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VUEWEEKLY // APR 15 – APR 21, 2010



#756 • Apr 15 – Apr 21, 2010

UP FRONT // 4/ 4 7 8 8 9

Vuepoint Dyer Straight In the Box Bob the Angry Flower ZeitGeist

DISH // 10/ 16 To the Pint

ARTS // 17/ 19 Prairie Artsters

FILM // 22 22 DVD Detective

MUSIC // 27/ 30 Enter Sandor 38 New Sounds 39 Old Sounds 39 Quickspins

BACK // 40


The Old Wives: the band has a brand new album under its belt





40 Free Will Astrology 42 Queermonton 43 Alt.Sex.Column

EVENTS LISTINGS 21 Arts 25 Film 28 Music 41 Events

On the Wire, Edmonton gets out to the Fort

The Girl With the Dragon Tattoo prods the secrets of Swedish Culture



• Vuetube: Spoon River plays the Black Dog, the Old Wives at the Vue Weekly studio • The Classical Score: highlights of the week's classical performances FILM // SIDEVUE

• Pop goes the superhero: Brian Gibson explores how Kick-Ass drags the superhero genre into postmodernism Grady live at the Vue Weekly studio

VUEWEEKLY // APR 15 – APR 21, 2010



Vuepoint Stand by our man samantha power



y the end of this legislative session Alberta will have not only a new Chief Electoral Officer, but a new Auditor General. Following in the footsteps of vocal predecessors they will both have a large position to fill. Now former Auditor General Fred Dunn, was well known for his efficient and allseeing eye on the problems in Alberta. He was well known to not only point out the problems, but recommend and push for the solutions to those problems without overstepping his bounds. He called for greater public reporting to ensure environmental regulations were being followed and financial reporting was accurate. And like Lorne Gibson, the feeling of frustration at his recommendations merely sitting on the public record, in whole or part, is almost palpable. Gibson recommended hundreds of reforms to the Alberta electoral system to ensure elections officers were appointed through a fair and impartial process and to ensure all Albertans had access to polling stations in a convenient fashion.

One of the closing statements on the reasons Dunn gave for his retirement was, "At times I felt very frustrated and somewhat disappointed. And at times I felt rather angry. And I thought at times, when you get to that point, it's time to leave." And it's at these same times Albertans should be looking to stand behind the people making recommendations in the public interest. The information on the numerous ways Alberta can improve financial and environmental reporting and strengthen our democracy exists—let's make sure they make it into law. V

10303 - 108 street, edmonton, AB T5J 1L7



ROB LIGHTFOOT // 780.426.1996 // 780.426.1996 // DPS MEDIA // 416.413.9291 MIKE GARTH // AARON GETZ //


EDEN MUNRO // Mike Angus, Josef Braun, Rob Brezsny, Kristina De Guzman, Pete Desrochers, Gwynne Dyer, Jason Foster, Amy Fung, Michael Geist, Brian Gibson, Tamara Gorzalka, James Grasdal, Whitey Houston, Maria Kotovych, Fawnda Mithrush, Andrea Nemerson, Stephen Notley, Mary Christa O'Keefe, Roland Pemberton, Renee Poirier, Mel Priestley, Steven Sandor, LS Vors, David Young Barrett DeLaBarre, Alan Ching, Raul Gurdian, Dale Steinke, Zackery Broughton, Wally Yanish, Justin Shaw

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


8 9

Dyer Straight Bob the Angry Flower ZeitGeist


Gibson's recommendations totalled 182. The Alberta government accepted half of them, none of which cover the recommendations on the changes to financial reporting of political parties. Surprised? When the legislature committee voted to let Gibson go, all eight Conservatives voted for his ousting, while all three opposition members voted to keep him. While impartial processes exist, and are continuously being improved of late, the final step is approval at the Alberta legislature and the numbers there don't look good for guys like Gibson and Dunn.

IssuE no. 756 // APR 15 – APR 21, 2010 // Available at over 1400 locations

Editor / Publisher MANAGING Editor associate mANAGING editor NEWS Editor Arts / Film Editor Music Editor Dish Editor Outdoor Adventure Editor Staff writer creative services manager production ART DIRECTOR Senior graphic designer WEB/MULTIMEDIA MANAGER LISTINGS






hanks for the article and for pointing out some disappointing choices beingmade by the buying public. ("Cheaper than coffee," April 8 – 14, 2010) I think this shows that people are making selfish choices. In Western culture people seem to value their money and their addictions more than they value art. Yet art and music is such a vital part of people's lives, so maybe it has more to do with people's perceptions: people don't seem to realize how much their actions (or inactions) are affecting others and shaping the world around them. Without financial reward for work, artists cannot continue to spend their lives doing it, yet people would rather buy a cup of coffee than pay for a song. Yet, when it came down to it, I'm sure most people would rather give up ever drinking coffee again then to give up ever hearing music again. People get the music for free because they can, which only shows that their main concern is having money for themselves. It is willful ignorance to

VUEWEEKLY // APR 15 – APR 21, 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 ( Preference is given to feedback about articles in Vue Weekly. We reserve the right to edit for length and clarity.

not see that not paying for music will hurt themselves in the end because fewer good artists will continue on in a vocation which doesn't allow you to even survive. Our culture, and thereby everyone in it, will suffer. Robert Zoltan Szeles



can't believe what I just read. You gave one star to an overwhelmingly four- or five-star album, across the board.("New Sounds: Karnivool", March 18 – 24, 2010) You say nothing of the depth, the layers of sound, the intricate lyrics, the musicianship. Some albums are very good in their genre, regardless of opinion. But this is not metal; it's not even marketed as such. It's progressive rock, and it should be evaluated as such. It's hard for me to believe that you listened to this record in its entirety. It's as if you skipped through the tracks in a hurry to do your review. It does have a lot to offer, and people should at least know that it's better than a lot of other crap out there.




really like Vue. I find it cuts right through to the meat of many local issues, however I find myself disagreeing strongly with a couple of Dish Weekly reviews. One thing that threw me off was a review of the restaurant Zaika. ("Zaika Indian Bistro Bar: Big sister is watching" Feb 18-24, 2010) I'm a soccer and dance dad/taxi so I often drive my daughters to that area and I felt like an explorer uncovering treasure when I found Zaika. The buffet is delicious and well rounded: a wide variety of yummy Indian dishes served in glowing stainless steel bowls. The interior decoration was a bit intimidating at first (surreal?). The review mentions eyes, but what it doesn't mention is that the eyes are sensuously beautiful, brown eyes, warmly glowing at the room.We found out recently that the pictures are of the owner, Joti. Why shouldn't she keep a warm loving eye on her new baby– the restaurant! I'd suggest giving it another review. OLIVER ROSSIER


Threatening sovereignty


Buy American deal trades democracy for short-term gain Samantha power //


roroguing Parliament earlier this year allowed Stephen Harper to sign Canada onto a controversial international trade agreement under the WTO. The Buy American deal between Canada and the United States was signed and came into force in February, before Parliament had a chance to debate the substance of the trade agreement. And now critics worry signing on to the WTO opens Canadian governments at a municipal and local level up to problems with European Union trade talks in the future. "There is now a chance that Canadian municipal procurement can now be challenged." explains Stuart Trew the Council of Canadians' trade campaigner who has worked closely on the issue since last February when the Obama administration implemented the Buy American policy as part of its economic stimulus package. The policy started a flurry of concern across Canada, particularly with Canadian businesses who worried they would lose out on American contracts in the public sector. But many now believe the exemption from the Buy American policy has come too late to get in on the over $275 billion in US stimulus money. With the stimulus package announced last year, and the Buy

American exemption coming into effect just this past February the Canadian Centre for Policy Alternatives estimates Canadian businesses have access to $4 – $5 billion, or less than 2 percent of the original stimulus package. And critics of the trade deal now in effect believe Canada has given up a lot more. "The proposed deal will kill any chance for provinces and cities to prefer local suppliers as part of a policy tool, but it leaves a lot of Buy American polices in place." This will be the first time Canadian sub-national markets will be included in an international procurement agreement and Trew is concerned for what it means for the future of municipalities ability to determine local government procurement. "Cities in Canada have the ability to put conditions and under the WTO agreement those conditions are actually illegal.” Government procurement amounts to over $100 billion in Canada annually according to the Canadian Centre for Policy Alternatives. Although the WTO policy on government procurement has existed since 1996, Canada and the US have never signed on and local government procurement at the municipal and state level was also exempt under the NAFTA negotiations. The US has operated under a Buy American policy for local government procurement since 1933, but Chapter 10 of NAFTA

opened the door to Canadian companies to bid at local levels, a door that seemed to close with the stimulus package announcement last year. "Before we had no access at all." Edmonton City Councillor and Federation of Canadian Municipalities representative Karen Leibovici believes signing on to the Buy American exemption has helped municipalities. "There is now access to 37 states and the border states. The principles to allow for fair trade between Canada and the US and all three orders of government should look together at what those arrangements should be." The Federation of Canadian Municipalities was one of the first to come forward and push for the Harper government to take steps toward an exemption. Trew believes it was strongly influenced by the Canadian Manufacturers and Exporters which sounded the alarm bells to Canadian businesses early last year and helped to draft the resolution at the FCM calling on Harper to take action. The resolution, which passed by a slim majority at the FCM annual general meeting last year, focused more on giving the Harper government time to find a solution to the problem Leibovici says. "There was a base to say there were issues with regards to the policy the US government CONTINUED ON PAGE 6 >>

SCHOOL HOUSE ROCK >> Edmontonians protest five school closures SAMANTHA POWER //


n April 13 meeting of the Edmonton Public School Board was presented in front of an overflowing crowd of parents, students and citizens at the Centre for Education offices. Numerous school closures were debated, each one considered individually and subsequently voted to close. As of June 1 five schools including Fulton Place, Eastwood, Parkdale, McCauley and Capilano will close down and around 1000 students will have to find a new school for the fall.

// Dave Cournoyer

Parents and citizens came out in full force to the meeting with close to 200 people protesting the closures both outside the building before the meeting and in the public meeting. The meeting ran seven hours into the early morning of April 14. Parents had earlier appealed to Education Minister Dave Hancock to intervene and create a moratorium on school closures. Although he left it to the school boards to decide, he did call attention for the need for greater collaboration between school board and municipal planners. Go to vueweekly. com to see more. V



n April 14th, Bill C-311 was read for the third time. This legislation will be the first federal plan to reduce greenhouse gas emissions, which puts Canada behind both the EU and the United States in adopting a federal approach to climate change. Although some provinces have determined their own climate change plans, no federal standard exists. The current bill will set national emissions targets to be reduced 25 percent below 1990 levels by 2020 and 80 percent below 1990 levels by 2050. The 2050 targets match the current US target. And the EU currently works on a cap and trade emissions standard, a cap which is reduced every year after 2013. Bill C-311 was set to be passed before the Copenhagen Climate Summit in December, and passed two readings after being introduced last fall, however the federal Liberals refused to support the bill and the Standing Committee on Environment and Sustainable Development asked for an extension of debate, delaying third reading of the bill until 2010 and effectively preventing the bill from influencing Canada's position at the Copenhagen Climate Summit. V SAMANTHA POWER


History of federal climate change policy: 1997 • Kyoto Protocol is accepted internationally. 2002 • Kyoto Protocol is ratified internationally. Environment Canada proposes emissions intensity target limits and national calls for legislation begin. 2007 • Kyoto Protocol Implementation Act requires Canada to meet the obligations of the Kyoto Protocol. • Bill C - 311 was originally tabled as Bill C-377 by Jack Layton of the NDP. JUN 2008 • Bill received support from Parliament and was referred to the Senate for consideration. Parliament dissolved in the Fall of 2008 and the bill could not become law. JAN 2009 •Barack Obama becomes President and climate change legislation becomes a priority in the US.



dmonton's downtown core will soon have a revitalized development strategy. Previous commitments, in a strategy now ten years old, focused on encouraging residential housing with milestones including the creation of the University of Alberta's satellite campus, and the improvement of the 104 Street Promenade. The current downtown development plan points to failed efforts including the improvement of outdoor recreation sites, the development of a downtown parks master plan and the creation of a downtown cycling strategy. The new plan looks to correct these failures with emphasis on sustainable development, an integrated pedestrian approach to downtown and a cycling strategy. It's also looking to expand housing options for a diversity of families and to develop a parks

FEB 10 2009 • Bill C-311, a reintroduction of Bill C-377, is introduced as a private member's bill and subsequently is passed twice by Parliament. DEC 2009 • Request by the Standing Committee on Environment and Sustainable Development delays the reading of the bill until 2010.

VUEWEEKLY // APR 15 – APR 21, 2010

strategy. City council continutes to emphasize residential growth targets by doubling the downtown population to 24 000 by 2030. Walkability and retail space takes a prominent position in the plan with distinct storefront character to be integrated into 109 St, 101 St and further developed on Jasper Ave. The plan has a downtown advisory committee set up, with reporting occuring every three years and the entire strategy is based on a 10-year timeframe. The draft plan was released on February 26, 2010 and will be presented during a public hearing Council meeting in June. The strategy began development in 2006 and the Livable City Design Group formed by Cohos Evamy, an Edmonton based design firm was awarded the development contract at $400 000. Public hearings and consultations will continue throughout the spring. V SAMANTHA POWER



2009 - 11 000 1996 - 5 130

58% 20 – 39 years of age



was putting forward and that it would harm Canadian companies. And I think there was agreement that was not the best option for us when we are in a time when we were trying to stimulate the economy and create jobs." "The proposal was going to be a temporary agreement that would exempt Canadian companies, and that we will enter into a longer term procurement agreement later." Trew believes Harper took this resolution, the support of the FCM and the Canadian Manufacturers and Exporters and ran with it. "The Harper government saw this as a chance to push reforms that otherwise it would have been more difficult to pass.â&#x20AC;? Currently public procurement can be a huge driver of public policy â&#x20AC;&#x201C; the spending of government money on businesses and services engaged in public processes gives power to municipalities. And the option to create policy based on government procurement is currently used in many Canadian cities, in particular, to implement public policy decisions based on environmental or human rights issues as well as support local businesses. A city may decide to create local policy on using ethically sourced products and services, or a business important to the community for certain services. Many believe this supports local economies and civil society activists defend the right to use the economy as a public policy tool and the use of government


VUEWEEKLY // APR 15 â&#x20AC;&#x201C; APR 21, 2010

money can spur local economic activity. The City of Toronto recently signed a new contract for light rail vehicles, a $1.2 billion purchase that maintained a 25 percent Canadian content requirement, and the CAW estimates will generate over 1 000 Canadian jobs and would create $400 million in monetary benefits to the economy. The Vancouver city councilor present at the FCM meeting where the original Buy American resolution was passed noted his concern over the ability to maintain sovereignty over decisions. "We as a city should maintain the right to have sustainable and ethical purchasing policies," said Vancouver city councilor Raymond Louie. From now on Trew believes Canada is going to have to be very careful about who receives access to local markets now that we've signed on to the WTO agreement. "The EU wants to have access to subnational procurement." Trew is worried it may open the door to unregulated access to provincial markets by the EU and greater privatization. Britain has greatly expanded its privatization and private public partnerships at the healthcare and education level, But for right now, Canadians can look forward to hearing what the impacts this new agreement will have on the Canadian economy. After months of pushing the Council of Canadians, citizens and the NDP won the ability to hold public hearings into the Buy American agreement through the Commons Committee on International Trade, the results of which will be released this week. V



Rights take a back seat

Can Canada balance human rights and trade with Colombia? Mike Angus //


n an odd turn of events Liberal Trade Critic Scott Brison has brought the Conservative government's controversial free trade agreement with drug-torn Colombia back to life thanks to an amendment he introduced in the House of Commons March 25. Bill C-23, previously tangled up in debate over Colombia's dismal human rights record and then shelved during parliament's most recent proroguement, is suddenly on the fast track since Brison presented an amendment that would see both countries monitor the impacts of the agreement on Colombians' human rights independently. Opposition to the bill had been calling for an independent third party to provide the reports instead. While human rights groups and labour unions warn that a free trade agreement with Colombia could make Canada and Canadian companies "complicit or passive supporters of continued violence in Colombia," Brison believes that an agreement is a groundbreaking first step in promoting economic and democratic reform in one of the Americas' most notorious narco-military states. "This is the first time in the world we've had a human rights reporting mechanism requirement to a free trade agreement on an annual basis," Brison stated from his riding in Kings-Hants, N.S. "This could fundamentally change and strengthen free trade agreements on human rights globally from now on." "Ultimately, I think it will set a powerful precedent and significantly raise the bar in the way human rights are treated in free trade agreements in the future." For opponents to this agreement, like NDP trade critic Peter Julian, the Liberal bar couldn't have been set lower. Colombian President Alvaro Uribe has been criticized in the past for overlooking his country's dismal human rights record of corruption, military torture, the internal displacement of indigenous peoples and land theft—criticisms that won't disappear under a simple trade agreement, Julian adds. "Despite all the violence and human rights violations that are occurring there, this seems to be an apology from the Liberals and Conservatives," he

notes. "There seems to be this refusal to acknowledge that there are appalling human rights concerns in Columbia. "Every human rights organization looked at the structure of the agreement, and they agree that this may well worsen the human rights situation there," he explains. Two issues he raises are investor state provisions that allow multinational corporations to override local democratic decision-making, allowing corporations to sue governments where they're acting in the public interest. A second, more pressing issue with regards to Canadian companies is the issue of land theft, where Canadian corporations could knowingly or unknowingly be complicit in the purchase of land that was stolen by "para-military thugs" as Julian put it: extra-military drug gangs that are affiliated with the Colombian regime. "These thugs force people off their land and sell it, and the Uribe government is not acting to stop that in any way, in large part because of their direct links to these para-military groups," Julian points out. Any agreement with such practices could be seen as "an endorsement with widespread criminal acts" that would otherwise outrage Canadians here. Under the new amendment, Brison points out that both countries will be responsible for monitoring the impacts of the agreement on human rights in Colombia independently. "The Liberal proposal will provide a real opportunity for human rights impact assessment for every single year, which is much better than some hypothetical, airy-fairy academic analysis that will probably be full of poop," he charges. The stark reality for Colombians paints a different picture, as Julian points out. "The human rights organizations that are opposing this agreement are dealing with facts, with reality. No independent human rights organization endorses Brison's position." As it now stands, International Trade Minister Peter Van Loan can sit back and watch his opponents do all the legwork for him, guaranteeing a majority vote in the process. While the Council of Canadians has begun holding public forms on the trade agreement, the bill is approaching second reading in Parliament. V

Nuclear-free progress The international agenda is jammed with high-level promise to get rid of them. After 40 years of that, meetings on nuclear weapons: a US-Russian treaty there is an understandable impatience among the on cutting strategic nuclear weapons last week, a non-nuclear majority, and New Start is the best piece Washington mini-summit on non-proliferation this of symbolism that Obama can come up with. It may week and a full-dress review of the Nuclear Nonnot be enough. Proliferation Treaty (NPT) next month. It's tempting to believe that we are making real progress in Obama clearly hoped that the Washington getting rid of the things, but I wouldn't get summit of 47 countries this week would my hopes too high. provide him with extra leverage at the The "New Start" treaty between Washmajor review conference on the NPT next ington and Moscow sounds impressive, month in New York. He could use it to .com weekly committing the two powers to reducing bring pressure on Iran, a signatory of the e@vue gwynn e their "deployed strategic nuclear weapNPT that he suspects of working secretly n n y w G ons" to 1550 each. That's a 30 percent on nuclear weapons—but it turned out Dyer that other countries wanted to bring up Iscut on what the two powers last agreed, in their 2002 treaty—but it's not as impressive as raeli nuclear weapons too. it seems, because most of their nuclear weapons are Only four countries in the world have not signed not "deployed strategic" ones. and ratified the NPT. Three of them, India, Pakistan The two countries currently have over 8 000 other and North Korea, have openly developed and tested nuclear warheads "awaiting dismantlement", plus an nuclear weapons. The fourth, Israel, refuses to conunknown number of "tactical" warheads that are firm or deny that it has nuclear weapons, but it is operationally available. They admit to having about generally reckoned to have at least 200 of them, 2500, but those numbers are completely unverified plus a variety of delivery vehicles. and probably much lower than reality. Unofficial esEgypt and Turkey are leading a campaign to have the timates suggest that Russia and the US really have Middle East declared a nuclear weapons-free zone. at least 10 000 tactical nukes. Their real concern is Iran's putative nukes, but it is poAdd at least a thousand Chinese, British, French, litically impossible for them to criticize Iran's ambitions Indian, Pakistani and Israeli nuclear warheads (plus while ignoring the reality of Israeli nuclear weapons, a couple of North Korean ones that sort-of work), so they decided to bring them up in Washington. and there are probably around 25 000 nuclear warAs soon as Israeli Prime Minister Binyamin Netanheads on the planet. That's fewer than there were yahu realized that was going to happen, he cancelled at the height of the Cold War, but it's still around his plan to attend the conference and sent his depuone nuclear weapon for every 250 000 people on ty, Dan Meridor, to take the flak instead. the planet. Netanyahu is already in a bitter confrontation with With the right targeting pattern, therefore, you Obama over Jewish settlements in the occupied could still kill or maim almost everybody on the Palestinian territories. It would not help to have planet with the existing stock of nuclear weapons. Netanyahu stone-walling on Israeli nuclear policy at President Barack Obama's commitment to a world the Washington meeting and personally sabotaging that is ultimately free from nuclear weapons seems Obama's attempt to strengthen the NPT treaty. Betgenuine, but his real strategy right now is not fo- ter to have a subordinate do it instead. cused on the weapons of the existing nuclear weapSo no dramatic progress soon on non-proliferation, ons powers. What he really wants to do is strengthen but Obama's initiative has not yet failed. Subjects the anti-proliferation regime, and for that he needed that have been taboo for decades are being openly some symbolic movement towards nuclear disarma- discussed, and real progress on non-proliferation is ment from the US and Russia. becoming a possibility. V The problem with the NPT from the start was that the non-nuclear powers kept their promise not to Gwynne Dyer is a London-based independent journaldevelop nuclear weapons, while the great powers ist whose articles are published in 45 countries. His that already had them did not keep their parallel column appears each week in Vue Weekly.

VUEWEEKLY // APR 15 – APR 21, 2010





Final dreams

Consider In the Box done for the season. For shits and giggles, here's how the final three Nashville Predators Upside: We can see games of the season wound up. Last the spectacle of what could be the lamest Cup celebration since home game of the season? 5-4 OT win over Colorado. Penultimate Carolina and feel superior (and road game of the season? 4-2 jealous). Downside: It would shootout win over LA. Final be lame and could involve bad m o ly.c eweek game of the season. 7-2 loss to country-music types. ox@vu intheb Anaheim. That's it. Dave Vancouver Canucks Upside: I Young The Cupside There's always an have some friends in Vancouver; upside when any team wins the Cup. they would enjoy it. Downside: They would never shut up about it. There is also a downside to go with it.



San Jose Sharks Upside: Patrick Marleau deserves a Cup. Downside: Dany Heatley does not. Colorado Avalanche Upside: The names Joe Sacco and Joe Sakic should both be engraved on the Cupâ&#x20AC;&#x201D;for balance. Downside: Darcy Tucker.



