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2 // UP FRONT

VUEWEEKLY // JUN 24 – JUN 30, 2010


INSIDE

COVER

#766 • Jun 24 – Jun 30, 2010

UP FRONT // 4/ 4 Vuepoint 8 Dyer Straight 10 ZeitGeist 10 Bob the Angry Flower

DISH // 14/ 15 Living Proof 16 To the Pint

ARTS // 18/ 18 Prairie Artsters

FILM // 22 22 DVD Detective

MUSIC // 27/ 30 Enter Sandor 37 Music Notes 42 New Sounds 43 Old Sounds 43 Quickspins

7

Failure to Aid: funding reveals Canada's true priorities

FILM

MUSIC

22

27

BACK // 44 44 Free Will Astrology 46 Queermonton 47 Alt.Sex.Column

EVENTS LISTINGS 21 Arts 25 Film 28 Music 45 Events

Toy Story 3: plastic figurines

elicit real emotions

The Paperbacks deliver a beacon of rock and activism

VUEWEEKLY.COM SLIDESHOW >> Tom Petty

FRONT

• Slideshow Activists at the Days of Resistance MUSIC

• Slideshow Tom Petty, the Whitsundays DISH

• Slideshow Padmanadi's grand opening Tom Petty performs at Rexall Place

VUEWEEKLY // JUN 24 – JUN 30, 2010

UP FRONT // 3


EDITORIAL

Vuepoint Closer to home SAMANTHA POWER

// SAMANTHA@VUEWEEKLY.COM

A

s National Aboriginal Day has just passed and the G8 is poised to discuss the Canadian proposed child and maternal health priority, Canada might do well to take a look at its own performance in saving the lives of mothers and their children. Although no one can argue the dire situation of an estimated 1000 mothers dying every minute around the world, Canada has not even done well in taking care of the mothers within the reaches of its own health care system. In 2008 the Conference Board of Canada released a report ranking Canada 15 out of the 17 countries in the OECD in infant mortality rates. And according to a Statistics Canada report made just this year the infant mortality rate for Nunavut was 15 for every 1000 births, three times the national average, 8.5 in the Yukon and 7.3 in Saskatchewan—each region containing large populations of aboriginal communities, Métis and/or Inuit populations. Each of these reports was completed in the same time period as Canada was

deciding to make the worldwide maternal health initiative, a UN Millennium Development Goal, a part of their humanitarian priorities at the G8. To take on that priority they dedicated Canadian resources to researching and coordinating a nutrition plan for mothers and children and an action plan for preventing maternal deaths. The resources are not unwarranted or unnecessary, but no similar federally coordinated research and action plan initiative has been initiatiated for aboriginal mothers and children within Canada. The Prairie Women's Health Centre of Excellence named the greatest improvement as the hiring of nurses, doulas and maternal care workers as well as necessary funding to go toward maternal care, and direct community access to health workers—many of the same solutions named in the UN's maternal health plan Canada is so ardently pushing. Canada needs to dedicate the same enthusiasm here at home to save aboriginal mothers and children, because how can we save mothers and children across the world when we can't even save them at home? V

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Maternal health plan

8

Dyer Straight

10

ZeitGeist

GRASDAL'S VUE

Letters FREEDOM TO ADVOCATE

A

new coalition is calling on Canadians to raise their voices against the anti-democratic attitude of the current government. Voices is a coalition of human rights, women's, labour and faith-based organizations that believe current government actions do not respect the right to freedom of expression or opinion. "Voices-Voix, came together because of growing and serious concerns that the space for dissent and debate in Canada is rapidly shrinking," says Alex Neve, secretary general of Amnesty

KIRSTEN MCCREA // hellokirsten.com Mike Angus, Josef Braun, Rob Breszny, Lucas Crawford, Jim Dean, Gwynne Dyer, Jason Foster, Amy Fung, Michael Geist, Brian Gibson, James Grasdal, Joe Gurba, Jan Hostyn, Whitey Houston, Andrea Nemerson, Stephen Notley, Roland Pemberton, Mel Priestley, Steven Sandor, Mimi Williams Todd Broughton, Alan Ching, Barrett DeLaBarre, Mike Garth, Aaron Getz, Raul Gurdian, Justin Shaw, Dale Steinke, Wally Yanish

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

4 // UP FRONT

INSIDE // FRONT

UP FRONT

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VUEWEEKLY // JUN 24 – JUN 30, 2010

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

International Canada and a coalition partner of Voices. The organizations are concerned about the threats to withdraw funding if a certain message is not adhered to. They specifically cite the cases of KAIROS, MATCH International, the Canadian Council for International Cooperation and the court challenges program among others that have lost long term funding agreements with the Canadian government and the Canadian International Development Agency. The groups have come together to say that despite these threats the actions will not disappear. Leilani Farha, executive director of the Centre for

Equality Rights in Accommodation says, "Voices is a declaration that we will not disappear, that we will claim human rights and we will defend our democratic space." The coalition currently includes 127 organizations that have officially signed on from Greenpeace Canada to Lawyers Rights Watch. The mandate calls for the Canadian government to cease targeting organizations that speak out against government policies and to respect the "vital role and necessary independence of civil society organizations."

