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INSIDE

COVER

#782 • Oct 14 – Oct 20, 2010

UP FRONT // 4/ 4 6 8 9

Vuepoint Issues Dyer Straight In the Box

DISH // 10/ 13 To The Pint

ARTS // 14 17 Prairie Artsters

FILM // 19 19 DVD Detective 20 Film Capsules 21 He Watch Channel Zero

MUSIC // 24/ 28 Gutterdance 34 New Sounds 35 Old Sounds 35 Quickspins

BACK // 36

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Future Edmonton: what will our city look like in the future?

FILM

MUSIC

19

Island mixes high fives and 36 Fang positive vibes

36 Free Will Astrology 38 Queermonton 39 Lust for Life

EVENTS LISTINGS 18 Arts 23 Film 26 Music 37 Events

It's Kind of a Funny Story benefits from a strong cast

VUEWEEKLY.COM SLIDESHOW // Jason Bonham

MUSIC

• Slideshow Jason Bonham's Led Zeppelin Experience FILM

• Sidevue Mother's Day: Women have it all in two super-mom movies • Prevue A preview of Stony Plain Road's Vintage Vignettes ARTS

Jason Bonham performs at the Jubilee

2 // FRONT

VUEWEEKLY // OCT 14 – OCT 20, 2010

• Revue David Berry reviews Perfect Pie; Fawnda Mithrush reviews BJM Danse • Prevue 'Hours for art' auction Timeraisers


VUEWEEKLY // OCT 14 – OCT 20, 2010

FRONT // 3


EDITORIAL

Vuepoint True tragedy

Issues

8

Dyer Straight

9

Bob the Angry Flower

GRASDAL'S VUE

increased by seven percent over the last two months.

Ricardo Acuña

// RICARDO@vueweekly.com

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INSIDE // FRONT

UP FRONT

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t is estimated that over one billion people around the world watched as 33 Chilean miners were pulled to the surface after being trapped underground for 69 days. The rescue operations were truly impressive, and there can be no denying the emotional drama as the miners emerged. But those willing to look a little deeper than the public soap opera will find a number of unsettling realities, not least of which is the degree to which this entire circus was carefully orchestrated by Chile's president Sebastián Piñera. When first contact was made with the miners—17 days after the collapse— the president made everyone wait for two hours so that he could travel to the mine site and read their scribbled words, "We are all alive," to the media and families himself. Since then he has made sure that he has been at the centre of any story about the miners and their rescue, positioning himself as hero and mastermind. It worked— polls show his popularity in Chile has

The media circus also provided a distraction from the government's own complicity in the incident. Health and safety standards in the Chilean mining sector are almost non-existent, and being loosened daily in an effort to attract new investment. This very mine was shut down by regulators in 2006 after a number of deaths resulted from safety violations and re-opened a year later without an inspection. Even something as simple as an accurate and up-to-date map of the mine could not be provided by the company after the collapse—part of the reason it took 17 days to find the miners in the first place. In the end, the miners will become celebrities for a few days, one or two of them may get book and movie deals, and then the rest of the world will look away. In the meantime, there will likely be no changes to Chile's mining sector and the plight of Chilean mine workers, and more catastrophes are inevitable. And that's the true tragedy in all of this. V

PODCAST >> BUILDING A PARTY

IssuE no. 782 // OCT 14 – OCT 20, 2010 // Available at over 1400 locations

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COVER CONTRIBUTORS Distribution

RON GARTH // ron@vueweekly.com EDEN MUNRO // eden@vueweekly.com BRYAN BIRTLES // bryan@vueweekly.com SAMANTHA POWER // samantha@vueweekly.com PAUL BLINOV // paul@vueweekly.com EDEN MUNRO // eden@vueweekly.com BRYAN BIRTLES // bryan@vueweekly.com JEREMY DERKSEN // snowzone@vueweekly.com DavID Berry // david@vueweekly.com MICHAEL SIEK // mike@vueweekly.com CHELSEA BOOS // che@vueweekly.com PETE NGUYEN // pete@vueweekly.com LYLE BELL // lyle@vueweekly.com ROB BUTZ // butz@vueweekly.com GLENYS SWITZER // glenys@vueweekly.com ROB LIGHTFOOT // rob@vueweekly.com 780.426.1996 // advertising@vueweekly.com 780.426.1996 // classifieds@vueweekly.com DPS MEDIA // 416.413.9291 MIKE GARTH // michael@vueweekly.com AARON GETZ // aaron@vueweekly.com PETE NGUYEN // pete@vueweekly.com Ricardo Acuña, Mike Angus, Josef Braun, Rob Breszny, Gwynne Dyer, Jason Foster, Amy Fung, Brian Gibson, Tamara Gorzalka, James Grasdal, Jan Hostyn, Brenda Kerber, Fawnda Mithrush, Stephen Notley, Mary Christa O'Keefe, Roland Pemberton, Mari Sasano, LS Vors, David Young Todd Broughton, Alan Ching, Barrett DeLaBarre, Mike Garth, Aaron Getz, Raul Gurdian, Justin Shaw, Dale Steinke, Wally Yanish

Vue Weekly is available free of charge at well over 1400 locations throughout Edmonton. We are funded solely through the support of our advertisers. Vue Weekly is a division of 783783 Alberta Ltd. and is published every Thursday. Vue Weekly is available free of charge throughout Greater Edmonton and Northern Alberta, limited to one copy per reader. Vue Weekly may be distributed only by Vue Weekly's authorized independent contractors and employees. No person may, without prior written permission of Vue Weekly, take more than one copy of each Vue Weekly issue. Canada Post Publications Mail Agreement No. 40022989. If undeliverable, return to: Vue Weekly 10303 - 108 Street Edm, AB T5J 1L7

4 // FRONT

When it comes to politics, the game can seem staid and unoriginal, but the renewed Alberta Party might be trying something different. We report on their recent AGM and talk about what it takes to build a party from the grassroots. GO TO VUEWEEKLY.COM where we post new podcasts every second Monday at noon.

Letters VUEWEEKLY // OCT 14 – OCT 20, 2010

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


FEATURE // MUNICIPAL ELECTION

Unfinished business

Stephen Mandel seeks a third term to work on a vision he's passionate about

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which is a tremendous economic opportunity where we're looking at eight or nine times the investment from the federal government. So I'd like to keep pursuing those issues.

VUE WEEKLY: Why are you running for a third term? STEPHEN MANDEL: There's lots to do. We've set things in motion and a change in leadership would slow down what the city needs to do to move forward. I want to continue work on the lesser-known things­—the homelessness commission, the REACH report just started—to leave that and not have the political support it needs would be a mistake. The World's Fair,

VW: What are the next steps for the REACH report? SM: It's now implementing programs, and they do need the support from city council. It's going to be a gamechanger for the city. It's a new way to look at community problems and safety. Someone doesn't automatically commit a crime but they might get in trouble if there's not the surrounding environment to work with. And the opportunity for programming in cooperation with schools and operating with communities is vitally important.

samantha power // samantha@vueweekly.com

ayor Stephen Mandel is running for a third term in office and Vue recently had a chance to sit down with him and discuss why he wants to continue working for the City of Edmonton.

VW: The situation earlier this year with the attack on Shannon Barry was quite controversial. Do you think there is an increased need for training of officers when dealing with issues involving prejudice? SM: Murray Billet was on the commission and Murray saw that the police force does a good job in dealing with those challenges [but] that doesn't mean it's not going to happen. We're a city of 800  000 people and we have some people that aren't the ones we like to have here. We can't lose sight of the importance of training—it's not one item in training, but it's one of many items. We can't forget that prejudice exists and that officers need to be prepared. They should understand the challenges the community faces. Same as they should understand aboriginal

communities needs and the challenges our new African communities face. VW: Talking finances, your campaign materials mention that to ensure budgetary priorities there be a phasing out of programs not aligned with a business plan. What would be phased out? SM: City council has priorities and we've outlined those in our long-term plan. So it's really to keep the budgetary process in line with what we want to do, not to get off on a tangent. Our interests are wide and varied and so it's not that we're not going to help arts and culture or those who really need help, but to really focus on our vision that council put forward: sustainability, transit, community safety. All of those are part and parcel of where we go, and so it's to align that vision with our budget rather than have our vision going one way and

the budget going the other way. VW: You also mention that to fund the LRT there may have to be reallocations within the budget. What would get reallocated in order that taxes aren't raised? SM: We have about $400 million/year in capital allocations. We've spent about a billion and a half in roads in the last five to six years. It's going to be about $850 million to finish the southeast line, we still have some money from the Green Fund, and we'll get some money from the feds—we're not sure how much, but for the remaining balance, funding from the city is not unreasonable. It's a matter of prioritizing, we've prioritized roads for the last 30 years because roads were in such bad shape and now we're deciding CONTINUED ON PAGE 6 >>

News Roundup CLIMATE AID ast December at the Copenhagen Climate Summit, developed countries committed to financially addressing impacts of climate change in developing nations. This past June, Finance Minister Jim Prentice announced Canada would be contributing $400 million as part of this fair share deal, the specifics of which were not released until this past week. Seventy-two percent of the money committed will go to the World Bank to be distributed in the form of loans, while only 11 percent will be committed as grants. The Pembina Institute is concerned at the high level of contributions given as loans, almost twice what other developed nations have dedicated. As well, Pembina's Clare Demerse expressed concern over providing assistance to reduce future emissions and the impending impacts of climate change, saying, "For the poorest, adaptation is the overwhelming priority: emissions are already extremely low in those communities." Demerse recommends the federal government reconsider the portion of grants for the 2011 – 2012 budget and commit the money earlier in the year so developing nations can plan better.

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PROVINCIAL HEALTH he Friends of Medicare is calling proposed reforms to the Alberta Health Act undemocratic. Earlier this fall the provincial government released public feedback from consultations on the health act and the minister's advisory committee on health proposed several changes. A legal opinion by Gwen Gray of Chivers Carpenter LLP, commissioned by the Alberta Federation of Labour, has stated that these changes would encourage the encroachment of private insurance and US-style private hospitals. The Friends of Medicare predicts that with the implementation of the changes the health minister could make new health-care laws without ever having a debate in the legislature. Executive director David Eggen states, "Perhaps Zwozdesky might be able to assure us that he won't allow more private health care, but he cannot make that reassurance about future health ministers. They would have the power to do whatever they wished, without public consultation or even debate in the legislature." The legislature will begin its fall session on October 25.

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UNDER ARREST fter the G20 arrests several community organizers were given large bail restrictions and limitations on their ability to organize and participate in political activities. Alex Hundert, an activist and organizer who was originally arrested on June 26, was given a bail condition to not demonstrate. Hundert was re-arrested on September 17th after presenting on a panel discussion about resistance to the G20. Activists gathered in Edmonton, in conjunction with activists in other Canadian cities to protest Hundert's arrest.

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SURVEY SAYS he Canadian Taxpayers Federation released its candidate survey results. Candidates in the 2010 municipal election responded to the CTF survey questions regarding tax increases and fiscal accountability. Seventy-eight percent of candidates responded they would limit tax increases to inflation, 63 percent responded that a referendum should be held on the issue of a downtown arena and 50 percent of candidates believed no public funds should go to an NHL arena. Go to taxpayer.com to see the full results.

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// Bryan Birtles

QUOTE OF THE WEEK

samantha power

// samantha@vueweekly.com

VUEWEEKLY // OCT 14 – OCT 20, 2010

"If Mr Ignatieff genuinely does carry such global weight, why did the government not enlist his support early on in a non-partisan effort to win the Security Council seat?" —The Globe and Mail editorial in response to the Conservative Party's accusation that Michael Ignatieff is responsible for Canada's loss at the UNSC October 12, 2010

FRONT // 5


COMMENT >> WORKER SAFETY

Issues

Issues is a forum for individuals and organizations to comment on current events and broader issues of importance to the community. Their commentary is not necessarily the opinion of the organizations they represent or of Vue Weekly.

22%

Numbers in context

of Albertans work in the four most dangerous industries

Workers need all the information to get home safely JASON FOSTER // ISSUES@vueweekly.com

Last week, the Alberta government launched an online searchable database of all employer safety records. They boast it as a great step in transparency for workers and researchers. Unfortunately, upon examination the new site reveals itself to be more of a public relations game than any kind of substantive effort to provide useful information. Statistics are only useful if they accurately report what we want to measure. In the case of occupational health and safety, we want to find out how safe an employer is. How likely are they to injure their workers or expose them to disease-inducing substances? After spending some time testing out the new service, I've come to the conclusion that far from helping Albertans answer that question, the new database may do more harm than good. The database can be searched by employer name or by industry, which seems useful. However, it only offers stand-alone reports on each employer that are difficult to decipher and impossible to rank or sort, so there is no way to find out who the best or worst performers are.

MUNICIPIAL ELECTION << CONTINUED FROM PAGE 5

to build transit. And Mill Woods needs it. Getting across the river is not easy. Moving easily in our city is a priority for citizens, so either you're going to have to build a whole bunch more bridges or you're going to have to find another way to move people. And the evidence is at Century Park. The herds of people going

6 // FRONT

And the numbers don't add up. As one example, I requested all employer reports in Residential Construction, one of the more dangerous industries. 503 employers came up. We know that four fatalities and 325 injury claims were reported from this industry in 2009. However, not a single employer in the report was recorded as having a fatality or even an injury. Where are the deadly phantom employers? Why do their records not show up? And then there is the choice of which statistics to report. The main measure is the Lost Time Claim (LTC) rate, a WCB statistic measuring the number of injuries leading to time missed from work. The problem is that lost time makes up only 15 percent of total WCB claims, of which there were almost 175  000. The missing 85 percent are injuries but are either minor or serious but the employer has a "modified work" program which prevents time away from work. The LTC is not a measure of safety it is only a measure of how well an employer manages injuries after the fact. Then there is the odd decision to not report the LTC for employers with fewer than 40 employees. This means that 90 percent of employers' records will be incomplete.

Even the source of the statistics—the WCB—is problematic. The WCB Regulation has five pages of industries who are not required to pay into WCB, including large employers such as banking and finance, non-profit and charitable organizations, agriculture, many health care institutions and public schools. Albertans working in those sectors will have no idea how safe their employer is. Plus studies have found that up to 40 percent of all accidents go unreported, meaning there are another at least another 150 000 accidents that won't show up in WCB statistics.

on the LRT is phenomenal. And the same will happen on the other lines. It is a new way of moving people. You can't just say I'm not going to build the LRT, and I'm not going to be building roads. That's what we did for 30 years and so you had roads falling apart, bridges falling apart, you had a city that was uncompetitive. And the time to move forward is now when prices are good. And we're stimulating the economy. We're about a 1.5 billion

player. We step out of that, take that out of the economy, that's a lot of lost jobs. And so it's incumbent upon us to be creative in using our money to help stimulate the economy but also get the things done that need to be done. Simple things. Some people will say, "Well we're not going to do those things, Edmonton's OK." I don't believe that. People want services. We're building a rec centre on the south side: there's 80  000 people living over

We also know that WCB seriously under-reports the incidence of occupational illness, possibly by thousands of cases annually. The reason is that it is difficult to recognize or prove causation for many occupational illness. For example, the Alberta Cancer Board estimates that eight percent of all cancers are occupationallyrelated, however the WCB only accepts a handful of cases each year. If some of the most dangerous hazards a worker can experience—exposure to carcinogens—are not included in the statistics, how much will the database really tell us about the safety of Alberta employers?

15% versus about

in other provinces

+

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

Finally, the report indicates if an employer has a Certificate of Recognition (COR), supposedly sending a message that the employer is "safe." However Alberta's Auditor General raised serious concerns about the COR system, observing that a number of COR certified employers are among the worst offenders for non-compliance with safety officer orders. Other reports have found that COR holders have a mixed safety record. This new database could do unintended harm in that it may give well-intentioned but uninformed workers a false sense of security about how safe their employer or prospective employer is, when in reality many serious hazards lurk underneath the whitewashed surface of these reports.

If the government was serious about giving workers information to keep themselves safe it would do two things. First, publish their list of "targeted employers"­— the worst of offenders. Second, provide a complete range of data about employers— the total number of claims filed, number of worker or public complaints to the hotline, results of workplace inspections, number of orders issued and compliance records in a format allowing for ranking. And they should do it for all employers. Only by providing full information will workers have a sense of their chance of making it home safely at the end of the day.

there and there's no rec centre. It's a beautiful building. I'm proud we've built that. These communities deserve the kind of facilities every other city in the region has and that's about being a city and not just standing back, smiling or fiddling while Rome burns.

ward. This is an election about whether people want to see a city of the future or a city of the past. One of the challenges is that young people see that the grass is greener elsewhere and we don't want that anymore. They want to know what the plan is for the city, to build a life here and attract and retain people, so they can have a good life here. This is a vitally important election for the future of Edmonton and what it's going to look like. V

VW: What's different in this campaign than in previous elections? SM: There's a passion to take the city for-

VUEWEEKLY // OCT 14 – OCT 20, 2010

Jason Foster is Academic Coordinator for Industrial Relations in Faculty of Business at Athabasca University


COVER // MUNICIPAL GROWTH

INFRASTRUCTURE samantha power // samantha@vueweekly.com

n 2040 it's predicted Edmonton will be home to over one million people. A frightening thought in a city that only three years ago was facing a vacancy rate of one percent in a majority of jurisdictions and housed the working poor in a temporary tent city in its downtown. The future of Edmonton was looking like a crush of people in a sprawling city. But a rejuvenated municipal development plan, focusing on core services, approved just this year may work to provide the core transportation and living needs of Edmontonians. Mandated by the provincial government to create a strategic 10-year development plan, the city created The Way We Grow between 2006 and 2009, working to integrate the principles of intensifying development in the downtown core, transit-focused urban form and a strategic look at environmental issues facing

the city, including the development of urban agriculture. "It's a step in the right direction," says former councillor and executive director of Edmonton Federation of Community Leagues Allan Bolstad, who believes the plan works toward a strategy of smart growth—something he wrote an extensive report on in 2005. Though the city has created numerous strategic development plans, the most recent seems focused on the new philosophy of "smart growth." Bolstad's 2005 report uses language such as intensification, infill development, mixed use and transit-oriented development, words found within The Way We Grow document. "Ten, 15 years ago we still had developers who didn't believe we had urban sprawl," continues Bolstad. "Today that's in the same category as saying there's no climate change."

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nfrastructure includes everything from recreation and cultural facilities to transportation routes and water systems. The Federation of Canadian Municipalities estimated that in 2007 Edmonton was sitting at an infrastructure deficit of over $188 million, the second highest in a country facing over $123 billion in city infrastructure debt. Crunched between provincial and federal governments that had spent the '90s taking money out of public infrastructure, a nearly 200-

TRANSIT

Additional goals contained in The Way We Grow: • All new city buildings are planned to be LEED Silver standard • Develop a food security strategy • 25 percent infill development in mature neighbourhoods

Achieving these goals may be a matter of commitment and funding. With the infrastructure deficit earlier this decade, the province and the federal government stepped up funding and commitment to areas such as housing and transportation. The federal government committed the gas tax in 2005 as part of the New Deal for Cities initiative. And more recently economic stimulus money was used as part of projects building infrastructure

in the city. While the federal government remains committed to these projects in the 2010 – 2011 budget, the economic stimulus money will soon end, and any impending budget crises at either level of government could potentially pull money away from cities. Any future council securing the liveability of Edmonton's soon-to-be one million citizens will have to continue inter-governmental advocacy to achieve these goals. V

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erhaps what will change the shape, quite literally, of Edmonton the most is the central statement in The Way We Grow: transit will create the basis of urban form. The Way We Grow was created simultaneously with the The Way We Move, and almost as evidence of council's seriousness on the matter, the south LRT extension was approved in 2008 and in December of last year the west and southeast LRT lines were approved for development by council. On September 9 of this year, the Capital Region Board endorsed provincial Green Trip funding for the NAIT LRT.

VUEWEEKLY // OCT 14 – OCT 20, 2010

million-dollar deficit can be debilitating to a city. And as Bolstad's report notes, "the failure of the federal and municipal government does not prevent municipal politicians from their responsibility of looking ahead and using information that is not commonly available to the public to make decisions that are in the best overall interest of the community." For Bolstad the answer lies in building around central hubs, building mixeduse developments and infill in mature neighbourhoods. The second of nine strategic goals in the current municipal development plan says, "Land use and design complement and support the transportation system, while the transportation network supports areas of increased density and employment." With a life cycle of 50 years and an infrastructure inventory of $33 billion, the answer to saving money on infrastructure costs may lie in building closer rather than spreading out. Says Bolstad, "Infrastructure costs still eat up a huge amount of the city's budget and so being able to control the size of the city will help." The transportation master plan reports that Edmonton has one of the highest rates of single passenger car rides in Canada. "It's good to see the city looking at moving people some other way than the car," says Bolstad. "Lots of our volunteers spend their time chauffering and less time coaching or helping with the team and that's just because people are responding to the demands of getting to and from the games and practices.” That being said, Bolstad qualifies that there is more work to be done to ensure transportation changes in the city. "I don't know that they've stopped to analyze the number of trips people are taking and distances people are driving every day. Standard measureables to help the city know they are beating urban sprawl. The goal is to reduce the number of trips or at least to stabilize them, and to reduce the distance of each trip. Those are two measureables." The transit plan has received criticism throughout the 2010 election for costing upwards of $2 billion, but the movement of people toward transit usage in 2009 may make the case for council. In 2009 when the transit station at South Campus opened, transit ridership increased by 39 percent, carrying over 74 000 people daily.

FRONT // 7


COMMENT >> INTERNATIONAL POLITICS

The South rising

Brazil poised to become new superpower "This is now the great mystery of Brazilian much more than that—a former guerilla politics: what will Marina do?" "Marina" is during the military dictatorship of 1964Marina Silva, leader of Brazil's Green Party, 85, a skilled administrator and Lula's forand the speaker, Altino Machado, is a mer chief of staff—but nobody has journalist and one of her oldest ever accused her of having too friends. But Marina has already much charisma. done something remarkable: No matter. She'll win the she persuaded one-fifth of second round anyway. What's kly.com Brazil's voters to support the really interesting here is the uewee nne@v y w g Green Party. emergence, two decades after e n Gwyn Twenty percent is the secondthe restoration of democracy, Dyer highest share of the vote ever of what you might call Brazil's won by any Green Party anywhere. political personality. (The record-holder is Antanas Mockus, the Green candidate in the recent election in All three big political parties—the WorkColombia, who got 27 percent of the vote.) ers' Party, Serra's Social Democrats and the But Brazil, with more than 200 million Greens—are on the left in terms of ecopeople, is the country that really counts nomic policy, though Marxist ranters are in South America, and what has happened there is, in the words of the Rio de Janeiro paper O Dia, a "green tsunami." Fifty million Among other things, this remarkable reBrazilians have been sult makes Marina Silva the king-maker rescued from poverty in the second round of the Brazilian election. It was the votes that went to her that (an income of less deprived Workers' Party candidate Dilma than $82 per month) Roussef of victory in the first round of votby Lula's "family ing on October 4. To win in the first round, plan" of subsidies for a candidate must get 50 percent of the vote; "Dilma" ended up with 46.9 percent. the very poor, and 25 So now Marina (they are both known by million other lowtheir first names) must decide whether to income Brazilians tell her supporters to vote for Dilma in the second round of the election on October have actually 31, or to give their votes to the relatively ascended into the conservative runner-up in the first round, middle class. Jose Serra. Greens are generally assumed to be on the left, but it is not a foregone conclusion that Marina will back the Workscarce in all of them. Social conservatives ers' Party candidate. are still well represented in the latter two Marina Silva has the classic biography of a parties, but they all promise to continue Brazilian left-wing hero—born in the AmaLula's wonder-working brand of pragmatic zonian state of Acre, the daughter of rubsocialism. Together, they got 98 percent of ber-pickers, illiterate until she was 16—but the vote in the elections on October 4. she is also an evangelical Christian. As such, The rapid rise of the Greens is linked to she is fiercely opposed to abortion, and a Brazilians' growing awareness that they are substantial portion of her vote came from the custodians of the world's largest tropiChristians who were horrified by Dilma's cal forest, the Amazon, and that it is in seriadvocacy of reform in Brazil's stern antious danger from global warming. That may abortion laws. explain why 85 percent of Brazilians think As a social conservative, Marina might that climate change is a major problem, even try to throw her votes to Serra. She is while only 37 percent of Americans do. wringing every drop of drama out of the sitIt's a striking picture. Brazil is the only uation, and won't announce her choice until one of the BRICs, the big countries with a special party convention late next week. high economic growth rates, to have both However, her decision matters less than a powerful industrial sector (like India and it seems: Dilma only needs a few million China) and self-sufficiency in energy (like extra votes to cross the 50 percent barRussia). By the time it hosts the Olympic rier, and Marina cannot really compel all Games in 2016, it will probably have the the Greens to vote for Serra. The headline fifth-largest economy in the world. story is still the rapid economic growth It is still one of the world's most unequal Brazil has enjoyed under outgoing presicountries, with a gulf between rich and dent Luiz Inacio "Lula" da Silva—and, just poor that makes even the United States as importantly, the way the new wealth look egalitarian. (20 000 families control has been shared out. 46 percent of Brazil's wealth, and one perFifty million Brazilians have been rescent of land-owners own 44 percent of all cued from poverty (an income of less than the land.) But it is moving in a different di$82 per month) by Lula's "family plan" of rection now, without any of the doctrinaire subsidies for the very poor, and 25 million excesses that usually mar such efforts. other low-income Brazilians have actually In fact, Brazil is becoming not just an imascended into the middle class. So Lula portant place, but a very interesting place. leaves office after eight years with a stratospheric approval rating of 80 percent. Gwynne Dyer is a London-based jourHe is so popular that he could choose a nalist whose articles are published in complete nobody as his successor and 45 countries. His column appears every get him or her elected. Dilma Roussef is week in Vue Weekly.

