexual content) FRI�SAT 12:00, 2:45, 5:30, 8:15, 11:00; SUN 12:00, 4:00, 7:00, 9:45; MON, THU 1:10, 4:00, 6:50, 10:15; TUE�WED 1:10, 4:00, 6:50, 9:50 sexual content) FRI�SAT 12:50, 3:30, 6:05, 8:45, 11:15; SUN 2:45, 5:15, 7:50, 10:20; MON�THU 1:25, 4:00, 7:10, 9:45


BRIDESMAIDS (14A crude content, coarse language, sexual content) DAILY 7:05 9:35; SAT�SUN, MON 2:05

7:35, 9:50

6:55, 9:35


PIRATES OF THE CARIBBEAN: ON STRANGER TIDES (PG violence, frightening scenes) No passes

HALL PASS (14A nudity, crude sexual content, substance abuse) DAILY 1:50, 4:30, 7:25, 9:55

9828-101A Ave, Citadel Theatre, 780.425.9212


sexual content) No passes, On 2 Screens: FRI 4:10, 4:40, 6:40, 7:10, 9:20, 9:45; SAT�SUN 1:40, 2:10, 4:10, 4:40, 6:40, 7:10, 9:20, 9:45; MON�THU 5:00, 5:30, 7:45, 8:20

THE HANGOVER PART II (18A nudity, crude

PIRATES OF THE CARIBBEAN: ON STRANGER TIDES (PG violence, frightening scenes) DAILY 6:50,

recommended for young children) DAILY 1:40, 4:10, 7:10, 9:40


content) No passes FRI�SAT 11:45, 12:15, 12:45, 2:15, 2:45, 3:15, 4:45, 5:15, 5:45, 7:15, 8:00, 8:30, 10:15, 10:40, 11:10; Sun 12:00, 12:30, 1:00, 2:30, 3:00, 3:30, 5:00, 5:30, 6:30, 7:30, 8:00, 9:30, 10:15, 10:30; MON�THU 1:00, 1:30, 2:00, 3:45, 4:15, 4:30, 6:40, 7:15, 7:40, 9:30, 9:50, 10:15

FAST FIVE (14A violence) FRI�SAT 11:30, 2:40, 5:30,

1:35, 3:50, 6:50, 9:10

1:30, 4:20, 6:45, 9:00

THE HANGOVER PART II (18A nudity, crude sexual


PAUL (14A language may offend) DAILY 1:55, 4:35,

Princess Theatre (10337 - 82 Ave) Robert Redford's history flick is best in its moments of courtroom drama and less so in the detective-mystery aspects: following the assassination of President Abraham Lincoln, as a nation raged for vengeance, a reluctant defence attorney finds himself starting to believe one of the accused is innocent

2:30, 5:00, 7:30; MON, THU 1:15, 3:45; TUE�WED 1:15, 3:45, 6:40

9:10; SAT�SUN 2:00

content, substance abuse) DAILY 1:10, 3:55, 6:40, 9:25


PIRATES OF THE CARIBBEAN: ON STRANG� ER TIDES (PG violence, frightening scenes) No

PIRATES OF THE CARIBBEAN: ON STRANGER TIDES 3D (PG violence, frightening scenes) Ultraavx,

BARNEY'S VERSION (14A coarse language, sexual

The Conspirator

RIO (G) FRI 12:10, 2:30, 5:00, 7:25; SAT�SUN 12:10,

No passes, Digital 3d: FRI 3:40, 6:45, 9:50; SAT�SUN 12:35, 3:40, 6:45, 9:50; MON�THU 4:25, 7:40


guage) DAILY 9:15

DAILY 1:15, 3:40, 6:30

Princess Theatre (10337 - 82 Ave) This BBC adaptation of Charlotte Brontë’s classic has compelling performances and imagery rich with detail, even if it never quite finds balance of jumping backwards and forwards in time.

ER TIDES 3D (PG violence, frightening scenes)

FRI�SUN 11:45, 2:15, 4:45, 7:15, 9:45; MON�THU 1:20, 3:40, 6:30, 9:00

3d, No passes FRI�SAT 11:00, 2:00, 5:00, 8:00, 11:10; SUN 12:30, 4:00, 7:00, 10:00; MON�THU 1:40, 4:40, 8:00

I AM NUMBER FOUR (PG frightening scenes, not

Jane Eyre

KUNG FU PANDA 2 3D (G) Digital 3d, No passes

MON�THU 6:40

THE HANGOVER PART II (18A nudity, crude

sexual content) No passes FRI 4:15, 4:45, 6:50, 7:25, 9:35, 10:10; SAT�SUN 11:10, 11:45, 1:45, 2:15, 4:15, 4:45, 6:50, 7:25, 9:35, 10:10; MON�THU 6:50, 7:25, 9:35, 10:10

PIRATES OF THE CARIBBEAN: ON STRANG� ER TIDES (PG violence, frightening scenes) No

passes FRI 3:10, 6:35, 9:50; SAT�SUN 12:00, 3:10, 6:35, 9:50; MON�THU 6:35, 9:50

PIRATES OF THE CARIBBEAN: ON STRANG� ER TIDES 3D (PG violence, frightening scenes)

Digital 3d, No passes FRI 3:45, 7:05, 10:15; SAT�SUN 12:40, 3:45, 7:05, 10:15; MON�THU 7:05, 10:15

FAST FIVE (14A violence) FRI 3:40, 6:45, 9:45; SAT� SUN 12:30, 3:40, 6:45, 9:45; MON�THU 6:45, 9:45 BRIDESMAIDS (14A crude content, coarse lan-

guage, sexual content) FRI 4:10, 7:15, 10:15; SAT�SUN 1:15, 4:10, 7:15, 10:15; MON�THU 7:15, 10:15

SOMETHING BORROWED (PG coarse language, sexual content) DAILY 9:20


8712-109 St, 780.433.0728 ROCKY HORROR PICTURE SHOW May 28, tickets on sale now

THE GREATEST MOVIE EVER SOLD (PG coarse language) DAILY 7:00, 9:00; Sat-Sun 2:00; No 9:00 show on Mon, May 30; No shows Tue, May 31

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

BRIDESMAIDS (14A crude content, coarse lan-

THOR (PG violence, frightening scenes) Presented in 3D DAILY 7:05, 9:25; SAT�SUN, TUE 12:50, 3:20


12:45, 3:

PRINCESS 10337-82 Ave, 780.433.0728


JANE EYRE (PG) DAILY 9:15; SAT�SUN 3:30 THE BEAVER (PG coarse language, mature subject matter) DAILY 7:00, 9:00; SAT�SUN 2:00

SCOTIABANK THEATRE WEM WEM, 8882-170 St, 780.444.2400

THOR 3D (PG violence, frightening scenes) Digital

3d DAILY 1:10, 4:10, 7:10, 10:10

PRIEST 3D (14A violence) Digital 3d DAILY 12:10, 2:40, 5:20, 7:45, 10:30


11:00, 1:30, 3:50, 6:30, 9:00; MON�THU 1:30, 3:50, 6:30, 9:00

KUNG FU PANDA 2 3D (G) Digital 3d, No passes DAILY 12:00, 2:30, 4:50, 7:30, 10:00 RIO (G) FRI�SUN 11:15, 1:45, 4:15, 6:40; MON�TUE, THU 1:45, 4:15, 6:40; WED 1:45, 4:15 THE HANGOVER PART II (18A nudity, crude sexual content) No passes FRI�SAT 12:15, 1:00, 2:50, 4:00, 5:45, 6:45, 8:30, 9:30, 11:00; SUN�THU 12:15, 1:00, 2:50, 4:00, 5:45, 6:45, 8:30, 9:30 THE HANGOVER PART II (18A nudity, crude sexual content) Ultraavx, No passes FRI�SUN 11:30, 2:15, 5:00, 7:45, 10:30; MON�THU 2:15, 5:00, 7:45, 10:30 PIRATES OF THE CARIBBEAN: ON STRANG� ER TIDES (PG violence, frightening scenes)

No passes Fri-Sun 12:30, 3:45, 7:00, 10:15; MON� TUE, THU 2:00, 5:00, 8:00; WED 5:00, 8:00; Star & Strollers Screening: WED 1:00

PIRATES OF THE CARIBBEAN: ON STRANG� ER TIDES 3D (PG violence, frightening scenes) Digital 3d, No passes FRI�SUN 11:45, 3:00, 6:30, 9:45; MON�THU 12:00, 3:00, 6:30, 9:45

FAST FIVE (14A violence) DAILY 1:40, 4:40, 7:40,


tation, Bargain Matinee, Child Admission Price, Dolby Stereo Digital, Stadium Seating: DAILY 12:10, 2:30, 5:00, 7:20, 9:40

4:50, 7:00, 8:45

THOR (PG violence, frightening scenes) Bargain Matinee, Child Admission Price, Dolby Stereo, Stadium Seating: DAILY 12:45, 3:45, 7:30, 10:30

RIO (G) DAILY 12:45, 2:40, 4:35, 6:30

BRIDESMAIDS (14A crude content, coarse language, sexual content) FRI�TUE, THU 1:20, 4:20, 7:20, 10:20; WED 4:20, 7:20, 10:20; Star & Strollers Screening: WED 1:00

THOR (PG violence, frightening scenes) DAILY 8:25

SOMETHING BORROWED (PG coarse language,

THE IMPORTANCE OF BEING EARNEST�LIVE (Classification not available) Dolby Stereo, Digital Presentation, Exclusive Engagement, Stadium Seating: THU 7:00

CLAREVIEW 10 4211-139 Ave, 780.472.7600

FAST FIVE (14A violence) FRI 3:45, 6:35, 9:30; SAT� SUN 12:40, 3:45, 6:35, 9:30; MON�THU 5:10, 8:05

PRIEST 3D (14A violence) Digital 3d FRI 12:40, 3:00, 5:45, 8:40, 10:50; SAT 3:00, 5:45, 8:40, 10:50; SUN 12:25, 2:45, 5:00, 7:45, 10:15; MON�THU 1:20, 3:30, 5:45, 8:00, 10:10

THOR (PG violence, frightening scenes) FRI 4:15, 6:55, 9:35; SAT�SUN 1:00, 4:15, 6:55, 9:35; MON�THU 4:45, 7:50

KUNG FU PANDA 2 (G) No passes FRI�SAT 11:15, 12:15, 1:45, 3:00, 4:15, 5:45, 6:45, 9:15; SUN 12:15, 12:45, 2:45, 3:00, 5:15, 5:45, 7:45, 10:00; MON�WED 1:00, 1:40, 3:20, 4:20, 5:40, 8:00, 10:10; THU 1:40, 3:20, 4:20, 5:40, 8:00, 10:10; Star & Strollers Screening: THU 1:00

guage, sexual content) FRI 3:50, 6:50, 9:40; SAT�SUN 12:50, 3:50, 6:50, 9:40; MON�THU 5:20, 8:15

BRIDESMAIDS (14A crude content, coarse lan-

KUNG FU PANDA 2 (G) No passes DAILY 1:00, 3:00,

THE HANGOVER PART II (18A nudity, crude sexual

content) No passes DAILY 12:50, 2:55, 5:00, 7:10, 9:25

BRIDESMAIDS (14A crude content, coarse language, sexual content) DAILY 1:25, 4:05, 6:40, 9:10 PIRATES OF THE CARIBBEAN: ON STRANGER TIDES (PG violence, frightening scenes) No passes