VUEWEEKLY // APR 15 â&#x20AC;&#x201C; APR 21, 2010

LA Kings Upside: Gretzky couldn't do it when he was there and I hated seeing him there. And good ol' Smytty's there now. Downside: Ryan Smyth's post-Cup winning interview would suck the life right out of the display. Phoenix Coyotes Upside: Shane Doan

Downside: The NHL "owns" the Coyotes. Who does Gary Bettman present the Cup to? Washington Capitals Upside: Because Ovechkin would just go apeshit when they win it. I see him re-enacting the final scene in Slap Shot. Downside: I'm afraid for the Cup when Ovie has his day with it. He's a loose cannon. It's fun to watch on the ice but don't let him carry "our" Cup around. Philadelphia Flyers Upside: Bobby Clarke was my favourite player when I was about nine. Downside: I also liked REO Speedwagon and Red Rider back then. Tastes change. Ottawa Senators Upside: Of the three Canadian teams in the running, they have my strongest support. Downside: I hate their uniforms. Dream finals matchup: Sabres versus Detroit. Just to see who would call it the Buffalo Wings series first. That would be me! V


Counterfeiting secrets International anti-counterfeiting treaty leaked to the public Negotiations on the Anti-Counterfeiting Trade has not been officially released, however, govAgreement resume today in Wellington, New ernment officials have refused to comment on Zealand with Canada, the United States, the Eu- substantive provisions revealed by the leaked ropean Union and a handful of other countries document. launching the eighth round of talks. While even the most optimistic ACTA supporters do not ex- Identifying the opposition to transparency may pect to conclude an agreement before the have been welcome news, but the availabilend of the year, the next five days may ity of the leaked text was more bitterprove to be a pivotal point in the nesweet. On the one hand, ACTA watchgotiations since over the past several ers were grateful for the opportunity weeks, there have been two major to see first-hand what has been dism o .c kly leaks that could dramatically alter the cussed behind closed doors for the uewee v t@ is mge still-secret discussions. past three years. l e a Mich The first leak was an internal Dutch On the other, the text confirmed many t s i e G government document chronicling the fears about the substance of ACTA. If adpositions of each ACTA participant on treaty opted in its current form, the treaty would transparency. The level of ACTA secrecy is highly have a significant impact on the Internet, leadunusual for an agreement focused on intellectual ing some countries to adopt three strikes and property issues, leading to a steady stream of you're out policies that terminate subscriber acparliamentary resolutions and political demands cess due to infringement allegations, increasing for transparency coming from around the globe. legal protection for digital locks, mandating new The standard response to transparency critiinjunction powers, implementing statutory damcisms from many governments (including Canaages provisions worldwide and engaging in wideda) was to claim that they favoured releasing the spread data sharing across national borders. ACTA text to the public, but that other unnamed Moreover, ACTA may live as an institution that countries did not. Since there was no consensus, potentially replaces some of the responsibilithe text could not be released. ties currently performed by the United Nations' The Dutch leak succeeded in blowing the issue World Intellectual Property Organization. Canawide open by identifying precisely which counda drafted the institutional chapter, which envitries posed barriers to transparency. The docu- sions an oversight council, secretariat, dispute ment identified the US, Singapore, South Korea resolution and technical assistance to developand a trio of European countries as the remaining ing countries. holdouts. Once publicly identified, the European While some countries insist ACTA will not countries quickly reversed their positions. The EU change their domestic laws, the leaked text sugnow unanimously supports releasing of the text gests that this is very unlikely since there remains alongside Canada, Australia, New Zealand, Japan considerable disagreement on some provisions. and Switzerland. With the outing of the transparIn fact, the New Zealand round of talks may mark ency issue, it will fall to the US, which is widely the first time countries seriously begin to bargain viewed as the critical stumbling block, to justify on key provisions, setting up a week that may go its insistence on keeping the treaty secret. a long way to determine the future scope of the Maintaining support for secrecy also faces a treaty. V second pressure pointâ&#x20AC;&#x201D;the second major leak was a copy of the draft agreement itself. In other Michael Geist holds the Canada Research Chair words, while countries maintain official positions in Internet and E-commerce Law at the Univerof treaty secrecy, a draft is readily available for sity of Ottawa, Faculty of Law. He can reached at anyone with Internet access. Because the text or online at



VUEWEEKLY // APR 15 â&#x20AC;&#x201C; APR 21, 2010





Royal Coach Dining Room




To the Pint

Online at >>DISH

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


'You know my methods' Moriarty's provides a winning foil to the Sherlock Holmes Pub the wine yin to Sherlock Holmes' beer yang, so to speak.



o longer is Edmonton a mere northern town, with denizens content to satisfy their thirst by swilling domestic beer and wine sold in four-litre boxes. No, our fair city has taken some definitive steps towards establishing a solid wine culture. A handful of wine bars now grace our streets, most of which opened in the past three years or so. Many of these bars are quite small in scale, reflecting the relatively niche market that wine occupied at the time they opened, but each passing year seems to draw more and more Edmontonians into the warm, purple embrace of wine culture, and the recent proliferation of wine bars attests to that. The opening of Moriarty's Bistro & Wine Bar is a prime example of the new direction in Edmonton's wine culture. Moriarty's is part of the same chain as the Sherlock Holmes, Devaney's and Rose & Crown pubs. It opened its doors quietly at the end of December 2009, without much fanfare. "It was a soft opening for close friends and family," states Michael Taufer, general manager of Moriarty's. "Christmas is a bad time to open a bar, but it went pretty well." The opening was also timed for the release of the Sherlock

10 // DISH

ELEMENTARY, dear diner >> General manager Michael Taufer inside Moriarty's Bistro & Wine Bar Holmes movie—with all the buzz on the Hollywood circuit, perhaps it was wise to keep things low key. Business was admittedly a little slow at first; with everyone caught up in the Christmas rush it took some time for people to find the place. "Every week is getting better," Taufer assures. Cer-

tainly the fair-sized lunch crowd I encountered on my visit attests to this. Moriarty's is located just east of Rice Howard Way in downtown Edmonton, right next door to the ever-popular Sherlock Holmes pub. The two bars complement each other beautifully, and not just in name, though it is pretty

VUEWEEKLY // APR 15 – APR 21, 2010

// Bryan Birtles

cool to stand on the corner of 101A Avenue and 100 Street, looking towards the two signs: Professor Moriarty's shaded visage in the foreground with Holmes looming just over his shoulder. Placing a chic new wine bar beside a beloved pub may seem like a foolhardy move, but I think it works well: Moriarty's is

Not that Moriarty's doesn't serve beer, mind you: they have a solid, if small, selection of import beer and microbrews. "With the wine we mainly attract the women," Taufer notes. "Some guys like wine—I like wine, but I'm a big beer guy myself. If a guy doesn't like it, we've got a lot of import beers for him." But the main reason people visit a wine bar is for the wine, of course, and in this area Moriarty's does not disappoint. Gurviner Bhatia of Vinomania created the wine list for the bar; in the future it will be revised in-house. The plan is to change the wine and food menus seasonally, though the food menu has already undergone some revisions since opening. The focus of the wine list is decidedly New World, with lots of wines from California, Australia, New Zealand and the Okanagan. There are a few selections from Old World countries, namely France and Italy, but even these are largely New World in style. "We're trying to capture the New World market with New World wines," explains Taufer "though we do have Old World wines as well—more high-end ones." The bar's physical space reflects the CONTINUED ON PAGE 11 >>



philosophy behind the wine list. "We're going for a New World look with Old World accents," Taufer notes. The late Enio Di Filippo, the interior designer who created the spaces for the various restaurants in the Sorrentino's Group, designed Moriarty's; sadly, it was his last project. Filippo did a wonderful job capturing the essence of the New World through clean white and black lines, oversized light fixtures, original Kartell chairs and a sleek marble bar top. The space shies away from being too ultra-

modern through carefully-chosen accents like the crown moulding around the bar and a stately gold ceiling. Perhaps one of the most exciting features of Moriarty's will be the patio, set to open as soon as temperatures aren't so soul-destroying. "The patio is going to be rocking in the summer," asserts Taufer. It's certainly going to have some competition, however, situated next to Sherlock Holmes' always-packedon-any-day-that's-not-pouring-rain patio—though I can certainly see the two patios acting as foils for each other. And hey, on a nice summer's day a patio is a patio. With room for 75 people, and another

20 or so on the patio, Moriarty's has the potential to do very well in its little corner of downtown. By virtue of its location, a large number of the clientele are business professionals, especially at lunchtime. Though, as the months get warmer I think we will see a wide cross-section of society paying visit— and I know I am rather excited at the prospect of having a glass of good wine and a pint of cold lager available within a few steps of each other. V Moriarty's Bistro & Wine Bar 10154 - 100 St 780.757.2005


History of Popcorn Popcorn's history dates back over 5000 years and is likely one of the oldest universal staples. Originally grown in Mexico and throughout South America, grains of popcorn over 1000 years old have been discovered on Peru's east coast. It somehow spread, however, not only through the First Nations of North America but globally through India, China and Sumatra. By the time European explorers reached the New World, the aboriginals of North and South America had already been popping corn for 2000 years. Popcorn was popped by throwing it on sizzling hot stones heated over a raging campfire. Naturally, as it popped it shot off in various directions and catching the flying kernels became a game, and the prize was to snack on whatever you caught. Christopher Columbus, Hernán Cortez and other explorers observed Caribbean natives wearing popcorn corsages as well as using popped corn to decorate ceremonial headdresses. French explorers along the St Lawrence River in the early 1600s documented the use of popcorn by the Iroquois. This popcorn was popped in pottery with heated sand. Quadequina, chief of

the Wampanoag tribe, brought popcorn to the first Thanksgiving dinner in Plymouth, Massachusetts. The aboriginals brought popcorn to many of the meetings with colonists as a goodwill gesture and as a contribution to joint meals. As to how or why popcorn pops, each popcorn kernel contains both moisture and its own oil. The outer hull of the popcorn kernel is very strong and impervious to moisture, and the starch inside is extremely hard and dense. As the oil and the water are heated past their respective boiling points, the kernel becomes a super-heated, pressurized steam container. Under these conditions, the starch inside the kernel becomes soft and pliable, like gelatin. The pressure continues to increase until the breaking point of the hull is reached. There is a violent explosion that creates the popping sound and catapults the corn into the air. While in flight, the gelatinized starch quickly cools and turns into the light, fluffy substance we identify as popcorn. V PETE DESROCHERS


VUEWEEKLY // APR 15 – APR 21, 2010

DISH // 11


Royal Coach a treat High-end food for a reasonable price the city's best-kept secret Pete Desrochers //


everal friends regularly go to the Royal Coach Dining Room of Chateau Louis Hotel for the Prime Rib Buffet. They continually rave about the quality, price and the comfortable atmosphere, so my wife, Jana, and I decided to see if this buffet was everything it was cracked up to be. The problem was we were so impressed with the regular menu, we forgot all about the buffet. The Royal Coach offers authentic French continental cuisine at the highend level ... but without the high-end prices. The French décor and the comfortably quiet setting helped us leave the troubles of the world outside. We could se why our friends enjoy coming here. For an appetizer, Jana and I shared the lapin en vol au vent ($8.50). This was marinated rabbit, in juniper and thyme, cut into bite-sized pieces and served in a port glass with Saskatoon berries and puff pastry. The rabbit was flavourful, yet still light and mild. The morsels were very tender and the dish as a whole was esthetically pleasing. This would be an ideal selection for conservative diners who still want to try something different. My entrée selection was the boeufsteak à la bourguignonne ($20). Of course the French pride themselves on how they prepare their beef and this dish easily lives up to that pride. This sirloin steak was wonderfully spiced and seared. It was served with smoked bacon bits, onions and wild mushrooms in a red wine reduction. Well cooked on the outside, with just the right amount of pink on the in-

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IMPOSING >> The Chateau Louis may be a sight to behold, but inside is some of the most reasonably-priced food in town side, this succulent steak impressed even Jana ... which isn’t easy, since she doesn’t normally like beef. Most of the other selections ranged between $14 and $19. Considering the other choices included duck à l’orange, salmon stuffed with shrimp and scallops, trout almandine and more, this has to be one of the Edmonton culinary scene’s best bargains. Jana went for the poulet et crevette fettucini. Chicken tenderloin and jumbo shrimp were served in a white basil pesto cream sauce over a large

helping of fettucini. The nice thing about this particular selection was you could clearly taste the different ingredients of this prepared-fromscratch sauce. Jana, who likes things spicy, thought it was a wee bit bland, but it was nothing a bit of pepper couldn’t take care of. The dessert menu offers all the classics, from cherries jubilee, to crème caramel, to crepes suzette. All the desserts were either $6 or $7. Although highly tempted by the cher-

VUEWEEKLY // APR 15 – APR 21, 2010

// Renee Poirier

ries jubilee, Jana and I were just too full. So we shared a small white and dark chocolate mousse parfait. A light sweet and a coffee nicely topped off a superb meal. The entire meal was under $70 with wine: as I said at the top, high-end dining without the high-end prices. My only critique would be that the service lacked the polish one would associate with fine dining. We had no real complaints, as they were friendly and attentive, just a bit rough around the edges.

The Royal Coach Dining Room at the Chateau Louis Hotel was a delightful, unexpected surprise. There is something for just about everyone, but it will be of particular interest to those who especially enjoy French cuisine. V Mon – Fri (6:30 am – 11 pm); Sat (7 am – 11 pm); Sun (8 am – 11 pm) Royal Coach Dining Room Chateau Louis Hotel & Conference Centre 11727 Kingsway Ave 780.452.7770

VUEWEEKLY // APR 15 – APR 21, 2010

DISH // 13

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VUEWEEKLY // APR 15 – APR 21, 2010


Faithful friend

Spago's seafood offerings a respite from busy life

A SECOND LOOK >> Spago is worth it

// Renee Poirier

LS Vors //


his city is a labyrinth of roads. Like so many tangled snakes they twist and weave through the landscape until they themselves are the dominant feature, dictating the movement of all other entities. Their presence is sharpened at night, when the absence of natural light leaves little to distract from the perpetual passage of steel and rubber. At a particularly desolate intersection of the Yellowhead Highway and 97th Street lies a generic collection of buildings, easily missed if one's focus is the surrounding traffic. A second look, however, reveals the well-established Portuguese restaurant Spago. A heavy door opens onto a mural depicting a Portuguese pastoral scene, warmly lit, cozy booths and auburn Tiffany lamps. The enticing aromas of garlic and wine linger in the air. Delicate curtains are parted; pity that the view is nothing more exotic than the busy highway. To read the menu, though, is to escape to the Iberian Peninsula, where sandy roads still meander past ancient olive groves and cerulean skies. Seafood is featured prominently, notably in the guise of bacalhao. Long the backbone of Portuguese cuisine, bacalhao is salted and dried codfish. Although the collapse of the cod fishery drove up prices, its place in Lusitanian gastronomy is inextricable. It is even nicknamed "fiel amigo," which means "faithful friend." Another archetypical Portuguese dish is chouriço—pork sausage laced liberally with paprika. I order them as an appetizer ($14), and they appear at the table in an earthenware piggy-shaped vessel. Enthusiastic flames lick their sides, soon subsiding but leaving the sausages deliciously singed. The first bite is an explosion of heat from both the miniature fire's afterglow and the intense paprika. Subsequent bites are a duet of rich, juicy pork and assertive smoke. Quail also appears as an

appetizer ($15). These petite fowl are presented in longitudinal sections, lolling in a generous sauce of garlic, butter and white wine. Their meat is dark, more flavourful than chicken, and requires dental dexterity for nibbling around tiny bones. I am an instant convert to quail and wish that they were more widely available. I await "Maria's Special" ($55), which promises a veritable pirate's ransom of seafood: prawns, mussels, squid, clams and bacalhao. It isn't an easy decision, for I am equally drawn to paella. This combination of saffron-infused rice, seafood and tomatoes enjoys considerable popularity in Portugal, in spite of its Valencian origins. I reason, though, that Maria's gargantuan platter will proffer greater gustatory diversity. I nibble a cloud-soft Portuguese roll; spread liberally with butter, the yeasty morsels cleanse the last remnants of quail and chouriço from my palate.

dense chocolate cake with booze-soaked strawberries and blueberries. Each forkful is a sly hit of cocoa, whipped cream and the assertion of tipsy fruit. Outside this room of auburn and burnt sienna, the rest of the world hurries by, largely unaware of bacalhao or chouriço. Soon, I too will join them, my oversized bundle of leftovers in tow, but with the knowledge that these roads will once more direct me to Spago. V Mon – Thu (10 am – 2 pm & 5 pm – 10 pm); Fri (10 am – 2 pm & 5 pm – 12 am) Sat (4 pm – 12 am); Sun (10 am – 9 pm) Spago 12433 - 97 Ave 780.479.0328

A small dish of crisp romaine lettuce and vibrant green spinach appears, dressed with tangy oil and vinegar. Moments later, Maria's Special is brought forth from the kitchen like royalty. Here is a mountain of all things crustacean and piscine that could easily feed four. The prawns pick up tang from a squeeze of fresh lemon juice, accentuating the snippets of cilantro that caress these morsels. The clams and mussels must be plucked from their graceful shells, their supple flesh complemented by generous garlic. The squid, cut in rings and encrusted with a feather-light batter, puts conventional calamari to shame. Not a whisper of grease dares to mar this tender decapod. Crown jewel to this cornucopia is bacalhao topped with fried potatoes and caramelized onion. Esthetically, it is a complete tangle of similarly-coloured ingredients, but in terms of flavour it is immediately apparent why this humble fish is Portugal's "faithful friend." Dessert is a brief assortment of flans and tortes. Douro cake ($7) marries a wedge of

VUEWEEKLY // APR 15 – APR 21, 2010

DISH // 15


A tale of two breweries Part two of a look at the beer scene in Montréal

TWO VERY DIFFERENT BREWERIES >> Making very different beers

// Jason Foster

Last column I walked through some of Master brewer David Brophy tells me the delights of the Montréal beer scene it's about keeping hands on the probut there wasn't space to discuss the cess. "Despite the computerization we city's nine craft brewers. Alas, I only had make sure every beer goes through a a few days and many beers to drink, so I personal inspection, measurement and needed to prioritize. I decided to spend evaluation." The trio of founders, Brosome time at two breweries that may, bephy, president Peter McAuslan and head tween them, best exemplify Monbrewer Ellen Bounsall, keep their tréal's brewery scene. hands in every batch that goes My two choices could not through the doors. I doubt be further apart on the beer Molson can say that. scale. Both come out of a After a tour and a chat I .com ly k e e ew Quebec tradition of quality loconclude that McAuslan's int@vu tothep cal beer but each has adopted brewing philosophy is "conJason a distinctly different philosophy sistent, drinkable quality." The Foster to brewing. I enjoy both but for beers are designed to be famildifferent reasons. iar to most beer drinkers; pale ale, The first stop was McAuslan Brewing, stout, fruit beer and a blonde and amber makers of the St Ambroise line. Over ale sold under the Griffon label. Yet the the past 21 years, McAuslan has quietly beers are universally well-brewed and become one of Canada's leading midflavourful. Case in point: the oatmeal sized breweries, now about the size of stout is considered one of the best verBig Rock. A couple of years ago it moved sions in the world. from its original brewery in the heart Plus, I get the sense the company's pasof Montréal to a much larger, custom sion for brewing has not abated, as evidesigned brewery on the edge of the denced by its limited-release seasonals. island. I must say I was impressed by Every year McAuslan puts out a barley the design of the brewhouse—elegant, wine (Vintage Ale) and a Russian Impeefficient, easy-to-use. I will spare you rial Stout, both of which regularly receive the details, but the beer geek in me was rave reviews. nodding in appreciation. I wondered aloud how the company Then comes the opposite end of the can keep a craft-brewing ethos in such spectrum, a visit with the founders of a state-of-the-art industrial brewery? Dieu Du Ciel, which is both a microbrew-




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VUEWEEKLY // APR 15 – APR 21, 2010

ery and a must-go-to brewpub. Stephane Ostiguy and Jean-Francois Gravel met when both were graduate students in microbiology 12 years ago. Their crazy passion for beer led to both dropping out of their programs and opening a brewpub. "Beer is more fun than micro-organisms," admits Ostiguy. Their goal, says Gravel, an avid homebrewer at the time, was to take craft brewing "to the next step. We felt people were ready for bolder, assertive beers." Their irreverence and creativity is evident in their choice of name. Dieu Du Ciel has four different meanings, depending on how you intend it. It was the name of Gravel's homebrewery, and it comes from a traditional Quebec saying of surprise and delight translated to "Oh my God!" It can also mean, Gravel winks, "Going to God," which might happen after a long night at the brewpub. The brewpub started in 1998, and the founders opened a small microbrewery operation in 2007, allowing them to bottle and ship out of province for the first time. As for the beers, they live up to the founding goals: pushing boundaries of flavour. Dieu Du Ciel has a whopping stable of 60 recipes, many in regular rotation, including beers made with peppercorn, hibiscus flowers and hemp. But the anchor is undoubtedly uncompromising ales, coming in all shapes and colours.

The company has a particular talent for bigger beers—its imperial stout (Peche Mortel) and the Rigor Mortis line of Abbey-style ales are particularly heavenly. It was a rare treat to try beers available only on tap, such as real cask ale (a rarity in Alberta). I find after a couple hours of sampling, the list of superlatives in my notebook is endless. These men know how to brew! While McAuslan is clearly part of Montréal's business world, Dieu Du Ciel is firmly rooted in community. "We believe strongly in local. Local food. Local beer. Local culture," notes Ostiguy. Indeed. The brewers have even named one of their beers, a British IPA, "Amere Khadir" after a local community activist and first elected member of the National Assembly for the left-wing Quebec Solidaire party, whose campaign the community around the pub supported heavily. My visit with these brewers is a lesson that good beer can be made a number of ways. McAuslan and Dieu Du Ciel may reside on opposite ends of the philosophical scale, but both find a way to make beer that stands out from the pack. And together both exemplify, I believe, Montréal's brewing culture. V Jason Foster is the creator of, a website devoted to news and views on beer from the prairies and beyond.




18 19

Speech and Debate

On the Wire Prairie Artsters

Online at >>ARTS Prevue: Young artists examine the meanings of victim and crime in Every Victim Matters


Still buoyant The Drowning Girls ends its Canada-spanning tour at home

RUB A DUB DEAD >> Three drowned brides share their story in The Drowning Girls // Supplied Paul Blinov //


ack in 1999, when Beth Graham and Daniela Vlaskalic were first writing the script that's become The Drowning Girls, they certainly weren't thinking about taking it on the road, nor the practicalities of trucking bathtubs across the country. They are now.

"Our original tub was cast iron," rues Beth Graham, though she fortunately never had to try lugging that one from coast to coast: the three bathtubs they've been using on their Canadaspanning remount are lighter, made of fiberglass and slide together for ease of transport. "It all fits into the back of a Tacoma pick-up truck," she gleefully notes.