SAMANTHA POWER

// SAMANTHA@VUEWEEKLY.COM


FEATURE // G8 RESISTANCE

Resistance is necessary

Activists resist the G8's power over marginalized communities mimi williams // mimi@vueweekly.com

W

hen Canada was making prepartations for the 2002 Kananaskis G8 summit meeting, one of the tasks included preparing for what was expected to be thousands of arrested protesters. Calgary court dockets and courthouses were all but cleared save for two public defenders who worked extended hours to accommodate the thousands of anticipated bail hearings for arrested protesters. Transfers were made of all of the provincial prisoners out of the Calgary Spy Hill Remand Centre and all of the federal inmates housed in the federal Drumheller and Bowden Institute were removed. The complex operation, involving thousands of prisoners and correctional officers, began a month before the summit. But Spy Hill only saw one arrest that week. And the courthouse remained quiet. Darren Steinhoff, a member of

the postal workers' union from Winnipeg, was charged with obstructing a peace officer and held in the jail for about eight hours. He had been arrested when he, as part of a group of about 40 CUPW members, attempted to symbolically deliver letters to the G8 leaders on behalf of others who had been denied the right to demonstrate. In addition to Steinhoff's charge, which he explains was quietly withdrawn a couple of months after the summit, the only other security incident involved two Americans who were ticketed, but not detained, for spraypainting anti-globalization slogans on railway cars. "It became clear at that point that everything had changed." says Dave Coles, President of the Chemical, Energy and Paperworkers' Union, who lived in Alberta at the time. In the wake of the 9/11 terrorist attacks, everybody understood protestors wouldn't be getting near the summit site. Ever since, he says, there

seems to be an acceptance that it's OK to trample everyone's civil liberties in the name of security. "Since 9/11, peaceful protesters have been deliberately stymied, interfered with and even categorized as terrorists by many states, including Canada," says Coles, who is in Toronto this week protesting the G20. A veteran protester, Coles found himself at the centre of attention back in 2007 when he caught three police officers disguised as demonstrators during protests at the Summit of the Americas at Montebello, Quebec. The confrontation was captured on film by Nanaimo filmmaker Paul Manly who just happened to be there shooting a documentary. In the video, which Manly posted on YouTube, Coles, wearing a suit jacket, can be seen challenging three men whose faces are hidden behind black balaclavas. He tells them, "This is our

line. This is for old guys, grandmothers, grandfathers. This is our line." Encouraging one of the men to take his mask off, Coles spots a large rock in the man's gloved right hand. "Put the rock down, man!" he shouts. After days of denying the men in the video were police, and only after clips of Manly's video were aired by the mainstream media, a representative from the Sûreté du Quebec, the provincial police force, admitted their officers disguised themselves as demonstrators during the protest but denied the officers were there as agents provocateurs. "Of course they were," says Coles, who knew the men were police because they had the same boots as the riot squad lined up along the edge of the crowd. This week, Coles expresses concern that police might be motivated to use even more blunt instruments than they have in the past. "I'm fearful that they are going to be aiming to deliberately stir things up and crack some heads in

order to justify the incredible expenditure on security." He said, adding that protesters will have to be ever more vigilant to ensure that doesn't happen. Sophie Pilon isn't worried about agents provocateurs. The Drayton Valley retailer, also in Toronto for the G20 protests this week, says she isn't doing anything illegal so isn't too concerned about what the police are doing, although wonders why they target protestors. "People with truly nefarious motives are not likely to be protesting in the street with banners or organizing on Facebook," she points out. Pilon, 36, aims to draw attention to the issue of sex trafficking which, she notes, affects thousands of women and girls around the world, including in Canada, but receives little attention. She says she is also protesting the concept of the G20 itself. "I've got a particular concern that the richest nations come together CONTINUED ON PAGE 9 >>