DAILY 1:30, 4:15, 6:50, 9:20


Leduc, 780.352.3922 THE HANGOVER PART II (18A nudity, crude sexual content) DAILY 7:00, 9:30; SAT�SUN 1:00, 3:30

PIRATES OF THE CARIBBEAN: ON STRANGER TIDES (PG violence, frightening scenes) DAILY 6:45,

9:40; SAT�SUN 12:45, 3:40

PRIEST 3D (14A violence) FRI�SUN 7:20, 9:55;

THOR (PG violence, frightening scenes) SAT�SUN 12:55, 3:35


BRIDESMAIDS (14A crude content, coarse language, sexual content) DAILY 6:50, 9:30; SAT�SUN 12:50, 3:30

MON�THU 8:25

VUEWEEKLY // MAY 26 – JUN 1, 2011

sexual content) DAILY 9:20


violence, frightening scenes) No passes FRI�SAT 11:00, 2:00, 5:00, 8:00, 11:00; SUN 11:00, 2:00, 5:00, 8:00; MON�THU 12:30, 3:45, 7:00, 10:15

WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922

BRIDESMAIDS (14A crude content, coarse lan-

guage, sexual content) DAILY 6:50, 9:25; SAT�SUN 12:50, 3:25

THE HANGOVER PART II (18A nudity, crude sexual content) DAILY 7:00, 9:35; SAT�SUN 1:00, 3:35 THOR (PG violence, frightening scenes) DAILY 6:55, 9:30; SAT�SUN 12:55, 3:30


6:45, 9:40; SAT�SUN 12:45, 3:40

FILM // 23


Full-time thrash

Persistence pays off for Canadian metal band Anvil Paul Blinov //


f you've seen Anvil: The Story of Anvil— which trumps Metallica's Some Kind of Monster as the most sincerely heartbreaking documentary ever made about a metal band—you know what a watermark achievement it is that Steve Kudlow, better known as Anvil frontman Lips, doesn't work a dayjob anymore. After a promising, influential start back in the late '70s, Anvil spent the better part of three decades trying to keep the headbanger dream alive amid disappointing album sales, butterfinger management and playing tiny, empty clubs, in even the metal-vanguard nations of Europe. To make ends meet, Kudlow drove trucks for Children's Choice Catering; longtime drummer Robb Reiner worked in construction. Their wives tried to tolerate the way they clung to their musical endeavors. But the film's release and sleeper-hit acclaim brought Anvil back into the public consciousness and saw a wave of renewed interest lift the band out of the metal scene's dredges and into a position of respect—so much so, Kudlow notes, that the band couldn't find time to record its next album until their now-successful touring schedule finally abated a bit. Needless to say he's thrilled, though not at all surprised. "I had the distinct idea immediately, before an inch of film was shot, what was going to happen," Kudlow laughs, talkative on the phone from his Toronto home. "C'mon, if a Hollywood director and screenwriter comes up to you and says, 'I'm going to make a movie about your life,' and you've had a life that has been filled with the things that I've lived, you go, 'That will not only make an interesting documentary, but I'm the guy to deliver it. I'm not inhibited.' So the first thing that came to my mind? This is going to blow people away. What I'm going to reveal is going to blow people's minds, 'cause I have no inhibitions about it. "Showing [Anvil playing] an empty room? So what?" he continues. "Think I'm the only one that suffers that? They call it the Big Four [of thrash metal]? Anthrax, Megadeth, Metallica, Slayer] What about the rest of us? And that's what the rest of us put up with. So I let it go to film. I let people see the reality of it. A brand name like Anvil that's been around for 30 years, that recorded all those records, can play clubs and no-one shows up. It's just a complete example of what goes on out there. That's what really goes on out there." Anvil's escaped that, and Juggernaut of Justice, the band's 14th album and first

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Juggernaut of metal

post-Story of Anvil release, shows a band emboldened by that long-dreamt-of success: stemming from that, Kudlow notes, Juggernaut boasts a more positive outlook than the previous albums. "Everything comes out reflected in the music that you write, whether it's on a conscious level or a subconscious level," Kudlow says. "In the same way that, when I wrote the album, Worth the Wait back in 1991, when I was dealing with the loss of my marriage, Rob was dealing with the loss of his father, we wrote about death!" he exclaims. "Loss! And it wasn't until years later that I came to realize, 'Oh, that's why we did it.' You don't realize, because it's either consciously or sub-consciously, you're creating part of an imprint and sort of documenting your life with a recording, so to speak. And with this portion of course, with all the positive energy, everything that's been happening in and around us, it infiltrated the music." There were a few tangible choices made by Anvil this time around that break from previous norms. During discussions with new producer Bob Marlette, Kudlow decided to approach his songwriting like he did his guitar solos: favouring improvisation over a more meticulous songwriting process.

"[With] all my other albums, I came in with all set lyrics, the way that it was all gonna work, this is how the song goes. I go to the producer: let's make it happen. This time, I approached it the way I did with guitar solos," he explains. "Having lived this and experienced this for a number of years, I thought, 'What if I approach the vocals the same way.' After all, they're both overdubs, aren't they? You've got a space of time in the music that you've got to create a part that goes with what's going on underneath. You could do it either planned or you can do it spontaneously. "So what I did is I did basic sketches of how the lyrics would fit on all the music. So I had rhyming schemes and the way that all kind of worked, and how many syllables per line. But beyond that, what the actual words were saying, it wasn't important to me initially in my blueprints. In my blueprints they were nothing more than filler, so I wouldn't get locked in and memorize something that I wouldn't end up using." V Fri, May 27 (9 pm) Anvil with guests Starlite Room, $24.75


Tue, May 31 (8 pm) / Edmonton Event Centre, $37

Ratatat's Evan Mast sounds relaxed and nonchalant on the phone—almost to a fault. You can practically hear the no-bigdeal shrug accompanying every question's answer, a tone easily paired with his slacker-chic appearance and mirrored in Ratatat's spartan album titles: one self-titled, one called Classics, LP3 and now LP4. His words hint at a devil-may-not-even-care attitude, cool and particuarly casual, but his actions belie a certain insatiable tenaciousness lurking just beneath that calm outer shell. Ratatat makes rippling instrumental dance music: neon-rainbow guitars riffs, space-wash synth and plenty of subtle sonic tilts and textures. Mast and guitarist Mike Stroud go above and beyond the average stickler for details: for LP4, Mast spent a year tracking down the rights to a seconds-long sample from Terrence Malick's 1978 classic Days of Heaven. Linda Manz, an actress from the film, owned the desired sample, but had mostly withdrawn from the public eye years before. Finding her to simply ask permission proved a particularly prolonged process. "It took about a year, just searching around, trying different avenues, trying the screen actor's guild and stuff. A really drawn-out process, " Mast says, of trying to track her down. "I ended up getting involved myself—the sample clearing people gave up after a while. "We ended up on the phone with her just out of the blue one day," he adds. "She was super helpful, she was really cool, and then once we cleared the sample, I

had the idea of having her do more narration on the record." Mast flew down to Manz's California home with his sister and spent the day interviewing her, resulting in LP4 being peppered with snippets of their conversation. Excerpts like, "They were just getting ready to swing; knocked me out with a baseball bat" or "I used to wait for people after school and beat them up if they were pretty or they smiled too much."

it perks up your ear in a different way than when you're just hearing the music." The spaced-out jams that constitute LP4 welcome these little intrusions. It's a stranger album, more offbeat than the group's earlier, slicker guitar jams. Maybe it's due to more recent forays into hip-hop production—Ratatat produced Kid Cudi's "Pursuit of Happiness," and backed Cudi on his performance of the song on David Letterman's show—but the band seems bolder in the

For an all-instrumental record, when you do hear words, hear voices, it perks up your ear in a different way "She's such a character," Mast notes. "If we had her talking she was bound to say something worth sampling." Falling between tracks on LP4, Manz's clips make for jarring, curious moments that effectively act as a weather vane for the album, heralding changes in mood and tempo. Still, that Mast took a year tracking her down for what adds up to a combined 30 seconds of a full-length recording speaks to the careful specificity with which Ratatat crafts its albums. "I feel like it can just help direct the flow of the record," he says about putting vocals into instrumental tracks. "I mean, usually for us, we use them in between songs, sort of as transitions. For an all-instrumental record, when you do hear words, hear voices,

sounds it's starting to incorporate, even compared to those on LP3 just two years earlier, working here with Middle Eastern percussion and a full string section. "By the time we had got to LP4, we were pretty well-practiced with recording, really deep in the swing of things. But we were just able to experiment more: I think the recording process just got a little bit looser," Mast explains. "We were letting ourselves expand on ideas that we probably wouldn't have given extra time to previously. So to me, that record's just really bizarre, it's just got so many strange ideas, a really odd collection of sounds. I think it's a record we only could've made immediately after making a more normal Ratatat record." PAUL BLINOV


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ON THE RECORD Tue, May 31 (8 pm) / Starlite Room, $26.75

// Lisa Mark



The members of Sloan looking underwhelmed ... if that's a word

Celebrating its 20th anniversary, Halifaxby-way-of-Toronto band Sloan can boast about being one of the few bands ever to hold onto its original lineup for such a lengthy period. It's also one of few bands to treat songwriting in such a democratic fashion, working hard to include a roughly even number of contributions from each member. On the group's latest disc, The Double Cross, Sloan refuses to rest on its considerable history, instead pushing forward into new sonic territory. Guitarist and sometime frontman Jay Ferguson offers his perspective on the making of The Double Cross. Vue Weekly: How long did it take to

make The Double Cross, from the initial songwriting through to the end of the recording? Jay Ferguson: The recording part started late July 2010 and lasted through mixing which took us into late January/early February of 2011. The writing is hard to say, as some songs were written before recording and some during. A few had been kicking around in one form or another for years. VW: When you were writing your songs,

did you come at them in a particular way? Lyrics first? Music first? JF: For me personally, melody comes first after playing around with a chord sequence. Maybe make up a few parts that work together, then whittle it down to (hopefully) the best parts. The lyrics for me are most always last. Some of the "fake" lyrics that I'll have—for illustrating the melody to myself or for the demo— will end up staying if they make sense, but usually most of the rough lyric gets wiped out for (again ... hopefully) the better, finished lyrics. VW: Did you take the songs to the band

fully formed, or were they sketches that were then filled out as a group? JF: Most often they are fully formed.