Good thing, too: their tale of three exbrides, each drowned by their husband may be wrapping up its tour in Edmonton, but it still has places to go. There's more touring to come—to Manitoba next year, at the very least. But in the present, hovering over lunch just down the street from the Citadel, Graham and Vlaskalic, who along with director Charlie Tomlinson

created the show for the turn-of-themillenium Fringe festival, recall that the bathtub itself preceded the strange, dark, sometimes-humorous story that's since sprung up from its depths. The three of them started with the physical tub, the idea of water's transformative nature and the simple quest to write together as a trio. "We really were, I guess, just experimenting with how we write, how we create together as a trio. You can't necessarily just sit down and start typing something out when there's three of you creating," says Graham. "We didn't know what it was going to be, I guess," adds Vlaskalic. "And once we did it, we put it up in a sort of experimental version." Research led them to their anchoring story, the true tale of George Joseph Smith's penchant for seducing and marrying women only to rush them through "till death do us part," sell anything they owned of worth, and move along to the next victim. He was captured and hanged in 1915, after murdering three victims. "It's a famous Scotland Yard case, because it was the first case that used forensics," Vlaskalic notes. But their interest lay not with the man and his trial, but the women he killed, and the looming question of how he managed to dupe bride after bride. They crafted their story to answering that with the post-mortem accounts of three very different women, all misfortunate enough to possess one common trait: getting on in age at a time when being an old-

er single woman was a black mark. And since that original production they've expanded (it was originally a two-hander), workshopped and, after a promising remount here in Edmonton, seen the show maintain buoyancy with audiences all across the country. It's persistently keeping them performing, which Graham and Vlaskalic attribute to the fact that pressure to find true love and settle down remains as prominent today as a century ago, or ever. "There is still a pressure in society to find the one, to not be alone," says Vlaskalic. "Now it's Internet dating, but still all of our media, all of our movies, everything out there is geared towards finding the one, your true love, your soul mate. Obviously, women have freedom now: they don't have to marry to own property, or vote, and all that kind of stuff. But that pressure's still there. It's still out there in the world. Says Graham, "I think a lot of people still say, when they look back on past relationships, that they might be going, 'What was I thinking?' or, 'Why didn't I see it?'—'Everybody else around me can see that this is not a good idea,'" Vlaskalic adds—"But when you're in it, sometimes you just don't see that." V Until May 2 (7:30 pm) The Drowning Girls Written by Beth Graham, Charlie Tomlinson and Daniela Vlaskalic Directed by Tomlinson Starring Natasha Girgis, Graham, Vlaskalic Citadel Theatre (9828 101 A Ave) $35 – $55


Down to the theatrical bone Plays unlikely to be staged get Stripped Down David Berry //


ometimes your eyes can be a bit too big for your play budget. At least that's what Theatre Yes artistic director Heather Inglis found as her travels around the country brought her into contact with more and more provocative, daring works of theatre that have yet to grace our fair town: Inglis wanted to stage them all, but the financial realities of being an independent theatre company can put the damper on many grandiose dreams. Taking inspiration from that line about necessity and invention,

though, Inglis has decided to do the next best thing: rather than do up full productions of each play, she's enlisted some of Edmonton's most talented theatre artists to do staged readings over the course of three nights, figuring that even if she can't give them the full and proper treatment they deserve, she'll be able to at least give Edmonton audience insight into the minds of some of theatre's most talented and provocative writers. "I've really become aware of the vastness of the theatrical universe, and that Edmonton's a very small place. Because there aren't a zillion theatres, there are riskier works that aren't playing here—

they just aren't getting staged," Inglis explains of her motivation. "It would be fantastic if we could stage all of them, but it's also really interesting just to hear works that have been critically acclaimed and tested and are being produced to find out how they work." That seems particularly important to Inglis, who hopes that the plays—all of which take on modern problems in incisive but varying ways—will act as something of a catalyst to get Edmonton theatre creators and audiences expanding how they think of the theatre and what it can do in a town that often leans towards the safe and established. "I think what will keep theatre vital is

looking at some material that is bolder," says Inglis, before turning around an oft-held chestnut of the theatre community. "I think, actually, television is pretty bold. There's an audience for HBO, there's an audience for Dexter, and I think that theatre can be really interesting, but I'm not sure that theatres are able to make those choices all the time, or at least they feel that they can't make those choices." For boldness, one need look no further than Mark Ravenhill, a man Inglis describes as "fearless in his opinions." The provocative British playwright's Shoot/ Get Treasure/Repeat kicks off the readings, and focuses on the domestic psychological impacts of a war abroad. The other plays in the series include boom, an outrageous play about two people attempting to restart the human race after an asteroid hits, and Catherine Banks' Bone Cage, the 2008 Governor

VUEWEEKLY // APR 15 – APR 21, 2010

General Award-winning play that deals with a Nova Scotia clear-cutter nursing injured woodland animals, and, close to Inglis' heart, has some obvious ties to our own situation with the oil sands. "To me, a GG award means it's an important work that's saying something about where we are as a culture and where we are theatrically," Inglis says. "The play is really about economic circumstances forcing people, especially young people, to do things that in some way is in conflict with their inner principles, which to me has a particular resonance in Alberta." V Fri, Apr 16 – Sun, Apr 18 (7:30 pm) Stripped Down Featuring Shoot/Get Treasure/Repeat, Bone Cage, boom Presented by Theatre Yes The ARTery (9535 Jasper Ave) Pay What You can

ARTS // 17



Speech and Debate well-staged but inert

On The Wire gets Edmonton out to the Fort

Chatspeak made easy David Berry // david


orthern Light's season has partially been centered around teenage life and its implications for later life, but given that Internet culture and youth experience are now irrevocably intertwined, interactions with new technology have been inevitable. That exploration reaches its apex in the first half of Speech and Debate, where the three characters almost only communicate through some kind of technological surrogate: online chats, googling, video blogs and even a relatively good oldfashioned phone call mark these characters' first interactions, to the point where our first view of histrionic drama queen Diwata (Kayla Gorman) is actually through a live-projected web-cam kind of view, her face obscured by a computer on stage but visible in an intense closeup on a screen hanging above her. Truthfully, I'm not sure how much Speech and Debate actually has to say about the subject, beyond the usual entreaty that face-to-face interaction is more meaningful—besides a few jokes, it's also evident that this trio of teens, rounded out by the openly gay Howie (Geoffrey Brown) and precocious reporter Solomon (Matthew McKinney),

18 // ARTS

doesn't really start to deal with their problems until they're in the same room—but from a staging standpoint, director Trevor Schmidt has done a fabulous job of making sitting in front of a computer dramatically interesting, thanks in large part to projections that show us what's going on on-screen. The play itself is more preoccupied with the space between adulthood and youth, specifically how adults seem unwilling to admit how grown-up teens can be—there's a mention of a "Stranger Danger" school assembly that mentions touching in the "bathing-suit areas" even though, as Solomon so exasperatedly points out, half his class has already had sex—and how much more teens long for adulthood because of it. Without giving too much away, each of these kids has had at least one serious encroachment on their youth by the adult world, and each feels frustrated that this nevertheless doesn't seem to grant them any access to the exclusive club. They're brought together by Diwatta's online accusation that their high school drama teacher has something to hide. Howie is able to produce an Internet chat transcript that would seem to back that up, while Solomon is intrigued

thanks to parallels with a recent scandal that's affected their town's closeted, homophobe mayor. Through the formation of a speech-and-debate team they want to expose a whole lot of the hypocrisy that's going on in their town and school, though they'll need to get over their own very adult blind spots to do so. There are a variety of interesting threads teased out here and there, but for the most part, Speech and Debate feels a little inert. Most of the comedy relies on how outrageous you find Diwatta to be, and Gorman's performance is true to the character but nevertheless still annoying if you can't stomach drama queens. It's a bit too slowly and convolutedly plotted for its revelations to hit home emotionally, which leads to it feeling more like playing out the string than being an essential moment for these kids. V Until Sun, Apr 18 (7:30 pm) Speech and Debate Directed by Trevor Schmidt Written by Stephen Karam Starring Matthew McKinney, Kayla Gorman, Geoffrey Brown, Linda Grass Varscona Theatre (10329 - 83 Ave) $15 – $25, PWYC matinee on Saturdays

VUEWEEKLY // APR 15 – APR 21, 2010

A walk in the park David Berry //


ick Green spends a lot of time bouncing across our country—I caught up with him, actually, during a rehearsal break for Frankenstein, which has taken him from coast to coast, though that's just one part of the rehearsals and Fringe tours that keep the actor/playwright on the go—so he has a pretty good view on the parts of a city that make it special. And a few years back, he noticed that Edmonton wasn't taking full advantage of one of its best features: Fort Edmonton Park. "The Selkirk hotel is one of Edmonton's best-kept secrets, I think. The restaurant is so good, and the hotel is gorgeous. And the park in general is just so under-utilized outside the summer season," he explains. "The opportunity to get people to come down and enjoy this resource we have was appealing. It's a place that Edmontonians love to go that's not being used for nine months of the year—I thought we'd make an event to bring the public down and celebrate what we have in the park." That event is dinner theatre with a historic twist. Since the fall of 2008, Green's Twenties Street Productions have been living up to its name by staging events on the 1920 block of the venerable historic park. Each evening begins with a meal at

the Selkirk's exclusive Johnson Café, then takes the audience to the firehall—interesting tidbit: the firehall at Fort Edmonton is a recreation of the one that's now used as the Walterdale Theatre—for a periodinfluenced piece. The latest incarnation—all six of which have been written by Green, who nonFort-going audiences probably know best as the author of the Sterling-winning 2008 Fringe hit Coffee Dad Chicken Mom and the Fabulous Buddha Boi—is On the Wire, a slapstick which drops us into the golden age of radio and a struggling variety show fighting to stave off the axe. "Basically, it's been getting less and less response from listeners, so the owners are talking about replacing with a syndicated show. And the weather is so bad that none of the guests show up, and so these two people sort of have to improvise an entire radio show," says Green. "Hilarity and mayhem ensue." V Thu, Apr 15 (8 pm), fri apr 16 & Sat, Apr 17 (6:30 pm) On the Wire Written by Nick Green Directed by Amanda Bergen Starring Jessica Peverette, Cody Porter, Kristin Findlay, and Mark Stubbings. Fort Edmonton Park, $79


The art of healing The Lois Hole Hospital for Women integrates art and design Dropping in on the public open house open space and natural light. Coming in from the main building of the Royal Alex, for the brand new Lois Hole Hospital for I was distracted before even entering Women, the five-floor, state-of-thethe Lois Hole Hospital as I looked art facility costing $190 million up and saw the new public art dollars appeared to be worth work by Liz Magor and Wendy every penny. Serving as a Coburn. "Soft Spot," a nest-like hospital within the Royal m Alexandra's new 33 000cantilever resting up in the sky o .c ly k e vuewe amy@ plus-square-metre Robbin's activated the public space in a Pavilion, the building will cerway that could only work for Amy tainly offer the highest quality Fung low-density areas as it needed of care for women in Alberta and the open sky for a backdrop. Northern Canada facing high-risk obstetComing specifically to see the four new rics, cancer surgery and specialized gynelarge-scale works by Edmonton-based cological services, all the while integratpainter Nicole Galellis, I wandered down ing the affect of art and design. to the ground level where the outpatient Extended window panes cover the clinics are located. Taking a quick tour of building from top to bottom emphasizing the clinics, each room is not only already



equipped, but has a framed original photograph. While the photographic works are a bit cliché and brimming with optimism—the modern day equivalent of the kitten photo the nurse asks you to look at before the needle goes in—they're certainly a far better option than a blank wall. Unlike any other hospital, where upon entering there is usually an overwhelming sense of clinical sterility, the Lois Hole Hospital for Women was actually a calm space. Granted, there were yet to be patients admitted, but perhaps the precedence for peace will persist. Entering any number of the five clinic entrances and facing a series of outdoor apothecary jars in muted tones by Greg

Pace that are supposed to conjure the silhouettes of women, Galellis offers an apt contrast in her bright and bold use of influences ranging from graffiti to wallpaper, textiles, ceramics and of course, floral for the building's namesake. Individually named after the cursive text embedded within each work (Connect, Fit, Join, Bind), Galellis focused on bringing in elements that would connect patients and visitors alike to relate to the works of art. "Even if it's just reminiscent of something they've seen, then it's easier to connect people to the work," Galellis notes. "Paintings change a space, it shows someone's hand. Like good graffiti, it's work being made for the public. It's personal." Each piece sits at approximately four

VUEWEEKLY // APR 15 – APR 21, 2010

metres by two metres and the works will be viewed by approximately 24 000 patients each year. Painting in abstract form, one that Galellis admits has the potential to alienate people who feel like they are having the wool pulled over their eyes with something they do not understand, her paintings are playfully engaging and leave a fresh impression each time you look upon them. Continuing, she offers, "Western medicine has a growing awareness of emotional health being connected to physical health. Art is optimistic and people turn to it." V Amy Fung is the author of

ARTS // 19


Hunter gathering The 2010 BFA exhibition a collection of mature works Amy Fung //


he most immediate impression as you walk into the 2010 BFA exhibition is a sense of maturity—maturity both in the works of art and their presentation, and maturity in relation to undergraduate shows of recent memory. Showing a professional sophistication from the catalogue to artist cards to the layout and flow of the show, the exhibition as a whole makes an effort to stand out within its own lineage, and certainly succeeds on that aspect. With strong works leaning heavily on technical achievements, the majority of works this year surprisingly are not void of experimentation and concept. While there is a good variety within each medium of painting, drawing and intermedia, sculpture, and printmaking, the cross-pollination between the different areas of FAB are certainly evident in this year's showing. With more traditional figurative sculptures and prints and some memorable works from Emily Soder-Duncan and Nicole St. Jean in the front room, upstairs, Mindy Hein's process-

GRADUATION TIME >> The 2010 BFA class shows their wares laden paper works greet you with a palpable sense of the tactile and the obsessive. Puncturing holes that resemble more closely craters devastating the text and page, the works appear to be a watershed between a concept and new direction in an artistic process. Self-identity remains a constant theme in undergraduate shows, and this year Camille Louis's altar of plaster-cast bear skulls gives credence to the animals who visit her in her dreams, and Kim Lew contemporizes old photographs of her parents into how she views them. Ambitious and already making a stir, Alexander Stewart and Micheal Cor dominate the middle section of the main space. Cor, who also serves as the Visual Arts Students Association (VASA) president, channels his days as a strip miner in Northern Alberta and makes a series of paintings—though perhaps they are sculptures that are painterly, reclaimed—and a revision of our steel-and-cement esthetic. Stewart, on the other hand, has a hidden video installation around the corner towards the fire escape, expanding first the perception of the gallery space and an all too real simulation of

20 // ARTS

VUEWEEKLY // APR 15 – APR 21, 2010

// Louise Asseltine

heat. His other piece, "Gently Down the Stream" employs the ready-made of a toilet bowl (with water) and the engagement of the audience. Placing a series of $5 to $20 bills folded into little boats, Stewart is keeping track of how much money will be taken. Confronting the audience, he is asking them if they will take money out of a toilet (and on opening night, the tally thus far revealed many will). While the idea hasn't been fully developed, the execution of the experiment is enough to marvel at for now, but this is where time will tell who will grow into a mature artist and who simply enjoyed the artistic exercises. In the mix are undoubtedly some works that mimic their instructors more than expressing their own voices, but the show as a whole was certainly one of the strongest seen in years. However, if compared with exhibitions outside of the U of A, the show remains quite conservative in trials and vision, but is a bright and hopeful sign of change in the department. V Until Sat, Apr 17 The Heart is a Lonely Hunter Bachelor of Fine Arts 2010 FAB Gallery (112 St - 89 Ave)



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VUEWEEKLY // APR 15 â&#x20AC;&#x201C; APR 21, 2010

ARTS // 21


Just another hero




The Girl with the Dragon Tattoo

24 26

Film Capsules When You're Strange

Online at >> FILM Sidevue: Pop goes the superhero: Brian Gibson explores how Kick-Ass drags the superhero genre into postmodernism Revue: New York, I Love You


She who ass kicks

Kick-Ass doesn't quite rise above genre clichés Thirteen-year-old Chloë Mortez pulls out the big guns genre clichés and oozing ultra-right wing vigilante revenge fantasy.

Josef Braun //


eenager Dave Lizewski (Aaron Johnson) tires of bribing bullies, lusting after babes who ignore him and jerking off over National Geographic, so he buys a diving suit online and becomes a superhero. He gets his ass kicked, which only makes him tougher, but he still lacks the skills to take on serious scumbags, so Dave, alias Kick-Ass, joins forces with Damon Macready, alias Big Daddy (Nicolas Cage), an ex-cop and ex-con hell-bent on exacting revenge on a local crime lord for ruining his life, and Mindy Macready, alias Hit-Girl (Chloë Moretz), Damon’s adorable 11-yearold daughter. Both are highly trained, armed to the teeth and eager to slaughter. The thing about Kick-Ass, adapted from Mark Millar’s comic, is that it presents itself as irreverent, quirky and iconoclastic, the story of an ordinary goofy youth who hurls himself absurdly and recklessly into harm’s way. But the promise of not-another-superhero movie is thwarted by an over-stuffed plot that’s finally exactly like every other superhero movie, complete with extra-gory spectacle, fantastic technology, multiple deus ex machinas and that final bit where the surviving villain vows to return, offering abundant franchise investments. Kick-Ass is supremely conservative in both senses, falling in line with

If Kick-Ass were more adolescent comedy and less bloated actioner it might have distinguished itself. Dave’s relationship with a girl who only becomes his friend because she thinks he’s gay could have been developed into something fun and insightful. The movie succeeds more with the smaller items than the grandiose ones, with imaginative little details like the duct-taped busted window at the school entrance, the dorky dinosaur stickers on Dave’s full-length mirror or the poster announcing a band called Frantic Yogurt. However, the use of Toronto as a standin for New York reaches unintentionally hilarious heights of implausibility, with glimpses of Tim Horton’s and Country Style and umpteen car shots where our hero simply drives up and down Yonge Street past Dundas Square and the big HMV over and over. I’m surprised they managed to keep the CN Tower out of the establishing shots. V Opening Fri, Apr 16 Kick-Ass Directed by Matthew Vaughn Written by Jane Goldman, Vaughn Starring Aaron Johnson


Josef Braun //


hen I meet with Chloë Moretz at Maple Pictures' room in the Park Hyatt, she immediately jumps on the bed and performs a back-flip. When I start my tape recorder she throws down some human beat-box into the microphone. When I ask her about what sort of training she did to prepare for her role as the murderous, foul-mouthed, 11-year-old costumed vigilante Mindy Macready, alias Hit-Girl, in the movie Kick-Ass, she launches into a mechanically detailed explanation of the differences between real guns and movie guns—Chloë Moretz knows more about guns than anyone I've ever met. She recently turned 13, is a girl of multiple talents and abundant energy and has already assembled a resume that includes supporting roles on the shows Desperate Housewives and Dirty Sexy Money, and in movies such as (500) Days of Summer and the remake of The Amityville Horror. She recently wrapped a remake of Let the Right One In, in which she plays the androgynous pubescent vampire.

VUE WEEKLY: What initially got you excited about Kick-Ass? CONTINUED ON PAGE 23 >>

TOUGH-ASS KID >> Chloë Moretz plays Hit-girl in Kick-Ass

// Supplied


Good girl gone noir A film noir boxset highlights Cleo Moore's short-but-interesting career Cleo Moore was born on Halloween, 1928 in Moore Signature Collection. Baton Rouge. At 15 she was briefly married The girls in these titles tend to not be all that bad, and the films certainly not all to Huey Long's youngest son, and had very that noir. Too transparent for manipulalikely already assumed the sort of undulating corporeal proportions that can make tion, Moore didn't play the femme a guy break down and weep. She fatale. At the start of Haas's One would eventually set records for Girl's Confession (1953), Moore's the longest filmed kiss on live waitress steals $25 000 from television, run for governor of om her scumbag employer, hides it, .c ly k e vuewe Louisiana and enter the world and thereafter turns herself in. ctive@ dvddete of real estate before dying of She becomes a model prisoner, Josef a heart attack at the age of 44. and upon early release goes back Braun to where she came from and, too But in the 1950s she was a star of sorts, the muse of eccentric Czechdeeply paranoid about people spying born auteur Hugo Haas, slated at one point on her to recover her stash, takes another to star in a bio-pic of Jean Harlow, though I gig slinging drinks for a swarthy, lecherous knew her only for her memorable cameo in gambler, played with terrific zest by Haas Nicholas Ray's On Dangerous Ground (1952). himself, who becomes chastely enamored If we shave off just one of its four titles, the with Moore, even after she nearly kills him. recently released Bad Girls of Film Noir, This strange tale of feminine self-reliance Vol. 2 could just as easily be titled The Cleo and the perils of coveting dirty money is



22 // FILM

highlighted by pleasingly bizarre plot twists and Haas's distinctive use of close-ups. It's a bit disappointing when Moore winds up content to be romanced by a horny fisherman, but in her private thoughts, conveyed through dreamy voice-over, she confesses that she's genuinely drawn to him. He has clean fingernails, she thinks: "From all that salt water, I guess." "Caged men are separated only by a thick wall—from caged women. The system is wrong ... " So goes the over-heated opening narration of Women's Prison (1955), directed by Lewis Seiler from a script by Jack DeWitt and Crane Wilbur, and the mother of all babes-behind-bars movies. It's an ensemble piece, and Moore has a smaller role here, co-starring with none other than Ida Lupino, who plays the stylish and sadistic supervisor of the female half of the penitentiary where all the action takes place, as well as Jan Ster-

VUEWEEKLY // APR 15 – APR 21, 2010

ling, who starred with Kirk Douglas in Ace in the Hole (1951), and Audrey Totter, veteran of several key noirs, such as Lady in the Lake (1947), The Set-Up (1949) and Tension (1949). Despite Lupino's prestige, Women's Prison is about as trashy as you'd expect, given the period and the studio gloss, with hysterical inmates, saucy wisecracks and a tawdry secret rendezvous, though little to suggest the subgenre's token lesbianism. It's perhaps a little fantastic that virtually all the women seem to do their time together in perfect harmony, exuding solidarity, but the pay-off comes when they organize to take over the joint with only a couple of knives and some ingenuity, and can only be suppressed by rifles, gas and the promise of revenge on Lupino. Over-Exposed (1956) begins when Moore's snared in a police raid of a bar frequented by prostitutes and is ordered to leave town. She doesn't, and instead is taken under the wing of a kindly old tippling photographer with a cat who runs in slow-motion. She learns the trade and adopts a new identity, trading in Lily Krenshka for Lila Crane—a name which

would assume very different connotations only a few years later when given to Janet Leigh's sister in Psycho (1960). She moves to New York, rises in the ranks of society and becomes a famous portraitist, at one point a guest on this bizarre television program where the host phones her celebrity guests at their homes instead of bringing them on the show. Her ambition is soured by greed and a growing distrust of everyone around her. The mafia connections responsible for her social position prove to be her undoing, but as hubristic as Moore's heroine may be it's immensely frustrating when the movie ends with her succumbing to the drab, condescending, paternal affections of journalist/ conscience Richard Crenna, who would one day become John Rambo's father figure, and the film's latent feminism nose-dives with the realization that no woman in her right mind would choose a career over becoming an obedient spouse. Over-Exposed would be Moore's second-last credit, and even if she never quite embodied the truly independent bombshell in the movies, she seems to have made considerable strides over the remainder of her too-short life. V


Heart of darkness The Girl With The Dragon Tattoo prods the secrets of Swedish culture David Berry //


t's the kind of assignment only someone with little to lose would take on: investigating the 40-year-old disappearance of the niece of a powerful business magnate who suspects one of his own family is behind it. But disgraced investigative journalist Mikael Blomkvist (Michael Nyqvist), readying for his imprisonment for libel, has time. And so he sets off to a secluded island in the dead of winter to see if he can find leads where the authorities have failed. He is eventually joined on his quest by the abused hacker Lisbeth Salander (Noomi Rapace, who shines in a brutal role), the eponymous girl, whose computer knowledge and steadfast determination make them a formidable detective pair. Based on the best-selling novel by Steig Larsson, and shot with a kind of harrowing starkness in both physicality and psychology by Danish director Niels Arden Oplev, The Girl With the Dragon Tattoo is as much a throwback detective story as it is an exploration of the darkness in the heart of Swedish society and an exploration of the



CHLOË MORTEZ: When I first read KickAss it was like I had to be Hit-Girl. It was a role that was challenging, unique and breathtaking. VW: The role has you doing some pretty horrific things to other people. Did that ever make you uncomfortable? CM: I wouldn't be doing the movie if it made uncomfortable. I wouldn't even participate in it. VW: There was never a moment when you suddenly thought, "Whoa, I'm playing a sadistic psychopath" ? CM: I definitely wouldn't call her a psychopath. She's an innocent girl that got brainwashed. It's something she can't really control. She thinks she's in a John Woo movie. VW: Speaking of John Woo, how cool was it to have Nicolas Cage be your dad? CM: Working with an amazing, excellent, very trained professional ups your game. It makes you a better actor to be able to feed off someone else's emotions. It's much like interviews, where if I have a very hyper person who's happy I'll be more energetic, where I have someone more laid-back who just wants the facts, I'll still be energetic but not over-the-top. VW: You minimize the back-flips. CM: Exactly. You feed off other people's emotions and people don't even realize it. VW: Could you describe your first meeting with Cage?

tenuous relationship between a broken man and a woman beat down by the system at every turn. Moody and bleak, it is unblinking in the face of the horrors humans can inflict on each other, though also wryly celebratory of our resilience and fortitude, and it asks of its audience almost as much as its characters. Vue Weekly recently had a chance to talk with Oplev about the film, how critics and audiences have reacted to its brutality and what it was like to be an outsider taking on the sore points of "the perfect society." VUE WEEKLY: To start with the most topical point, they just confirmed that David Fincher will direct the Hollywood remake of The Girl With the Dragon Tattoo. What are your feelings about a remake? NIELS ARDEN OPLEV: I think that would be pretty interesting, because he's an excellent director and it would be interesting to see what he's going to do with this material. Funnily enough, when we did the writing of the film, one of our inspirations for the writing and some of the set design was Zodiac, so I guess it's kind of like a circle.