News Roundup SECURING FOOD

T

he federal New Democrats are calling for a national food security policy. Agriculture Critic Alex Atamanenko has led the Food for Thought tour in 28 different communities over the last two years and has come to the conclusion that Canadians are in support of a food security policy. The purpose of the tour was to document concerns of citizens and food producers over current food production systems and policies. Food security was defined as the "capacity of everyone to have access to healthy food produced in an environmentally sustainable way." Among the proposed standards of a food policy were incentives and tax policies to promote local food production, and distribution networks. "Throughout the tour, Canadians told us that when it comes to food, we have to start thinking locally," said Atamanenko. "We need to make sure that everyone has access to safe and nutri-

tious food and who better to produce it than our own farmers?" samantha power

// samantha@vueweekly.com

WORKERS UNITED

A

t the close of the Triple Crisis of Sustainability forum held in Toronto this week, 270 trade union leaders representing 55 million workers from 50 countries issued a stern communiqué demanding a radically changed global social order that prioritizes security of employment and environmental preservation. The forum, a joint undertaking of the International Federation of Chemical, Energy, Mine, and General Workers' Unions (ICEM), the International Metalworkers' Federation (IMF), and the International Textile, Garment, and Leather Workers' Federation (ITGLWF). Five trade unions representing industrial and other workers in Canada participated: the Communications, Energy, Paperworkers (CEP)

Union of Canada, the Canadian Auto Workers (CAW), the Power Workers Union (PWU), the United Steelworkers (USW) and the International Association of Machinists (IAM). At the core of the declaration is a demand that finance and political ministers put in place a stringent global financial governance system, introduce an international financial transaction tax, and reach an ambitious and binding agreement on greenhouse gas emissions at the 16th Conference of the Parties (COP) under the United Nations Framework Convention on Climate Change (UNFCCC), to be held in Mexico later this year. The unions also called for guarantees that fundamental workers' and trade union rights be respected in trade and investment deals, that sustainable development be made a criteria in trade and investment agreements and that thorough assessment and assurance of social, economic, and environment well-being is contained in future trade agreements. MIMI WIlliams

QUOTE OF THE WEEK “We no longer live in the 19th century, a time when the major powers met and redrew the map of the world. No one needs a new Congress of Vienna.” Norway's foreign minister, Jonas Gahr Stør about the G8 meeting. From the German magazine Spiegel June 22, 2010.

word of the week

PROTEST:

From the Latin pro [forth] + testari [to call witness] (verb)

A complaint, objection or display of unwillingness to an idea or a course of action.

// mimi@vueweekly.com

VUEWEEKLY // JUN 24 – JUN 30, 2010

UP FRONT // 5


6 // UP FRONT

VUEWEEKLY // JUN 24 – JUN 30, 2010


FEATURE // G8

Words are not enough

Canada's maternal health plan rings hollow, funding reveals true priorities samantha power // samantha@vueweekly.com

A

t home childbirth, a midwife, natural birth—they're all options women have considered for how to have their children; the idea that access to these services would not exist is rarely a consideration in Canada, but for hundreds of thousands of women across the world it is the only reality they know. Agreed to in the year 2000, the Millennium Development Goals were charged with the immense task of reducing maternal mortality by three quarters by 2015, but a 2008 interim report revealed child and maternal healthcare had fallen by the wayside, becoming the last priority amongst the eight laid out in the plan. That's why, late last year, six NGOs set out to make it the top priority at this weekend's G8 summit. "I don't think Canadians have a tolerance, in 2010, for having hundreds of thousands of women dying from pregnancy." says Rosemary McCarney from Plan Canada, one of the first six NGOs to campaign for the child and maternal health initiative to be the top humanitarian policy priority at the summit this upcoming weekend. She points to the fact that many of the solutions are right there in front of us. "Access to antibiotics, solutions to post-partum hemmorage, the spotlight is on these very simple solutions, and hopefully by 2015 it will be Canadian leadership that made the difference." Unfortunately, Canadian leadership has been wholly absent in the past, and, even with the past few month's ongoing discussions, any leadership that is shown seems unlikely to be followed with sufficient action. The maternal health plan being discussed at the upcoming G8 is not likely going to get the funding it needs. The estimated funding gap of the nutrition aspect of the plan alone is $10.3 billion according to the report prepared by Canadian health experts and representatives from the UN and other aid agencies for the G8 summit. Canada has announced it will pledge $1 billion toward the effort, conditional on the other G8 countries bringing money to the table. But it's hard not to look at a recent announcement by Foreign Affairs Minister Cannon that Canada should get an "A" for doubling