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Whoever writes the song usually calls the shots on how it is produced and arranged, but occasionally one gets a bit lost and the others will come up with an idea that can transform a track. For example, the drums at the beginning of "Follow the Leader" were recorded quickly on a whim when the original idea was not progressing as satisfyingly as hoped. Another instance was on "Beverly Terrace": I wrote the music a year before we recorded it and I remember playing it for Gregory and he came up with a piano riff on the spot that really worked well. He then recorded it quickly into his iPhone. A year later, we started recording the song and it was going OK, but not amazingly. Then, we remembered about the piano riff, Gregory found the recording in the depths of his iPhone and we re-recorded to the track. Immediately it made the song 100 percent better and other instruments fell into place quickly. VW: What were the recording sessions

like for this album? Did you record as a band live off the floor or did you piece it together one track at a time? Why? JF: We almost never record live off the floor. Pieced together basically. Just the way we work best. Everyone plays different instruments—Andrew plays great guitar, Chris is handy on drums— piecing things together allows for more variation. VW: Were there any other songs written

that were left off the album? JF: There were a few. A couple tracks— "Jesus Loves Me" and "Then Again"—were recorded and have been used as bonus

tracks at various outlets. A few more songs were tracked, but not completed. VW: How did you decide which songs

to include on the album? Did you have an idea of what you wanted The Double Cross to be when you started, or did the finished shape emerge as the writing and recording went along? JF: The album took shape once recording was finished. It's hard for a band with four songwriters to decide on a vision for the LP that has yet to be recorded. We try to represent everyone evenly on each album, so usually each picks our own favourite three songs. Often some of us will chime in (ie I'll get nosy) with what songs they favour by the others that they're working on, hopefully swaying or encouraging them to act upon your favourites. VW: You worked with Nick Detoro on the

last few records and Ryan Haslett on this one. What drew you to him, and what did he add to the process? JF: We've known Ryan for a few years. He worked with us on our last two albums in more of an "assistant" capacity. We recorded the Hit & Run EP with him in 2009 and decided to continue working with him. He did a very fine job—and barbecues a nice steak. VW: If you were to trace the musical map

that led you to The Double Cross, what would it look like? JF: A bunch of tangled cables and empty food containers.V Bryan Birtles


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MUSIC // 27



musician. He'll tell his stories this Saturday. (Blue Chair Café, $10)

Cam Penner / Sat, May 28 (8 pm) Touring behind an album called Gypsy Summer, Cam Penner is a bit of a gypsy himself: raised in Manitoba around his parents' roadhouse and his grandfather's moonshine distillery, Penner went to Chicago as a young man to work with the homeless, eventually giving that up for life as a travelling

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Ms Lauryn Hill / Sat, May 28 (8 pm) See how there's a time there after the date? Well, that's what time the doors open, not what time the show starts. The show starts whenever the hell Ms Lauryn Hill says it starts. The creative genius behind the seminal R&B album The Miseducation of Lauryn Hill has been known to keep audiences waiting for hours, but has also been known for always making it worth it. (Edmonton Event Centre, $65) Sepultura / Sun, May 29 (7 pm) Hard rocking and late-sleeping metal band Sepultura brings its Brazilian thrash to Edmonton, along with Hate, Keep of Kalessin, Neuraxis and Miskatonic. (Starlite Room, $28.50)

Timber Timbre / Sun, May 29 (8 pm) Montréal/Toronto band Timber Timbre brings its tremorous take on folk to Avenue Theatre in support of its latest album, Creep On Creepin' On. (Avenue Theatre, $20) The Creepshow / Sun, May 29 (8 pm) Filled with camp and horror, Toronto psychobilly band the Creepshow also has a personal side to its music: vocalist Sarah Blackwood sings of everything from addiction to anxiety to love gone wrong. And zombies. (Pawn Shop, $12)




Fri, May 27 (4 pm) / Sherbrooke Community League Park

Mother-daughter folk duo Myrol sings pure-hearted Canadian country that has garnered fans all over the continent and across the pond. Playing at this weekend's Blossom into the Blues at Sherbrook Community League Park, Haley Rose Myrol lets us in on the records that soundtrack her life both at home and on the road.

At home

The Steeldrivers, The Steeldrivers Before we had the honour to have Tammy Rogers decorate our album with her beautiful stringed mandolin and fiddle, I fell in love with the Steeldrivers one afternoon sitting cross-legged at the heels of this incredibly talented group at the Edmonton Folk Festival. Emmylou Harris, Wrecking Ball We had the opportunity to meet Emmylou backstage after her Wrecking Ball tour, where at 10 years old I regaled her with stories about how her music helped warm and bring back to health a dying, freezing baby calf we brought into the house one night. Long story; I wonder if I would tell her the same one today?

On the road morning


Willie Nelson, Teatro Candles, bathtub and manicure included.



Sue Foley, Where The Action Is Morning? OK, OK. Well, if we have to. See "Let it Go" if you're in need of a great breakup song.

Lucinda Williams, Car Wheels On a Gravel Road For very obvious reasons. Also, as a songwriter she's been a bit of a mentor for me, pushing the limits with her gritty alt-country grace.

The Streets, Everything Is Borrowed Ideally listened to with someone who's studied the album on the road and can guide you through this concept albumâ&#x20AC;&#x201D; like Mark Chmilar of the City Streets (thank you).

Fish Griwkowsky //

Sleigh Bells Mon, May 23 / Starlite Room

Alexis Krauss of Sleigh Bells turning the crowd into a wet lather. VUEWEEKLY.COM/SLIDESHOWS >> for more of Fish Griwkowsky's photos

VUEWEEKLY // MAY 26 â&#x20AC;&#x201C; JUN 1, 2011

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NEWSOUNDS Wild Beasts, Smother (Domino) 

Wild Beasts’ third album, Smother, is an exercise in restraint. Throughout the album the band draws back, populating songs with nuanced arpeggios and strippeddown beats that dance around echoing empty space. It’s a downright minimalist approach for a band previously known more for its excess than its careful consideration. Even vocalist Hayden Thorpe reigns in the more outlandish uses of his impressive vocal range. His ability to ascend mountains into a soaring falsetto and spelunk through the deepest caves with a sinister croon—often during the same line—has always proved divisive. On Smother, he follows the rest of the band into a tensely coiled lockstep and only breaks from it when doing so has the most devastating effect. Wild Beasts’ flamboyant theatricality will probably always rub some the wrong way, but the restraint the band exercises on Smother plays against type and the results are captivating. Garth Paulson


Malajube, La Caverne (Dare to Care) 

Malajube returns with another stadium indie record. The sound is big though decidedly soft-rock on most of La Caverne. Songs like "Mon Oeil" where the band subdues themselves, singing with breathless intimacy, are much preferred to the classic rock prog stylings of songs like "Sangsues" or synth era Van Halen chug-a-lug jams like "Cro-Magnon." "Ibuprofène," on the other hand, is a prosaic summer pop tune worth checking out. Unfortunately, for the album's strong suits there are numerous structural choices that register high in the cornball detector. If you enjoy fist pumping en français, La Caverne is definitely your slice. Joe Gurba


The Head and the Heart The Head and the Heart (Sub Pop) 

The Head and the Heart’s self-titled album became something of self-release phenomenon when it originally hit Seattle shelves in 2010. For a local, independent release it sold like crazy and garnered the group a record deal and a re-release. Listening to the album, it’s easy to understand how it could catch on: it’s filled with desperately earnest, mid-tempo, rootsy folk rock with pretty boy-girl harmonies and pained emoting. It fits in comfortably alongside Bon Iver and Fleet Foxes and courts the same swooning beauty. The problem is that, though ably performed and superficially pretty, the album too often rings hollow. Despite all of the effort to appear sensitive, from the heart and genuine it feels clinically calculated and soulless. The album is pleasant enough on the surface, but there is precious little below it. Garth Paulson


This Will Destroy You Tunnel Blanket (Suicide Squeeze) 

There are moments on This Will Destroy You’s sophomore full length Tunnel Blanket where the music comes frighteningly close to the band’s titular promise and others where it merely washes away with nary a blip of destruction to be found. Instead of the usual quiet-loud binary of most instrumental postrock, the band explores more ambient territory here. Songs begin almost inaudibly either as a distant bass rumble or a gentle guitar drone and then achingly build by nearly imperceptible augmentation. Cacophony is constantly on the verge of erupting, but rarely materializes. Instead, everything lugubriously grows and grows, gradually increasing the tension with every atmospheric addition. At times Tunnel Blanket moves too glacially, making it all too easy to escape its meditative grasp. During the album’s finest moments, however, it completely engulfs, suffocating out everything but the mounting doom. Garth Paulson


Iggy Pop Roadkill Rising (Shout Factory) 

Four discs' worth of bootleg-quality recordings—that is, there's a wide range in the sound here, generally improving as the years roll by— Roadkill Rising does a decent job of capturing the razor edge of Iggy Pop on stage. Not for the faint of heart, but neither were the Stooges. Eden Munro


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Train Wreck 24 hours (Independent) A perfect blend of Unapologetic blues And go fuck yourself




Spanning from the packed house glitch-pop of Gobble Gobble to the everyone-siton-the-floor double-necked guitar meditations of Wyrd Visions, Wyrd III presented a diverse spectrum of fringe Canadian music, condensing upwards of 20 bands into one night. It was a lot to take in—music started at 6 pm and, using two stages to keep music rotating, it essentially ran non-stop until 1:30 am, save a few technical jumbles—but made up a full and fully diverse cross-cut of Canada's lesser-known musical acts.

Delhi 2 Dublin Planet: Electrified remixes (D2D) The perfect jams for Cruising 104th after Khazana buffet

Velvet Chrome


Molly Sweeney Gold Rings and Fur Pelts (Syren Songs) Hippies and torch jazz They go together just like Ketchup and coffee

Makeout Videotape


This is Head 0001 (Adrian) Woozy confusion Like being punched in the face By someone famous

J. Rocc Some Cold Rock Stuff (Stones Throw) Fucking amazing With beats this big you could make Tankers full of borscht

Seether ... Strings Better left to Fray (Wind-Up) Radio jock jams So slick and powerful you'll Piss your good sweat pants

Gobble Gobble

VUEWEEKLY.COM/SLIDESHOWS >> for more of Paul Blinov's photos

VUEWEEKLY // MAY 26 – JUN 1, 2011

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THU MAY 26 ACCENT EUROPEAN LOUNGE Sarah Mallandaine (pop), Marc Ross (folk); 9:30pm11:30pm; no minors; no cover BLUES ON WHYTE Reverend Raven and the Chain Smokin' Altar Boys May. 23 - 25; 26-28

BRIXX BAR Promonium Jesters, Psykkle, Adaptive Reaction; 9pm (door); $12 (door) CARROT CAFÉ Zoomers Thu afternoon open mic; 1-4pm THE DOCKS Thu night rock and metal jam DRUID IRISH PUB DJ every Thu at 9pm DV8 Punk Rawk Dan With The Swamp Monsters; 10pm EDMONTON EVENTS CENTRE Birdwatching Adventurez Tour: Borgore, with DJ Degree, Phatcat, Ootz, Daphutur, Specialist, Ten-O, The La Gogue dancers; 8pm; $25 at Foosh, Blackbyrd, Occultist, Rain (WEM), EXPRESSIONZ CAFÉ Dr Blu (original blues, light jazz); 7pm (door), 8pm (show); $10 (adv) at Expressionz Cafe, yeglive. ca/$15 (door) FLOW LOUNGE Ding Dong; 9pm; $25 (adv) HAVEN SOCIAL CLUB Thea Neumann (CD release party), SIM; 8pm; $10 J AND R Open jam rock 'n' roll; every Thu; 9pm JEFFREY'S CAFÉ Tim Harwill (folk, country, rock singer/songwriter); $10 JUBILEE AUDITORIUM Burton Cummings adn band (Your Backyard Tour); 8pm; $45, $65, $85 at TicketMaster L.B.'S PUB Open jam with Kenny Skoreyko, Fred Larose and Gordy Mathews (Shaved Posse) every Thu; 9pm-1am MARYBETH'S COFFEE HOUSE�Beaumont Open mic every Thu; 7pm NAKED CYBER CAFÉ Open stage every Thu, 9pm; no cover NEW CITY LEGION A mass fundraiser; no minors NEW WEST HOTEL Herbs May 26 to 28 NORTH GLENORA HALL Jam by Wild Rose Old Time Fiddlers every Thu RIC’S GRILL Peter Belec (jazz); most Thursdays; 7-10pm RUSTY REED'S HOUSE OF BLUES Studebaker John; $5; Every Thu Ladies Night; Ladies free admission