CM: It was in some country villa outside London. Matthew, the director, was looking at a bunch of different guns and knives and stuff to figure out what Hit-Girl should use. Then Matthew asked, "Chloë, what do you want?" I picked one I thought was dainty, but not heavy metal. It was this Glock, a Special Ops gun. It helped me figure out that my character's the kind of girl that knows what she wants, and gets what she wants. Then I met Nicolas Cage and talked about the role. VW: Did Cage suggest anything that might have changed your approach? CM: I told him who I wanted Hit-Girl to be and he thought it was very interesting. We talked about his character and he told me he was going to do an Adam Westtype thing. He already knew all the lines in his head, and I knew all my lines, so we started to do a scene. He did it in his Big Daddy voice, and from then on I knew it was going to be a fantastic movie. VW: For an 11-year-old, Mindy comes with a lot of heavy emotional baggage. Her dad's an ex-con. Her mother died giving birth to her. Did you feel like you had to imbue your character with all this? CM: In the end scene, when I have my guns up beside my face, if you look in my eyes you can see that I'm terrified and guilty. I'm like, "I've got to do this, because I'm finishing what my dad started." I'm praying that Kick-Ass will come for me, because if Kick-Ass isn't there, I don't know what to do. But he saves me in the end and it all works out. So I tried to embrace the whole dad aspect and the mom dying.

VW: I think it will be interesting to see how it looks through a North American sensibility. We seem to have a different perspective on the story. Even just the title: here it's The Girl With the Dragon Tattoo, but the title in most of Europe is closer to the Swedish original, Men Who Hate Women. Do you think that has had any effect on how people perceive the film? NAO: I think of course with the Scandinavian title, that brings that whole issue of violence against women more in the foreground. In a way, maybe that explains why the critics in English-speaking territories have been a bit more thrown off by the horrific violence that there is. When you have a title like that, you expect that to maybe be in the film, but with a title like Girl With the Dragon Tattoo, it sounds like more of a lighthearted adventure with some entertaining violence. But my premise was to not make the violence against Lisbeth, particularly in that scene, entertaining, but to make it horrific. In one way, this is a big, entertaining widescreen film, but I wanted it to have the edge, that it dared to be edgy on these subjects that are so important in our

society today. I believe that violence against women was the fuel for what Steig Larsson was writing about. And I strongly doubt that the American version will do this. VW: The violence is quite crucial to the novel, because it's part of Larsson's bigger point, where he's kind of prodding these sores in Swedish culture that people don't often acknowledge, such as violence against women. I'm curious, though, how was it for you as an outsider—you're Danish, and you live in Brooklyn—to take on those kinds of themes? NAO: I thought it was great! I thought it was fantastic to go up and drill some holes in the perfect Swedish society and see the yellow puss coming out. I thought that was absolutely cool. I had a party! [laughs] Funnily enough, though, I actually felt a lot of enthusiasm from the people of

Sweden at having a Dane come up and do this ... so I basically felt carte blanche to do this film and they trusted that I would not compromise this, which I certainly would not. I was assured before I went to Sweden that I would have total artistic power to shoot this exactly as I wanted. The producers signed that contract in a moment of insanity, because that was my cardinal point for going, and it meant that even though I was on set shooting something that millions of people had expectations for, from reading the book, I could use that as a strength not to compromise. V Opens Fri, Apr 16 The Girl With the Dragon Tattoo Directed by Niels Arden Oplev Written by Nikolaj Arcel, Rasmus Heisterberg, Steig Larsson Starring Mikael Nyquist, Noomi Rapace


VW: I understand you did a lot of training. Is it true you can assemble a rifle? CM: I can take apart a gun and put it back together—but don't test me on that. VW: I actually don't have any firearms on me. CM: I had to be able to do it with my eyes closed. That's how they train marines! VW: Wow. Had you ever used or even seen guns before? CM: I shot at the range with my dad when I was younger. He wanted me to know how it feels to shoot a gun, to not be afraid of it, but to know it's a lethal weapon. To know that if anyone comes to the house and no one's there, I need to know how to protect myself. VW: That's interesting, because in a sense you'd already experienced with your real father some version of the father-daughter relationship Mindy has in Kick-Ass. CM: Exactly. VW: You've been acting for a long time. Is it fun? Does it feel like work? CM: The minute it becomes work is the minute I'm quitting. When I'm on set and I'm acting, it brings me joy. VW: Do you imagine ever pursuing other interests? CM: I still do ballet and gymnastics, and hang out with my friends all the time. If my acting career doesn't work out I want to be a pilot. Even if my acting career does work out I still want to be a pilot, so I can fly airplanes and act at the same time. Maybe act while flying airplanes. V

VUEWEEKLY // APR 15 – APR 21, 2010

FILM // 23



Film Capsules Now Playing Date Night

Directed by Shaun Levy Written by Josh Klausner Starring Tina Fey, Steve Carell, Taraji P. Henson, Ray Liotta


If tube superstars Tina Fey and Steve Carell face any risk of being typecast, it's that we might always assume them to be fabulous. Transitioning from Liz Lemon and Michael Scott to whichever other modern fictional character is apparently a cinch, but that versatile charm doesn't translate quite so easily under the pressures of lukewarm writing and directing. Unlike Farrell, Sandler and Kidman, whose crapshoot one-off feature films are not

24 // FILM

VUEWEEKLY // APR 15 – APR 21, 2010

only forgivable but somehow a naturally occuring process of their careers, Fey and Carell build their underhanded routine on such a cynical platform that works masterfully well under the proper script and critical vision. Screwing up that formula doesn't suit them, no matter how much cash the fat cats make off them. The dynamic duo stars as Phil and Claire Foster, a married couple in New Jersey who begin to foresee the cavernous rut that their partnership risks falling into. With two kids and hectic careers, they attempt to rescue the dwindling spark of their marriage on date nights—romantic dinners scheduled far in advance, so they can enjoy good food prepared by somebody far away from home. After nabbing another party's table reservations at a chic Manhattan restaurant, they realize the dangers of posing as another couple when crooked cops go after their heads in pursuit of a mysterious flash drive. They have little clue of the matter, and are forced to solve the case by breaking into offices and enlisting the aid of a shirtless security technician (Mark Wahlberg). By trusting each other, and more importantly, recognizing the bond that brought them together, Phil and Claire fight for their lives and marriage in one swing, all the while missing a good night's sleep. Date Night is without a doubt funny, and so are Fey and Carell, who employ such sincere on-screen personalities that every joke and misstep of physical comedy has good intentions. Unfortunately, that's come to be expected of them, and the film fails to take advantage of their unique talents. Bearing an action plotline that clearly wants to be Pineapple Express, the sense of humour stays cast in the mould of a screenwriter's pitch that is fun to ponder but dull when made a reality. It prevents the film from making any solidly satirical critique of middle-class values, something the appetite smarter fans of 30 Rock and The Office require to

sustain interest. Such valuable icons in a theatrical release have the opportunity to reach beneath both the chosen genre and their individual personae, but instead produce a mere inquiry into how many suburban joes will haul-ass from the couch to the multiplex for a thrill ride outside the box. Jonathan Busch


Opening at the Garneau A Prophet

Directed by Jacques Audiard Written by Thomas Bidegain, Audiard Starring Tahar Rahim Garneau Theatre (8712 - 109 st)


This one could also have been called An Education, and if it were its title would have resonated with somewhat more bracing immediacy than its respectableyet-less-relevant fellow Oscar contender. A Prophet is a prison movie, and as such is inherently concerned with the acquisition of knowledge, codes and hierarchies. Ninteen-year-old Malik (Tahar Rahim) gets six years for assaulting an officer. An Arab in France with no family or resources, he begins his sentence with little more than the raggedy clothes on his back, a capacity for brawling and a lot of fear, anger and confusion. He fits in neither with the religiously observant Muslims nor the Arab-hating Corsicans, but it's the Corsicans who find use for him. He'll quickly learn through a series of fumbling trials-by-fire to seduce, murder, take shit from his oppressors and nurture secret plans for his own advancement. Just as importantly, he also learns to read, encouraged by the first man he kills, a fellow Arab named Rayib, who comes to haunt Malik's waking dreams. So part of this ambitious crime drama's icy thrills come from our privileged ability to watch and listen while Malik is administered tough lessons. We aren't necessarily encouraged to sympathize with Malik, and we certainly aren't encouraged to pity him or shrug off his actions. Rahim gives a marvelous performance, a punk


Film Capsules

FILM WEEKLY FRI, APR 9 – THU, APR 15, 2010 s

kid with a wispy moustache, alternately terrified and cocksure, stupidly reckless and suddenly wised-up, but he's not what we typically call a magnetic presence, neither ingratiating nor glamorous nor obviously charismatic. What makes Rahim's Malik so riveting is the honesty of the actor's work and the complexity of character's plight, which is thorny enough on a political, racial or religious level, yet finally grips us on a more basic, human one. The movie's title is in fact the right one, mysterious in the best way, alluding perhaps to some trace of secondsight that might keep Malik alive, as well as to some vague sense that somewhere some unseen hand has already decided our fate for us. A Prophet was directed by Jacques Audiard, whose previous work includes The Beat My Heart Skipped, an imaginative remake of James Toback's cult film Fingers, and Read My Lips, a superb neo-Hitchcockian thriller. He wrote the screenplay with Thomas Bidegain, based on an original script by Abdel Raouf Dafri and Nicolas Peufaillit, and the result feels busy yet seamless. The movie pounces sometimes like a vicious feline, staying close to its troubled protagonist, at others it comes to a halt to allow us to absorb the gravity of its violence, which is in some strange way a portrait of a new Europe. Josef Braun


Opening at the Metro Cannibal Girls

Sat, Apr 17 (9 pm) Sun, Apr 18, Mon, Apr 19 (7 & 9 pm) Directed by Ivan Reitman Written by Reitman, Daniel Goldberg, Robin Sandler Starring Eugene Levy, Andrea Martin Metro Cinema (9828 101A Ave)


6094 Connaught Dr, Jasper, 780.852.4749

CLASH OF THE TITANS (PG, violence not recommended for young children) FRI�SAT 7:00, 9:00

SUN�THU 8:00

DATE NIGHT (PG sexual content language may offend) FRI�SAT 7:00, 9:00; SUN�THU 8:00

CINEMA CITY MOVIES 12 5074-130 Ave, 780.472.9779


disturbing content, sexual violence) FRI�THU 12:00, 3:15, 6:40, 10:10

DATE NIGHT (PG sexual content, language may of-

fend) FRI�WED 12:10, 1:10, 2:30, 3:40, 5:00, 7:00, 7:40, 9:20, 10:15; THU 12:10, 1:10, 2:30, 3:40, 5:00, 7:00, 7:40, 9:20, 10:00

CLASH OF THE TITANS (PG not rec. for young

children, violence) FRI�WED 1:15, 4:30, 7:30, 10:20; THU 1:15, 4:30, 10:20

CLASH OF THE TITANS 3D (PG not rec. for young children, violence) FRI�THU 12:30, 3:45, 6:40, 9:30

THE LAST SONG (PG) FRI�WED 12:20, 4:15, 7:00,

KICK ASS (18A brutal violence) DAILY 6:55, 9:20; SAT�

CLASH OF THE TITANS (PG, violence, not recom-

SUN, TUE 12:55, 3:20

mended for young children) DAILY 7:05, 9:15; FRI�TUE 2:05

DATE NIGHT (PG sexual content, language may of-

KICK ASS (18A brutal violence) DAILY 6:55, 9:05;



CLASH OF THE TITANS (PG violence, not recom-

FRI�TUE 1:55

DAILY 7:10, 9:10; FRI�TUE 2:10

THE BOUNTY HUNTER (PG violence, sexual content) DAILY 7:15, 9:20; FRI�TUE 2:15

DATE NIGHT (PG sexual content, language may offend) DAILY 7:25, 9:25; FRI�SUN, TUE 2:25

9:40; THU 4:15, 7:00, 9:40; Star & Strollers Screening THU 1:00

GALAXY�SHERWOOD PARK 2020 Sherwood Dr, 780.416.0150 Sherwood Park 780-416-0150

HOW TO TRAIN YOUR DRAGON (PG violence) FRI�WED 1:00, 4:00, 6:30, 9:15; THU 1:00, 4:00, 6:30

DEATH AT A FUNERAL (14A crude content) FRI

THE CRAZIES (18A, gory violence) FRI�SAT 1:50, 4:35, 7:10, 9:30, 11:55; SUN�THU 1:50, 4:35, 7:10, 9:30

HOW TO TRAIN YOUR DRAGON 3D (PG violence) FRI�THU 12:15, 2:45, 5:15, 7:45, 10:15

4:25, 6:45, 9:20; SAT�SUN 11:20, 1:55, 4:25, 6:45, 9:20; MON�THU 6:45, 9:20

COP OUT (14A crude content, coarse language)

HOT TUB TIME MACHINE (18A, crude content,

KICK�ASS (18A brutal violence) FRI 4:30, 7:25, 10:15;

FRI�SAT 1:35, 4:05, 6:40, 9:20, 12:00; SUN�THU 1:35, 4:05, 6:40, 9:20

substance abuse) FRI�WED 1:25, 4:55, 7:50, 10:30; THU 1:25, 4:50, 7:50, 10:30

SAT�SUN 1:40, 4:30, 7:25, 10:15; MON�THU 7:25, 10:15


LIGHTNING THIEF (PG frightening scenes, not rec.

7:20, 9:50

DATE NIGHT (PG sexual content, language may offend) FRI 4:20, 6:55, 9:25; SAT�SUN 1:45, 4:20, 6:55, 9:25; MON�THU 6:55, 9:25

THE BOUNTY HUNTER (PG violence, sexual

VALENTINE'S DAY (PG language may offend) FRI�

content) FRI�WED 12:50, 4:20, 7:10, 10:25; THU 12:50, 4:20, 7:20, 10:25

CLASH OF THE TITANS (PG not rec. for young


THE LAST SONG (PG) FRI 3:50, 6:50, 9:30; SAT�SUN

PERCY JACKSON & THE OLYMPIANS: THE for young children) FRI�SAT 1:20, 4:10, 7:15, 9:45, 12:10; SUN�THU 1:20, 4:10, 7:15, 9:45 THU 1:05, 4:20, 7:05, 9:35

DEAR JOHN (PG) FRI�SAT 1:30, 4:25, 6:50, 9:15, 11:40;

frightening scenes) FRI�TUE 12:45, 3:30, 6:50, 9:45; WED�THU 12:45, 3:30, 9:45

EDGE OF DARKNESS (14A not recommended for

SHUTTER ISLAND (14A coarse language, disturb-

SUN�THU 1:30, 4:25, 6:50, 9:15

children, brutal violence, gory scenes) FRI�SAT 1:15, 4:40, 7:20, 9:35, 12:05; SUN�THU 1:15, 4:40, 7:20, 9:35

TOOTH FAIRY (G) FRI�SAT 1:45, 3:55, 6:35, 9:05, 11:20; SUN�THU 1:45, 3:55, 6:35, 9:05 THE SPY NEXT DOOR (PG) FRI�SAT 1:55, 3:50, 6:45, 9:10, 11:30; SUN�THU 1:55, 3:50, 6:45, 9:10

ing content, not recommended for children) FRI�TUE 12:05, 3:20, 6:40, 9:55; WED 12:05, 3:20, 9:55; THU 12:05, 3:10, 9:55 KENNY CHESNEY: SUMMER IN 3D (G) WED�THU 7:00

ALICE IN WONDERLAND (PG violence, frightening scenes) WED�THU 6:50

OCEANS (G) no passes THU 12:00, 2:30, 5:00, 7:30,

THE BOOK OF ELI (14A brutal violence, not recommended for children) FRI�THU 1:40, 4:15, 7:25, 10:00


SHERLOCK HOLMES (PG not rec. for young chil-

ing not available) THU 8:00

dren, violence) FRI�THU 1:10, 4:00, 7:00, 9:55



CITY CENTRE 9 10200-102 Ave, 780.421.7020

KICK�ASS (18A brutal violence) FRI�THU 12:40, 3:30,

AVATAR (PG not rec. for young children, violence)

7:00, 9:50


CLASH OF THE TITANS 3D (PG not rec. for young

FRI�SAT 1:00, 4:20, 7:45, 11:10; SUN�THU 1:00, 4:20,

THE BLIND SIDE (PG mature subject matter) FRI�THU 6:55, 9:40

CINEPLEX ODEON NORTH 14231-137 Ave, 780.732.2236

DEATH AT A FUNERAL (14A crude content) FRI�

DATE NIGHT (PG sexual content, language may offend) FRI�THU 12:20, 2:35, 5:20, 7:50, 10:05

ALICE IN WONDERLAND 3D (PG violence, fright-

ening scenes) FRI�TUE 12:30, 3:10, 6:45, 9:30; WED�THU 12:30, 3:10, 9:55


KICK�ASS (18A brutal violence) FRI�THU 12:30, 2:00,

THE RUNAWAYS (14A sexual content, coarse lan-

DATE NIGHT (PG sexual content, language may

DEATH AT A FUNERAL (14A crude content) FRI�THU

3:20, 4:50, 6:20, 7:45, 9:15, 10:40

offend) FRI�THU 12:10, 1:20, 2:30, 3:40, 5:00, 6:30, 7:30, 8:45, 10:00

CLASH OF THE TITANS (PG not rec. for young children, violence) FRI�WED 6:40, 9:30; THU 9:30

CLASH OF THE TITANS 3D (PG not rec. for young THE LAST SONG (PG) FRI�THU 12:50, 3:30, 6:45, 9:20 HOW TO TRAIN YOUR DRAGON (PG violence)

FRI�THU 1:40, 4:10

HOW TO TRAIN YOUR DRAGON 3D (PG violence) FRI�THU 12:15, 2:40, 5:15, 7:40, 10:10

HOT TUB TIME MACHINE (18A, crude content,

substance abuse) FRI�THU 12:20, 3:00, 5:30, 8:10, 10:35


4:30, 6:50, 9:10; THU 12:00, 2:10, 4:30, 6:50

THE BOUNTY HUNTER (PG violence, sexual content) FRI�TUE 1:10, 4:00, 7:10, 9:50; WED�THU 1:10, 4:00, 9:50

5:10, 7:40, 10:15

guage, substance abuse) FRI�THU 12:50, 3:40, 6:30, 9:15

12:25, 2:50, 5:25, 8:00, 10:25

HOW TO TRAIN YOUR DRAGON 3D (PG VIOLENCE) FRI�THU 12:00, 2:25, 5:05, 7:35, 10:10

HOT TUB TIME MACHINE (18A, crude content,

substance abuse) FRI�THU 12:15, 2:45, 5:15, 7:45, 10:20



DIARY OF A WIMPY KID (G) FRI 3:45, 6:35; SAT� SUN 1:25, 3:45, 6:35; MON�THU 5:25

THE BOUNTY HUNTER (PG sexual content,

HOT TUB TIME MACHINE (18A, crude content,

CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585

DEATH AT A FUNERAL (14A crude content)FRI�

WED 12:40, 3:00, 5:20, 8:00, 10:40; THU 4:40, 8:00, 10:40; Star & Strollers Screening THU 1:00

KICK�ASS (18Abrutal violence) FRI�THU 12:15, 1:15, 3:30, 4:10, 6:45, 7:30, 9:45, 10:30

tent) FRI�SUN 4:05, 7:15, 9:55; MON�THU 7:15, 9:55

ALICE IN WONDERLAND (PG violence, frightening scenes) FRI 4:10, 7:00, 9:55; SAT�SUN 1:30, 4:10, 7:00, 9:55; MON 9:55; TUE�THU 7:00, 9:55

DIARY OF A WIMPY KID (G) SAT�SUN 1:00 OCEANS (G) no passes THU 7:00, 9:30


8712-109 St, 780.433.0728

A PROPHET (18A gory violence, language may

offend, disturbing content) DAILY 6:45, 9:30; SAT� SUN 2:00

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

DATE NIGHT (PG sexual content, language may

PRINCESS 10337-82 Ave, 780.433.0728


CHLOE (18A sexual content) DAILY 9:00; SAT�SUN 3:00pm

NEW YORK I LOVE YOU (14A sexual content) DAILY 7:15, 9:15; SAT�SUN 1:30

LAST TRAIN HOME (PG coarse language) SAT�SUN 3:30

SCOTIABANK THEATRE WEM WEM, 8882-170 St, 780.444.2400

DEATH AT A FUNERAL (14A crude content) FRI�

TUE,THU 1:20, 4:00, 7:30, 10:00; WED 4:00, 7:30, 10:00; Star & Strollers Screening WED 1:00

KICK�ASS (18A brutal violence) FRI�THU 1:10, 4:10,

7:20, 10:20

DATE NIGHT (PG sexual content, language may

offend) FRI�TUE,THU 11:50, 2:10, 4:40, 7:10, 9:45; WED 4:40, 7:10, 9:45; Star & Strollers Screening WED 1:00

CLASH OF THE TITANS (PG not rec. for young

children, violence) FRI�WED 12:45, 3:45, 6:50, 9:40;

THU 6:50, 9:40

CLASH OF THE TITANS 3D (PG not rec. for young children, violence) FRI�THU 1:45, 4:45, 7:50, 10:40

THE LAST SONG (PG) FRI�THU 12:10, 3:10, 6:45, 9:20 HOW TO TRAIN YOUR DRAGON (PG violence)

FRI�THU 12:30, 3:30

FRI�THU 11:45, 2:20, 4:50, 7:40, 10:10

HOT TUB TIME MACHINE (18A, crude content, substance abuse) FRI�THU 2:00, 5:00, 8:00, 10:45


7:00, 9:30


ALICE IN WONDERLAND 3D (PG violence, fright-

CLASH OF THE TITANS (PG violence, not recommended for young children) no passes DAILY 1:25, 5:25, 7:25, 9:25

HOW TO TRAIN YOUR DRAGON (PG violence) DAILY 1:00, 3:00, 5:00, 7:00, 8:55

1:35, 4:20, 6:55, 9:10

LEDUC CINEMAS Leduc, 780.352.3922

DAILY 6:55, 9:25; FRI�SUN 12:55, 3:25

fend) DAILY 6:55, 9:15; FRI�SUN 12:55, 3:15

KICK�ASS (18A brutal violence) DAILY 7:05, 9:35; FRI� SUN 1:05, 3:35; THU APR 15 preview 10:00pm

CLASH OF THE TITANS (PG violence, not recom-

mended for young children) DAILY 7:10, 9:30; FRI�SUN 1:10, 3:30

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


SUN�MON 7:00

NFB FILM CLUB Stanley A. Milner Library Theatre, 7 Sir Winston Churchill Sq, 780.496.7070

BAGHEAD (14A) WED 6:30

KICK�ASS (18A brutal violence) FRI 3:50, 6:40, 9:30;


SAT�SUN 1:00, 3:50, 6:40, 9:30; MON�THU 5:40, 8:30

6601-48 Ave, Camrose, 780.608.2144

DAILY 6:45, 9:00; SAT�SUN, TUE 12:45, 3:00

SHE'S OUT OF MY LEAGUE (14A coarse language,crude content) FRI�WED 7:45, 10:30

offend) FRI 4:25, 6:50, 9:15; SAT�SUN 1:50, 4:25, 6:50, 9:15; MON�THU 5:45, 8:25



fend) no passes DAILY 1:45, 4:05, 6:00, 7:45, 9:30


children, violence) FRI�SUN 9:00; MON�THU 8:35

THE BOUNTY HUNTER (PG violence, sexual content) DAILY 7:15, 9:30; SAT�SUN, TUE 1:15, 3:30

DATE NIGHT (PG sexual content, language may of-

CLASH OF THE TITANS 3D (PG not rec. for young CLASH OF THE TITANS (PG not rec. for young

mended for young children, not presented in 3d) Movies For Mommies TUE 1:00; DAILY 7:00, 9:10; SAT�SUN, TUE 1:00, 3:10

THE BOUNTY HUNTER (PG violence, sexual content) FRI�TUE 1:00, 3:40, 6:30, 9:15; WED�THU 1:00, 3:40, 9:15

TRAILER APOCALYPSE (rating not available)

children, violence) FRI 4:30, 7:10, 9:45; SAT�SUN 1:40, 4:30, 7:10, 9:45; MON�THU 5:10, 7:50

