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#875 / JUL 26 – AUG 1, 2012 VUEWEEKLY.COM



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Barrhead 5024 50th St. *Offer available until August 14, 2012, to residential customers who have not subscribed within the past 90 days to TELUS TV. Final eligibility for service will be determined by a TELUS representative. Minimum system requirements apply. TELUS home services bundle required. TV service includes the Essentials, required for all Optik TV subscriptions. Regular rate (currently $26/month) starts on month 7. TELUS reserves the right to modify regular rates without notice. TELUS, the TELUS logo, Optik TV and the future is friendly are trademarks of TELUS Corporation, used under licence. Journey to the Center of the Earth: available On Demand. © MMVII New Line Productions, Inc. and Walden Media. All rights reserved. Distributed Exclusively in Canada by Alliance Films. All rights reserved. Facebook, Twitter and Galaxie logos are trademarks of their respective owners. All rights reserved. Samsung and the Samsung logo are trademarks or registered trademarks of Samsung Canada. © 2012 TELUS.






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Erin 780.426.1996 VUEWEEKLY JULY 26 – AUGUST 1, 2012




FILM /11

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Yesterday's future — today! "It sounds different because we're better now."

20 Cover photo: Eden Munro

9 11 16

"This kind of thinking operates as a self-fulfilling prophecy, so the regime's final slide into defeat could be coming within days or weeks." "The final act, too, throws in a cleverly veiled twist that marks The Dark Knight Rises as a better trilogy-capper than a movie in its own right." "Short stories have real, unique powers, but it takes a writer as good as Keret to remind us of just how intoxicating and marvellously inclusive those powers can be."

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CONTRIBUTORS Chelsea Boos, Josef Braun, Rob Brezsny, Ashley Dryburgh, Gwynne Dyer, Brian Gibson, James Grasdal, Fish Griwkowsky, Michael Hingston, Carolyn Jervis, Matt Jones, Paula Kirman, Stephen Notley, Mel Priestley, Dan Savage, Mimi Williams, Mike Winters

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Campus democracy

This past Monday the University of Alberta released information on a drastic restructuring of the university residence, Lister Hall. The changes announced by the University of Alberta administration affect who can live in Lister, how Lister elects its representatives and how students organize their living situation. It's not an obvious choice for public comment or debate outside of a campus environment, but the University administration's decision, and the process by which it happened, is indicative of the type of environment the administration is attempting to create on campus. Students and the university have established various committees with student seats, which develop policy on student issues from food prices to building new recreation centres. There is a developed culture of consultation on campus. The LHSA is an elected body. It works with the University of Alberta Students' Union (representing the general student population), Residence Services, and the university administration to ensure the needs of residence students are met. Elected residence representatives carry substantial weight. The current changes the university is proposing changes the employment conditions of 46 students who currently work for both the LHSA and the University, which students took as a sign of cooperation between the

two bodies. Now the University is offering money to these employees to work solely for the administration and not the LHSA. As well, as the University is removing the ability of returning students to live in Lister, the future of the elected representatives of the LHSA and their capacity to represent students in that residence is unknown. So too is the ability of residence students to then be represented at a university level in governance decisions. The University of Alberta made these decisions without consulting students, without using the established channels of debate and discussion and the result of these decisions removes the power of elected student representatives. These actions demonstrate a lack of interest in student issues and representation. Students at the University of Alberta, much like Albertans themselves, are generally more keen to participate in consultations and committees, than protests. If the possibility of advocacy and consultation exists, that is usually the road chosen, but when the University acts with deliberate disregard for student concerns, it is making the choice to exclude students from established democratic consultation processes. At that point, what choice do students have to be heard? V

NEWSROUNDUP OUT IN THE COLD The University of Alberta has made drastic changes to its residence system without consulting students through established processes. Lister Hall, one of the largest residences in Canada, will no longer employ students as elected residence respresentatives, alcohol has been banned in common spaces, and Lister will become a first year-only residence. Students are supposed to be consulted through a memorandum of understanding which was signed in 2009, as well, elected representatives of the Lister Hall Students'

IGNORING THE ENVIRONMENT The Senate energy committee has released a new report which climate advocates are saying ignores current information on tar sands, fracking and the Fukushima disaster. Now or Never: Canada Must Act Urgently to Seize its Place in the New Energy World Order is meant to outline a vision for Canada's energy future. The plan focuses on nation-building


Association and the University of Alberta Students' Union are usually reguarly consulted on issues of governance and residence policy but were never given an opportunity to respond to any of the changes currently underway. "Lister's democratic system of having student representatives elected and accountable to the students they serve has been an important cultural aspect of the residence, and one of the key reasons that Lister has been so successful," said LHSA President Eric Martin. The Students' Union has stated its concern that the current changes effectively disempower the elected

representatives of the Lister Hall Students' Association. Staff members with the LHSA are currently being offered money to work solely for the University in residence. "The U of A's actions directly contradict the Minister of Enterprise and Advanced Education's commitment to consult with student leaders and listen to student concerns on issues that affect them. These actions are gravely disappointing—it has become clear that students aren't receiving the same level of respect or consultation from university officials." said Students' Union President Colten Yamagishi.

through energy infrastructure which it defines as expanding and modernizing oil and gas pipelines, putting natural gas at the centre of Canada's energy future and maintain a strong nuclear industry. The Council of Canadians believes this plan ignores evidence that natural gas is not the "clean" energy it's purported to be and fails to examine evidence regarding the safety of fracking. "Not only does this report gloss over

the environmental and human impacts of fossil fuels, the authors of the report even admit on page 2 that the report is completely detached from the reality of climate change," says Maryam Adrangi, Energy and Climate Justice campaigner for the Council of Canadians. "How can you write a report on Canada's energy future that ignores the climate crisis and the need to transition off of fossil fuels? Are we supposed to take this seriously?"

An inner city barbeque organized by a coalition of inner city organizations was held in Giovanni Caboto Park July 20 // Paula Kirman




Living up to potential

Alberta is looking to change the way it addresses poverty


he Alberta government has five years to eliminate child poverty in this province. Based on an election promise made by Premier Alison Redford this spring, the government has set the target of ending child poverty in five years and reducing overall poverty in 10. It's a lofty goal, one that governments have failed at before, and this one goal has become a part of a larger overhaul in the way in which the Alberta government plans its social policy objectives—an overhaul that could drastically change the way human services are planned and delivered in the province. Called the Alberta Social Policy Framework, the goal, according to the government website, is to identify strategies to achieve outcomes and measure success, as well as use consistent language across ministries. But human services advocates worry the tight timeline and lofty goals will fail to deliver the potential promise of such a massive undertaking. "We're happy that they're looking broadly," says Lori Sigurdson, professional affairs coordinator with the Alberta College of Social Workers. "We're encouraged by Premier Redford's promise on eliminating poverty. Those are massive undertakings. I hope we can do it, but it usually takes a longer process than this." This is not the first time a government has pledged to end child poverty. In 1989 the federal government committed to ending child poverty by the year 2000. Twelve years later those plans lay essentially abandoned. The bold commitment to end child poverty in 1989 was never followed up on with a concrete action plan, one with a time table and legislated commitments which would add up to a coordinated poverty reduction strategy. In 2010 a potential blueprint

for a poverty reduction strategy was tabled in the House of Commons. It contained 57 targeted recommendations relating to literacy, housing and Aboriginal education. These targets, or any federal strategy to work towards ending child poverty, were never adopted.

"This is not a finite process. It's an ongoing process. You enter into a discussion into something like a social policy framework its not a project with an end," says Hancock. "It behooves me not to sit down and say this is what it looks like, but to leave it open to what we're learning from people." By stating the need for a social policy framework the government is indicating its interest in changing the way in which policy is constructed between ministries and non-governmental organizations in order to create effective social policy. Sigurdson sees the benefit in an overarching policy as a way to create cohesive social change. "No segment gets excluded. No part of the population gets left behind. No matter our education,

Here in Alberta, the provincial government has stated that a potential model for the Alberta Social Policy Framework could look more like the current 10-year strategy to end homelessness. In Question Period this spring Human Services Minister Dave Hancock stated, in relation to a question about a poverty reduction strategy for Alberta, "The 10-year action plan to end homelessness is working across this province, and it is a model. It's a model of how social agencies can work with government and community to create the opportunity for individual Albertans to be successful, and it's working." According to a report by the coalition group "Action to End Poverty in Alberta" the 10-year strategy to end homelessness has worked toward targeted goals, within timeframes and as part of a collaborative effort between governments, advocacy agencies and service providers. Currently, advocates working with the provincial government in its consultation process on the social policy framework are seeking clarification on whether this framework is a poverty reduction strategy—working toward the elimination of poverty in 10 years—or an overarching framework, consistent guidelines and language for ministries to work with toward common goals. While the government has stated the Social Policy Framework will work toward the targets of reducing poverty, Hancock takes a broader approach to the project.

In Newfoundland, the social policy framework was abandoned in 2005. It created a direct connection between social investment and economic wellbeing. According to the Community University Research Alliance, the failure of the policy was attributed to insufficient resources and linkage structures between department bureaucracies that didn't work as expected. "Without deliverables it had very little presence," according to Dave Close, a political scientist who wrote on the subject in his paper "The Newfoundland and Labrador Strategic Social Plan: The Lifecycle of an Innovative Policy." Close also suggests that in developing a social policy framework a key to success is in actually determining what you are

"No part of the population gets left behind. No matter our education, background, ethnicity, income, we're all affected by adversity at different times, so having a broad overview of policies to support Albertans would benefit all of us." background, ethnicity, income, we're all affected by adversity at different times, so having a broad overview of policies to support Albertans would benefit all of us," says Sigurdson. Social policy frameworks have been attempted before by other provincial governments with varying degrees of success. Nova Scotia implemented a social policy framework in 2007, which was connected with an economic action plan "opportunities for Sustainable Prosperity." "The framework crosses departments and coordinates with communities, setting a vision for 2020 where every person in Nova Scotia will have, "The opportunity to live well and contribute in a meaningful way within a province that is caring, safe and creative." Each strategy is linked to an outcome.

creating: a strategy or a framework. A strategic plan, by definition, requires "Action-oriented plans carefully linked to implementation" and "highly structured, future oriented management techniques." And while Hancock states that the current social policy framework discussions include conversations about the idea of a minimum wage and debates around changing the tax structure, the question remains as to how this policy framework will relate to structural change. If earlier policy debates are an indicator, structural change may be difficult. During the recent minimum wage review, the idea of a comprehensive poverty reduction strategy was proposed to Thomas Lukaszuk, Minister of Employment and Immigration at the time, who responded that Alberta's poverty reduction strategy

Callum tweeted the following: "pondering ... to be honest, I'm not sure I can stand all the marketing lying, and remain non-violent :P"; then, "I've never been violent in my life. This is the problem you see, I don't think I would hit. But I am at break point"; and, finally, "I would pity the fool that pushed me across that line." McCallum was shocked to receive a phone call from Detective Dave Radmanovich with the Criminal Investigations Section of the Edmonton Police Service, responding to a complaint lodged by the City of Edmonton about the tweets. "We take any threat of criminal activity seriously," says EPS spokesperson Scott Pattison. In this case, the police were obligated to re-

spond once a complaint was made. "In today's day and age, you just don’t know what people are capable of," says Radmanovich, the investigating officer. In this case, he says the city asked him to look into these tweets and he did. After a phone conversation with McCallum, he closed the file. McCallum alleges the police have been used by the city in this case to suppress legitimate criticism. He points out that he threatened no one and feels he has been singled out by the city for being vocally opposed to both the downtown arena and the City Centre Airport. "What a waste of resources," he notes. Despite repeated calls and e-mails to the city requesting clarification

was to create jobs. The minimum wage review resulted in a 35-cent increase to $9.40 an hour. Public Interest Alberta was advocating for a change to a living wage, a rate that Vibrant Communities Calgary has estimated would need to be over $12 an hour. Currently, according to Statistics Canada, 47 percent of children living in poverty in Alberta have a parent working full-time, yearround. The Action to End Poverty in Alberta coalition has stated that any attempt at ending poverty must look at a change to wage structures. "Policies need to be developed that improve wages, benefits, and other conditions for low-income workers without extended health and dental benefits, employment pensions and job security." AEPA states in its 2010 report, "Time for Action." "We need to have a just society, and a solid framework can really support that," says Sigurdson, who also states the government should be looking at a progressive taxation system, over the current flat tax, "That creates greater inequality, so some really solid changes to policy in a policy framework could be more fair for all Albertans." Town halls and public conversations have been held by human service advocates such as the Alberta Teachers Association, the University of Alberta Students' Union, the United Nurses of Alberta and the provincial government is hosting the public feedback form on its site, welcoming submissions until July 31. Minister Hancock has stated that further public discussions could continue over the summer and into the fall, but that the framework needs to come together in order to begin to be aligned with the new results-based budgeting process in November. Samantha power



Crossing a line

Police called in on local social media debate


n the area of social media, a politician knows when they have made a mistake. Ask either Ward 3 Councillor Dave Loken, or Deputy Premier Thomas Lukaszuk. Both men, who made the news in the past week for intemperate tweets or Facebook posts, can tell you that if a politician's social media activity becomes part of the news cycle, they can be pretty sure they've crossed the line. If you or I make an ill-thought out remark online, on the other hand, we have to rely on a number of cues to determine if we’ve seriously breached online etiquette. Was our account suspended? Did we lose friends or followers? Did that coffee date suddenly cancel without explanation? Did the police suddenly take

8 up front

an interest in you? Okay, that last one might seem a little over-the-top, but that’s exactly what happened to Gary McCallum last month. McCallum, 58, and semi-retired due to medical issues, lives with his brother in Belvedere. He's an avid participant in debates about Edmonton political issues on Twitter, where he goes by the handle @CommonSenseSoc. McCallum acknowledges he tends towards hyperbole from time to time and can get under some folks' skin, but never in his wildest dreams did he expect to be investigated by the police for expressing his views. During an exchange about transparency, or lack thereof, at city hall, Mc-

VUEWEEKLY July 26 – August 1, 2012

about the guidelines in place for staff with respect to asking the police to investigate citizens, either in general or in this specific case, no such answers were forthcoming by press time. For those of us who don't have the nightly news to tell us when we've behaved badly, we really have to rely on our instincts. Just as we don't make jokes about bombs at airports, EPS recommends people need to be careful in the words they choose. If we don't want to trigger the attention of law enforcement, Radmanovich suggests it is wise to avoid any reference to violent acts. "What might seem like a joke to you could very well be perceived as a threat by someone else," he cautions. mimi Williams



Exposed minorities A post-revolutionary Syria could be one of ethnic cleansing

In war, moral power is to physical as three parts those groups in 1975-90, and a quarter-million out of four, said Napoleon, and the past few Lebanese died. Iraq tore itself apart in 2005days have seen a sudden and drastic shift in 2009, and at least half a million Iraqis died. the balance of moral power in Syria. The Two million people fled the country perbomb that killed the three most senior manently, including almost all of Iraq's members of the security establishChristian minority, and the Sunni Musm lims have almost all been driven out o ment last Wednesday may just have .c ly k wee e@vue gwynn been a lucky fluke for the rebels, and of mixed and Shia-majority areas. e y Gw nn the street fighting in Damascus may Any thinking Syrian, aware of these Dyer dreadful precedents, will be frightened by end with a (temporary) regime victory. But everything has changed in terms of expectations. regime change no matter how much he or she Until last week, the regime seemed secure in loathes the existing regime. Indeed, the Assad rethe short term, although potentially doomed gime's principal means of garnering support has in the long term. President Bashar al-Assad's been to insist that only its tyrannical rule can army was well-armed and apparently loyal, and "protect" the Shia, Druze, Alawite and Christian he still had the support of much of the popuminorities from the 70 percent Sunni Muslim lation. The opposition was poorly armed and majority. only loosely organized—and as Napoleon also It could easily go wrong. The original pro-deremarked, God is on the side with the best artilmocracy movement was non-violent and emlery. (If you want to be thought wise, contradict phatically non-sectarian. It was mostly Sunni yourself frequently.) Muslim, but it deliberately sought to attract the Perhaps "morale" is a better word than "moral." support of the various minorities as well. All the The reason the regime seemed secure until last leaders understood that only a non-sectarian week was not its weapons, but the confidence revolution could produce a democratic Syria. of its supporters that their side was still able to Unfortunately, the Assad regime drowned that win. That confidence has now been profoundly non-violent movement in blood, and instead Syrshaken. The fighting has reached the heart of ia wound up with a violent revolt that has grown the big cities, and the rebels have struck even into a veritable civil war. What the rebels must at the core of the regime, the national security do now is to end it without a massacre of the building, to kill key members of Assad's innerminorities. The price of failure is that the civil most circle. war won't end at all. So it is suddenly occurring to a lot of people The most exposed minority is the Alawites, who formerly saw the regime as the protector because they have been the mainstay of the re-



The original pro-democracy movement was non-violent and emphatically non-sectarian. It was mostly Sunni Muslim, but it deliberately sought to attract the support of the various minorities as well. All the leaders understood that only a non-sectarian revolution could produce a democratic Syria ... Unfortunately, the Assad regime drowned that non-violent movement in blood, and instead Syria wound up with a violent revolt that has grown into a veritable civil war. of their privileges that these guys could actually lose. If they are going to lose, you do not want to be in the last ditch with them. Maybe it's time to change sides. About 10 minutes later, it will also occur to the same people that many others are undoubtedly having the same thoughts—and that means the collapse could come quite quickly. This kind of thinking operates as a self-fulfilling prophecy, so the regime's final slide into defeat could be coming within days or weeks. That is by no means guaranteed, of course. In material terms the regime is still vastly superior, and morale is a volatile thing. If the uprisings in parts of Damascus and Aleppo are crushed quickly and decisively, the morale of the regime's supporters could recover, and the civil war might continue for months or years more. But Syrians must now reckon with the possibility of an early collapse of the Baath Party's 49-year-old monopoly of power. So the question is: what would happen then? The great fear is that it could go the same way as Iraq and Lebanon, two neighbouring countries that share about the same mix of ethnic and religious groups (in differing proportions) as Syria itself. Lebanon tore itself apart in a civil war among

gime. The Assad family is Alawite, as are most senior figures in the military, intelligence and Baath Party elites. Their dominance has been based on close clan ties, not on their religion (they are a "heretical" Shia sect), and most Alawites have not benefited much from the regime, but they could easily be held responsible for its crimes—and massacred. If they think they face that sort of future, they will withdraw to their mountainous stronghold along the Syrian coast (and effectively cut Syria off from the sea). Other minorities will also take fright and arm themselves, and the country will be trapped in a long, cruel war of massacre and ethnic cleansing. So if the Baath regime goes down soon, the rest of the world should be ready to go in fast with economic help for the post-revolutionary regime, and with multitudes of observers to document what is actually happening to the minorities and dispel false rumours. The rest of the world can do nothing to help now, but it will be sorely needed then. V Gwynne Dyer is a London-based independent journalist whose articles are published in 45 countries. His column appears each week in Vue Weekly.





COMEDY BRIXX BAR • 10030-102 St •

780.428.1099 • Troubadour Tuesdays monthly with comedy and music

CAPITAL X • Northlands TELUS Stage • Wayne Lee • Until Jul 26, 2pm, 5pm

CENTURY CASINO • 13103 Fort Rd •

780.481.9857 • Open amateur night every Thu, 7:30pm

COMEDY FACTORY • Gateway Enter-

tainment Centre, 34 Ave, Calgary Tr • That's Improv; Jul 27-28 • Danny Accappella; Aug 3-4 • Lamont Ferguson; Aug 10-11 • Dave Stawnichy; Aug 17-18

COMIC STRIP • Bourbon St, WEM •

780.483.5999 • Wed-Fri, Sun 8pm; FriSat 10:30pm • Tim Young; until Jul 29 • David Huntsberger; Aug 8-12 • Collin Moulton; Aug 15-19

DRUID • 11606 Jasper Ave • 780.710.2119 • Comedy night open stage hosted by Lars Callieou • Every Sun, 9pm

FILTHY MCNASTY'S • 10511-82 •

780.996.1778 • Stand Up Sundays: Standup comedy night every Sun with a different headliner every week; 9pm; no cover

LAUGH SHOP–Sherwood Park • 4 Blackfoot Road, Sherwood Park • 780.417.9777 • • Open Wed-Sat • Fri: 7:30pm, 10pm; Sat: 7:30pm and 10pm; $20 • Wednesday Amateur night: 8pm (call to be added to the lineup); free • Cordell Pace; Jul 27-28 OVERTIME PUB • 4211-106 St • Open

Cha Island Tea Co • 10332-81 Ave • Games Night: Board games and card games • Every Mon, 7pm DATE NIGHTS AT THE GARDEN •

Devonian Botonical Gardens • devonian. • Every Thu 'til dusk; until Aug 30 • Date Night admission rates: $10 (adult)/$5 (student)/$6.50 (senior) admission gates open until 8:30pm; garden open until dusk • Jazz summer, dinner outside with 200-200-Cut (five jazz musicians, incl members of River City Big Band and Trocaderro Orchestra; July 26, 6:30-8:30pm • DJ P-Rex will mix it up on the Patio: Aug 2, 6:30-8:30pm • Tangele with their high energy latin fusion mix on the Patio Café, Aug 9, 6:30-8:30.