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8 // FRONT

VUEWEEKLY // OCT 14 – OCT 20, 2010


BOB THE ANGRY FLOWER

COMMENT >> HOCKEY

So far, so good

New-look Oilers showing jam so far There's really not much to gripe about after the initial week of Oiler action. The first two games were spectacular (with a 4-0 shutout win over Calgary!) and less-than-spectacular-but-victorious-nonetheless (with a 3-2 win over Florida). More please.

talented young player. So here goes: no insult was intended. But I can't shake it. He does look like an alien. But not an ugly or creepy ET. He looks more like one of those humanoid aliens that resembles us but is eerily different in a way you can't really identify. He looks like he is somehow Eberle's antics smarter or better than huI would be remiss if I didn't mans (he has this look that .com suggests he knows somemention this guy's absoluteweekly e u v @ ox ly amazing skills—if you thing we don't). He reminds intheb oung & Dave Y saw the acting job that Eberme of a Vulcan but without s e tl Bir Bryan le and the rest of the Oilers the giveaway physical traits pulled off on the TSN segment (pointy ears or eyebrows). Howthat examined the "hurt feelings" surever, Magnus would make a much betrounding Eberle's play in the season ter Klingon name than Vulcan. DY opener, you would have noticed that this guy shouldn't only be considered Keep your pants on an early contender for the Calder, but It's hard not to get excited about the perhaps an Emmy. Oh yeah, the guy last two games the Oilers have played. can score goals too. Go to bit.ly/hurtMaybe you're even beginning to think feelings to see the video. BB that the Oil are a playoff contender this year—after all, the team is on Early Stats pace to go 82-0. Everyone needs to Starting the season with two straight keep their pants on, however. I don't wins is obviously better than the almean to be the bearer of bad news, ternative. The Oilers have won the but the Panthers and the Flames were first two (or more) games 10 times in two of the lowest scoring teams in the franchise history. Only two of those NHL last year, finishing behind even (in '83 – '84 and '89 – '90) were Stanthe last-place Oilers at numbers 28 ley Cup years. The best start was in and 29 respectively. Plus, admit it: we '83 – '84 when the Oilers opened the looked horrible against Florida, saved season with seven straight wins. That only by Khabibulin. We gotta temper streak included two wins over the (ick) our enthusiasm, water down the KoolFlames and a 10-7 goalfest against Aid, or we're in for heartbreak. BB Vancouver. DY

IN THE

BOX

Agreeing with the new guy

Bulin wall

The biggest surprise of the first two games has been none other than Nikolai Khabibulin. Some thought he was past his prime. Others thought he wouldn't be able to focus due to his recent legal troubles. Still others thought he'd never come back to top form from back surgery, but so far— knock wood—Khabi has silenced all critics with his stellar play, keeping the Oilers in it through a brutal second period versus Calgary and a similarlybrutal three periods versus Florida. Huzzah! BB Alien

Last week I observed on the radio that Oiler rookie Magnus Paajarvi "looks like an alien." Afterward, I reflected on it and decided that comment should be better defined. The last thing I want to do is hurt the feelings of a dynamic and

I'll happily take two straight wins to start the season, but I agree with the new guy. I've always been a "so, when's that other shoe going to drop?" guy. And how can the proverbial shoe drop? Let's see: one or more of the rookies turns out to be the next Michel Riesen or Patrick Stefan. Injuries pile up yet again. We see more performances like the Florida game and less like the Calgary game. Shawn Horcoff is more of an Ethan Moreau circa 2009-type Captain and less of a Jason Smith-type Captain. Ales Hemsky doesn't get fired up. But, worries aside, any season that starts with a shutout win over the (blech) Flames starts correctly. DY Unsung Oiler of the Week:

Sheldon Souray: the Souray saga has been, if nothing else, entertaining. BB Theo Peckham: playing well enough to frustrate Belle and Strudwick. DY

VUEWEEKLY // OCT 14 – OCT 20, 2010

FRONT // 9


INSIDE // DISH

DISH

Online at vueweekly.com >>DISH

13

Restaurant Reviews

To the Pint

Check out our comprehensive online database of Vue Weekly’s restaurant reviews, searchable by location, price and type.

PROFILE // CARE-IT URBAN DELI

Plenty of care

Care-It Urban Deli specializes in local, carefully-prepared food

STOCKED COOLERS >> Care-It's inviting interior LS Vors // vors@vueweekly.com

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ordplay takes many forms: metaphors, double entendres, palindromes, anagrams and so forth. It permits great creativity and flexibility in communication: the user conveys multiple concepts at once and the listener filters these concepts through their own lens of interpretation. Such wordplay figures prominently in the title of a certain west-end enclave of local meats, inspired salads and ready-to-cook meals. Indeed, the name Care-It Urban Deli is layered. Chef and co-owner Sarah Radloff explains, "The name describes this business well. You think of 'carrot' as a natural product and as something that is grown here, and also that we care about our products. The name catches people's attention." Radloff runs Care-It's Crestwood location, which opened in 2009, with fellow chef/co-owner Mike Fingas. The original Care-It Deli presides over the Hamptons, and its success spurred owners Cameron Jordan and Louis Hamel to open a second location. Fingas

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// Bryan Birtles

observes that it took about six months for neighbourhood residents to discover Care-It, but that their reception has been nothing short of enthusiastic. Care-It's raison d'être, as its name implies, is to serve local food that is prepared and presented with diligence. Both Radloff and Fingas are alumni of NAIT's

Spanish paella on Care-It's menu. Fingas also draws inspiration from his travels and notes that resorts and buffets are an endless source of ideas. Care-It's coolers are well stocked with a veritable cornucopia of colourful salads, alluring meats and fragrant cheeses, and Radloff and Fingas strive to include

Care-It's philosophy of providing customers with quality, locally produced meals, coupled with the interpersonal skills of Radloff and Fingas, is central to the deli's survival during uncertain economic times. culinary arts program and bring diverse, international experience to their workplace. Radloff worked as a hotel chef in Dubai and identifies the city's significant southeast Asian presence as a primary influence in her cooking style. "Chicken biryani is one of my favourite things to make," she explains, "and it's based on a recipe that I got from an Indian chef in Dubai." Radloff also travelled through Spain and, upon her return to Edmonton, was inspired to include the quintessentially

locally sourced ingredients. "All of our meats are Alberta-raised and we source many of our products from Greens, Eggs and Ham," says Radloff, referring to the well-known supplier of heritage vegetables and naturally-raised poultry. Care-It boasts a broad selection of salads, many of which include exotic ingredients like quinoa and butternut squash. "We also carry things like sausages and jams that are sold at the farmer's market," Radloff adds, "so if people can't

make it there on the weekend, they can buy them here." One may build a complete meal using the many salads, side dishes and main courses on Care-It's menu. Radloff and Fingas concoct many readyto-serve dishes daily and note that customer favourites include goatcheese-stuffed salmon and pancetta prawn fettuccine alfredo. "People are busy and want things that are as prepared as possible," explains Fingas, "but they also want to feel like they can cook and take pride in what they serve." Radloff concurs: "We give people options for how much or how little of their meal they want to prepare from scratch." Both Radloff and Fingas recognize that Care-It's success is attributed to quality products and a loyal following of customers. "It's great to be a familiar face to so many," says Fingas, "and you don't get that kind of recognition in a supermarket." Radloff agrees and adds, "We put a lot of ourselves into our work, into

VUEWEEKLY // OCT 14 – OCT 20, 2010

the kitchen." Both chefs emphasize positive customer relations, particularly since CareIt opened during the deepest depths of the economic recession. "There were a lot of naysayers," admits Radloff, "but we needed to take that leap." Indeed, Care-It's philosophy of providing customers with quality, locally produced meals, coupled with the interpersonal skills of Radloff and Fingas, is central to the deli's survival during uncertain economic times. Fingas dreams of one day opening a restaurant that is based on the same philosophy as Care-It. Radloff prefers to live in the present and concludes, "I'm just happy to be here." Here, the words of Fingas and Radloff are layered with pride in their culinary creations and gratitude that reflects their sense of belonging in the neighbourhood. Care-It Urban Deli thus lives up to the many positive connotations of its multifaceted name. V Sarah Radloff and Mike Fingas Care-It Urban Deli 9672 - 142 St, 780.488.1110


REVUE // DELUX BURGER BAR

Burger blahs Delux Burger Bar disappoints

July 7, 2010 Vue DELUX DECOR >> Delux's modern Bourbon Street facade Jan Hostyn // jan@vueweekly.com

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nce upon a time, right here in our lovely city, we had malls. And in those malls we had fast food courts. That was it. That was the extent of our dining options—a handful of forlorn-looking grease pits masquerading as fast-food establishments. So sure, you could eat in mall. You just couldn't eat well. But Bourbon Street in West Edmonton Mall provides a totally different experience, one where you can actually go to a restaurant. A restaurant with tables and chairs and cooks who can do more than just plunk things in a deep-fryer. So that's how I found myself in Delux Burger Bar in West Edmonton Mall—

// Bryan Birtles

yes, the same Delux Burger Bar that's been serving up gourmet burgers in a Crestwood strip mall for a few years now. I was shopping with a friend, we got hungry and we wanted real food. The funny thing about our choice? Delux is located on Bourbon Street, a place not exactly renowned for its peace and quiet. And Delux does rely heavily on a deep-fryer—it's a burger place with fries, after all. But it's also a sit-down restaurant, the food isn't exactly what you'd call "fast" and the cooks are more than just deep-fryer savvy. We nixed the first table offered to us, one right at the front of the restaurant. With no walls or partitions or anything separating Delux from Bourbon Street, it would have been kind of like plunking ourselves right in the midst of the crazy

Friday night chaos. Our hostess heeded our pleas and guided us past the modern but somewhat stark booths and tables to a much more sedate space at the back of the restaurant. Lots of booths, lots of browns, and much fewer people per square inch were very welcome sights. The music was still loud, though. For the slightly sensitive souls out there, take note: one whole wall is devoted to cows. Four very large black and white cows, with big, black doleful eyes that stare at you relentlessly. Cows, burgers, well, you get the idea. OK, so the food. Delux is essentially an upscale burger joint, complete with modern decor, a menu sporting some pretty CONTINUED ON PAGE 12 >>

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DELUX BURGER BAR

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lofty ingredients—namely lobster and Kobe beef—and quite the impressive selection of beers from around the world. We veered away from the exotic and settled on an Urban Classic Burger ($9.50) and a "From the Garden" veggie burger ($8.50). Since the burgers don't come with fries, we also ordered the Delux Duo ($5.50), a combination of sweet potato and French fries. And for a touch of colour, I added a side order of mixed greens ($3) to my veggie burger. Burgers require drinks, and for us that meant beer—a Brazilian Brahma ($6.50) and a Jamaican Red Stripe ($6.50). Both beers came with a much appreciated tall frosty glass and both, being quite smooth and mild, were consumed rather quickly. As for the burgers and fries, well ... First, the fries. Yes, they came in an ohso-cute mini shopping cart, complete with wheels and a little red handle, and yes, they came with a rather tasty dipping sauce. But we ended up taking the basket of fries out of the cart to actually eat them–they were too hard to get at otherwise. And yes, they were nicely seasoned, but they were soggy. And it seemed like our cute little cart was loaded with mostly just sweet potato fries. We later discovered there were regular fries– on the bottom, a place we didn't quite get to since the fries weren't very good. Now, the burgers. My "From the Garden" burger wasn't stellar. Sorry, Delux. The

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VUEWEEKLY // OCT 14 – OCT 20, 2010

bun was big, toasted and whole wheat-y, but it was dry. And tucked inside was a rather spongy, rather bland veggie patty, one that wasn't made in-house, incidentally—I asked the waitress. Four paperthin and very unripe tomato slices did nothing for the burger, nor did the little dollop of basil pesto aioli—there just wasn't enough of it. But the pickle was quite lovely, and so was the very fresh and lightly-dressed side salad. The Urban Classic Burger fared a bit better. The hand-shaped patty was declared flavourful and juicy, but it was overwhelmed by the large bun. And it, too, was saddled with the sorry tomato impostors. Overall, it was rated "just OK." Great burgers are about more than just the patty. I couldn't leave without sampling a vanilla milkshake ($6.50). Dessert, you know. Made with three scoops of the always-lovely Pinocchio ice cream and topped with a dollop of whipped cream, it was decadently indulgent and a nice way to finish off a rather unimpressive night—as was the little mound of cotton candy that made a surprise appearance with the bill. So yes, when you find yourself ravenously hungry in a mall you can avoid the perils of the food court. That doesn't mean your dining experience will be a perfect happily-ever-after one, though. V Sun – Thu (11 am – 11 pm); Fri & Sat (11 am – 12 am) Delux Burger Bar Bourbon Street, West Edmonton Mall, 780.487.3589


BEER

For the cause

Unity Brew is all for beer and beer for all

BREWING FOR A CAUSE >> Unity Brewers in the act

// Jason Foster

How many Alberta brewers does it Alberta brewery who declined was take to stir a mash tun? Twelve. One Labatt. This year they brewed up an to brew and 11 to compare the size of amber ale offering a nice dose of Amatheir mash paddles. Well, at least that rillo hops, which will add a touch of was the case a couple of Saturpiney, citrus aroma without bedays ago when all of Alberta’s ing too bitter. independent brewers came It was a fun day. To be hontogether to collaborate on a est only a couple of guys beer. Unity Brew 2010 took .com actually did the brewing weekly place on the last weekend while most everyone else t@vue in p e toth in September and I was instood around watching, ofJason vited to observe and take fering moral support and Foster some notes on the occasion. sampling each other’s wares. This is what Unity Brew is about: What was most impressive was all of the brewers collaborate on a the atmosphere of camaraderie and recipe for a single beer and then they cooperation in the room. These men get together on brew day to help, or and women might be competitors but at least be present, when the beer is on this day they were doing a project brewed. The resulting product is then together. Actually I got the sense they sold with all proceeds going to charity. don’t feel like competitors at all, but The idea, at least in Alberta, is the more mutual lovers of brewing and brainchild of Michele Lowney, head good beer. There was enough beerbrewer at the Grizzly Paw Brewpub geek talk to fill a brewing convention and Brewery in Canmore. She got the and plenty of mutual admiration of idea when working in Colorado, where the beer samples provided to lubribrewers have a long tradition of cocate the day. operation. "They do this all the time The beer is going to be released at in Colorado. When I came to Alberta the Sha-bam Beer Festival in Edmonton I was surprised it wasn’t happening on October 15 and 16, which is a fundhere," says Lowney. raiser for the Alberta Kidney FoundaAnd so she made it happen. Months tion (for more information go to kidney. of phone calls and cajoling led to the ab.ca). The beer will then be available inaugural Unity Brew last year, hosted in 650 ml bottles at select liquor stores by Michele at her brewery. The particiaround the province—with profits gopating breweries enjoyed it so much ing to the Kidney Foundation. they committed to a second event, It may take 12 brewers to stir a mash this year hosted by Neil Herbst from tun, but the good news is that all of us Edmonton’s Alley Kat Brewing. can feel good about their effort to give And so on September 25 representaback to the community. They are provtives from 12 Alberta breweries gathing to us they care about the place they ered to brew up the latest version. The work, and we should reward them by whole roster was there: Edmonton’s making a point of buying their beer— Alley Kat, Amber’s and Yellowhead; not just the Unity Brew, but their indiCalmar’s Roughneck; Red Deer’s Drumvidual products as well. V mond; Big Rock, Wild Rose and Brew Brothers from Calgary; along with all Jason Foster is the creator of onbeer.org, the brewpubs—Jasper, Banff Avenue, a website devoted to news and views on Grizzly Paw and Brewsters. The only beer from the prairies and beyond.

TO TH

we

we

bake

grow

E

PINT

we make it it

it

we sell it

Old Strathcona Farmers’ Market OPEN SATURDAYS YEAR ROUND 8 AM - 3 PM 10310 - 83 Ave, Edmonton Free Parking 780-439-1844 www.osfm.ca VUEWEEKLY // OCT 14 – OCT 20, 2010

“A touch of the farm in the heart of the city”

DISH // 13


INSIDE // ARTS

ARTS

16

Eighteen Bridges

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Prairie Artsters

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Instant Coffee

Online at vueweekly.com >>ARTS Revue David Berry reviews Perfect Pie; Fawnda Mithrush reviews BJM Danse Prevue 'Hours for art' auction Timeraisers

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Homegrown humour Paul Blinov // paul@vueweekly.com

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wenty years ago, Edmonton didn't have a real comedy scene. Sure, some stand-up came travelling through town. Improv was here, but in its infancy, more of something for actors to experiment with on nights theatres were dark than an established-in-its-ownright medium. Comedic plays were being produced, definitely, but as far as a collection of locals focused on making comedy itself? The pickings were slim; there were some stage time happening at the Sidetrack Café, Dana Andersen notes, but not too much else. "There was kind of an open stage, [a] lot of stand-up comedians, but then we kind of threw in some sketch comedy in a group called Free Food and Beer, and then it kind of took off from there," the Second City alumni and, now, Edmonton comedy mainstay recalls. Slowly, he notes, groups started to gel and perform regularly, first for mostlyempty houses and themselves. And now it's doubtful Edmonton's ever been funnier: Monday marks the 20th season of DieNasty, the improvised soap opera that's a Canadian Comedy award-winning weekly, continuous story comic romp, one that has influence (spin-offs have popped up in London, UK and Los Angeles); the next few weeks offer audiences the chance to be part of the live tapings of The Irrelevant Show, the CBC radio hit; and currently enjoying a run of its second season is Caution: May Contain Nuts, a televised sketch-com show, crafted by many of the same minds

as Irrelevant and Die-Nasty. All three are homegrown right here, and not in a generically Canadian way, either—despite its national audience, The Irrelevant Show commonly makes reference to Edmonton locales like the High Level Bridge and other places that are distinctly ours. "There was never anything like that in Edmonton 20 years ago," Andersen explains of the groups that have sprung up. "But as we developed our network of comedians and of a like-mind, that just developed into different sanctions. "It's not as hard to put a group together, say, as in Toronto or Vancouver; there's more of a community here," he continues. "It just keeps spawning new configurations of the same people or different people in different groups, which gives it a different kind of development." "You’ve got a community here that’s very supportive, and there is cross-pollination within artistic disciplines," agrees Mark Meer, another comic mainstay in town. "You don’t have the sort of barrier between improv and acting that tends to exist in other cities. I think it’s an artificial barrier, but it does exist." Each show has its own individual writers and casts—and, of course, these aren't the only ones in town focused on laughter—but these three groups seem to overlap like bulging Venn diagram: some people only do one, but others do both, or all three. Both Andersen and Meer fall into the latter sphere: Andersen writes for Irrelevant, writes and performs in Caution and directs Die-Nasty—this season, fittingly set in the Roaring Twen-

LOCAL MOB >> Edmonton's comedy scene is no joke ties, for its 20th, what with all the prohibition-era Chicago-type dealings, the F Scott Fitzgerald-style doomed romances and the flapper-gal drama you could hope for—as he has for the past 10 years, though this season will return to also playing a recurring character. "You talk about long-form improv: this is long long-form improv," says Meer, who also notes that, when it comes to written comedy, there are different strengths for the different mediums. "I find you can get away with a lot more in radio, because the budget is essentially unlimited. It's possible to have the hugest set piece you want, as long as you have the sound-effects to back it up," he says. "We have to be a little more circumspect when we're writing for television, because there's certain things we can do, and certain things we can't." Regardless of its limitations, though, each show's achieved growing national and international recognition and seems likely to continue onwards and upwards, so long as the permutations of players continue to inspire each other.

// Supplied

"It's like being a jazz musician, I think, in the musical community," Andersen says, in summary of the scene. "Everybody has their instrument—everybody has their type of comedy—and when you can infuse it on different groups of people you get a different sound or a different look or a different bit that comes out of it. And it's just very supportive. That's the main thing that I've found: everybody's there for each other all the time." V Mon, Oct 18 (7:30 pm); Mon nights until the end of May Die-Nasty Season 20 premiere Varscona theatre (10329 - 83 Ave), $8 – $12 Thu, Oct 14, Fri, Oct 22 (8 pm) Irrelevant Show live tapings Horowitz Theatre (SUB, University of Alberta) , $13 – $18 TUESDAYS (10 pm) Caution: May Contain Nuts APTN

REVUE // INTIMATE APPAREL

Love-letter intimacy

Intimate Apparel's characters wear impossible desires Fawnda Mithrush // Fawnda@vueweekly.com

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f all the surprising things that happen in Obsidian Theatre's mounting of Intimate Apparel, the standout revelation is a charming but altogether impossible relationship that develops between a black businesswoman and her Jewish fabric supplier. It's not so much about their relationship per se: it's rather an emblematic nod to the frustratingly truncated desires of all the characters in Lynn Nottage's turn-of-thecentury period play. Intimate Apparel examines the life of

14 // ARTS

Esther, a single 35-year-old seamstress living in a women's rooming house in New York. Actor Raven Dauda presents Esther as a rather drab character, and a mouthy, unapologetic one at that. Esther dresses in roomy brown skirts while the characters she sews lingerie for, like the chronically ignored socialite Mrs Van Buren (Carly Street), get dolled up in beaded corsets and shining embroidered silks—the lavish costuming and multi-level set masterfully realized by Tamara Marie Kucheran. Enter our Hasidic fabric man, Mr Marks—of all the characters Esther knows, he's the one who truly appreciates her desire for rare, touchable ma-

terials to sew with. Alex Poch-Goldin is a treat as the awkward but adorable Mr Marks, who is himself betrothed to an unknown sweetheart in Romania. He's not allowed to touch women other than his wife, he explains as Esther reaches for a cloth he's been holding. And it's a funny, heart-breaking moment when Esther asks where his wife actually is. “I've never met her,” he replies. He simply waits ... and waits ... until she can make it to America. It's that slow game of vagueness and distance that reiterates how of each of these characters is cheated out of reaching their goals. A similar story unfolds for Esther

when she begins receiving letters from a mystery man in Panama. George (Kevin Hanchard) dictates his letters veiled behind a mosquito net hung above the stage. Being illiterate, Esther employs the writing and reading help of Mrs Van Buren, who vicariously enjoys Esther's romance—something her own life sorely lacks. Street plays a spicy Van Buren, one that balances her hopeless marriage via an increasingly close friendship with Esther. Things pick up in the second act when George travels to New York to marry Esther. Despite her prior complaints about being an aging single woman, marriage doesn't turn out to be as grand as she'd hoped. It's hard for George to find work, and he

VUEWEEKLY // OCT 14 – OCT 20, 2010

Litfest / Thu, Oct 14 – Sun, Oct 24 It's a bibliophile's dream: 50 authors, some notorious, some emerging, descending on E-town for 10 days of literary malarky. In addition to the already passed lead-up events—David Suzuki's talk back in September, the launch of longform narrative journalism mag Eighteen Bridges (which you can read all about on page 16)—the main ones look to be to be anything but textbook: Ezra Levant and Satya Das are set to spar over the tar sands with their respective, controversial releases Ethical Oil and Green Oil: Clean Energy for the 21st Century? (In City Centre Mall, no less) while notable Edmonton film prof Bill Beard and Liz Czark will chat Guy Maddin up about his career while showing excerpts. Those two are just the tip of the iceberg— the prologue, if you will. (Various locations / litfestalberta.org)

TS E S AR T

PREVUE // DIE NASTY / THE IRRELEVANT SHOW / CAUTION: MAY CONTAIN NUTS

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Almighty Voice And His Wife / Wed, Oct 20 – Sat, Oct 23 (7:30 pm) Alberta Aboriginal Arts has spent the better part of this year stamping out some space as the new theatre company on the Edmonton block, and are capping off their year with Almighty Voice And His Wife, in association with Workshop West and produced by Native earth Performing Arts, one of Canada's oldest aboriginal performance groups. It's inspired by the true story of a young First Nations man, Almighty Voice, jailed back in 1895 for shooting a cow (it might've been his own). His escape and ensuing manhunt left four dead, and while act one of the show is a more literal take on those events, the post-intermission is a much more surreal affair—Almighty Voice and his Wife don "white face" and put on a strange cabaret. (La Cite Francophone [8627 - 91 St], $20 – $25) Edmonton Design Exposed: How a Decade is M.A.D.E. / October 14 – 23 Volunteer driven, non-profit Media, Art, Design Exposed (M.A.D.E.) has been keeping design in the minds of Edmontonians for a full decade now, and they're celebrating the double digits with a suitably 10-day long celebration of Edmonton art & design: Edmonton Design Exposed: How a Decade is M.A.D.E. starts with a kick-off retrospective gala at the AGA, and includes architect lectures, an "untitled" party and more. If colour theory and asymmetry are your things, you've probably RSVP'd. (Various Locations / madeinedmonton.org) —Paul Blinov


REVUE // MUMP & SMOOT IN CRACKED

Bring on the Clowns

Mump & Smoot get ambitious and succeed with CRACKED David Berry // david@vueweekly.com

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ith an eight-year gap between their last show, FLUX, and their latest, CRACKED, Mump and Smoot (Michael Kennard and John Turner) could have been forgiven for taking it slightly easy, sticking simply to the macabre humour that has rightfully earned them legendary status as theatre's finest dark clowns. Particularly since they're working with a self-limited toolbox: sneaky jokes might be workable with their patented brand of profane gibberish—they call it Ummonian, since that's the planet they're from— but a narrative arch, particularly one that follows a character slowly slipping into the great dark beyond, well, that's some red-nosed ambition. It's a mark of the talents of Kennard and Turner that, for the most part, they pull off this bold stroke, managing something that is lively, funny, slightly twisted and finally potently melancholy all while barely uttering a recognizable word. CRACKED begins like a day in the life of Mump and Smoot, with the pair struggling out of their egg-like hammock beds, mashing themselves some breakfast—cave rats swirled in an electric blue liquid—and setting out to catch their dinner. There's a lot of table-setting here, but this early going was surprisingly lifeless, managing a few moments of cuteness but missing the steady comic rhythm that would have made it feel like anything but setup. Things took an immediate upward swing as soon as the first error occurred, though: the stage manager had packed Smoot's hunting bag wrong, and the pair got to adlib some death threats that seemed to inject both them and the crowd with a vivacity that had been seriously muted up to that point.