TUE 1:05, 3:25

THE LAST SONG (PG) DAILY 1:20, 3:20, 5:20, 7:20,


THE LAST SONG (PG) FRI 4:20, 6:55, 9:40; SAT�SUN 1:15, 4:20, 6:55, 9:40; MON�THU 5:30, 8:20

fend) DAILY 6:50, 9:05; SAT�SUN, TUE 12:50, 3:05




ALICE IN WONDERLAND (PG violence, frightening


THE BOUNTY HUNTER (PG violence, sexual con-

DATE NIGHT (PG sexual content, language may of-

4:00, 6:30; SAT�SUN 1:10, 4:00, 6:30; MON�THU 5:35

not available) THU 8:00

substance abuse) FRI 4:45, 7:35, 10:05; SAT�SUN 1:50, 4:45, 7:35, 10:05; MON�THU 7:35, 10:05

SHE'S OUT OF MY LEAGUE (14A coarse language, crude content) FRI�SUN 9:10; MON�THU 8:15

FRI 4:35, 7:05, 9:25; SAT�SUN 2:00, 4:35, 7:05, 9:25; MON�THU 5:00, 8:10


HOT TUB TIME MACHINE (18A, crude content,



HOW TO TRAIN YOUR DRAGON 3D (PG violence) FRI 4:35, 7:05, 9:40; SAT�SUN 11:30, 2:00, 4:35, 7:05, 9:40; MON�THU 7:05, 9:40

scenes) FRI 4:10, 7:00, 9:35; SAT�SUN 1:20, 4:10, 7:00, 9:35; MON�THU 5:20, 8:00

substance abuse) FRI 4:45, 7:20, 9:50; SAT�SUN 1:45, 4:45, 7:20, 9:50; MON�THU 5:50, 8:50

OCEANS (G) no passes THU 12:00, 2:10, 4:30, 6:45,

FRI 3:30, 6:40, 9:10; SAT�SUN 12:20, 3:30, 6:40, 9:10; MON 6:40; TUE�WED 6:40, 9:10

ALICE IN WONDERLAND (PG violence, frightening

ALICE IN WONDERLAND 3D (PG violence, fright-



4211-139 Ave, 780.472.7600

violence) FRI 4:05, 6:45, 9:20; SAT�SUN 1:30, 4:05, 6:45, 9:20; MON�THU 5:15, 8:40

ening scenes) FRI�TUE 1:30, 4:20, 7:00, 9:40; WED�THU 1:30, 4:20, 9:40

1:10, 3:50, 6:50, 9:30; MON�THU 6:50, 9:30

KICK ASS (18A, brutal violence) no passes DAILY

SHE'S OUT OF MY LEAGUE (14A coarse language,

crude content) FRI�TUE 1:50, 4:40, 7:20, 10:15; WED 4:40, 7:20, 10:15; Star & Strollers Screening WED 1:00

children, violence) FRI 4:00, 7:10, 10:00; SAT�SUN 1:20, 4:00, 7:10, 10:00; MON-Thu 7:10, 10:00

children,violence) FRI�THU 12:10, 2:30, 5:00, 7:30, 10:00

TUE,THU 12:40, 2:50, 5:20, 8:00, 10:20; WED 5:20, 8:00, 10:20; Star & Strollers Screening WED 1:00

children, violence) FRI�THU 11:50, 2:20, 5:10, 7:50, 10:30

Even as a supposed horror parody—it really doesn't feel like a parody so much as a low-grade horror that's just aware of its ridiculousness—Cannibal Girls is probably a film that's best viewed in a group. During its original run, theatres would ring a bell to warn of gore or sexiness, which would imply that the filmmakers were aware of the necessity of a truly group experience to appreciating it on even an ironic level. On your lonesome, there is nothing here quite ridiculous enough to actually excite much of anything. Perhaps part of that is due to the fact that standards of gore and sex have just become a bit more extreme in the past 40 years, but even for a '70s film that bills itself as shocking, this is pretty tame, nothing much beyond stage blood and some corporally disgusting dining scenes. Romero's zombie films have more impressive guts-eating, though, and moreso what endures here—and would be perfect for group-mocking—are the supporting performances, which range from guyoff-the-street-level stilted improvisation scenes to some knowingly campy turns, both of which have considerably more charm when there's someone around to



ening scenes) FRI�TUE 12:50, 3:50, 6:45, 9:30; WED�THU 12:50, 3:50, 9:30

SHUTTER ISLAND (14A coarse language, disturbing content, not recommended for children) FRI�TUE 12:00, 3:15, 6:40, 9:50; WED�THU 12:00, 3:15, 9:50


ALICE IN WONDERLAND (PG violence, frightening scenes) WED�THU 6:45

OCEANS (G) no passes THU 12:00, 2:20, 4:40, 7:00,


WESTMOUNT CENTRE 111 Ave, Groat Rd, 780.455.8726

CLASH OF THE TITANS (PG not rec. for young

children, violence) FRI 7:15, 9:55; SAT�SUN 12:45, 3:20, 7:15, 9:55; MON�THU 5:30, 8:20

GREENBERG (14A coarse language, substance abuse, sexual content) FRI 7:05, 9:45; SAT�SUN 1:00, 3:50, 7:05, 9:45; MON�THU 5:20, 8:10 DATE NIGHT (PG sexual content,language may

offend) FRI 6:50, 9:20; SAT�SUN 1:15, 3:40, 6:50, 9:20; MON�THU 5:10, 8:30

THE GHOST WRITER (PG violence,coarse language) FRI 6:35, 9:35; SAT�SUN 12:30, 3:30, 6:35, 9:35; MON� THU 5:00, 8:00

WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922

CLASH OF THE TITANS (PG violence, not recommended for young children) DAILY 7:10, 9:30; SAT�

SUN 1:10, 3:30

DATE NIGHT (PG sexual content, language may offend) DAILY 6:55, 9:20; SAT�SUN 12:55, 3:20;

HOW TO TRAIN YOUR DRAGON (PG violence) DAILY 7:00, 9:25 SAT�SUN 1:00, 3:25

KICK�ASS (18A brutal violence) DAILY 7:05, 9:35; SAT�SUN 1:05, 3:35

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

DEATH AT A FUNERAL (14A coarse language) DAILY 7:10, 9:15 SAT�SUN, TUE 1:10, 3:15

VUEWEEKLY // APR 15 – APR 21, 2010

FILM // 25


Into this world we're thrown Rock doc leaves the Doors' relevance rooted firmly in the '60s Josef Braun //


eath was both the best and worst thing that Jim Morrison ever did to the Doors. His demise at 27 in a Parisian bathtub felt like some morbidly natural conclusion to a wildly dynamic narrative sparked on Venice Beach only six years earlier when Morrison first wooed keyboardist Ray Manzarek with the words to "Moonlight Drive." It also confined this band's singular blend of baroque psychodrama and bluesy swagger to a time capsule and completed the total eclipse of the singer's enigma over the richer, more intricate designs of the music to which he made such a vital, yet nonetheless only partial, contribution. To ensure history that the Doors were more than just another '60s psychedelic freak show, as well as more than just Jim Morrison, is the ostensible raison d'être of Tom DiCillo's When You're Strange: A Film About the Doors. Yet this deeply orthodox rock doc nearly sabotages itself with narration—voiced by Johnny Depp—riddled with token generalizations about youth-culture ideology, and numerous montages that seemingly go out of their way to forever link the Doors' music exclusively with the greatest hits of the period's headlines, such the assas-

sinations of Bobby Kennedy and Martin Luther King. Setting "Riders on the Storm" to clips of atrocities in Vietnam at once domesticates images that should never be treated lightly and severely limits the more mysterious and evocative qualities of that spectral late-career hit. I said the film nearly sabotages itself. What helps rescue it from merely trading in clichés are the often mesmerizing performance clips, both on stage and in studio, that find a quartet of musicians highly sensitized to each other's nuances, and, perhaps ironically, the Lizard King himself. Archival footage of Morrison as a teenager or some of the more off-the-cuff, backstage bits help to penetrate the Morrison mystique, which always threatened to drape the band in pretentiousness. Some of the more extensive clips allow us to glimpse a young, confused, gorgeous alcoholic, one given to faux inarticulateness and affected rowdiness, one always negotiating the conflicting impulses that prevented him from fully giving himself either to forging a larger, more demanding musical project or retreating into poetry and quietude. The Morrison we see, especially when still relatively untainted by celebrity, is at times genuinely spontaneous, deliciously mischievous, a man-child with an infectious grin and undiagnosed be-

havioral issues that when harnessed could yield some truly inspired performances, lyrics and stunts. A hard-working filmmaker who emerged from the 1980s independent scene to make cult films like Johnny Suede and Living in Oblivion, it's not obvious what led to DiCillo's helming of When You're Strange, or to his pedestrian approach. The absence of talking-head interviews with the surviving Doors or any other form of fresh commentary might seem like some sort of rigour, an attempt to immerse us in the era. But I couldn't help but gradually start to miss something else to balance this approach, something, again, to make the Doors about more than the 1960s, to offer something fresh about this band that for all its excesses deserves some serious reconsideration. Thankfully, the best documents of what the Doors were all about are still readily available—they're called records. V Thu, Apr 15 (7 pm) Sat, Apr 17 (1 pm) When You're Strange: A Film About the Doors Written and directed by Tom DiCillo Narrated by Johnny Depp Scotiabank Theatre, WEM (8882-170 Street)



Film Capsules << CONTINUED FROM PAGE 25

hear your one-liners. The story, such as there is, follows recognizable faces Eugene Levy and Andrea Martin—in full-on baffling '70s style: Levy is particularly ridiculous, looking like Jim Croce going disco—on a weekend retreat to a creepy small town. The clerk at their motel tells them a local legend about three cannibal girls who lived in an old farmhouse, and the lack of anything better to do has them heading out to the restaurant that now occupies the spot, where they discover that the legend hasn't yet died. There are some more convoluted details involving a town-wide cult, but truthfully one of the problems of Cannibal Girls is that it gets bogged down in a fairly nonsensical and unnecessary plot, taking precious time away from the business of eating people after showing your tits. And that really is the only appeal here: again, even for a supposed parody, there's little in the way of mood or even humour here, and instead of any creeping sense of dread or even puncturing of B-movie tropes, we're just kind of left around, waiting for that bell to ring. It's got a cheap and stilted quality that will make it plenty easy to mock—or make a drinking game out of—but it lacks in even the cheap thrills of proper B-horror, which leads to a whole lot of slogging. David Berry


26 // FILM

VUEWEEKLY // APR 15 – APR 21, 2010

Film Night Full Nelson

Fri, Apr 16 (7 & 9:30 pm) Film Night Full Nelson Metro Cinema (9828 – 101A Ave)


Wrestling's a pretty critically maligned form of entertainment these days, and with good reason: the "is it real?" question has long been answered by shows like Smackdown that shamelessly boast about the latest "storylines" and feature rosters of athletes more based on image or plot than skill—look at how many make the jump to Hollywood these days. This in and of itself I suppose isn't a bad thing, but it's pushed wrestling to more and more ridiculous extremes: ladder matches, unbelievable weaponry and ever larger cages to fight in really just hide the fact that it's a few dudes battling until one submits. I'm pretty sure there's special matches that combine all of the above and more but the emphasis isn't on the sport anymore, so the wrestling itself seems to suffer. Film Night Full Nelson's glance back to a simpler, less faux-glitzy era of wrestling has a far more charming appeal and a greater air of authenticity because of how dressed-down it is. There really isn't much more than two dudes in a ring with personas, yet that's usually more than enough. The first segment, consisting of home movie clips from the '20s to the '40s

isn't really much of anything. Documenting a few student-made videos (kind-of charming high school works) and a few random fragments of film that features boyish rough housing— really, all it does is show that guys like to push and shove for entertainment, always have, and especially when it comes to being on film. Later there's a 1970s opinion poll taken at Westmount Shoppers' Mall asking if wrestling's fake or not (most people didn't believe it back then, either). But Full Nelson wisely rests the bulk of its programming on archival footage, clips and highlight matches from Super Stars of Wrestling, a '70s TV program that's basically a prototype for the WWF. All the usual good guy/bad guy archetypes are there—they were worse actors back then—and most of the same kinds of twists get used: tag teamers who cheat, even if the illegal "weapon" that gets used is an oversized prop bone attributed to a character who goes by "Eric The Red" and dresses as some kind of medieval caveman. But there's no pyrotechnic-ridden entrances or or even much in the way of costuming, aside from one mask and a well-grown moustache. Just some guys in a ring, tossing each other, and somehow that sparks something much more basic and primal inside, possessing a more powerful pull than any ladder match ever could. PAUL BLINOV





Red Ram


Spirit of tomorrow

Ghostkeeper's 'muskeg rock' is the sound of things to come Mary Christa O'Keefe //


hostkeeper is the music of the future. This may surprise those who think the future is spacy swells of bleeps between troughs of silence, but those dreamers also believe our personal jet-packs are just stuck in the replicator. No, the music of the future mirrors the messy poly-cultural cacophony generated by our wondrous technologies of connection and amplification. It comes Janus-faced, looking backward and forward, in fits and squalls, noise and twang, mesmeric droning and '70s hard-rock riffs, girl-group sass, soul music’s trademark insistent sensuality, and the subversive introspection and rolling phrasing of the blues throwing in with the defiant experimental traditions of rock, folk, country and outsider music whilst enthralled by the cadences, lyrical agility and pop-culture recontextualizing of hip hop. It comes in tableaus of sometimes uncomfortable intimacy: passionate addresses to kin, here and long gone, promises, confessions, familial recollections and romantic declarations laced with sly humour and delivered walking blues-style, in impressionistic streams of densely tangled imagery and observations, or with a raucous growl that’s part Lou Reed, Neil Young and Stephen Malkmus, occasionally sparring with an ethereal female counterpart. Calgary-based Sarah Houle and Shane Ghostkeeper are the songwriting couple (and drummer and guitarist) at the core of the band that takes his surname. Both grew up in Alberta’s north, around Paddle Prairie Métis Settlement, and the music, landscape and memories of their youth so permeate their songs that their debut bore the wildly evocative title Children of the Great Northern Muskeg, as if sharing credit with the place and people that shaped them. “The first album was Sarah and I learning how to record,” Ghostkeeper recalls. “It was about honouring and romanticizing home. “ Panoramic influences remain in their eponymous sophomore release, but now shepherded by a more assured authorship, ambitious and audacious. “We wanted this to be challenging,” Ghostkeeper notes. “We stumbled upon various tangents and took them further, rooted out from our foundations. This is really a full band record, written together. It’s huger, deeper, darker.“ The addition of guitarist Jay Crocker and

FUTURE IS NOW >> Ghostkeeper finds influence in the past while looking ahead bassist Scott Munro expanded Ghostkeeper’s breadth. All bandmates lent voices and ideas, and the album is a tapestry of fine details woven into an overall shaggily energetic soundscape. “We had a huge batch of songs we’d written and played together. We took it song by song, with no agenda other than what the first song would be. We were finding spaces outside the studio, making field recordings in marble staircases and parkades, having fun with natural reverb, experimenting with tape and fuller sound, letting arrangements evolve,” Ghostkeeper explains. “My writing got more satirical. I’m looking at issues in my life and society. Social commentary is important to me—I like to pair it with my love for Sarah and my battle to be a good artist while talking about the battle of aboriginal culture with religion and the rationalization of destruction in North America. I like to look at the assimilation idea. I think as songwriters, we’re practising music therapy and spiritual development. The band is something we’ve chosen to remain sacred, part of this idea of us as a couple, part of our romance and our struggles.” He laughs, “But I’ve never been one to be a victim—humour seeps into any dark side.”

// Supplied

The shifts and juxtapositions are not always easy listening, but Ghostkeeper considers chaos a necessary consequence of artistic reckoning. “It’s honest to realize these diverse emotions can happen in one song—sad, happy, angry, funny—all together. Unless your relationships are so static they fit in two chords all the time! Mine aren’t.” Ghostkeeper also rejects that his music, framed as it is in the somewhat lily-white milieu of indie rock, is any departure from his heritage. “Sarah and I are so proud of our aboriginal culture and history,” he states. “We’d like to carry it forward—it’s a living culture; it’s alive today and now, and that’s a huge part of me, and Sarah, and what we’re about. At the absolute very least we want people to know aboriginal people are living in the modern world. We’re not interested in perpetuating any Hollywood stereotypes of being frozen in time. You can’t call it art! That’s anti-art! That’s straight-up business. We know our past, but we’re interested in the future.” V Fri, Apr 16 (8 pm) Ghostkeeper With Fire Next Time Brixx Bar & Grill, $12

VUEWEEKLY // APR 15 – APR 21, 2010

MUSIC // 27


THU APR 15 AXIS CAFE Peter Katz, Jay Wiltzen

BLUE CHAIR CAFÉ Mighty Popo; 8pm


Flight Safety and Yukon Blonde with Axiomatik

HOOLIGANZ Open stage

Thursdays hosted by Phil (Nobody Likes Dwight); 9pm-1:30am

HYDEAWAY�Jekyl and Hyde

Lionheart and a Fistfull of Blues

Black Axis, Guardians of Power, The Red Circle, Dead Girls Don't Say No, Sawed Off

BRIXX BAR Tommy Grimes

JAMMERS PUB Thursday open


Birthday Bash, with Greg Gory

CAFE LEVA Slack Key Slim CHRISTOPHER'S PARTY PUB Open stage hosted by Alberta Crude; 6-10pm


Gord Bamford CD Release; with Jason Greeley and Chad Klinger: $30


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

THE DRUID IRISH PUB Live music with Darrell Barr; 5:308:30pm, DJ at 9pm

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

jam; 7-11pm

Greg Gory


Innocent Bystander, The Sky Life, Guests


DJs BILLY BOB’S LOUNGE Escapack Entertainment

Justice AND Ras'pect



Skating Disco: Thursday Retro Nights; 7-10:30pm;

no cover

STOLLI'S Dancehall, hip hop

IVORY CLUB Duelling piano

with DJ Footnotes hosted by Elle Dirty and ConScience every Thursday; no cover


music every Friday

BUDDY'S DJ Bobby Beatz; 9pm;

every Friday

180 DEGREES Sexy Friday night

Knucklehead, Old Wives, No Problem, Blame-Its

no cover before 10pm; Shiwana Millionaire Wet Underwear Contest

AXIS CAFE Sheena Grobb,


CENTURY ROOM Underground



House every Thursday with DJ Nic-E


Laura Swankey

Band; 8pm; $10

BLUES ON WHYTE Big Hank Lionheart and a Fistfull of Blues Mutiny Within and Powerglove

L.B.'S PUB Open jam with Ken


CARROT Live music Fridays: all ages; Riverside Pickers; 7:309:30pm; $5 (door)

Requests with DJ Damian

GAS PUMP Ladies Nite: Top 40/

Thursdays with Gary Thomas

dance with DJ Christian


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

NAKED CYBERCAFÉ Open stage every Thursday; bring your own instruments, fully equipped stage; 8pm

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

by Wild Rose Old Time Fiddlers

LEVEL 2 LOUNGE Absolut Thursdays: with DJ NV and Joey Nokturnal; 9:30pm (door); no cover


LUCKY 13 Sin Thursdays with


DJ Mike Tomas

O'BYRNE'S Jesse Dee & Jacquie B, the ory no'man too, Pascal Lecours


hosted by Cameron Penner/ and/or Rebecca Jane


BRIXX BAR Sonata Arctica with




Pop Echo Records Party


NORWOOD LEGION Uptown Folk Club open stage; 7pm

ON THE ROCKS The Mishaps; 9pm


Release, Theo VS Loki & The J.A.M.S


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

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

THE DRUID IRISH PUB Live music with Darrell Barr; 5:308:30; DJ at 9pm

DV8 The Press Gang with Gorgon Horde

ON THE ROCKS Salsaholic


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


Bring an instrument, jam/sing with the band, bring your own band, jokes, juggle, magic; 8-12

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


ENCORE CLUB With A Latin Twist: free Salsa Dance Lessons at 9pm


Hit It Thursdays: breaks, electro house spun with PI residents


STEEPS�Old Glenora Live

RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 8pm-1am

ELECTRIC RODEO�Spruce Grove Open Stage Thursday:



EDDIE SHORTS Hell Preacher

Thursdays: Dance lessons at 8pm; Salsa DJ to follow

Friday: Headwind (classic pop/ rock); 9pm; no cover


& Arbuckle

9:30pm followed by Electroshock Therapy with Dervish Nazz Nomad and Plan B (electro, retro)

Eluvietie and guests

JEFFREY'S Jack Semple


Radio Brixx with Tommy Grimes spinning rock and roll

FLUID LOUNGE Girls Night out

Thursday; 7pm

show with Jesse, Shane, Tiffany and Erik and guests


Bingo with DJ S.W.A.G.