EDMONTON BIKE ART NIGHTS • BikeWorks, 10047-80 Ave, back alley entrance • Art Nights • Every Wed, 6-9pm


Lobby • Thu, Jul 26, 7pm


• Avonmore United Church Basement, 82 Ave, 79 St • • Classes/workshops, exhibitions, guest speakers, stitching groups for those interested in textile arts • Meet the 2nd Tue each month, 7:30pm

FOOD ADDICTS • St Luke's Anglican Church, 8424-95 Ave • 780.465.2019/780.634.5526 • Food Addicts in Recovery Anonymous (FA), free 12-Step recovery program for anyone suffering from food obsession, overeating, under-eating, and bulimia • Meetings every Thu, 7pm HOME–Energizing Spiritual Community for Passionate Living

• Garneau/Ashbourne Assisted Living Place, 11148-84 Ave • Home: Blends music, drama, creativity and reflection on sacred texts to energize you for passionate living • Every Sun 3-5pm

LIVING FOODS SUNDAY SUMMER SERIES • Earth's General Store, 9605-82

mic comedy anchored by a professional MC, new headliner each week • Every Tue • Free

Ave • Mushroom burgers, real mustard, living ketchup, jicama "fries" • Jul 29

ROUGE LOUNGE • 10111-117 St • Ster-

LOTUS QIGONG • 780.477.0683 •

ling Scott every Wed, 9pm

VAULT PUB • 8214-175 St • Comedy with Liam Creswick and Steve Schulte • Every Mon, at 9:30pm WINSPEAR CENTRE An Evening of

stand-up Comedy with Brent Butt; all ages; 8pm (show); $42.50, $36.50, $28.50 at, WinspearCentre. com • Kevin Hart; Jul 26, early show: 7pm (door) sold out; late show: 10pm (door), 10:30pm (show); $57

WUNDERBAR • 8120-101 St,

780.436.2286 • Comedy every 2nd Tue

ZEN LOUNGE • 12923-97 St • The Ca$h

Downtown • Practice group meets every Thu

MEDITATION • Strathcona Library • • Weekly meditation drop-in; every Tue, 7-8:30pm


Community Hall, 3728-106 St • 780.458.6352, 780.467.6093 • • Meet every Wed, 6:30pm


Nuns Hospital, Rm 0651, 780.451.1755; Group meets every Thu 7-9pm • Free

Prize comedy contest hosted by Matt Alaeddine and Andrew Iwanyk • Every Tue, 8pm • No cover

RIVER VALLEY VIXEN • Glenora stairs


SHERWOOD PARK WALKING GROUP + 50 • Meet inside Millennium Place,

AIKIKAI AIKIDO CLUB • 10139-87 Ave, Old Strathcona Community League • Japanese Martial Art of Aikido • Every Tue 7:30-9:30pm; Thu 6-8pm

AMNESTY INTERNATIONAL EDMONTON • 8307-109 St • • Meet the 4th Tue each month, 7:30pm (no meetings in Jul, Aug, and Dec) E: amnesty@ for more info • Free

AWA 12-STEP SUPPORT GROUP • Braeside Presbyterian Church bsmt, N. door, 6 Bernard Dr, Bishop St, Sir Winston Churchill Ave, St Albert • For adult children of alcoholic and dysfunctional families • Every Mon 7:30pm


13420-114 Ave • • 1.800.265.5106 ext 234 • Support group for brain tumour survivors and their families and caregivers. Must be 18 or over • 3rd Tue every month; 7-8:45pm • Free


• All girls outdoor bootcamp every Mon, and Wed: 6:30pm • Until end Jul • Info: E:


Doon Community Hall, 9240-93 St • vofa. ca/category/events • Monthly Potluck and book sale: bring a vegan dish to serve 8 people, your own plate, cup, cutlery, serving spoon • $3 (member)/$5 (non-member)

WOMEN IN BLACK • In Front of the

Old Strathcona Farmers' Market • Silent vigil the 1st and 3rd Sat, 10-11am, each month, stand in silence for a world without violence Y TOASTMASTERS CLUB • Strathcona Legion, 9020-51 Ave • Meet every Tue, 7-9pm; helps members develop confidence in public speaking and leadership • Info: T: Antonio Balce at 780.463.5331

G.L.B.T.Q. (GAY) AFRICAN GROUP DROP-IN) • Pride Centre of Edmonton,

10608-105 Ave • 780.488.3234 • Group for gay refugees from all around the World, friends, and families • 1st and Last Sun every month • Info: E:,


780.474.8240, E: • Every Wed, 1:30-3:30pm


Sunnybrook United Church, Red Deer • 403.347.6073 • Affirm welcome LGBTQ people and their friends, family, and allies meet the 2nd Tue, 7pm, each month • Co-ed Bellydancing: • Bootcamp: Garneau Elementary, 10925-87 Ave. at 7pm; • Bowling: Ed's Rec Centre, West Edmonton Mall, Tue 6:45pm; • Curling: Granite Curling Club; 780.463.5942 • Running: Kinsmen; • Spinning: MacEwan Centre, 109 Street and 104 Ave; • Swimming: NAIT pool, 11762-106 St; swimming@ • Volleyball: every Tue, 7-9pm; St. Catherine School, 10915-110 St; every Thu, 7:30-9:30pm at Amiskiwiciy Academy, 101 Airport Rd



LECTURES/PRESENTATIONS GREAT EXPEDITIONS • St Luke’s Anglican Church, 8424-95 Ave • 780.454.6216 • 3rd Mon every month, 7:30pm


• A social group for bi-curious and bisexual women every 2nd Tue each month, 8pm •

BUDDYS NITE CLUB • 11725B Jasper Ave

• 780.488.6636 • Tue with DJ Arrow Chaser, free pool all night; 9pm (door); no cover • Wed with DJ Dust’n Time; 9pm (door); no cover • Thu: Men’s Wet Underwear Contest, win prizes, hosted by Drag Queen DJ Phon3 Hom3; 9pm (door); no cover before 10pm • Fri Dance Party with DJ Arrow Chaser; 8pm (door); no cover before 10pm • Sat: Feel the rhythm with DJ Phon3 Hom3; 8pm (door); no cover before 10pm

EDMONTON PRIME TIMERS (EPT) • Unitarian Church of Edmonton, 10804119 St • A group of older gay men who have common interests meet the 2nd Sun, 2:30pm, for a social period, short meeting and guest speaker, discussion panel or potluck supper. Special interest groups meet for other social activities throughout the month. E: EPLC FELLOWSHIP PAGAN STUDY GROUP • Pride Centre of Edmonton,

10608-105 Ave • 780.488.3234 • eplc.webs. com • Free year long course; Family circle 3rd Sat each month • Everyone welcome

FLASH NIGHT CLUB • 10018-105 St •

780.969.9965 • Thu Goth + Industrial Night: Indust:real Assembly with DJ Nanuck; 10pm (door); no cover • Triple Threat Fridays: DJ Thunder, Femcee DJ Eden Lixx • DJ Suco beats every Sat • E: vip@flashnight-

Bldg, Craftroom, 15 Sir Winston Churchill Sq • 780.474.8240 • Meeting for gay seniors, and for any seniors who have gay family members and would like some guidance • Every Thu, 1-4pm • Info: E: tuff

ILLUSIONS SOCIAL CLUB • The Junction, 10242-106 St • edmonton_illusions • 780.387.3343 • Crossdressers meet 2nd Fri every month, 8:30pm

INSIDE/OUT • U of A Campus • Campusbased organization for lesbian, gay, bisexual, trans-identified and queer (LGBTQ) faculty, graduate student, academic, straight allies and support staff • 3rd Thu each month (fall/winter terms): Speakers Series. E:


106 St • 780.756.5667 • junctionedmonton. com • Open Tues-Sat: Community bar with seasonal patio • Beat the clock Tue • WINGSANITY Wed, 5-10pm • Free pool Tue and Wed • Karaoke Wed, 9-12pm • Fri Steak Night, 5-9pm • Frequent special events: drag shows, leather nights, bear bashes, girls nights • DJs every Fri and Sat, 10pm

LIVING POSITIVE • 404, 10408-

ational/competitive swimming. Socializing after practices • Every Tue/Thu


Centre of Edmonton, 10608-105 Ave • 780.488.3234 • Daily: YouthSpace (Youth Drop-in): Tue-Fri: 3-7pm; Sat: 2-6:30pm; • Men Talking with Pride: Support group for gay and bisexual men to discuss current issues; Sun: 7-9pm; • HIV Support Group: for people living with HIV/AIDS; 2nd Mon each month, 7-9pm; • TTIQ: Education and support group for transgender, transsexual, intersexed and questioning people, their friends, families and allies; 2nd Tue each month, 7:30-9:30pm; • Community Potluck: For members of the LGBTQ community; last Tue each month, 6-9pm; • Counselling: Free, short-term, solution-focused counselling, provided by professionally trained counsellors; every Wed, 6-9pm; • STD Testing: Last Thu every month, 3-6pm; free; • Youth Movie: Every Thu, 6:30-8:30pm;

PRIMETIMERS/SAGE GAMES • Unitarian Church, 10804-119 St • 780.474.8240 • Every 2nd and last Fri each Month, 7-10:30pm

ST PAUL'S UNITED CHURCH • 11526-76 Ave • 780.436.1555 • People of all sexual orientations are welcome • Every Sun (10am worship) WOMONSPACE • 780.482.1794 •, • A Non-profit lesbian social organization for Edmonton and surrounding area. Monthly activities, newsletter, reduced rates included with membership. Confidentiality assured WOODYS VIDEO BAR • 11723 Jasper

Ave • 780.488.6557 • Mon: Amateur Strip Contest; prizes with Shawana • Tue: Kitchen 3-11pm • Wed: Karaoke with Tizzy 7pm1am; Kitchen 3-11pm • Thu: Free pool all night; kitchen 3-11pm • Fri: Mocho Nacho Fri: 3pm (door), kitchen open 3-11pm


• • Showcase of Canada’s multicultural heritage, pavilions represent cultures from all over the world • Aug 4-6


124 St • • 1.877.975.9448/780.488.5768 • Confidential peer support to people living with HIV • Tue, 7-9pm: Support group • Daily drop-in, peer counselling

Heritage: 2304-109 St; Thu, Jul 26, 7:3010am


Square • Until Jul 28

TASTE OF EDMONTON • Churchill • Recre-

Dirt City:Dream City launched Friday, July 20th. Highlighting local public art, artists were encouraged to create provocative, public interventions in what is often considered vacant space // Paula Kirman

Sherwood Place • Weekly outdoor walking group; starts with a 10 min discussion, followed by a 30-40 minute walk through Centennial Park, a cool down and stretch • Every Tue, 8:30am • $2/session (goes to the Alzheimer’s Society of Alberta)


• Centennial Rm, (basement) Stanley A. Milner Library • Monthly roundtable 1st Tue each month •; E:

SUGARSWING DANCE CLUB • Orange Hall, 10335-84 Ave or Pleasantview Hall, 10860-57 Ave • 780.604.7572 • Swing Dance at Sugar Foot Stomp: beginner lesson followed by dance every Sat, 8pm (door) at Orange Hall or Pleasantview Hall

TIBETAN BUDDHIST MEDITATION SOCIETY • Palisades Centre, Jasper • • Patience: Finding Peace in Everyday Life: Retreat in the Mountains featuring teachings by Kushok Lobsang Dhamchöe • Aug 16-19




Rises and falls

Christopher Nolan's Batman trilogy capper isn't without its flaws Now playing The Dark Knight Rises Directed by Christopher Nolan

Nana-nana-nana-nana ...



hristopher Nolan's best films are heady stuff. They've been dingily claustrophobic, small-scale noirs about head-games (Memento, Insomnia). Or an old-dream-project-turnedblockbuster (Inception) that seemed to plunge us playfully into the writerdirector's head, enfolding us in Russiannesting-dolls of plot and character motivation. Nolan's Batman movies have never, to my mind, been as strong, because its mega-budget marriage of comic-book noir and super-hero blockbuster has often lacked a sense of play and been overwhelmed by the need-to-be-a-big-deal. This sense of serious epicness has sometimes slowed down the series' plot machinations and dulled its dourly mythic main character. The trilogy's finale, The Dark Knight Rises, can't surmount these problems, either. The movie's generally weighed down by the double weights of portentousness and momentousness. Grand dilemmas and great darknesses are always a-coming. (BAT-SIGNAL—SPOILERS AHEAD) Here, Bruce Wayne's crime-fighting alter ego returns not

once, but twice, his new nemesis Bane's crime capers get super-bigger and super-bolder (a mid-air kidnapping; the daylight robbery of Gotham's Stock Exchange; a neutron-bomb hijacking), and the Wayne manor millonaire must contend with at least four foes (including the side-switching Selina Kyle, aka Catwoman), no cartilage in his legs, a broken back and personal bankruptcy. All of this is stretched out over 160 minutes, true, but for much of it our hero isn't even around (when we begin, the caped crusader's in self-imposed retirement after taking the blame for two-faced Harvey Dent's death). Into the shadowy void step Tom Hardy and Anne Hathaway. The trilogy's often been more memorable for its villains, not Christian Bale's titular hero, and so it proves again here. Hardy, bulking Bane into a dead-calm terrorist of brute force, his gravelly, Hannibal Lecter-like voice crawling out through his odd mask, easily and memorably out-rasps Batman. And Hathaway offers a few touching glimpses of her cat-burglar's desperation and self-preservation. The final act, too, throws in a cleverly veiled twist that marks The Dark Knight Rises as a better trilogy-capper

than a movie in its own right. There's just the right balance of wind-down and (inevitable) set-up for future flicks, with elements from the first film sprinkled smartly into the mix. The overall story remains a bit muddled, though. (And there are no great visual flourishes or outstanding action sequences—the best is the smallest, in a grotty little bar.) There's some dancing briefly around questions of hope, trust and people's power, to little effect. And the twin echoes of Manhattan-recovering-from-9/11 and the 2008 economic-crash don't really harmonize. Bane pretends to be for the people, but of course his anarchy is just warlord-opportunism; the movie itself, though, never really offers a sense of the people as Gothamites, either, just a few individuals who are heroic, lawand-order-keepers (including Joseph Gordon-Levitt as constant-trooper Officer Blake). The movie's near-fascist celebration of Batman's high-tech military hardware only adds to this cynicism—it's a few all-too-powerful men and women, and their toys, who oppress us or can save us. All "we the people" can do is sit back and watch, hopeful but helpless. BRIAN GIBSON



Cosmopolis Fri, Jul 27 – Thu, Aug 2 Directed by David Cronenberg Metro Cinema at the Garneau



young man drifts through Manhattan in a very long, white, soundproof, touch-screen-lined limousine, seemingly outfitted for every event save atomic holocaust. He's not going to office today, and why would he? The limo is everything. It's his chamber of meditation, chamber of sexual transaction, chamber of commerce. He takes meetings in it. He drinks, pisses, gets his prostate checked in it. He watches the yuan plunge in it. He gets some stern financial advice from trusted colleagues in it—advice he does not take. He just wants a haircut. His name is Eric Packer. He's handsome, powerful, a self-made billionaire, within the one percent of the one percent, Jay Gatsby-meets-Mark Zuckerberg, and over the course of Cosmopolis he's going to let it all go, the money, the car, the marriage to a pretty poet, even the hair. An angry, violent mob fills the streets outside, throwing rats and pro-

testing the failures of capitalism. But there's only one man amongst them who can touch Eric, one man who constitutes his dumpy double, his sloppy shadow. He's waiting for Eric and he's got a gun, and Eric seems to be slowly moving right to him, into the heart of darkness. Directed and faithfully adapted from Don DeLillo's 2003 novel by David Cronenberg, Cosmopolis is talky, ideariddled, fantastic, at times awkward, at times very funny, mostly quite brilliant. The strength of the novel, far from DeLillo's best, but still crackling with the author's characteristic flashes of insight and condensed lyricism, is the world that passes beyond the tinted windows of Eric's roaming castle. DeLillo writes about crowds, American crowds, New York crowds, with rare powers of evocation. His Cosmopolis is drenched in sense of place. His Eric, on the other hand, feels interesting, but wholly artificial, a collection of ideas sewn together into an executive golem. The thing about Cronenberg's Cosmopolis is that it completely reverses this emphasis. Cronenberg has never been a natural-

Livin' the limo life

ist or documentarian. His best films are ablaze with ingenious artifice—it's his way of getting at truths. Cronenberg's New York is almost laughably unconvincing. It isn't New York; it's a New York state of mind. It's very obviously Toronto. And it isn't even Toronto. Or it's the same Toronto of Videodrome. A meta-place. And an almost palpably dangerous place. It's too easy to dismiss Cosmopolis as preposterous and mannered (the dialogue remains the high modern-

ist, tweaked vernacular of DeLillospeak); you've got to just roll with it. The supporting cast makes this easy: Juliette Binoche, Mathieu Amalric, Paul Giamatti and most especially Samantha Morton absorb DeLillo's cadences with perfect elegance and a cunning sense of how to flush out its sly humour. Even vampire heartthrob Robert Pattison is good as Eric, surprisingly unaffected, a cipher perhaps, but given his character's transformation, his surrender to the existential, perhaps suicidal abyss,


his deadpan seems appropriate. We need to identify with something blossoming virus-like in his psyche that can only gradually be revealed. He does eventually get that haircut, or anyway half a haircut, in the film's most playful scene, which, not coincidentally, is also the only one with working-class guys in it. But the barber's is the final stop en route to the underworld, where no amount of grooming can save you. JOSEF BRAUN




The Story of Film (Episodes 7 & 8) Luis Buñuel's Viridiana

Sun, Jul 29 – Thu, Aug 2 Directed by Mark Cousins Metro Cinema at the Garneau














his Sunday, Metro's ongoing screenings of Mark Cousins' The Story of Film, a 15-part series chronicling innovation in movies, digs into film's most significant turning point since the introduction of sound: the full blossoming of international cinema and the emergence of the first generation of filmmakers to produce films that unabashedly reflect on the medium itself. We meet Swedish filmmaker Ingmar Bergman. His roots were in theatre, which is commonly associated with language, yet so much of what made Bergman's cinema magnificent was ineffable: that arresting moment in Summer with Monika (1953) when Harriet Andersson's heroine gazes directly at the camera, or, the moment in Persona (1966) when the faces of Liv Ullman and Bibi Andersson merge. Cousins has Lars Von Trier weigh in on Bergman, though his comments are deeply un-illuminating: "He was good with words." In Italy we meet a quartet of innovative giants. There's the flamboyantly reflexive Federico Fellini, who made Nights of Cabiria (1957) and 81/2 (1963). There's the Marxists: Bernardo Bertolucci describes the influence of

Tuscan painting on the films of Pier Paolo Pasolini, while Cousins speaks of Luchino Visconti's use of luxury to critique luxury in films like Senso (1954). And there's Michelangelo Antonioni, whose films gave us a fresh sense of how people occupy spaces. In France Robert Bresson "sandblasted film history," erased the notion of stardom by finding "models" to act in his films, using them only once. Paul Schrader, who contributes numerous brilliant commentaries to The Story of Film, describes cribbing the monocular approach of Bresson's Pickpocket (1959) when he came to write Taxi Driver (1976). Cousins then plunges into the French New Wave (though for some reason fails to distinguish between New Wave and Left Bank filmmakers). He starts by championing Agnes Varda, often underrepresented in film histories, before moving onto François Truffaut and Jean-Luc Godard, "the greatest movie terrorist," and finally Alain Resnais and his gloriously perplexing Last Year at Marienbad (1961): "No previous film had been more about uncertainty." Cousins then shifts toward countries with less-renown industries, such as Spain, where Luis Buñuel's Viridiana (1961) was seen as "a knee in the balls to Franco." He stops in Poland to introduce Roman Polanski and Milos

grey 50%, white backgound





AIM_VUE_JULY26_5thPG_BEAST 12 FILM Allied Integrated Marketing EDMONTON VUE


Foreman, who would both wind up in Hollywood. In Russia he hails the great Andrei Tarkovsky, a descendant of Dreyer and Bresson, yet more daringly spectacular than either. In Japan we meet the caustic Nagisa Oshima and Shōhei Imamura, whose ribald earthiness was an attack on Japanese decorum. Things get still more interesting farther off the beaten track, with Senegalese director Ousmane Sembène, whose poetic and highly politicized Black Girl (1966) was Black Africa's first innovative feature. Meanwhile, Iran, Cousins tells us, "is the only country in the world where the founding filmic father is a mother." He's talking about the controversial poet and filmmaker Forough Farrokhzad, a fascinating figure who died far too young. The highlight of episode eight is definitely Cousins' exploration of third world cinema, which challenged the dominant mythologies and techniques of its colonizers, but he ends back in the US, where he examines a new language in documentary, the emergence of John Cassavetes and Andy Warhol, and the sea change in narrative and romantic style brought about by a little film made by an Englishman with a TV crew called Psycho (1960). JOSEF BRAUN



Faster, Pussycat! Kill! Kill! Fri, Jul 27 – Thu, Aug 2 Directed by Russ Meyer Metro Cinema at the Garneau Originally Released: 1965


dizzy array of Dutch angles smack at the screen: flailing women, jukeboxes, slackjawed, lust-drunk men shouting, "Go!" The movie's just begun and already we're whipped into a frenzy of disoriented erotic agitation. And then, just as suddenly, we're somewhere in the Mojave Desert with our trio of Amazonian strippers, each piloting their own car, experience-hungry cowboys crossing a danger-tinged arid terrain in a convoy of convertibles instead of atop horses, feisty women, exotic-featured, some peculiarly accented, all of them shouty as hell, sexually aggressive, ass-kicking and greeting the world with mighty, mighty bosoms thrust forward. Indeed, one could argue that Faster, Pussycat! Kill! Kill! (1965), Russ Meyer's memorably titled cult classic, is above all, a devout study in tits. But there are in fact numerous cheap thrills to be had—wrestling! racing! kidnapping! murder! voyeurism!—in this handsomely photographed exploitation flick, at once a work of shameless objectification and female empowerment. Meyer's world is populated with powerful (if morally aberrant) women and ineffectual men, such as

the would-be speedster dork in the plaid shorts, inexplicably married to a hysterical girl in a bikini who looks about 14, the gas jockey who can't find the hole, or the pervy old man in a wheelchair and his intellectually impaired rhinoceros of a son. None of these men survive their runin with the strippers. The movie's ruthless, high on its own depravity. The final scenes only go through the motions of instilling some sense of moral order. What's the point? "The point is of no return," declares Varla (Tura Satana). "And you just reached it!" The Japanese-born Satana, whose own life could have supplied Meyer with a typically lurid scenario, clearly dominates Faster, Pussycat! Partly because she's simply the biggest and the scariest and the loudest thing in it, with her Himalayas of cleavage and her default approach to line readings, bulldozing her costars with great conviction and arms akimbo. She's described by her girlfriend as "a velvet glove cast in iron" and by the movie's least pathetic man, whom she seduces by teasing a corncob with her tongue, as "a beautiful animal." On screen Satana, who died last year at the age of 72, was certainly both: a beauty and a beast, and Faster, Pussycat! shows her at the peak of her singular powers. JOSEF BRAUN






Ladies who lynch



The Intouchables Opens Friday Directed by Olivier Nakache and Éric Toledano



he Intouchables is based on a true story of the bond that formed in Paris between Philippe, a paralyzed, rich, white guy, and Driss, a younger, ethnic street-fellow who becomes his caretaker. It's so inspired by this real-world happening that the film's final pre-credits frames shows the actual pair the story was based on. Which is when you realize that the film has inexplibably changed Driss's ethnicity; there's no reason given, nor are any questions of race and cultural power even considered in The Intouchables' heedless pursuit of being an easy breezy feel-good comedy. It's fairly telling of the script's big faults that the swapping of ethnicities doesn't particularly inform the character. Writer-directors Olivier Nakache and Éric Toledano seem content to gently


paddle us through an idealized fantasy of overcoming upper/lower class divisions without asking any big questions or truly challenging any of its characters' statuses or relations to each other. It happily basks in a rose-coloured revisionist headspace of its own.


It seems so well-intentioned but reductive. The film's main successes—assuredly the reason why The Intouchables is the most successful French movie since Amelie—comes in its acting: Omar Sy's Driss is so deftly watchable, and François Cluzet's neck-up performance offer a richness of emotion. So at least it plays out like a lovely little daydream, while doing little to ground itself in reality. It's not that there's anything wrong with escapism. But why align yourself so much to a real-world story if you're just going to ignore most of its implications? PAUL BLINOV




Every play has a venue map, links for tickets, production info and much more!