// Kirsten McCrea

its aid to Africa—a promise this country took years to deliver on. The Millennium Development Goals, therefore, are running out of time. "We know what to do with the right amount of money and interventions to save all of those children and we can be specific." explains McCarney. "As this

was to be the MDG accountability summit, we wanted to put the spotlight on child and maternal health." And the spotlight is there, but more focus is being put on what's happening behind the scenes. The recent announcement by Cannon on dou-

bling aid to Africa since 2000 fails to mention that this only puts Canada in the middle of the pack for foreign aid funding. The internationally accepted measure of 0.7 percent of GNI is a far cry from the current 0.3 percent of funding Canada is giving. "One should be attentive to the nature

VUEWEEKLY // JUN 24 – JUN 30, 2010

of the promises," University of Alberta political science professor Tom Keating explains. "They could just be moving money from one line to another or making increases to a low volume of aid. And percentage increases on low volumes will not amount to substantive increases." In addition, Canada has frozen the foreign aid budget indefinitely this past year and moved many international aid agencies and much funding away from Africa. The Canadian government is increasingly moving aid away from Africa and toward nations where trade partnerships exist, or are in negotiation. Minister for International Cooperation Bev Oda announced last year that aid would be dependent on the capacity to benefit from it and the alignment to foreign policy goals. "It's a case of trade not aid," says Jerry Spiegel, professor at the Liu Institute for Global Issues and the School of Population and Public Health at UBC. "Countries like Malawi ... Benin, Niger, Rwanda, that came off the list and, curiously, countries like Colombia went on the list." Spiegel cites Colombia as particularly curious considering the controversial new trade agreement recently signed with the country. "You do want to have overall policy coherence, but presumably if we're looking at welfare we should count policies in line with promoting development. If there are other objectives those could be pursued on their own merit." In light of a recent report by the Overseas Development Institute and the United Nations that Africa is actually the region making the most progress on the Millennium Development Goals, Canada's position is all the more unfortunate. The report states that half of the African countries are on target to reduce poverty by half by 2015 and 11 of the 20 countries making the most absolute progress are amongst the poorest in Africa. Of course, funding is not the only problem. Despite the sound science and realistic goals of the health and nutrition plan, Canada's announcement that it would not fund abortion procedures CONTINUED ON PAGE 8 >>

UP FRONT // 7


G8

<< CONTINUED FROM PAGE 7

was a shock to partner nations who came on board with the health and maternal priority. Its absence was noted amongst Canadian aid agencies and women's groups as well as in the health community. The World Health Organization estimates that lack of access to safe abortions accounts for up to 30 percent of maternal deaths worldwide. With an estimated 1000 women dying every day from pregnancy related issues, there are thousands of women Canada is missing out on helping. "Our preference would be that those decisions would be put in the hands of the women so that they could make the choice for themselves," McCarney states. "But there are women dying from issues Canada will address and for other G8 countries safe legal abortions are part of their framework. There are so many other things that as a coalition we've chosen to focus on the big pic-

8 // UP FRONT

ture and the things we can do. There's enough room in that tent for individual preferences." But while Canada gets to pick and choose what it funds, developing countries don't get the opportunity to fund what they need. Spiegel highlighted in his recent report, "Canadian Foreign Aid for Global Health: Human Security Opportunity Lost," that it's not enough to give aid to countries for health care when other foreign policy objectives don't fall in line. "When there have been structural adjustment programs with the IMF and World Bank there are restrictions on other countries on what they can have for their health care systems," Speigel explains. "When the countries themselves are having to weaken their primary health care systems, if not disband it, then we're working at cross purposes." Spiegel makes clear that though Canada is giving voice to support for child and maternal health care initiatives, the

agendas at the WTO and IMF have not changed: "In our foreign policy we should identify how strenghtening responsive health care agencies is a priority." And with hundreds of thousands of women and children's lives on the table, McCarney remains optimistic that Canada will deliver on its commitment to funding, despite all of the obstacles: "We've been assured in so many ways by so many people that there will be significant dollars on the table, that it will be new money." But more than that she's hoping the follow-up exists. As the UN reports, every minute there is a woman dying due to the complications of giving birth without adequate medical attention, or who was not given the choice to decide her future. With a five-year timeline to prevent over 10 million women dying, the actions of G8 nations on this year's accountability reports will be key, but McCarney believes it will happen because, as she says, "If the G8 wants to be relevant it needs to follow up on these issues." V