$15 at unionevents,, Blackbyrd

WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close WILD WEST SALOON Quentin Reddy May 26-28 WUNDERBAR N.N., Van Gohst, Serrydium, Joe Tucker; 9pm; $5

DJs 180 DEGREES DJ every Thu BLACK DOG FREEHOUSE Main Floor: Tight Jams: every Thu with Mike B and Brosnake; Wooftop Lounge: various musical flavas including Funk, Indie Dance/Nu Disco, Breaks, Drum and Bass, House with DJ Gundam; Underdog: Dub, Reggae, Dancehall, Ska, Calypso, and Soca with Topwise Soundsystem CENTURY ROOM Lucky 7: Retro '80s with house DJ every Thu; 7pm-close CHROME LOUNGE 123 Ko every Thu THE COMMON So Necessary: Hip hop, classic hip hop, funk, soul, r&b, '80s, oldies and everything in between with Sonny Grimezz, Shortround, Twist every Thu CROWN PUB Bass Head Thursdays: Drum and Bass DJ night, 9pm DRUID IRISH PUB DJ every Thu; 9pm

FRI MAY 27 ARTERY Rat Creek Press Relaunch and Connect Awards Party: Alberta Avenue Choir, The Proper Charlies; 7:30pm (door); $10; children welcome AVENUE

BLUE CHAIR CAFÉ Dr Blu; 8pm; $12

PAWN SHOP Andrew W.K. (rock), Randy Graves, Raptors, Hale Hale; 8pm; $25 (adv)

THE COMMON NRMLS WLCM All vinyl/no requests: with Nik7, and Jaycie Jayce, Nick Jackson, Dane; 9pm; $5

BLUES ON WHYTE Reverend Raven and the Chain Smokin' Altar Boys May. 23 - 25; 26-28 BOHEMIA Unite the Tribe!; music by Chimpa Chowie, Bongwater, Fizzix; also live art, full-body massages, Tarot Card readings, and FUNdraising for the Canadian Cancer Society; 7pm; no minors; $10 (adv)/$15 (door) BRIXX BAR Early show: Empire Assassians, guests, 7pm; no minors, $10 (door); Late show: Options with Greg Gory, Eddie Lunchpail; 9pm (door); $5, free for ladies CARROT Live music every Fri; all ages; Babes in Arms; 7pm; $5 (door) Fri, May 27 CASINO EDMONTON Stars Tonight May 27 & 28 CASINO YELLOWHEAD Suite 33 May 27 & 28 CENTURY CASINO Chilliwack

FLUID LOUNGE Thirsty Thursdays: Electro breaks Cup; no cover all night

EXPRESSIONZ CAFÉ Night of Artists–Fab Four Weekend: Tiff Hall, Pulse; $20 at TIX on the Square

LUCKY 13 Sin Thu with DJ Mike Tomas ON THE ROCKS Salsaholic: every Thu; dance lessons at 8pm; salsa DJ to follow OVERTIME�Downtown Thursdays at Eleven: Electronic Techno and Dub Step

FRESH START BISTRO Darrell Barr (country, rock); 7-10pm; $10 GAS PUMP The Uptown Jammers (house band); every Fri; 5:30-9pm HAVEN SOCIAL CLUB Vis Vitalis (rock), guests; 8pm; $10 HORIZON STAGE Karla Anderson IRISH CLUB Jam session every Fri; 8pm; no cover s JEFFREY'S CAFÉ Gaea Schell Trio (jazz); $10 JEKYLL AND HYDE PUB Headwind (classic pop/rock); every Fri; 9pm; no cover

RENDEZVOUS Metal night every Thu


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

One Room: Sharon Nolan's photos of residents of inner-city rooming houses in Edmonton with songs written about them performed by Joe Nolan, Maria Dunn, Jessica Heine, and Bob Jahrig; 6:30pm (door), 7:30pm (show); $20 at TIX on the Square, $25 (door)

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

SECOND CUP�Varscona Live music every Thu night; 7-9pm STARLITE ROOM Hayes Carll, guests; 8pm (door);

WILD BILL’S�Red Deer TJ the DJ every Thu and Fri;

BLACKSHEEP PUB Bash: DJ spinning retro to rock classics to current

ON THE ROCKS Bad Judgement , DJs May 27-28

CENTRE Escape: High School Grad Party with DJs

LEVEL 2 LOUNGE Funk Bunker Thursdays

BLACK DOG FREEHOUSE DJs spin on the main floor every Fri; Underdog, Wooftop

BLACKJACKS Ken Flaherty, Dale Fortier; 8:30pm (show); no cover


KAS BAR Urban House: every Thu with DJ Mark Stevens; 9pm

MEAD HALL Lucifer Project, Miskatonic, Aether; 8pm Friday, May 27

BAR�B�BAR DJ James; every Fri; no cover

CHROME LOUNGE Platinum VIP every Fri

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

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

LONDONDERRY HALL 14224-74 St 2islandgirls, Gord Matthews, Red Plastic Bag, DJ Iceman; 8pm; tickets at TIX on the Square

Bounce, Nestor Delano, Luke Morrison every Fri

NEW WEST HOTEL Herbs May 26 to 28

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

FUNKY BUDDHA�Whyte Ave Requests every Thu with DJ Damian

LIZARD LOUNGE Rock 'n' roll open mic every Fri; 8:30pm; no cover

THEATRE Raised Fist–Metal For Miracles: Silent Line, Harmful Effects. Built On Despondency, Suburban Syndrome, Netherwerd, These Colours Don’t Run, World Class White Trash, Columbian Necktie; no minors; 7:30pm (door); $15; proceeds to Stollery Childrens Hospital

ELECTRIC RODEO�Spruce Grove DJ every Thu

UNION HALL Customer appreciation party with Chuckie; free until 10:30pm; $10 after

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8527 Marie-Anne Gaboury St (91 St, 86 Ave),

LB'S PUB Samantha King; 9:30am

NEW CITY LEGION Steve Rawles (This Is a Standoff ), James Renton (Fire Next Time), Rusty; no minors; $10 (door)

RAINMAKER MUSIC FESTIVAL�St Albert Under The Big Top: Default, Tupelo Honey, Starewell, Carson Cole Band; no minors; ; 6pm (gates); $25 at, Crown and Tower Pub, The Rink; www. RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players every Fri; 9pm-2am REXALL PLACE Switchfoot SHERBROOKE COMMUNITY LEAGUE Blossom into the Blues Festival: Studebaker John, Blue Gator, Dave Babcock and the Night Keepers, Johnny Quasar, Boogie Patrol, Johnny Tornado and the Swingbots, Boogie Patrol, Jimmy D. Lane; 4-11pm; fundraiser for the Sherbrooke Community League, and E4C; $30 at TIX on the Square, Rusty Reed's, Blackbyrd; , 17yrs and under free Fri, May 27, 4-11pm; Sat May 28, 11am-11pm STARLITE ROOM Anvil (metal); no minors; 8pm (door); $20 at unionevents. com,, Brixx, Blackbyrd UNION HALL Love Fest: Boogie Hill, Faders, DJ Johnny Infamous; 9pm (door); 11pm (fest) WILD BILL’S�Red Deer Prism; 7pm WILD WEST SALOON Quentin Reddy May 26-28 WOK BOX Breezy Brian Gregg every Fri; 3:305:30pm WUNDERBAR Cousins, Sans Aids, Extra Happy Ghost, Jom Comyn; 9pm; $5 YARDBIRD SUITE Miles Davis' Bitches Brew; 8pm (door), 9pm (show); $18 (member)/$22 (guest) FRIDAY-SATURDAY, MAY 27-28, 2011

Classical CONVOCATION HALL Opera Nuova: Classic Broadway Concert; 7:30pm; School mat 12:30pm; $14 (adult adv)/$12 (student/ senior adv) at TIX on the Square; $18 (adult door/$16 (student/senior door); part of Vocal Arts Festival

DJs 180 DEGREES DJ every Fri AZUCAR PICANTE DJ Papi and DJ Latin Sensation every Fri BANK ULTRA LOUNGE Connected Fri: 91.7 The

BUDDY’S DJ Arrow Chaser every Fri; 8pm (door); no cover before 10pm BUFFALO UNDERGROUND R U Aware Friday: Featuring Neon Nights

THE DRUID IRISH PUB DJ every Fri; 9pm ELECTRIC RODEO�Spruce Grove DJ every Fri FLUID LOUNGE Hip hop and dancehall; every Fri FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro with DJ Damian; every Fri GAS PUMP DJ Christian; every Fri; 9:30pm-2am JUNCTION BAR AND EATERY LGBT Community: Rotating DJs Fri and Sat; 10pm LEVEL 2 LOUNGE Funk Bunker Thursdays–Funk and Bass; 9:30pm NEWCASTLE PUB House, dance mix every Fri with DJ Donovan OVERTIME�Downtown Fridays at Eleven: Rock Hip hop country, Top forty, Techno REDNEX�Morinville DJ Gravy from the Source 98.5 every Fri RED STAR Movin’ on Up: indie, rock, funk, soul, hip hop with DJ Gatto, DJ Mega Wattson; every Fri ROUGE LOUNGE Solice Fri SPORTSWORLD Roller Skating Disco Fri Nights; 7-10:30pm; SUEDE LOUNGE Juicy DJ spins every Fri SUITE 69 Every Fri Sat with DJ Randall-A TEMPLE Options with Greg Gory and Eddie Lunchpail; every Fri TREASURY In Style Fri: DJ Tyco and Ernest Ledi; no line no cover for ladies all night long

BLACK DOG FREEHOUSE Hair of the Dog: Cam Penner (live acoustic music every Sat); 4-6pm; no cover BLUE CHAIR CAFÉ Cam Penner; 8pm; $10 BLUES ON WHYTE Every Sat afternoon: Jam with Back Door Dan; Reverend Raven and the Chain Smokin' Altar Boys May. 23 - 25; 26-28 BOHEMIA art+muzak; featuring audio and visual artists brought together by curators Team Anger and Craig Talbot; 9pm; no minors; free (member); foodbank donations encouraged BRIXX BAR Bomb Squad Rookie, Scentisphere, guests; 9pm (door); $12 (door) CARROT CAFÉ Open mic CASINO EDMONTON Stars Tonight May 27 & 28 CASINO YELLOWHEAD Suite 33 May 27 & 28 CENTURY CASINO Fab Fourever