CHABA THEATRE–JASPER 6094 Connaught Dr Jasper 780.852.4749


BRAVE (G) Closed Captioned FRI-SUN 11:50, 1:45,

4:15, 6:50, 9:15; MON-THU 1:45, 4:15, 6:50, 9:15


6:00, 9:00

tioned FRI-SUN 12:00, 1:10, 3:30; Mon-Thu 1:30, 3:30; 3D: FRI-SUN 11:45, 2:00, 4:20, 6:40, 9:00; MON-THU 2:00, 4:20, 6:40, 9:00


TED (18A crude content, substance abuse) Closed


7:00, 9:00

DUGGAN CINEMA–CAMROSE 6601-48 Ave Camrose 780.608.2144




THE AMAZING SPIDERMAN (PG violence, frightening scenes, not recommended for young children) DAILY 6:40, 9:20; SAT-SUN, TUE-THU 2:00

TED (18A crude content, substance abuse) DAILY

6:50, 9:05; SAT-SUN, TUE, THU 1:45

BRAVE (G) DAILY 7:10, 9:10; SAT-SUN, TUE, THU 2:15

CINEMA CITY MOVIES 12 5074-130 Ave 780.472.9779

DR. SEUSS' THE LORAX (G) DAILY 1:00, 3:00, 5:00



Captioned FRI-SUN 2:10, 5:00, 7:45, 10:30; MON-THU 1:50, 5:00, 7:45, 10:30

SAVAGES (18A sexual content, brutal violence, substance abuse) Closed Captioned FRI,MON-THU 1:15, 4:10, 7:15, 10:20; SAT-SUN 4:10, 7:15, 10:20 THE AFRICAN QUEEN (G) Digital Cinema Sun 1:00 THE WATCH (18A crude sexual content) Closed

Captioned, No passes FRI-SUN 12:45, 3:10, 5:40, 8:10, 10:40; MON-TUE, THU 1:00, 3:20, 5:40, 8:10, 10:40; WED 3:20, 5:40, 8:10, 10:40; Star & Strollers Screening: WED 1:00


tioned FRI, SUN-THU 1:20, 3:50, 7:00, 9:40; SAT 11:00, 1:20, 3:50, 7:00, 9:40


tioned, No passes FRI-SUN 12:45, 1:30, 2:15, 3:10, 4:30, 5:15, 6:00, 6:45, 8:20, 9:00, 9:45, 10:20; MON-THU 1:00, 1:30, 2:00, 4:00, 4:45, 5:15, 6:00, 8:00, 8:30, 9:00, 9:45; ULTRAAVX: FRI-SUN 12:00, 3:40, 7:15, 10:50; MON-THU 2:30, 6:45, 10:30

MAGIC MIKE (14A coarse language, sexual content, nudity, substance abuse) Closed Captioned FRI-SUN 1:40, 4:40, 7:30, 10:10; MON-THU 1:40, 4:30, 7:20, 10:00

gory violence, not recommended for children) DAILY 1:50; 3D: DAILY 4:20, 7:20, 10:00




12:50, 3:50, 7:00, 9:55

THAT'S MY BOY (18A crude sexual content) DAILY 12:30, 4:15, 7:15, 9:50 ROCK OF AGES (PG coarse language, not recommended for young children) DAILY 1:15, 3:55, 6:55, 9:40

DARK SHADOWS (14A) DAILY 7:10, 9:45 WHAT TO EXPECT WHEN YOU'RE EXPECTING (PG language may offend) DAILY 1:25, 4:05, 6:35, 9:10

MEN IN BLACK 3 (PG violence) DAILY 1:40; 3D: DAILY 4:10, 7:05, 9:30

TAKE THIS WALTZ (18A nudity, sexual content) DAILY 6:50, 9:20

BOL BACHCHAN (PG) Hindi W/E.S.T. DAILY 1:20, 4:30, 7:40

COCKTAIL (PG substance abuse) Hindi W/E.S.T. DAILY 1:45, 4:45, 8:00

CARRY ON JATTA (STC) Punjabi W/E.S.T. DAILY 12:55, 3:45, 6:40, 9:35


W/E.S.T. DAILY 1:05, 4:00, 6:45, 9:45

CINEPLEX ODEON NORTH 14231-137 Ave 780.732.2236

THE AMAZING SPIDERMAN (PG violence, frightening scenes, not recommended for young children) Closed Captioned DAILY 6:30, 9:30; 3D: Closed Captioned DAILY 1:00, 4:00, 7:10, 10:15

SAT 12:45

CINEPLEX ODEON SOUTH 1525-99 St 780.436.8585

THE AMAZING SPIDERMAN (PG violence, frightening scenes, not recommended for young children) FRI-SUN 1:10, 4:25, 7:35, 10:50; MON-TUE 12:10, 3:20, 6:55, 10:10; WED-THU 12:10, 3:20, 10:10; 3D: Fri-Sun 1:40, 4:50, 8:05, 11:20; MON-THU 12:40, 3:50, 7:25, 10:40 MADAGASCAR 3: EUROPE'S MOST WANTED (G) FRI-SUN 12:35, 3:05, 5:40; MON-THU 11:55, 2:25, 5:15

BRAVE (G) FRI-SUN 11:55, 2:25, 4:55, 7:25, 9:55;

MON-THU 12:00, 2:30, 5:00, 7:35, 10:15


11:35, 2:05, 4:35, 7:05, 9:35; MON-THU 11:45, 2:15, 4:45, 7:15, 9:45; 3D: FRI-SUN 12:15, 2:45, 5:25, 7:55, 10:25; MON-THU 12:15, 2:45, 5:30, 7:55, 10:35

SNOW WHITE AND THE HUNTSMAN (PG violence, frightening scenes, not recommended for young children) FRI-SUN 8:10, 11:10; MON-THU 7:35, 10:45 TED (18A crude content, substance abuse) FRI-SUN

12:10, 2:50, 5:35, 8:15, 10:55; MON-WED 12:05, 2:45, 5:25, 8:00, 10:35; THU 5:25, 8:00, 10:35; Star & Strollers Screening: THU 1:00

SAVAGES (18A sexual content, brutal violence, substance abuse) FRI, SUN 12:40, 3:50, 7:00, 10:05; SAT 5:00, 8:00, 11:05; MON-THU 12:50, 3:55, 7:00, 10:15 THE AFRICAN QUEEN (G) Digital Cinema SUN 1:00

THE WATCH (18A crude sexual content) No passes FRI-SUN 11:40, 2:20, 5:05, 7:45, 10:20; MON-THU 11:35, 2:10, 4:50, 7:20, 10:00


TO ROME WITH LOVE (PG language may offend, not recommended for young children) FRI-TUE, THU 12:40, 3:40, 6:40, 9:40; WED 12:40, 3:40, 9:40

11:50, 2:30, 5:10, 7:40, 10:15; MON-THU 11:55, 2:35, 5:10, 7:45, 10:20

TED (18A crude content, substance abuse) Closed


THE INTOUCHABLES (14A) Digital Presentation,

FRI-SAT 11:30, 12:00, 1:30, 2:10, 3:10, 3:40, 5:15, 5:50, 6:50, 7:20, 9:00, 9:45, 10:30, 11:00; SUN 11:30, 12:10, 1:30, 2:10, 3:10, 3:50, 5:15, 5:50, 6:50, 7:30, 9:00, 9:45, 10:30, 11:10; MON-WED 12:20, 1:00, 1:40, 2:20, 4:00, 4:40, 5:20, 6:00, 7:40, 8:20, 9:00, 9:40; THU 12:20, 1:00, 1:40, 2:20, 4:00, 4:40, 5:20, 6:30, 7:40, 8:20, 9:00, 9:55; Ultraavx: FRI-SUN 12:30, 4:10, 7:50, 11:30; MON-THU 11:30, 3:10, 6:50, 10:30

MAGIC MIKE (14A coarse language, sexual content, nudity, substance abuse) FRI-SAT 1:20, 4:15, 7:10, 10:10; Sun 5:20, 8:20, 11:05; MON-THU 1:35, 4:35, 7:35, 10:20 THE WHO–QUADROPHENIA: THE COMPLETE STORY (Classification not available)

WED 7:30 Curious George (G) SAT 11:00

ANDRÉ RIEU'S 25TH ANNIVERSARY HOMETOWN CONCERT (Classification not available) SAT 12:45

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

French Version DAILY 12:30, 3:30, 6:30, 9:30

STEP UP REVOLUTION (PG) Digital 3d DAILY 1:30, 4:20, 7:15, 9:50

CLAREVIEW 10 4211-139 Ave 780.472.7600

THE AMAZING SPIDERMAN (PG violence, frightening scenes, not recommended for young children) Digital DAILY 12:25, 3:30, 6:30, 9:35

BRAVE (G) Digital DAILY 1:20, 3:50, 6:45 SAVAGES (18A sexual content, brutal violence,

Cineplex Odeon Windermere & Vip Cinemas, 6151 Currents Dr Nw Edmonton 780.822.4250

THE AMAZING SPIDERMAN (PG violence, frightening scenes, not recommended for young children) Closed Captioned FRI-SUN 7:30, 10:30; MON-THU 6:30, 9:40; 3D: FRI-SUN 12:50, 4:00, 7:10, 10:20; MON-THU 12:50, 4:00, 7:10, 10:10

BRAVE (G) Closed Captioned FRI-SUN 12:10, 2:35, 5:00; MON-THU 1:00, 3:30 ICE AGE: CONTINENTAL DRIFT (G) Closed

Captioned DAILY 12:30; 3D: FRI-SUN 2:55, 5:20, 7:40, 10:10; MON-THU 2:50, 5:10, 7:40, 10:00

TED (18A crude content, substance abuse) Closed Captioned FRI-SUN 1:10, 3:50, 6:30, 9:20; MONTHU 1:10, 3:50, 6:40, 9:20; VIP 18+: DAILY 1:30, 5:30, 9:30

for young children) FRI, MON 7:00; SAT 2:00, 9:15; SUN 12:45, 7:00; WED 9:15

COSMOPOLIS (14A sexual content, violence) FRI, MON & THU 9:00; SAT 7:00; SUN 2:15


11:15; SAT 4:00; SUN 9:00; TUE 9:30; THU 7:00


(STC) SUN 4:30; WED 7:00

THE STORY OF ANVIL–MUSIC DOCS (14A coarse language, nudity) TUE 7:00

EMPIRE THEATRES–SPRUCE GROVE 130 Century Crossing Spruce Grove 780.962.2332

substance abuse) Digital DAILY 9:45

TED (18A crude content, substance abuse) Digital

TED (18A crude content, substance abuse) Digital

DAILY 1:30, 4:20, 6:35, 9:20

DAILY 6:50, 9:30



DAILY 1:10, 3:40, 6:40, 9:15


ICE AGE: CONTINENTAL DRIFT (G) Digital DAILY 1:40; 3D: Digital DAILY 4:10, 6:50, 9:45

THE WATCH (18A crude sexual content) No passes Digital DAILY 1:50, 4:15, 7:05, 9:40

EDMONTON FILM SOCIETY Royal Alberta Museum Auditorium, 12845-102 Ave


MON 8:00

GALAXY–SHERWOOD PARK 2020 Sherwood Dr Sherwood Park 780.416.0150

THE AMAZING SPIDERMAN (PG violence, frightening scenes, not recommended for young children) Closed Captioned FRI 6:45; Closed Captioned SAT, MON-THU 6:45, 9:50; SUN 6:45, 9:50

THE WATCH (18A crude sexual content) Closed

Captioned, No passes FRI-SUN 12:40, 3:10, 5:40, 8:10, 10:40; MON-THU 12:30, 2:55, 5:20, 7:50, 10:20

THE AMAZING SPIDERMAN 3D (PG violence, frightening scenes, not recommended for young children) Closed Captioned FRI-SUN 1:15, 4:15, 7:15, 10:15; MON-THU 4:15, 7:15, 10:15


BRAVE (G) Closed Captioned FRI, SUN 1:40, 4:10,

Captioned FRI-SUN 12:20, 3:00, 5:35, 8:00, 10:50; MON-THU 12:40, 3:10, 7:00, 9:30

6:40, 9:10; SAT 11:10, 1:40, 4:10, 6:40, 9:10; MONTHU 2:05, 4:35, 7:05, 9:35



FRI-SUN 1:30, 5:10, 9:10; MON-THU 1:20, 5:00, 8:40; ULTRAAVX: FRI-SUN 12:00, 3:40, 7:20, 11:00; MON-THU 2:00, 6:50, 10:30; VIP 18+: DAILY 12:30, 2:30, 4:30, 6:30, 8:30, 10:30

Metro at the Garneau: 8712-109 St 780.425.9212

TOWN OF RUNNERS (PG not recommended

BRAVE (G) Digital DAILY 12:40, 3:20

12:30, 1:00, 2:00, 3:00, 4:00, 4:40, 6:15, 7:00, 8:00, 8:55, 9:25



tioned FRI, SUN-MON, WED-THU 2:00, 4:20; SAT 11:40, 2:00, 4:20; TUE 2:05, 4:20; 3D: FRI-SUN 12:00, 2:20, 4:40, 7:00, 9:20; MON-THU 2:20, 4:40, 7:00, 9:20

TED (18A crude content, substance abuse) Closed

12:00, 12:30, 1:30, 3:00, 4:00, 6:30, 7:00, 8:00, 9:45, 10:15

THE AMAZING SPIDERMAN 3D (PG violence, frightening scenes, not recommended for young children) Digital DAILY 12:20 THE AMAZING SPIDERMAN 3D (PG violence, frightening scenes, not recommended for young children) Digital DAILY 3:30, 6:20, 9:20 ICE AGE: CONTINENTAL DRIFT (G) Digital

DAILY 12:10; 3D: Digital DAILY 4:10, 6:40, 10:40

THE WATCH (18A crude sexual content) No

passes Digital DAILY 1:00, 3:40, 7:20, 10:00

PRINCESS 10337-82 Ave 780.433.0728


coarse language) FRI 6:50, 9:10; SAT-SUN 2:00, 6:50, 9:10; MON-THU 6:50, 9:10

BEASTS OF THE SOUTHERN WILD (PG mature subject matter, disturbing content) FRI 7:00, 9:00; SAT- SUN 2:30, 7:00, 9:00; MON-THU 7:00, 9:00

SCOTIABANK THEATRE WEM WEM 8882-170 St 780.444.2400

THE AMAZING SPIDERMAN (PG violence, frightening scenes, not recommended for young children) Closed Captioned DAILY 7:00, 10:15; 3D: DAILY 1:20, 4:30, 7:40, 10:45

MADAGASCAR 3: EUROPE'S MOST WANTED (G) Closed Captioned FRI-SUN 12:20; MON-THU 12:20, 2:50

Captioned FRI, SUN 12:15, 2:45, 5:15, 7:45, 10:25; SAT 5:25, 7:55, 10:25; MON-THU 2:45, 5:15, 7:45, 10:25

BRAVE (G) Closed Captioned FRI-TUE, THU 12:15, 2:45, 5:15, 7:45, 10:10; Wed 12:00, 2:30, 5:00, 10:10

TUE 1:00, 2:00, 3:00, 6:15, 7:00, 8:00, 10:00, 10:30; SUN-MON, WED-THU 1:00, 2:00, 3:00, 6:15, 7:00, 8:00, 10:00

THE WATCH (18A crude sexual content) Closed Captioned, No passes FRI-SUN 12:20, 2:50, 5:20, 7:50, 10:20; MON-THU 2:50, 5:20, 7:50, 10:20


THE WATCH (18A crude sexual content) No passes Closed Captioned, Digital, Dolby Stereo Digital DAILY 1:20, 4:10, 7:30, 10:15

STEP UP REVOLUTION (PG) Closed Captioned FRI-SUN 12:05, 2:40, 5:10, 7:40, 10:10; MON-THU 2:40, 5:10, 7:40, 10:10



CITY CENTRE 9 10200-102 Ave 780.421.7020


frightening scenes, not recommended for young children) Closed Captioned, Digital 3d DAILY 12:50, 4:00, 7:10, 10:20

11:00, 12:10, 2:30, 3:10, 3:50, 6:10, 6:50, 7:30, 10:00, 10:30; SAT 11:00, 11:30, 12:10, 2:30, 3:10, 3:50, 6:10, 6:50, 7:30, 10:00, 10:30; SUN 12:10, 2:30, 3:10, 3:50, 6:10, 6:50, 7:30, 10:00, 10:30; MON-WED 2:30, 3:10, 3:50, 6:10, 6:50, 7:30, 10:00, 10:30; THU 2:30, 3:15, 3:50, 6:10, 6:50, 7:30, 9:55, 10:30


DATE NIGHT AT THE GARDEN Thursdays, June through August 780-987-3054

TOWN CONCERT (Classification not available) SAT 12:45

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

THE DARK KNIGHT RISES (14A) No passes DAILY 1:45, 6:00, 9:10

TED (18A crude content, substance abuse) DAILY 4:30, 9:35


Captioned FRI-TUE, THU 12:00, 2:20, 4:40; WED 4:40; Star & Strollers Screening Wed 2:00; 3D: Closed Captioned DAILY 12:40, 3:10, 5:30, 8:00, 10:30 TED (18A crude content, substance abuse) Closed Captioned FRI-SUN 12:45, 3:20, 6:00, 8:40, 11:15; MON-THU 12:45, 3:20, 6:00, 8:30, 11:00

SAVAGES (18A sexual content, brutal violence,

substance abuse) Closed Captioned FRI-SUN, TUETHU 1:10, 4:20, 7:30, 10:40; MON 1:10, 4:20, 10:40

THE WATCH (18A crude sexual content) Closed Captioned, No passes DAILY 12:50, 3:15, 5:45, 8:15, 10:50 STEP UP REVOLUTION 3D (PG) Closed Captioned DAILY 12:10, 2:40, 5:10, 7:45, 10:20


FRI-SUN 2:00, 5:40, 9:30; MON-THU 1:00, 4:40, 8:30; Closed Captioned: FRI-SUN 3:00, 6:50, 10:30; MON-THU 5:40, 9:30; Ultraavx: FRI-SUN 12:30, 4:10, 7:50, 11:30; MON-THU 2:00, 6:50, 10:30

MAGIC MIKE (14A coarse language, sexual content, nudity, substance abuse) Closed Captioned DAILY 1:00, 3:50, 7:10, 10:00 THE DARK KNIGHT RISES: THE IMAX EXPERIENCE (14A) No passes DAILY 12:00, 3:40,

frightening scenes, not recommended for young children) No passes DAILY 1:20, 7:00

7:20, 11:00

THE WATCH (18A crude sexual content) No passes

MON 7:30


THE WHO–QUADROPHENIA: THE COMPLETE STORY (Classification not available)

DAILY 1:25, 3:25, 5:25, 7:25, 9:25

DAILY 1:00, 3:00, 4:55, 6:55, 8:50



WED 7:30


5:15, 7:15, 9:15

LEDUC CINEMAS 4702-50 St Leduc 780.986-2728


Located in Parkland County, 5 km North of Devon on Hwy 60 14 FILM

Wetaskiwin 780.352.3922

THE WATCH (18A crude sexual content) DAILY 1:10, 3:40, 7:10, 9:40


2D: 1:10; TUE 7:10; 3D: FRI-MON, WED-THU 3:30, 7:10, 9:30

7:00, 9:35

THE WATCH (18A crude sexual content) DAILY 1:10, 3:40, 7:10, 9:40

2D: 1:10; TUE 7:10; 3D: FRI-MON, WED-THU 3:30, 7:10, 9:30



12:45, 3:35, 4:30, 7:15, 8:45, 10:30



3:20, 6:40, 10:10



For your consideration

A pair of AGA exhibits offer openings for interpretation Until Sun, Dec 30 Behind This Lies My True Desire For You Works by Mark Clintberg Until Sun, Oct 14 Absence | Presence Works by Catherine Burgess Art Gallery of Alberta


o matter your relationship with art and art galleries, the curiosity to understand them is a persistent pull. In working through a relationship with such objects and spaces, we are forced to question our interpretive experience—what is made invisible by my lack of understanding? Mark Clintberg explores the yearning to find connection in his new work, as the latest instalment of the AGA's Manning Hall commission series. Manning Hall's giant wall, visible in the AGA lobby, is covered in grey weather-worn barn wood, inscribed with the piece's title, BEHIND THIS LIES MY TRUE DESIRE FOR YOU,

written in text reminiscent of that found on grain elevators. Considering the text as though the gallery is speaking to the audience, Clintberg connects to the intent behind the gallery's brand identity. "Your AGA" the new concept that accompanied the opening of the current building, speaks to the gallery's desire to connect with audiences, and cultivate a sense of ownership of the space by the Alberta population. However, in this consideration of connection is institutional critique—there is no way to access the other side of wall which is additionally reinforced with wood. Sitting on the couches that snake Manning Hall, the work provides an opportunity to ruminate on the idea of accessibility and the art gallery, and what might lie behind the AGA's desire for us as audience members. Ironically what does lie behind that wood-enforced wall is the gallery's upscale restaurant Zinc, suggesting a desire for high-end consumers rather than visitors or participants.

New to the RBC New Works Gallery is well-established Edmonton artist Catherine Burgess' exhibition, Absence | Presence. This series of diminutive abstract shapes of metal and stone are clustered around the wall and floor, simple arrangements fitting the minimalist genre's predilection to no-fuss explorations of shape and form in space. Although such work commonly tends to give viewers a role in considering their relationship with such objects because they must inhabit the same space, I wonder what in particular I can learn or experience in this work that is unique to it. The opportunity to interrogate harmonious and disquieting spatial relationships between these objects, and between the art and visitor, exists and is an undoubtedly valuable experience to have. However, seeing that this is well-trod territory and Burgess is a master of this particular and elegant brand of art making, I wonder what she could do to challenge herself and her audiences. What other

Compass, mixed media

// Catherine Burgess

kinds of relationships with space, materials, and people are possible? It would be exciting to see skilled senior Edmonton artists like Burgess help

us explore these possibilities off the beaten path.

Cawood notes that they aren't quite sure what many of the dreamers thought of the visualizations: once the dream was staged, the Prize* simply mailed the photos back to their respective dreamers. "Sometimes the turnaround between doing the session and getting the photo can be quite long; like months, or a year perhaps," he says. "And so maybe by the time they get the photo in the mail, they've forgotten about the initial session that they did. It's kind of pleasing to me to think about getting this bewildering photo in the mail. This quite cryptic certificate attached to it. Especially since we didn't tell them what we were going to do with the dream. We left it kind of open ended; We'd do an 'esthetic analysis' of the dream."

ing to another hanging): in another, there's a set of a human butt and legs flying above an unlucky persons' head, all constructed of burlap, fabric and wool. "The images themselves, as far as the hooked rugs go, are derived from my own observations and operate as an absurdist critique of what I find to be the seriously bankrupt intellectual culture of the artworld," Power explains over email. "This stance is probably due in no small part to my interest in punk and DIY culture. " Power, whose artist statement notes a "strive for an authentic expression of the idiocy of being alive, while questioning the notion of authenticity itself." recalls that the pairing of video and hanging began with the former, the idea of being pissed off with "Faceless, unresponsive institutions." The absurdity in its mix of "folk art" style and unsual substance, he notes, is its curiosity. "That's what lies at the heart of what I think is interesting about the work. There's a tension between what appears to be an extremely naive presentation and practice with a somewhat cynical or at least skeptical sense of humour, not to mention a certain disregard for the conventions around making things 'look good.'"




I Had This Dream

The hooked rug hangings of Craig Francis Power

Until Sat, Aug 4 Works by The Turner Prize*, Craig Francis Power Latitude 53


hough surrealism and the absurd can take on many bewildering forms, whatever their shape they displays a world like ours—just somehow askew. Some of the rules we take for granted get replaced or removed, with juxtapositions that give reason to pause and consider a new context. Two takes on surrealism currently adorn the walls of Latitude 53 as I Had This Dream. The first, by the Turner Prize*, is Other People's

Dreams, which is just that: the trio's photographic interpretations of other people's REM recollections. Collected during a stint in California doing a "social engagement performance project," the photographs restage the dreams that were described to them, although, talking to the Prize* trio on Skype, Blair Fornwald (alongside John Hampton and Jason Cawood) explains that pinpoint accuracy isn't exactly the goal. "One of the things we talk about a lot in our writings and in contextualizing our work is the disjuncture between ideas and they representations; what is lost when we attempt to make

a narrative out of something that isn't structured as such," she explains. "In retelling a dream, you lose a lot of the details and specificity that make it dreamy and not of this world. And it ends up working for all communication: every time you try to put something into language, there's a bit of a loss, or slippage. And that loss is where we like to inhabit." The dreams were collected with the aid of a machine called the Mind's Eye Plus—involving noise-cancelling headphones, goggles, and modulated light and sound—created in the 80s by therapists, "For regression therapy," notes Hampton. "For accessing your subconscious. Also by new age hobbyists for [reaching] some clear mental, meditative state." The results the Prize* received span from the simply curious to explicit ("There were probably a small handful of people that were just being provocative," Fornwald points out), all operating within some altered state of logic.