RED-NOSING >> Mump & Smoot in CRACKED To be sure, some of the best moments of CRACKED involve playing to the audience, if not outright involving them: both Kennard and especially Turner are masters of exploiting the uneasy tension of dealing with a clown, and the moments of Smoot exhorting the crowd not to tell Mump anything has happened, or explaining which rocks are his favourite, are endearing and funny with none of the straining aftertaste that can all too often accompany crowd interactions. And the endearing aspects of these bits help give that much more punch to the finale. Essentially, Smoot's lovable clumsiness has some serious consequences for him, but Mump is not going to let him go without a fight. It's as soon as we realize the stakes for Smoot that CRACKED starts shading towards brilliance. A massive blue egg pops up on

TAILOR-MADE >> A scene from Intimate Apparel

INTIMATE APPAREL

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relies on Esther's money from sewing to entertain himself. It's quite obvious that he's not going out and looking for work at night, but Esther continues to give in, knowing that she's pretty much out of luck in the potential relationship depart-

// Supplied

ment otherwise. Her so-called friends turn out to be just as deceitful as George, and the lot of their frustrations come to a climax in a terribly sad scene where Esther tears apart the patchwork quilt she's been hiding her life savings in. Esther finally returns to Mr Marks' shop for solace. Not much solace to find there,

// Ian Jackson

the corner of the stage, its growth like an hourglass for Smoot's remaining moments. Turner actually spends the last third of the play sans leg, tucked into a rolling easy chair, and his ability to suck the audience in with half his body out of commission is an admirable feat that he barely makes you think twice about. Part of that is because Kennard is also around to pick up the slack, and his increasing concern for Smoot— along with flecks of his snobbishly neurotic persona poking through—is palpable and very nearly heartbreaking when all is said and done. V Until Sun, Oct 24 (8 pm) Mump & Smoot in CRACKED Directed by Karen Hines Written and performed by Michael Kennard, John Turner Roxy Theatre (10708 - 124 St), $25 – $29

unfortunately, knowing how far from comfortable the two could ever be in the societies they were born into. Esther's previous plea to George about how she came to be so self-reliant is a woeful expression that indirectly reveals her real weakness— “I discovered all I need in these hands,” she tells him, and they're what she returns to when she realizes there's nothing and no on else she can rely on. So, is risking your identity for companionship worth it? In this play, the answer seems to be a resounding "No." Loneliness is just as miserable, and despite a smattering of well-played laughs here and there, Intimate Apparel leaves a lingering sense of hopeless, unrequited dreams. V Until Sun, Oct 24 (7:30 pm) Intimate Apparel Directed by Philip Akin Written by Lynn Nottage Starring Raven Dauda, Alex Poch-Goldin, Kevin Hanchard, Lisa Berry Citadel Theatre (9828 - 101 A AVE), $42 – $67

VUEWEEKLY // OCT 14 – OCT 20, 2010

ARTS // 15


PREVUE // EIGHTEEN BRIDGES

Bridging the gap

Eighteen Bridges gives Canadians an outlet for narrative journalism Mari Sasano // mari@vueweekly.com

M

ade-in-Edmonton magazines come and go; it seems like every other month a new magazine shows up on the scene, promising something glossy and eye-catchingâ&#x20AC;&#x201D;and deferring payment to writers, in exchange for "exposure." But readership is fickle for these hopeful arrivistes that promise a lot of visual panache surrounded by hobbyist-written text: as often as they launch, magazines fold or go online-only, usually as a first step to disappearing completely. And now, in a climate where even substantial publications have a hard time

16 // ARTS

making it, here is another player. But Eighteen Bridges editor Curtis Gillespie has his hopes up for a different model: "I think if I had to sum it up, this magazine is about writers; it's driven by writers." This is literally true: Gillespie is an award-winning literary triple-threat (fiction/nonfiction/journalism), and senior editor Lynn Coady is a GovernorGeneral's Award nom and a columnist for The Globe and Mail. The idea is to fill Eighteen Bridges with New Yorker-style long-form narrative journalism, something Canadians haven't really seen since the heyday of Saturday Night. And though the Walrus has the kind of intellectual heft that satisfies its readers, Eighteen Bridges will be more narrative and less essayistic than its Toronto-based cousin. And though each brings an impressive credibility as writers in their own right, Coady and Gillespie approach this project as building the kind of magazine that they love, as readers. "When Lynn and I met, we got to talking about how we love that kind of writing but there is nowhere to publish it in Canada. And we know so many writers who have to go out of the country to sell

their work. We thought, if we want to read this kind of writing, we might have to start our own." Gillespie recognizes that it won't come cheap, but so far the magazine has the support from the University of Alberta and community donors, as well as a generous discount and expertise from Venture Publishing. But it's the writing that they consider to be the most important hard cost. "The reality is, it's a very hard thing to start a magazine. And this kind of journalism is expensive: you're asking someone to do the research, conduct interviews, travel. You have to have people on the ground. And then you bring them back, and it doesn't happen overnight, to write a feature of this kind. It can cost $7000 for an article." The first issue, however, reflects the value that its editors place on its writers: it's a cover-to-cover read, boasting local, national and international names of note. Writers like Richard Ford, Marina Endicott and Robert Kroetsch contribute features, with the promise of more high-profile authors in the wings for future issues. "Both Lynn and I have trust in the talent

VUEWEEKLY // OCT 14 â&#x20AC;&#x201C; OCT 20, 2010

around us, so when we have someone phone us up and say, 'I have this idea,' that's where the best work is. The best work is when the writers are set free." In the meantime, Eighteen Bridges will judge by the response of its first issue to see whether long-term viability is in its future. It will sink or float, based on the interest of subscribers and advertisers. "We have a button on our website called, "Why subscribe?" It's there because it's a question that we knew we would have to answer. The magazine is available online, but the reality is that many people prefer a hard copy, especially when reading long-form narrative. People like getting news online, but I find paper to be a more immersive experience. But we have the online version for younger readers who are used to reading things onscreen. Of course, if you value the content but don't want to paper version, you can make a donation and get a tax receipt. It's a win-win." V Eighteen Bridges will be available online, by subscription, and at independent book and magazine stands such as Greenwood's, Audrey's Books, the U of A Bookstore and HUB Cigar. A subscription of four issues is $29.95, individual issues are $7.95.


COMMENT >> VISUAL ART

From Toronto, with love I saw a lot and I learned a lot from my run centres, let alone of institutions, that most recent art-related excursion. Spenddidn't have a clue about the works around ing just over a week in Toronto and them, and it's these minor but integral seeing as much as I could, here is a interactions that build a returning, brief summary of thoughts that art appreciative audience. made me think of Edmonton: Nuit Blanche. It's no secret I First, the Frank Gehry-dedetest the plethora of festim signed Art Gallery of Ontario. vals in our city that dilute their ekly.co vuewe amy@ The project, which cost more programming to satisfy an "art Amy than four times as much as our for all" mandate. I believe in Fung the necessity of family program(Gehry disciple) Randall Stoutdesigned AGA, was relatively four ming and social outreach, but I also times more impressive. Sure, the ick factor believe in critically engaging works that is higher when they have an entire floor push form and content to expand and devoted to special event rentals and you engage our interests. In its fifth year, Nuit have to walk through its posh restaurant Blanche has fallen in between the cracks to get to the community gallery, and alin serving art for no one in particular. most unforgivably the entire top floor is From more seasoned critics, the biggest dedicated to the art world wankings of Jucomplaint was not even the drunks, but lian Schnabel ... but the gallery also has a the lack of family programming or projmassive and rather impressive permanent ects and events that engaged with the collection on constant display and has an public beyond a photo op. Edmonton's army of curators to successfully integrate arts festivals are overflowing with family contemporary works from Ontario-based friendly programming, but there's little artists alongside international artists. I to entice the rest of the population, and went specifically to see At Work, the show hardly a trifle to satisfy an art-centric auon Eva Hesse, Agnes Martin and Betty dience. I'm not entirely sure if any one fesGoodwin, but I left completely floored tival could or should satisfy all these audiby Toronto-based Shary Boyle, who creences, as time and time again it's proven ated an intervention in the main floor that in trying to satisfy everyone, we all European galleries with her works that get left out in the cold. That said, call a explode the concepts of feminine sexualspade a spade and stop overriding "art" for ity, especially in relation to art history. But funding's sake. eclectic programming is expected. What wasn't expected: the in-depth knowledge Options and Fluctuations. It's a real and coherency of the security guards who treat to have no shortage of commercial were everywhere, and seemed to know galleries and artist-run centres, as the everything. I've encountered staff mempositive outcome within that mix is a real bers of commercial galleries and artistdiversity of roles and audiences served. If

IE PRASITRERS

ART

you're feeling more critical, head to Mercer Union. YYZ, Red Head Gallery, WARC and Gallery 44 all have very different mandates yet coexist in the same building. And it seems that all latest artists have gone down to the converted garages along Tecumseth Street. After one particular day of wandering through over a dozen galleries, some good, some bad, but all pretty different, I thought again about an article from this past year that tried to square off the AGA with Latitude 53. I remember at the time the article was not worth discussing, but now, it made me sad to realize that not just the writer, but the editor, and an entire base of the population really do believe galleries are just walls with art, and the only difference between them is location and size. Simply put: being an "art" gallery or festival could mean anything from opening up a frame shop to an excuse for gelato in the streets. Regardless of how it may be funded, art is not a catch-all concept to entertain the masses. While Edmonton's numbers may not be mighty enough to make obvious the different purposes of community art and high art, its small cluster of commercial galleries, artist-run centres, public art galleries and institutions could also take a step to educate the public by distinguishing themselves from their neighbors, because at the root of each space, each started with its own purpose that should still make it relevant and special. V Amy Fung is the author of PrairieArtsters.com

PROFILE // INSTANT COFFEE

Quilting art into community Instant Coffee collective ready to serve you Amy Fung // amy@vueweekly.com

L

ast week, members of the Toronto/ Vancouver arts collective Instant Coffee were in town holding an open afghan call out. The reason: Instant Coffee will be completing an upcoming Public Art commission to be installed in the new Commonwealth Stadium Community Centre opening in 2012, and like with most of its projects, the public is implicit. Known for creating events-based projects through forms of public participation in projects such as "Why Do Bad Things Happen to Good People?" and a series of explorations on the power of light, the collective comprised of Cecilia Berkovic, Jinhan Ko, Khan Lee, Kelly Lycan, Kate Monro and Jenifer Papararo have been collaborating for close to 10 years under the guise that exhibition strategies are not necessarily separate from studio-based ones. For example, the event held last Wednesday was an integral part to the final "show" piece, which will be a three-

part interactive indoor billboard that will feature selected afghans shared from Edmonton's community. The participation of the public is crucial to the piece, and there's a blind faith in relying on a certain level of critical mass for social response. Lycan and Papararo, who both originally hail from Alberta via the Rocky Mountain House and Calgary areas respectively, were on hand for this leg of the project. Noting that they have a history of taking over venues through events using colours and light (and sometimes afghans), their works have always been based in the potential of an event. "Afghans seem to adapt to our esthetic," says Lycan, who is now a Vancouver-based artist mostly working in installation and photography that are occupied with value systems and consumer culture. "They are also very do-it-yourself, inexpensive, and their graphic esthetic is something we respond to." Papararo, who programmed Mercer

Union in Toronto before taking the helm as curator of Vancouver's Contemporary Art Gallery, continues the train of thought by pointing to the multi-patterned, multicolored afghan on display, "It's so complicatedâ&#x20AC;&#x201D;who would put those colours together? It's amazing, and it's a quick way to take over a space by using bright colours." "It also involves other artists," Lycan adds, "We often use bright pinks and oranges, that sort of op art from the '70s that's acidic and garish. We find it fascinating." It was unclear as to how participatory Edmontonians got, and perhaps that's just a sign of our general malaise to engage with art beyond a spectacle, but here's to another public art project injecting a much needed dose of contemporary attitude into our city's arts community. V Visit instantcoffee.org for more information and join their Alberta listserv to receive and post arts related events free of charge.

VUEWEEKLY // OCT 14 â&#x20AC;&#x201C; OCT 20, 2010

ARTS // 17


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FILM

Online at vueweekly.com >> FILM

Online film review: Life As We Know It The entire diaper of a movie unfolds pretty much as you'd expect, from puke and poop on these shocked new parents' faces to the romance always heaving and simmering beneath the barely restraining bodice of the couple's flimsily see-through dislike for each other. GO TO VUEWEEKLY.COM/FILM to read the full two-star review

REVUE // IT'S KIND OF A FUNNY STORY

Therapy, kind of

It's Kind of a Funny Story redeemed by a cast with chemistry David Berry // david@vueweekly.com

U

p until now, Anna Boden and Ryan Fleck have specialized—and excelled—at social realist dramas awash in ambiguity. Both Half Nelson and Sugar were stories of morally grey, conflicted characters, stories that took the form of familiar Hollywood narratives—the inner-city school teacher and the underdog sports hero/immigrant tale, respectively—and subtly subverted them into something that critiqued not only contemporary American society, but the whitewashed narratives that help perpetuate it, or at least disguise it. It's Kind of a Funny Story is not that kind of film. Coming from this writer/ director pair, actually, it is almost appallingly normal: set in a psych ward, it plays out exactly as the typically heartwarming Hollywood narrative does, wherein a mildly troubled main character learns we're all a bit crazy—in between helping the legitimately troubled surrounding characters learn how to

deal with their problems, too. Not helping things are spoonfuls of quirk and fantasy that help us swallow down any deeper emotional connections like so much ice cream, and also give the whole mental illness thing a slight veneer of oddball charm, like depression is just an endearingly daffy character trait. The only thing that really redeems things here are the relationships between the three central characters: narrator and hyper-stressed business prep schooler Craig (Keir Gilchrist), depressive psych ward rascal Bobby (Zach Galifianakis) and pretty-faced cutter Noelle (Emma Roberts). Each gives their character more depth than the script likely deserves, which goes a long way towards making their actions meaningful.

his suicide with a trip to the ER. There he meets Bobby, a cuddlier version of One Flew Over the Cuckoo's Nest's McMurphy, who sets to breaking down Craig's relentless worrying by showing him how to enjoy life, getting a major assist from Noelle's amenable cuteness. Gilchrist has real chemistry with both his foils. There is a kind of give-and-take mentorship with Galifianakis, who dials down his sometimes-excessive weirdo screen persona into a kind of cottonball armour against a world that he obviously can't deal with. Their scenes together feel like wounded animals protecting each other from the elements, and have a disarming sweetness that, say, Gilchrist's interactions with his comically inattentive dad (Jim Gaffigan) lack: the latter is just laughs where the former has real pathos. With Roberts, Gilchrist has a nervous energy, a fear of girls doubled by his embarrassment of their both being damaged goods, and their slow steps towards romance—including a scene where Galifianakis acts as her stand-in that is funnier and more

When we first meet Craig, in a dream sequence on the Brooklyn bridge, he is a nervous neurotic to put Woody Allen to shame, ready to whither under the pressure of pending college applications, demanding parents and unrequited love, and ultimately putting off

BEARDO WEIRDO >> It's kind of a hit-and-miss story

// Supplied

touching than it has a right to be—have a welcome awkwardness. Much of what isn't their interactions, though, feels off—again, particularly because this is a Boden/Fleck film. Scenes of art therapy, for instance, trip off into flights of fancy that feel like they come from some other film, one more amused by mental illness than actually considering it. We have every right to expect better from a very tal-

ented filmmaking duo blessed with a talented cast. V

son's, whose 1952 novel The Killer Inside Me, one of this infernally gifted author's most incisive portraits of a doomed and deranged mind, serves as the basis for the same-titled movie from director Michael Winterbottom. Scripted by John Curran with considerable fidelity to its source material, it's an admirable, slick, horrifying and problematic adaptation, and is now available on home video. Lou's sent to run a prostitute named Joyce out of town, but when he delivers the message Joyce attacks him, and a cloud of ice drapes over Lou's normally placid face. He retaliates with brute force, only to discover that beatings and bondage are Joyce's cup of tea. They become lovers, but soon Lou gets an idea for a way to exact revenge on a local big shot, an idea that involves murdering both the big shot's son and Joyce. Killing Joyce is supposed to exorcise "the sickness," which is how Lou describes his fearsome urge to exact violence on others, women especially—women who love him most especially. But the sickness only spreads and one killing just leads to another, until simple plan slips into apocalyptic parody. The casting of Casey Affleck as Lou is inspired both for his physicality—Thompson described Lou as lean and wiry, clean-cut, friendly and 29—and his vocal peculiarity, that voice that creaks like an asthmatic

12-year-old. Affleck was the best thing in The Assassination of Jesse James by the Coward Robert Ford, and exhibits similarly creepy nuance and repressed ferocity here. Jessica Alba as Joyce is inspired in a different way. Her supple performance aside, it's her sweet, heartbreaking smile that helps make it so difficult to witness Lou pounding her face in like a cantaloupe. The killings in The Killer Inside Me are appalling yet somehow detached at the same time, perhaps because Melissa Parmenter and Joel Cadbury's score is so heavy with portent it takes you out of the moment. Stunning moments abound, not the least being Lou's final encounter with Amy, smartly played by Kate Hudson. But there are other issues keeping The Killer Inside Me from being as penetrating as it could have been and more alienating than it probably needs to be. There's a moment in the novel where Lou explicitly states that he is literally writing what we're reading, which we slowly come to realize is deliciously nonsensical. Thompson was a masterful handler of the unreliable narrator, and many of the claims made in Lou's first-person account become suspect. This is a precarious thing to realize on screen since the imagination is so much more powerful and flexible, particularly when trying to register the violence. To read it is deeply disturbing; to see it is merely disgusting. V

Opens Fri, Oct 15 It's Kind of a Funny Story Written and directed by Anna Boden, Ryan Fleck Starring Keir Gilchrist, Zach Galifianakis, Emma Roberts



COMMENT >> DVD

A history of violence

Brutality on film, courtesty of Werner Herzog and Jim Thompson There once was a man named Brad, who producer's blessing by David Lynch, who even in his mid-30s still lived with otherwise had nothing to do with his mother, but Brad went a litthe picture, though Brad's irritatle mad somewhere along the tion with his friend's meditation rapids in deepest Peru, and practice reads as a friendly jab when he came back he was ly.com at Lynch's outspoken advocacy k e e w vue talking about inner voices, and for TM. Songs from Chavela ctive@ dvddete how God lives in his house. He Vargas, Washington Phillips s Jo ef was to play Orestes in the theand Caetano Veloso, as well as Braun a score atre, but was dismissed for erratic for strings, piano and acbehaviour. Unable to kill his mother cordion from Ernst Reijseger provide on stage he wound up doing it in real life, haunting accompaniment to this strange with a sword, one sunny suburban San study of untreated schizophrenia and unDiego morning. All this has already transbridled eccentricity. pired by the start of My Son, My Son, Michael Shannon imbues Brad with treWhat Have Ye Done, which plays out mendous conviction, this Aguirre returned mainly through flashbacks prompted by from his Amazonian raft to transform into Brad's girlfriend and former director, who Woyzeck. Chloë Sevigny's the worried arrive on the scene to discover Brad's girlfriend, Udo Kier the thespian. Willem holed up inside his bungalow with a pair Dafoe and Michael Peña play the homicide of flamingos for hostages, while baffled cops too fascinated by Brad to attend to police surround, order pizza and ponder their duties with due rigour, the latter esBrad's cryptic declarations and offerings pecially eager to get close to the raving of oatmeal and gospel. murderer. There are ostriches, tiny horses Ostensibly based on a true story, the and a well-dressed dwarf. There are inexmovie was scripted by Werner Herzog and plicable sojourns to Tijuana and Central longtime collaborator Herbert Golder, diAsia. It's hard to shake the suspicion that rected by Herzog and granted an executive Herzog's simply cramming the movie with

DVCD TIVE

DETE

truckloads of flamboyantly weird items he likes having around. It's equally hard to resist the movie's magisterial control of atmosphere, its charismatic performances and brilliant bits of humour. My Son, My Son premiered at Venice 2009, alongside Herzog's Bad Lieutenant: Port of Call: New Orleans. Though unsavoury and ill-behaved in its own right, the latter got a decent theatrical release while the former was ushered directly from festivals to home video. We ran our TIFF 2009 roundtable conversation with Herzog on Bad Lieutenant in the spring; to read Herzog on My Son, My Son, go to vueweekly.com/myson. Lou Ford's father was a doctor, and though he hides his intellect behind folksy platitudes Lou was more than capable of following dad's footsteps. But Lou got stuck maybe, as deputy sheriff in the ironically named backwater of Central City, Texas, and as the reluctant betrothed to a local schoolteacher named Amy. The couple "just drifted together like straws in a puddle." Those are Lou's words, or rather Jim Thomp-

VUEWEEKLY // OCT 14 – OCT 20, 2010

FILM // 19


FILM REVIEWS 

O EG ET M ER L NEV RED

Film Capsules Opening Friday

whelming odds with nothing but guns and an otherworldly ability to not actually get shot—is actually a fairly recent cinematic creation. So much so, in fact, that it's really only been in the last five years or so that we've started to see the first wave of action stars start reaching that age where diving away from explosions with guns blazing is starting to get ridiculous; Danny Glover may have been too old for this shit back in the late '80s, but now Sly, JCVD, Arnie and Bruce Willis have all reached an age where their