VUEWEEKLY // JUN 24 – JUN 30, 2010

COMMENT >> INTERNATIONAL RELATIONS

The truth of it

It may take decades for Israel to admit actions In the aftermath of the bloody events dead civilians were shot in the back or on the aid ship Mavi Marmara, where the back of the head). It would also probnine pro-Palestinian activists were killed ably find that few if any of the activists by Israeli commandos on May 31, had lethal weapons, or acted in ways Israel has set up a judicial inthat justified killing them. quiry into the affair. Since IsThe report would almost raeli prime minister Benjamin certainly agree that nobody Netanyahu, who chose the in authority in Israel intend.com members of the inquiry, has ed a massacre, but that the weekly e u v @ e gwynn already described the victims government and the military e n n y w G as "violent Turkish terror exmust still bear the blame for Dyer the killings. Like the Saville retremists" on a "ship of hate," some people doubt that the invesport, it would not talk of "murder" tigation will be impartial. or "unlawful killing," but it would leave On June 15, the second inquiry into the door open for prosecutions by the "Bloody Sunday" in the Northern Irish appropriate authorities. And the Israeli city of Derry, where 14 civil rights marchprime minister, of course, would apoloers were killed by British paratroops on gize on behalf of the nation. January 30, 1972, delivered its report. All of this may well come to pass in The first people to see it were the relaIsrael—in 2048, 38 years from now. Betives of the victims. On the whole, they cause that is how long it took the Britseemed satisfied. ish government to get from the Widgery The British inquiry was chaired by Lord report, the original whitewash that was Saville, a former High Court judge. Since produced only months after the Bloody the inquiry involved the British Army, Sunday massacre, to the Saville report. the other two members were senior Lord Chief Justice Widgery's report judges from New Zealand and Canada, in 1972 was a shameless cover-up that not from Britain. And the Saville inquiblamed the victims: "There is a strong ry's report was utterly damning. suspicion that some (of the dead and It said that none of the casualties had wounded) had been firing weapons or guns, and that there were "no instances handling bombs in the course of the where it appeared to us that soldiers eiafternoon." And, of course, it exonerther were or might have been justified ated the soldiers: "There is no reason to in firing." The paratroops gave no warnsuppose that the soldiers would have ings before they started shooting, and opened fire if they had not been fired a number of soldiers afterwards "knowupon first." ingly put forward false accounts in orThose lies stood for 38 years, which der to seek to justify their firing." is why the first people to be shown The report also said bluntly that the Saville's report this week were the vicsoldiers had lost their self-control, tims' families. It won't bring the dead "forgetting or ignoring their instrucback to life, but it is a reckoning of tions and training, and failing to satisfy sorts. The British government is a slow themselves that they had identified tarlearner, but it does learn. gets posing a threat of causing death Tony Blair, back when he was still a or serious injury ... There was a serious new and popular figure, ordered this and widespread loss of fire discipline." second inquiry into Blood Sunday in Neither their commanders nor the Brit1998. Only 12 years and £191 million ish government wanted to kill innocent ($283 million) later, it has finally seen people, but they were to blame for it the light. nevertheless. Israel has appointed ex-Supreme Court Prime Minister David Cameron, disjudge Yaakov Tirkel, retired Israeli army closing the conclusions of the report officer Amos Horev and Shabbtai Rosen, to the House of Commons in London, an Israeli professor of international law, did not pull his punches either: "You do to the current inquiry, but the only two not defend the British Army by defendforeign members are observers who ing the indefensible. There is no doubt. have no vote, so this will probably be There is nothing equivocal. There are Israel’s Widgery report. There may be no ambiguities. It. Was. Wrong." And an Israeli version of the Saville report he apologized on behalf of the British eventually, but not this year or next. state, without qualifications. Who knows? By 2041, only 38 years late, the United States may even hold If a similarly impartial tribunal inan inquiry into the "loss of fire disciquired into the events that occurred pline" by US paratroops in Falluja in aboard the Gaza-bound aid ship last 2003, the massacre of Sunni Arab month, it would probably come to youths that sparked the Iraqi resistance identical conclusions. We know enough to the American occupation of Iraq. But about confrontations where none of not yet. the soldiers or police die, but lots of the Sovereignty means never having to say demonstrators, protesters, rioters do, you're sorry. Or at least not for a long, to understand the psychology and the long while. V crowd dynamics of it. That impartial inquiry would probably Gwynne Dyer is a London-based indeconclude that there was a "serious and pendent journalist whose articles are widespread loss of fire discipline" among published in 45 countries. His column the Israeli commandos (five of the nine appears each week in Vue Weekly.