Elsewhere in the gallery, sitting across from one another are Craig Francis Powers' works: a looped video of a man's profanity-laced tirade sits across from hooked rugs hangings, some connected by long threads. The element of absurdity emerges comes not just from the juxtaposition of video and hangings, but the artistic disconnect between the hangings' traditional content and what we see here: in one there's a drunken fellow's pissing, beer bottles floating above his head (the thread of pee connect-





I regard the theatre as



the most can share with another the immediate way in which a sense of what human being it is to be a

human being.

Oscar Wilde

Got a weird passion for numbers?


Suddenly, a Knock on the Door Now available By Etgar Keret Translated from the Hebrew by Miriam Shlesinger, Sondra Silverston, and Nathan Englander Farrar, Straus & Giroux 192 pp, $15.50


ity the short story. What should be a bracing, springloaded burst of storytelling—the literary equivalent of one of those five-hour-energy shots you find at gas stations next to the cash register—is too often stretched out into an overblown novel in miniature. This does the form a major disservice. The reader, too. We already know, for instance, that sitcoms are not the same as feature films; a song is not an album. These are totally different beasts, each with its own unique user's manual. Different strengths and weaknesses. Why don't we treat fiction the same way? Suddenly, a Knock on the Door does not act like a series of mini-novels. No, sir. In fact, the fourth collection of Israeli writer Etgar Keret's to be translated into English makes better use of the inherent strengths of the short story than any collection I've read in at least a year. Wondrous, wide-eyed and never without a spring in its step, this is a magical little book. The first thing to notice is that Keret doesn't include any of those ornate little trappings, so common in the padded-out world of the novel, around

the edges of his stories. Instead, he lops off the boring bits at the beginning and end, and leaves us only the action-packed middles, the good stuff. No need to methodically explain the rules of these worlds he's created; just drop us in, get the job done and then bring us back home. This is explicitly laid out in the title

piece, when a series of burglars storm into a writer's living room, aim guns (and a meat cleaver) at him, then demand to be told a story—"and make it quick." And quick they are: 35 over 190 pages. Now, part of the fun comes from

precisely that feeling of being constantly pulled around, just as you're starting to get your bearings. Keret has a tremendous sense of timing and suspense, and knows just when to pull the plug. But he's also got a wild imagination. You get the sense he's just that impatient to show us what's around the next corner. This also explains why the final sentences of the stories tend to hit like haymakers. Sometimes the entire premise is suddenly revealed, as in the absurd, yet cosmically just child-murderer story "One Step Beyond." And "The Story, Victorious II" only contains one sentence to begin with. I literally shuddered, in the butterfly-effect-via-fastfood-restaurant tale "Cheesus Christ" (one of my favourites), at "Somewhere on the other side of the world, evil winds began to blow." Mostly, though, what I love about Keret is how clearly he runs on intuition. These stories are broadly about family, infidelity and the pockets of absurdity in modern life, but they pivot and reinvent themselves so quickly that it's obvious even Keret himself can't see more than a sentence or two ahead. That means we're able to share his writerly "Eureka!" moments in what feels like real time. As I said at the top, short stories have real, unique powers, but it takes a writer as good as Keret to remind us of just how intoxicating and marvellously inclusive those powers can be. MICHAEL HINGSTON


If the basement looks this funky imagine what the house looks like.

WE HAVE A [ PROGRAM ] FOR THAT. IT’S NOT TOO LATE! If you’ve been considering a career in business or accounting, MacEwan University has options to fit your life. MacEwan University School of Business still has space available in the Accounting and Strategic Measurement AND Management Studies diplomas. Both these diplomas transfer directly to the Bachelor of Commerce degree, and are available on a full-time, part-time and online basis (though just the first year online for Accounting). APPLY TODAY! Accounting: Call 780-497-4256, or E-mail


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Vue Weekly Ad size: ¼ page (4” wide x 9” high) Runs: July 26, 2012 CMYK



AM I?: Artworks by Bekk Wells; until Jul 28 • SqUAre ONe: Fundraiser and exhibition; until Aug 9 • geT THere FrOM Here: Artworks by Nicole Bauberger • Aug 2-Sep 1 • Opening: Aug 2, 6-9pm • Painting demo and meet the artist, see her portable studio (truck) on the street at 19 Perron St; Sat, Jul 28, 12-3pm

Kristen Wilkins

ART IN THE PLAZA • 2001 Sherwood Dr,



Sherwood Park • 780-410-8505 • strathcona. ca/artintheplaza • A leisurely outdoor Sunday stroll through the West Plaza where artists will have original works available • Sundays, until Sep 30, 11am-4pm


ARTWALK–St Albert • Perron District,

Expressionz Café, 9938-70 Ave • 780.437.3667 • Milonga Dance the last Saturday of each month Cristina and Vicente Munoz • Sat, Jul 28, 9-midnight • $12; free dance lesson: 8-9pm

FILM BAILEY THEATRE–Camrose • The Bailey Theatre presents: Wild, Wild West: after the parade enjoy a free family matinée; Aug 2, 2pm

EDMONTON FILM SOCIETY • Royal Alberta Museum Auditorium, 12845-102 Ave • • $6 (adult)/$5 (senior 65 and over/student)/$3 (child) • The Barkleys Of Broadway (1949, 110 min, colour, PG); Mon, Jul 30, 8pm FILM FORUM • Stanley A. Milner Library • Series of film screenings followed by facilitated discussions. Join us this summer for another round of intriguing films and guest speakers • Room 7, 6th Fl: Sunset Boulevard, PG; Sat, Jul 28, 1:30pm

FROM BOOKS TO FILM SERIES • Stanley A. Milner Library, Main Fl, Audio Visual Rm • 780.944.5383 • Screenings of films adapted from books, presented by the Centre for Reading and the Arts • The Adventures of Tintin (2011, PG); Fri, Jul 27, 2pm

MOVIES ON THE SQUARE • Churchill Square • • Movies on a 3-story high inflatable screen • 780.944.7740 • Journey 2, The Mysterious Island: Aug 3, 7:30pm • The Adventures of TIN TIN: Aug 4, 7:30pm • Free

GALLERIES + MUSEUMS ALBERTA CRAFT COUNCIL GALLERY • 10186-106 St • 780.488.6611 • albertacraft. • Discovery Gallery: COMINg Up NexT: ACC exhibition of contemporary fine craft by emerging artists; until Jul 28 • pUre FOrM: The Coalescence of Glass and Concrete by James Lavoie; Aug 4-Sep 8 • FIgMeNTS & FrAgMeNTS: Glass works by Leah Nowak; Aug 4-Sep 8 • BeNTS CUp prOJeCT: Cathy Terepocki’s ceramic “souvenirs”; Sep 15-Oct 20 • Feature Gallery: SHIFT: a transformative state of mind: Artwork by the ACAD fourth year metal program students; until Sep 29 • NegOTIATINg TrAdITIONS: Different approaches to tapestry by former students of Jane Kidd • TrANSlATIONS: Jane Kidd's recent tapestries; until Sep 29 • TrANSlATIONS: Jane Kidd's recent tapestry work; untl Sep 29 • NegOTIATINg TrAdITION: Five approaches in contemporary tapestry; until Sep 29 • SHIFT: A TrANSFOrMATIve STATe OF MINd: Works by senior students and graduates from the 2012 ACAD Jewellery and Metals Program; until Sep 29 • James Lavoie: Edmonton glass artist experimenting with cement • CONNeCT: emerging Calgary glass artist Leah Nowak; Aug 4-Sep 8

ART GALLERY OF ALBERTA (AGA) • 2 Sir Winston Churchill Sq • 780.422.6223 • • Alex JANvIer: lIFe'S WOrk: until Aug 19 • BMO Work of Creativity: MeTHOd ANd MAdNeSS: Family-focused interactive exhibition created by Gabe Wong; until Dec 31 • lOUISe BOUrgeOIS 1911-2010; until Sep 23 • 7 YeArS IN THe CITY: Artworks from the AGA Collection; until Sep 30 • THe AUTOMATISTe revOlUTION: MONTreAl 1941-1960: Until Oct 14 • ABSeNCe/preSeNCe: Catherine Burgess; until Oct 14 • BeHINd THIS lIeS MY TrUe deSIre FOr YOU: Mark Clintberg; Until Dec 30 • Tuesdays on the Terrace: Every Tue, 4-8pm, Jul and Aug; AGA admission includes an art-inspired signature cocktail from ZINC Restaurant, served up with live musical stylings on the AGA 3rd floor Terrace • One Evening/ Two Artists: More art, more insight; Conversation with the Artists: Mark Clintberg: Behind this lies my true desire for you, 6pm; Catherine Burgess: Absence/presence, 7pm • On the Terrace, 7:30pm; free with gallery admission

ART GALLERY OF ST ALBERT (AGSA) • 19 Perron St, St Albert • 780.460.4310 • • WHAT kINd OF AN ANIMAl AM I?: Bekk Wells' textile based installations wittily examine the relationship between human culture and the rest of the world; until Jul 28 • WHAT kINd OF ANIMAl

downtown St Albert • • The 1st Thu each month, exhibits run all month • Venues: WAreS (Hosting SApvAC), Musée Héritage Museum, St Albert library, gemport, Art Beat gallery, Art gallery of St Albert (AgSA) and rental & Sales gallery (AgSA), Satellite Studio (AgSA), Bookstore on perron, Crimson quill, St Albert Constituency, Concept Jewellery, vASA • Thu, Aug 2

BLOCK 1912 CAFÉ • 10361-82 Ave • plACeS I’ve BeeN ANd FACeS I’ve SeeN: Paintings by Emmanuel Osahor • Until Sep 8 BLUE CURVE GALLERY • Glenrose Rehabilitation Hospital, 10230-111 Ave • reFleCTIvITY: Artworks by William G. Prettie • Until Aug 30

CROOKED POT GALLERY–Stony Plain • 4912-51 Ave, Stony Plain • 780.963.9573 • BOWlS: An Artful Study of a Simple Form; until Jul 31 • BlOOMS gAlOre ANd MOre: Functional and hand built pottery by Tracy Mandreck and Helmut Jantz; Aug 1-31; reception: Sat, Aug 4, 11am-3pm

DAFFODIL GALLERY • 10412-124 St • 780.760.1278 • • OFFWHYTe: ArtWalk Holdover showing a variety of artworks from the Whyte Avenue Art Walk. Includes a peoples choice selection • Until Jul 31

DEVONIAN BOTANIC GARDEN • Parkland County Art Show; Aug 3-6, 10am-6pm • Devon Pottery Guild Show: Aug 4-5

ENTERPRISE SQUARE GALLERY • 10230 Jasper Ave • SAM STeele: THe JOUrNeY OF A CANAdIAN HerO: Experience the untold story of Sam Steele, Canadian leader and hero. Records of his life unseen until repatriation in 2008. An exhibition over three years in the making • Until Sep 30 • $7 (adult)/$5 (child/student/senior)/$20 (family) • Catch The Crooks of the Klondike! Scavenger hunt for the young and the young at heart with real crooks and golden rewards; Jul 19-29 EXTENSION GALLERY–ATRIUM • Enterprise Sq, 10230 Jasper Ave • WHere We STANd: Artworks by Boyle Street Commnity Services' artist and artist in residence Anna Gaby-Trotz • Until Sep 5

FAB GALLERY • Department of Art and Design, U of A, Rm 3-98 Fine Arts Bldg • 780.492.2081 • vISIBle plANeT: Artworks by Yuske Shibata, international ( Japan) visiting researcher, produced during his residency at the U of A • AdHeSION: Jill Ho You's final visual presentation for the degree of Master of Fine Arts in Printmaking • Until Aug 25 • Reception: Thu, Aug 2, 7-10pm

FRONT GALLERY • 12312 Jasper Ave • 780.488.2952 • SUMMer SAlON: Group show • Through Jul-Aug

GALLERIE PAVA • 9524-87 St, 780.461.3427 • Alberta, her landscapes and her animals: Paintings by Robert McLean • Jul 28-Sep 19 • Opening: Jul 28, 1-4pm, artist in attendance

GALLERY 7 • Bookstore on Perron, 7 Perron St, St Albert • 780.459.2525 • SONgS OF INNOCeNCe: Paintings based on the writings of William Blake by Father Douglas • Jul 27-Aug 29 • Reception: Thu, Aug 2, 6:30-8pm; part of the St Albert Art Walk

GALLERY AT MILNER • Stanley A. Milner Library Main Fl, Sir Winston Churchill Sq • 780.944.5383 • • WHere I lIve: Pinhole photos by Wenda Salomons; until Jul 31 • Extraordinary Views of Common Places: Photographs by David Baine; Aug 1-31

HAPPY HARBOR COMICS V1 • 10729104 Ave • COMIC JAM: Improv comic art making every 1st and 3rd Thu each month, 7pm • Open Door: Collective of independent comic creators meet the 2nd & 4th Thu each month, 7 am • Comics Artist-in-Residence program is proud to extend Paul Lavellee’s term. Visit him every Friday (12-6) and Sat (12-5); until Aug 18

HARCOURT HOUSE GALLERY • 3 Fl, 10215-112 St • Main Gallery: SpACe AgeNCY: Video, sculptural installation by McLean Fahnestock; Aug 2-Sep 8; Opening/Artist Talks: Thu, Aug 2, 6:30-10pm • Front Room Gallery: WISH YOU Were Here: Photos by

HARCOURT HOUSE GALLERY • 3 Fl, 10215-112 St • Main Gallery: NeWS, WeATHer ANd SpOrTS: Artworks by Dan Hudson; Sep 13-Oct 13; opening /artist talks: Thu, Sep 13, 6:15-10pm • Front Room: MY dArlINg devIANTS: Artworks by Marcia Pitch • Sunworks Home and Garden Store, Ross St, Red Deer • 403.346.8937 • harriswarkegallery. com • lITTle TO WISH FOr: Installation by Alysse Bowd; Until Jul 28

HUB ON ROSS–Red Deer • 4936 Ross St, Red Deer • 403.340.4869 • • ART FrOM THe INSIde: Works by Wanda Cassidy • Until Jul 31 JAKE LEWIS GALLERY • Jake's Framing, 10441-123 St • 780.426.4649 • jakesframing. com • Artworks by Gerry Dotto, Karen Bishop (of Daofdil Gallery), Glenys Switzer • Until Aug 25

ROYAL ALBERTA MUSEUM • 12845-102 Ave • 780.453.9100 • Maskwacîs (Bear Hills); until Sep 3 • WINged TApeSTrIeS: MOTHS AT lArge: until Sep 3 • FASHIONINg FeATHerS: Dead Birds, Millinery Craft and the Plumage Trade; curated by Merle Patchett and Liz Gomez, show examines the effect of fashion's demand for beautiful feathers on bird populations at the beginning of the twentieth century; until Jan 6 • WOlF TO WOOF: until Sep 16 • THe ArT OF SeATINg: Two Hundred Years of American Design: until Oct 6 SCOTT GALLERY • 10411-124 St • 780.488.3619 • CeleBrATINg AlBerTA lANdSCApeS: Artworks by Martha Cole, Mitchell Fenton, Arne Handley, Hilary Prince, Jim Stokes and others • Aug 2-21

WEE BOOK INN–WHYTE • 10310-82 Ave • 780.432.7230 • Author Halli Lilburn promoting her new YA fiction novel, Shifters • Jul 27, 6-9pm WUNDERBAR ON WHYTE • 8120-101 St • 780.436.2286 • The poets of Nothing, For Now: poetry workshop and jam every Sun • No minors

THEATRE CHIMPROV • Varscona Theatre, 1032983 Ave • • Rapid Fire Theatre’s longform comedy show: improv formats, intricate narratives, and one-act plays • First three Sat every month, 11pm, until Jul • $10/$5 (high school student)/$8 (RFT member at the door only) AN EVENING OF ONE ACT COMEDIES • Capitol Theatre, Fort Edmonton Park

JURASSIC FOREST/LEARNING CENTRE • 15 mins N of Edmonton off Hwy 28A,

SNAP GALLERY • Society Of Northern Alberta Print-Artists, 10123-121 St • 780.423.1492 • • lOCATINg SpIrITUAlITY/ FrOM OBJeCTS TO ICONS: SNAP opens ups its archives for a show curated by Tess Hawkins; until Aug 8 • Gallery: Artists Book Competition; until Aug 11

Township Rd 564 • Education-rich entertainment facility for all ages

STRATHCONA COUNTY GALLERY@501 • 501 Festival Ave, Sherwood Park

MARY POPPINS • Jubilee Auditorium • National Tour, the irresistible story and unforgettable songs from one of Disney's popular films • Until Jul 29, Tue-Fri 8pm; Sat 2pm, 8pm; Sun 1pm, 6:30pm • Tickets at, TicketMaster

KEHRIG FINE ART • Great West Saddlery Building, 10137-104 St • 780.619.0818 • SIleNT BeAUTY: Artworks by Blake Ward, William Prettie, Gregory Swain, Andra Ghecevic, Barb Fedun, Raphael Gyllenbjorn, Llewellyn Petley-Jones, Michel Anthony and more • Until Jul 28

KIWANIS GALLERY–Red Deer • Red Deer Public Library • FlOWer SCApeS: Works by Elaine Tweedy • Until Aug 19

LATITUDE 53 • 10248-106 St • 780.423.5353 • • Main Space: I HAve THIS dreAM: An exploration of contemporary surrealism works by Turner Prize ( Jason Cawood, Blair Fornwald, and John G. Hampton), Craig Francis Power, curated by Todd Janes; until Aug 4 • Rooftop Patio Series: M.A.D.E. in Edmonton; Jul 26 • Incubator Artists: • Anya Tonkonogy; until Jul 28

MARJORIE WOOD GALLERY–Red Deer • Kerry Wood Nature Centre • INSeCT pOrTrAITS: Artworks by Charity Briere • Until Jul 27

MCMULLEN GALLERY • U of A Hospital, 8440-112 St • 780.407.7152 • NeW TerrAIN: lANdSCApeS IN pASTel: Works by David Shkolny, Judy Martin, and Catharine Compston; until Aug 26

• 780.410.8585 • • WITNeSS: Recent works by Sherri Chaba and Lyndal Osborne • Until Aug 19

TELUS WORLD OF SCIENCE • 11211142 St • 780.452.9100 • edmontonscience. com • IMAX: Hubble: Through the summer • rOBOTS–THe INTerACTIve exHIBITION: Until Sep 9 VAAA GALLERY • 3rd Fl, 10215-112 St • 780.421.1731 • COlOUr CONSpIrACY: Exhibition by the Hand Weavers, Spinners and Dyers of Alberta • Until Aug 11


• Comedy at the Capitol Theatre, characters navigate the gauntlet of first dates, jealous husbands, and manipulative in-laws • Until Jul 29; Dinner theatre: until Jul 26; 8pm • $28 (adult)/$20 (student/senior)

OH SUSANNA! • Varscona Theatre • 10329-83 Ave • 780.433.3399 • • The Euro-style variety spectacle with Susanna Patchouli and her divine co-host Eros, God of Love! Laughs! Music! Cocktails! • Runs the last Sat each month, until Jul, 11pm (subject to occasional change)

Artworks by Elyse Szabo • Until Jul 31

SYLVIA • Mayfield Dinner Theatre, 16615-

WEST END GALLERY • 12308 Jasper Ave •

109 Ave • Tickets: 780.483.4051 • • Starring Cindy Williams and Eddie Mekka (from TV’s Laverne & Shirley) • The classic love triangle-husband, wife, A witty, intelligently comedic and tender tale about life and love in the middle years. Mature content, not suitable for children • Until Aug 19

780.488.4892 • • Group show • Through the summer

LITERARY FROM BOOKS TO FILM SERIES • Stanley A. Milner Library, Main Fl, Audio Visual Rm • The Adventures of Tintin (2011, PG); Fri, Jul 27, 2pm

ROUGE LOUNGE • 10111-117 St • 780.902.5900 • Poetry every Tue with Edmonton's local poets

THEATRESPORTS • Varscona Theatre, 10329-83 Ave • • Improv runs every Fri, until Jul, 11pm (subject to occasional change) • $10/$8 (member)

MICHIF CULTURAL AND MÉTIS RESOURCE INSTITUTE • 9 Mission Ave, St Albert • 780.651.8176 • Aboriginal Veterans Display • Gift Shop • Finger weaving and sash display by Celina Loyer • Ongoing

MILDWOOD GALLERY • 426, 6655-178 St • Mel Heath, Joan Healey, Fran Heath, Larraine Oberg, Terry Kehoe, Darlene Adams, Sandy Cross and Victoria, Pottery by Naboro Kubo and Victor Harrison • Ongoing MULTICULTURAL CENTRE PUBLIC ART GALLERY (MCPAG)–Stony Plain • 5411-51 St, Stony Plain • 780.963.9935 • Fabric hangings by Rachelle Le Blanc; until Aug 15 • Paintings by Detra Powney; Aug 17-Sep 19; opening reception: Sun, Sep 9

MUSÉE HÉRITAGE MUSEUM–St Albert • 5 St Anne St, St Albert • 780.459.1528 • St Albert History Gallery: Artifacts dating back 5,000 years • IN FOCUS: Photographing the Alberta and Montana Frontier, 1870-1930; Blood, Blackfoot, Northwest Mounted Police and ranching artifacts from the Royal Alberta Museum and Musée Héritage Museum will be featured with the photographs • Until Aug 19

NAESS GALLERY • Paint Spot, 10032-81 Ave • 780.432.0240 • • explOrINg lANdSCApeS: Oil landscape paintings by Greg Doherty • Until Jul 31

NINA HAGGERTY–Stollery Gallery • 9225-118 Ave • 780.474.7611 • ninahaggertyart. ca • A TAle OF TWO CITIeS: Collaboration between Edmonton's Nina Haggerty artists and Calgary's Arts and Studio C • Until Aug 3 PETER ROBERTSON GALLERY • 12304 Jasper Ave • 780.455.7479 • • SUMMer grOUp SHOWS: New artworks by gallery artists; through to Aug

PROVINCIAL ARCHIVES OF ALBERTA • 8555 Roper Rd • 780.427.1750 • culture. • We SIMplY TUrNed TO THe WOMeN: 100 YeArS OF THe CATHOlIC WOMeN'S leAgUe, Edmonton Archdiocese 1912-2012; until Aug 31

THE QUARTERS–Downtown • Jasper Ave (SW corner), 95 St, green space • • dIrT CITY¦dreAM CITY: Site-specific public artworks throughout the Quarters district; a collaboration of fifteen artists and artist/curator Kendal Henry • Until Jul 30