RED

Directed by Robert Schwentke Written by Jon & Eric Hoeber Starring Bruce Willis, Mary-Louise Parker, Karl Urban  Folks with guns have been popping up in movies for a time now, but the action movie as we really understand it—essentially one or a few up against over-

cops and commandos would more realistically be doing desk jobs, if they weren't collecting pensions. There are a few ways you can deal with this—the best has to be JCVD's tweaked soul-searching turn in the film of the same name—but RED has chosen to go for laffs, basically putting guns in the hands of grumpy old men. Boomer-pleasing yuks—Willis bragging that he trained the trainer of the young turk whose ass he just kicked, John Malkovich shooting an RPG out of mid-air and sneering "Old man my ass"—abound in this story of retired CIA agents being hunted down by their former agency. And, really, so long as it's jokes about creaking bones mixed with hyperkinetic action shots, RED does just fine for itself. Unfortunately, it also shoehorns in a couple romantic subplots, the most notable between Willis and MaryLouise Parker, who plays the pension agent he's been teleflirting with until a hit squad knocks down his door. Sensing they're both in danger, Willis picks her up and is soon looking up some of his old agency buddies—Morgan CONTINUED ON PAGE 21 >>

DVD // THE MAGICIAN

Sleight of hand Josef Braun // josef@vueweekly.com

I

n the carriage we find a troupe of travelling showmen, among them a mute mesmerist (Max Von Sydow), a transsexual (Ingrid Thulin) and a 200-yearold witch. They're fugitives, wanted on charges of fraud and blasphemy. It's the middle of the 19th century and all over Europe are towns not big enough for both science and the spirit. The troupe arrives in Stockholm, where it's to perform for a small, elite audience, among it the chief of police and the royal medical advisor (Gunnar Björnstrand), a

righteous rationalist determined to prove the magic show a sham. The Magician, newly available from Criterion, is probably Ingmar Bergman's most autobiographical film to address his professional life, pitting artists and critic-types against each another to see who can out-humiliate who. Björnstrand has a line that's terribly on-the-nose yet somehow more potent for it, as though he himself were mesmerized and felt compelled to utter some naked truth: "You represent what I despise most of all: the inexplicable." Made in 1958, The Magician represents a transitional point in Bergman's career:

between The Seventh Seal and The Virgin Spring; between anxiety about death and anxiety about godlessness; between cinematographers Gunnar Fischer and Sven Nykvist; between staging his films as, to some degree, extensions of his theatre practice, and transforming his esthetic into something more wholly cinematic, driven as much by the characters' internal states as their external dramas. It's a peculiar, quietly daring work, casually dismantling certain obligatory narrative conventions. It starts out focused on Vogler, our silent hero. Yet a third of the way into the film we abandon Vogler completely and pass a spell with two younger, minor characters hungry to bring excitement to their lives: the troupe's coachman and a servant girl played by Bibi Andersson, each drinking from an ostensible love potion, awaiting the results with a certain desperation. It's as though Bergman conceived The Magician not as a propulsive drama but rather a sort of ensemble-driven essay on precarious ambitions under constant threat of having the rug pulled out from under. We gradually come to the troupe's performance, thoroughly dissected and mocked, and to a series of deaths or seeming deaths, one of them foretold by the crone, who may be the film's one genuine mystic. These deaths set the stage for a carefully devised haunting meant to shake up Björnstrand. It's a wonderful display of trickery, much of it dependent on mirrors, shadow and imagination. Of course the magic is phony, but that makes it no less worth the while. As Bergman himself writes in his memoir Images: My Life in Film, which is excerpted in the booklet that accompanies Criterion's disc, "My job was to beguile the audience." V Now Available The Magician Written and directed by Ingmar Bergman Starring Max Von Sydow

20 // FILM

VUEWEEKLY // OCT 14 – OCT 20, 2010


COMMENT >> TELEVISION

Original gangster

Boardwalk Empire's disorganized crime

'W

hen I was your age, we didn't take product and a mark-up of price. the bus to school, we walked upAs with most illegal enterprises, things hill in the snow for five miles!" is cerdon't go exactly according to plan. Due tainly a well-worn cliché. While to the eagerness of his young apE H this statement is never entirely prentice and recent war veteran H C T WA true no matter how old and Jimmy Darmody (Michael Pitt) grizzled the familial speaker and the scheming of a young is, there is something to be Al Capone (Stephen Graham), .com ly k e e @vuew roland said for the hardships of a there is a chain of murders, d n Rola rton robberies and cover-ups that previous generation. We take Pembe for granted the luxuries we predate the larger presence have, be it instantaneous access of a seedy underworld and leave to information, free TV on our laptops or Nucky's plan in a precarious position. Husmallpox-free blankets. I feel spoiled to morless G-man Nelson Van Alden (coldly be alive in a time where each week I'm portrayed by Michael Shannon) is the treated to serial television that is on par contrast to Nucky's conversely stressful with or better than any two hours you'll and high end lifestyle, a Christian huntspend in a multiplex. ing dog on the scent of booze who is not We're also lucky that we can get drunk adverse to shoving his hand into a halfwith little to no incident. This is the dead man's guts for information. privilege that informs the background of HBO's fantastic Boardwalk Empire. StarThe boardwalk itself is a digitally and ring Steve Buschemi as self-styled protophysically restored seaside promenade typical mob boss/city treasurer Enoch in Brooklyn that was saved from demoli"Nucky" Thompson, Boardwalk Empire tion by this production. It's a star in its begins in Atlantic City, NJ circa 1920 on own right, featuring such attractions as the eve of the enactment of Prohibition. test tube babies, fortune tellers and KKK We know this because there's a huge canvassers. It's a treat to see this world party where he and the other pillars of in such vibrant colour when our social the city get drunk and discern how they'll documents have always shown things in continue selling booze with a dilution of grey and sepia tones. The moments of

NEL C H AENR O Z

slapstick humour and whimsy are appropriate for the period but are jarring in the context of this show and our knowledge of the dark reality of its characters. Executive produced by Martin Scorsese (he also directed the first episode), the show's scope is expectedly cinematic but also referential to the time it is chronicling. The show opens and closes with the same peephole effect silent movies used to have. The dramatic action is fleet-paced, juggling concurrent narratives in a way that also informs BE's visual flair. Scenes occasionally end with the camera wiping through the black between set pieces to move on. These are the roaring twenties after all; it wouldn't make sense to slow things down. Period pieces work when they illuminate the differences and similarities between their world and ours. Mad Men has been a hit because it shows us the mistakes and triumphs of the past while subtly commenting on our present. By this token, Boardwalk Empire succeeds similarly. Yes, it's another New Jersey crime drama with Terence Winter behind the scenes, but like The Sopranos, the previously acclaimed series he wrote for, the violence is secondary to the mirror it places on our modern domestic lives. V

FILM REVIEWS

Film Capsules << CONTINUED FROM PAGE 20

Freeman, Malkovich and Helen Mirren, none of whom are stretching their acting muscles too much here—then dragging her around while he tries to get to the bottom of the conspiracy. Willis still has a fair amount of rascal charm, and director Robert Schwentke is quite adept at sending the camera flying around, making every action sequence a fairly fun display of aged badassery. But things grind to a halt every time Willis has to flirt with Parker: his cold-blooded killer's aw-shucks attitude towards women is too comically pat to actually work, even if the pair had much in the way of chemistry. That and a script that feels as old as its stars keep RED fun but forgettable, proving that Sick Boy's maxim about losing it isn't any less true for ass-kickers. David Berry

// david@vueweekly.com

Playing at the Garneau Never Let Me Go

Never Let Me Go Directed by Mark Romanek Written by Alex Garland Starring Carey Mulligan, Andrew Garfield, Keira Knightley Garneau Theatre (8712 - 109 St)  When we talk about "unfilmable" novels we're usually talking about those defi-

cient in the essentials of classical narrative: a single protagonist, rising action, a satisfying climax, etc. Yet we might be better off describing as unfilmable those novels that defy cinematic adaptation not on account of their unconventional narratives but rather their resistance to coming alive in a cinematic context. Considered thusly, I think Kazuo Ishiguro's Never Let Me Go might offer us a textbook example. Narrated by a young woman looking back on her childhood at Hailsham, a rural English boarding school, the discreetly dystopian Never Let Me Go is steeped in nostalgia, in longing for an irretrievable innocence. At once speculative fiction and a period piece, the novel is remarkable for its ability to sustain engagement while maintaining an almost relentless melancholy. It has a story with a beginning, middle and end, and a vividly drawn protagonist, yet these ingredients aren't enough to keep the film version of Never Let Me Go from feeling somewhat inert. The script is by novelist Alex Garland, whose screenwriting credits include the Danny Boyle films 28 Days Later and Sunshine. Never Let Me Go follows a route similar to its predecessors, constructing an intriguing set-up, only to arrive at a flat final act, one that appears to misinterpret what intrigued us in the first place. I don't think it gives away too much to say that Hailsham serves a very special and covertly sinister purpose, preparing its students for a life that's almost completely predetermined while clouding all this in euphemism. Among the problems with the film version is that once we

know what our characters are destined for the story has virtually no place to go. There's an attempt to generate suspense in the final act, yet it's almost laughably clear that this suspense is founded on a total sham—the "sham" in Hailsham, as it were—and the result is a deeply sombre ending that inadvertently mocks its own characters for actually believing they're anything but doomed. Directed by Mark Romanek, the visualization of Never Let Me Go's hushed, cloistered world is rich and evocative. There are striking images pierced with loneliness: that dress dangling in the wind, those bits of plastic clinging to a fence. The cinematography, costumes, hair and production design are dominated by dusky light, earth tones, woolen jumpers, and childlike mullets—a pervading coziness undercuts the story's darkness with a veneer of autumnal warmth. The performances, especially that of Carey Mulligan, are most often emotionally complex, though Andrew Garfield's a bit too lingered upon in scenes that give him nothing more to do than flip out, something he does with such abandon he might win an Oscar. If we were to isolate any one part of Never Let Me Go it would seem a perfectly engrossing, beautifully rendered film, and one whose sociopolitical significance is so obvious you can't even call it subtext. The problem with Never Let Me Go is how the story builds over the course of its entirety. Or rather doesn't build. Josef Braun

// josef@vueweekly.com

CONTINUED ON PAGE 22 >>

VUEWEEKLY // OCT 14 – OCT 20, 2010

FILM // 21


FILM REVIEWS

Film Capsules << CONTINUED FROM PAGE 21

Playing at the Metro Japanese Extreme Metal

Sat, Oct 16 (7 pm & 9 pm) Directed by Mark Keller Metro Cinema (9828 - 101A Ave), Free  In a world where McDonald's has managed to colonize India, a country where slaughtering cows is illegal, it shouldn't actually come as a surprise that Japan has a hardcore metal scene: welcome to the weird side-effects of global interconnectivity. Still, there is probably somewhere an interesting film to be made about the Japanese metal scene, something that docu-

ments how it first took hold, maybe, how it's spread and what distinguishes the Japanese iteration from other global scenes. Japanese Extreme Metal: The Documentary is most assuredly not this film. If Japanese Extreme Metal has a point beyond "look, Japanese metal bands," it is buried beneath so many layers of ineptitude that it's impossible to discern. There isn't even so much as a narrative or organizing theme to this documentary—a descriptor that's a fair bit of a stretch—and that is the least of its technical problems. Stitched together without narration of any kind, it feels like a guy picked up his camera and started talking to his friends and tried to call it a film (director Mark Keller is a member of Tokyo-based metal band Detritrum). There are technical errors in here that would ruin a home movie. One scene, where Keller interviews one of the numerous bands we are exposed to

with no context whatsoever (are these the biggest bands in Japanese metal? Rogue upstarts changing the scene? Anything other than dudes who play guitars loud and pound drums hard? None of these extremely basic questions get answered.) is almost completely drowned out by some kind of high-pitched whine that is eventually revealed to be a cicada. Though he does call it a "bitch" in a title card, apparently it never occurred to him to, I don't know, change the interview location to a quieter spot. Or maybe find the thing and stomp it. Anything at all, really. Not that the quotes he gets out of the band really need to be heard. They are standard boilerplate band BS—on the creative process, the band in question explains that the way songs are written is that a riff will pop into someone's head, and then the drummer will play some drums and then the rest of the band learns how to play it—and the few times Keller bothers to ask something that might be relevant, like, say, "What makes you unique?" they drift off into nothing answers like "We have spirit" or "We play metal." Just stunning insight. If you insist on wanting to learn about Japanese metal, your time would be much better served googling that shit. David Berry

// david@vueweekly.com

22 // FILM

VUEWEEKLY // OCT 14 – OCT 20, 2010


FILM REVIEWS Now Playing Secretariat

Directed by Randall Wallace Written by Mike Rich, William Nack Featuring Diane Lane, John Malkovich, Margo Martindale  On June 8, 1913, suffragette Emily Wilding Davison died after being struck by a racing horse. She'd stepped onto the track at the Epsom Derby four days earlier, carrying a banner in the name of her organization's cause—the right for British women to vote. On June 9, 1973, owner Penny Chenery revelled in a win by a racing horse. Chenery had just stepped onto the track at the Belmont Stakes to claim the Triple Crown in the name of her three-year-old colt—a triumph, Disney's movie Secretariat suggests, that placed Chenery (Diane Lane) among a pantheon of 21st-century feminists. The turf-trotting story's brought up lame by this effort to show Chenery as a female revolutionary in her own way, even as her hippie daughters are talking about protest-pageants and going to socialist Chile. She's almost never shown as an independent woman, though, but as a grieving daughter, a distant wife, a mother figure (to children or horse) and a female owner in a man's world. Secretariat never convinces that this was a horse or owner who epitomized a time and so captivated an era. The basic dramatic power of the plot—coming from a long pedigree of underdog-sports stories—isn't ridden carefully, either. The against-all-odds cliches get slathered on: Chenery's opening-voiceover of equine passages from the Book of Job; the family farm dissolving unless Secretariat wins the Triple Crown, which no horse has won in a quarter-century; Secretariat always coming out of the gate dead-last; and now he isn't even eating on the eve of the Kentucky Derby. The races stumble. There are few long shots to show from how far back Secretariat comes and how much he pulls away. There's no build-up to the second race, the Preakness, which is only shown at a distance, as TV footage. And the champion horse's magnificent Triple Crown tear down the Belmont straightaway isn't left as thundering hooves and rippling muscle but drowned out by a soaring spiritual. The flick's further hobbled by all its pure emotions and heartstringplucking. Owner, assistant, trainer and groomer dance around the horse. Chenery offers the tagline, "this is about life being ahead of you and you run at it." Feisty owner, warmhearted assistant, quirkily-dressed French-Canadian trainer and soulful African-American groomer express their support and love for each other. Chenery curls up and weeps as she hears her daughter sing over the phone. Still, there are the jockey jokes ("I told her I was taller when I stood on my wallet"). It seems that behind every successful, non-feminist, horse-owning woman, there's a short man. Brian Gibson

// Brian@vueweekly.com

FILM WEEKLY FRI, OCT 15 – THU, OCT 21, 2010 s

CHABA THEATRE�JASPER 6094 Connaught Dr, Jasper, 780.852.4749

THE SOCIAL NETWORK (PG coarse language,

substance abuse) FRI�SAT 7:00, 9:10; SUN�THU 8:00

WALL STREET: MONEY NEVER SLEEPS (PG coarse language) FRI�SAT 6:50, 9:10; SUN�THU 8:00

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KNOCK OUT (STC) Hindi W/E.S.T. DAILY 1:10, 4:05, 7:15, 9:40

ANJAANA ANJAANI (PG mature subject matter,

not recommended for young children) Hindi W/E.S.T. DAILY 2:00, 5:00, 9:00

ROBOT (14A Violence) No passes, Hindi W/E.S.T. DAILY 1:15, 4:20, 8:00 MACHETE (18A gory violence) DAILY 1:35, 4:30,

7:40, 10:00

THE EXPENDABLES (18A brutal violence) DAILY 1:25, 4:15, 7:30, 9:55

THE OTHER GUYS (PG coarse language, not rec-

ommended for young children, crude sexual content) DAILY 1:20, 4:00, 7:05, 9:20

DINNER FOR SCHMUCKS (14A) DAILY 1:40, 4:10,

7:20, 10:00

SALT (14A) DAILY 1:30, 4:45, 7:35, 9:50 THE SORCERER'S APPRENTICE (PG violence, frightening scenes) DAILY 1:45, 4:25, 7:10, 9:35

DESPICABLE ME (G) DAILY 1:05, 3:55, 6:30, 9:05 GROWN UPS (PG crude content, language may offend) DAILY 1:50, 4:35, 7:25, 9:45

TOY STORY 3 3D (G) Digital 3d DAILY 1:00, 3:50, 7:00, 9:30

CINEPLEX ODEON NORTH 14231-137 Ave, 780.732.2236

RED (14A violence)

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JACKASS (R)

IT'S KIND OF A FUNNY STORY (PG coarse

language, mature subject matter) FRI�SAT 1:00, 3:30, 6:00, 8:30, 11:00; SUN�WED 2:00, 4:30, 7:30, 10:15; THU 4:30, 7:30, 10:15; Star & Strollers Screening: THU 1:00

THE SOCIAL NETWORK (PG coarse language, substance abuse) FRI�SAT 2:00, 5:00, 7:50, 10:35; SUN� THU 1:10, 4:15, 7:15, 10:10 BURIED (14A disturbing content, coarse language) FRI 1:15, 3:45, 6:15, 8:40, 10:50; Sat 1:15, 3:45, 6:15, 8:40, 10:45; SUN�THU 1:15, 3:30, 6:00, 8:15, 10:30

FUBAR II (18A crude content, substance abuse) FRI� SAT 2:15, 4:30, 6:45, 9:05, 11:10; SUN�THU 1:20, 3:35, 5:35, 7:45, 10:00

LEGEND OF THE GUARDIANS: THE OWLS OF GA'HOOLE (PG violence, frightening scenes,

not recommended for young children) FRI�SAT 1:05, 3:30, 5:55, 8:15; SUN�THU 1:10, 3:25, 5:45, 8:05

WALL STREET: MONEY NEVER SLEEPS

(PG coarse language) FRI�SAT 1:30, 4:30, 7:30, 10:30; SUN�TUE 2:05, 5:00, 8:00; Wed 1:20, 4:15, 10:00; THU 1:20, 10:00

YOU AGAIN (G) FRI�SAT 10:40; SUN�THU 10:2 ALPHA AND OMEGA 3D (G) Digital 3d FRI�SAT 1:00, 3:15, 5:30, 7:45; SUN�THU 1:05, 3:20, 5:30, 7:45 THE TOWN (14A violence, coarse language) FRI� SAT 2:10, 5:00, 7:45, 10:45

EASY A (14A language may offend) FRI�SAT 1:20, 3:40, 6:00, 8:20, 10:40; SUN�THU 1:05, 3:20, 5:30, 7:45, 9:55

INCEPTION (PG violence) FRI�SAT 1:00, 4:05, 7:10, 10:15; SUN�WED 1:45, 5:00, 8:30; THU 1:45, 9:00 A PRAIRIE HOME COMPANION WITH GARRISON KEILLOR�LIVE (Classification not

available) THU 6:00

CITY CENTRE 9 10200-102 Ave, 780.421.7020

RED (14A violence) Stadium Seating, Dolby Stereo

Digital DAILY 12:00, 3:20, 6:30, 9:50

JACKASS (R) No passes, Digital 3d, Stadium Seating FRI�WED 12:35, 3:00, 5:25, 8:00, 10:30; THU 12:35, 3:00, 8:00, 10:30 WAITING FOR SUPERMAN (PG) Dolby Stereo Digital DAILY 12:25, 3:25, 7:25, 10:25

THE SOCIAL NETWORK (PG coarse language,

substance abuse) Stadium Seating, DTS Digital DAILY 12:10, 3:10, 7:10, 10:10

Digital 3d FRI�SAT 12:30, 1:30, 3:00, 4:00, 5:20, 6:15, 7:40, 8:45, 10:30, 11:00; SUN, TUE 12:30, 1:30, 3:00, 4:00, 5:20, 6:15, 7:40, 8:45, 10:30; MON, WED�THU 12:30, 3:00, 5:20, 6:15, 7:40, 8:45, 10:30

SECRETARIAT (G) DTS Digital, Stadium Seating

LIFE AS WE KNOW IT (PG, language may offend, substance abuse) DAILY 1:45, 4:30, 7:10, 10:00

Stadium Seating, DTS Digital DAILY 12:20, 2:50, 5:20, 7:50, 10:20

SECRETARIAT (G)

Digital Cinema FRI�TUE, THU 12:40, 3:45, 6:45, 9:40; WED 3:45, 6:45, 9:40; Star & Strollers Screening: WED 1:00

MY SOUL TO TAKE 3D (14A gory brutal violence,

coarse language, not recommended for children) Daily 2:00, 4:50, 7:50, 10:40

DAILY 12:15, 3:15, 7:15, 10:15

BURIED (14A disturbing content, coarse language) THE TOWN (14A violence, coarse language) DTS Digital, Stadium Seating DAILY 12:05, 3:05, 7:05, 10:05 EASY A (14A language may offend) DTS Digital,

Stadium Seating FRI�WED 12:30, 2:55, 5:30, 7:55; THU 12:30, 2:55, 5:30

MY SOUL TO TAKE 3D (14A gory brutal violence,

THE SOCIAL NETWORK (PG coarse language,

coarse language, not recommended for children) Digital 3d, Stadium Seating, DTS Digital DAILY 10:35

FUBAR II (18A crude content, substance abuse) DAILY 2:10, 5:10, 8:00, 10:35

LIFE AS WE KNOW IT (PG language may offend, substance abuse) Stadium Seating, DTS Digital DAILY 12:45, 3:45, 6:45, 9:45

substance abuse) DAILY 1:00, 4:10, 7:20, 10:15

LEGEND OF THE GUARDIANS: THE OWLS

OF GA'HOOLE (PG violence, frightening scenes, not recommended for young children) Digital 3d FRI�SUN, TUE 1:20, 3:50, 6:30, 8:50; MON, WED�THU 1:20, 3:50 WALL STREET: MONEY NEVER SLEEPS (PG coarse language) FRI�TUE, THU 9:00; WED 9:30

YOU AGAIN (G) DAILY 1:15, 4:15, 6:55, 9:30 ALPHA AND OMEGA 3D (G) FRI, TUE 6:20; SAT�

CLAREVIEW 10

4211-139 Ave, 780.472.7600

THE TOWN (14A violence, coarse language) FRI

1525-99 St, 780.436.8585

RED (14A violence) FRI�SAT 1:00, 4:00, 7:00, 10:00;

SUN�THU 2:00, 5:00, 8:00, 10:30; Ultraavx: FRI�SAT 2:00, 5:00, 8:00, 10:45; SUN�THU 1:00, 4:00, 7:00, 10:00

JACKASS (R) Digital 3d FRI�SAT 1:00, 2:15, 3:15, 4:30, 5:30, 6:45, 8:00, 9:00, 10:15, 11:10; SUN�THU 12:45, 1:30, 3:00, 3:45, 5:10, 6:00, 7:20, 8:20, 9:30, 10:30

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

substance abuse) FRI�SAT 1:45, 4:45, 7:40, 10:25; SUN�TUE 1:45, 4:40, 7:30, 10:15; WED 1:45, 4:20, 7:30, 10:15; THU 1:00, 3:30, 6:30, 10:15

SECRETARIAT (G) Digital Cinema FRI�SAT 1:30,

SECRETARIAT (G) DAILY 6:50 9:25; SAT�SUN,

THE SOCIAL NETWORK (PG coarse language,

substance abuse) FRI 3:45, 6:40, 9:25; SAT�SUN 12:50, 3:45, 6:40, 9:25; MON�THU 5:15, 8:00

EASY A (14A language may offend) FRI 4:15, 6:35,

9:10; SAT�SUN 1:50, 4:15, 6:35, 9:10; MON�THU 5:50, 8:45

EDMONTON FILM SOCIETY

Royal Alberta Museum, 102 Ave, 128 St, royalalbertamuseum.ca/events/movies/movies.cfm

MOGAMBO (PG) MON 8:00 GALAXY�SHERWOOD PARK 2020 Sherwood Dr, 780.416.0150 Sherwood Park 780-416-0150