IRISH CLUB Jam session; 8pm;


Big Rock Thursdays: DJs on 3 levels–Topwise Soundsystem spin Dub & Reggae in The Underdog

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

HORIZON STAGE Nathan; $25;

Rump Shakin' Thursdays: From indie to hip hop, that's cool and has a beat; no cover


John Bates

DV8 Open mic Thursdays


Thurzday with org666

And Special Guests Fear Of Crime



Music Fridays:


YARDBIRD SUITE Melody Diachun Quartet; $14; 8pm

Classical ALL SAINTS' ANGLICAN CATHEDRAL Greenwood Singers Celebrate 30 Years; $20; 8pm


Bayley and The Circus featuring Trina Nestibo

Chorus of Hits

ENCORE CLUB 4 Play Fridays




Brixx presents Tommy Grimes Birthday Bash with special guest

Thursday: old school r&b, hip hop, dance, pop, funk, soul, house and everything retro with DJ Service, Awesome

Fridays: Alexandra Adamoski; 7-10pm; $7

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 TAVERN 8307-99 St, EARLY STAGE SALOON 491152 Ave, Stony Plain EDDIE SHORTS 10713 124 St, 780.453.3663 EDMONTON MORAVIAN CHURCH 9540 - 83 Ave EDMONTON BLUES SOCIETY Queen Alexandra Hall 10425 University Ave. EDMONTON EVENTS CENTRE WEM Phase III, 780.489.SHOW EDMONTON GOLF AND COUNTRY CLUB 780.487.1150 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 FESTIVAL PLACE 100 Festival Way, Sherwood Park, 780.449.3378, 780.464.2852 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 FOXX DEN 205 Carnegi Drive, St Albert FRESH START CAFÉ Riverbend Sq, 780.433.9623 FUNKY BUDDHA 10341-82 Ave, 780.433.9676 GAS PUMP 10166-114 St, 780.488.4841 GINGUR SKY 15505-118 Ave, 780.913.4312/780.953.3606

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 PUB 10704-124 St, 780.452.1168 HOLY TRINITY ANGLICAN CHURCH 10037 - 84 Ave HORIZON STAGE Spruce Grove; 780.962.7634 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 JOHN L. HAAR THEATRE 10045-155 St JOJO’S�LA PIAZZA DASEE 8004 Gateway Blvd, 780.437.5555 JOHN L. HAAR THEATRE Grant MacEwan College, 10045-155 St 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 11056-86 Ave, 780.479.5382 LEVEL 2 LOUNGE 11607 Jasper Ave, 2nd Fl, 780.447.4495 LIVE WIRE 1107 Knotwood Rd. East MACLAB CENTRE�Leduc 430850 St, Leduc, 780.980.1866 MARYBETH'S COFFEE HOUSE–Beaumont 5001-30 Ave, Beaumont MCDOUGALL UNITED

CHURCH 10025-101 St MYER HOROWITZ THEATRE MORANGO’S TEK CAFÉ 10118-79 St MYER HOROWITZ THEATRE 8900 114 St, 780.492.4764 NAKED CYBERCAFÉ 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 NORWOOD LEGION 11150-82 St, 780.436.1554 NORTH GLENORA HALL 13535-109A Ave O’BYRNE’S 10616-82 Ave, 780.414.6766 ON THE ROCKS 11730 Jasper Ave, 780.482.4767 ORLANDO'S 1 15163-121 St OVERTIME Whitemud Crossing, 4211-106 St, 780.485.1717 PALACE CASINO�WEM 8882170 St, 780.444.2112 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 PROHIBITION 11026 Jasper Ave, 780.420.0448 QUEEN ALEX HALL10425 University Ave REDNEX BAR�Morinville 10413-100 Ave, Morinville, 780.939.6955, RED PIANO BAR 1638 Bourbon St, WEM, 8882-170 St, 780.486.7722 RED STAR 10538 Jasper Ave, 780.428.0825 RENDEZVOUS 10108-149 St RIC’S GRILL 24 Perron Street, St Albert, 780.460.6602 ROBERT TEGLER STUDENT

Friday: DJ Papi and DJ Latin Sensation


VENUE GUIDE 180 DEGREES 10730-107 St, 780.414.0233 ARTERY 9535 Jasper Ave ALL SAINTS' ANGLICAN CATHEDRAL 10035-103 St AVENUE THEATRE 9030-118 Ave, 780.477.2149 AXIS CAFÉ 10349 Jasper Ave, 780.990.0031 B�STREET BAR 111818-111 Ave BANK ULTRA LOUNGE 10765 Jasper Ave, 780.420.9098 BILLY BOB’S Continental Inn, 16625 Stony Plain Rd, 780.484.7751 BLACK DOG FREEHOUSE 10425-82 Ave, 780.439.1082 BLUE CHAIR CAFÉ 9624-76 Ave, 780.989.2861 BLUES ON WHYTE 10329-82 Ave, 780.439.3981 BOOTS 10242-106 St, 780.423.5014 BRIXX BAR 10030-102 St (downstairs), 780.428.1099 BUDDY’S 11725B Jasper Ave, 780.488.6636 CASINO EDMONTON 7055 Argylll Rd, 780.463.9467 CASINO YELLOWHEAD 12464153 St, 780 424 9467 CENTURY ROOM 3975 Calgary Tr. NW, 780.431.0303 CHATEAU LOUIS 11727 Kingsway, 780 452 7770 CHRISTOPHER’S 2021 Millbourne Rd, 780.462.6565 CHROME LOUNGE 132 Ave, Victoria Trail COAST TO COAST 5552 Calgary Tr, 780.439.8675 CONVOCATION HALL Arts Bldg, U of A, 780.492.3611 COOK COUNTY SALOON 8010 Gateway Boulevard; 780.432.2665 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

28 // MUSIC

VUEWEEKLY // APR 15 – APR 21, 2010

CENTRE Concordia Campus, 73 St, 112 Ave ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253 ROSE AND CROWN 10235101 St ROYAL ALBERTA MUSEUM 12845-102 Ave SAWMILL BANQUET CENTRE 3840-76 Ave SECOND CUP�Mountain Equipment 12336-102 Ave, 780.451.7574; Stanley Milner Library 7 Sir Winston Churchill Sq; Varscona, Varscona Hotel, 106 St, Whyte Ave 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 STRETCH�Fort Saskatchewan 10208-99 Ave, Fort Saskatchewan TAPHOUSE 9020 McKenney Ave, St Albert, 780.458.0860 TRINITY UNITED CHURCH 8810 Meadowlark Road WHISTLESTOP LOUNGE 12416-132 Ave, 780. 451.5506 WESTWOOD UNITARIAN CHURCH 11135-65 Ave WILD WEST SALOON 12912-50 St, 780.476.3388 WINSPEAR CENTRE #4 Sir Winston Churchill Square; 780.28.1414 WUNDERBAR 8120-101 St, 780.436.2286 Y AFTERHOURS 10028-102 St, 780.994.3256, YESTERDAYS PUB 112, 205 Carnegie Dr, St Albert, 780.459.0295


Connected Fridays: 91.7 The Bounce, Nestor Delano, Luke Morrison

BAR�B�BAR DJ James; no cover BAR WILD Bar Wild Fridays BLACK DOG FREEHOUSE

Friday DJs spin Wooftop and Main Floor: Eclectic jams with Nevine–indie, soul, motown, new wave, electro; Underdog: Perverted Fridays: Punk and Ska from the ‘60s ‘70s and ‘80s with Fathead

BOOTS Retro Disco: retro dance

Toma; no cover



SAT APR 17 180 DEGREES Dancehall and Reggae night every Saturday ALBERTA BEACH HOTEL

Open stage with Trace Jordan 1st and 3rd Saturday; 7pm-12


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

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

JEFFREY'S Jack Semple


L.B.’S PUB Molsons Saturday

afternoon open stage hosted by Lenny and The Cats; 5pm


Saturday open stage: hosted by Dr. Oxide; 7-10pm


Top tracks, rock, retro with DJ Damian

HALO For Those Who Know: house every Saturday with DJ Junior Brown, Luke Morrison, Nestor Delano, Ari Rhodes LEVEL 2 LOUNGE Signature

Evil Survives, Archon Legion, For Your Liberation, Mortillery, Fuquored

Sound Saturdays: with DJ's Travis Mateeson, Big Daddy, Tweek and Mr Wedge; 9:30pm (door); $3; 780.447.4495 for guestlist

BUDDY’S DJ Arrow Chaser;

of the Dog: live acoustic music; Every Sat; 4-6pm; no cover

O’BYRNE’S Live Band Saturday 3-7pm; DJ 9:30pm

NEWCASTLE PUB Saturdays: Top 40, requests with DJ Sheri


CENTURY ROOM Underground

James; $12; 8pm

ON THE ROCKS The Mishaps;


8pm; no cover before 10pm

House every Friday with DJ Nic-E


VIP Fridays


Lionheart and a Fistfull of Blues

BRIXX BAR This Is War, Capture

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

The Hills and Harpazzo Falls

ESMERELDA'S Ezzies Freakin

7:30-10pm; free

Frenzy Fridays: Playing the best in country

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

GAS PUMP Top 40/dance with

CARROT Open mic Saturdays;


OVERTIME Jamaoke: karaoke

with a live band featuring Maple Tea

PAWN SHOP Gentleman Prefer Blondes, All Else Fails & Guests


Punk Rawk Saturdays with Todd and Alex


Polished Chrome Saturdays: industrial, Electro and alt with Dervish, Anonymouse, Blue Jay


Live On Site! Anti-Club Saturdays: rock, indie, punk, rock, dance, retro rock; 8pm (door)


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




2pm; Free admission

Suggestive Saturdays: breaks electro house with PI residents


RED STAR Saturdays indie rock,


Madison Drive


DJ Christian

every Saturday; 9:30pm

LEVEL 2 LOUNGE Formula Fridays: with rotating residents DJ's Groovy Cuvy, Touretto, David Stone, DJ Neebz and Tianna J; 9:30pm (door); 780.447.4495 for guestlist

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

Flash Lightnin and The Apresnos

TRINITY UNITED CHURCH Songquest; 3pm; $16


hip hop, and electro with DJ Hot Philly and guests

B�STREET BAR Acoustic-based

open stage hosted by Mike "Shufflehound" Chenoweth; every Sunday evening

CROWN PUB Latin/world fusion jam hosted by Marko Cerda; musicians from other musical backgrounds are invited to jam; 7pm-closing DEVANEY’S IRISH PUB Celtic Music Session, hosted by KeriLynne Zwicker, 4-7pm EDDIE SHORTS Sunday acoustic oriented open stage hosted by Uncle Jimmy


Justice AND Ras'pect

HYDEAWAY Sunday Night Songwriter's Stage: hosted by Rhea March J AND R BAR Open jam/stage every Sunday hosted by Me Next and the Have-Nots; 3-7pm NEWCASTLE PUB Sunday Soul Service (acoustic jam): Willy James and Crawdad Cantera; 3-6:30pm NEW CITY Open Mic Sunday hosted by Ben Disaster; 9pm (sign-up); no cover

RENDEZVOUS Survival metal night

O’BYRNE’S Open mic Sunday with Robb Angus (Wheat Pool); 9:30pm-1am

SPORTSWORLD Roller Skating

ON THE ROCKS 7 Strings

Disco Saturdays; 1pm-4:30pm and 7-10:30pm;

Sundays: Matt Blais ; 9pm

YARDBIRD SUITE Dave Babcock and his Jump Orchestra CD Release, with Amos Garrett; $22; 8pm

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

Open Stage Jam hosted by The Vindicators (blues/rock); 3-8pm

EARLY STAGE SALOON� Stony Plain Saturday Live Music


TEMPLE Oh Snap!: Every

PAWNSHOP Wearewolves

PLAY NIGHTCLUB The first bar for the queer community to open in a decade with DJ's Alexx Brown and Eddie Toonflash; 9pm (door); $5



REDNEX DJ Gravy from the



House, dance mix with DJ Donovan


DV8 Sons of No One with Youth Pessimist and Jenny Woo

EARLY STAGE SALOON Brian Bayley and The Circus featuring Trina Nestibo

Chorus of Hits


Source 98.5

stage every Sat, 12-6pm

Saturday: DJ Touch It, hosted by DJ Papi

RED STAR Movin’ on Up

GAS PUMP Acoustic Open Jam;


Fridays: indie, rock, funk, soul, hip hop with DJ Gatto, DJ Mega Wattson

ROUGE LOUNGE Solice Fridays SPORTSWORLD Roller Skating Disco Friday Nights; 7-10:30pm;

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


with DJ Tysin

TEMPLE Options Dark Alt Night; Greg Gory and Eddie Lunchpail; (door) 9pm; $5 WUNDERBAR Fridays with the Pony Girls, DJ Avinder and DJ

Justice AND Ras'pect

Saturday DJs on three levels. Main Floor: Menace Sessions: alt rock/electro/trash with Miss Mannered

HILLTOP PUB Open stage/

BUDDY'S DJ Earth Shiver 'n'

mic Saturday: hosted by Sally's Krackers Sean Brewer; 3-5:30pm

Quake; 8pm; no cover before 10pm


CENTURY ROOM Underground

Saturdays 4-6pm


IRON BOAR PUB Jazz in Wetaskiwin featuring jazz trios the 1st Saturday each month; $10 IVORY CLUB Duelling piano

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

WUNDERBAR Featured DJ and local bands




Open stage/jam every Sunday; 2-6pm


Classical HOLY TRINITY ANGLICAN CHURCH Rebecca Claborn, Jeremy Spurgeon



House every Saturday with DJ Nic-E

WHO MADE WHO: The Rock Yf\JgddJ]kmjj][lagfœL`] Maykings revive The Who The Dirty Dudes revive AC/DC; 10pm; Free



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

hop, house, mash up


show with Jesse, Shane, Tiffany and Erik and guests


JR BAR & GRILL Big & Fearless;

ESMERALDA’S Super Parties: Every Saturday a different theme


Saturday, Cobra Commander and guests with Degree, Cobra Commander and Battery; 9pm (door); $5 (door)


Jazz on the Side Sundays


Industry Night: with Atomic Improv, Jameoki and DJ Tim


BUDDY'S DJ Bobby Beatz; 9pm; Drag Queen Performance; no cover before 10pm


VUEWEEKLY // APR 15 – APR 21, 2010

MUSIC // 29


3-D boundaries

Difficult to translate live shows from the stage to screen Imagine a world where a band doesn't tour; theatre in 3-D are obvious. It'll be cheaper instead, it plays one show, which is then to see the show at the mall than it would broadcast in 3-D for virtual viewers lo- be to go down to the arena or club. You won't have to worry about the guy in the cated around the planet. The band doesn't have to travel or trash hotel rooms. No mosh pit who takes off his shirt but leaves one has to worry about missing out on his leather jacket on, turning him into a a sold-out show, or being forced to sweaty, smelly mess. watch from nosebleed seats. Yes, I have just given away how many goth shows I attended Last week, concert-promotion giant AEG tested out a new when I was younger. I liked the concept: the Black Eyed Peas Sisters of Mercy. Sue me. e e w e @vu played at Los Angeles' Staples steven Center, while moviegoers at Steveonr The problem with any broadnearby movie theatres saw the cast, though, is that you're a Sand show in 3-D. Sound was taken right slave to the producer. Sometimes from the board and mixed right into the you are mesmerized by the crazy drummer. Or you wonder why the bass player 3-D broadcast. looks so pissed off at the rest of his bandOne day someone is going to figure out how to take old concert footage and trans- mates. When you're at a show, you watch form that into 3-D as well. And a whole what you want to watch. But when the generation of kids who want to learn view is being controlled by someone who about the history of punk rock can watch will likely focus on the singer and lead guiLux Interior of the Cramps puke on stage. tarist, well, your choices are limited. Or be scarred by Jesus Lizard frontman DaSome of the shows I remember best are vid Yow ripping his clothes off as the show because of things I wondered about or goes on, naked by the time the last song of picked up on as the show went on. I recall the set goes over. a Mercury Rev show where bassist Dave Or metal fans can relive Ozzy biting Fridmann—yes, the same Dave Fridmann the head off some animal, over and who is now the psychedelic Über producer behind acts like the Flaming Lips and MGover again. MT—refused to face the audience for an Fun! entire show. He simply hunched over and The selling points of seeing a show in a




Steven Sandor is a former editor-in-chief of Vue Weekly, now an editor and author living in Toronto.

FLOW LOUNGE Stylus Sundays

BUDDY'S DJ Dust 'n' Time; 9pm

Rickey Sidecar; 8pm





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

FLUID LOUNGE Mondays Mixer

Stage hosted by Paul McGowan and Gina Cormier; every Tuesday, 8pm-midnight; no cover

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

LUCKY 13 Industry Night with DJ Chad Cook every Monday

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

SPORTSWORLD Roller Skating


Daniel and Fowler (eclectic tunes)


Thompson Quintet



ARTERY Edmonton Rocks for


Get Down Sundays with Neighbourhood Rats


Disco Sundays; 1-4:30pm;


Gallatea and XS, guests; no cover


Sleeman Mondays: live music monthly; no cover


DEVANEY'S IRISH PUB Open stage Mondays with Ido Vander Laan and Scott Cook; 8-12 NEW CITY This Will Hurt you

Mondays: Johnny Neck and his Job present mystery musical guests


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

PROHIBITION Chicka-Dee-Jay Monday Night: with Michael Rault

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

DJs BAR WILD Bar Gone Wild

Mondays: with DJ S.W.A.G.

Iraq III; Bill Bourne 100 Mile House Laurelle Young-Kanji Field Basansikis $15

Main Floor: CJSR’s Eddie Lunchpail; Wooftop: with DJ Gundam





Troubadour Tuesdays; with The Balconies and Shawn Brewer. Hosted by Mark Feduk

CROWN PUB Underground At The Crown: underground, hip hop with DJ Xaolin and Jae Maze; open mic; every Tue; 10pm; $3 THE DRUID IRISH PUB Open stage with Chris Wynters; 9pm

EDMONTON EVENTS CENTRE An Evening with Cake; 7pm

L.B.’S PUB Ammar’s Moosehead Tuesday night open stage; 9pm1am; featuring guests; hosted by Mark Ammar and Noel (Big Cat) Mackenzie


Open Mic; Hosted by Ben Disaster; 9pm

O’BYRNE’S Celtic Jam with

Shannon Johnson and friends

OVERTIME Tuesday acoustic

jam hosted by Robb Angus


open stage, band oriented, hosted by Chuck Rainville; 9pm-1am


Flower Open Stage Wednesdays with Brian Gregg; 8pm-12


ESMERALDA’S Retro every

Licious: Gypsy and circus fusion spectaculars; last Wednesday every month


OVERTIME Dueling pianos featuring The Ivory Club

Matt Andersen & Wil

NEW CITY Circ-O-Rama-


‘abilly, Ghoul-rock, spooky with DJ Vylan Cadaver

Bluegrass jam presented by the Northern Bluegrass Circle Music Society every Wednesday evening


PROHIBITION Wednesdays with


RED STAR Tuesdays:

Roland Pemberton III

Experimental Indie Rock, Hip Hop, Electro with DJ Hot Philly

RED PIANO BAR Jazz and Shiraz Wednesdays featuring Dave Babcock and his Jump Trio


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


Main Floor: Glitter Gulch Wednesdays: The Library Voices. plus CD Release Party for Denim on Denim

SECOND CUP�Mountain Equipment Open Mic every Wednesday, 8-10pm

STEEPS TEA LOUNGE� College Plaza Open mic every

Wednesday; hosted by Ernie Tersigni; 8pm

SECOND CUP�Stanley Milner Library Open mic every Tuesday;

STEEPS TEA LOUNGE� Whyte Ave Open mic every


BRIXX Really Good… Eats and Beats: DJ Degree every Wed, Edmonton’s Bassline Community; 6pm (music); no cover



SECOND CUP�124 Street


Open mic every Tuesday; 8-10pm

All Star Jam with Alicia Tait and

VUEWEEKLY // APR 15 – APR 21, 2010


Live jazz every Wed night: Kent


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

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


BUDDY'S DJ Arrow Chaser; 9pm


Wednesday Nights: with DJ Harley


Latin and Salsa music, dance lessons 8-10pm


BUDDY'S DJ Dust 'n' Time; 9pm;

Troubadour Tuesdays ft The Balconies and Sean Brewer. Host Mark Feduk; 9pm; $8

Tuesday; no cover with student ID


with Jonny Mac; 8:30pm; free; Laurell With Special Guests Early Show


Mondays: Service Industry Night; no minors; 9pm-2am

Main Floor: Eclectic Nonsense, Confederacy of Dunces, Dad Rock, TJ Hookah and Rear Admiral Saunders

30 // MUSIC

played the entire gig with his butt to the audience. Some of you might remember a shoegazer band of the early '90s called the Boo Radleys. The band's singer, Sice, liked to spit up in the air and ... ahem ... catch it in his mouth. And, I don't know how well stage banter would translate. Anyone who has seen the Future of the Left or Mclusky would know that Andy Falkous, the frontman of both acts, is about as smarmy an asshole as you'd ever see on stage. He engages audiences, almost daring someone to rush him on stage with the level of insults he throws their way. I don't know if the band's barbs would always work in the translation. When Falkous makes a marked comment at a guy wearing a Tool shirt at the show, will the camera pick it up? Of course, would FOTL ever be big enough to get a 3-D show? Geez, that would restore my faith in humanity. But, sooner or later that technology is going to become cheaper and a lot more accessible. If you would have gone back a decade and told people how easy it would be to webcast on YouTube, they would have scoffed. V

Wednesday; 8pm

TEMPLE Wyld Style Wednesday: Live hip hop; $5

no cover before 10pm

up Wednesdays: R&B, hiphop, reggae, old skool, reggaeton with InVinceable, Touch It, weekly guest DJs


Rock This

IVORY CLUB DJ ongoing every

Wednesday; open DJ night; 9pmclose; all DJs welcome to spin a short set

LEGENDS PUB Hip hop/R&B with DJ Spincycle

NEW CITY LIKWID LOUNGE DJ Roxxi Slade (indie, punk and metal)


It: with Greg Gory and Eddie Lunchpail; no minors; 9pm (door)

NIKKI DIAMONDS Punk and ‘80s metal every Wednesday

RED STAR Guest DJs every Wednesday

STARLITE ROOM Wild Style Wednesdays: Hip-Hop; 9pm

STOLLI'S Beatparty Wednesdays: House, progressive and electronica with Rudy Electro, DJ Rystar, Space Age and weekly guests; 9pm-2am; www.beatparty. net

WUNDERBAR Wednesdays with new DJ; no cover



VUEWEEKLY // APR 15 – APR 21, 2010

MUSIC // 31

32 // MUSIC

VUEWEEKLY // APR 15 – APR 21, 2010


Legendary punks

The Old Wives return from punk-rock mecca with See You In Hell

BARELY WRINKLED >> The Old Wives have at 'er in the Vue studio David Berry //


orking with people who have produced some of your all-time favourite albums, plugging into amps or singing into pop-guards that some of your personal legends have used, getting a chance to put your finished record up on the wall beside your heroes'— that's not the way most bands hunker down to do their first full-length. But then, the Old Wives aren't most bands. Crusted with the dirty edge that can only come from plenty of scene experience, this quartet of vets knows its city history as well as its punk history, both of which contributed to the choice to lay down the tracks for the group's debut album, See You in Hell, at Sonic Iguana Studios in Lafayette, Indiana. For those not in the know, Sonic Iguana is the studio home of Phillip Hill and Mass Giorgini, and the Midwest epicentre of punk that served as the staging ground for the likes of the Queers, AntiFlag, Rise Against, the Riverdales, Alkaline Trio, Screeching Weasel and many

// Eden Munro

more. For the '90s-steeped punks of the Old Wives, it will serve as a suitable mecca until they dig a Fat Wreck Chords mass grave, and when they found out there was some space and time available to record with some of their idols—both in person and in reverberating memory—it wasn't even a question of if they were going to load up the van and head down for a summer session. But the fates, you know, they make their own rules, and when vocalit/guitarist Liam Harvey Oswald, guitarist TS, drummer "the" DRRN and bassist Ryan Dix piled into their affectionately monikered Van Kilmer and set out, they were met with one disaster after another. "I think somebody was against us," Oswald puts it plainly, the memories still a sore spot. "I wouldn't say any of us necessarily believe in some kind of higher power or God, but there was some sort of power against us, definitely." Hoping to pull off a to-and-from trip to Indiana, a five-day recording session and two dates in a little over a week, there wasn't much room for error. Error was what they got, from step one:

Oswald had to rush to a late-night registry the evening before they left just to keep the band legal. Making good time to Saskatoon, they then had to hole up for a night and wait for the Greyhound delivery after they discovered a certain drummer had forgot his passport at home. Approaching the border, an improperly-cleaned band van would have nearly got them waylaid and asked not to come back for some time, had Oswald not noticed the offending contraband in the nick of time. Apparently, near-disasters only come in threes, though, as once the boys— well, men—finally made it across the border, Sonic Iguana was everything they'd dreamed of and more. "There was a lot of sightseeing when we first got in there," admits Dix. "Phil took us around for the tour, and they had a wall of records. Screeching Weasel is on the wall there. Teen Idols. I think half of our first night there was just us finding records and going, 'Holy CONTINUED ON PAGE 37 >>



VUEWEEKLY // APR 15 – APR 21, 2010

MUSIC // 33

Sat, Apr 17 (8 pm), Dave Babcock & His Jump Orchestra When Edmonton jazz saxophonist Dave Babcock set out to make his latest album, Jump to It, he had a very specific idea of what the record should sound like. Instead of putting his focus on a time period when jazz was king, such as the big-band era, Babcock chose to focus in on a transitional period in the genre's history and delve into the myriad of influences swimming through the music world as popular music moved away from jazz and towards rock 'n' roll. "Essentially this sound is more of the post-War to mid-'50s basically—the bridge between the big-band era and rock 'n' roll, if you will, when saxophone was king," he explains. "In terms of the stylistic influences, there's some RnB feelings on some of the

April 16 (7:30 pm) / Nathan / Horizon Stage, $20 – $25 It was back in 2007 that Winnipeg band Nathan released its last album, Key Principles. What has the quartet been doing since then? "We've been spawning the next generation," laughs vocalist/ guitarist Keri Latimer, appropriately enough on her way to a Calgary park with her kids. "We've all been having children and kind of focusing on that for the last couple of years." But while a focus on family makes it a touch more difficult to get the band together on a regular basis, the members have still found time to head out for a few shows, although Shelley Marshall (also on vocals and guitar) is sitting out the latest round, with Chantal Vitalis of Kris Demeanor's band joining up for a time (and also introducing some pedal steel into Nathan's sound). Once the band gets back home to Winnipeg, Latimer will be Sat, Apr 17 (9 pm) / Grady / Starlite Room, $24 The last time Grady—singer/ guitarist Gordie Johnson, bassist Ben Richardson and drummer Nina Singh— was through town, the band set up and blasted through a few songs in the Vue studio, turning up and stomping hard without hesitation, despite having just rolled into town. "What else would I be doing?" Johnson laughs. "I don't know to do it any other way. Every time you hit the standby switch it's got to be the same. It's a little harder early in the morning than it is at night, but that doesn't make it any less important. If you're going to fire it up, man, you've got to fire it up." That attitude was honed during the years that Johnson was leading Big Sug-