New kid on the block

The rustic Mercer Tavern inhabits iconic warehouse 10363 - 104 St 780.965.4337


he iconic Mercer Warehouse on the 104th Street Promenade is a starting a new chapter, with several new businesses inhabiting the historic space. One of the new kids on the block is the Mercer Tavern, a rustic, inviting hangout that's made full use of the building's original industrial esthetic, which is just over 100 years old. Devin Pope of Rosehill Property has taken on the Mercer as his first major project in his family's business and is one of four partners in the Mercer Tavern along with Jeff Ruptash, Jon Fraser and Terence Satdeo. He says the revitalization process for the tavern has spanned over approximately six months. The construction team, which included the partners getting in on the dirty job, sanded all the floors, redid the plumbing, the roof and the entire kitchen, among a lengthy list of other jobs. "Now that you bring it up, I realize six months isn't actually that bad," Pope says with a laugh, later adding that the goal of the building as a whole is to bring an entrepreneurial hub to the area that can act as a one-stop-shop for customers. "[The partners] are every bit a part of what's going into it and it means a lot to them, and I think that will really show," adds Gillian Hodgson, the tavern's PR and marketing coordinator, of the partners' active involvement in the project. Approximately a year and a half ago, Pope and his father Kelly began investigating different avenues for filling the Mercer. Pope teamed up with long-time friend Ruptash to bring the tavern to life and add something unique to Edmonton's food scene with the raw, historical space. "With 104th Street, the energy, the spirit here is palpable," notes Hodgson. "It's undeniable that this is the up-and-coming area on the city, and to be a part of that metamorphosis is


exciting and it is a privilege as well." In addition to being able to experience one of the city's most historic buildings—which holds numerous mysteries that Pope believes adds to its intrigue, including tales of a black-robed ghost in the basement—patrons can enjoy a menu that offers a gourmet spin on classic comfort food. Executive chef Daniel Gibbons, formerly sous chef at Joey's on Jasper, is whipping up a variety of meaty, vegetarian, vegan and gluten-free options to satisfy a wide variety of tastes and diets. One of the kitchen's gluten-free creations includes a mouth-watering spaghetti squash dish topped with red pepper coulis, Italian herb marinated tofu and a basil oil drizzle. Other menu offerings include bison short ribs, corn fritters and some meatless options. Of course, what would a good tavern be without extensive beverage offerings? The Mercer Taven is forgoing tastes-like-juice concoctions for classic, crafted cocktails like the mint julip and amaretto sour. A highlight in particular is the Tavern Iced Tea, which combines mango sencha tea, whisky, ginger and bitters. Hodgson says bar manager Jordan Wassen is passionate about cocktails and allows the quality of the spirits to come through, rather than masking them. For beer drinkers, Pope notes there are 12 varieties on tap and 30 more in bottles ranging from local craft beers to imported brands. The building's original owner, JB Mercer gets a nod with a private room boasting his namesake. The room can be booked for a variety of functions and despite staying true to its vintage charm, including the original safe, it has some modern touches like an iPod dock and AV hook ups. "We want to really create the culture in that room," Pope says. "JB Mercer was an entrepreneur and salesman, and we kind of wanted to designate a room specifically to him ... we wanted to bring back the history in that space." MEAGHAN BAXTER




Give Riesling a chance It's a grape that hasn't quite entered be off-dry, "Spätlese" means half-sweet the mainstream yet. While Riesling is and "Auslese" will be quite sweet. Addinot nearly as esoteric as some variettionally, Germany makes several types ies (Lacrima di Morro, anyone?), it's of dessert wine from Riesling grapes; not the first grape that most people these will be very sweet and will bear tend to choose when perusing a wine the terms "Beerenauslese" (late harlist or picking up a bottle from vest), "Trockenbeerenauslese" I D I the store. (botrytis/noble rot), or "EisV VENI, Much of this could be due wein" (icewine, made from to the sugar factor. Riesfrozen grapes just like uewee ling's home territory is Gerdian icewine—the Germans mel@v Mel many, and the vast majority invented it first, in fact). ey Priestl of German Riesling tends to be sweet—it might be only a hint of Austria and the French region of sweetness, or it might be like drinking Alsace are also famous for their Riesapple juice, but rest assured that there ling. Austrian versions tend to be more will probably be some noticeable refull-bodied than the German ones, and sidual sugar. Unfortunately, sweet they often reign in the sweetness a bit. wines carry the stigma of being cheap Riesling from Alsace is usually very difand crappy, especially in North Ameriferent from typical German Riesling, ca where up until only a few decades despite the geographic proximity—usuago, a lot of the wines made here were ally bone dry and highly aromatic, aljust that. most perfumed. But Riesling is good stuff. Well-made The New World has also embraced versions will balance any residual sugar the variety. In particular, Riesling from with zesty acidity, keeping it refreshing. Australia's Clare and Eden Valleys Plus, a lot of New World producers of are lovely, usually dry with high acidRiesling make completely dry versions, ity and a zesty lime/mineral streak. since dry wines are the general prefNew Zealand's Canterbury region and erence of the average wine drinker. Canada's Niagara region also make noCommon Riesling aromas and flavours table Rieslings, which can range from include apples, stone fruit, flowers dry to off-dry. and citrus. The dead giveaway Riesling One of the best reasons to seek out aroma (and a surefire way to win a Riesling is its affinity to so many difblind testing) is the aroma of petrol— ferent types of food—this is a great think rubber boots, beach balls or even fallback wine to choose when you gasoline. I know this doesn't sound pararen't sure what else would work. ticularly appealing, but rest assured the Riesling's naturally high level of acidwine is quite good and won't taste like a ity makes it a great choice for greasy glass of vinyl, promise. or fatty foods like duck, goose, pâté, Navigating German wine labels is a and even fried chicken or Chinese cuidaunting challenge, unless you speak sine like sweet and sour pork. Drier the language and/or aren't intimidated versions pair nicely with grilled vegby arm-length words. But the word etables, salads and seafood, while "Riesling" will always appear on the lasweeter Rieslings are one of the few bel, so if you spot that, you're halfway wines that work with spicy foods like there; here is the key to determining stir fries or curries—but you're probthe level of sweetness: "Trocken" is a ably best sticking to beer with those dry or almost dry wine, "Kabinett" will nuclear hot chicken wings. V


Open at 8am every Saturday. FREE PARKING 8AM - 3PM

10310 - 83 AVE


Toleration is the greatest gift of the mind; it requires the same effort of the brain that it takes to balance oneself on a bicycle. – Helen Keller

da capo lifestyle caffé

8738 -109 street and 8135-102 street VUEWEEKLY JULY 26 – AUGUST 1, 2012


MUSIC yesterday's Future...


SO4's Nik Kozub on Spanish Moss and total analogue

Sat, Jul 28 (9 pm) Shout Out Out Out Out With Faunts, Kumon Plaza Starlite Room

omething happened to Nik Kozub on the road to Savannah, Georgia. He can barely talk about it. Or, he could talk about it forever. Either way, he's not entirely convinced he should. He gropes for words, face churning with expression.


"Aaaaah," Kozub sighs after several stumped beginnings, somewhere between reverie and frustration. Every prophet who's ever woken to have an especially vivid dream of Utopia snatched from him by daylight has made this exact noise. Savannah is no Damascus. There is no conversion story. Just a deepening; sinking into a semimythical land, permutations of the American Dreamscape seen in film and felt in literature and conjoined in music. Kozub roamed where heightened emotions are written on the land— fecund, weighty, frighteningly lush, tangled like a fairy-tale forest, frothy grey-green tendrils rustling around trees that sat through centuries of superstition, snaking towards, around and through all the stupid, wonderful things we proffer against existential despair: malls, gun shops, gas stations, diners, paved roads. Weird, old America. Southern Gothic.


Shout Out Out Out Out, the magnificent hydraheaded sonic toy chest consisting of Kozub and five fellow dudes, writes about Dirt City. Mostly by implication, but nonetheless. They have songs about being trapped in debt cycles and about shitty real estate development; songs about self-destructive patterns, winter depression and all-consuming fatigue; songs about creative-class hustling and getting buoyantly lost in a writhing super-organism of dancing bodies, an irresistible beat and a bottle of fun. Weird, new Alberta. Prairie Gothic. Now, the South intrudes. "Have you ever seen Spanish moss?" Kozub finally asks. "It's just really beautiful." Spanish moss gives those Southern states Kozub meandered through their haunted, primal mood, evoking the threat that everything we are, make, do and love will eventually surrender to the steady earth. Kozub's journey induced some interior shift, one of those occasional, personally intense selfquakes that rips the fabric of our worldview and weaves us a new one. He took the mysterious botanical presence blanketing Dixie back home, hitchhiking in whatever part of the brain deals in emotional resonance. Upon his return, it was set loose to grow into a song, one of the first seeding a new album. Spanish Moss and Total Loss emerges in Edmonton's sultriest summer in years. Alongside usual formats, there's a mind-blowing two-toned vinyl edition with acid-fuelled interdimensional pinball art, basically pressed with 100% medicalgrade Awesome.

Of the title, Kozub says, "I love 'beautiful' with that heaviness. I love that 'Spanish moss' is not Spanish and not moss. I love that it's this beautiful plant that people appreciate and an iconic thing for its area, but also a parasite^ that grows off these trees. It's got beauty, but also this dark undercurrent, which I find appealing, and metaphorically relevant to our band, how we play somewhat fun electronic music with a heavy, dark lyrical undercurrent." Kozub exaggerates a Dumb Pretentious Musician voice. "I find it representative of my band and of my life, man!" He draws the last word out —"maaaaaaaaan!"—and sputters into laughter. "I don't know. The way the album's put together, it just makes emotional sense to me. It ties together, hangs together, makes sense." Spanish Moss is less blunt and anthemic than SO4's debut, Not Saying/Just Saying, and not as angular and jittery as Reintegration Time, although it retains a kinship to these earlier albums. Kozub believes the differences simply reflect the band's growth, individually and collectively, between records. "It sounds different because we're better now," Kozub laughs. "Every time we've made a record, we've refined our writing and recording process. Sometimes successfully; sometimes not. For the last album, we'd record way more than we needed and the production decision was determining what to cut; arrangements by deleting. This time, we kept pretty much everything. We had better ideas of what would work. But those decisions


happened while the song was being written." SO4 booked a block of time at The Audio Department, the local studio where Kozub works, and the band created the album there, mostly from scratch, but sometimes working from demos or snippets brought in. "A couple songs were me humming a melody line into the voice memo on my phone. The first song, 'Now That I've Given Up Hope, I Feel Much Better,' was a bass line played into my phone as a little sketch. I realized later it was in 7/4, which is a weird time signature, but I wanted to see if we could make a dance tune in 7/4." Kozub's Spanish Moss production, occurred nearly simultaneously with the writing and recording, reinforcing the album's overall sonic unity. "It was a different way of working, and it worked for us. We were in the studio every day for months, and it was so fun! We didn't want it to end. I think the whole process was creative and successful." The Audio Department was a playroom for the band. "That studio's amazing. The gear's amazing. The room's amazing. The way I was working there was amazing, mixing on a nice console rather than a computer. It all lends itself to how the record sounds." And Spanish Moss sounds warm, airy, and very human—a remarkable feat for electronic music. It has a velvety mellow liquidity to it, rhythmic but not roiling, and contains kaleidoscopic echoes of the '70s and '80s, but not explicitly articulated, giving it a gentle undertow of nostalgia without a fetishistic edge.

Shout out out out out out out out out

Playing it live A live SO4 show is as much a matter of choreography as musicianship. "After we finish recording the album, it's a process of figuring out how we're going to play it live—how we're going to put everything together and program everything. I basically have to reprogram the entire record for the live set, because we don't use any kind of computer in our live show. We use kind of old technology—just a sampler with some MIDI sequencing stuff. In the studio, aside from the drummers, no one really has a set role. If we have an idea for

"To me, this is our most summery, relaxed record," Kozub offers. "Others think it's our darkest record. It might be lyrically dark, but I don't think of it as a 'dark' record. It's a pretty relaxed vibe. 'Spanish Moss' was one of the first songs we wrote, and it's the slowest and most tropical-sounding song on the record. I wanted it to have this summer beach vibe to it, because it was inspired by the road trip, and it was hot and sunny and I went to beaches along the way. I wanted that flavour injected into the song, but as usual, there's heavier subject matter." Other songs flourished in different ways. "We had just a way more open attitude to everything," Kozub says. "A lot of it has to do with the instruments and the sounds we used. Part of the reason this band exists is because we're into analogue synthesizers. That's what we like to play with, what's fun for us. A sound on a weird old synth becomes the basis for a song. We use a lot of weird old drum machines, weird old synths and weird modern synths, still analogue, based on nothing but voltage." Their palette also expanded on Spanish Moss. Kozub cites "Never the Same Way Twice" as an example. "That song had been demo-ed by Jason and Lyle, and there was this distorted bass part that sounded like a saxophone. One thing I was conscious of was separating ourselves further from the dance-punk electro-rock thing, so I

something, whoever happens to be closest to that keyboard or whatever winds up playing it. It's not like a 'my part' kind of thing. Whoever happens to be there is the one who winds up playing that part on the record. So a lot of adapting songs is going through all of them, saying, "OK. We have all these parts—who is going to play what on stage?" It's trying to figure out who is going to do what live to represent everything on the record. We try to keep it as close to the recordings as possible, but of course we wind up embellishing." V

that song is in 75 percent of all Krautrock tunes." didn't want a distorted bass playing the part. The attitude we all had towards this record was, 'Whatever works, works,' and I suggested using a real saxophone, and that was instantly accepted. We brought in Brett Miles** and it worked out. His part is so cool, and I'm glad it happened." The record is stuffed with similar moments, points where the dudes refused to make obvious, easy choices. It was experimental music, the way play is experimental—pure exploratory joy. "We had an old Rhodes set up, an early technology electric piano, the kind of thing you plug it into an amp and it has a sound," Kozub remembers. "We'd set it up just for quickly sketching out ideas, so we could quickly bang out a melody while we're working on programming, or whatever. A few times we were surprised things just sounded really good on the Rhodes, so we'd let it be a Rhodes part. Some of the non-synth elements that became the more organic parts of the record came about with us using whatever was working and sounded cool." For the instrumental final track, "Knowing," the dudes cribbed from vintage Kraut-rock, which Kozub professes to love. "It's pretty much a direct rip. A by-the-books Kraut-rock track. It has what's known as 'motorik' drumming." He spells it, in pseudostern Germanesque. "The drumming in

Spanish Moss's vocals are better than on previous efforts, more melodic and nicely embedded in the aural space. "We used pretty old technology," Kozub notes. "It's a '70s analogue vocoder*, and the whole thing was run through an analogue tape delay, so it's actually running through analogue magnetic tape to give it the echoes and stuff, and a spring reverb—it softens everything and makes it really saturated." Kozub laughs. "It's the old way of creating the future!" The phrase is striking. It's an absurd thought, but the optimism of the machines' makers seems to come through in the music made with them today. These devices once heralded a new dawn for mankind—one where strings don't break, and you didn't need an orchestra to be a composer. Machine noises indicated otherworldliness or othertimeliness, or, used in their own era, represented a forward-looking nervy pioneer. We've lived with their legacy for so long, electronic sounds rarely shock or awe us. But listening to Spanish Moss makes them feel new again. After the past two decades of having digitized music hammering our ears, these future sounds of the past seem more connected to the human realm, rather than that of the machine. Nature always reclaims its own, in the end. MARY CHRISTA O'KEEFE


^Pedant's corner: Spanish moss is not a parasite. As an epiphyte, it lives on another plant but makes its own food. But it can hurt its host by reducing its access to light (thus restricting photosynthesis) or by doing physical damage, like breaking off branches or distorting growth just by being so darn heavy and constricting in its redolent lushness. **Fun fact: Brett Miles is Cadence Weapon/Rollie Pemberton's uncle, and also played on Hope in Dirt City. He's one busy saxophonist: magillafunkconduitbrettmiles *Nik's not Cher. "One thing that totally rubs me the wrong way and irks me to no end is that we get a lot of reviews that refer to me using 'Autotune' on my vocals. That's incorrect. It's not Autotune at all, and actually doesn't even really sound like Autotune at all." (Nik Kozub)






Cadence Weapon



Sat, Jul 28 Part of the Interstellar Rodeo (Fri, Jul 27 – Sun, Jul 29) Hawrelak Park, $25 – $169



July 24-28, LYLE HOBBS • July 31- Aug. 4, STAN GALLANT



t was four years and a few mixtapes ago that Roland Pemberton released Afterparty Babies, his second album as Cadence Weapon, a collection of gritty electro-tinged beats and rubbery rhymes. If its follow up seems like it's taken its sweet time, well, it's not because to particular laze or apathy on Pemberton's part. Even without an album to be touring behind, the guy's kept a hectic itinerary. Most notably, Pemberton became Edmonton's Poet Laureate for the span of 2009 to 2011, and after that relocated from Edmonton to Montréal, embedding himself in that city's underground music scene. All the while his calendar was filling up with the other projects (defending Douglas Coupland's Generation X on CBC's Canada Reads and

AUGUST 10 & 11

Stuart Bendall

In Sutton Place Hotel #195, 10235 101 Street, EDMONTONPUBS.COM




Luke and Tess Pretty L

Andrew Scott

On the sonic side of things, a number of tracks on Hope were crafted by Pemberton first making samples, taking them to a live band—including ex-edmontonian/ DVAS member Jered Stuffco and Pemberton's uncle Brett Miles—to interpret those samples, which he then recorded, and sampled. "I'm really happy with how it turned out," Pemberton chuckles, "but when I was doing it, I was thinking, 'I've cre-

ated this quagmire for myself." "I found that a lot of my favourite rap music had something similar to that dynamic. The idea of combining live instrumentation with hip-hop original stuff: sampling, and electronic drum machine, all these things combined. So I did it in my own specific way, but I was definitely influenced by Outkast records, UGK ... A lot of stuff in rap." It all combines into an eclectic rap album that doesn't quite fit within the usual confines of the genre, from moments of Pemberton pausing his flow to sing (on "Conditioning") to the general variety of sounds at play. And that variety seems to be expanding his audience: Pemberton's just finished two tours with two very different bands, the celebratory punk duo Japandroids and illuminary weirdos Liars. Opening for both punks and eletro oddities meant performing in front of audiences who Pemberton notes were probably expecting another band, rather than a rapper, let alone one that's toying with genre and sonic structure. Then again, who really listens to music by genre in 2012? "I feel like we live in this Spotify, iPod generation where people have a capacity for enjoying more different kinds of music than they used to," Pemberton says. "An album like my album is really a good example of that. It happens to have a dub-reggae track, a disco song, futuristic electronic music, some more traditional rap songs, all in the same compilation, but it's done in a way that ... it's not as disparate as an iPod on shuffle, but it does have that futuristic combination of different genres that you might expect from an iPod in that way."


Sat, Jul 28 (9 pm) With Miles Wilkinson and guests Jeffrey's Cafe and Wine Bar, $10


performing with the Calgary Philharmonic, to name two.) When Pemberton did get around to album number three, it was the Laureate title and the big move east that seem to have put a particular stamp onto the finished Hope in Dirt City, a swirling vortex of influences and innovations for the rap genre that's put Pemberton back on the shortlist for the Polaris Prize (the first time was for 2006's Breaking Kayfabe). Pemberton notes that after his time in the Laureate position, he was feeling particular wary about what it was he was rapping about. "It had people really looking at my lyrics a lot more intensely, and I felt a weird kind of pressure to write things that were unassailable," he explains from his Montréal home, a week before heading back to Edmonton for the Interstellar Rodeo, to perform alongside the likes of Randy Newman, Hawksley Workman and Gillian Welch. "People would go through Afterparty Babies and be like, 'Oh, that's a dumb lyric, this guy isn't a poet,' based on something I made that's totally out of context, y'know? I didn't want to give anybody any ammo for that kind of criticism. It made me think about the lyrics in my songs a lot more seriously."

uke and Tess Pretty are far from ordinary teenagers. The sibling duo, who are 15 and 14 years old, respectively, are releasing their second album in two years and have captured the attention of music enthusiasts across Canada. The pair, who are both proficient at drums, keyboards, guitar and vocals, kicked off their budding career at an early age. At seven and nine years old, Tess and Luke's father took them busking outside the Commercial Hotel on Whyte Ave. Luke and Tess's busking days were spent performing Beatles covers, which quickly drew large crowds. "We were cute enough for it," Tess jokes. "We were loud too, that helps." Their debut album was a collection of rearranged cover songs, but now,

Luke and Tess are releasing Tennyson, which features all-original songs written by Luke. The disc is a concept album of sorts, centering around the HMS Mary Rose, a prized 16th century flagship of the British navy. Luke says he wanted the songs on the album to follow a distinct storyline, and the HMS Mary Rose caught his attention because of the mystery surrounding it. The ship sank in battle on The Solent, a straight of water between the Isle of Wight and the English mainland in 1945, and each song takes listeners through a journey from the grandeur of the ship itself, to the worldview at the time, to the ship's eventual demise. Recording and producing Tennyson was also spearheaded by Luke, who added an electronic twist to the pair's signature jazz-blues roots, which Tess says they've maintained because the genres are more inter-


esting to play than straightforward pop songs. "Two or three years ago, my friend showed me electronic music and I kind of dismissed it because I thought it was tasteless," Luke says, adding he gave the genre another chance and realized its intricacies. His electronic influences dig deeper than the usual suspects though. He notes AOKI takamasa, Radiohead, Squarepusher and Burial as artists he listens to regularly. "I already had a studio in my basement from our first album, so I went down and tried to mimic the music I was listening to. It was pretty terrible at first." Luke and Tess recently joined forces for a set of shows with long-time producer and engineer Miles Wilkinson, who has worked with the likes of Emmylou Harris, Anne Murray, Dolly Parton and Willy Nelson. MEAGHAN BAXTER



The Weekend Kids Sat, Jul 28 (8 pm) With Desiderada, Forester, Vermin in Vinyl New City, $5

Attitude, not auto tune // Mitch Coulter


lot of bands mix hardcore and punk with dance music. It's the strangest thing," notes The Weekend Kids' guitarist Pete Nguyen. He's discussing sights seen on the cross-country tour his band took last year with Old Wives, two resolute Edmonton punk acts that found younger bands across Canada putting an unexpected spin on the genre. "There was a show we jumped on just outside of Toronto, in Cambridge ... There was a bunch of young bands, 18-years old or younger playing, and they were all auto tune and digital drumbeats and backtracks and stuff." "They were full-out bands," he adds. "They just had all this extra stuff. It was the weirdest thing we ever played. And Old Wives, they're a lot older than we are, they were completely just thrown off by that stuff." Not that Nguyen thinks it's necessarily a detriment to the scene, or his band's place in it— "It's cool that they'll still like bands like us, but they'll also like bands that are different," Nguyen says—But The Weekend Kids seem dedicated to a different evolutionary arc. The youthful three-minute blasts of

punky catharsis that graced its debut, Of Friends and Foes were followed by an EP, Run This Town, that saw the band sharpening its focus to the specifics of Edmonton. And now, as the band starts the initial shaping of new material—an upcoming split 7-inch, an acoustic EP and eventually another full length—the early songwriting they've done is hinting at a more mature album on the horizon. "We're starting to write our lyrics a lot differently" Nguyen says. "For our first full-length it was a lot of writing about having fun and drinking and stuff like that, and now it's become a little bit more serious. [On] the Run This Town EP, the lyrics were really specific to Edmonton at the time. And it was a lot about playing music and touring and stuff like that. We had a lot of friends from different bands

sing in the EP with us. "There's a couple songs I've started writing, that we've started playing, that are about our shift ... 'Cause all of us are Asian, right? And for a long time, it didn't really matter to us," he says "But it really matters to a lot of other people in a different way. People would come up to you and be like, 'I didn't think you were going to be any good.' And they mean it as a complement in some ways, and I know they don't mean it that way ... but a lot of the newer songs are about being born in a different country and moving here, and growing up and trying to do the things you want to do, but not be treated as if you're a special case, doing the things you want to do. The lyrics are a little more specific this time around." PAUL BLINOV