RED (14A violence) FRI 4:15, 7:10, 10:00; SAT�SUN 1:25, 4:15, 7:10, 10:00; MON�THU 7:10, 10:00 JACKASS (R) Digital 3d FRI 4:35, 7:25, 10:10; SatSun 1:55, 4:35, 7:25, 10:10; MON�THU 7:25, 10:10 LIFE AS WE KNOW IT (PG, language may offend, substance abuse) Digital Cinema FRI 4:25, 7:15, 10:05; SAT�SUN 1:45, 4:25, 7:15, 10:05; MON�THU 7:15, 10:05 SECRETARIAT (G) FRI 3:50, 6:50, 9:50; SAT�SUN 1:00, 3:50, 6:50, 9:50; MON�THU 6:50, 9:50

THE SOCIAL NETWORK (PG coarse language,

substance abuse) FRI 4:00, 6:55, 9:40; SAT�SUN 1:10, 4:00, 6:55, 9:40; MON�THU 6:55, 9:40

LEGEND OF THE GUARDIANS: THE OWLS OF GA'HOOLE (PG violence, frightening scenes,

not recommended for young children) FRI 3:30, 6:40, 9:15; SAT�SUN 1:05, 3:30, 6:40, 9:15; MON�THU 6:40, 9:15

WALL STREET: MONEY NEVER SLEEPS (PG

coarse language) FRI 3:45, 6:50, 9:45; SAT�SUN 12:45, 3:45, 6:50, 9:45; MON�THU 6:50, 9:45

YOU AGAIN (G) FRI�SUN 6:45, 9:20 ALPHA AND OMEGA 3D (G) FRI 4:10; SAT�SUN

1:35, 4:10

THE TOWN (14A violence, coarse language) FRI

4:05, 7:00, 9:55; SAT�SUN 1:20, 4:05, 7:00, 9:55; MON� THU 7:00, 9:55

EASY A (14A language may offend) FRI 4:30, 7:20, 9:35; SAT�SUN 1:50, 4:30, 7:20, 9:35; MON�THU 7:20, 9:35

GARNEAU

8712-109 St, 780.433.0728

ROCKY HORROR PICTURE SHOW (STC) One

Show Only: Midnight OCT 23; Tickets on sale now NEVER LET ME GO (14A not recommended for children) DAILY 7:00, 9:10; SAT�SUN 2:00; No 9:10pm show on Thu, Oct 21–private booking

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

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

substance abuse) No passes DAILY 12:55, 3:00, 5:00, 7:05, 9:20

LEGEND OF THE GUARDIANS: THE OWLS OF GA'HOOLE (PG violence, frightening scenes,

not recommended for young children) No passes DAILY 1:10, 4:50 7:00, 9:00

7:25, 9:25

ALPHA AND OMEGA (G) DAILY 12:50 FUBAR II (18A crude content, substance abuse) DAILY 2:30, 4:20, 5:55, 7:40, 9:30

LEDUC CINEMAS Leduc, 780.352.3922

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

substance abuse) DAILY 7:05, 9:40; SAT�SUN 1:05, 3:40

JACKASS (R) DAILY 7:10, 9:20; SAT�SUN 1:10, 3:20

LIFE AS WE KNOW IT (PG, language may offend, substance abuse) No passes FRI 4:00, 6:50, 9:30; SAT� SUN 1:15, 4:00, 6:50, 9:30; MON�THU 5:10, 8:20

SECRETARIAT (G) DAILY 6:55, 9:30; SAT�SUN

coarse language, not recommended for children) Digital 3d FRI 3:40, 6:30, 9:20; SAT�SUN 1:05, 3:40, 6:30, 9:20; MON�THU 5:30, 8:10

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

DATE OF ISSUE ONLY: THU, OCT 14

LIFE AS WE KNOW IT (PG, language may of-

substance abuse) DAILY 6:45 9:20; SAT�SUN, TUE 1:45

THE SOCIAL NETWORK (PG coarse language,

MY SOUL TO TAKE 3D (14A gory brutal violence,

TURKEY SHOOT: THE WARRIORS (STC)

THU 9:15

SECRETARIAT (G) THU, OCT 14: 6:50, 9:20

SECRETARIAT (G) No passes FRI 3:50, 6:45, 9:35;

SAT�SUN 1:00, 3:50, 6:45, 9:35; MON�THU 4:50, 7:50

DOC SOUP: COOL IT (STC) THU 7:00

THE SOCIAL NETWORK (PG coarse language,

RED (14A violence) DAILY 1:05, 3:10, 5:10, 7:10, 9:15

recommended for children) FRI�SUN 9:45; MON�THU 8:25

SPRAWLING FROM GRACE; DRIVEN TO MADNESS (STC) TUE 9:00

TUE 1:50

CASE 39 (14A, violence, frightening scenes)

substance abuse) DAILY 7:00, 9:35; SAT�SUN 1:00, 3:35 12:55, 3:30

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

THE CINEMA OF GUY MADDIN (STC) FRI 7:00;

fend, substance abuse) THU, OCT 14: 7:10, 9:40

THE SOCIAL NETWORK (PG coarse language,

substance abuse) THU, OCT 14: 7:00, 9:30

LEGEND OF THE GUARDIANS: THE OWLS

OF GA'HOOLE (PG violence, frightening scenes, not recommended for young children) THU, OCT 14: 6:45, 9:00 ALPHA AND OMEGA 3D (G) THU, OCT 14: 6:50, 8:45

THE TOWN (14A violence, coarse language) THU, OCT 14: 6:45, 9:20

YOU AGAIN (G) THU, OCT 14: 7:20, 9:40 PRINCESS 10337-82 Ave, 780.433.0728

FUBAR II (18A crude content, substance abuse) DAILY 9:15; SAT�SUN 3:00

CATFISH (18A) DAILY 7:15; SAT�SUN 1:00 DAVID SUZUKI FORCE OF NATURE (PG) DAILY 7:00, 9:00; SAT�SUN 2:00

SCOTIABANK THEATRE WEM WEM, 8882-170 St, 780.444.2400

RED (14A violence) DAILY 12:50, 3:50, 7:10, 10:15 JACKASS (R) Digital 3d DAILY 12:00, 1:20, 2:40, 4:20, 5:15, 7:20, 8:00, 9:50, 10:45

LIFE AS WE KNOW IT (PG, language may

offend, substance abuse) FRI�TUE, THU 1:10, 4:10, 7:10, 10:10; WED 4:10, 7:10, 10:10; Star & Strollers Screening: WED 1:00

SECRETARIAT (G) Digital Cinema DAILY 12:10, 3:30, 6:45, 9:40

MY SOUL TO TAKE 3D (14A gory brutal

violence, coarse language, not recommended for children) Digital 3d DAILY 1:50, 4:50, 7:45, 10:45

CASE 39 (14A, violence, frightening scenes) FRI� TUE, THU 9:10

THE SOCIAL NETWORK (PG coarse language,

substance abuse) DAILY 1:00, 4:00, 7:15, 10:15

LET ME IN (14A brutal violence, gory scenes, not recommended for children) DAILY 1:40, 4:40, 7:40 LEGEND OF THE GUARDIANS: THE OWLS

OF GA'HOOLE (PG violence, frightening scenes, not recommended for young children) FRI�TUE, THU 12:20, 3:15, 6:30; WED 3:15; Star & Strollers Screening: WED 1:00 WALL STREET: MONEY NEVER SLEEPS (PG coarse language) DAILY 10:30

LEGEND OF THE GUARDIANS: THE OWLS OF GA'HOOLE�AN IMAX 3D EXPERIENCE

(PG violence, frightening scenes, not recommended for young children) DAILY 1:30, 4:15, 7:00, 9:30

THE TOWN (14A violence, coarse language) DAILY 12:30, 3:40, 6:50, 10:00 EASY A (14A language may offend) FRI�WED 12:40, 3:45, 6:40, 9:20; THU 12:40, 3:45, 9:20 RESIDENT EVIL: AFTERLIFE (18A gory scenes) FRI�TUE 2:00, 5:00, 7:50, 10:40; WED 1:00, 4:00, 10:40; THU 7:50, 10:40

WESTMOUNT CENTRE 111 Ave, Groat Rd, 780.455.8726

RED (14A violence) Dolby Stereo Digital FRI 7:10,

9:50; SAT�SUN 4:00, 7:10, 9:50; MON�THU 8:05

SECRETARIAT (G) No passes, Dolby Stereo

Digital FRI 6:50, 9:40; SAT�SUN 3:30, 6:50, 9:40; MON�THU 7:30

THE SOCIAL NETWORK (PG coarse language, substance abuse) DTS Digital FRI 6:35, 9:30; SAT� SUN 3:45, 6:35, 9:30; MON�THU 7:45 COLE (14A coarse language, mature subject matter) DTS Digital FRI 7:20, 10:00; SAT�SUN 4:15, 7:20, 10:00; MON�THU 8:15

WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922

RED (14A violence) DAILY 6:55, 9:30; SAT�SUN

12:50, 3:30

JACKASS (R) DAILY 7:10, 9:20; SAT�SUN 1:10,

part of LitFest

3:20

1:20, 4:10, 7:00, 9:40; MON�THU 5:20, 8:15

JAPANESE EXTREME METAL: THE DOCU�

JACKASS (R) Digital 3d, No passes FRI 4:40, 7:20,

MENTARY (STC) SAT 7:00, 9:00

THE SOCIAL NETWORK (PG coarse language, substance abuse) DAILY 7:00, 9:35, 1:00, 3:35

4:30, 7:30, 10:30; SUN�WED 1:20, 4:15, 7:00, 9:45; THU 4:15, 7:00, 9:45; Star & Strollers Screening: THU 1:00

RED (14A violence) FRI 4:10, 7:00, 9:40; SAT�SUN

MY SOUL TO TAKE 3D (14A gory brutal violence, coarse language, not recommended for children) Digital 3d DAILY 10:00

LIFE AS WE KNOW IT (PG, language may offend, substance abuse) DAILY 6:55 9:15; SAT�SUN, TUE 1:55

JACKASS (R) No passes DAILY 1:20, 3:20, 5:20,

LET ME IN (14A brutal violence, gory scenes, not

CINEPLEX ODEON SOUTH

RED (14A violence) DAILY 7:05 9:30; SAT , SUN, TUE 2:05

YOU AGAIN (G) FRI 4:20, 7:10; SAT�SUN 1:45, 4:20, 7:10; MON�THU 5:45

THE TOWN (14A violence, coarse language) DAILY 1:50, 4:20, 7:00, 9:15; WED 4:20, 7:00, 9:15; Star & Strollers Screening: WED 1:00

JACKASS (R) DAILY 7:00 9:00; SAT, SUN, TUE 2:00

EASY A (14A language may offend) DAILY 3:05,

FRI 4:30, 7:15, 9:55; SAT�SUN 1:40, 4:30, 7:15, 9:55; MON�TUE 5:25, 8:30

12:20, 3:20, 6:50, 9:45

6601-48 Ave, Camrose, 780.608.2144

4:50, 8:00; SAT�SUN 1:30, 4:50, 8:00; MON�THU 5:00, 8:05

MON, THU 1:10, 3:30, 6:20; WED 1:10, 3:30

EASY A (14A language may offend) FRI�TUE, THU

DUGGAN CINEMA�CAMROSE

9:50; SAT�SUN 2:00, 4:40, 7:20, 9:50; MON�THU 5:40, 8:40

SURE SHOT DOMBROWSKI 2: THE COACH� ING YEARS (STC) SUN�MON 7:00, 9:00

VUEWEEKLY // OCT 14 – OCT 20, 2010

LIFE AS WE KNOW IT (PG, language may of-

fend, substance abuse) DAILY 7:05, 9:40; SAT�SUN 1:05, 3:40

FILM // 23


INSIDE // MUSIC

MUSIC

28

30 33

Gutterdance

Online at vueweekly.com >>MUSIC

Mary Kastle Music Notes

Slideshow: Jason Bonham's Led Zeppelin Experience

PREVUE // ROYAL CANOE

Water babies

Royal Canoe shoots the rapids with the help of many oars Mary Christa O'Keefe

When you bring another person in—with their own ideas, methods, motivations and tricks—it pushes you in different directions. Some people weren't even musicians.

// marychrista@vueweekly.com

R

oyal Canoe embraces its element. There's no hint of airy spaciousness, or earthy tang, or volcanic rumble in the band's music. Instead, the cool '80s-inflected pop on its debut, CO-OP Mode, evokes the silvered and bronzed liquid roads that marble the floodplain cradling the band's hometown of Winnipeg, in all their riparian moods: songs jet and shoot, burble and gurgle, percolate and cascade and churn. Above all, they flow, swept along by an implacable current that reveals the contours of odd vignettes poured out in melody and beat. "I like that kind of manic vibe," asserts Matt Peters. "There's something to be said for atmospheric music that has just a guitar and vocal—I love listening to that—but for whatever reason, it's hard for me to create it. There may be only 10 seconds where it's just one instrument playing during the whole record! I've always done that: let's do horns here! More synthesizer! Let's make the bass really interesting here!" Peters laughs. "In some ways, I wish I could leave things be and have points of rest, milk those moments, but for some reason I feel compelled to get as many ideas out as possible." That's Royal Canoe in a nutshell,

CO-OPERATION >> Royal Canoe morphed from a side project into a real band which launched in 2006 as a studioonly side project to house Peters' songwriting adventures with assorted creative Winnipeggers. "I've done a lot of songwriting with other people over the past three or four years," he offers. "It challenges your methods. Every songwriter has a way of approaching their craft—devices you're familiar with or comfortable using for lyrics, melody, arrangements. When you bring another person in—with their own ideas, methods, motivations and tricks—it pushes you in different

// Supplied

directions. Some people weren't even musicians. They're talented musical people, but not 'musicians,' and it was awesome to work with people who don't think about music in technicalities. They had a different approach to a song: how does it make you feel? So we're thinking about music as a means of communication instead of chord progressions. And it challenges form, even in catchy pop, when you don't have preexisting notions of what a song is." This "multi-oared" songwriting process unexpectedly nudged the lyrics

into a narrative, often fanciful, stream. "Writing songs with other people makes it harder to do something really personal," Peters explains. "You gravitate to things outside yourself. A bunch of songs are about characters we made up or people we all knew. In the end, they come back to you in some weird way, anyhow, and they mean something to you, but it does tend to push towards telling a story." CO-OP Mode was released a few months ago, but much has changed since it was pieced together. As satis-

fying side projects tend to do, it mutated into a band whose members love reconstructing the album's songs and are collaborating on new ones. And with a lineup that includes an acoustic drummer, an electronic drummer, two synth players, a guitarist and bassist, it's doubtful Peters will be evaporating into spacious atmospherics and confessional lyrics anytime soon. V Royal Canoe Thu, Oct 14 (4 pm) With the Liptonians Nest Pub (NAIT Campus) Sat, Oct 16 (9 pm) With Kurt West Express, the Liptonians Brixx Bar & Grill, $12

PREVUE // BULLET FOR MY VALENTINE

I've got a Fever

Once the songs were written they were pulled apart and rebuilt during the recording process as Gilmore gave the band the push in the right direction that the members felt they had been lacking. Though it could have been an onerous process having your songs stripped and rebuilt, Moose explains that in the end the songs ended up stronger than ever. "We would have a song that we'd write as a band and then give it to Don and he'd say, 'OK, let's get rid of this part, this part, this part,'" Moose recounts. "Once you go in and re-do it again and then live with it for a few weeks you can completely tell where the producer is coming from. We didn't have that before." V

Bullet For My Valentine embraces change Bryan Birtles // bryan@vueweekly.com

W

hen Bullet For My Valentine began thinking of what it needed in its latest album, this year's Fever, the band knew that the answer was change. Having worked with the same producer, Colin Richardson, for all of the band's previous releases, it was time to move in a different direction. That different direction came in the form of Don Gilmore, known for producing the likes of Linkin Park and a myriad of other heavy bands, and Bullet For My Valentine felt that with Gilmore at the helm the latest album could push forward the band's pun-

24 // MUSIC

ishing but melodic sound. "We needed a fresh idea really," says drummer Michael "Moose" Thomas of the band's decision to use Gilmore. "Working with Colin was really good but he was more like an engineer rather than a producer and we just needed to step it up really and have someone point us in the right direction and help us along so we chose Don." That choice led to plenty of in-studio rewrites where Gilmore helped the band refine the elements of its songs, but not before the band spent two months hammering out the album's new songs without any distractions. "We just locked ourselves away for

BULLET FOR MY VALENTINE >> So romantic two months, just the four of us in a room in Cardiff in Wales," Moose explains. "It did us a lot of good, the four

// Supplied

of us, being together, just enjoying the company and being able to write 24 hours a day if need be."

VUEWEEKLY // OCT 14 – OCT 20, 2010

Sun, Oct 17 (6 pm) Bullet For My Valentine With Escape the Fate, Black Tide, Drive A Edmonton Event Centre, $38.25


VUEWEEKLY // OCT 14 – OCT 20, 2010

MUSIC // 25


MUSIC WEEKLY FAX YOUR FREE LISTINGS TO 780.426.2889 OR EMAIL LISTINGS@VUEWEEKLY.COM DEADLINE: FRIDAY AT 3PM

THU OCT 14 ACCENT EUROPEAN LOUNGE Slack Key Slim (Hawaiian acoustic/roots), Lauren Handerek (jazz); no minors; 9:30-11:30pm BLUE CHAIR CAFÉ Thu Nite Jazz Series: Brett Miles; 7:30pm; $8

magic; 8-12

ENCORE CLUB With A Latin Twist: free Salsa Dance Lessons at 9pm HAVEN SOCIAL CLUB Sean Burns, The Consonance, guests; 7:30pm (door); $10 (door)

BLUES ON WHYTE Twisters

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

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

J AND R Classic rock! Woo! Open stage, play with the house band every Thu; 9pm

CAFÉ HAVEN Derek Gust; 7pm

JAMMERS PUB Thu open jam; 7-11pm

CARROT CAFÉ Zoomers Thu afternoon Open Mic; 1-4pm

JEFFREY'S CAFÉ Asim Chin (acoustic rock singer songwriter); $10

COLAHAN'S Back-porch jam with Rock-Steady Freddy and the Bearcat; every Thu 8pmmidnight

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

CHRISTOPHER'S PARTY PUB Open stage hosted by Alberta Crude; 6-10pm

LEVA CAFÉ Darryl Matthews; 8-10:30pm; no cover

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

LIVE WIRE BAR Open Stage Thu with Gary Thomas

DUSTER'S PUB Thu open jam hosted by the Assassins of Youth (blues/rock); 9pm; no cover DV8 Open mic Thu hosted by Cameron Penner/ and/or Rebecca Jane EDMONTON EVENT CENTRE Nitty Gritty Dirt Band ft. Chad Klinger; no minors; 8pm (door); $34.99, $39.99 at TicketMaster ELECTRIC RODEO�Spruce Grove Open Stage Thu: Bring an instrument, jam/ sing with the band, bring your own band, jokes, juggle,

LYVE ON WHYE Enter Medic, The Boudoirs, Call Apollo; 8pm MARYBETH'S COFFEE HOUSE�Beaumont Open Mic Thu; 7pm NAKED CYBERCAFÉ Open stage every Thu; bring your own instruments, fully equipped stage; 8pm NORTH GLENORA HALL Jam by Wild Rose Old Time Fiddlers RIC’S GRILL Peter Belec ( jazz); every Thu; 7-10pm RUSTY REED'S HOUSE OF BLUES Unplugged, Big Dave McLean; 9pm

7-9pm

retro)

SOUND CHECK REHEARSALS Open house: 3-6pm; free rehearsals for students

ON THE ROCKS Salsaholic Thu: Dance lessons at 8pm; Salsa DJ to follow

TAPHOUSE�St Albert Take, Audio and Silo; DJ Dusty Grooves; 8pm WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close WILD WEST SALOON D.L.O. YARDBIRD SUITE Canadian Jazz Series: Lorraine Desmarais Trio; 7:30pm (door)/8pm (show); $20 (member)/$24 (guest) at TicketMaster

PLANET INDIGO�St Albert Hit It Thu: breaks, electro house spun with PI residents PLAY NIGHTCLUB Gameshow every Thu with Patrick and Nathan; 9pm RENDEZVOUS PUB Mental Thu with org666 SPORTSWORLD Roller Skating Disco: Thu Retro Nights; 7-10:30pm; sportsworld.ca

DJs

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

BILLY BOB’S LOUNGE Escapack Entertainment

FRI OCT 15

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

180 DEGREES Sexy Fri night

BRIXX BAR Radio Brixx with Tommy Grimes spinning rock and roll BUDDY'S Thu Men’s Wet Underwear Contest with DJ Phon3 Hom3; 9pm (door); no cover before 10pm CENTURY ROOM Underground House every Thu with DJ Nic-E CHROME LOUNGE Every Thu: 123 Ko THE DRUID IRISH PUB DJ every Thu at 9pm FILTHY MCNASTY’S Punk Rock Bingo with DJ S.W.A.G. FLUID LOUNGE Girls Night out FUNKY BUDDHA�Whyte Ave Requests with DJ Damian

ARTERY Wake, guests; all ages AVENUE THEATRE Battleship, Unicron, Lucid Skies, guests; all ages; 7pm BLACKJACK'S ROADHOUSE� Nisku Fri Nights Got The Blues: Marshall Lawrence, Doctor Blues BLUE CHAIR CAFÉ Hot Super Hot (Afro-Prairie beats); 8pm; $10 BLUES ON WHYTE Twisters

FRESH START BISTRO The Dino Dominelli Trio; 7-10pm HAVEN SOCIAL CLUB Rob Vollick's Biryhday Bash: 7:30pm (door); $5 (door) IRISH CLUB Jam session; 8pm; no cover IVORY CLUB Duelling piano show with Jesse, Shane, Tiffany and Erik and guests JEFFREY'S CAFÉ Jesse Dollimont ( jazz singer); $10 JEKYLL AND HYDE PUB Every Fri: Headwind (classic pop/rock); 9pm; no cover L.B.’S PUB Sophie and The Shufflehounds (blues/roots) LYVE ON WHYE Early Show: Jeff Hendrick (CD release show), guests, 7pm (door); Late Show: The Give 'Em Hell Boys

CASINO YELLOWHEAD The Classics (nostalgia)

PAWN SHOP Cops and Robbers, Feast or Famine, Kristin McIntyre; 9pm; $5 (adv at Blackbyrd

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

CONVOCATION HALL FolkwaysAlive! Matt Glaser and The No Longer Strangers, Byron Myhre, Daniel Gervais, Clint Pelletier, Travis Switzer; 8pm; $25 (adult)/$15 (student/ youth under 16) at TIX on the Square

GOOD EARTH COFFEE HOUSE 9942-108 St HALO 10538 Jasper Ave, 780.423. HALO HAVEN SOCIAL CLUB 15120A (basement), Stony Plain Rd, 780.756.6010 HILL TOP PUB 8220-106 Ave, 780.490.7359 HOOLIGANZ 10704-124 St, 780.452.1168 HORIZON STAGE 1001 Calahoo Rd, Spruce Grove, 780.962.8995 HYDEAWAY 10209-100 Ave, 780.426.5381 IRON BOAR PUB 4911-51st St, Wetaskiwin IVORY CLUB 2940 Calgary Trail South JAMMERS PUB 11948-127 Ave, 780.451.8779 J AND R 4003-106 St, 780.436.4403 JEFFREY’S CAFÉ 9640 142 St, 780.451.8890 JEKYLL AND HYDE 10209-100 Ave, 780.426.5381 JUNCTION BAR AND EATERY 10242-106 St, 780.756.5667 KAS BAR 10444-82 Ave, 780.433.6768 L.B.’S PUB 23 Akins Dr, St Albert, 780.460.9100 LEGENDS PUB 6104-172 St, 780.481.2786 LEVA CAFÉ 11053-86 Ave LEVEL 2 LOUNGE 11607 Jasper Ave, 2nd Fl, 780.447.4495 LIVE WIRE 1107 Knotwood Rd. East MACLAB CENTRE�Leduc 4308-50 St, Leduc MARYBETH'S COFFEE HOUSE–Beaumont 5001-30 Ave, Beaumont