R DYEIG HT

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G8 RESISTANCE

<< CONTINUED FROM PAGE 5

to decide, for the rest of the world, how things are going to be," she says, "a model that is not only not working, but is also extremely offensive." Her travelling companion, Karena Munroe, agrees. "The world is in a very bad way because of a very few people making very bad choices on behalf of all of us," she asserts. The 33-year-old Calgary high school teacher talks about witnessing capitalism collapse on itself, which wouldn't be so bad, she adds, if it weren't taking the world with it. The banner she is carrying this week has a reproduction of BP's corporate logo, alongside the earth, bleeding oil. With protesters so physically removed from the G20 leaders and the message so tightly controlled by authorities and the media, which often seems more interested in reporting on broken windows than on the issues activists are talking about, one has to wonder what these three, or anyone, hopes to achieve by protesting these days. Besides exerting the rights of free speech and freedom of assembly, which all three agree

have been increasingly compromised, what are they doing in Toronto? "I've got very grave concerns about the direction the G8/G20 are taking the global economy," says Coles, insisting that if he didn't show up and make a statement, he'd be condoning their conduct. Pilon and Munroe agree, with the latter offering an additional insight into why activists and protestors do what they do. Munroe compares a political protest to a funeral. When someone we love dies, she explains, we grieve our loss but then when we come together for the funeral with others who share our grief, somehow, our individual loss transforms itself into a collective celebration of the person's life. According to her, protests are like that. "We all come to the same place because we have lost something or are losing something and then, somehow —with all of these people who refuse to submit standing together—that sense of hopelessness transforms itself into something positive," she says. Hope, she's asked? "I wouldn't go so far as to call it hope," she replies. "It's a celebration of resistance." V

SLIDESHOW >> G8 RESISTANCE

// Scott Harris

All Out in Defense of the Rights of All March on June 22, 2010 was a part of the themed Days of Resistance planned by activists in preparation for the G20 meeting in Toronto. The march was organized to represent the working poor, immigrants, first nations, and disabled who will not have a voice at the G20 meeting, but who are affected by G20 decisions. Check out the G20 slideshow online, which will be updated with photos from Toronto as events happen.

VUEWEEKLY // JUN 24 – JUN 30, 2010

UP FRONT // 9


COMMENT >> DIGITAL LAW

Truely mobile

Unlocked iPhones come to Canada

Apple begins selling the latest version That perception is rapidly changing with of its iPhone this week in the United several developments paving the way for States and while the device will not an unlocked iPhone. First, the new joint be sold in Canada until mid-July, Bell-Telus network now means that Canadians will be among the Rogers is no longer the only profew that will have the opvider capable of running the portunity to purchase it device. With each of the big "unlocked" so that it is not three offering the device, an .com tied to any specific wireunlocked version makes conweekly e u v mgeist@ less carrier. The unlocked sumer and business sense. el a h c i M versions will come at a preSecond, Canadian wireless Geist mium price, but in return concarriers have attempted to lock sumers will be able to avoid the consumers into contracts for far long-term contracts that have typified longer than virtually any other develthe Canadian wireless marketplace for oped country, with three-year contracts many years. considered the norm. Several years The issue of locked cellphones has ago Canada instituted wireless numlong been a source of consumer fear ber portability that allows consumers and frustration since some wondered to keep their numbers when switching whether unlocking phones that were providers, yet long-term contracts have rendered unusable when switching proven a major barrier to full portabilwireless providers was legal. In certain ity. Given consumer frustration with respects, this was an odd question to long-term lock-in, offering a full-priced even have to ask. No one would ever device without the contractual burden question whether consumers have may resonate with consumers willing the right to tinker with their car or to to pay more upfront for immediate conuse the same television if they switch tractual freedom. providers from cable to satellite, yet Third, there has been a dramatic shift the wireless industry somehow conin power in recent years within the wirevinced the public that unlocking their less marketplace. Until recently, wirephones—consumers' own property— less carriers occupied the power posiwas wrong. tion since handset makers depended on

ZEIT

GEIST

10 // UP FRONT

them for distribution of their devices. Carriers were able to extract favourable terms and demand carrier-specific restrictions on devices that ran on their networks. The popularity of smartphones from Apple, Research in Motion and Google have reversed this dynamic, however, with the device makers now positioned to dictate terms to carriers anxious to offer hot devices that often run in short supply. Fourth, the government sent signals earlier this month that it wants to avoid erecting new barriers that could render unlocking phones more difficult. Bill C-32, the recently tabled copyright bill, expressly excludes unlocking cellphones. The last copyright bill would

BOB THE ANGRY FLOWER

VUEWEEKLY // JUN 24 – JUN 30, 2010

have made it a violation for Canadians to unlock their cellphones and banned the distribution of software programs that could be used to do so. This bill permits unlocking (subject to contractual restrictions), though obtaining the technical tools for those consumers with locked phones may prove difficult. Given all of these developments— marketplace demand for unlocked phones, changing power dynamics and government policy designed to foster consumer mobility—is there anything more to be done? There is at least one stumbling block left that needs to be addressed. The availability of an unlocked iPhone may foreshadow a broader shift in the mar-

ketplace, yet millions of Canadians are still stuck with phones locked to a single carrier. Once the consumer contract expires, many believe the carrier should be obligated to unlock the phone upon request. That obligation lies at the heart of the Cell Phone Freedom Act, a private member's bill introduced last week by NDP MP Bruce Hyer. Whether by legislation or market pressure, it appears that true mobility may ultimately be coming to the Canadian mobile market. V Michael Geist holds the Canada Research Chair in Internet and E-commerce Law at the University of Ottawa, Faculty of Law. He can be reached at mgeist@ uottawa.ca or online at michaelgeist.ca.