34 // MUSIC

VUEWEEKLY // APR 15 – APR 21, 2010


"If you wanna hear it, we wanna play it!" the Give 'Em Hell Boys' website hollers boldly, introducing listeners to the band's rowdy, irreverent blend of hillbilly and classic country. The hard-working Edmonton acoustic sextet is made up of guitarists San Quentin (aka Quinn Clark) and Charlie Scream (Charles Biddiscombe), slide/dobro player Bagga Dix (Michael Dunn), Barn Jovi (Brayton Farmer) on banjo, bassist Bootsy Cline (Lindsay Thompson) and Callin' Hell

—Mike Angus


Sat, Apr 17 (4 pm), the Give 'Em Hell Boys


—Bryan Birtles


Mutiny Within started out as a Children of Bodom cover band but quickly outgrew that phase of its existence. Utilizing social media, the band gained prominence and its single "Born to Win," has become the theme song for WWE wrestler Evan Bourne. Unfortunately, however, Evan Bourne has so far failed to win any championships in the WWE. (Starlite Room, $22)

tunes as well as some Afro-Cuban sensibilities in there, there's some traditional swing, as well as some influences from mainstream jazz of the era." Delving into a less-explored and more transitional era of jazz history might seem an odd choice, but for Babcock it was easy. As a real student of the genre, the era held plenty of fascination for him because of the possibilities it seemed to offer: as the popularity and pervasiveness of jazz started to wane, the complexity of what got thrown into the genre became much more interesting. "I think just because there's more to choose from," he says of his decision to narrow his focus to a little-explored decade in jazz. "There has always been an influence of other styles, even from music of the early20th century and into the '20s and '30s in the swing era—there's always been music from other parts of the world whether it's rhythmic or harmonic sensibilities, but there's something about that era for me that, maybe it's the energy of it, but it's a little bit leaner and meaner than say the Paul Whiteman Orchestra of the '20s which was massive and very pop-oriented. There's a little bit more edge to it and it has a little bit of that rock 'n' roll sensibility to it." (Yarbird Suite, $18 – $22) —Bryan Birtles


Sat, Apr 10 / Spoon River / Black Dog VUEWEEKLY.COM/VUETUBE

(Colin Bergeron) on fiddle. All six share vocal duties, and with a smart blend of classic country covers and originals—like 'Play Hank Williams at My Funeral' and 'North Saskatchewan Blues'—the band's shows guarantee to be barn burners. "We'll take punk rock songs and put banjo and fiddle on them and see what comes out," laughs Dunn. "We do a lot of covers: the classic country tunes, outlaw stuff and newer alt-country tunes. Then we've got about a dozen originals we can throw out there too." Having met through mutual friends in fellow Edmonton cow punkers the B-Movies three years ago, the members have steadily built up their live show and catalogue thanks to some quick chemistry. "It came together pretty quickly. We had some good chemistry off the start," he notes. "I had to learn slide guitar on the fly, but it came pretty naturally. Lindsay's a hell of a bass player, and Colin's been playing the fiddle since he could walk." (Black Dog, free)


Fri, Apr 16 (8 pm), Mutiny Within



Tue, Apr 20 (7 pm), CAKE Sacramento's CAKE first came to prominence on the back of its indie single "Rock 'n' Roll Lifestyle," which took shots at the destructive power of the trappings of fame. Now the band is recording its latest album entirely by way of solar power in order to bring attention to the destructive power of the everyday. (Edmonton Event Centre, $39.50) —Bryan Birtles

setting her sights on an upcoming solo album— "I just know so many amazing musicians and this will be a chance to play with everybody," she laughs. "I want everybody on my next album"—but she doesn't rule out another Nathan record down the line. "I hope so. I think so," she offers. "It just might take us a while, but the reason why we've stayed together so long is because we love playing together and we all think together on the same wavelengths." —Eden Munro

with Grady picking up an assortment of gigs from backing up Merle Haggard's ex-guitar player Red Volkaert on a round of traditional country tunes to stepping up to the plate as Twisted Sister mainman Dee Snider's band. VUEWEEKLY.COM/VUETUBE "In Austin you know, if these weird creative things come // Eden Munro up it's just more fun ar—a band that, incidentally, is doing a to do 'em than to stick by some, 'Oh no, few shows over the coming months— it's not the appropriate venue for us,' so we're just like, 'Hey it's a gig. Cool.'" but even today, now based in Austin, TX, Johnson shows no signs of slowing down, —Eden Munro


Less ordinary, more ordinateur

a loose coterie of musicians, every Red Ram show is different. "On some shows you'll hear almost every sound that's on the album but the way we approach it is that the live show doesn't have to sound exactly like the album."

Red Ram moves even further away from organic sounds Bryan Birtles //


tepping away from the organic sounds of previous groups has long been the goal of Mark Feduk's current band Red Ram, an endeavour that started out as a solo project before now kinda-sorta becoming a band, albeit one with parameters that shift constantly. On Red Ram's previous full-length offering, 2006's Stars Ablaze, the band began to experiment with sounds other than traditional instruments, but on the newest album, the about-to-be-released Slip Away, Feduk and producer Doug Organ have kicked it up a few notches thanks to the newfound freedom of a Rawlco Radio grant. "I had a budget to work with on this one because I'd gotten a grant for it so I definitely wanted to go. This band's always been really heavy into the studio experimenting with different sounds and taking our time with the songs," Feduk explains. "With this album I wanted to go even further than we did on Stars Ablaze with blending electronic sounds with organic sounds and not really knowing where one starts and one ends." The process of making Slip Away, which often included sampling drummer Bill


STAR ABLAZE >> Red Ram's Mark Feduk lays down a track at Edmontone Studio George and recutting the drums electronically, then building the song up around the beats instead of just knocking out a few takes around a microphone, took much longer than recording a traditional album would have and resulted in a myriad of sounds that would be difficult to recreate

// Eden Munro

live without a multitude of musicians. Recreating the sound of the album, however, is not high on Feduk's priority list. "I don't sweat it so much—I've always been a little disappointed when you go see a band and it sounds exactly like the album and you may as well have just

played the CD and had them dancing around to it, so with this band we don't sweat duplicating all the sounds. What people are going to see at this CD release is a more raw version that won't have some of the synth parts," he says, mentioning that because he and George work with

VUEWEEKLY // APR 15 – APR 21, 2010

The new album is also marked by the dual focuses of leaving and loss, something that Feduk explains was influenced by his year-long sojourn to Saskatoon after becoming fed up with what he felt was a lack of creative output in Edmonton. "It was a really good thing for me, it started a new chapter and it was nice to be uprooted and not where I was so comfortable and maybe even getting into a rut. Some of the darker stuff and the stuff about loss came from me feeling like I didn't really know what I was doing or where I was going and by leaving town it re-energized me and got me back on the right track with being productive," he says of the album's themes, which only revealed themselves over time to him. "It's not like I think that consciously about the lyrics—a lot of them just come to my mind right away and then later on I'll figure out what I was talking about—but I think if there's anywhere that that theme comes from it's the process I went through in the last two years." V Fri, Apr 16 (9 pm) Red Ram With Thea vs Loki, JAMS Pawn Shop, $10

MUSIC // 35


Get in line

Pop Echo and Weird Canada's 99 Sevens keeps it exclusive David Berry //


ife as an independent record label, especially in our town, is never exactly peaches. As with a lot of independent bands, survival essentially means slowly scraping together enough resources to do something big, and then hoping that it hits big enough to help with the next thing. With a lack of resources, though, comes a resourcefulness, a creativity that's essential to making it through another dayâ&#x20AC;&#x201D;or, in the case of Pop Echo, five years. "We're always dreaming up schemes," admits Pop Echo co-owner Travis Dieterman, when asked about the latest one, the 99 Sevens project. "We've talked about doing a record-of-the-month club, there was once a talk of a CDR singles club. We thought about doing a USB single. I think we've always wanted to do some sort of limited-edition singles thing, but we could never figure out a way that we could make it work for us and the band." Enter, then, 99 Sevens. Cooked up by Dieterman and partner Graham Johnson, and supported by Weird Canada impresario Aaron Levin, 99 Sevens is a unique way to get bands on singles and make sure those singles get into the hands of listeners right away. Essentially, the trio recruits a band to put out a single, then turns that single's re-

36 // MUSIC

VUEWEEKLY // APR 15 â&#x20AC;&#x201C; APR 21, 2010

lease party into the one-time, exclusive opportunity to grab the single. Only 99 copies are printed, and numbered copies will be handed out in order to the people that walk through the door: first person gets number one, and so on, until they're all out. If you're late to the party, tough luck. "If people can't make it to the show, they can't make it to the show," says Levin of the hardline stance on single availability. "We had to draw the line somewhere, and it was a lot easier to draw the line really early than really late. Basically we just had to say, 'If this is important to you, figure out a way.'" The attitude is understandble for both Pop Echo and Weird Canada, who have done a fair bit of their own way-figuring just to pull this off. But you can tell the work has left them pretty excited by the idea. For Pop Echo, it's a way of working with bands without the commitment of a full release, highlighting some of their local favourites on vinyl without breaking the bank. For Levin, who does a fair bit of that on the blog, it's an opportunity to not only convince people to get out and see shows, but to help them appreciate the physical format, something he says is an "undercurrent" in the Weird Canada project. "It keeps the music from being a disposable artifact. It's not just a consumable, you have to hold on to it, you have to file it, you

have to put it on to listen to it," he explains, and his sentiments were echoed by the Pop Echo gang. "It creates this sort of psychological or emotional connection through the physical format." It's that sort of appeal that has the union hoping to keep up 99 Sevens indefinitely, and has already attracted the interest of some of Edmonton's best up-and-comers. Minimal pop-fuzz outfit/Outdoor Miners' side project Sans AIDS is taking the reins for the inaugural event, while forthcoming releases/shows will feature the messy pop of Brazilian Money and the glitchy dance of Gobble Gobble. And as for what the future holds beyond that, both the Pop Echo pair and Levin are dreaming pretty big. "The hope is that we'll eventually have touring bands doing it," says Dieterman with a wry smile. "When Vampire Weekend comes to town, they'll be like, 'Hey Pop Echo, can we get in on this seven-inch thing you're doing?'" Levin has a slightly more realistic goal: "We won't be satisfied with this project until we have some Star Wars-esque line-ups going on." V Fri, Apr 15 Sans AIDS 99 Sevens Show With Brazilian Money, Smokey New City, $10 (First 99 include single)


us the bullet wound."

fuck, another one.'" Of course, they also got to soak up the wit and wisdom of some of the rare punks who have been at it longer then they have. Ranging from some rare and high praise—"While Dix was in there tracking, I was standing beside Mass, and at a certain point he just looked up and said, 'That's exactly what I would have done.' That was awesome," admits Oswald, with Dix still a bit too awe-struck to do anything but nod in agreement—to the life stories of the raw and punky, it helped the band put some things in perspective. "I always thought that growing up as a punk in Edmonton or Calgary was pretty difficult—Alberta's a conservative province, but I've never been shot at," Oswald explains with a laugh. "Phil's got stories from growing up in Nashville—he got shot by gangsters one time for having a mohawk. He showed

But, while growing up punk might not have proven quite so difficult, being a grown-up punk is presenting the Old Wives with its own set of challenges. Though they haven't needed to dodge bullets, the members have had a few barbs tossed their way from old friends about their steadfast refusal to let go of punk. Their (relatively) advanced age is obviously something the group embraces— looking past their name, you'll find the subject popping up now and again on See You in Hell, nowhere more directly than the self-explanatory "Old & Moldy"— but that doesn't mean they don't find the comments a little odd in their own right. "We've definitely been picked on or labelled or made fun of in some way— which is funny—by some of the people that, years ago, were playing the same kind of music that we play still. I think a lot of people look at us and say, 'I can't believe those guys haven't grown up: they're still playing 1990s skate-punk,'" explains


Oswald. "I just kind of laugh it off. We all do our own music on the side or at home and we listen to all sorts of things, but this is the music that's always been fun for us. For me, it's got nothing to do with growing up: I'm going to write pop-punk songs my entire life. If I'm 60 and I'm writing a song about some ridiculous love affair or some hate-on for what's going on the planet, I'll be happy because that's what I want to be doing. It's not about growing up, it's about writing what you want to write and having fun." For Dix—who, actually, is by far the youngest member of the group, having hooked up with them after coming to our fair town from Halifax, though still someone who has been legally getting into drinking venues for a while now— he sees the gradual abandonment of your roots as a decided negative, and points to a lot of old soldiers he's known that have given up the gun as a sad state of affairs, a lot of people forgetting the ideals, energy and music that once so excited them because they get bogged down by life.

That's not only kept them from getting praise from one of their idols, but also kind of sucked a certain amount of verve from their day-to-day lives. Something that seems in little danger of happening to the raucous foursome. "For some people, I feel bad for them, because they were punks in their teenage years, and now they kind of don't have balance between their life and their job— their corporate life takes over," he points out. "I've always been able to put up with it and maintain. I'm not going to change for anything. I can't help what I've known for so long. This is what I live for." V

VUEWEEKLY // APR 15 – APR 21, 2010

The Old Wives Fri, Apr 16 (8 pm) With Knucklehead, Blame-its, No Problem New City, $10 Sat, Apr 17 (7 pm) With Geister, No Problem, the Fucking Lottery, Freshman Years Ritchie Hall, $10

REVUE Old Wives See You in Hell (Independent) Punk, whatever your subgenre, depends on a kind of simplicity, which is probably why it's so often a starting point. The worry is that that simplicity can get too restrictive, leading either to repetition or abandonment. The Old Wives is the rare group of punks who have stuck with it while maintaining their original energy: their experience has allowed them to hone their pop-punk into a propulsive and sharp mix, charging ahead with a minimum of adornment. The subjects haven't changed much—with just a taste more of grown-up discontent mixed in with the youthful resentment—but the spirit is important, and age hasn't dampened any of their snotty or sarcastic edge. This is just punk, no bones about it. —David Berry

MUSIC // 37


New Sounds

Drive-By Truckers The Big To-Do (ATO) 



eorgia's Drive-By Truckers is not the sort of band that turns a blind eye to the dark, complicated corners of this world, and that hasn't changed on The Big To-Do, evidenced immediately in singer/ guitarist Patterson Hood's vision of a family touched by death, heartbreakingly told from the perspective of a child: "They say that I'm not old enough to know the reasons why / The clouds reached down from heaven and daddy learned to fly." If that opening song is coloured by the heavy hand of fate on the child, the next one finds the Truckers moving farther into the shadows of self-destructive zones: "The Fourth Night of My Drinking" sees Hood detailing a bender where every step is another slip downward, the wreckage piling up in the wake of a never-ending series of bad choices. Hood spends the most time plumbing the depths, wandering as close as possible to the edge of despair before trying to pull back, while Mike Cooley's contributions have a bit of a knowing wink to them, breaking the clouds a bit. (But only a bit: Cooley still manages to

throw some twists into his words, casting a ne'er-do-well as the hero of "Get Downtown" and offering some particularly weighty fatherly advice on album closer "Eyes Like Glue": "You'll know you're just a man when you feel all the weight press down.") It's bassist Shonna Tucker who shakes the band up the most with her songs, though, offering a female perspective that's been a welcome addition to the band in the last few years. Tucker's songs are sparse and don't stray too far from traditional country sounds, but coupled with the band's accompaniment her voice calms the rough waters that Hood generates so often. Musically, The Big To-Do is a study in contrasting layers: the band can blast ahead when it wants to—the fairly straightahead rock 'n' roll of "Birthday Boy" and the rollicking "Get Downtown" are evidence enough—but the best parts of the album come when the musicians weave their parts around each other, three—and sometimes even four—guitars weaving intertwining lines, one chugging along the bottom, a slide somewhere up above, another pushing and pulling between the first two at the same time as an organ lays down an angelic layer over top or dark, turbulent swells beneath. The band stretches out some here, often letting the music boil rather than crash— check "Drag the Lake Charlie" and "The Wig He Made Her Wear"—but the group can also cut straight to the heart in places, exposing the emotions that put the grind on life: in "This Fucking Job" the guitars beat out a to-the-point chord progression while Hood walks the line between desperation and hope, singing "Working this job there's nothing left but to hate it / I won't get as far as my daddy made it / Ain't getting me further for all my striving / Then the dead end I live on and the piece of shit that I'm driving." Like the song's narrator, the band is a workhorse that keeps at the job, and on The Big ToDo, the group gets the job done. V

Armored Saint La Raza (Metal Blade)  Armored Saint isn't exactly worried about staying current: since 1991 the band has released three new records with one more made up mostly of demos and rarities. Of course, part of the reason for the lag between releases is the fact that vocalist John Bush joined Anthrax in '92 and that band became his focus. But where that could very easily have meant the permanent disbanding of the group, the move actually served Armored Saint well over the ensuing years: rather than worrying about record sales and chasing after a slot on some big, money-making metal tour, Armored Saint has quietly gone into seclusion in its downtime, emerging only when the band has something to say. And so the Saint rises up and marches once more with La Raza. As might be expected with a band that records as sporadically as Armored Saint, the band doesn't chase after any trends on the new album. That's not to say that the music here has emerged from some sort of time capsule, though: La Raza sounds modern without being forced into any uncomfortable moulds, mainly because, as always, the players do what they feel like doing. On this album that includes a sweeping opening of layered synths and acoustic guitars over top of a marching drum beat, which ultimately explodes into the start-and-stop electric guitars of "Loose Cannon," with Bush nailing the vocals with a forceful attack. Elsewhere the band demonstrates its disregard for playing into any stereotypes—heavy guitars and Bush's metal rasp make sure that the sound doesn't stray too far from the band's past, but the combination of guitars and congas spins the music in a new direction on the title track, while "Bandit Country" is built up on a riff that leans a little funkier than most metal. The things that really set Armored Saint apart from the pack are the band's assured songwriting and its dedication to rhythm—barely a moment passes when there's not some sort of counterpoint going on within the music, leaving plenty of instrumental asides for anyone looking for them. La Raza doesn't exactly rewrite the rules set out by the band's past, but that doesn't seem to be the goal here—it's more about focussing on the songs, playing what's right for each one. There's a looseness to the record that's refreshing in a landscape where too many metal bands are busying themselves with promo pics featuring muscled arms crossed over chests and squinty scowls on their faces: Armored Saint simply set about making a record full of songs worth hearing, Bush and the others laying themselves on the line by letting the music speak loudest. Perhaps Bush says it best on "Head On" where he sings, "Be the real deal / If it hurts at least I can feel." And this is as real as metal gets.

Eden Munro


38 // MUSIC

VUEWEEKLY // APR 15 – APR 21, 2010

MGMT Congratulations (Sony)  MGMT appears to be attempting to make artistic gains instead of simply pumping out a carbon copy of its indie/mainstreamtranscending debut. It sounds like the same band—Andrew VanWyngarden's frail, multi-layered vocals and wavery synths are locked-in, front and centre— in a completely different headspace. Gone are the cellphones-in-the-air singles—the bouncy, dancey "Brian Eno," and the opening rush of "It's Working" are about as close as it comes, replaced with some spacier, sometimes interesting but usually less-rewarding ideas (the 12-minute "Siberian Breaks," the curiousbut-vapid "Lady Dada's Nightmare"). But alongside its more experimental inklings, you wish MGMT would've still given itself some time to pretend.

Paul Blinov


Peter Katz First of the Last to Know (Curve)  Peter Katz's latest release is mostly filled with restrained vocals, acoustic guitar and instrumentation with layering so subtle you may not notice. While the record has a good sense of cohesion, the songs that stand out and stay with you are the ones which are out of the norm in terms of climatic buildups, using quicker rhythms and putting varied instruments such as strings in the forefront. Kristina De Guzman


Peter Katz plays Axis Café on Thursday, April 15.

Harlem Hippies (Matador)  It's fairly telling that only three songs on Harlem's 16-track debut break three minutes, and none even begin to close in on four: the lo-fi, jamming-in-a-basement esthetic of "Hippies" is so bare-bones that it barely seems to hold together within short songs, let alone through a full album. But the longing refrain of "please please please" in "Someday Soon" sticks out, as does the shouting one in "Torture me," as do plenty of other little moments throughout, giving Harlem's basic-simple set up enough raw power and depth to be memorable.

Paul Blinov


ALBUM REVIEWS Iggy & the Stooges Raw Power (Columbia)

thing? Should an album be loud just because it can be? Should every instrument be clear just Originally released: 1973 because there's better equipment out there now and it m o .c ly ek vuewe can be remixed with fresh In 1996 Iggy Pop himself eden@ remixed the Stooges' Raw Edeno ears? Nope, and it's absolutely Power. In the liner notes to the not a bad thing that Raw Power Munr 1997 reissue, Pop said: once again sounds fragile and rickety. "Everything's In fact, it's exstill in the red. It's a very violent actly the fragility mix. The bottom of the record that makes it so powline is that this erful: not even a is a wonderful album but it's weak mix—due always sounded to technological fragile and rickrestrictions more than Bowie's ety, and that abilities, accordband was not fragile and ricking to Pop—can hold this batch of ety. That band songs down. could kill any band at the time And in some and frankly can ways the weakjust kill any of nesses of the the bands that RAWEST POWER >> The Stooges re-animated original mix allow the subtleties of built on this work since, just eat any of those poodles. The the material to come through more than proof's in the pudding." the pinned needles of Pop's version have: There's a strong argument to be made the punk blues of "I Need Somebody" is for not returning to the scene of the far more nuanced without the electric crime—especially when it's a scene that guitar dominating the show, and the imgave birth to an album of the sort that pact of Williamson's first raging lead on history has a special place reserved for. "Search and Destroy" is amplified by not (And Pop made the argument himself, cranking the rhythm beneath it, letting saying, "I really don't like the idea of goWilliamson's piercing notes burst forth ing backwards and exhuming my own announcing the band's intent to obliterwork and changing it. I've always been ate all in its path. leery of that kind of thing because it's So, while there's still something to be done! It exists!") But in the case of Raw said for Pop's heavy-duty re-envisioning Power, damn if Pop didn't do a killer of the record, having the original mix back job. It's loud as hell and James Williamin hand feels just right. In fact, it sounds son's guitar is right up front knocking better than the shitty cassette copy that the teeth out of the speakers and Ron I wore out so very many years ago, and Asheton's bass thundering along underhearing the original, muddy assault once neath, freed from the mud of the origimore reminds me that sometimes the nal. Just like Pop said, it's a very violent sound is supposed to be brutal. And if mix—practically a whole new album. the songs can survive the mix—and they But now there's a new Legacy edition of absolutely can and will, because they the album, with the original David Bowalready did for more than two decades ie-mixed version of Raw Power newly rebefore Pop's '96 remix—then surely hisissued. And today the album sounds ... a tory still has a special spot reserved for little fragile and rickety. But is that a bad Raw Power. V

HAIKU Ruth Minnikin Depend On This (Song Mill Music) Same songs twice over Rootsy then electronic Risky but it works







.com weekly

Whiteoyn Houst

Keep 6 Four Fangs (Independent)

Solid metal band But why the Bleeding Cowboys? That font is so done

Bleeding Through Bleeding Through (Rise)

Swollen Members Greatest Hits: Ten Years of Turmoil (Suburban Noize)

Bone-crushing metal Bangs and bangs and bangs some more Blood trickles from ears

With a name like this Why is Swollen Members so Flat and deflated?

The Kerplunks Walk On (Independent)

Paper Tongues Paper Tongues (A&M)

Children's performers Maybe kids like Dino Rap But it annoys me

Like a paper cut: A sharp moment of pain that You quickly forget

VUEWEEKLY // APR 15 – APR 21, 2010

MUSIC // 39


Super duper dope Hip-hop supergroup bucks the odds Omar Mouallem //


istorically, hip-hop supergroups have mostly turned out to be more snot than juggernaut regardless of how super each member is. Even the Firm proved that combining the foremost hip-hop producer and rapper at the time—Nas and Dre—can still turn out an expensive coaster. But while past supergroups were built macro-to-micro, Slaughterhouse is mostly micro-to-macro, and that might be the recipe to supergroup superiority. Each member (Joe Budden, Royce da 5'9", Joell Ortiz and Crooked I) has either just nibbled stardom or had it placed in front of them to only salivate over. But through underground channels, the quartet united in a 2008 song called "Slaughterhouse" and found power in numbers. (A fifth rapper on the song, Nino Bless, however, was not invited to the special club. Probably because his name is Nino Bless.) To best appreciate their collective prowess, one needs a briefer on all the false-starts, floundering record deals and triple-A beefs they've individually hurdled.

his first single in 2003, "Pump it Up," but never had a megahit again, despite multiple followup albums. He has managed to stay on the radar, at least online, through YouTube beefs, one of which ended with Joe's opponent, Ransom, taping himself "going to Joe Budden's friend's brother's house, and having his friend smack Joe Budden's friend's brother," according to video blogger Jay Smooth. He's also well known because some circles believe his girlfriend, Tahiry, has the world's finest booty. Crooked I is the only west-coaster in the group and is probably the most frustrated member. He signed his first major-label deal in 1995 with Virgin, almost released an album, then almost did the same thing again with powerhouses Death Row and Aftermath (not at the same time, of course). Fifteen years later and he still hasn't had a full-length album "released" under SoundScan's definitions. Lesson learned: he now runs his own independent label, on which he released a few EPs and the Block Obama mixtapes, which were well received.