FESTIVAL PLACE The Sojourners (blues); 7:30pm; $28-$32

ON THE ROCKS Love Junk, DJs; 9pm; $5

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

U of A, 780.492.3611 COPPERPOT Capital Place, 101, 9707-110 St, 780.452.7800 CROWN AND ANCHOR 15277 Castledowns Rd, 780.472.7696 CROWN PUB 10709-109 St, 780.428.5618 DIESEL ULTRA LOUNGE 11845 Wayne Gretzky Drive, 780.704. CLUB DEVANEY’S IRISH PUB 9013-88 Ave, 780.465.4834 DRUID 11606 Jasper Ave, 780.454.9928 DUSTER’S PUB 6402-118 Ave, 780.474.5554 DV8 8307-99 St, DV8TAVERN.com EARLY STAGE SALOON�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 ENCORE CLUB 957 Fir St, Sherwood Park, 780.417.0111 EXPRESSIONZ CAFÉ 9938-70 Ave, 780.437.3667, expressionzcafe. com FIDDLER’S ROOST 8906-99 St FILTHY MCNASTY’S 10511-82 Ave, 780.916.1557 FLOW LOUNGE 11815 Wayne Gretzky Dr, 780.604.CLUB FLUID LOUNGE 10105-109 St, 780.429.0700 FRESH START BISTRO 484 Riverbend Sq FUNKY BUDDHA 10341-82 Ave, 780.433.9676 GAS PUMP 10166-114 St, 780.488.4841

ENCORE CLUB 4 Play Fri

CASINO EDMONTON Souled Out (pop/rock)

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

SECOND CUP�Varscona Live music every Thu night;

ELECTRIC RODEO�Spruce Grove The Mandy Reider Band

NEW CITY SUBURBS Jello Biafra, The Guantanamo School of Medicine, Fuel Injected .45s, No Problem; 8pm; $19 (adv) at Blackbyrd, Freecloud, Mars and Venus

CENTURY CASINO Sheena Easton; 7pm (door); $39.95/$49.95

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

EXPRESSIONZ CAFÉ Uptown Folk Club Open Stage; 6:30pm (sign-up), 7pm (music); $4/free (member); uptownfolkclub.ca

CARROT Live music Fri: all ages; Doc MacLean (acoustic roots-blues); 7pm; limited seating, rush tickets only at 780.471.1580

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

LUCKY 13 Sin Thu with DJ Mike Tomas

EARLY STAGE SALOON� Stony Plain The Marv Machura; 8:30pm; $5

DV8 Peribothra; 9pm

REDNEX Oktoberfest: German feast by European Chef Mr. Rudy Rost; 40 tickets for feast at $19.95; full party to follow RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm-2am RUSTY REED'S HOUSE OF BLUES Big Dave McLean; 9:30pm; $10

VENUE GUIDE 180 DEGREES 10730-107 St, 780.414.0233 ACCENT EUROPEAN LOUNGE 8223-104 St, 780.431.0179 ARTERY 9535 Jasper Ave AVENUE THEATRE 9030-118 Ave, 780.477.2149 AXIS CAFÉ 10349 Jasper Ave, 780.990.0031 BANK ULTRA LOUNGE 10765 Jasper Ave, 780.420.9098 BILLY BOB’S Continental Inn, 16625 Stony Plain Rd, 780.484.7751 BLACK DOG FREEHOUSE 1042582 Ave, 780.439.1082 BLACKJACK'S ROADHOUSE� Nisku 2110 Sparrow Dr, Nisku BLACKSHEEP PUB 11026 Jasper Ave, 780.420.0448 BLUE CHAIR CAFÉ 9624-76 Ave, 780.989.2861 BLUES ON WHYTE 10329-82 Ave, 780.439.3981 BOHEMIA 10575-114 St BOOTS 10242-106 St, 780.423.5014 BRIXX BAR 10030-102 St (downstairs), 780.428.1099 BUDDY’S 11725B Jasper Ave, 780.488.6636 CAFÉ HAVEN 9 Sioux Rd, K`]jogg\HYjcœ/0(&,./&1-,) CASINO EDMONTON 7055 Argylll Rd, 780.463.9467 CASINO YELLOWHEAD 12464153 St, 780 424 9467 CHRISTOPHER’S 2021 Millbourne Rd, 780.462.6565 CHROME LOUNGE 132 Ave, Victoria Trail COAST TO COAST 5552 Calgary Tr, 780.439.8675 COLAHAN'S 8214-175 St, 780.487.8887 CONVOCATION HALL Arts Bldg,

26 // MUSIC

VUEWEEKLY // OCT 14 – OCT 20, 2010

MCDOUGALL UNITED CHURCH 10025-101 St MORANGO’S TEK CAFÉ 10118-79 St MUTTART HALL Alberta College, 10050 MacDonald Dr, 780.264.2844 NAKED CYBER CAFÉ 10354 Jasper Ave NEWCASTLE PUB 6108-90 Ave, 780.490.1999 NEW CITY 10081 Jasper Ave, 780.989.5066 NIKKI DIAMONDS 8130 Gateway Blvd, 780.439.8006 NORTH GLENORA HALL 13535109A Ave O’BYRNE’S 10616-82 Ave, 780.414.6766 ON THE ROCKS 11730 Jasper Ave, 780.482.4767 ORLANDO'S 1 15163-121 St OVERTIME Whitemud Crossing, 4211-106 St, 780.485.1717 PAWN SHOP 10551-82 Ave, Upstairs, 780.432.0814 PLANET INDIGO�Jasper Ave 11607 Jasper Ave; St Albert 812 Liberton Dr, St Albert PLAY NIGHTCLUB 10220-103 St PLEASANTVIEW COMMUNITY HALL 10860-57 Ave QUEEN ALEXANDRA HALL 10425 University Ave REDNEX BAR�Morinville 10413100 Ave, Morinville, 780.939.6955, rednex.ca RED PIANO BAR 1638 Bourbon St, WEM, 8882-170 St, 780.486.7722 RED STAR 10538 Jasper Ave, 780.428.0825 RENDEZVOUS 10108-149 St RIC’S GRILL 24 Perron Street, St Albert, 780.460.6602

ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253 ROSE AND CROWN 10235-101 St ROYAL ALBERTA MUSEUM 12845-102 Ave, 780.445.7771 RUSTY REED'S HOUSE OF BLUES 12402-118 Ave, 780.451.1390 SECOND CUP�Mountain Equipment 12336-102 Ave, 780.451.7574; Stanley Milner Library 7 Sir Winston Churchill Sq; Varscona, Varscona Hotel, 106 St, Whyte Ave SIDELINERS PUB 11018-127 St, 780.453.6006 SPORTSWORLD 13710-104 St SPORTSMAN'S LOUNGE 8170-50 St STARLITE ROOM 10030-102 St, 780.428.1099 STEEPS�College Plaza 11116-82 Ave, 780.988.8105; Old Glenora 12411 Stony Plain Rd, 780.488.1505 STOLLI’S 2nd Fl, 10368-82 Ave, 780.437.2293 TAPHOUSE 9020 McKenney Ave, St Albert, 780.458.0860 VERMILION LEGION HALL� Vermilion 5144 Railway Ave, 780.853.3848 WHISTLESTOP LOUNGE 12416132 Ave, 780. 451.5506 WILD BILL’S�Red Deer Quality Inn North Hill, 7150-50 Ave, Red Deer WILD WEST SALOON 12912-50 St, 780.476.3388 WINSPEAR CENTRE 4 Sir Winston Churchill Sq; 780.28.1414 WOK BOX 10119 Jasper Ave YESTERDAYS PUB 112, 205 Carnegie Dr, St Albert, 780.459.0295


SOUND CHECK REHEARSALS Open house: 3-6pm; free rehearsals for students

Horse: Every Fri featuring a different house DJ; 2 Different DJs, 2 Styles of Music, 2 levels

STARLITE ROOM Samandriel (CD release), Sonorus Odium, Viathyn; 9pm (door); $12 (door)

JUNCTION BAR AND

STEEPS�Old Glenora Live Music Fri TOUCH OF CLASS� Chateau Louis Dwayne Cannan (blues, roots, country, 50s/60s, originals); 8:30pm-12:30am WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close WILD WEST SALOON D.L.O. WOK BOX Fri with Breezy Brian Gregg; 3:30-5:30pm YARDBIRD SUITE Cross Border Jazz, Hendrik Meurkens Quintet; 8pm (door)/9pm (show); $20 (member)/$24 (guest) at TicketMaster

Classical MUTTART HALL Edmonton Classical Guitar Society: Jerome Ducharme; 8pm; $25 (adult)/$20 (student/senior) at TIX on the Square, Avenue Guitars, Acoustic Music, ECGS, ADW Music (St Albert), door WINSPEAR CENTRE Edmonton Symphony Orchestra: Masters: Fialkowska plays Chopin: Anu Tali (conductor), Janina Fialkowska (piano); 7:30pm; Afterthoughts: post-concert reception–meet the conductors and soloists; $20-$71

DJs AZUCAR PICANTE Every Fri: DJ Papi and DJ Latin Sensation BANK ULTRA LOUNGE Connected Fri: 91.7 The Bounce, Nestor Delano, Luke Morrison BAR�B�BAR DJ James; no cover BAR WILD Bar Wild Fri BLACK DOG FREEHOUSE Fri DJs spin Wooftop and Main Floor: Eclectic jams with Nevine–indie, soul, motown, new wave, electro; Underdog: Perverted Fri: Punk and Ska from the ‘60s ‘70s and ‘80s with Fathead

EATERY LGBT Community: Rotating DJs Fri and Sat; 10pm LEVEL 2 LOUNGE Formula Fri: Groovy Cuvy (CD release party), DJ TZ, David Stone and the ol' Kid; free CD with paid cover; $5 (before 11pm)/$10 (after 11pm) NEWCASTLE PUB Fri House, dance mix with DJ Donovan NEW CITY LIKWID LOUNGE DJ Anarchy Adam (Punk) PLAY NIGHTCLUB Pretty People Get Nasty with Peep n Tom, Showboy and rotating guest; DJS; every Fri; 9pm (door) REDNEX�Morinville DJ Gravy from the Source 98.5 RED STAR Movin’ on Up Fri: indie, rock, funk, soul, hip hop with DJ Gatto, DJ Mega Wattson ROUGE LOUNGE Solice Fri SPORTSWORLD Roller Skating Disco Fri Nights; 7-10:30pm; sports-world.ca STOLLI’S Top 40, R&B, house with People’s DJ TEMPLE Options Dark Alt Night; Greg Gory and Eddie Lunchpail; 9pm (door); $5 (door) Y AFTERHOURS Foundation Fri

SAT OCT 16 180 DEGREES Dancehall and Reggae night every Sat ALBERTA BEACH HOTEL Open stage with Trace Jordan 1st and 3rd Sat; 7pm-12 AVENUE THEATRE Pakistan Flood Relief Show: Highly Respectable Gondoliers, Electric Love Song, guests; no minors; 8pm (door); $10 AXIS CAF�Metro Room Kinniburgh Phillips (folk, jazz), Steve Ennis; 8pm; $10 BLACK DOG FREEHOUSE Hair of the Dog: Mark Bridgeman (live acoustic music every Sat); 4-6pm; no cover

L.B.’S PUB Sat afternoon open jam with Gator and friends, 5-9pm; Evening: Eldorado Creek LYVE ON WHYTE Early Show: Marcy Playground, guests, 7pm; Late Show: The Give 'Em Hell Boys MACLAB CENTRE�Leduc Dala; 8pm; $27 (adult)/$22 (student/senior) at TIX on the Square, Leduc Recreation Centre MORANGO'S TEK CAFÉ Sat open stage: hosted by Dr. Oxide; 7-10pm NEW CITY LIKWID LOUNGE The Sure Things, Mmmberta; 9pm O’BYRNE’S Live band Sat 3-7pm; DJ 9:30pm ON THE ROCKS Love Junk, DJs; 9pm; $5 PAWN SHOP Living Illusion, Jezibelle, Se7en Sided; 9pm; $10 (adv) QUEEN ALEXANDRA HALL Northern Lights Folk Club: Ron Hynes; $18 RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm2am RIVER CREE�The Venue Scott Stapp (singer songwriter); 8pm; $39.50

CENTURY ROOM Underground House every Sat with DJ Nic-E THE DRUID IRISH PUB Sat DJ at 9pm EMPIRE BALLROOM Rock, hip hop, house, mash up ENCORE CLUB So Sweeeeet Sat ESMERALDA’S Super Parties: Every Sat a different theme FLUID LOUNGE Sat Gone Gold Mash-Up: with Harmen B and DJ Kwake FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro 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 LEVEL 2 LOUNGE Kinetic Sat: Micky Sasso (CD release party, Josh EP and the ol' Kid; free CD with paid cover; $5 (before 11pm)/$10 (after 11pm) NEWCASTLE PUB Top 40 Sat: requests with DJ Sheri NEW CITY LIKWID LOUNGE Punk Rawk Sat with Todd and Alex NEW CITY SUBURBS Black Polished Chrome Sat: industrial, Electro and alt with Dervish, Anonymouse, Blue Jay PALACE CASINO Show Lounge Sat night DJ

VERMILION LEGION HALL� Vermilion Vermilion Folk Club: Doc MacLean; early show; $15 at Ken's Mercantile, Vermilion

PLAY NIGHTCLUB Every Sat with DJ Showboy; 8pm (door)

WILD WEST SALOON D.L.O.

RENDEZVOUS Survival metal night

CARROT Open mic Sat; 7:3010pm; free CASINO EDMONTON Souled Out (pop/rock)

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

THE DRUID IRISH PUB DJ every Fri at 9pm

CROWN PUB Acoustic Open Stage during the day/Electric Open Stage at night with Marshall Lawrence, 1:30pm (sign-up), every Sat, 2-5pm; evening: hosted by Dan and Miguel; 9:30pm-12:30am

JEFFREY'S CAFÉ Calan and Cole (rockin' country and blues); $15

BUDDY'S Sat: Feel the rhythm with DJ Phon3 Hom3; 8pm (door); no cover before 10pm

PLANET INDIGO�Jasper Ave Suggestive Sat: breaks electro house with PI residents

CHROME LOUNGE Platinum VIP Fri

IRON HORSE House in the

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

BLACKSHEEP PUB Sat DJ

TOUCH OF CLASS�Chateau Louis Dwayne Cannan (blues, roots, country, 50s/60s, originals); 8:30pm-12:30am

CASINO YELLOWHEAD The Classics (nostalgia)

GAS PUMP Top 40/dance with DJ Christian

IVORY CLUB Duelling piano show with Jesse, Shane, Tiffany and Erik and guests

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

BLUES ON WHYTE Twisters

CENTURY ROOM Underground House every Fri with DJ Nic-E

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

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

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

PAWN SHOP SONiC Presents Live On Site! AntiClub Sat: rock, indie, punk, rock, dance, retro rock; 8pm (door)

BRIXX BAR Kurt West Express, The Liptonians, Royal Canoe; no minors; 9pm; $12 (door)

ESMERELDA'S Ezzies Freakin Frenzy Fri: Playing the best in country

HYDEAWAY The Bolt Actions, Moonrocks; 8pm

DJs

STARLITE ROOM Kyrosphere, Stinger, Within the Ashes, Lysergik Funeral; 9pm; $12 (door)

BOHEMIA Featuring DJs

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

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

WINSPEAR CENTRE Edmonton Symphony Orchestra: Masters: Fialkowska plays Chopin: Anu Tali (conductor), Janina Fialkowska (piano); 8pm; $20-$71

RUSTY REED'S HOUSE OF BLUES Big Dave McLean; 9:30pm; $10

BOHEMIA Rockin' bands; no minors; 7pm (door), 8pm (music)

BUDDY’S Fri: DJ Arrow Chaser; 8pm (door); no cover before 10pm

HAVEN SOCIAL CLUB Dave Hodson (Rule 65 CD release), Lex McKie, Carly Anderson; 7:30pm (door); $10 (door)

Mishra (sarangi); 7pm

BLUE CHAIR CAFÉ Erzatz House Band The Princely Kats; 8pm; donations

BLACKSHEEP PUB Fri Bash: DJ spinning retro to rock classics to current BOOTS Retro Disco: retro dance

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

DV8 The Epitomees, Kroovy Rookers, Deathspot Radio; 9pm EARLY STAGE SALOON� Stony Plain The Marv Machura; 8:30pm; $5 ELECTRIC RODEO�Spruce Grove The Mandy Reider Band

YARDBIRD SUITE Canadian Jazz Series: Rubim de Toledo, A Night of Bossa Nova and Brazilian Jazz; 8pm (door)/9pm (show); $18 (member)/$22 (guest) at TicketMaster

Classical ROYAL ALBERTA MUSEUM Raga-Mala Music Society: Purnima Chaudhuri and Sangeeta Bandyopadhyay (Khayal), Samir Chatterjee (tabla), Saibal Bandyopadhyay (harmonium), Shruti Bandyopadhyay (surmandal), Purnima Chaudhuri (thumri), Samir Chatterjee (tabla), Pankaj

RED STAR Sat indie rock, hip hop, and electro with DJ Hot Philly and guests

SPORTSWORLD Roller Skating Disco Sat; 1pm4:30pm and 7-10:30pm STOLLI’S ON WHYTE Top 40, R&B, house with People’s DJ

Open stage/jam every Sun; 2-6pm

BLACK DOG FREEHOUSE Who Made Who–The Rock and Roll Resurrection: The Maykings (revive The Who), The Dirty Dudes (revive AC/ DC); 10pm; no cover BLUE CHAIR CAFÉ Sun Brunch: Will Cramer; 10am2.30pm; donations BLUE PEAR RESTAURANT Jazz on the Side Sun; $25 if not dining BLUES ON WHYTE Mean Streak B�STREET BAR Acousticbased open stage hosted by Mike "Shufflehound" Chenoweth; every Sun evening CROWN PUB Latin/world fusion jam hosted by Marko Cerda; musicians from other musical backgrounds are invited to jam; 7pm-closing DEVANEY’S IRISH PUB Celtic Music Session, hosted by Keri-Lynne Zwicker, 4-7pm EDDIE SHORTS Sun acoustic oriented open stage hosted by Rob Taylor EDMONTON EVENT CENTRE Bullet for My Valentine, Escape The Fate, Black Tide; all ages; 6pm (door); $30 at TicketMaster FESTIVAL PLACE The Amazing Love Song Tour: Richie McDonald, John Berry (country); 2pm and 7:30pm; $34-$40 HYDEAWAY Sun Night Songwriter's Stage: hosted by Rhea March J AND R BAR Open jam/ stage every Sun hosted by Me Next and the Have-Nots; 3-7pm NEWCASTLE PUB Sun Soul Service (acoustic jam): Willy James and Crawdad Cantera; 3-6:30pm NEW CITY Open Mic Sun hosted by Ben Disaster; 9pm (sign-up); no cover O’BYRNE’S Open mic Sun with Robb Angus (Wheat Pool); 9:30pm-1am ON THE ROCKS Seven Strings Sun: Maestro Fresh, WEs with Boodbye Beatdown PAWN SHOP Rock the Vote: The Fails, Jaird, Jazz, Jeff Morris, Micelli, Mitchmatic, National Security Council & Zero Something; no minors; 7pm; free show ORLANDO'S 2 PUB Sun Open Stage Jam hosted by The Vindicators (blues/rock); 3-8pm RUSTY REED'S HOUSE OF BLUES Mighty Insomnia Open Blues Jam; 8pm SECOND CUP�Mountain Equipment Co-op Live music every Sun; 2-4pm

Classical CONVOCATION HALL Jacques Despres (piano), Joanne Perron (cello); 2pm; $20 (adult)/$15 (student/ senior)

SUN OCT 17

ROYAL ALBERTA MUSEUM Raga-Mala Music Society: Sangam: Meeting of the Rivers: Hindustani Vocal Festival: Uday Bhawalkar (dhrupad), Manik Munde (pakhawaj); 6:30pm; $30 (adult, Fest pass)/$20 (student/senior, Fest pass)

BEER HUNTER�St Albert

YARDBIRD SUITE All Souls

TEMPLE Oh Snap! every Sat: Degree, Cobra Commander, Battery, Jake Roberts, Ten-O, Cool Beans, Hotspur Pop, PRex; $5 (door) Y AFTERHOURS Release Sat

VUEWEEKLY // OCT 14 – OCT 20, 2010

MUSIC // 27


COMMENT >> DOWNTOWN

Farewell to the New

A beacon of acceptance goes dark in Edmonton's core With the news that New City will be shutNew City has always had something of ting its doors at the end of October, a disparate crowd, but the one thing and falling under the wrecking ball that unified all those groups was not long after, downtown took that they were never any trouble a blow that might be more for the neighbours (not that, serious than most are willing post 6 pm, New City really ly.com to admit. New City may have has many neighbours as such). eweek u v @ david had some issues as a live music Still, where some other downd Davi y venue—namely that it would town bars need a constant poBerr go through sporadic periods of lice presence and have plenty of activity followed by long droughts patrons who treat the surrounding (both upstairs and down) and that it maybe streets as public latrines, New City's crowd leaned on old punk and hardcore bands a was always pretty content to leave the bit heavy—but as a downtown event hub, mischief and mayhem on the dance floor, it was a fantastic spot: it's one of the few despite attracting some subcultures who places where you could find crowds gathhave rougher reputations than slicked-up ering any night of the week, whether it was bar stars. fishnet-and-eyeliner goths or leather jacket As we start to bring some life into downpunks or shaggy hipsters. town, it would be worth paying attention

R GUTTE E

DANC

Day Jazz Concert: Polish Culture Society: with Kent Sangster, Mike Lent, Sandro Dominelli; Fryderyk Chopin Songbook with the Kuba Stakiewicz Group; 7:30pm; $35 (adult)/ $30 (student/ senior/member) at TIX on the Square

DJs BACKSTAGE TAP AND GRILL Industry Night: with Atomic Improv, Jameoki and DJ Tim BLACK DOG FREEHOUSE Sun Afternoons: Phil, 2-7pm; Main Floor: Got To Give It Up: Funk, Soul, Motown, Disco with DJ Red Dawn FLOW LOUNGE Stylus Sun NEW CITY SUBURBS Get Down Sun: with Neighbourhood Rats PLAY NIGHTCLUB Rotating Drag shows; every Sun; 9pm (door) SAVOY MARTINI LOUNGE Reggae on Whyte: RnR Sun with DJ IceMan; no minors; 9pm; no cover SPORTSWORLD Roller Skating Disco Sun; 1-4:30pm; sports-world.ca

MON OCT 18 BLACK DOG FREEHOUSE Sleeman Mon: live music monthly; no cover BLUES ON WHYTE Incognito DEVANEY'S IRISH PUB Open stage Mon with Ido Vander Laan and Scott Cook; 8-12 EDMONTON EVENT CENTRE Lights, Michael Bernard Fitzgerald; all ages; 7pm (door)/8pm (show); $25 NEW CITY This Will Hurt you Mon: Johnny Neck and his Job present mystery musical guests

28 // MUSIC

OF BLUES Blue Mon Open Blues Jam with Jim Guiboche; 8pm

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

Jam with Alicia Tait and Rickey Sidecar; 8pm

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

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

Classical

DJs BLACK DOG FREEHOUSE Main Floor: CJSR’s Eddie Lunchpail; Wooftop: with DJ Gundam

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

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

RUSTY REED'S HOUSE

SIDELINERS PUB Tue All Star

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

VUEWEEKLY // OCT 14 – OCT 20, 2010

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

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

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

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

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

FLUID LOUNGE Wed Rock This

NEW CITY Circ-O-RamaLicious: Gypsy and circus fusion spectaculars; last Wed every month

IVORY CLUB DJ ongoing every Wed; open DJ night; 9pm-close; all DJs welcome to spin a short set LEGENDS PUB Hip hop/R&B with DJ Spincycle

NEW CITY LIKWID LOUNGE ‘abilly, Ghoul-rock, spooky with DJ Vylan Cadaver

PLEASANTVIEW COMMUNITY HALL Acoustic Bluegrass jam presented by the Northern Bluegrass Circle Music Society; Slow pitch for beginners on the 1st and 3rd Wed prior to regular jam every Wed, 6.30pm; $2 (member)/$4 (non-member)

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

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

NIKKI DIAMONDS Punk and ‘80s metal every Wed

WED OCT 20

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

FUNKY BUDDHA�Whyte Ave Latin and Salsa music, dance lessons 8-10pm

RUSTY REED'S HOUSE OF BLUES CKUA host Lionel Rault (guitar); 8:30pm

DJs

LYVE ON WHYTE Malibu Knights, guests; 8pm

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

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

MCDOUGALL CHURCH Music Wed at Noon: Josephine van Lier, Judith Loewen (Baroque cello, harpsichord); 12:10-12:50pm; free

JEFFREY'S CAFÉ Mary Kastle (singer songwriter); $10

BRIXX BAR Troubadour Tue: The Balconies and Sean Brewer, hosted by Mark Feduk; 9pm; $8 BUDDYS Tue with DJ Arrow Chaser; free pool all night; 9pm (door); no cover