VUEWEEKLY // JUN 24 – JUN 30, 2010

UP FRONT // 11


12 // UP FRONT

VUEWEEKLY // JUN 24 – JUN 30, 2010


VUEWEEKLY // JUN 24 – JUN 30, 2010

UP FRONT // 13


INSIDE // DISH

DISH

Online at vueweekly.com >>DISH

17

Restaurant Reviews

Padmanadi grand opening

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

PROFILE // CAFÉ HAVEN

Haven feels like home

Nothing will keep Café Haven's owners from finding the perfect cup the menu soon. Café Haven is all about great coffee, delicious food and a relaxing atmosphere. But it also hosts live music every Thursday night, holds a monthly Story Slam and offers an eclectic assortment of beer and wine. Oh, and don't forget the weekend brunches— almond-chocolate waffles with organic chocolate sauce, candied almonds and real whipped cream, anyone? The waffles do change weekly, so don't wander in expecting what you had last week. You can expect something inspired and delicious, though. As Michael says, "Coming to Café Haven is like going to your best friend's house and having the best cup of coffee you've ever had." And a piece of pumpkin pie to go with it, of course. V Michael & Julie Harvey Café Haven 9 Sioux Road, Sherwood Park 780.417.5523

RECIPE SUNSHINE AND SYMMETRY >> Michael and Julie Harvey on Café Haven's patio JAN HOSTYN // JAN@vueweekly.com

I

t's four in the morning and there's a faint glimmer of light coming from a funky little café in the heart of Sherwood Park. The café is closed, but look closely and you'll see someone working diligently behind the counter, zealously striving to create the perfect cup of coffee. Someone who has been there since midnight. Someone who has just brewed over 40 litres of coffee, well, just because. Meet Michael Harvey, co-owner of Café Haven, sleepdeprived new dad and self-described coffee geek. "I just got this new book by coffee guru Scott Rao. It's all about coffee brewing techniques, and I've been itching to try it out. Yeah, it was late, but it's the only time I can play around and test things out—the café is just too busy during the day." Café Haven is the inspiration of Harvey and his wife, Julie, and began as a vision on the beaches of Thailand. Avid travellers, they dreamt of opening up their own place someday, one that would showcase some of the many flavours they'd experienced over the course of their adventures. "People tend to develop emotional

14 // DISH

// Bryan Birtles

attachments to cafés, and everyone has a place they like to go," explains Julie. "We decided our café would combine great coffee and interesting food with a comfortable and relaxing atmosphere." Michael's passion lies in the coffee side of the business—hence the allnight experimenting—while Julie presides over the food. Interesting, especially since Michael didn't even drink coffee when they embarked on this whole adventure. Setting out to learn as much as possible about great coffee, they stopped at Transcend, an Edmonton-based coffee roastery that's quickly becoming legendary. "I was a diehard tea drinker until I tasted my first americano at Transcend. After that, I was hooked." Transcend schooled them in the art of making coffee, and all of the café's coffee is made from Transcend's topquality arabica beans. Michael insists that all their staff have barista training—"if you're going to do something, you can't be tokenistic about it"—and he's the one who trains them. Josh and Chad still come in from Transcend once in a while to do some tweaking, and Michael admits he's still learning—and probably always will be.

"Coffee is incredibly complex, and there are so many variables: the amount of coffee, the size of the grind, the quality and volume of the water ... it just goes on and on. I've spent so many hours and gone through so many pounds of coffee trying to get it just right—and I'm still not totally happy." They're so serious about their coffee that they won't compromise the final product. That means no whipped cream on coffee drinks, no extra-hot milk and no long shots, period. "Everything we do, we do for a reason," Julie explains. "If you steam the milk so it's extra-hot, it sours it. That's a reflection on us and on Transcend. So we won't do something people shouldn't be drinking." Coffee isn't the only thing that nourishes the soul, though, and that's where Julie comes in. She's the driving force behind the café's small but creative menu. "We're not about hot food," Julie stresses. "Soups, salads, sandwiches, snacks and baked goods, that's what we do. But what we do, we do well. And we make everything as interesting as possible." We're talking sandwiches like chicken, strawberry, brie and fresh mint, or roasted pumpkin and feta with pesto.