Dead Red Pine Dead Red Pine take in the great outdoors

Sat, Jul 28 (8 pm) With Bramwell Park Elevation Room, $10


ature takes centre stage in the lyrical imagery of Dead Red Pine, one of the city's newest additions to the indie folk scene. The band's simplistic, yet sophisticated sound is crafted through tranquil melodies that weave together elegant string arrangements with soft guitar, mandolin, upright bass, banjo and layered vocals. The five-piece formed a year ago and is comprised of an eclectic group of local musicians and transplants from Montréal, including guitarist and vocalist Marco Taucer, who relocated to

work on his master's degree in physics. Taucer is the principal songwriter for the group, and says while the band's name doesn't have any specific meaning, he draws heavily on the influence of nature for inspiration, as well as a contrasting urban and human element. "I guess I'm interested mainly in the interface between human interactions and sort of misguided human ambitions with a more basic, natural state of humanity," Taucer notes. "I'm interested in the nature that we lose track of in our busy lives." Despite Taucer penning the majority of the lyrics, the spirit of the band remains collaborative and brings something new to the Edmonton folk scene

through its intricate, orchestrated melodies. The band also has no drummer, which viola player and vocalist Sophie Heppell, who also plays in the reggae-folk group Third Branch, says has been a whole new experience. "Dead Red Pine caters more to my musical roots, which are in the Celtic and folk idioms. It gives me a chance to play for a super attentive audience who are there to really listen to the intricacies of our music," she says, adding she enjoys both bands equally. The band's debut EP was recorded at the Theatre Arts Community Outreach Society in collaboration with Bramwell Park. "He's a great musician. He performs with the Provincial Archives and he's also a terrific performer songwriter in his own right," Taucer says, adding Park helped with the performance aspect of the disc as well. The collaborations will continue for Dead Red Pine this summer when they take the stage for a whole new kind of performance at this year's Fringe Festival. The Mindhive Collective recruited the band to provide the musical score for Awake, which will run throughout the festival at the Southside Memorial Chapel. MEAGHAN BAXTER







Sebastian Bach

sions with the songs fully formed, or were they sketches that were then worked up in the studio? SB: No. We came up with some really great ideas with Bob Marlette, the producer. The title track and also another amazing song called "Dirty Power" we co-wrote in the studio with Bob. 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? SB: The recording process was basically the same as the other albums I have done: drums and rhythm tracks with a guide vocal first, then vocals and lead guitar kind of at the same time. Still wild after all these years // Clay Patrick McBride

Sun, Jul 29 (9:30 pm) Capital Ex, Telus Stage Free with gate admission

What did producer Bob Marlette bring to the recording? SB: Bob Marlette brought in first-class current brand-new sounding production to the record. With the classic sound of my voice that you all know, coupled with the new production, it really sounds cool to me. With a lot of bottom end on the bass and amazing separation between the instruments as well. VW:

You co-wrote many of the songs on the record. Did you approach the songwriting in any particular way? SB: All you can do when making a record is go in and try to make some music that you really, really love and want everybody to hear. There are no rules on how to make this happen. VW:

Sebastian Bach has travelled a long road from his youth in Peterborough, first going wild as the lead singer of Skid Row, then landing on Broadway and television, and ultimately carving out his own solo career. Bach recently told Vue Weekly a little bit about the making of his latest solo record, Kicking & Screaming. How long did it take to make Kicking & Screaming, from the initial songwriting through to the end of the recording? SEBASTIAN BACH: It took about three months to record and master Kicking & Screaming. The record was mostly written by Nick Sterling on guitar who had a lot of great ideas coming into the project. We collaborated on a bunch of songs and also one song with John 5 from Rob Zombie's band. VUE WEEKLY:

Guitarist Nick Sterling also brought a number of songs to the record. Between those and the songs that you co-wrote, how did you choose the ones that made the finished record? Did you have an idea of what you wanted the album to be when you started, or did the finished shape emerge as the writing and recording went along? SB: There are no preconceived notions going into making a record with me. I just try to make some kick-ass music that really gets me excited or makes me feel something in my heart. There are no rules in rock 'n' roll. VW:


Were there any other songs written that were left off the album? SB: There are a lot of songs that we demoed that did not make the record. Lots of songs with Jamey Jasta from Hatebreed and a lot of songs with Nick Sterling as well. We are going to try to make a new record as soon as possible, but I have to find a home to live in first. VW:

Slim Cessna's Auto Club Fri, Jul 27 (8 pm) New City $8 in advance, $10 at the door


lim Cessna's Auto Club has been called many things since its inception in 1992, but amidst all the labels, which have included everything from gothabilly to alt-country, it comes down to a good dose of Americana folk. Lead vocalist and founding member Slim grew up listening to Johnny Cash prior to being introduced to the likes of The Dead Kennedys as a teenager in the '80s, and the eclectic mix of the band creates a unique sound that roots itself deeply in folk storytelling. "I don't really believe in the whole idea of genre, because especially in this day and age, in the times we live in, we all have access to the Internet. The whole world is literally right in front of us. We're not locked in little mountain communities with banjos and mandolins anymore," Slim notes. "We tell stories about our people and where we come from and who we are and what we're influenced by in the same way as the folk music tradition." Just as the band's sound is an eclectic mix, so are its members. Slim is the only one who's been with it since the beginning and jokes that his stubGenre be damned // Gary Isaacs

If you were to trace the musical map that led you to Kicking & Screaming, what would it look like? SB: I've been doing this for around 25 years now. It's just the next record. Not trying to reinvent the wheel. V VW:

Did you go into the recording ses-



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bornness is likely the key to its longevity. For him, Slim Cessna's Auto Club has been one big evolving family of friends, with different versions of the band hitting the road at any given time. Each member has their own side projects as well, which he says is like a constant juggling act and people making sacrifices to make it all possible. The hard work has culminated into the group's latest album Unentitled, which Slim admits surfaced out of a brief moment where the band was feeling a little sorry for themselves. The band has gained a loyal fan base and critical acclaim at SXSW, and Slim adds he doesn't feel like anyone owes him anything, but it was essentially a fun moment of joking they were the unentitled, rather than the ones who seem to have the world at their feet at the snap of a finger. "We don't make music that strives for mass appeal ... I don't even think we know how to do that, which is OK, so we're the ones that will always be working," he says. "There's always going to be a really small percentage of the population that will get it, or that will want to get it, and that's OK for us." MEAGHAN BAXTER



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Baroness Yellow and Green (Relapse) 

It's been two years since the Blue Record and Baroness has returned with a double album in Yellow & Green. The two most traditional sounding Baroness tracks, "Take My Bones Away" and "March to the Sea," were released as singles early this spring. They might have given the impression that this new album might be just as sludgey, loud and crusty as the Red Album, but Yellow & Green, much like the colours themselves, is a much more muted approach to the aggression the band usually expresses. Overall there's a greater sense of melody to the album and a less aggressive tone. But what might be most jarring is the use of vocals. You can actually hear vocalist John Baizley sing. Rather than the growly, lower vocals we're used to from Baizley— vocals on the Blue and Red albums were shouted or growled—the vocals sound more attuned to a melodic rock band, which is what Baroness has become for most of Yellow & Green. This might be what takes the most adjusting. Instrumentally there are few who





can match the skill of Baroness, but the vocals and slower, melodic tempos take some getting used to. Fans of the heavy-driven track "Rays on Pinion" from Red or the uncompromising "The Gnashing" on Blue might be disappointed in this new album, but it's by no means a bad album, just not one we would have expected from Baroness. Baizley and his crew are exceptionally talented musicians whose technical skill is worth getting up close in the pit to watch. In other, less technically skilled hands, a metal-band-toepic-melodic-rock transition would be a cringe-inducing listen, but Baroness has proven to be a band capable of big ideas and this album takes the time to expand on those resoundingly epic and reflective thoughts. At 70 minutes, traditional Baroness fans may not be willing to make the commitment to indulge in that expansive journey, especially when it's sometimes difficult to get through the slowly paced tracks that bleed emotion ("Foolsong"). But, at the very least, Yellow & Green is an experiment by a talented band with big ideas and that makes it worthy of your time.

The latest album for former Wailin' Jennys member Cara Luft is the singer-songwriter's first in five years, and it's been well worth the wait. Luft's down-home folk tells stories of personal struggle, including a long-term relationship crumbling due to infidelity, in a universal way that will strike a chord with listeners. Despite the often melancholic nature of the lyrics, Luft does not play the victim, but rather, maintains a sense of strength and optimism throughout the album. Darlingford, which is the name of the small town in Manitoba where the album was recorded, shows off Luft's impeccable storytelling abilities, such as on the humorous track "Charged," which tells the tale of getting caught at the US border with someone else's marijuana. That song closes off the album on a different tone than the rest of the tracks, which talk of love lost, letting go and moving on, as on stand out "Off My Mind," a send off to the man who did her wrong.



Shad Melancholy and the Infinite Shadness (Independent)

its namesake lip-synchers and Lil' Wayne to before dissolving into the one big guitar hook of "Out Here (Cannonball)" and onto the more sentimental "It Ain't Over." He even drops a line from Outkast's "Hey Ya!" into his own: from the title to the tracking, reappropriation is the name of the game here, and Shad's still the Old Prince of that court, even on a tide-me-over EP like this.


 As a free—well make that pay what you want—download, Melancholy and the Infinite Shadness finds the Juno-clinching rapper playing to his strengths both silly and smart, but most of all just playing. The freewheeling "A Milli Vanilli" pulls on both


Cara Luft Darlingford (Independent)





Sasquatch Gathering Punk Drunk Cabaret // Supplied





Fri, Jul 27 – Sun, Jul 29 Rangeton Park


n the secluded grounds of Rangeton Park lies one of the province's most communal and family-oriented music festivals of the summer. The annual Sasquatch Gathering is a non-profit recreational and artistic endeavour presented by the Sasquatch Community Arts Society. Now in its 17th year, the festival is kept accessible through low ticket prices and a wel-

coming, community-minded approach. "We purposely keep it small. Only 500 weekend camping passes are printed, so it's quite intimate," says artistic director John Armstrong, adding there are no segregated camping areas for artists, attendees or volunteers. "It's all very organic to the point where we have a massive potluck dinner on the Saturday afternoon." Campers are encouraged to keep things as green as possible and to "live lightly." There are no camping services, such as electricity, available and


generators are discouraged. During past festivals, Sunday was the day to take in a couple of music acts, pack up and head home. Armstrong says he wanted to extend the festivities this year, and the day has been dubbed The Sasquatch Country Picnic, featuring Carolyn Mark and mother-daughter duo Myrol. This year also marks a strong Australian presence in the predominantly Canadian lineup. Armstrong says he made offers to several acts, thinking he might get one, but ended up with three. He says it will be a beneficial addition to the festival in that it will foster new relationships between Canadian and Australian artists, which could lead to beneficial connections down the road. "We'll have to put some shrimps on the barbie," Armstrong adds with a laugh. MEAGHAN BAXTER


MUSICNOTES Radioflyer / Fri, Jul 27 (8 pm) Over May long weekend, local band Radiofyler lost its guitar player Everett Westerneng and friend Dallas Simons, who were reported missing that Friday on Coal Lake. Westerneng's bandmates have teamed up with local acts Five Years Further and the Red Cannons to host a benefit in their memory, with all proceeds from the show and merchandise going to the Battle River Community Foundation for Musical Endeavours. (Brixx, $10)


album during a lineup of shows across Canada. (DV8)


Snoqualmie / Sat, Jul 28 (9 pm) The self-titled debut for the Victoria, BC quintet was heavily inspired by listening to Attack in Black non-stop and being glued to the show Twin Peaks. Founded by Blake Enemark, former guitarist for We Are The City and Forestry, who continues to tour with Northcote, Snoqualamie has been described as not quite a solo project and not quite a band, but the end result of the album is a collection of well-crafted folk songs concerning dissonance and redemption. (Wunderbar)

Gordie Tentrees / Wed, Aug 1 From wrestling bears in your underwear to road songs and tunes with more personal themes, Gordie Tentrees' North Country Heart is true swampy country-blues delivered by a true word slinger. During his stop in Edmonton, fans are in for a dose of traditional Yukon roots and tales unique to living in Canada's north. (Black Dog) Anvil / Thu, Aug 2 (8 pm) Legendary Canuck metalheads Anvil will be joined by Vancouver-based metal four-piece Titans Eve for a speaker-blowing lineup. Titans Eve is touring in support of its new album Life Apocalypse, which was released earlier this month. (Pawn Shop, $20 in advance) Anvil

Barn Burner / Sat, Jul 28 (6 pm) The metal onslaught continues with Barn Burner's North American tour. With two week's worth of dates in Canada the band has planned to demolish the continent along with Ohio-based metal group Skeletonwitch. (Pawn Shop, $15 in advance) Dark Century / Mon, Jul 30 As if metal couldn't be more in-your-face, Dark Century from Montréal boasts a sound that's heavier and more aggressive than ever. Fresh off a win at Heavy MTL's Battle of the Bands in Montréal, the five-piece is giving fans a taste of what's to come on its new


VUEWEEKLY.COM >> for more of JProcktor's photos



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ACCENT EUROPEAN LOUNGE Benny Walker (folk), Sam Fiorillo (singer-songwriter); 9:30pm-11:30pm; no minors; no cover ARTERY Aurora Jane, Picture the Ocean; 8pm (door); no minors; $10 (adv) BLUE CHAIR CAFÉ Double bill: Martin Kerr and Brian McLeod; 8-10pm; $12 BLUES ON WHYTE JK and the Statics BOHEMIA Talk 'Bout Rock Thursday: Spaceport, Magik Spells, Edward Blicq; no minors; 8pm (show); $5 BRITTANYS LOUNGE Kenny Hillaby hosts a jazz session night every Thu with Shadow Dancers, Maura and Jeanelle; no cover CAFÉ HAVEN Music every Thu; Eyeswide; 7pm; no cover

RENDEZVOUS PUB My Own Chaos RICHARD'S PUB Brian Pottie (R&B); 8pm RIC’S GRILL Peter Belec (jazz); most Thursdays; 7-10pm SHERLOCK HOLMES– Downtown Lyle Hobbs SHERLOCK HOLMES– WEM Jimmy Whiffen WILD BILL’S–Red Deer TJ the DJ every Thu and Fri; 10pm-close WUNDERBAR Stollery Children's Benefit ft. Consilience, Marlaena Moore, Mike Sadava, Sara Isabel, Victoria Baldwin, Brendon Byers; 8:30pm

DJs BLACK DOG FREEHOUSE Main Floor: wtft w djwtf - rock 'n' roll, blues, indie; Wooftop Lounge: Musical flavas incl funk, indie, dance/nu disco, breaks, drum and bass, house with DJ Gundam BRIXX High Fidelity Thu: Open turntables; E: to book 30-min set CENTURY ROOM Lucky 7: Retro '80s with house DJ every Thu; 7pm-close

and Fri; 9:30pm-close KAS BAR Urban House: every Thu with DJ Mark Stevens; 9pm LEVEL 2 LOUNGE Funk Bunker Thursdays 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 RENDEZVOUS Metal night every Thu TAPHOUSE–St Albert Eclectic mix every Thu with DJ Dusty Grooves UNION HALL 3 Four All Thursdays: rock, dance, retro, top 40 with DJ Johnny Infamous WILD BILL’S–Red Deer TJ the DJ every Thu and Fri; 10pm-close

FRI JUL 27 ARTERY Colin Close; 8pm AVENUE THEATRE Ides of Winter, Laika, Abhorupt, Through the Messenger, Gatekeeper; 8pm; $10 (adv)/$15 (door)

DV8 Whiskey Rose, Sleaze Dolls, Junkies Rush FIONN MACCOOL'S Fionn MacCool's, Tim Harwill; 9pm-12; no cover GOOD NEIGHBOR PUB T.K. and the Honey Badgers every friday; 8:30-midnight; no cover HAVEN SOCIAL CLUB Drive The Day (alt rock, CD release), guests; $8 (adv)/$10 (door) INTERSTELLAR RODEO Michael Rault, Alejandro Escovedo and the Sensitive Boys, Gillian Welch, 4:30pm (gate), 6-10pm (music), Fri single: $59 (adult), $44 (youth/senior) at sixshooterrecords. com, Ticketmaster, Blackbyrd; tickets/passes at, Ticketmaster, Blackbyrd IRISH CLUB Jam session every Fri; 8pm; no cover JEFFREY'S CAFÉ Dave Babcock's "Jump Trio"; $15 JEKYLL AND HYDE PUB Headwind (classic pop/ rock); every Fri; 9pm; no cover L.B.'S PUB The Tomatoes; 9:30pm-2am

REXALL PLACE Iron Maiden, Coheed, Cambria; all ages; 6:30pm (door), 7:30pm (show); $29, $45, $65, $89, $99 SASQUATCH GATHERING SEVENTEEN Scott Cook (country folk reggae), Third Branch, Toby, One Percent Yellow, Punch Drunk Cabaret; weekend pass: $60 (adv)/ $70 (gate), child 12 and under free with adult; tickets at Blackbyrd, Permanent Records SHERLOCK HOLMES– Downtown Lyle Hobbs SHERLOCK HOLMES– WEM Jimmy Whiffen STARLITE ROOM Fringe (CD release), Nobody Likes Dwight, Distant Calm; 9pm STUDIO MUSIC FOUNDATION Open Mike with Mickey-D WILD BILL’S–Red Deer TJ the DJ every Thu and Fri; 10pm-close WUNDERBAR Kuhryeoo, Roland Pemberton III, Martyrs; 9pm

DJs BAR-B-BAR DJ James; every Fri; no cover BLACK DOG FREEHOUSE Every Friday DJs on all

CAPITAL X–Telus Stage George Canyon, Livy Jeanne CARROT CAFÉ Zoomers Thu afternoon open mic; 1-4pm DRUID IRISH PUB DJ every Thu at 9pm DV8 Slaughter Slashing, Rebuild/Repair, AMNW (death metal, gindcore, jazz fusion) EDDIE SHORTS Good Time Jamboree with Charlie Scream every Thu EDMONTON EVENT CENTRE Shinedown, Adelitas Way; 7pm; $47.50 HAVEN SOCIAL CLUB Boogie Patrol, Wax Mannequin, Tatam Reeves; 8pm; $8 (adv)/$10(door) J R BAR AND GRILL Live Jam Thu; 9pm JEFFREY'S CAFÉ MJ Cyr (acoustic pop looping artist); $10 KRUSH ULTRA LOUNGE Open stage; 7pm; no cover 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 CYBERCAFE & ESPRESSO BAR Open stage Thu; all ages; 9pmclose; no cover NEW CITY National Security Council, Coffin Fit, Kevin Frey; 8pm (door); $5 (door) NEW WEST HOTEL Canadian Country Hall of Fame Guest host Bev Munro; Sonny and the Hurricanes NORTH GLENORA HALL Jam by Wild Rose Old Time Fiddlers every Thu OVERTIME SHERWOOD PARK Jesse Peters (R&B, blues, jazz, Top 40); 9pm2am every Thu; no cover PAWN SHOP Into Eternity (metal), guests; $15 (adv) at Blackbyrd


Fri, Jul 27 / Iron Maiden / Rexall Place, $29 – $99 Iron Maiden is coming back to town. The band is revisiting its 1988 Seventh Son of a Seventh Son tour. That is awesome. 'Nuff said. THE COMMON Uncommon Thursday: Indie with new DJ each week with resident CROWN PUB Break Down Thu at the Crown: D&B with DJ Kaplmplx, DJ Atomik with guests

BISTRO LA PERSAUD Blues: every Friday Night hosted by The Dr Blu Band; 8pm (music); BLUE CHAIR CAFÉ Samantha Schultz; 8:3010:30pm; $15

DRUID IRISH PUB DJ every Thu; 9pm

BLUES ON WHYTE JK and the Statics

ELECTRIC RODEO– Spruce Grove DJ every Thu

BOHEMIA Sweaty Summer Nights Cabaret: Burlesque dancers and musicians; 8pm (show); $10

FILTHY MCNASTY’S Something Diffrent every Thursday with DJ Ryan Kill FLASH NIGHT CLUB Indust:real Assembly: Goth and Industrial Night with DJ Nanuck; no minors; 10pm (door); no cover FLUID LOUNGE Take Over Thursdays: Industry Night; 9pm FUNKY BUDDHA–Whyte Ave Requests every Thu with DJ Damian HALO Fo Sho: every Thu with Allout DJs DJ Degree, Junior Brown HILLTOP PUB The Sinder Sparks Show; every Thu


BRIXX BAR Late Show: XoXo to follow (every Fri) CAPITAL X–Telus Stage Matthew Good CARROT Sebastian Barerra; all ages; 7pm; $5 (door) CASINO EDMONTON Live bands and tribute shows every Fri and Sat CASINO YELLOWHEAD Live bands and tribute shows every Fri and Sat COAST TO COAST Open stage every Fri; 9:30pm DEVANEY'S IRISH PUB Quentin Reddy

LIZARD LOUNGE Rock 'n' roll open mic every Fri; 8:30pm; no cover NEW CITY LEGION Slim Cessna's Auto Club, the Reverend Charlie Scream, Sermon on the Mountain, Mike Luce’s One Man Band (folk rock); 8pm; $7 (adv)/$10 (door) NEW WEST HOTEL Sonny and the Hurricanes ON THE ROCKS Nervous Flirts OVERTIME SHERWOOD PARK Dueling Piano's, all request live; 9pm-2am every Fri and Sat; no cover PAWN SHOP Iron Maiden After Party featuring Striker (metal), 5pm (warm-up), 11pm (afterparty), $15 (adv for warm-up party and bus)/$10 (after party); Nerdy But Naughty: Kemo Treats (rap), hosted by Ryan Stock, 8pm, $10 (adv) RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players every Fri; 9pm2am

three levels BLACKSHEEP PUB Bash: DJ spinning retro to rock classics to current BONEYARD ALE HOUSE The Rock Mash-up: DJ NAK spins videos every Fri; 9pm; no cover BUDDY’S DJ Arrow Chaser every Fri; 8pm (door); no cover before 10pm BUFFALO UNDERGROUND R U Aware Friday: Featuring Neon Nights CHROME LOUNGE Platinum VIP every Fri THE COMMON Boom The Box: every Fri; nu disco, hip hop, indie, electro, dance with weekly local and visiting DJs on rotation plus residents Echo and Shortround THE DRUID IRISH PUB DJ every Fri; 9pm ELECTRIC RODEO– Spruce Grove DJ every Fri FILTHY MCNASTY'S Shake yo ass every Fri with DJ SAWG

FLUID LOUNGE Hip hop and dancehall; every Fri

Marshall Lawrence, every Sat, 2-6pm; every Sat, 12-2am

FUNKY BUDDHA–Whyte Ave Top tracks, rock, retro with DJ Damian; every Fri

DEVANEY'S IRISH PUB Quentin Reddy THE DISH NEK Trio (jazz); every Sat, 6pm

HILLTOP PUB The Sinder Sparks Show; every Thu and Fri; 9:30pm-close

DV8 Tighten Up! Club dancer appreciation night

JUNCTION BAR AND EATERY LGBT Community: Rotating DJs Fri and Sat; 10pm

FESTIVAL PLACE Paula Perro; 7:30pm GAS PUMP Saturday Homemade Jam: Mike Chenoweth

NEWCASTLE PUB House, dance mix every Fri with DJ Donovan

HAVEN SOCIAL CLUB Toby’s Coming Home Tour (CD release of Coming Home); 8pm; $18 (adv)/$20 (door)