Joe Budden is like the Michael Jackson of this group, minus 12 of 13 number-one singles. He had enormous success with

Royce da 5'9", like Crooked I, almost had a project signed, sealed and delivered by Dr Dre. Through a close relationship with

approach. Instead of fighting every single abuse that incited my ire, I chose three to concentrate on: the obscene militarism of the American government, the extreme financial disparities between the rich and poor, and the environmental degradations caused by corporations and corporate culture. Since then, my crusading energy has been more focused and effective, and my general mood has brightened. I recommend you consider a similar change, Leo. It's an excellent time for you to give more of your passion to fewer causes.

tent they might intimidate those who don't have a lot of self-possession.

Eminem in the '90s, the Detroit rapper (who also had botched deals with Tommy Boy and Koch) lost a possible Aftermath deal because his manager allegedly broke a cardinal rule and leaked that Royce ghost wrote for Dre. However, Royce still gets unanimous praise for his 2002 song "Boom," a DJ-Premier laced underground smasher that garners a chorus of "damn!" every time a DJ spins it. Joell Ortiz is the misfit here, and it's not because he pronounces his consonants or because he occasionally emits these vowelled howls. In many ways, the Puerto Rican rapper from Brooklyn hasn't been around long enough to endure the hardships and disappointments of almostfame. Since getting some exposure as an unsigned up-and-comer in 2004, his talent and popularity have steadily grown to where he can get an Akon collaboration on his little-known debut album. Still, he hasn't broken into the mainstream yet— partly because he wilfully doesn't make it rain and partly because of his unintelligible howls—but that could change with this summer's release of his new album, Free Agent. V Fri, Apr 16 (8 pm) Slaughterhouse Pharoahe Monch, Del The Funky Homosapien, Bukue One, Peter Jackson and DJ Zac Hendrix Edmonton Event Centre, $35 – $75

HOROSCOPE ARIES (Mar 21 – Apr 19)

Potts. "Since circumstances are in constant Photons work hard to get from the heart flux, there is a steady stream of opportuniof the sun to the surface. They can take ties. Learn to spot them and make them your up to 160 000 years to complete the over own." I offer you this advice, Gemini, because 400 000 mile journey. And yet once Earth- you'll soon be in a prime position to derive bound photons get topside, they travel great benefit from it. If you tweak your attithe 93-million-mile distance to our tude just right—aligning your novelty planet in just over eight minutes. I receptors to be on high alert—the foresee a metaphorically similar clattering commotion of metaY morphosis that's headed your situation unfolding in your life G O L in the coming weeks. A devel- A S T R O .com way will bring with it a bustling weekly opment that has been a long welter of unforeseen openings. l@vue freewil time in the making will accelerRob y ate tremendously in its last phase CANCER (Jun 21 – Jul 22) Brezsn of ripening. First the negatives: don't be a martyr to what you've won. Don't let your sucTAURUS (Apr 20 – May 20) cess oppress you. Don't become a slave to Taurus genius Irving Berlin (1888 – 1989) the useful role you've earned. Don't neglect has been called the greatest songwriter who your own needs as you serve the needs of ever lived. Among his 1500 compositions those who admire you for what you give. were iconic tunes like "God Bless America" Now let's try a more positive way to frame and "White Christmas," as well as scores the challenges ahead of you: Keep questionfor 18 Hollywood movies and 19 Broadway ing whether the fruits of your victories are shows. And yet he never learned to read or still enjoyable and fulfilling to you. Make write music. Was he embarrassed about his sure the triumphs of the past don't get in handicap? Not at all. He even bragged about the way of the potential triumphs of the fuit. He felt that having such a minimal grasp ture. Find out how your success may need of the conventions of songwriting was an to evolve. Push beyond what's good and advantage, giving him the freedom to be head in the direction of what's great. extraordinarily original. Is there any way in which you're like Irving Berlin, Taurus? Do LEO (Jul 23 – Aug 22) you have a seeming limitation that is actual- My rage against the machine began early. ly an aid to your creativity and uniqueness? I joined my first protest march at age 15, Celebrate it this week. led a boycott at 17 and was tear-gassed by cops at a demonstration when I was 18. In GEMINI (May 21 – Jun 20) the intervening years, my anger at injus"Every changed circumstance contains op- tice has broadened and deepened. I've lent portunities, which accrue to the first people my rebel yells to hundreds of righteous to recognize them," wrote poet Charles causes. But in 2006, I decided to shift my


40 // BACK


VIRGO (Aug 23 – Sep 22)

Do you remember the monster that sometimes lived under your bed when you were a kid? Recently it found its way back to you and has been spending time in your closet. It's not as frightening as it used to be and I'm not alarmed by its return. In fact, I think it has an important message for you that would be valuable to discover. I encourage you to invite it out for a conversation. As you might suspect, as soon as it delivers its crazy wisdom, it will leave you in peace.

LIBRA (Sep 23 – Oct 22)

Present the following dare to a person or persons with whom you would like to go deeper: "You think you know me, but you really know just a tantalizing fraction. Would you like to experience the rest of the story?" And if anyone expresses interest, take him or her on a magical tour they won't forget. Reveal the sides of you that are too mysteriously interesting to show the general public, or too intimate to reveal to anyone you don't trust, or so po-

VUEWEEKLY // APR 15 – APR 21, 2010

SCORPIO (Oct 23 – Nov 21)

In North America, California Condors are the biggest flying birds that live on land. Their wingspans are up to 10 feet. Once sacred to certain Native Americans, these members of the vulture family can live for 60 years and soar as high as 15 000 feet. But they came close to extinction in the 20th century, mostly because of human activity. In 1987 conservationists intervened. In the hope of replenishing the population in captivity, they captured every last one of the 22 remaining wild condors. Painstaking efforts gradually yielded results, and today there are 348 birds, including 187 in the wild. I bring this to your attention, Scorpio, because I believe now is an excellent time to begin a project to save your own metaphorical version of an "endangered species."

SAGITTARIUS (Nov 22 – Dec 21)

According to Us Weekly, baseball star Alex Rodriguez owns two paintings of himself in which he's portrayed as half-man, halfhorse. This is an excellent time for you to be inspired by his example. Gazing at a picture of a mythical centaur who looks like you would speak to your subconscious mind in just the right way. Bypassing your rational ego, that stirring icon would animate and cultivate the wise animal in you. Do you know anyone who could Photoshop this powerful image for you?

CAPRICORN (Dec 22 – Jan 19)

Here's my startling prediction: More Capri-

corn spiritual seekers will become enlightened in the next five weeks than in any comparable period of history. Hell, there'll be so much infinity mixed with eternity available for your tribe that even a lot of you non-seekers could get a lightning bolt of illumination or two. That's not to say that you have to accept the uplifting revelations, or even tune in to them, for that matter. If you'd prefer to ignore the sacred hubbub and go about your practical business without having to hassle with the consequences of a divine download, that's fine.

AQUARIUS (Jan 20 – Feb 18)

Can you imagine what it would be like to venture into the opposite of the Bermuda Triangle? You know, a zone where wonderfully odd things occur rather than bad strange things? I think that such a place exists, and I think you'll soon find it. Here's the piece de resistance: an apparent memory of the future could provide a secret passageway to a previously hidden enclave that contains "magic garbage."

PISCES (Feb 19 – Mar 20)

In honor of the new identity you're evolving into, I hereby give you the nickname of "Miracle Player," or else—if you like one of these better—"Sleek Cat" or "Giant Step" or "Fate Whisperer." Feel free, as well, to anoint your head with pure organic virgin olive oil, fashion a crown for yourself out of roses and shredded masks, and come up with a wordless sound that is a secret sign you'll give to yourself whenever you need to remember the marvelous creature you are on your way to becoming. V


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VUEWEEKLY // APR 15 – APR 21, 2010

BACK // 41


Girls dressed like bois Justin Bieber inspires lesbian fashion An affinity for tomboy fashion is not a new ber is that he's 16, a pop sensation, disthing to lesbians. But queer gals emulat- covered via YouTube. He's got a few numing one specific, pint-sized, teen idol? ber-one singles under his belt and you've probably already heard That one's kind of special. Thank goodness we have the website "My World" or wanted to throw Lesbians Who Look Like Justin your shoe at the TV when that Bieber (lesbianswholooklikeinsipid "Baby" song came on. m to He's talented (for his age) and e w e u v tam@ no one will likely remember track this fascinating phenoma r a m Ta enon as it progresses. ka him in a couple years. Gorzal If you don't know Bieber—and The Biebs career and repertoire that's OK because most folks over is not the point. What's worth inves25 haven't heard his name—just think of tigating is why the young star's style seems him as a Canadian, penis-possessing Taylor to coincide exactly with that of your friendly Swift. If you don’t know Taylor Swift, just neighbourhood lesbian's personal esthetic. call him a Jonas Brother without the obAccording to site creator Dannielle OwensReid, the attraction to clothes bought in the noxious purity ring. boys' department has a simple motivation. All you need to know about Justin Bie-

"Boys clothes are just more comfortable, they fit better and you can look dressed up with less effort. Looking good is really easy when you only have to match two things. Girly clothes are so complicated. Also, I think it has a lot to do with attitude. There are a school of lesbians who can charm the pants off of any girl, not necessarily in a sexy-time way, but just in general. We're a pretty charming crew, and if someone was being really charming and dressing poorly ... they would no longer be charming." A filmmaker and self-identified "biebian," Owens-Reid created the blog after people started mentioning that her look was similar to Bieber's. "My band, Vintage Gramma, did a mash-up of Justin Bieber and Taylor Swift before he was really big. Justin and


na Expressionz Cafe - The School of Life 9938 - 70 Ave is a centre for the arts. We are currently looking for visual artists and artisans for a weekly art market and a rotating gallery space. 780.437.3667




HELP WANTED Do you want to spend a summer in the Canadian rocky mountains? Freewheel Cycle in beautiful Jasper Alberta is looking for experienced bike mechanics and floor sales people. Competitive wages, incredible perks, fun friendly staff and a guaranteed good time makes this job right for you! Please forward a resume to or call 780-852-3898 and ask for Wendy! We are waiting for you! Change your life! Travel, Teach English: We train you to teach. 1000’s of jobs around the world. Next in-class or ONLINE by correspondence. Jobs guaranteed. 7712104 St. Call for info pack 1.888.270.2941

Learn to Act for the Camera with the Best! L.A. Director Tom Logan. In Edmonton May 7, 8, & 9 Call to register (780) 975.7022

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The Allied Arts Council of Spruce Grove welcomes all Alberta Artists to submit a proposal as a Feature Artist for a solo or group show to be held at the Spruce Grove Art Gallery. The deadline for submission is June 30, 2010. For more information call (780) 962-0664 or go on our website: Seeking visual artists and artisans to display work in Kaleido Festival's Art Market and Gallery, Sept 10-12; E:, Smaller Than A Breadbox Exhibit: no piece larger than 3"x3"x6"; Works Festival: June 25-July 7; deadline: Mon, May 1; info at


Models wanted, strong faces needed for photography portrait series. Free photographs b/w, colour given to models.,

Quality music instruction since 1981. Guitarist. Educator. Graduate of GMCC music program

FILM AND TV ACTING Learn from pro's how to act in Film and TV Full-time training. 1.866.231.8232

ASA Gallery at Walterdale Playhouse seeks proposals for art exhibitions. Info at Deadline May 31st, 2010

The Cutting Room is looking for Assistants and Stylists Please drop off your resume at 10536-124 Street

MODAL MUSIC INC. 780.221.3116


Auditions for the Heart of the City Festival (June 5 & 6) take place April 22, 24, 25. At least 50% of musical act must live, work, volunteer, or go to school within our boundaries: North of the river, South of Yellowhead Trail, East of 124 street, and West of Wayne Gretzky Drive. Email:


ʸ ʸ ʸ ʸ  ʸ ʸ ʸ ʸ  ARTIST/NON PROFIT CLASSIFIEDS Need a volunteer? Forming an acting troupe? Want someone to jam with? Place up to 20 words FREE, providing the ad is non-profit. Ads of more than 20 words subject to regular price or cruel editing. Free ads must be submitted in writing, in person or by fax. Free ads will run for four weeks, if you want to renew or cancel please phone Glenys at 780.426.1996/fax 780.426.2889/ e-m or drop it off at 10303-108 St. Deadline is noon the Tuesday before publication. Placement will depend upon available space

Musicalmania! is looking for strong, preferably older, tenor for production at end of May. Paid position. 780.460.2937 Male swing dancer seeks to practice West Coast Swing. na Mar 11 Display/sell work, and/or facilitate an art workshop at the Heart of the City Festival, June 5 & 6. E: rambow. Seeking musicians, buskers, dance groups, installation artists to help shape an avant-garde extravaganza during Kaleido Festival, Sept 10-12 E: kaleidoprogram@gmail. com/

MUSICIANS Guitar player/drummer looking for a malcolm/angus guitar/bass player for ac dc cover band. Please call 780-263-6660 na Apr 15 Metal band Looking for vocalist to gig and record! Call Jon at 780.920.3268

VUEWEEKLY // APR 15 – APR 21, 2010

Taylor both tweeted about our video, so a bunch of kids were leaving comments and some little boy on YouTube said I looked like Justin Bieber and I was like, 'Wait a minute.' Then I realized he was completely right. So, I went with it." LWLLJB has ballooned in popularity since its debut one month ago. The site now attracts 20 000 visitors a day. In the week and a half before I talked with her, Owens-Reid had received 500 photo submission. She says that almost all made it onto the site. While browsing the blog I noticed something. I pretty much wanted to do every girl that was posted. Does this mean, despite my protests, that I do have a type? Am I into tomboy girls? Or does it mean that I like 16year-old boys? Because that may be legal in Canada, but it's still pretty unsavoury. While Owens-Reid says being a biebian is as simple as "looking like a well-dressed teenage boi and having side bangs," she na Apr 15 Experienced & educated upright bassist w/strong music reading skills for notation/charts available for gigs, recording, studio work. Adept improviser in most genres, specialize in folk, roots, country, bluegrass. Steve 780.718.2269 na Mar 18-Apr 22 I, Hart Bachmier, officially end my band Disciples of Power. There will be no more CD's or shows ever. Sorry if I corrupted you with my evil music. Give glory to God and forgive me Professional metal band is seeking a dedicated guitar and bass player. Please, no cokeheads, etc. Contact Rob at 780.952.4927 Singer-guitarist available for freelance work. Can double on bass or electronic keyboard. Hundreds of MIDI files if needed. Country, old R&R, have played almost anything but Rap and Metal. No bad habits. Call 780.634.9713

adds that it's not only signified by clothing. "It's about how we carry ourselves, dance moves, charm and hair." When I ask her why Bieber and not any other from the multitude of male celebrities, she says it has little to do with him. "Justin Bieber is just the hot thing right now, if this was a different decade it would be a different heartthrob. Davy Jones, that guy from The Partridge Family, Herman and the Hermits, Leif Garrett, Nick Carter, take your pick." Celebrities do it too. Ellen Degeneres, Dani Campbell, Ellen Page—not that I'm outing her or anything—are among a few that come to mind. The blogger lists Tegan and Sara Quin, Kate Moennig and Samantha Ronson as her top cele-biebians. Lesbians reflecting masculinity in a cool and hip way isn't a sudden change in direction, but there are, it appears, far more hot tomboy-looking homo gals out there than I'd previously realized. And damn what I wouldn't give for J-Biebz's wardrobe. V


Old balls

Dear Andrea: me that, for her, sex was more about afI'm 46 and seeking a hetero/bi woman my fection and companionship than sexual satisfaction. age who is authentically interested in a I was terribly depressed; I had believed the sexual relationship. I've heard many middle-aged urban myth that a woman's interest women openly proclaim that in sex increased as they got older. they "don't care about sex." My (Thanks, Anne Bancroft!). Now I'm honestly not sure most recent relationship fell what my options are. I haven't apart because she wanted sex .com ly k e e vuew no more than once a week. Our had sex in two years. altsex@ therapist said, "Once a week if Andresaon Love, 46-Year-Old Man you're lucky is the norm nowaNemer days." At that time I thought the therapist was anti-sex and insulting. Dear Old Man, Now, I wonder. I'm a little surprised by the near-unanimity Eventually, I asked women friends: is it among your female age cohort. I wonder if you're experiencing some sort of selecjust me? All of them reiterated that most women lose interest in sex past their child- tion bias or selective hearing. It's not an unbearing years. One said she stopped hav- usual story but to hear it from every single woman you ask makes me wonder if you're ing sexual thoughts in her late 30s and asking the right questions. she could "take it or leave it." Another told



Metalcore band seeks serious vocalist and bass player, an open mind, commitment and proper gear (100+ watts) is a must. Contact Aaron at 780.974.8804 WANTED: JAMMERS for open public monthly jam on the 2nd Sun of the month at 9119-128A Ave. Rock, country & old time music. Ph. 780.973.5593,

VOLUNTEER Volunteer Edmonton is looking for Edmonton Festivals to participate in the third annual Festival Volunteer Fair on Wednesday, May 12 at the City Room in City Hall. Call 780.732.6649 Volunteers Needed: Instructors – Tap Dancing, Line Dancing and Calligraphy. Wednesday – kitchen helper, Friday – dining room servers, Wednesday evening dinners – dishwashers, kitchen preparation and servers. Call Mary at 433-5807 Provocative, unique, innovative volunteers needed for Northern Light Theatre's upcoming events. Ellen Chorley, 780.471.1586;

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 na Oct 1 09 HEALTHY VOLUNTEERS required for studies at UofA. Call 780.407.3906; E: Reimbursement provided

Volunteer with Edmonton Mennonite Centre for Newcomers, help immigrant Children and youth of all ages–volunteer in a homework club. Contact Phillip Deng at 780.423.9516 or

E]YdkgfO`]]dkºNgdmfl]]jkf]]\]\œLg\]dan]jfmljatious meals (vehicle required) Weekdays 10:45am-1pm œLgYkkaklafl`]cal[`]fO]]c\Yqk.YeYf\*he3k`a^l lae]kYj]È]paZd]œ/0(&,*1&*(*(

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

Canadian Mental Health Association/Board Recruiting 2009 Learn about our community work:

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

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

#1 SEXIEST CHAT! Call now! FREE to try! 18+ 780.665.6565 403.313.3311 RL indef from May 19 (Nightline)

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THE NIGHT EXCHANGE Private Erotic Talk. Enjoy hours of explicit chat with sexy locals. CALL FREE* NOW to connect instantly. 780.229.0655 The Night Exchange. Must be 18+. *Phone company charges may apply.

Volunteer website for youth 14-24 years old.

Canadian Mental Health Association, cmha-edmonton. Education Program offer workshops to give skills to intervene with people who may be at risk for suicide. Follow the links to ASIST or call 780.414.6300

The Learning Centre Literacy Association: seeking an artist or arts & crafts person who would be willing to commit 2 hrs weekly to the instruction of their passion to adult literacy learners in the inner city. Denis Lapierre 780.429.0675,

involvement even to get to the turn-on stage. Some may also be tired of the game, and tired of being gamed, and just want a nice dinner companion. They may not feel motivated by a potential sexual pay-off to go out with you. Doesn't mean they wouldn't enjoy one. Still others may have their sexuality very tied up with a younger, thinner or firmer self-image. There's nothing like good sex to restore a sense of joy in and respect for one's body, but, again, it may take a lot of trust and a lot of affection to get there. An interesting, attractive, trustworthy, affectionate (and let us not forget amusing) man of a certain age can totally get laid. But not, I suspect, if he even hints, upfront, at a need to know how many times he can expect it weekly once the deal is sealed. That's no way to hook a lady who doesn't even know you yet. I fear you are giving up too easily, and only hearing, if you will, what you don't want to hear. Love, Andrea

na mar 7 0908

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: Anna at

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


Personal Connections TM OLD FASHIONED? Meet someone new RIGHT NOW! All Ages - All Lifestyles - 18+ Local Call Free 24/7 1-866-701-4393

The Support Network: Volunteer today to be a Distress Line Listener. Apply on line or call 780.732.6648

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

CNIB's Friendly Visitor Program needs volunteers to help and be a sighted guide with a friendly voice. If you can help someone with vision loss visit or call 780. 453.8304

Many women do feel their libidos rushing back as soon as the last child earns her driver's license. It isn't only the temptingly empty house that does it—the role of mom, while deeply gratifying, does not produce a sense of oneself as irresistible object or roaring engine of desire. And while we should never forget that the glorious Bancroft was a wizened crone of 35 when she rolled down that famous stocking, many if not most women in their 40s (jeez!) and 50s are still plenty interested in sex. Under the right circumstances. Study after study indicates that most (not all) women require intimacy and emotional


U of A is seeking major depression sufferers interested in participating in a research study. Call 780.407.3906; E:

Volunteer with the Aboriginal Health Group. Plan events (like Aboriginal Health Week, Speaker Series). Promote healthy habits to high school students. Set up events. E:;

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.

It's true that what research there is is often also based on the wrong questions. There's a great deal of interest in libidoenhancing drugs for women, and a lot of statistics purporting to show an "epidemic" of female sexual desire disorders, and it's very hard to figure out what's really going on. If we step back and squint, we can see that we've got it very very good indeed "nowadays." Until recently a 48-year-old woman was very likely to experience loss of libido due to being dead, or so worn-out and overworked that the best she could hope for was to be left alone. Since a modern Western middle-class middle-aged woman now looks and feels like a 17th-century 17-year-old, more or less, and still has another 40-some years ahead of her, you better believe expectations have changed. They have changed so much that the slight diminishment of libido

a woman might expect in her forties is now considered a medical emergency. I'm all for better living through chemistry, but I'm unsold on the idea that we are experiencing an epidemic. Nor do I agree with you that the highly sexual mid-life woman is just another chihuahua in the microwave. She isn't; she's just one stripe on the spectrum, and a rather well-populated one at that.

Volunteer drivers and kitchen help urgently needed. If you’re available weekdays, 10am-1pm call Meals on Wheels. 780.429.2020 CANADIAN LIVER FOUNDATION is looking for enthusiastic volunteers for presentations and special events. Carmen 780.444.1547 Volunteer with your Pet, The Chimo Animal Assisted Therapy Project uses animals in therapy sessions with trained therapists to help the clients achieve specific goals. Info: E:, T: 780.452.2452 The Support Network: Volunteer today to be a Distress Line Listener. Apply at T: 780.732.6648

SERVICES SACRED Edmonton Society;; An Eating Disorder Intensive Recovery Program for those with anorexia or with bulimia. E:; T: 780.429.3380 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, SACE–Public Education Program: Sexual Assault Centre of Edmonton ( provides crisis intervention, info, counseling, public education. T: 780.423.4102/F: 780.421.8734/E:; Crisis Line: 780.423.4121 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. 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 information, or visit




Mar 20 08

Guerrilla Gardening need volunteers. E:, T: 780.432.6181 for info. or: 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. na jan 15 09 Break the Code! Help an adult to read and write. Call Jordan Centre for Family Literacy 780.421.732;

VUEWEEKLY // APR 15 – APR 21, 2010

BACK // 43

44 // BACK

VUEWEEKLY // APR 15 – APR 21, 2010

Vue Weekly Issue 756 Apr 15 - 22 2010  

Vue Weekly Issue 756 Apr 15 - 22 2010

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