PADMANADI Tue open stage with Mark Davis; all ages; 7:30-10:30pm

EXPRESSIONZ CAFÉ Wed Open stage hosted by Randall Walsh: focus on original material; all-age venue; 7-11pm; admission by donation

Classical

DIESEL ULTRA LOUNGE Wind-up Wed: R&B, hiphop, reggae, old skool, reggaeton with InVinceable, Touch It, weekly guest DJs

EDMONTON EVENT CENTRE Anberlin, Crash Kings, Civil Twilight; all ages; 7pm; $23.50 at TicketMaster, Blackbyrd, and Unionevents.com

O’BYRNE’S Celtic Jam with Shannon Johnson and friends

TEMPLE Wyld Style Wed: Live hip hop; $5

EDMONTON EVENT CENTRE Coheed and Cambria, Fang Island, The Ides of Ruin; all ages; 7pm (door), 8:30pm (show); $27.50

BRIXX BAR Troubadour Tue

NEW CITY LIKWID LOUNGE Open Mic; Hosted by Ben Disaster; 9pm

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

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

BLUES ON WHYTE Incognito

HORIZON STAGE Foothills Brass with Autorickshaw (jazz, folk, world); 7:30pm; $20 (adult)/$15 (student/senior)

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

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

TUE OCT 19

DRUID IRISH PUB Open stage with Chris Wynters; 9pm

COPPERPOT RESTAURANT Live jazz every Wed night: Marc Beaudin

STARLITE ROOM Troubadour Tue: Erica Viegas, Ky Babyn, My Flower with host Mark Feduk; no minors; 8pm; $5 (door)

MUTTART HALL Edmonton Recital Society: Natalia Shamayeva (harp); 7:30pm; $30 (adult)/$20 (senior/student) at TIX on the Square

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

to the fact that not all nightlife is created equal. The problems caused by certain establishments can sometimes be overstated by some folks who don't seem to want anybody on the streets past dark, but it really only takes one trip past the front of some of these establishments to see which ones manage to keep their patrons under control. Bars and clubs that lean towards live music, offer a resto-pub experience or focus on diverse or niche club nights tend to attract people looking for a good time and not much else; meat-market dance clubs seem to be stocked almost exclusively with people who are looking to fuck or fight, unless they get so drunk they end up puking in the alley instead. As downtown enters a new phase of life, I hope the cities we build more closely remember the New. V

ESMERALDA’S Retro Tue; no cover with student ID

LEVEL 2 LOUNGE Double Up Tue: Urban Elite DJs

BLACK DOG FREEHOUSE Main Floor: Glitter Gulch Wed BLUES ON WHYTE Incognito BRIXX BAR Really Good… Eats and Beats: DJ Degree every Wed, Edmonton’s Bassline Community; 6pm (music); no cover

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

RUSTY REED'S HOUSE OF BLUES Gord Mathews Band; 8:30pm SECOND CUP�Mountain Equipment Open Mic every Wed; 8-10pm STEEPS TEA LOUNGE� College Plaza Open mic every Wed; hosted by Ernie Tersigni; 8pm

NEW CITY LIKWID LOUNGE DJ Roxxi Slade (indie, punk and metal) NEW CITY SUBURBS Shake It: with Greg Gory and Eddie Lunchpail; no minors; 9pm (door)

PLAY NIGHTCLUB Movie Night every Wed; 9pm (door) RED STAR Guest DJs every Wed STARLITE ROOM Wild Style Wed: Hip-Hop; 9pm STOLLI'S Beatparty Wed: House, progressive and electronica with Rudy Electro, DJ Rystar, Space Age and weekly guests; 9pm-2am; beatparty.net Y AFTERHOURS Y Not Wed


PREVUE // SAMANDRIEL

Metallic melodies

Samandriel's debut EP thrives on symphonic metal

METAL SCHOOL >> Jeff Black joined Samandriel after graduating from Grant MacEwan Mike Angus // mikeangus@vueweekly.com

E

dmonton melodic metal band Samandriel is celebrating the release of its debut EP Awakening. Fronted by a charismatic and powerful female vocalist, the five-piece embraces enchanting, symphonic songwriting on top of precision-based juggernaut rhythms. Many of the members boast musical training, a background that lent itself well once the band started looking for new members, as keyboardist Jeff Black explains. "I graduated from Grant MacEwan in music performance. Meanwhile, the original members [Oskar] Jankovich and

// Supplied

'Hoops' [Ryan Hopper] were playing in a rock band and they weren't really digging it," he explains. "They wanted to play metal. So they started writing and recording the songs that will be on our EP. "When they started recruiting live members, they actually got in touch with me Christmas Eve 2008 to come jam with them," he continues with a chuckle. "They went out of their way to contact me, so I checked it out and loved it. I found [drummer Jeff Church], who was a schoolmate of mine. And [singer Doneka Reid] found us online through an ad."

technical sound and although Awakening was "a long, hard road," as Black puts it, being entirely self-produced in between day jobs, replacing members and co-ordinating rehearsals, all the effort has paid off already. "Once we hooked up with Doneka and started playing out of town, people start ed getting into it," Black enthuses. "We got samples out and online promotion like Blabbermouth[.net]. People heard about us and her voice and saw what we're capable of." V Fri, Oct 15 (8 pm) Samandriel With Sonorous Odium and Viathyn Starlite Room, $10

Known for her powerful voice and great stage presence, Reid lends a unique classical quality to the band's already-highly

VUEWEEKLY // OCT 14 â&#x20AC;&#x201C; OCT 20, 2010

MUSIC // 29


PREVUE // MARY KASTLE

Twists and turns

Vancouver jazz singer stretches out on her latest up the flood gates, and they felt more direct, in a way, then I'd ever written."

David Berry // david@vueweekly.com

M

ary Kastle's roots are in jazz, so it's no surprise that she's tended to lean towards the complex and intricate when it came time to write pop songs. On her latest record and first full-length, Beneath the Folds, though, Kastle has taken a slightly more direct approach. Sure, the instrumentation is still lush and full of nooks and crannies, but there's also an engaging simplicity to her arrangements, something just a little more immediate in the song structure. "What provoked that was a close friend asking me, 'Are you pushing the envelope, or are you just trying to hide

30 // MUSIC

BENEATH THE FOLDS >> Mary Kastle asks herself some tough questions behind this complexity of what you can do?'" explains Kastle from her Vancouver home. "That was really interesting,

// Supplied

because it forced me to ask myself what I really want out of music, and what I'm trying to say. That just kind of opened

Perhaps unsurprisingly, Kastle has used that directness to start exploring the world around her. Though she's always drawn on her surroundings, she admits this record is her most personal, drawing on questions she found herself asking as she navigates the tricky world of adulthood. As the album's title would suggest, it is about getting at those things that underlie so much of our behaviour, peeling back the layers of self and finding out what's making us tick, set to an easy, jazz-tinged piano pop soundtrack. "I felt like at the time I was asking my-

VUEWEEKLY // OCT 14 – OCT 20, 2010

self a lot of big questions about being a woman in the 21st century, and what does that mean," says Kastle. "I felt like I was witnessing a lot of women—and men—around me that were having to ask themselves these really big questions about how to balance careers and relationships and family, just cope with the pressures that come with that. The way the songs started to take shape was posing these big questions about different situations." V Wed, Oct 20 (8 pm) Mary Kastle With Guests Jeffrey's Cafe and Wine Bar


PREVUE // JELLO BIAFRA & THE GUANTANAMO SCHOOL OF MEDICINE

Question authority

Punk icon Biafra says you should question everybody—even him David Berry // david@vueweekly.com

J

udging by both the Obama-aping design of his latest album cover, to say nothing of the pointed title, The Audacity of Hype, it might be fair to guess that punk icon Jello Biafra is somewhat less than impressed with America's president. Given Biafra's lifetime distrust of any kind of authority—particularly that which comes with a prefab message—and politics lefty enough to make even Obama look like a diedin-the-wool conservative—he was the runner-up to Ralph Nader for the 2000 Green Party presidential nomination— it would seem a fair assumption. But while the outspoken former Dead Kennedys frontman—now pulling similar duties for his first true band since, Jello Biafra & the Guantanamo School of Medicine—is happy to point out the hypocrisy of the capitalist-in-chief, it currently seems like he's got more ire for the easily placated masses who feel like democratic engagement ends at the ballot box. "This is where all these people who put all their hopes into this guy who had the audacity to market himself as Mr Hope and Change, they stopped pushing for change as soon as they voted for him," explains Biafra, showing off the cadence and fire that has made him an in-demand spoken word artist for the last 20-plus years. "It was, 'Oh, great, we'll let MoveOn. org carry the load from now on. Maybe I'll write a blog that only people who agree with me will read. Maybe I'll stay home and work on my Facebook page. Mission Accomplished.' It doesn't work that way." There are few people in a better position to level this critique. Besides his

SPEAKING OUT >> Jello Biafra rails against The Audacity of Hype hyperpolitical music—The Audacity of Hype follows this tradition resolutely, stuffed with everything from parting shots at W ("The Terror of Tiny Town") to still-relevant Battle of Seattle protest songs ("New Feudalism," "Electronic Plantation") to fiery critiques of capitalism ("Strength Thru Shopping")— Biafra has run for office both nationally and in his adopted home of San Francisco, and is an active player at everything from protest marches to political rallies. And it's exactly that kind of onhis-feet activism that has him discouraged by an Internet generation that seems content to like the right causes without actually getting out of the seat to do anything about them. "I've said for years, 'Don't hate the

// Elizabeth Sloan

media, become the media.' Now, more and more people are, but not all of it is being done very smartly," he laments. "That doesn't mean we should have less speech or less blogs, it just means that we have to continue to encourage everybody to sharpen their bullshit detectors, grow some longer antennae to sniff this stuff out. Don't just question authority, question your favourite blogger. Question Jello Biafra. Whatever. At least keep asking questions." V Fri, Oct 15 (8 pm) Jello Biafra & the Guantanamo School of Medicine With Fuel Injected .45 New City, $19

VUEWEEKLY // OCT 14 – OCT 20, 2010

MUSIC // 31


32 // MUSIC

VUEWEEKLY // OCT 14 – OCT 20, 2010


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Matt Glaser / Fri, Oct 15 (8 pm) It takes a special kind of artist to be comfortable enough to test his mettle playing with the likes of Yo-Yo Ma—perhaps the world's most celebrated classical cellist—and Ralph Stanley, one of the greatest bluegrass singers of all time. That kind of range is what violinist Matt Glaser brings to the table, and his skills will be on display this Friday when the musician makes an appearance in Edmonton. (Convocation Hall, $15 – $25)

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artist Kyprios, came together in 2000 to make up Sweatshop Union—released its first solo record, Age Like Astronauts, earlier this year, more than a decade after the twosome was formed. Best known in the group's hometown of Vancouver, Pigeon Hole's upcoming tour should get it into the field of vision of more Canadians than just those on the left coast. (Lyve on Whyte)

Jérôme Ducharme / Fri, Oct 15 (8 pm) Heavy metal guitarists may be known for their shredding abilities, but if you want to see true virtuosic talent, you're gonna need to head into the realm of the classical guitar. In Canada, there's none better than Jérôme Ducharme. The Quebec-born-and-bred musician has won more international music prizes than you could count on his extremely nimble fingers, and he'll be bringing his talents to Edmonton where he'll give a concert at Muttart Hall and a master class the day before. (Muttart Hall, $20 – $25) Lights / Mon, Oct 18 (7 pm) Canada's favourite superhero-loving, keytar-playing pop ingenue returns to Edmonton. (Edmonton Event Centre, $25) Pigeon Hole / Thu, Oct 21 (9 pm) For the past 10 years, Sweatshop Union has been a hip-hop force in Canada, but its success as a large group has overshadowed the groups that came together to make up the union. Pigeon Hole—who, along with Dirty Circus, Innocent Bystanders and solo

John Corigliano / Thu, Oct 21 (8 pm) The winner of multiple awards for his classical compositions—including a Pulitzer—John Corigliano will step foot upon the Winspear's stage to premiere his new work, Circus Maximus: Symphony No 3, a commentary on the way entertainment inundates modern life. Likely he won't be bringing his Pulitzer to be shown off during the performance, but he might have a picture on his cell phone if you ask nicely and he isn't too busy playing Angry Birds. (Winspear Centre, $10 – $20)—BRYAN BIRTLES

TOUR DIARY >> FALKLANDS

SLIDESHOW >> JASON BONHAM'S LED ZEPPELIN EXPERIENCE

Edmonton's Falklands are currently chasing the road out to the East Coast and back, wrapping up the tour with a hometown album release show on Oct 23. The guys are checking in wherever they can find Internet along the way. Take a look at the tour diary at vueweekly.com/falklandstour

Jason Bonham's Led Zeppelin Experience / Tue, Oct 12 / Jubilee Auditorium

Sean Burns / Thu, Oct 14 (9 pm) He's six weeks in, and Sean Burns still has another six weeks of touring left. Such is a life on the road for the Ontario singer-songwriter—a fate handed to him at a young age. "I've been doing it for 10 years already," the 26-year-old laughs. "My dad's a musician— he still is—and he was getting some calls for really shitty places in Ontario, and he would say, 'I'm not going to do it, but my son will.' "So I'd get thrown out there, 16 years old, some of the worst places I've ever been, but it was really good, a real character builder," he continues. "You see some things you're probably not ready to see at that age, but I wouldn't change a thing." Such an education lends itself to learning the ropes fast: working alongside veteran musicians from a young age taught him how to write songs that will win a room over, what to play and, most importantly, what not to do. "I learned a lot of what not to do," he explains of the early gigging days. "We've never played for these rig guys in Alberta, who can be pretty rowdy. The guys I played with in Ontario wouldn't have known how to deal with them and would be pretty combative, whereas if you become their friend,

Gravy // gravy@vueweekly.com

GO TO VUEWEEKLY.COM/SLIDESHOWS for more of Gravy's photos

they love to hang out and buy CDs." Burns also takes the influences of his favourite artists—Bob Dylan, Steve Earle, Tom Petty and classic country—and is a dedicated songwriter engaged in honouring his musical upbringing while honing his live show relentlessly. "Most of these tunes I started writing last spring," Burns explains. "Everything is a true story, something that was observed, wheth-

er it was people or a gig I had, so it's weird, sometimes they come out bang, right away, and those ones seem to be the best. "Other times I leave notes for myself and then get to it when I have some time and space. When you feel like writing, it's harder when you're conscious of it rather than just letting it come. So it all came out in a month." (Haven Social Club, $10) —Mike Angus

VUEWEEKLY // OCT 14 – OCT 20, 2010

MUSIC // 33


ALBUM REVIEWS

New Sounds

Antony & the Johnsons Swanlights (Secretly Canadian) 

David Berry // david@vueweekly.com

'I

need another place," Antony Hegarty breathily, heartbreakingly, sings in the first few lines of "Another World," a track off his last full-length, The Crying Light. It is, like so much of Hegarty's best work, a haunted track, barely standing up in the face of some kind of overwhelming melancholy, if not outright depression, and speaking to everything from the inherent alienation of being transgendered to the more pedestrian existential longings that creep up on all of us. If the pervading mood of Swanlights is any indication, Hegarty seems to have found his peace. The contrast is evident even in just the title track's opening lines: Hegarty's voice is no less emotive, no less like some gorgeously ethereal fog floating out from over a cemetary hill, but the sentiment is "Living is a golden thing / It means everything." It seems wrong to call Hegarty's ghostly voice and lush arrangements—never more self-consciously orchestral than they have been here—merely happy, so maybe it's best to say they are eminent-

ly satisfied, or at least now finally willing to lay down their wounded fragility and wrap themselves in the comforting luxury of love. I don't want to begrudge someone their happiness, but the sentiment is not always helpful to the art. Where even before Hegarty's moments of rare elation were tempered and expanded by an irrepressible darkness—the tender S&M love song "Fistful of Love," say, or the defiant "Shake That Devil"— here sometimes it is only his voice, that labyrinthine and otherworldly instrument, that keeps him from being trite. "Thank You For Your Love" doesn't say much more than its title, and it's backed by music closer to soft jazz than Hegarty has any right to be, the result not much above music for the waiting room of a wedding planner. It's probably not entirely fair to blame the mood, though: for much of the album, Hegarty seems capable of mining just as much rare emotion out of happiness as depression. "I'm In Love" balances frankly exultant lines like "And all my dreams, they all came true / The day I lay my head on you" with piteous admissions like "I've been walking for a long time / I never did commit no crime," making its excitement seem hard-won; "You need only say the word / And I'll kiss you like a hummingbird" perfectly sums up the jittery energy of someone finally getting some good news in their life. When Hegarty strikes that balance— "Flétta," his might-as-well-be-gibberish duet with Björk, one of the few singers who can match his voice for intricate expressiveness, is also brilliant at this—Swanlights is some of Antony's finest work. When he lets himself get overwhelmed by brightness, though, it just doesn't have the effect of his getting overwhelmed by darkness. Who'd have guessed that happiness would be the harder emotion to capture? V

Black Country Communion Black Country Communion (J&R)  The main ingredients here are English blues—think Led Zeppelin and Deep Purple—with a heavy dash of metal of the Black Sabbath variety. That's no surprise seeing as Jason Bonham, son of Zeppelin's John, is on drums and Glenn Hughes, most famously of Sabbath and Purple, is on bass and vocals. The other members pull their weight, too, and collectively they turn in a solid album that is clearly a descendent of past works. It's by far better than what most Zep, Sabbath and Purple-influenced groups pull off, but it ultimately comes across as somewhat dated despite an admirable rally of energy from those involved. Eden Munro

// eden@vueweekly.com

Margaret Cho Cho Dependent (Clownery) 

Comedy albums— not recorded sketch comedy or standup, but collections of songs intended to bring equal parts mirth and tunes— work best when they nail whatever style they’re going for. To do so on Cho Dependent, Margaret Cho’s aligned herself with the likes of Tegan and Sara, Jon Brion, Ani DiFranco and more, the results being a batch of hooky tunes with added comic punch: “Intervention” wouldn’t be out of place on an actual Tegan and Sara album, the Quin sisters saving the jokes for a drunkenly slurring Cho on the bridge. Though the jokes do tend to feel pretty one note—if you know Cho, you’ll know that note is raunch—Cho Dependent still manages to be an unusually adept fusion of melody and merriment. Paul Blinov

// paul@vueweekly.com

PS I Love You Meet Me at the Muster Station (Paper Bag) 

Is it punk? Maybe indie rock? Pop? Let's just call it rock 'n' roll because who gives a damn, really? PS I Love You has crafted an album that pulls from all of those and careens along on crashing guitars held together by an undertow of organ sounds, always sounding like it's about to fall apart in the way that the best rock 'n' roll does so well. Good, dirty and dangerous fun. Eden Munro

// eden@vueweekly.com

34 // MUSIC

VUEWEEKLY // OCT 14 – OCT 20, 2010


Diamond Rings Special Affections (Secret City)  Fans of last year's Diamond Rings seveninch—and summer jam of the year—"All Yr Songs" might find that much of what makes up the solo artist's debut full-length bears little resemblance to the bouncy, yearning ditty that was the highlight of plenty of 2009 mixtapes. In its place is a darker, more fleshed out vision that utilizes ethereal synths more so than the jangly guitar of Diamond Rings' previous output, or the dude-with-a-guitar feel of some of the performance videos you can find if you look hard enough on YouTube. It's a welcome change, because it proves that Diamond Rings is smarter than just a summer jam one-hit wonder; instead of being the next Len, Special Affections moves Diamond Rings into much more thoughtful territory, exploring the aspects of love, loss and youth that he only scratched the surface of in his first single. Bryan Birtles

// bryan@vueweekly.com

Ronnie Wood I Feel Like Playing (Eagle) 

The Rolling Stones' Ronnie Wood knocks out a loose and rambling affair for his latest solo venture. It starts strong with the Dylan-esque "Why You Wanna Go and Do a Thing Like That For"—co-written by Kris Kristofferson— opening up what seems like Wood's version of a broken-hearted break-up album. But despite a number of ragged-but-right tunes—the reggae of "Sweetness My Weakness" and the slow-burning soul of "I Gotta See," I Feel Like Playing is derailed some by the too-jammed-out rock of "100%" and "Well I Don't Think So." Still, the disc's off-the-cuff feel generally serves it well, and Wood matches his guitar up with some more-than-able foils in Slash, Billy Gibbons and Waddy Wachtel of Keith Richards' X-Pensive Winos. Eden Munro

// eden@vueweekly.com

Easy Star All-Stars Dubber Side of the Moon (Easy Star) 

It's not exactly groundbreaking, but if you can count yourself a fan of the original Dub Side of the Moon from 1999, then this will likely satisfy any cravings for further dub-based evolutions of Pink Floyd's originals. Eden Munro

// eden@vueweekly.com

ALBUM REVIEWS a-ha Hunting High and Low (Warner Bros)

ing energy are what was best about the early '80s: post-disco paranoia. And, in a word, Harket's soaring vocals Originally released: 1985 are stunning. While the rest of the world Exactly one year ago, the fretted over Cold War relaly.com tions and nuclear holocaust, '80s pop sensation a-ha aneweek us@vu nounced it was breaking up. mikeang European synth-pop bands Mikes like a-ha were trying to step The group's final show is slated Angu out from beneath the fear, gloom for this December in their homeland of Norway to coincide with and doom of a continent divided by the release of The a curtain of iron Singles: 1984 – and ideology. The 2004, as well as a dizzying speed deluxe re-issue of and blurred faces Hunting High and in the video of Low, a-ha's debut "Take On Me" realbum—featurflects this, an idea ing the seminal of being chased single "Take On by faceless auMe"—that has thority figures sold 11 million who eventually copies worldwide, corner you. making a-ha the As is characmost successful teristic with the Norwegian band bulk of the rest in history. And it of the album, all started with however, in the a song originally video the lead titled "The Juicy Fruit Song." character (played by Harket) is saved by In 1982 Morten Harket, Magne Fulove—a theme that reveals the band's ruholmen and Pål Waaktaar formed a-ha penchant for swooning, romantic balin Norway and moved to London, where lads. The band's second single, "The Sun they started working on material that Always Shines on TV," also went to numwould make up Hunting High and Low, ber one, while "Train of Thought" and the including "Take On Me," which would untitle track (also an innovative video) prodergo many rearrangements, re-recordpelled the album to 15th on Billboard, ings, re-releases and title changes ("The earning it platinum status in the US. Juicy Fruit Song" being one of them) beAnd so it's easy to sit back and call the fore it finally went supernova in 1985. band a one-hit wonder, but if a-ha's only By then, thanks to its timeless animated recently announced its split, what has it sketch video—MTV was a relatively new been doing for the last 20 years? Well, phenomenon, remember—"Take On Me" to start, selling 81 million albums worldtopped the Billboard chart. wide; eight albums have gone platinum; Aside from creating one the most in 1991 a-ha played to a paying audiiconic, enduring videos from that era, ence of 198  000 people—a Guinness "Take On Me" is arguably one of the best World Record. Never mind it won eight pop songs of the decade, putting HuntMTV Music Video Awards in 1986, also ing High and Low in good company. The a record (take that, Michael Jackson). opening synth line is instantly recognizOne-hit wonder? Maybe, but the emergable, the addictive staccato keyboard riff ing timelessness and success of Huntthat still incites dance parties. The drum ing High and Low—thanks to "Take On production is as cheesy as any of the era, Me"—is less about the one and all about but the rhythm's urgency and unrelentthe wonder. V

OULNDDS

SO

HAIKU Emma Hill Clumsy Seduction (Independent) Dainty lady folk Wafting out of my Macbook I dozey dozed off

QUICK

SPINS ue

ins@v

quicksp

.com weekly

Whiteoyn Houst

Dark Dark Dark Wild Go (Supply and Demand)

Live-off-the-floor band Strummin' and pickin' finely I wish I cared more

Murderdolls Women and Children Last (Roadrunner)

Thriving Ivory Through Yourself and Back Again (Wind-Up)

Like Rollerblading Even when you rule at it It's embarrassing

Thriving Ivory? Or technicolor yawn, or Just regular yawn?