O2'S TAPHOUSE AND GRILL DJs every Fri and Sat O2'S ON WHYTE DJ Jay every Fri and Sat

HILLTOP PUB Sat afternoon roots jam with Pascal, Simon and Dan, 3:30-6:30pm; evening

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 SOU KAWAII ZEN LOUNGE Fuzzion Friday: with Crewshtopher, Tyler M, guests; no cover SUEDE LOUNGE House, electro, Top40, R'n'B with DJ Melo-D every Fri SUITE 69 Release Your Inner Beast: Retro and Top 40 beats with DJ Suco; every Fri

HOOLIGANZ Live music every Sat

Sat, Jul 28/ Toby / Haven Social Club, $18 The roots songstress from down under has played more than 170 shows in Canada and is back from one more as she promotes her latest album. VINYL DANCE LOUNGE Connected Las Vegas Fridays Y AFTERHOURS Foundation Fridays


TEMPLE Silence be Damned: with DJs Gotthavok, Siborg, Nightroa every Fri

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

TEMPLE Silence be Damned: with DJs Gotthavok, Siborg, Nightroad; 9pm

BLACK DOG FREEHOUSE Hair of the Dog: Keep Me Safe (live acoustic music every Sat); 4-6pm; no cover

TREASURY In Style d; 9pm TREASURY In Style Fri: DJ Tyco and Ernest Ledi; no line no cover for ladies all night long UNION HALL Ladies Night every Fri

BLUE CHAIR CAFÉ Blue Chair House Band; 8:3010:30pm; $12 BLUES ON WHYTE Every Sat afternoon: Jam with Back Door Dan; Evening: JK and the Statics BOHEMIA Art+Muzak:

visual and audio artists, guest curator Alexandra Bischoff; 9pm (show); no cover (foodbank donations welcome) CAFÉ CORAL DE CUBA Cafe Coral De Cuba Marco Claveria's open mic (music, poetry, jokes); every Sat, 6pm; $5 CARROT CAFÉ Sat Open mic; 7pm; $2 CAPITAL X–Telus Stage Simple Plan CASINO EDMONTON Live bands and tribute shows every Fri and Sat CASINO YELLOWHEAD Live bands and tribute shows every Fri and Sat

HYDEAWAY Marleigh and Mueller (classic pop/ jazz/musical theatre); 8pm; 3rd Sat each month; $10 INTERSTELLAR RODEO Jason Plumb and the Willing, Jenn Grant, Richard Buckner, Carolina Chocolate Drops, Cadence Weapon, Hawksley Workman, Randy Newman, noon (gate), 1-10pm (music), Sat single: $79 (adult)/$59 (youth/senior) at sixshooterrecords. com, Ticketmaster, Blackbyrd; tickets/passes at, Ticketmaster, Blackbyrd IRON BOAR PUB Jazz in Wetaskiwin featuring jazz trios the 1st Sat each month; $10 JEFFREY'S CAFÉ Miles Wilkenson with Luke and Tess Pretty (CD release); $10

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

L.B.'S PUB Sat afternoon Jam with Gator and Friends, 5-9pm; Late show: Johnny B Band; 9:30pm-2am

CROWN PUB Acoustic blues open stage with

LOUISIANA PURCHASE Suchy Sister Saturdays:

11824-103 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 HOGS DEN PUB 9, 14220 Yellowhead Tr HOOLIGANZ 10704-124 St, 780.995.7110 HYDEAWAY 10209-100 Ave, 780.426.5381 INTERSTELLAR RODEO Heritage Amphitheatre, Hawrelak Park; IRON BOAR PUB 4911-51st St, Wetaskiwin J AND R 4003-106 St, 780.436.4403 JEFFREY’S CAFÉ 9640 142 St, 780.451.8890 JEKYLL AND HYDE 10209100 Ave, 780.426.5381 JUNCTION BAR AND EATERY 10242-106 St, 780.756.5667 KAS BAR 10444-82 Ave, 780.433.6768 L.B.’S 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 LIT ITALIAN WINE BAR 10132-104 St LIZARD LOUNGE 13160118 Ave MARYBETH'S COFFEE HOUSE–Beaumont 5001-30 Ave, Beaumont, 780.929.2203 NAKED CYBERCAFE & ESPRESSO BAR 10303-108 St, 780.425.9730 NEWCASTLE PUB 6108-90 Ave, 780.490.1999 NEW CITY 8130 Gateway Boulevard NISKU INN 1101-4 St

NOLA CREOLE KITCHEN & MUSIC HOUSE 11802-124 St, 780.451.1390, experiencenola. com NORTH GLENORA HALL 13535-109A Ave O’BYRNE’S 10616-82 Ave, 780.414.6766 ON THE ROCKS 11730 Jasper Ave, 780.482.4767 O2'S ON WHYTE 780.454.0203 O2'S TAPHOUSE AND GRILL 13509-127 St, 780.454.0203 O2'S 51 Ave, 103 St OVERTIME–Downtown 10304-111 St, 780.465.6800 OVERTIME SHERWOOD PARK 100 Granada Blvd, Sherwood Park, 790.570.5588 PAWN SHOP 10551-82 Ave, Upstairs, 780.432.0814 PLAYBACK PUB 594 Hermitage Rd, 130 Ave, 40 St PLEASANTVIEW COMMUNITY HALL 1086057 Ave REDNEX BAR–Morinville 10413-100 Ave, Morinville, 780.939.6955 RED PIANO BAR 1638 Bourbon St, WEM, 8882-170 St, 780.486.7722 RED STAR 10538 Jasper Ave, 780.428.0825 RENDEZVOUS 10108-149 St RICHARD'S PUB 12150-161 Ave, 780-457-3117 RIC’S GRILL 24 Perron Street, St Albert, 780.460.6602 ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253 ROSE AND CROWN 10235101 St R PUB 16753-100 St, 780.457.1266 SASQUATCH GATHERING SEVENTEEN Rangeton Park, Twp Rd 554 Evansburg, 2 hrs W of Edmonton; SECOND CUP–89 AVE

Amber, Renee or Stephanie with accompaniment; 9:3011:30pm; no cover NEW CITY Desiderata, the Weekend Kids, Forester, Vermin In Vinyl; 8pm (door), 9pm (show); $6 (door) NEW WEST HOTEL Country jam every Sat, 3-6pm; Sonny and the Hurricanes O’BYRNE’S Live band every Sat, 3-7pm; DJ every Sat, 9:30pm ON THE ROCKS Nervous Flirts OVERTIME SHERWOOD PARK Dueling Piano's, all request live; 9pm-2am every Fri and Sat; no cover PAWN SHOP Early Show: Skeletonwitch (metal), Barnburner, Terrorfist; 6pm; $15 (adv) RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players every Sat; 9pm2am REXALL PLACE Il Divo, Nikki Yanofsky (jazz pop); 8pm RIVER CREE–The Venue Nazareth; $29.50 ROSE AND CROWN Andrew Scott SASQUATCH GATHERING SEVENTEEN Benny Walker Trio (R&B/ rock); Song Circle with Barb Dwyer, Brett Miles, Sparrow Shradda, Amy Thiessen; The Pleading Hearts; Song Circle Jam with Sean Brewer, Kevin Cook, Miguel Ferrer, Steve McGonigle, Tom Roschkov. Robbie Taylor; Locomotive Ghost, fl3m, Jungal, Tonona; $30 SHERLOCK HOLMES– Downtown Lyle Hobbs SHERLOCK HOLMES– WEM Jimmy Whiffen SIDELINERS PUB Sat open stage; 3-7pm STARLITE ROOM

VENUE GUIDE ACCENT EUROPEAN LOUNGE 8223-104 St, 780.431.0179 ALE YARD TAP 13310-137 Ave ARTERY 9535 Jasper Ave AVENUE THEATRE 9030-118 Ave, 780.477.2149 BAILEY THEATRE–Camrose 5041-50 St, Camrose, 780.672.5510, baileytheatre. com BISTRO LA PERSAUD 861791 St, 780.758.6686 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 10217-97 St BONEYARD ALE HOUSE 9216-34 Ave, 780.437.2663 BRITTANY'S LOUNGE 1022597 St, 780.497.0011 BRIXX BAR 10030-102 St (downstairs), 780.428.1099 BUDDY’S 11725B Jasper Ave, 780.488.6636 CAFÉ CORAL DE CUBA 10816 Whyte Ave CAFÉ HAVEN 9 Sioux Rd, Sherwood Park, 780.417.5523, CARROT CAFÉ 9351-118 Ave, 780.471.1580 CASINO EDMONTON 7055 Argylll Rd, 780.463.9467 CASINO YELLOWHEAD 12464-153 St, 780 424 9467 CHA ISLAND TEA CO 1033281 Ave, 780.757.2482 CHROME LOUNGE 132 Ave, Victoria Trail COAST TO COAST 5552 Calgary Tr, 780.439.8675

COMMON 9910-109 St 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 DISH 12417 Stony Plain Rd, 780.488.6641 DRUID 11606 Jasper Ave, 780.454.9928 DUSTER’S PUB 6402-118 Ave, 780.474.5554 DV8 8307-99 St EARLY STAGE SALOON– Stony Plain 4911-52 Ave, Stony Plain EDDIE SHORTS 10713-124 St, 780.453.3663 EDMONTON EVENTS CENTRE WEM Phase III, 780.489.SHOW ELECTRIC RODEO–Spruce Grove 121-1 Ave, Spruce Grove, 780.962.1411 ELEPHANT AND CASTLE– Whyte Ave 10314 Whyte Ave EXPRESSIONZ CAFÉ 993870 Ave, 780.437.3667 FESTIVAL PLACE 100 Festival Way, Sherwood Park, 780.449.3378 FIDDLER’S ROOST 890699 St FILTHY MCNASTY’S 1051182 Ave, 780.916.1557 FIONN MACCOOL'S 4485 Gateway Blvd FLASH NIGHT CLUB 10018105 St, 780.996.1778 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 GOOD EARTH COFFEE HOUSE AND BAKERY 9942-108 St GOOD NEIGHBOR PUB

8906-149 St SECOND CUP–Sherwood Park 4005 Cloverbar Rd, Sherwood Park, 780.988.1929 • Summerwood Summerwood Centre, Sherwood Park, 780.988.1929 SIDELINERS PUB 11018-127 St, 780.453.6006 SOU KAWAII ZEN LOUNGE 12923-97 St, 780.758.5924 SPORTSMAN'S LOUNGE 8170-50 St STARLITE ROOM 10030-102 St, 780.428.1099 STEEPS TEA LOUNGE– Whyte Ave 11116-82 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, TWO ROOMS 10324 Whyte Ave, 780.439.8386 VEE LOUNGE, APEX CASINO–St Albert 24 Boudreau Rd, St Albert, 780.460.8092, 780.590.1128 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 WINSPEAR CENTRE 4 Sir Winston Churchill Square; 780.28.1414 WUNDERBAR 8120-101 St, 780.436.2286 Y AFTERHOURS 10028-102 St, 780.994.3256, yafterhours. com YELLOWHEAD BREWERY 10229-105 St, 780.423.3333 YESTERDAYS PUB 112, 205 Carnegie Dr, St Albert, 780.459.0295 ZEN LOUNGE 12923-97 St



Shout Out Out Out Out (CD release), Faunts, Kumon Plaza; tickets at, Blackbyrd, Brixx STUDIO MUSIC FOUNDATION Hallows Die, Coffi Fit, This is War, guests WUNDERBAR Snoqualmie, Woolworm, the Fight; 9pm

DJs BLACK DOG FREEHOUSE Main Floor: The Menace Sessions: Alt Rock/ Electro/Trash with Miss Mannered; Wooftop: Sound It Up!: classic hip-hop and reggae with DJ Sonny Grimezz; Underdog: Dr. Erick BLACKSHEEP PUB DJ every Sat BONEYARD ALE HOUSE DJ Sinistra Saturdays: 9pm 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 FILTHY MCNASTY'S Fire up your night every Saturday with DJ SAWG FLUID LOUNGE Scene Saturday's Relaunch: Party; hip-hop, R&B and Dancehall with DJ Aiden Jamali FUNKY BUDDHA–Whyte Ave Top tracks, rock, retro every Sat with DJ Damian 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 O2'S TAPHOUSE AND GRILL DJs every Fri and Sat O2'S ON WHYTE DJ Jay every Fri and Sat OVERTIME–Downtown Saturdays at Eleven: R'n'B, hip hop, reggae, Old School PALACE CASINO Show Lounge DJ every Sat PAWN SHOP Transmission Saturdays: Indie rock, new wave, classic punk with DJ Blue Jay and Eddie Lunchpail; 9pm (door); free (before 10pm)/$5 (after 10pm) RED STAR Indie rock, hip hop, and electro every Sat with DJ Hot Philly and guests ROUGE LOUNGE Rouge Saturdays: global sound and Cosmopolitan Style Lounging with DJ Rezzo, DJ Mkhai SOU KAWAII ZEN LOUNGE Your Famous Saturday with Crewshtopher, Tyler M SUEDE LOUNGE House, electro, Top40, R'n'B with DJ Melo-D every Fri SUITE 69 Stella Saturday: retro, old school, top 40 beats with DJ Lazy, guests TEMPLE Oh Snap! Oh Snap with Degree, Cool Beans, Specialist, Spenny B and Mr. Nice Guy and Ten 0; every Sat 9pm


UNION HALL Celebrity Saturdays: every Sat hosted by DJ Johnny Infamous VINYL DANCE LOUNGE Signature Saturdays Y AFTERHOURS Release Saturdays

SUN JUL 29 ARTERY YEG SoundScape launch: Featuring Jo Thrillz with Sister Gray and the Grays; 7pm (door), 8pm (music); $7 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 Sunday Brunch: Bob Norris (classical guitar); 10am-2pm; donations BLUE PEAR RESTAURANT Jazz on the Side Sun: Don Berner; 5:30-8:30pm; $25 if not dining CAFFREY'S–Sherwood Park The Sunday Blues Jam: hosted by Kevin and Rita McDade and the Grey Cats Blues Band, guests every week; 5-9pm; no cover CAPITAL X–Telus Stage Sebastian Bach CHA ISLAND TEA CO Live on the Island: Rhea March hosts open mic and Songwriter's stage; starts with a jam session; 7pm 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 Open stage with Dan Daniels every Sun FILTHY MCNASTY'S Rock and Soul Sundays with DJ Sadeeq HOGS DEN PUB Open Jam: hosted; open jam every Sun, all styles welcome; 3-7pm INTERSTELLAR RODEO The Sojourners, Shakura S’Aida, Wagons, The Beauties, Whitehorse, Blue Rodeo, noon (gate), 1-10pm (music), Sun single: $79 (adult)/ $59 (youth/senior) at sixshooterrecords. com, Ticketmaster, Blackbyrd; tickets/passes at, Ticketmaster, Blackbyrd NEWCASTLE PUB Sun Soul Service (acoustic jam): Willy James and Crawdad Cantera; 3-6:30pm NEW CITY Slick Idiot vs. Mona Mur/En Esch (ex KMFDM), guests; 8pm (door)

Anatomy of Frank, Yes Yes; 9pm

8:30-11pm (music); $7 (adv)/$10 (door)

YELLOWHEAD BREWERY Open Stage: Every Sun, 8pm

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

DJs BACKSTAGE TAP AND GRILL Industry Night: every Sun with Atomic Improv, Jameoki and DJ Tim BLACK DOG FREEHOUSE Main Floor: Soul Sundays: A fantastic voyage through '60s and '70s funk, soul and R&B with DJ Zyppy FLOW LOUNGE Stylus Sun LEVEL 2 LOUNGE Stylus Industry Sundays: Invinceable, Tnt, Rocky, Rocko, Akademic, weekly guest DJs; 9pm-3am SAVOY MARTINI LOUNGE Reggae on Whyte: RnR Sun with DJ IceMan; no minors; 9pm; no cover s

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 RED PIANO All request band Tuesdays: Joint Chiefs (classic rock, soul, R&B) every Tue

SHERLOCK HOLMES– Downtown Stan Gallant

BAILEY THEATRE– Camrose Serena Ryder and the Beauties; 7:30pm; $44 at Bailey box office BLUES ON WHYTE John Nemeth Blues Band DEVANEY'S IRISH PUB Singer/songwriter open stage every Mon; Quentin Reddy; 8pm DV8 Dark Century, Civil Savage; 9pm NEW CITY Live From Vancouver: Rio By Night, George Nixon; 8pm (door); $5 (door) NEW WEST HOTEL Double Highway OVERTIME SHERWOOD PARK Monday Open Stage 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: mod, brit pop, new wave, British rock with DJ Blue Jay CROWN PUB Mixmashitup Mon Industry Night: with DJ Fuzze, J Plunder (DJs to bring their music and mix mash it up) FILTHY MCNASTY'S Metal Mondays with DJ Tyson


O2'S TAP HOUSE AND GRILL Open stage hosted by the Vindicators; 4-8pm every Sun

BLUES ON WHYTE John Nemeth Blues Band


OVERTIME SHERWOOD PARK The Campfire Hero's (acoustic rock, country, top 40); 9pm2am every Tue; no cover

BLACK DOG FREEHOUSE Sleeman Mon: live music monthly; no cover

ON THE ROCKS Matt Blais Band, Brendan Kelly

TWO ROOMS Live Jam every Sun with Jeremiah; 5-9pm; no cover; $10 (dinner)

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

SECOND CUP– Summerwood Open stage/open mic every Tue; 7:30pm; no cover

LUCKY 13 Industry Night every Mon with DJ Chad Cook

SASQUATCH GATHERING SEVENTEEN The Time Flies, Carolyn Mark, Myrol, Steven Johnson

O2'S Singer/Songwriter Night hosted by Darrell Barr every Tue; 7-10pm


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

RICHARD'S PUB Sun Live Jam hosted by Carson Cole; 4pm

NEW WEST HOTEL Double Highway

BRIXX BAR Ruby Tuesdays guest with host Mark Feduk, this week: Lantana (Texas), the Whytes; $5 after 8pm DRUID IRISH PUB Open stage every Tue; with Chris Wynters; 9pm EXPRESSIONZ CAFÉ Sasquatch Gathering Seventeen Afterparty: Jungal (Australian blues rock), Punch Drunk Cabaret (steam punk swing band); 7pm (door),

FESTIVAL PLACE Qualico Patio Series every Wed: Shooglenifty; The Jim Findlay Trio; 7:30pm; $8 FIDDLER'S ROOST Little Flower Open Stage every Wed with Brian Gregg; 8pm-12

HOOLIGANZ Open stage every Wed with host Cody Nouta; 9pm NEW WEST HOTEL Free classic country dance lessons every Wed, 7-9pm; Double Highway OVERTIME SHERWOOD PARK Jason Greeley (acoustic rock, country, Top 40); 9pm-2am every Wed; no cover PLAYBACK PUB Open Stage every Wed hosted by JTB; 9pm-1am

WUNDERBAR Nick Everett (Halifax), Blair Drover (of Audio/ Rocketry)

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


RICHARD'S PUB Live Latin Band Salsabor every Wed; 9pm

CROWN PUB Live Hip Hop Tue: freestyle hip hop with DJ Xaolin and Mc Touch DV8 Creepy Tombsday: Psychobilly, Hallowe'en horrorpunk, deathrock with Abigail Asphixia and Mr Cadaver; every Tue RED STAR Experimental Indie Rock, Hip Hop, Electro with DJ Hot Philly; every Tue RED PIANO All Request Band Tuesdays: Classic rock, soul and R&B with Joint Chiefs; 8pm; $5 SUITE 69 Rockstar Tuesdays: Mash up and Electro with DJ Tyco, DJ Omes with weekly guest DJs

WED AUG 1 BLACK DOG FREEHOUSE Main Floor: Glitter Gulch: Gordie Tentrees; 10pm; no cover BLUES ON WHYTE John Nemeth Blues Band CHA ISLAND TEA CO Whyte Noise Drum Circle: Join local drummers for a few hours of beats and fun; 6pm CROWN PUB The D.A.M.M Jam: Open stage/original plugged in jam with Dan, Miguel and friends every Wed DEVANEY'S IRISH PUB Duff Robinson EDDIE SHORTS Electric open jam with Steven Johnson Experience every Wed ELEPHANT AND CASTLE–Whyte Ave Open mic every Wed (unless there's an Oilers game); no cover

"Sixteen Handles"—right down the middle.