COAST TO COAST Live bands every Sat; 9:30pm THE COMMON Goodlife present Disco Dress-Up; 9pm; $5 CROWN PUB Acoustic blues open stage with Marshall Lawrence, every Sat, 2-6pm; Laid Back Saturday African Dance Party with Dj Collio, every Sat, 12-2am DV8 Rippin' it Doggy Style: Looking East; 9pm-12 EDMONTON EVENT CENTRE Ms. Lauryn Hill (R&B, urban soul); 8pm (door); no minors; $65 at, TicketMaster FILTHY MCNASTYS Swear by the Moon, The Rebellion, Sly Business; 4pm; no cover EDDIE SHORTS Saucy Wenches every Sat EXPRESSIONZ CAFÉ Night of Artists–Fab Four Weekend: afternoon: U22 performances: Rebecca Lappa, Dean Kheroufi, Ross Nicoll, Kayla Patrick, Jordan Kaminski, Giselle Boem, Braden Gates, Brittnay Grabill, 12-5pm, $7; evening: Dana Wylie, Joe Nolan, Ido Grapendale, Chloe Albert, and Zoe Francis (Beatles tribute), 7pm, $20; at TIX on the Square nightofartists. com GAS PUMP Blues jam/open stage every Sat 3:30-7pm

May 27-28

RAINMAKER MUSIC FESTIVAL�St Albert Under The Big Top: Charlie Major, Aaron Pritchett, Six West, Carson Cole Band; no minors; 6pm (gates); $25 at, Crown and Tower Pub, The Rink; www. REDNEX BAR�Morinville Chronic Rock RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players every Sat; 9pm-2am SHERBROOKE COMMUNITY LEAGUE Blossom into the Blues Festival: Always Often, Kelly Jay, Myrol, Luke and Tess Pretty, Big Hank and a Fist Full of Blues, The Rault Brothers, The Rusty Reed Band, Hot Cottage, Arsen Shomakov; 11am11pm; fundraiser for the Sherbrooke Community League, and E4C; $30 at TIX on the Square, Rusty Reed's, Blackbyrd; , 17yrs and under free STARLITE ROOM The Order of Chaos (CD release), Unleash the Archers, Shadowblade; 9pm (door); $12 (door) STRATHCONA LEGION Hawaiian Night: Big and Fearless (rock); 8pm; no cover WILD WEST SALOON Quentin Reddy May 26-28 YARDBIRD SUITE Miles Davis' Bitches Brew; 8pm (door), 9pm (show); $18 (member)/$22 (guest) FRIDAY-SATURDAY, MAY 27-28, 2011

Classical ROBERTSON�WESLEY UNITED CHURCH SoAP (the Society of Amateur Performers) Heart Safari I: Sing-along concert, tea, silent auction; 6:30pm; fundraiser to provide support to the developing music program including the Mustard Seed Church program ROBERT TEGLER STUDENT CENTRE Spring Concert: Festival City Winds Music Society: directed by Wendy Grasdahl; 7:30pm; $8 at door, TIX on the Square WINSPEAR CENTRE Red Maple Choir; 7pm; $50, $20 at Edmonton Chinatown Multicultural Centre, Asia Books and Gifts, Daily Books and Gifts, Urban China Restaurant


HAVEN SOCIAL CLUB Rose Cousins, Jeff Morris (pop/ folk), guests; 8pm; $15

180 DEGREES Street VIBS: Reggae night every Sat

HILLTOP PUB Open stage every Sat hosted by Blue Goat, 3:30-6:30pm

AZUCAR PICANTE DJ Touch It, hosted by DJ Papi; every Sat


HOOLIGANZ Who's The Hero? (rock); no minors; 9pm (door)

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

IRON BOAR PUB Jazz in Wetaskiwin featuring jazz trios the 1st Sat each month; $10

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

ALBERTA LEGISLA� TURE GROUNDS All My Relations: Asani, Bill Miller (songwriter), others; musical fundraiser for Slave Lake area evacuees; 2pm

JEFFREY'S CAFÉ Marco Claveria (Latin); $15

UNION HALL Ladies Night every Fri VINYL DANCE LOUNGE Connected Las Vegas Fridays Y AFTERHOURS Foundation Fridays

AVENUE THEATRE Raised Fist–Metal For Miracles: Farewell To Freeway, No Bragging Rights, Exits and Trails, Capture the Hills, Stallord, Watership Down, Daedalus, Submerge the Sky; all ages; 5:30pm (door); $15, proceeds to Stollery Childrens Hospital

VUEWEEKLY // MAY 26 – JUN 1, 2011

NEW CITY LEGION Kirby, The Human Race; Matinee Performance; no minors; 4pm (door), 6pm (show); no cover NEW WEST HOTEL Herbs May 26 to 28 O’BYRNE’S Live band every Sat, 3-7pm; DJ every Sat, 9:30pm ON THE ROCKS Bad Judgement, DJs

BLACK DOG FREEHOUSE DJs on three levels every Sat: Main Floor: Menace Sessions: alt rock/electro/ trash with Miss Mannered; Underdog: DJ Brand-dee; Wooftop: Sound It Up!: classic Hip-Hop and Reggae with DJ Sonny Grimezz BLACKSHEEP PUB DJ every Sat BUDDY'S Feel the rhythm every Sat with DJ Phon3 Hom3; 8pm (door); no cover before 10pm BUFFALO UNDERGROUND Head Mashed In Saturday: Mashup Night

DRUID IRISH PUB DJ every Sat; 9pm ELECTRIC RODEO�Spruce Grove DJ every Sat FLUID LOUNGE Intimate Saturdays: with DJ Aiden Jamali; 8pm (door) FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro every Sat with DJ Damian GAS PUMP DJ Christian every Sat HALO For Those Who Know: house every Sat with DJ Junior Brown, Luke Morrison, Nestor Delano, Ari Rhodes JUNCTION BAR AND EATERY LGBT Community: Rotating DJs Fri and Sat; 10pm NEWCASTLE PUB Top 40 requests every Sat with DJ Sheri NEW CITY LEGION Polished Chrome: every Sat with DJs Blue Jay, The Gothfather, Dervish, Anonymouse; no minors; free (5-8pm)/$5 (ladies)/$8 (gents after 8pm) OVERTIME�Downtown Saturdays at Eleven: RNB, hip hop, reggae, Old School PALACE CASINO Show Lounge DJ every Sat PAWN SHOP Transmission Saturdays: Alt, DJ, punk-rock RED STAR Indie rock, hip hop, and electro every Sat with DJ Hot Philly and guests SPORTSWORLD Roller Skating Disco every Sat; 1pm-4:30pm and 7-10:30pm SUEDE LOUNGE DJ Nic-E spins every Sat SUITE 69 Every Fri Sat with DJ Randall-A TEMPLE Oh Snap! Oh Snap with Degree, Cobra Commander, Battery, Jake Roberts, Ten-O, Cool Beans, Hotspur Pop and P-Rex; every Sat UNION HALL Celebrity Saturdays: every Sat hosted by Ryan Maier VINYL DANCE LOUNGE Signature Saturdays WUNDERBAR DJ Weezl Y AFTERHOURS Release Saturdays

SUN MAY 29 AVENUE THEATRE Timber Timbre, Tasseomancy (blues folk); 8pm (door); $20 (adv) BEER HUNTER�St Albert Open stage/jam every Sun; 2-6pm BLACKJACK'S ROADHOUSE�Nisku Open mic every Sun hosted by Tim Lovett BLUE CHAIR CAFÉ Sun Brunch: PM Bossa; 10.30am2.30pm; donations BLUE PEAR RESTAURANT Jazz on the Side Sun: Marc Beaudin; 6pm; $25 if not dining CROWN PUB Band War 2011/Battle of the bands, 6-10pm; Open Stage with host Better Us Than Strangers, 10pm-1am DEVANEY’S IRISH PUB Celtic open stage every Sun with Keri-Lynne Zwicker; 5:30pm; no cover DOUBLE D'S Open jam every Sun; 3-8pm EDDIE SHORTS Acoustic jam every Sun; 9pm UNTIL MAY 29: BALLROOM The Next Big

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

EXPRESSIONZ CAFÉ YEG live Sun Night Songwriters Stage; 7-10pm EXPRESSIONZ CAFÉ YEG live Sunday Night Songwriters Stage; 7-10pm every Sunday J AND R BAR Open jam/ stage every Sun hosted by Me Next and the HaveNots; 3-7pm KNOX CHURCH Zaac Pick, with Chanda Cooper (folk, pop); 7pm; benefit concert for restoration of Knox Church; $18 (adv)/$20 (door) NEWCASTLE PUB Sun Soul Service (acoustic jam): Willy James and Crawdad Cantera; 3-6:30pm O’BYRNE’S Open mic every Sun; 9:30pm-1am ON THE ROCKS Big Rock Jam: Carson Cole, 2-7pm; Seven Strings Sundays: Matt Landry and the Dryland Band at 9pm ORLANDO'S 2 PUB Open stage jam every Sun; 4pm PAWN SHOP The Creepshow, The Hypnophonics, Preying Saints, The Rock 'n' Roll Rats (rock/hard rock); 8pm; $12 (adv) ONGOING: RUSTY REED'S HOUSE OF BLUES Salsa Sundays: featuring The Tilo Piaz Band; 2pm (door), 4-8pm (music); $5 cover SECOND CUP�Mountain Equipment Co-op Live music every Sun; 2-4pm STARLITE ROOM Keep of Kalessin, Sepultura, Nevermore, Miskatonic, Neuraxis, Hate, Bonded By Blood; 7pm (door); $28.50 at foundationconcerts. com, Blackbyrd, Permanent Records

FINE ARTS BUILDING Opera NUOVA: Master Class with Judith Forst; 7pm; $14 (adult)/$12 (student/senior) door; part of Vocal Arts Festival MCDOUGALL UNITED CHURCH Edmonton Vocal Minority: EVM; 1:30pm; free, donations for Camp fYrefly SACRED HEART CHURCH Colours of Spring Encore: Kokopelli, Shumayela; 4pm; $16 (adult)/$13 (student/ senior) at TIX on the Square, door ST JOSEPH'S CHAPEL Opera NUOVA: An Afternoon of Sacred Music; 4pm; $14 (adult adv)/$12 (student/senior adv at TIX on the Square); $18 (adult door)/$14 (student/senior door); part of Vocal Arts Festival tickets.html WINSPEAR CENTRE Sunday Showcase: Edmonton Symphony Orchestra, Jan Lisiecki (piano), Eric Buchmann (violin); 2pm

DJs BACKSTAGE TAP AND GRILL Industry Night: every Sun with Atomic Improv, Jameoki and DJ Tim BLACK DOG FREEHOUSE Sunday Funday: with Phil, 2-7pm; Sunday Night: Soul Sundays: '60s and '70s funk, soul, R&B with DJ Zyppy 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 MAY 30 BLACK DOG FREEHOUSE Sleeman Mon: live music monthly; no cover