Locution Revolution Walk Tall (Independent)

James Apollo 'Til Your Feet Bleed (Independent)

Edmo hip hoppers And public transit all-stars Need ode to "the mall"

Singer-songwriter That's a tough genre since it's Ninety percent shit

VUEWEEKLY // OCT 14 – OCT 20, 2010

MUSIC // 35


PREVUE // FANG ISLAND

Pep rally

Fang Island just wants to have fun

REAL TROOPERS >> Fang Island's here for a good time Bryan Birtles // bryan@vueweekly.com

I

s there a pipeline from Providence, Rhode Island to New York City that only rock bands know about? Housing one of America's most famous art colleges—the Rhode Island School of Design, or RISD— the city has been a breeding ground for cerebral and art-influenced bands since the 1970s, when Talking Heads erupted on the Bowery. These days it's more likely that the bands that form at RISD head for Brook-

// Supplied

lyn's hip neighbourhoods, but the effect is the same—groups like Les Savy Fav and now Fang Island have come to represent the smarter side of indie rock after bursting forth from Rhode Island and into NYC. Strangely enough, however, Fang Island is informed less by fine art and more by being children of the '80s: short attention spans and video games are what seem to influence the group's peppy brand of rock 'n' roll rather than deconstructionist readings of 19th century primitivism. "I think a lot of the guys in this band

might like video games more than I do, but there's a lot of common ground we have with video games—games like NBA Jam, Marvel vs Capcom and, I dunno if these guys are so into it, but my favourite game is Zombies Ate My Neighbors for Sega Genesis. We were actually just listening to the soundtrack of that game an hour and a half ago," enthuses guitarist Nick Sadler before considering what, if any, influence the epic music of video games has had on Fang Island's sound. "I think it's in there, but I don't know if it's a conscious decision. It's just the kind of thing we grew up with ... I don't know if anyone can really help it." The group's music contains the same kind of epic, swooping lines as some of the best eight-bit titles, but the overarching theme is enthusiasm: the band is ultimately here for a good time. Its videos and music show off a world where anything is possible, where the power of a high-five can melt troubles away. As Sadler explains, that's exactly what Fang Island set out to do. "The goal of the band is to be life-affirming and positive and high energy—just simple dorky fun without being too cool. Just going at it the way you'd go at it if you were in your bedroom by yourself," says Sadler. "[Fang Island] is kind of like a looking-in-the-mirror-with-a-guitar kind of rock-out album." V Wed, Oct 20 (7 pm) Fang Island With Coheed and Cambria Edmonton Event Centre, $38.75

HOROSCOPE ARIES (Mar 21 – Apr 19)

dub-dubbing. I suspect that you will also Until recently, no cricket had ever been excel at rumbling, cavorting and zip-aobserved pollinating a flower. All the dap-doodling. If all goes well, Gemini— evidence showed that crickets don't which is to say you show how much you help flowers—they devour them. Then love your body—then you will be at the one night last January on the island of low end of the scale in performing these Reunion, researchers discovered that the activities: shuffling, drooping, mumbling, species known as the raspy cricket wallowing and pussyfooting. was responsible for pollinating wild orchids. I regard this turn CANCER ( Jun 21 – Jul 22) Y of events as akin to an upA reader wrote to me beG LO coming development in your A S T R O moaning the fact that her om .c ly k e we life: Someone or something new Cancerian boyfriend is l@vue freewil that you've never thought of addicted to safety. She specuRob y as a fertilizing force for you lated that since he is a member Brezsn will become one. of an astrological sign renowned for its timidity, she should probably TAURUS (Apr 20 – May 20) My either get used to the suffocating lack of date and I decided to go see the film You action or else bolt from the relationship Will Meet a Tall Dark Stranger. As we now. In reply, I sent her a quote from entered the theatre, we passed a short, one of the most heroic Cancerians of the elderly Chinese woman in a brown uni- 20th century, Helen Keller: "Life is either form. She was bent over sweeping the a daring adventure or nothing. Security floor. Suddenly she stood up straight, does not exist in nature, nor do the chillooked me in the eye, and extended her dren of men as a whole experience it. left hand toward me. She quickly pressed Avoiding danger is no safer in the long something in my hand, then returned to run than exposure." Moral of the story: her sweeping. I unrolled the small paper It's a ripe time for you to rise up and scroll she had given me. It read, "Tell refute the people in your life who think your Taurus readers they should be alert you're a brooding wallflower. for helpful messages coming from sources they would usually ignore or neglect." LEO ( Jul 23 – Aug 22) I'm doing what she suggested. Helping your fellow humans can literally enhance your strength. A Harvard study GEMINI (May 21 – Jun 20) proved that people who did good deeds Of all the signs in the zodiac, you are or even visualized themselves doing good currently the best at carrying out the deeds had increased physical endurance following activities: gliding, flowing, and willpower. Unfortunately, the study leaping, undulating, galloping and rub-ashowed that those who harbor nefarious

FREEW

36 // BACK

ILL

intentions are also able to draw on extra fortitude. In other words, you can boost your energy by either being compassionate or evil. I highly recommend the latter over the former, Leo, especially now that you're entering a phase when it makes a lot of spiritual sense to build your courage, vigor and tonicity.

VIRGO (Aug 23 – Sep 22)

"The art of medicine consists of amusing the patient while nature cures the disease," said French philosopher Voltaire. With this in mind, let's evaluate your current discomfort. From what I can tell, healing forces beyond your control and outside of your awareness are going to be working their mojo to chip away at your problem. But it will still be wise for you to occupy yourself in activities that you think will expedite the fix. Doing so will minimize your anxieties, allowing nature to do what it does best.

LIBRA (Sep 23 – Oct 22)

Usually you specialize in having a light touch. You prefer your influence on people to be appreciated, not begrudgingly respected. And I don't want you to forsake any of those inclinations. But I would love to see you add a dash of aggressiveness and a pinch of vehemence to your repertoire in the coming week. I'd be thrilled if you raised your voice a bit and projected your confidence with an elevated intensity. According to my reading of the astrological omens, your refined approach will benefit from a dose of subliminal thunder.

SCORPIO (Oct 23 – Nov 21)

Time magazine created a list of the 50 worst inventions. Included among them are plastic grocery bags, sub-prime mortgages, hydrogenated oils and popup ads. To climax the atonement phase of your own astrological cycle, I recommend that you do the following: Identify the three worst ideas you have taken seriously during the past decade; Carry out one formal action to correct or make amends for the consequences of each bad idea; and really, truly, forgive yourself as best as you can.

SAGITTARIUS (Nov 22 – Dec 21)

For your assignment this week, I have borrowed from a list of suggestions offered by Sagittarius poet Kenneth Patchen. Feel free to improvise as you carry out at least three: Discourage all traces of shame; Extend all boundaries; Blush perpetually in gaping innocence; Burrow beneath the subconscious; Pass from one world to another in carefree devotion; Exhaust the primitive; Generate the free brain; Verify the irrational; Acquire a sublime reputation; Make one monster at least; Multiply all opinions; and inhabit everyone.

CAPRICORN (Dec 22 – Jan 19)

Among Google searches starting with the phrase "who is," the top-rated is "God," while "Satan" is a distant tenth. Running ahead of Satan but behind God are Lady Gaga and Justin Bieber. If I were you, Capricorn, I wouldn't be Googlesearching any bigger-than-life entities

VUEWEEKLY // OCT 14 – OCT 20, 2010

like those four in the coming week. The characters you need to research are nondivine, non-celebrity types who might bring interesting influences into your life—people who would have a direct influence on your access to resources and on your ability to call forth the best from yourself.

AQUARIUS ( Jan 20 – Feb 18)

Explorers found a 30 000-year-old carved stone artifact in a German cave and brought it to the University of Tü bingen for study. Phallic-shaped with rings around one end, it was obviously a sex toy. But other markings indicated it was also used to start fires by striking it against flints. I'd like to make this power object your symbol of the week, Aquarius. You're in a phase when you should be alert for ways to mix business with pleasure and practicality with adventure.

PISCES (Feb 19 – Mar 20)

You're not exceptionally scared of the dark, Pisces, but sometimes you seem to be intimidated by the light. You can summon the spunky courage to go crawling on your hands and knees through dank tunnels and spooky caves, but you may play hard to get when you're offered the chance to unburden yourself of your cares in wide-open spaces. Don't get me wrong: I'm proud of your capacity to wrestle with the shadows in the land of the lost, but I would also love you to get a share of rejuvenating rest and ease now and then. Do you think you could manage to have it both ways? I do.


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COMMENT >> LGBTQ

Emerging from the shadows

From all the darkness these few weeks, a few shades of light emerge As I write this it's October 11, National him. The gang then lured in another Coming Out Day. The day to cast off your teen they suspected of being gay and fears and shame, to approach the world gave him the same treatment before with courage and to declare your identialso tracking down and assaulting a ty—and the suicides are still trickling man they believed to be a lover of in. Two lesbians in Ontario and an one of the boys. Oklahoma boy in the precedThat case makes the incident ing week, added to the list of that occurred later in Chelsea youth who have taken their seem almost insignificant, om lives in response to anti-gay when a group saw gay men eekly.c w e u v tam@ bullying. exchanging friendly embraca Tamar In addition, three separate es and attacked them in the a k l and bizarre homophobic asstreet because "this was [their] Gorza saults occurred in New York over neighbourhood." the past week. The most heinous hapWhile gay men were bleeding all over pened in the Bronx, where gang memthe civilized world's most cosmopolitan bers discovered a teenage recruit might city, a strange scene played out on the be gay. They kidnapped and assaulted other side of the world. In Belgrade, activhim, sodomized, violated and tortured ists held a Pride march, the country's first

EERN Q UN TO MO

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Expressionz Café–The School of Life 9938-70 Ave is a centre for the arts. Looking for visual artists and artisan/wellness vendors for the rotating gallery space and monthly market; and for performers, presenters that are family friendly to compliment the monthly market; t: 780.437.3667; e: expressionzcafe@gmail.com

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Night 32 Productions Inc. seeks a qualified screen writer for a TV pilot titled “Dogs 'n Snakes and Innocent Women”, a comedy set at the Blues on Whyte, Sat afternoon jam. The first draft has been written. Contact us with contact info and sample of work. Kevin Sisk, Associate Producer, drsiskphddd@msn.com

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attempt to do so in almost a decade, and clashed violently with rioters. Before all of these stories hit, I'd been pausing over the suicides. Many wondered if it really had been any extra special streak of deaths, as anyone who's paying attention knows that queers all over the world constantly choose to take their own life rather than face bigotry and prejudice. In reality, the deaths are unlikely to have been more numbered than usual. The only difference this season was that media was paying attention and that maybe, families are finally speaking out on the specifics about the harassment that their children are facing. This wasn’t the first time a bunch of gay kids died: it was just the first time that the world felt like paying attention.

The Friends of University Hospitals: search for fresh, uplifting artwork for the Mazankowski Alberta Heart Institute, MAHI, The Quiet Rooms. Deadline: Fri, Nov 12, 4pm; info: Don Trembath at don.trembath@albertahealthservices.ca

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Call for submissions: Gallery at Milner for emerging artists working in two-dimensional mediums. Deadline: Oct 15. Info: T/voice mail: 780.496.7030; E: cragalleries&displays@ epl.ca

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There is some light coming from all these sad acts. Citizens seem to now be thinking about what bullying and harassment can cause. Many essays have come out in the last few days about why it’s important not to terrorize your gay peers, most of them coming from straight writers. Vigils were held across the continent and politicians have been forced to speak on homophobia. A flash mob staged a successful "die-in" at Grand Central Station where hundreds laid down and shouted the names of deaths that resulted from homo/transphobic violence. Columnist Dan Savage has created It Gets Better, a movement encouraging queer youth not to give up. While I'm among the activists questioning the underlying messages of many of the videos, that things can only improve if you are able to leave your redneck, rural upbringing and find a welcoming community in the somewhat mythical big city, there's little downside to a wave of vloggers sharing support. Be-

Movements Dance is accepting applications for Dance Instructor for its 2010/2011 season. Applicants should have an extensive background in West African and Caribbean dance with a min of 5 yrs experience. Info: 780.415.5211

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Voice actors needed for work on video game based graphic novels. Interested? Check outfrostmore.com for lists of characters. Then E: Ike at lobitec@hotmail. com

cause the core of the project occurs on the Internet, it targets the isolated youth who most need to hear messages that make them feel less alone. Another organic movement has taken up steam quickly, thanks to Brittany McMillan, a Canadian teen. She encouraged readers of her blog to make October 20 Spirit Day, to wear purple and commemorate those who recently took their lives. The event spread quickly and thousands have pledged to wear purple and talk about anti-gay bullying. It's great to see society taking youth harassment and suicide seriously, allies courageous enough to speak for those who aren’t yet able to raise their voice. I started the day so frustrated and upset by things going on around the world, by the seeming attack on queers, but I feel empowered reading so many messages of strength. YouTube, purple T-shirts and passive waiting won’t be enough, but maybe, somewhere down the line, we will make it better. V Call for entries: 2011 Dreamspeakers; Deadline: Mar 31, 2011; Info E: info@dreamspeakers.org. Send entries to: Attn: Executive Director, Dreamspeakers Festival Society, 8726-112 Ave, Edmonton, AB, T5B 0G6 Call to local artists, musicians, performers for Yuk Yuk's new "Thursday Night Variety Show". Call 780.481.9857 and ask for Chas or email: chaz_beau@hotmail.com for info Actors to meet monthly to work on scenes and monologues with optional coaching from professional director and actor. email: elaine.elrod@telus.net Night 32 Productions Inc. seeks a qualified screen writer for a TV pilot titled “Ghostwater” a horror-cop drama. The first draft has been written. Please contact Kevin Sisk, Associate Producer at drsiskphddd@msn.com with contact info and sample of your work


COMMENT >> ALT SEX

In search of lost libido

enough evidence that it provided any significant benefit.

Dear Brenda: ing. Lack of desire is a serious issue that I'm in my early 50s, married for almost causes a lot of distress, and it's some30 years, and I feel like I've lost my inthing many women deal with at some terest in sex. I love my husband very time in their lives.  much and we used to have great It sounds like yours is a physical, sex, but now I just don't seem possibly hormonal, issue rather to want it anymore. It's not than a relationship problem, that I'm not attracted to him since you say you don't have ly.com anymore, it's that I'm not desire for anything or anyone, eweek u v @ a brend attracted to anyone or anynot just your husband. Our a d Bren er hormones are in a delicate balthing. I've tried all kinds of Kerb herbal supplements, but nothance and they have everything ing seems to help. I just want to to do with how sexual we feel. I get excited again. Is there a drug like Viawould recommend seeing a doctor, if you gra for women? If so, how do I go about haven't already. She/he can test your esgetting it? trogen, progesterone and testosterone Signed, levels. If it is a hormone imbalance it's Lagging Libido not a simple case of just taking a pill, but there are options, and just knowing that Hi there LL! there is a real physical reason for your I'm so sorry for the trouble you're havlack of sex drive can take some stress off

your relationship. Even though drug companies have been trying to come up with one for many years, there is no drug like Viagra for women. People think that Viagra makes men horny, but that's not actually true.  Viagra just helps the blood flow so a man can get an erection. He still needs to be excited before the erection can happen, so Viagra isn't a solution to a low libido, even for men. The last libido drug for women that almost made it to market was flibanserin. This is a drug that was thought to elevate sex drive by boosting neurotransmitters in the brain. The company that developed it just announced this week that they are abandoning flibanserin after an advisory committee to the FDA recommended that it not be approved. The committee found there was not

The Azimuth Theatre seeks general volunteers for the upcoming 2010-2011 season. Come be part of the best small-scale, long running theatre in Downtown Edmonton. E: volunteer.azimuth@gmail.com T: 780.233.5778

The Nina Haggerty Centre for the Arts: looking for artists to provide mentorship to our artists with developmental disabilities. Share your talents and passion while gaining work experience. Info: volunteer@ninahaggertyart.ca

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MUSICIANS Latin/Gypsy/jazz guitarist, bassist and percussionist wanted for original band. Practice twice/wk, music theory a must. Songs are ready. Alin 780.237.2546 Drummer and bass player needed for new indie-rock band (ex-members of Cassidy) in the vein of Temper Trap, Coldplay, Snow Patrol. Serious inq only; shows are being booked. Vocals a plus. Sean 780.863.5315 Blues band needs a keyboard/vocalist. Mature, with writing capabilities, a believer, and gear. 780.686.9178 or E: cam@drblu.ca. W: drblu.ca Vocalist wanted – Progressive/Industrial/metal; age 17-21. Contact justinroyjr@gmail.com Bass player needed asap for modern rock trio. Please call 780.999.5124 Lead singer looking for band to jam with. Covers and originals. Paul 780.270.4886 or 780.761.2721 Looking for a bass player/co-writer for full original rock trio. Please txt or call 299.7503

COSMOPOLITAN MUSIC SOCIETY Opportunity for amateur adult musicians and singers to learn and perform concert band and choral music under professional music direction. Contact Darlene at 780.432.9333; generalmanager@cosmopolitanmusic.org

VOLUNTEER Looking for individuals to participate in the Wishmaker Walk for Wishes on Oct 16, 8am (registration), walk (9am) at WEM, Centre Stage. Fundraiser to support the wishes of local children suffering with a life threatening illness. Register at childrenswish.ca E: amanda.sigaty@ childrenswish.ca Operation Fruit Rescue Edmonton: Do you have a fruit tree that you can't harvest? Or, more berries than you can handle, OFRE will send volunteers to your house at your convenience to pick your fruit or berries. 1/3 goes to you, 1/3 goes to Edmonton’s Food Bank, 1/3 goes to the volunteers. E: ofre.edmonton@gmail.com; W: ofre. wordpress.com Exposure is looking for volunqueers to assist with this year's festival. Email: volunteer@exposurefestival.ca for more information. Volunteer website for youth 14-24 years old. youthvolunteer.ca The Candora Society of Edmonton–Board Recruiting; candorasociety.com; promotes positive growth in the lives of women, children/families in Rundle/Abbottsfield communities. Info: Elaine Dunnigan E: edunnigan@shaw.ca The Learning Centre Literacy Association: Seeking volunteer tutors to help adults develop reading, writing, math skills. Require High School reading, writing, and/or math skills; openness to tutor and learn with adults with various life experiences, including homelessness. Locations: Boyle Street Community Services and Abbottsfield Mall. Contact: Denis Lapierre, DowntownCentre, 780.429.0675, E: dl.learningcentre@shaw.ca; Susan Skaret, Abbottsfield Mall Centre, 780.471.2598, E: sskaret@telus.net Cityfarm Growing Assistants: Volunteer with children and see their fascination with plants, seeds and soil; help a teacher/leader feel successful in growing plants indoors. Green thumb is not a prerequisite but gardening experience and a passion for children and youth are an asset. E: claudia@ city-farm.org

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

SEEKING SENIORS FOR PAID STUDY: Seeking se-

niors to participate in a paid study on investments. Participants will be paid $20 for 1 hr to complete a survey and will not be “sold” anything. T: Dr. Jennifer Boisvert at 780.436.8987; E: jenniferboisvert@hotmail.com Volunteer Meal Deliverer/Driver: "Life is a Highway" why not volunteer to be in the driver's seat? Come make a difference every day. Volunteer with Meals on Wheels as a driver. Call 780.429.2020 Carrot Café seeks volunteers: baristas to serve coffee, tea and carrot muffins; full training given on making specialty coffees and teas. Also need volunteer to clean daily from 7:30am, Tue-Fri, or once a week on Sun. For info contact Irene Yauck at Irene@ehenri.ca, 780.471.1580 Edmonton Mennonite Centre for Newcomers, need volunteers to help immigrant children and youth of all ages–volunteer in a homework club. Phillip Deng at 780.423.9516, pdeng@emcn.ab.ca Do you remember someone who believed in you when you were a child? Be that person in a child's life today. All it takes is one hour a week, which may not be much to you but will make all the difference in the life of a child. Be a Big Brother or Big Sister! Be a Mentor! Call Big Brother Big Sister today. 780.424.8181 Mechanics needed: The Edmonton Bicyle Commuters' Society operates a volunteer-run community bike workshop called BikeWorks, 10047-80 Ave (back alley), also accepting bicycle donations; E: volunteer@edmontonbikes.ca; W: edmontonbikes.ca Mediation & Restorative Justice Centre Edmonton: Vol Facilitator Recruitment 2010; mrjc.ca/mediation/ volunteering/complete a volunteer application form; 780.423.0896 ext. 200 Volunteers instructors needed–Tap Dancing, Line Dancing. Wed: kitchen helper, Fri: dining room servers; Wed evening dinners: dishwashers, kitchen prep and servers. Mary 780.433.5807 S.C.A.R.S.: Second Chance Animal Rescue Society. Our dogs are TV stars! Watch Global TV every Sat at 9:45 AM where new, wonderful dogs will be profiled. scarscare.org

Volunteers required for studies at UofA. Call 780.407.3906; E: UofADep@gmail.com. Reimbursement provided U of A is seeking major depression sufferers interested in participating in a research study. Call 780.407.3906; E: UofADep@gmail.com The Support Network: Volunteer today to be a Distress Line Listener. Apply on line thesupportnetwork.com or call 780.732.6648 CNIB's Friendly Visitor Program needs volunteers to help and be a sighted guide with a friendly voice. Help someone with vision loss. W: cnib.ca; T: 780.453.8304 Bicycle Mechanic volunteers for Bissell Centre community homeless or near homeless members on Mon, Wed, Fri, 9am-12pm. Contact Linda 780.423.2285 ext 134 Dr.’s Appointment Buddy–Accompany new refugee immigrants to their medical appointments to give support and assist with paperwork. Thu, 10:30am-2:30pm. Transportation not required. Leslie 780.432.1137, ext 357 P.A.L.S. Project Adult Literacy Society needs volunteers to work with adult students in the ESL English as a Second Language Program. Call 780.424.5514; training and materials are provided BISSELL CENTRE Community in need of basic daily items, please bring: coffee, sugar, powdered creamer, diapers, baby formula to Bissell Centre East, 10527-96 St, Mon-Fri, 8:30am-4:30pm

SERVICES NARCOTICS ANONYMOUS Help Line 24 Hours a Day–7 Days a Week If you want to stop using, we can help Local: 780.421.4429/Toll free: 1.877.463.3537 Have you been affected by another person's sexual behaviour? S-Anon is a 12-Step fellowship for the family members and friends of sex addicts. Call 780.988.4411 for Edmonton area meeting locations and info, sanon.org SACE–Public Education Program: Sexual Assault Centre of Edmonton (sace.ab.ca) provides crisis intervention, info, counseling, public education. T: 780.423.4102/F: 780.421.8734/E: info@sace.ab.ca; sace.ab.ca/24-hour Crisis Line: 780.423.4121

Volunteer with Strathcona County RCMP Victim Services Unit and assist victims of crime and trauma. Call Katie at 780.449.0183

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

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

HAD ENOUGH? COCAINE ANONYMOUS 780.425.2715

People between 18-55, suffering from depression or who have never suffered from depression are needed as research volunteers, should not be taking medication, smoking, or undergoing psychotherapy and not have a history of cardiovascular disease. Monetary compensation provided for participation. 780.407.3906

HELP SUPPORT THE YOUTH EMERGENCY SHELTER SOCIETY Programs for youth; 780.468.7070; yess.org

There's a new product called Zestra that's been all over the talk shows lately. The makers of Zestra claim to have clinical research to prove that it increases sex drive. Zestra is not a pill. It's a combination of plant extracts and vitamins. It's applied directly to the clitoris and labia and is supposed to stimulate circulation. Testimonials on their website say that it creates an immediate feeling of tingling and excitement. The women I've talked to who've tried it said that it gave them an immediate feeling of burning and stinging. It seems a lot like other arousal creams: some people love them and some people hate them. But again, Zestra doesn't solve the low libido problem. You have to put it on when you want that sensation and it may or may not make you feel like getting it on. It's not a long-term solution. While you work on finding that long-

term solution, there are some things that you can try right now. I think most of us expect that good sex means we should feel aroused first and then start doing something about it. It is possible to do it the other way. You can initiate sex because you want to want to have sex, even if you don't feel that spark of desire first. Often, if you're relaxed and open to receiving pleasure, kissing, touching and generally fooling around will get your blood moving in the right direction and you'll start to really feel aroused. Try not to go into it with that as a goal, just be open to the possibility. Also, hormones ebb and flow over time. You'll probably notice times, even if they are few and far between, when you do feel hot and bothered. Pounce on those times and surprise your husband. A few stolen moments of intense passion can far outweigh frequent sex that's just OK.   Signed, Brenda

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

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IS DRINKING A PROBLEM? A.A. CAN HELP! 780.424.5900 Jewish Family Services Edmonton/TASIS (Transforming Acculturative Stress Into Success): A free program aimed at minimizing culture shock and displacement for trained professional immigrant women. T: Svetlana 780.454.1194

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