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


BUDDYS DJ Arrow Chaser every


GOOD EARTH COFFEE HOUSE AND BAKERY Breezy Brian Gregg; every Wed; 12-1pm

PLEASANTVIEW COMMUNITY HALL Acoustic Bluegrass jam presented by the Northern Bluegrass Circle Music Society; every Wed, 6:30-11pm; $2 (member)/$4 (nonmember)

BLACK DOG FREEHOUSE Main Floor: alternative retro and not-so-retro, electronic and Euro with Eddie Lunchpail; Wooftop: It’s One Too Many Tuesdays: Reggae, funk, soul, boogie and disco with Rootbeard


SECOND CUP–149 St Open stage with Alex Boudreau; 7:30pm SHERLOCK HOLMES– Downtown Stan Gallant SHERLOCK HOLMES– WEM Quentin Reddy WUNDERBAR Ocean Noise (Victoria), guests; 8:30pm ZEN LOUNGE Jazz Wednesdays: Kori Wray and Jeff Hendrick; every Wed; 7:30-10pm; no cover

DJs BLACK DOG FREEHOUSE Main Floor: RetroActive Radio: Alternative '80s and '90s, post punk, new wave, garage, Brit, mod, rock and roll with LL Cool Joe BLACK DOG FREEHOUSE On the Patio: Funk and Soul with Doktor Erick every Wed; 9pm BRIXX BAR Really Good... Eats and Beats: every Wed with DJ Degree and Friends BUDDY'S DJ Dust 'n' Time every Wed; 9pm (door); no cover THE COMMON Treehouse Wednesdays DIESEL ULTRA LOUNGE Wind-up Wed: R&B, hiphop, reggae, old skool, reggaeton with InVinceable, Touch It, weekly guest DJs FILTHY MCNASTY'S Pint Night Wednesdays with DJ SAWG FUNKY BUDDHA–Whyte Ave Latin and Salsa music every Wed; dance lessons 8-10pm LEGENDS PUB Hip hop/ R&B with DJ Spincycle NIKKI DIAMONDS Punk and ‘80s metal every Wed RED STAR Guest DJs every Wed TEMPLE Wild Style Wed: Hip hop open mic hosted by Kaz and Orv; $5

Across 1 Company sorta responsible for the "Battleship" movie 7 Atkins Diet word 11 Each 15 Prepared 16 1970s pills 18 "The Onion" genre 19 One-humper 20 Vampire's favorite body part 22 First half of a secret language on "Zoom" 23 "Dear God" band 25 Congolese president assassinated in 2001 28 ___/IP 31 ___-Ur (Egyptian sky god; hidden in CHERUBIC) 32 Nada 33 They're mostly in the Pacific 36 "The Sabre Dance" composer 40 Societal breakdown, as it were 41 Scientists collect it 42 Perceived to be 43 8-bit video game console 44 Really mad 45 "Silent Spring" pesticide 46 Sneezer's need 49 Orch. section 50 The Ducks' school, casually 52 Alka-Seltzer noise 54 What you get for a dunk 59 Make happy 63 Uncalled for 64 Subject of the "cloth or plastic" debate 65 Black, to poets 66 Win at chess 67 Mopey Disney character

Down 1 ___ Master's Voice (RCA logo) 2 Molly's "Delicious Dish" costar, on "SNL" 3 Slaughter's rank: abbr. 4 Turn into an obligation for 5 Like hen's teeth 6 Vacuum cleaner brand named for its founder 7 Maritime abbr. that predated SOS 8 Sound-related prefix 9 Hunter S. Thompson character ___


Duke 10 Hip-hop pioneer Afrika ___ 11 Computer aid for the blind 12 Blackberry, e.g. 13 Word after "fight" in "The Star-Spangled Banner" 14 ___-ops (CIA tricks) 17 Country known for cedars: abbr. 21 Shaq-as-genie movie 23 Made copies 24 Walked really hard 26 They come with caps 27 Marimba ringtone items 29 Free drawings 30 ___ of Paris 31 Fuzzy environments 34 Jethro ___ 35 Golf legend Sam 37 ___ Nerys ("Star Trek: Deep Space Nine" character) 38 "Reservoir Dogs" or "Ocean's Eleven" 39 Misbehaves 47 Ancient region on the Aegean 48 Give the slip 51 Punched-in-the-solar-plexus reaction 53 "The Andy Griffith Show" kid 54 Tub temperature tester 55 When repeated, derisive term for dubstep's repetitive bass line 56 Ear-related prefix 57 Explosive stuff 58 Take notice of 60 NASDAQ event 61 "___ sure, dude!" 62 Uno plus uno plus uno

©2012 Jonesin' Crosswords




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Volunteers Wanted

Canadian Blood Services presents STRIDE The Walk for Blood 2012. Volunteer and save lives! Contact Hannah at Casino Volunteers for WIN House The Edmonton Women's Shelter is in need of volunteers for our upcoming Casino. Dates are August 4th and 5th at the Century Casino. Please email Deanna at for more information and/or to get involved. Community Garden Volunteer Help maintain a small garden and landscaping outside the Meals on Wheels building. The produce and herbs from the garden will be used as part of Grow a Row for Meals on Wheels. Contact us at 780-429-2020, or sign up on our website at Environmental News Radio Needs You! Terra Informa is an environmentally themed radio news show that is syndicated across Canada. We are run by volunteers and we need more help! No experience necessary! We will provide you with all necessary training. Curious? Contact us at, or call Steve at 780-432-5566 Kaleido Family Arts Festival is looking for volunteers, Sept 7-9! Email or

for more info

Kids Help Phone needs FACEPAINTERS for FUN events this summer. Email for details! Needed for our Seniors residence, volunteers for various activities or just for a friendly visit! Please contact Janice at Extendicare Eaux Claires for more details (780) 472 - 1106 Nina Haggerty Centre for the Arts needs Casino Volunteers July 31 & Aug 1. Call 780-474-7611 P.A.L.S. Project Adult Literacy Society needs volunteers to work with adult students in: Literacy, English As A Second Language and Math Literacy. For more information please contact (780)424-5514 or email Participate in Habitat For Humanity Edmonton's 90 Day Blitz! From June 15 - Sept 15 we are prefabricating walls and putting up 18 homes at our St. Albert site. Beginners to trades people welcome! We provide everything you need to work, including lunch! You provide your time, energy and heart. Group sizes vary from 5-25 people per day. Shifts are Tuesdays - Saturdays 8:30 to 4. No minimum number of shifts. Visit & contact Louise at 780-451-3416 ext 222 or SACE is recruiting volunteers for our 24 hour crisis line. Contact us at: Syncrude presents the 16th annual Fashion with Compassion: An Affair To Remember, on Thursday October 11th at Shaw Conference Centre. Volunteers are need to help with a variety of positions Oct 10 - 12th. For information contact Sayler Reins at or 780-425-7224


Volunteers Wanted

Volunteer Driver Deliver smiles and meals to people throughout the city. As a Meals on Wheels volunteer driver, you have the power to brighten someone's day with just a smile and a nutritious meal. Help us get our meals to homes by becoming a volunteer driver today! Contact us at 780-429-2020 or sign up on our website Volunteer with Students for Cellphone Free Driving at Heritage Festival! Free food, tickets Call 780-492-0926 Volunteer with us and gain valuable Office Administration and Data Entry Skills! Volunteer your time to a great cause with the Heart and Stroke Foundation. Apply online at under Volunteers or send a resume to Volunteers needed ASAP for Boysdale Camp Clean up, deck repairs, roof repairs, insulation of cabins, electrical, dry walling, brush cleaning and much much more. Email for details WynterMynt Records, Edmonton's newest Indie Record Label is looking for volunteers for a couple scouting positions. These volunteers should have a love for live music, have some understanding to the Indie/Folk music scene and are willing to go out on weekends to scout new talent around the city with weekly reports back to the label on their findings Contact Stephanie Leong at

for more details

YOU WILL JOIN US..... The 2012 Edmonton International Fringe Festival seeks volunteers to fill positions on a variety of teams. A minimum of four shifts gets you a t-shirt, loot bag, program guide, invite to the Wrap Party and more! To apply online visit or call the volunteer hotline at 780-409-1923


Acting Classes

FILM AND TV ACTING Learn from the pros how to act in Film and TV Full Time Training 1-866-231-8232


Artist to Artist

2012 Open Art Competition Spruce Grove Art Gallery 35 5th Avenue - Spruce Grove Competition open to all Albertans over the age of 18. Application available at Deadline is August 24th, for more info call 780-962-0664 or email Beginning September of 2012, amiskwaciy Academy will be opening its doors to new and returning potters. Beautiful new space. Competitive guild fees. Classes to be offered. Seeking guild president. For more info please call 780-990-8487 HAPPY HARBOR -Call to Artists We are now accepting applications for our next Artist-inResidence position. Term begins September 1st. Please visit our website for full details.

Prairie Wood Design Awards 2012 Call for nominations! The Annual Prairie Wood Design Awards celebrate excellence in wood construction in the Prairie Region and the Territories. Nomination forms and details are available online and are due August 17th,2012


Musicians Wanted

Guitarists, bassists, vocalists, pianists and drummers needed for good paying teaching jobs. Please call 780-901-7677


Musicians Wanted

Looking for a rock drummer to complete 4 piece band. Gig every 3 wks. Must commit to Sunday 2-4 pm rehearsal. Kit provided. For info call/text 780-299-7503 Musicians Wanted for Northern Bluegrass Circle Music Society Join the circle EVERY Wednesday at 7pm at the Pleasantview Hall 10860 - 57 Ave We are the jamming club



Richard Eaton Singers Auditions for the 2012-2013 Season Monday August 27th from 6-9 pm Room 1-29. Fine Arts Building, U of A For audition details or to schedule an audition:


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Vue Weekly is looking for an outgoing, detail-oriented self-starter who loves stress and has great communications skills. This person will take on the role of event manager for Blue Revue, Edmonton’s sexiest film festival. This is a contract position concluding on Thursday, Sept. 14. Remuneration will be based on experience and availability.


NEWS EDITOR - EDMONTON,AB Vue Weekly is Edmonton’s independent news and entertainment weekly magazine, published every Thursday with a weekly circulation of 23 000 and a growing online readership. Vue Weekly challenges its readers by presenting the best coverage of news, lifestyle, arts, film and music with an eye on the local, underreported and undiscovered. Vue Weekly is seeking a permanent, full-time News Editor with a progressive slant and an eye for alternative views and local, national and international stories and angles that aren’t being told in the mainstream media.

Primary Responsibilities: • • • • • •

Identifying, assigning, editing and laying out features and stories for the front/news and back sections of the paper Writing editorial, features and commentary as required Liaising with, editing and laying out regular columnists Secondary editing/proof-reading of features and stories in other sections of the paper Liaising and working with the production team in ensuring the quality of the visual look of the paper, including covers Developing Vue Weekly’s online presence, including website development, social media and multimedia production

You offer: Duties will include: • Gather and wrangle volunteers • Distribute posters • Pursue advance media coverage • Ensure that the event runs smoothly • Deal with approximately eight zillion other little things

Please e-mail resume and references to:

• • • • • • •

Excellent writing skills as demonstrated by a post-secondary degree and/or experience as a journalist or freelance writer Excellent editing/proof-reading skills An understanding of and interest in developing the potential of online and new media journalism The ability to work in a fast-paced environment and meet tight deadlines Sound news judgement and an understanding of the political situation in Edmonton, Alberta and Canada Experience with InDesign Excellent communication skills and a willingness to act as part of a team

Salary is dependent on experience and includes a generous benefits plan. Please send a cover letter, CV, 3 professional references and 3 samples of writing, including at least one feature-length piece, or a link to your writing portfolio to:

$20-$40 sliding fee

The position will remain open until a suitable candidate is found. While Vue Weekly appreciates all applications, only those selected for an interview will be contacted.

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Vue Weekly is looking for an enthusiastic, outgoing promotions person with excellent communications skills for 30 hours of work during the period of Monday, Aug. 20 to Sunday, Aug. 26.

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(Mar 21 – Apr 19): In your per-

how badly it discriminates against sky-

sonal chart, the planet Uranus sym-

divers. Legal scholars will tell you that

bolizes those special talents you have

examples like this are not at all rare.

that are especially useful to other

Laws tend to be crude, one-size-fits-all

people. Which aspects of your soul-

formulations. And as I'm sure you've

ful beauty are potentially of greatest

discovered in your travels, one-size-

service to the world? If you learn the

fits-all formulations always squash ex-

answer you will make great progress

pressions of individuality. In the coming

toward solving the riddle that Uranus

weeks, be extra alert for pressures to

poses. I'm happy to report that the

conform to overly broad standards and

coming years will provide you with

sweeping generalizations. Rebel if nec-

excellent opportunities to get to the

essary. You have license to be yourself

bottom of this mystery. And now

to the 10th power.


would be a good time to launch a con-

Book your classified ad for as little as $65/week

(Apr 20 – May 20): In the

ing clean-up projects in the next four

coming weeks, I'm afraid there's only

weeks: 10 bushels of weeds yanked out

a very small chance that you'll be able

of your psychic landscape; 25 pounds of

to turn invisible at will, shapeshift into

unused stuff and moldering junk hauled

an animal form and back, or swipe the

away from your home; 10 loads of dirty

Contact: Andy Cookson

nectar of immortality from the gods.

laundry (especially the metaphorical

The odds of success are much higher,

kind) washed free of stains—and not

though, if you will attempt less ambi-

blabbed about on social media; at least

tious tasks that are still pretty frisky

$5000 worth of weird financial karma

and brazen. For example, you could

scrubbed away for good; a forgotten

germinate a potential masterpiece

fence mended; and a festering wound

where nothing has ever grown. You

tended to until it heals.


certed effort.


(Aug 23 – Sep 22): I propose

that you try to accomplish the followTAURUS

could legally steal from the rich and (Sep 23 – Oct 22): Philosopher

give the spoils to the poor. And you


could magically transform a long-

William Irwin Thompson says that we

stuck process that no one thought

humans are like flies creeping along

would ever get unstuck.

the ceiling of the Sistine Chapel. We literally cannot see the splendour

(May 21 – Jun 20): Are there

that surrounds us. As a result, we

are any weaknesses or problems in

don't live in reality. We're lost in our

your approach to communication?

habitual perceptions, and blinded by

They will be exposed in the coming

our favorite illusions. That's the bad

weeks. If you're even slightly lazy or

news, Libra. The good news is that

devious about expressing yourself,

every now and then, each of us slips

you will have to deal with the karmic

into a grace period when it's possible

consequences of that shortcoming.

to experience at least some of the

That's the bad news. The good news

glory we're normally cut off from. The

is that you will have far more power

veil opens, and previously undetected

than usual to upgrade the way you

beauty appears. The weeks ahead will

exchange energy with others. In fact,

be the closest you've come to this

this could be the time you enter into a

breakthrough in a long time.



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(Jun 21 – Jul 22): If you nar-

guess which European country has the

row your focus now, the world will

best military record in the last eight

really open up for you in the second

centuries? It's France. Out of the 185

half of October and November. To the

battles its soldiers have engaged in,

degree that you impose limitations on

they've won 132 and lost only 43. Ten

your desire to forever flow in all direc-

times they fought to a draw. Of all the

tions, you will free up creative ideas

signs of the zodiac, I think you have

that are currently buried. So summon

the best chance of compiling a com-

up some tough-minded discipline. Dip

parable record in the next 10 months.

into your reserve supply of high-oc-

Your warrior-like qualities will be at a

tane ambition so you will always have

peak; your instinct for achieving hard-

a sixth sense about exactly what's im-

fought victories may be the stuff of

portant and what's not.

legends years from now. But please


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(Oct 23 – Nov 21): Can you

keep in mind what the ancient Chinese (Jul 23 – Aug 22): The state of

military strategist Sun Tzu said in his

Maine has a law that prohibits anyone

iconic text The Art of War: The smart

from leaving an airplane while it is fly-

and powerful warrior always avoids

ing through the air. This seems like a

outright conflict if possible, and wins


reasonable restriction until you realize




Complex submission

There's more to BDSM than whips and chains The Fifty Shades of Grey phenomenon will not happen in any given interachas sparked a lot interest in BDSM and tion because they are the ones in the the idea of a dominant/submissive relamore vulnerable position. In most kink tionship. Just the other day I read that gatherings, the subs approach the the website dominants. "That helps not to put any has been flooded with women pressure on the submissives looking for a "Christian Grey" with the tops going around type of arrangement. I think saying, 'Hey I want to do it's great that the book has this to you.'" says Koko, m o eekly.c @vuew opened up the idea of BDSM "Some people would find brenda Brendear that hard to say no to even if to people who may have never Kerb heard of it before, but is this book they wanted to, so usually it's and other popular representations of up to the submissives to say they kink giving people the wrong idea of want to do something with someone." what being a submissive is all about? Not only do they hold a lot of the Many people seem to believe that control, the subs that I know are some a kinky woman who takes the role of of the toughest people I've ever met. submissive must be weak-willed and Submission is a trial, emotionally and lazy, that she doesn't want to make any mentally, and lots of kinky play is also of her own decisions and just wants to very physically demanding. Koko says please somebody else. After many years she enjoys that aspect of it because of learning about BDSM and coming to she likes to test her own limits and find know many people in the community, I out how her body responds to different can say it's actually quite the opposite. types of ordeals. "A lot of submissive "I feel like being on the bottom is the like their bruises because they like to more powerful situation in real life," see it and think 'I took those 30 cane says Koko, a friend and colleague who strokes, I persevered and now I get to has been a part of the BDSM commulook at the marks to remind me of how nity for 12 years. "When everything's strong I am.'" consensual, you are pretty much calling That's not to say that all submissives the shots,” she explains. like physical pain. Some simply enjoy Contrary to what happens in Fifty pleasing someone in a dominant posiShades, it's the subs that make most tion over them. But that also is not of the decisions about what will and what it might look like from the out-






side. Dominants are often portrayed as strong, domineering and sometimes even sadistic people who enjoy hurting others. Even though some might enjoy inflicting pain on people who want it, tops in the BDSM community also know that that they are only being allowed to do these things they love to do because their bottom trusts them to take care of their needs and ensure that they are safe. "There is a term used in the community, 'The Gift of Submission,'" says Koko, "That means a lot to me. It means I trust you so much that I am willing to be in this position with you." The actions of BDSM might seem outrageous from the outside. Watching or reading about someone being tied up and whipped is exciting and titillating and it gets a lot of attention. But what you don't see on the surface is the truly amazing part and it is what makes the tying up and whipping possible in the first place. It's a delicate and often very deep exchange of giving and receiving, of control and surrender, and of trust, care and respect. That's the real story of BDSM. V Brenda Kerber is a sexual health educator who has worked with local not-forprofits since 1995. She is the owner of the Edmonton-based, sex-positive adult toy boutique the Traveling Tickle Trunk.

(Jan 20 – Feb 18): My

daughter Zoe has been writing some fine poetry these last few years. I re-

by using slyer means.

gard it as professional-grade stuff that has been born of natural talent and

(Nov 22 – Dec 21): After

developed through discipline and hard

consulting the astrological omens, I've

work. You might ask whether my eval-

concluded that during the next three

uation of her literary output is skewed

weeks, you will deserve the following

by fatherly pride. I've considered that,

titles: Most Likely to Benefit from Ser-

but recently, my opinion got unbiased

endipitous Adventures; Most Likely to

corroboration when her school award-

Exclaim "Aha!"; Most Likely to Thrive

ed her with the "All-College Honour"

While Wandering in Wild Frontiers

for her poetry manuscript. I predict

and Exotic Locales. You might want to

you will soon have a comparable ex-

wait to fully embody that fourth title

perience. Your views or theories will

until the period between August 9 and

be confirmed by an independent and

14, when the Perseids meteor shower

objective source.


will be gracing the night skies with up to 170 streaks per hour. The peak flow


will come on August 12 and 13.

Dorothy Parker didn't think highly of

(Feb 19 – Mar 20): The critic

Katherine Hepburn's acting skills. "She (Dec 22 – Jan 19): You

runs the emotional gamut from A to

may have to travel far and wide be-

B," said Parker. I realize that what I'm

fore you will fully appreciate a fa-

about to suggest may be controver-

miliar resource whose beauty you're

sial, but I'm hoping you will be Hep-

half-blind to. It's possible you'll have

burn-like in the coming week. This is

to suffer a partial loss of faith so as

not the right time, in my astrological

to attract experiences that will make

opinion, for you to entertain a wide

your faith stronger than it ever was.

array of slippery, syrupy, succulent

And I'm guessing that you may need

feelings. Nor would it be wise to tease

to slip outside your comfort zone for a

out every last nuance of the beguiling

while in order to learn what you need

vibes rising up within you. For the time

to know next about the arts of inti-

being, you need to explore the plea-

macy. These are tricky assignments. I

sures of discerning perception and lu-

suggest you welcome them without

cid analysis. Get lost in deep thought,


not rampant passion.





Bulls on parade (in heels)

Women looking for men to dress-up, the danger of sharing condoms and some unfortunate timing I am a hetero female, but one of my lot to ask. And this fantasy makes biggest fantasies is for a guy to dress you more sexually and romantically up in women's underwear. Not fullmarketable than you seem to realize, blown drag, just a teddy, fishnets and LWAM. The world is full of men who some heels. He doesn't even have to aren't gay, aren't into drag and aren't act like a woman. I just want into full-blown crossdressing E G him to parade around a bit, but who are turned on by A SAV and just for me. I've had the idea of wearing the girlthe ovaries to bring this friend's panties and/or a m o .c ekly vuewe up only twice to men I've savagelove@ little lingerie. A lot of these Dan been with. My first boyfriend men are with women who avage barely tolerate their kinks. The S was game, but I was so insecure with my sexuality at the time single ones, on the other hand, are that I let it go. My second boyfriend out there looking for a girlfriend who found it degrading and wouldn't do it. is turned on by the thought of a guy I think there are two things holding in panties, teddies, fishnets and heels. me back: (1) I've never even heard of Post a few explicit personal ads on onthis fantasy, and that makes me feel line dating sites—kinkster and normlike a creep. Is there a name for it? ster—and I promise you'll be flooded (2) I know the first time I will giggle with responses from guys who want with joy and I'm afraid that will be a to put on a show for you. big buzzkill if my hypothetical future 2) It is permissible to giggle during boyfriend thinks I'm laughing at him. sex. If you're worried that your partLINGERIE WITHOUT A MAN ner might think you're laughing at him, qualify your giggles in advance. 1) There isn't a name for this fantasy, Explain that you're prone to joyous LWAM, so let's come up with one. laughter when you're turned on and How about "Frank-N-Furter-Ing," for you might get a little giddy during Dr Frank-N-Furter, a noted research his performance. Emphasize that your scientist who also enjoyed dressing giggles are evidence of arousal, not straight boys up in fishnets, teddies disgust or contempt. Then prove it by and heels. fucking the shit out of him. Your fantasy probably lacks a name 3) Have you checked out because it isn't that odd or a whole Think of it as your own personal porn


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I am a heterosexual female. My husband hates condoms. When we started being exclusive and monogamous, we were both fully screened for STDs and I went on the pill. That was four years ago. Since then, I have been through eight different versions of the pill. My current one gives me a two-week period, I have gained about 25 pounds in two months, and I am more moody. My doctor just prescribed me a new pill that will likely increase my weight and make me even moodier, but it should decrease the length of the period. I am sick of this! I think my husband should suck it up and wear a condom. He is completely resistant. It is ironic that the pill protects me from pregnancy if I have sex, but we're having less sex due to the weight gain, bloating, bleeding, no sex drive and other side effects. My doctor does not think other options for birth control (eg: an intrauterine device) will be a good fit for me. Should I continue on the pill or tell my husband that if he wants sex, he has to share responsibility in avoiding pregnancy? TIRED OF PILLS

Shared responsibility. And you can keep having sex without pills, condoms or pregnancies. There's oral (his-and-hers), anal (ditto), and mutual masturbation (underrated). But if it's vaginal intercourse he wants, then he'll have to get used to condoms. Some women can't take hormonal birth control, and your husband is married to one.

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The tops shared a single condom! I'm wondering how safe this might be. It certainly doesn't seem safe.

I was watching a porno featuring a hot gay threesome. Two tops doublepenetrated a bottom. The odd part:

It was safe for the bottom—provided that overtaxed condom didn't burst (here's hoping they were using a more spacious, more durable female condom)—but it wasn't safe for the tops. Jamming two dicks into a single condom could result in dick-to-dick transmission of a number of sexually transmitted infections—herpes, HPV, chlamydia, syphilis, gonorrhea, etc. I am a 25-year-old straight woman. I recently started seeing a man. The first time I slept with him, he told me that he was interested in a relationship, and I told him that I wanted to keep things purely casual. Over the next month and a half of talking to him, hanging out and having sex, I started to really like him. I was thinking about changing my mind and taking the relationship to the next level. The last time I saw him was a week ago. He came over, we had sex, and then he mentioned he had met someone else. As he was beginning to elaborate, I told him to leave. My anger comes from his timing. If he had told me this before we had sex, Dan, I would have been able to have a constructive conversation about this. The problem now, if I'm being completely honest with myself, is that I really like him and I don't want to stop seeing him. A couple of questions: do I reach out to him again? Did I overreact? LEFT IN THE LURCH

I can understand why you were upset. You had already taken things to the "next level" in your heart—you were thinking of this guy as your boy-

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friend—you just hadn't gotten around to informing him about the upgrade. And you assumed that, when you did get around to letting him know, he would be delighted. Because he was the one who wanted a relationship at the beginning, right? Unfortunately, LITL, he took you at your word when you said you weren't interested in a relationship. Keeping things "purely casual" with you meant he was free to pursue a relationship with someone else. I can't help but wonder what he was about to say when you told him to get out. He met someone else, which wasn't a violation of your rules. Did that mean things were over between you two (which would make the timing of the last fuck an insult)? Or was he willing to pass on this other girl if you were ready for a relationship (which would make tossing him out before he could elaborate a mistake)? You probably should've heard him out. Go ahead and reach out. Let him know that you were thinking about taking things to the next level—ughers to that phrase—before he told you about the other girl. You were starting to fall for him, you hoped he felt the same, and you were disappointed. But since he was only doing what you asked—keeping it casual—you can't fault him for keeping his options open, looking around, dating other girls, etc. And you can't fault him for failing to read your mind. Close by telling him that you'd be open to dating—a real, noncasual relationship—if things don't work out with this other girl. V


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Vue Weekly 875 July 26-Aug 1 2012  

Shout out out out out

Vue Weekly 875 July 26-Aug 1 2012  

Shout out out out out