WUNDERBAR Life In Vacuum, This City Defects, Flint, Scribbler; 9pm; $5

BLUES ON WHYTE Too Slim And The Taildraggers May. 30 - June 4



Singer/songwriter open stage every Mon; 8pm; this week with Dale Ladouceur

NEW WEST HOTEL Ghost Riders May 30 to June 4

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

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

NEW WEST HOTEL Ghost Riders May 30 to June 4 PLEASANTVIEW COMMUNITY HALL Acoustic instrumental old time fiddle jam every Mon; hosted by the Wild Rose Old Tyme Fiddlers Society; 7pm ROSE BOWL/ROUGE LOUNGE Acoustic open stage every Mon; 9pm

DJs BLACK DOG FREEHOUSE Main Floor: Blue Jay’s Messy Nest: every Mon with DJ Blue CROWN PUB Minefield Mondays/House/Breaks/ Trance and more with host DJ Pheonix, 9pm FILTHY MCNASTY'S Metal Mon: with DJ S.W.A.G. LUCKY 13 Industry Night every Mon with DJ Chad Cook NEW CITY LEGION Madhouse Mon: Punk/ metal/etc with DJ Smart Alex

TUE MAY 31 BLUES ON WHYTE Too Slim And The Taildraggers May. 30 - June 4 BRIXX Troubadour Tuesdays: with JP Fornier, Welby Santos, Aaron Vincent, Mae Anderson, Jenn Durrant; 8pm (door); $5 (door) DRUID IRISH PUB Open stage every Tue; with Chris Wynters; 9pm; guest Amanda Le Blanc May 31 EDMONTON EVENT CENTRE RATATAT, guests; all ages; 8pm (door); tickets at, TicketMaster, Blackbyrd, Foosh, Listen L.B.’S Tue Blues Jam with Ammar; 9pm-1am

PADMANADI Open stage every Tue; with Mark Davis; all ages; 7:3010:30pm R PUB Open stage jam every Tue; hosted by Gary and the Facemakers; 8pm SECOND CUP�124 Street Open mic every Tue; 8-10pm SECOND CUP�Stanley Milner Library Open mic every Tue; 7-9pm SECOND CUP� Summerwood Open stage/open mic every Tue; 7:30pm; no cover SIDELINERS PUB All Star Jam every Tue; with Alicia Tait and Rickey Sidecar; 8pm SPORTSMAN'S LOUNGE Open stage every Tue; hosted by Paul McGowan; 9pm STARLITE ROOM Sloan (20th Anniversary Tour); 8pm (door); $22 at PrimeBoxOffice. com, UnionEvents. com, Blackbyrd, Brixx, WUNDERBAR Whiskey Wagon, Ian McIntosh, DoT, Rusty, and more; 9pm; Slave Lake fundraiser: cover by donation YARDBIRD SUITE Tue Night Sessions: Nathan Ouellette Quartet; 7:30pm (door), 8pm (show); $5


CHROME LOUNGE Bashment Tue: Bomb Squad, The King QB, Rocky; no cover CROWN PUB Live hip hop and open mic with DJs Xaolin, Dirty Needlz, Frank Brown, and guests; no cover DV8 Creepy Tombsday: Psychobilly, Hallowe'en horrorpunk, deathrock with Abigail Asphixia and Mr Cadaver; every Tue FUNKY BUDDHA�Whyte Ave Latin and Salsa music every Tue; dance lessons 8-10pm NEW CITY LEGION High Anxiety Variety Society Bingo vs. karaoke with Ben Disaster, Anonymouse every Tue; no minors; 4pm-3am; no cover RED STAR Experimental Indie Rock, Hip Hop, Electro with DJ Hot Philly; every Tue WUNDERBAR HOFBRAUHAUS Stuesdays: Wunderbar's only regular DJ night every Tue

WED JUN 1 BLACK DOG FREEHOUSE Main Floor: Glitter Gulch: live music once a month BLUES ON WHYTE Too Slim And The Taildraggers May. 30 - June 4 BRIXX BAR Really Good… Eats and Beats: DJ Degree, friends every Wed; 6pm; $5 CENTURY GRILL Century Room Wed Live: featuring The Marco Claveria Project; 8-11pm COMMONWEALTH

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

CROWN PUB Dan Jam/ open stage every Wed; 8pm-2am

BRIXX BAR Troubadour Tue: hosted by Mark Feduk; 9pm; $8

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

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

ELEPHANT AND CASTLE�Whyte Ave Open mic every Wed (unless there's an Oilers

STADIUM U2 360°, The Fray; all ages; 6pm; $30, $55, $95, $250 at livenation. com, TicketMaster

VENUE GUIDE 180 DEGREES 10730-107 St, 780.414.0233 ACCENT EUROPEAN LOUNGE 8223-104 St, 780.431.0179 ARTERY 9535 Jasper Ave AVENUE THEATRE 9030-118 Ave, 780.477.2149 BANK ULTRA LOUNGE 10765 Jasper Ave, 780.420.9098 BLACK DOG FREEHOUSE 10425-82 Ave, 780.439.1082 BLACKJACK'S ROADHOUSE� Nisku 2110 Sparrow Drive, Nisku, 780.986.8522 BLACKSHEEP PUB 11026 Jasper Ave, 780.420.0448 BLUE CHAIR CAFÉ 9624-76 Ave, 780.989.2861 BLUE PEAR RESTAURANT 10643-123 St, 780.482.7178 BLUES ON WHYTE 10329-82 Ave, 780.439.3981 BOHEMIA 10575-114 St BRIXX BAR 10030-102 St (downstairs), 780.428.1099 BUDDY’S 11725B Jasper Ave, 780.488.6636 CASINO EDMONTON 7055 Argylll Rd, 780.463.9467 CASINO YELLOWHEAD 12464153 St, 780 424 9467 CENTURY GRILL 3975 Calgary Tr NW, 780.431.0303 CHROME LOUNGE 132 Ave, Victoria Trail COAST TO COAST 5552 Calgary Tr, 780.439.8675 COMMON LOUNGE 10124124 St CONVOCATION HALL Arts Bldg, U of A, 780.492.3611 CROWN AND ANCHOR 15277 Castledowns Rd, 780.472.7696 CROWN PUB 10709-109 St,

780.428.5618 DIESEL ULTRA LOUNGE 11845 Wayne Gretzky Drive, 780.704. CLUB DEVANEY’S IRISH PUB 9013-88 Ave, 780.465.4834 THE DOCKS 13710 66 St, 780.476.3625 DRUID 11606 Jasper Ave, 780.454.9928 DUSTER’S PUB 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 FINE ARTS BUILDING Rm 1-29, U of A FLOW LOUNGE 11815 Wayne Gretzky Dr, 780.604.CLUB FLUID LOUNGE 10888 Jasper Ave, 780.429.0700 FUNKY BUDDHA 10341-82 Ave, 780.433.9676 GAS PUMP 10166-114 St, 780.488.4841 GOOD EARTH COFFEE HOUSE 9942-108 St HALO 10538 Jasper Ave, 780.423. HALO HAVEN SOCIAL CLUB 15120A (basement), Stony Plain Rd, 780.756.6010 HILLTOP PUB 8220-106 Ave, 780.490.7359

HOOLIGANZ 10704-124 St, 780.995.7110 IRON BOAR PUB 4911-51st St, Wetaskiwin JAMMERS PUB 11948-127 Ave, 780.451.8779 J AND R 4003-106 St, 780.436.4403 JEFFREY’S CAFÉ 9640 142 St, 780.451.8890 JEKYLL AND HYDE 10209-100 Ave, 780.426.5381 JUNCTION BAR AND EATERY 10242-106 St, 780.756.5667 KAS BAR 10444-82 Ave, 780.433.6768 KELLY'S PUB 11540 Jasper Ave L.B.’S PUB 23 Akins Dr, St Albert, 780.460.9100 LEGENDS PUB 6104-172 St, 780.481.2786 LEVEL 2 LOUNGE 11607 Jasper Ave, 2nd Fl, 780.447.4495 LIZARD LOUNGE 13160-118 Ave KNOX CHURCH 8403-104 St MARYBETH'S COFFEE HOUSE–Beaumont 5001-30 Ave, Beaumont, 780.929.2203 MCDOUGALL UNITED CHURCH 10025-101 St NAKED CYBER CAFÉ 10354 Jasper Ave, 780.425.9730 NEWCASTLE PUB 6108-90 Ave, 780.490.1999 NEW CITY LEGION 8130 Gateway Boulevard (Red Door) NEW WEST HOTEL 15025-111 Ave, 780.489.2511 NISKU INN 1101-4 St NORTH GLENORA HALL 13535-109A 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 OVERTIME�Downtown 10304111 St, 780.465.6800 OVERTIME Whitemud Crossing, 4211-106 St, 780.485.1717 PAWN SHOP 10551-82 Ave, Upstairs, 780.432.0814 PLAYBACK PUB 594 Hermitage Rd, 130 Ave, 40 St PLEASANTVIEW COMMUNITY HALL 10860-57 Ave REDNEX BAR�Morinville 10413-100 Ave, Morinville, 780.939.6955 RED PIANO BAR 1638 Bourbon St, WEM, 8882-170 St, 780.486.7722 RED STAR 10538 Jasper Ave, 780.428.0825 RENDEZVOUS 10108-149 St RIC’S GRILL 24 Perron Street, St Albert, 780.460.6602 ROBERT TEGLER STUDENT CENTRE Concordia University College of Alberta, 73 St, South of 112 Ave ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253 ROSE AND CROWN 10235101 St R PUB 16753-100 St, 780.457.1266 RUSTY REED'S HOUSE OF BLUES 12402-118 Ave, 780.451.1390 SACRED HEART CHURCH 10821-96 St ST JOSEPH'S CHAPEL U of A SECOND CUP�Mountain Equipment 12336-102 Ave, 780.451.7574; Stanley Milner Library 7 Sir Winston Churchill Sq; Varscona, Varscona Hotel, 106 St, Whyte Ave SECOND CUP�Sherwood

Park 4005 Cloverbar Rd, Sherwood Park, 780.988.1929 ʸSummerwood Summerwood Centre, Sherwood Park, 780.988.1929 SHERBROOKE COMMUNITY LEAGUE 13008-122 Ave SIDELINERS PUB 11018-127 St, 780.453.6006 SPORTSWORLD 13710-104 St SPORTSMAN'S LOUNGE 8170-50 St STARLITE ROOM 10030-102 St, 780.428.1099 STEEPS TEA LOUNGE�Whyte Ave 11116-82 Ave STRATHCONA LEGION 902051 Ave SUEDE LOUNGE 11806 Jasper Ave, 780.482.0707 SUITE 69 2 Fl, 8232

Gateway Blvd, 780.439.6969

TAPHOUSE 9020 McKenney Ave, St Albert, 780.458.0860 TREASURY 10004 Jasper Ave, 7870.990.1255, VINYL DANCE LOUNGE 10740 Jasper Ave, 780.428.8655, WILD BILL’S�Red Deer Quality Inn North Hill, 7150-50 Ave, Red Deer, 403.343.8800 WILD WEST SALOON 12912-50 St, 780.476.3388 WINSPEAR 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,

VUEWEEKLY // MAY 26 – JUN 1, 2011

MUSIC // 33


Reason for the season


chelsea boos //

Pride's fight is not yet won

In three weeks our community will be celebrating as being part of the solution to gay shame. But Edmonton Pride with parties, dances, concerts, while shame is cast on individuals' actions be they sports events, art shows and of course the parade. homosexual, sadomasochistic or polyamorous, auWith these festivities come the usual and tired thor Michael Warner argues Pride should actually criticism, mockery and anger. From, "What do you be used to push back against the stigma that has people have to be proud of?" to, "Aren't you people been written onto our queer bodies and communiequal? After all, you can get married now," and, ties. In his book The Trouble with Normal: Sex, "We don't have a straight parade, so why do Politics, and the Ethics of Queer Life, Waryou need a gay one?" ner argues that stigma is different from While I usually respond by saying shame. Stigma is associated with who that the other 364 days are a straight the individual is. parade, maybe we do need to ask our"Stigma ... refers to a mark on the body, k e e w vue selves these questions. Why do we need like a brand or a tattoo or a severed ear, alexa@ Alexa e Pride if we queer Canadians enjoy more identifying a person permanently with n rights and freedoms than most other his or her disgrace," Warner says. DeGag queers around the world? Aren't we beyond Shame is fleeting once the sexual act is the point where we need to flaunt our sexuality in over, while a stigma brands an individual for the the streets? remainder of their lives as it becomes their idenGay and lesbian Canadians may have been granted tity. They are forever abnormal, and society brands some important formal rights, but these rights still them thusly out of fear and anger for that which fail to protect or empower members of our comthey cannot understand, much less control. munity who cannot or will not assimilate in order Many people engage in and celebrate Pride parades to benefit from these rights and protections, inand parties in order to demystify and celebrate decluding the transgender, queer, non-monogamous, viant sexual acts, but sexuality is about much more low-income, non-white, immigrant, refugee and than one's sexual acts. Thus the more complicated differently-abled members of our community. Pride and arduous task is to challenge society's hierarchimarches, and then parades, were founded in large cal valuing of sexuality and sexual identity. part to expose and fight for concrete political and So this Pride, let's think about naming and pushlegal goals. It's important to remember that North ing back against society's anger and fear about sexAmerican Pride marches grew out of fear and desuality. Fight against the fear that dictates that we peration, and in the hope that laws and state procannot talk honestly and candidly about sexuality tections would enable our communities to survive. in schools, the media and political arenas. Stand up against the supposedly benign jokes about queers, Some protections, though, will only come with sodykes and faggots. These harassments, taunts and cietal change. Pride marches have been an avenue utterances are malignant; they are cast onto and for challenging societies' understandings and relainto our bodies and communities as stigma that tionships with sexuality. Pride is commonly held erodes us from the inside out. V


who are you who who who who Edmonton is covered with characters that add unexpected colour and personality to hidden corners of the city. This one, found in the University LRT station, is a familiar sight. Like the listen bird and bandit, it is one of the things that contributes to the unique identity of this place. V

FREEWILL ASTROLOGY ARIES (Mar 21 – Apr 19) Today I received this email: "Dear Chosen One: My name is Boopsky, also known as 'The Impossible.' I rule a small kingdom that exists in a secret place—an island with abundant riches and rhinoceros playgrounds. To make a long story short, you have won our 'naked' lottery. Please come visit us to claim your prizes. We will carve a statue of you out of butter and strawberry jam. Can't wait to see you be so happy!" I suspect you may soon receive an invitation as puzzling as this one, Aries—an apparent blessing that carries mixed messages or odd undertones. My suggestion is to hold off on accepting it until you find out more about it. Meanwhile, make sure it doesn't distract you from taking advantage of a less flashy but more practical opportunity. TAURUS (Apr 20 – May 20) In order to capture the spirit of the landscapes he painted, French artist Claude Monet used to work outside in all kinds of weather. When I look at masterpieces like "Snow at Argenteuil," I like to imagine he was so engrossed in his work that he barely even registered the bitter chill. I bet you'll be able to achieve a similar intensity of focus in the coming week, Taurus. You could be so thoroughly absorbed in an act of creation or a ritual of transition or an attempt at transformation that you will be virtually exempt from any discomfort or inconvenience that might be involved. GEMINI (May 21 – Jun 20) What's going to happen for you in the coming week will be

34 // BACK

the metaphorical equivalent of gaining the ability to see infrared light with your naked eye or to detect the ultrasonic sounds that only dogs can hear. With this virtual superpower at your disposal, you just may be able to figure out how people's unspoken feelings have been covertly affecting your destiny. You will intuit lucid inklings about the probable future that will help you adjust your decisions. You might even tune in to certain secrets that your own unconscious mind has been hiding from you. CANCER ( Jun 21 – Jul 22) Devilish laughter revels in chaos, says Loyola University philosophy professor John Clark. "It's an assault on excessive order, authority and seriousness." Angelic laughter, on the other hand, "expresses delight in the wondrousness of life and in the mystery of the order and fitness of things." I'd like to suggest, Cancerian, that the time is ripe for you to revel equally in the devilish and the angelic varieties of laughter. So get out there and seek funny experiences that dissolve your fixations and celebrate your life's crazy beauty. The healing that results could be spectacular. LEO ( Jul 23 – Aug 22) Last year a group of wealthy Germans asked their government to require them to pay higher taxes. "We have more money than we need," said the 44 multi-millionaires. They wanted to help alleviate the ravages of poverty and unem-

ROB BREZSNY // ployment. I urge you to make a comparable move, Leo. In what part of your life do you have more abundance than most people? Are there practical ways you could express your gratitude for the extravagant blessings life has given you? I think you'll find that raising your levels of generosity will ultimately lead to you receiving more love. VIRGO (Aug 23 – Sep 22) "I don't know what I'm looking for," sings Brendan Benson in his bouncy pop song, "but I know that I just want to look some more." I suspect those words could come out of your mouth these days, Virgo. I worry that you've become so enamored with the endless quest that you've lost sight of what the object of the quest is. You almost seem to prefer the glamour of the restless runaround—as painful as it sometimes is. That probably means you're at least somewhat out of touch with the evolution of your primal desires. Check back in with the raw, throbbing source, please. LIBRA (Sep 23 – Oct 22) When it's flood season, the Amazon River rises as much as 60 feet. At that time, the adjoining forests earn their name—várzea, a Portuguese word meaning "flooded forests." The river's fish wander far and wide, venturing into the expanded territory to eat fruit from the trees. In the coming weeks, Libra, I imagine you'll be like those fish: taking advantage of the opportunities provided by a natural windfall.

VUEWEEKLY // MAY 26 – JUN 1, 2011

SCORPIO (Oct 23 – Nov 21) Provocative new influences are headed your way from a distance. Meanwhile, familiar influences that are close at hand are about to burst forth with fresh offerings. It's likely that both the faraway and nearby phenomena will arrive on the scene at around the same time and with a similar intensity. Try not to get into a situation where they will compete with or oppose each other. Your best bet will be to put them both into play in ways that allow them to complement each other. SAGITTARIUS (Nov 22 – Dec 21) Are you desperate for more companionship? Are you prowling around like a lusty panther, fantasizing about every candidate who's even remotely appealing? If so, I have some advice from the poet Rumi: "Your task is not to seek for love, but merely to seek and find all the barriers within yourself that you have built against it." In other words, Sagittarius: to foster the search for intimate connection, identify the patterns within yourself that are interfering with it. By the way, this is good counsel even if you're only moderately hungry for closer connection. CAPRICORN (Dec 22 – Jan 19) If you live in the United States, your chocolate almost certainly contains insect parts. The Food and Drug Administration understands that the mechanisms involved in making chocolate usually suck small passers-by into the works, which is why it allows manufacturers to include up

to 60 bug fragments per 100 grams of chocolate. A lot of positive influences have a similar principle at work: unpalatable ingredients get mixed in with the tasty stuff, but not in such abundance that they taint the experience. This week, Capricorn, you may be unusually tuned in to the unpalatable side of some good things in your life. Don't overreact. AQUARIUS ( Jan 20 – Feb 18) I went to a literary event in which young poets read their work. One poet, Shelby Hinte, began her segment by talking about what inspires her. "I like to write about women who are more interesting than me," she said. I was full of admiration. It suggests she's cultivating the abundant curiosity and humility that I think are essential to the creative process. As you slip deeper into an extra fertile phase of your personal cycle, Aquarius, I urge you to adopt a similar voracity for influences that surprise and fascinate and educate you. PISCES (Feb 19 – Mar 20) "Any sufficiently advanced technology is indistinguishable from magic," said science fiction writer Arthur C Clarke. I think there will soon be a similar principle at work in your life, Pisces: you will get a vivid glimpse of amazing things you could accomplish in the future. They may seem fantastic and impossible to the person you are right now—tantamount to magic. Be alert for expanded states of awareness that reveal who you could ultimately become.


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SPECIAL EVENTS 27TH ANNUAL WORLD PARTNERSHIP WALK œD]_akdYlmj]?jgmf\kœogjd\hYjlf]jk`ahoYdc& [geœ=n]fl\]\a[Yl]\lgYdd]naYlaf__dgZYd hgn]jlq$oYdcoal`^YeadqYf\^ja]f\koal`dan] ]fl]jlYafe]fl$^gg\Yf\egj]œJun 5$))Ye%he œ>mf\k_glg\]n]dghe]flhjgb][lk ALL THINGS SINGLE�LAUNCH PARTY œGn]jlae]º\goflgof$)(++-%)))Klœ /0(&.(,&--,,œDYmf[`hYjlq^gj9ddL`af_k Kaf_d]$Yf]n]flZYk]\gj_YfarYlagf[j]Ylaf_ ]n]flk^gj=\egflgfkaf_d]k+(%-(qjkœMay 26$ /2+(heœ>j]] BIKE TO THE SYMPHONY 2011 œ<]hYjl<] ;Yhg'J]\Zac]œ?jgmhZac]ja\]lgl`]kqe% h`gfqœJun 1 œ:]_afk2<]hYjl<];Yhg'J]\% Zac]Yl.2+(he';gf[]jlYl/2+(he3:Y[cklY_] lgmj^gddgok[gf[]jl FOR THE WELL OF ITœKgdakO]ddf]kkYf\ :ajl`Kgmj[]Af[$-()-'-(*,%)(.9n]œ>j]] eafal`]jYhqk]kkagfk eYkkY_]$Zgo]fl`]jYhq$ [jYfagkY[jYdl`]jYhq$mfoaf\af_l`]Z]ddq!$ o]ddf]kkn]f\gjkoal`af^gjeYlagf$j]^j]k`% e]flk$Yf\dan]emka[œMay 29$))Ye%.heœ Hjg[]]\klgOAF@gmk] HEART OF THE CITY œ?agnYffa;YZglgHYjc$ Dalld]AlYdqœ`]Yjl[alq^]kl&[geœ>j]]log%\Yq emka[Yf\9jlk^]klanYd^]Ylmjaf_]e]j_af_Yf\ hjg^]kkagfYdYjlaklk^]Ylmjaf_<YfYOqda]$B]fa] L`Ya$9f\j]oK[gll$L`]EY_ha]k$F]oQgml` =\egflgf$Yf\Bmda]BgfYkœJun 4$))Ye%0he3 Jun 5$))Ye%/he HIGHLANDS STREET FESTIVAL œ@a_`dYf\k E]j[`Yfl<aklja[l$))*9n]$.-Klœ>]klanYdYf\ gml\ggjeYjc]l^]Ylmjaf_Yjl$emka[$`aklgja[Yd oYdc$[YjjaY_]ja\]$kad]flYm[lagf$Yf\egj]œ Jun 5$)(Ye%-he HIGH TEA œ\Dak`MjZYfCal[`]f$)(,)0%)*, KlœAfkmhhgjlg^KL9JK9aj9eZmdYf[]Klgd% d]jq;`ad\j]fk@gkhalYd>gmf\YlagfœMay 29œ -(YlEq>adgkgh`q INDIA’S NOMADIC CARAVAN�CULTURAL INTERCONNECTIONS œJYkgaJ]klYmjYfl$1*..% +,9n]œ/0(&,1.&*11/œAf\aY¿kFgeY\a[;YjYnYf ^]Ylmjaf_Yljgmh]g^).?qhkqemka[aYfk$\Yf[% ]jk$\jmee]jk$hg]lk$Yf\egj]œJun 6$.2+(%)(% heœ+- af[d\aff]j!YlLAPgfl`]KimYj] INTERNATIONAL CHILDREN’S FESTIVAL œ9j\]fL`]Ylj]$Kl9dZ]jlœ[`ad\^]kl&[geœ >]Ylmjaf_h]j^gjeaf_$dal]jYjqYf\nakmYdYjlk ^gj[`ad\j]f$^Yeada]k$k]fagjk$_jYf\hYj]flk$Yf\ k[`ggdYf\[geemfalq_jgmhkœMay 31-Jun 4 œ La[c]lkYnYadYZd]Yll`]9j\]fL`]Ylj]Zgpg^Ç[]$ L2/0(&,-1&)-,*$Yf\La[c]lEYkl]j JOANNA BISLEY TRUNK SHOW œ1./,%),* Klj]]l;j]klogg\œeq^adgkgh`q&[geœMay 28$ )%-he MEC BIKEFEST œKajOafklgf;`mj[`addKiœ e][&[Y'Zac]^]klœCa\¿k;q[daf_Kcaddk;gmjk]k hj]%j]_akl]j!Yf\ogjck`ghk^gjeYafl]fYf[]$ k][mjalq$Yf\kY^][q[daf_œMay 29$)*%,heœ >j]] NEXT FEST œJgpq)(/(0%)*,Kl3Danaf_Jgge HdYq`gmk]))+)-%)(.9n]3Gd\;q[d]Zd\_1),)% ))09n]39n]fm]L`]Ylj]1(+(%))09n]œ`llh2'' ooo&Yll`]jgpq&[ge'f]pl^]kl&h`hœL`]Ylj]$ \Yf[]$^ade$hdYqj]Y\af_k$nakmYdYjl$emka[ ]n]flkœ)( k`go!')0 \YqhYkk!',( ^]klanYd hYkk!3eYfq^j]]]n]flk3la[c]lkYlJgpqL`]Ylj]$ /0(&,-+&*,,( ONE ROOM œDY;al…^jYf[gh`gf]$0-*/EYja]% 9ff]?YZgmjqKl$1)Kl$0.9n]œEmdlae]\aY [gf[]jlhj]k]fl]\Zql`]=\egflgf;gYdalagf gf@gmkaf_Yf\@ge]d]kkf]kk =;G@@!oal` K`YjgfFgdYfkh`glgkg^j]ka\]flkg^aff]j% [alqjggeaf_`gmk]kaf=\egflgfoal`kgf_k ojall]fYZgmll`]k]h]ghd]Yf\h]j^gje]\Zq Bg]FgdYf$EYjaY<mff$B]kka[Y@]af]$Yf\:gZ BY`ja_œMay 27$.2+(he \ggj!$/2+(he k`go!œ *( Y\nYlLAPgfl`]KimYj]!'*- \ggj! REFINERY FACTORY PARTY œ9jl?Ydd]jq g^9dZ]jlYœqgmjY_Y&[Yœ>]Ylmjaf_kge]g^ 9dZ]jlY¿k`gll]kllYd]fl$afl]jY[lan]hjgb][lk$ h]j^gjeYf[]k$emka[Yf\Y[[]kklgYddl`j]] Èggjkg^]p`aZalagfk&Afkhaj]\Zql`]mh[geaf_ ]p`aZalagfAndy Warhol: Manufactured œJun 4$ 1he%*Yeœ*-'*( 9?9e]eZ]j! SLUT WALK œ>jge9dZ]jlYD]_akdYlmj] ?jgmf\klg=\egflgf;alq@Yddœ:][Ymk] oge]f\gfgl\]k]jn]mfoYfl]\k]pmYd Yll]flagfZ][Ymk]g^l`]aj[dgl`af_[`ga[]œJun 4$)*2+(%,he SPRING SPRINT œ@YojqdYcHYjcœ:jYafLm% egmj>gmf\Ylagfg^;YfY\YkfYlagfYdYf\Yf% fmYdoYdc%Y%l`gf^mf\jYakaf_]n]flœJun 6$1Ye STRIDE TO TURN THE TIDE œ<]ngfaYf?Yj% \]fk$-ceFg^<]ngf$@oq.(œ/0(&,)(&)-+) œ;YfY\aYf?jYf\egl`]jk^jgel`]Kl]h`]f D]oak>gmf\Ylagf¿k?jYf\egl`]jklg?jYf\% egl`]jk;YehYa_f$Yf\gl`]jk$oaddZ]oYdcaf_ afkmhhgjlg^9^ja[Yf_jYf\egl`]jk[Yjaf_^gj l`]eaddagfkg^[`ad\j]fgjh`Yf]\Zq9A<Kœ Jun 4, )(Ye%)(2+(Ye j]_akljYlagf!$)(2+(Ye ]fl]jlYafae]fl!$))Ye oYdc!œHjg[]]\klgl`] Kl]h`]fD]oak>gmf\Ylagf$hd]\_]Yl_jYf\% egl`]jk[YehYa_f&gj_



at 780.426.1996/fax 780.426.2889/e-m listings@vueweekly. com or drop it off at 10303-108 St. Deadline is noon the Tuesday before publication. Placement will depend upon available space


Playful people!!! Interested participating in Movement-Theatre Street Performance for Fringe? E: Paint Spot: Free intro demo: Water-soluble Pencils: Visual Journal and Travel Tips; Sat May 28, 1:30pm; Art Gallery of Alberta (AGA) seeks Superstar for upcoming Warhol-inspired Refinery Factory Party (Jun 4): Superstars Wanted contest for fans of the AGA’s Facebook page (18 yrs +) can enter to be the AGA’s Refinery Superstar for the night by submitting a photo of them based on Andy Warhol’s Screen Tests; Info: Open Jury Photography Exhibit at Jubilee; Deadline: Jun 2; Appl: Harcourt House Arts Centre is currently accepting submissions for their 2011/2012 Artist in Residence (AIR); submissions postmarked by May 31 to: Harcourt House Artist Run Centre, 3rd Fl, 10215-112 St, Edmonton, AB, T5K 1M7

EDUCATIONAL Top acting training Apply today!

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


***NOTICE OF INTEREST*** A security interest has been created against the estate of DWIGHT S SMITH. Let any and all with claim against the estate of DWIGHT S SMITH present themselves and proof of claim by registered mail within 14 days of the placement of this actual and constructive notice, or lose all rights or claims toward said estate. Details of said security interest veiwable at: tinyurl. com/smithfamilysecuredparty. Mail details of claim to: office of procurator c/o 87 Gainsborough Avenue, St. Alberta, Alberta T8N 1Z5 Notice: the following individuals have recorded their Secured Party Creditor documents at the Washington State UCC office Timothy Mark Mason, Larry Edgar Zachow, Gregory Lawrence Brodeur, Marvin Hugh Winch Notice: Bruce Robert Templeman and Valerie Gail MearnsTempleman have filed their Secured Party Creditor documents in Washington State UCC office Notice: Eugene Jacob Korbut and Joane Irene Korbut have filed their Secured Party Creditor documents in Washington State UCC office

MUSICAL INSTRUCTION MODAL MUSIC INC. 780.221.3116 Quality music instruction since 1981. Guitarist. Educator. Graduate of GMCC music program



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

VUEWEEKLY // MAY 26 – JUN 1, 2011

Want to be part of Edmonton's New Art community collective? Send info ASAP to for jury in upcoming show Any artist, musician, or performance artist interested in being featured at the Local Art Showcase @ Old Strathcona Antique Mall, E:

EXPRESSIONZ CAFÉ: Market Place every Sat, looking for visual artists, crafty vendors, creative business, green vendors, green businesses. Info/book vendor space (dropin vendors also welcome at 9am Sat) T: 780.437.3667; E:; W: EXPRESSIONZ CAFÉ�Centre for the Eats & Arts: looking for family friendly performers and presenters to compliment the Monthly Marketplace. T: 780.437.3667; E:; W:


Edmonton Blues Society–Road to Memphis, Edmonton Blues Challenge œOaffaf_Y[loaddj]hj]k]fl=\egflgf in the International Blues Challenge in Memphis, Tennessee (Jan 31-Feb 4, 2012); Deadline: Wed, Aug 31, 8pm; Info: blueschallenge.cfm; and May 26-AUG 31 Drummer looking to join metal or hard rock band. Double kick, 12 yrs exp, 8 yrs in Edmt indie band, 7 albums, 250 live shows, good stage presence, dedicated, catch on quick, no kids, hard drug free. 780.916.2155 Male pianist wanted, female considered. Must be able to play in higher note. Studio provided. sheri_mcnaught@ for time, cost. My time is flexible Vocalist wanted – Progressive/Industrial/metal; age 17-21. Contact

VOLUNTEER CommuniTEA Infusion, a community building project across Edmonton, looking for Volunteers. Info:; T: 780.801.3231 Team Edmonton: Volunteers needed for the CoronationTriathlon: May 28, 1-4pm; May 29, 12:30-2pm; E:

EXPRESSIONZ CAFÉ–looking for daytime café volunteers. If you like to meet and greet people, and are interested in waitressing with some gallery duties; call Amanda at 780.437.3667, day shifts Mon-Sat EXPRESSIONZ CAFÉ: Evening concert & event volunteers needed; help out at the ticket booth, the door, front of house, in the café for the Eats and Arts. T: Amanda: 780.437.3667, shifts at live concerts & events Wed-Sun

Pride Parade Volunteers Needed! Last year Team Edmonton was the winner in the Pride parade so we need your help again to create another award winning entry. Contact Team Edmonton at; Jun 4-11, after 5pm

ADULT STEAMWORKS GAY & BI MENS BATHHOUSE. 24/7 11745 JASPER AVE. 780.451.5554 WWW.STEAMWORKSEDMONTON.COM Eight Minute Date–Speed Dating for Singles $40. May 25, 2011 at The Dock's Age Groups: 24-34, 34-44, & 44-54. You must pre-register by calling 780.457.8535 or visit

BACK // 35

36 // BACK

VUEWEEKLY // MAY 26 – JUN 1, 2011

vue weekly 814 may 26 2011  

vue weekly 814 may 26 2011

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