VUEWEEKLY // JUN 24 – JUN 30, 2010

The impetus for the roasted pumpkin sandwich comes from Julie's stint in Australia, where she says they put pumpkin in everything. "They even put it in pizza," Julie laughs. "The sandwich is sweet and salty, and every bite is full of goodness. Every bite makes you want more." There are healthy options—like many of the soups and salads—as well as not-so-healthy-but-infinitely-delicious ones. Cakes, squares and cinnamon buns are just a few of the indulgences that might quite possibly find their way into your stomach. Oh, and then there are the pies. "We do different pies all the time, but we always, always have pumpkin. It's my favourite pie ever," confesses Julie, "and you can usually only get it once, maybe twice, a year. That's such a shame because it's just so good. So here you can get it whenever—and however—you want it. Whipped cream, ice cream, hot, cold, whatever you like." Everything is either made fresh inhouse or home-baked by other local businesses. "That's why our stuff doesn't necessarily look the best; it's not mass-produced. But it tastes amazing." They try to use local ingredients, and Julie is hoping to add gluten-free sandwiches and baking to

Peanut Butter and Banana Bread Pudding Muffins

(from Michael and Julie Harvey) Ingredients 3 eggs 6 cups of bread 1 1/2 cups of milk 1 tbsp pure vanilla extract 2 ripe bananas, mashed 1 tsp cinnamon 1/3 cup choc chunks (optional) 12 tsp of peanut butter (1 for each muffin) Directions 1. Preheat oven to 350 F. 2. Grease a muffin tin with oil to ensure nothing sticks. 3. Place everything except the bread, the choc chunks and the peanut butter in a large bowl and mix well. 4. Stir in the bread and allow to soak for at least five minutes (but the longer you leave it, the better). 5. Fill each muffin cup half full with the bread mixture and top with a tsp of peanut butter. Spoon the remaining bread mixture over top. 6. Bake in the top part of the oven for 35 minutes, or until nicely browned. Makes 12 muffins V


LIQUOR

Skilled hunter

Jägermeister more complex than frat brothers might think However, the Jägermeister brand was also made famous through its sponsorship of motor racing since the 1970s, particularly in Europe. North America was largely introduced to the drink through the efforts of Sidney Frank, an American businessman who made billions from the promotion of both Grey Goose vodka and Jägermeister. The American music industry was a key factor in helping to promote the brand – several heavy metal bands (including Metallica, Pantera and Slayer) have been patrons of the drink, and Jägermeister has been a tour sponsor of many other rock bands. Jägermeister even has its own music tour, held twice a year in the US. V

ELK'S HEAD >> There's that familiar visage

// Mel Priestley

Jägermeister is a type of Kräuterlikör elk's blood, but I can assure you that this (German herbal liqueur) commonly is not really part of the ingredients. served as a digestif or "bitter"— Jäger is also much sweeter than an alcoholic beverage tradimost bitters—they're called tionally served after a meal bitters for a reason—due to to aid with digestion. Jägerthe addition of sugar and carm ekly.co meister traces its origins back amel prior to bottling. This e w e u mel@v to Germany in 1935, where it shot of sweetness makes it l e M y rather unique: most bitters are was invented by Curt Mast. e Priestl pungent in both aroma and flaMast was an enthusiastic hunter who named his liqueur after a legal vour, with only a bit of sweetness hunting term that was introduced the to balance the bitterness. Jägermeisprevious year; translated literally, Jägerter's aromatics are subdued by all this meister means "hunt master," though it caramel and sugar, making it easier to was introduced to designate senior-level chug—a quality directly responsible for gamekeepers and foresters. The logo, making it a popular bar drink, where it is featuring an elk's head with a cross beoften drunk straight as a shot or dropped tween its antlers, is also a hunting refinto a glass of Red Bull as the infamous erence—the image symbolizes St Huber"Jägerbomb." (Or "Jägerbull" in Germatus, patron saint of hunters. ny—incidentally, the Germans also refer Like other herbal liqueurs, Jägermeister to Jägermeister as Leberkleister, or "liver is comprised of a mixture of dozens of glue." How ... poignant.) herbs, fruits, roots and spices, including Jägermeister has become one of the citrus peel, licorice, poppy seeds, saffron, best-known liqueurs in the world—the ginger and juniper berries. An urban leg2007 viral video "My New Haircut" made end holds that Jägermeister also contains Jägerbombs a staple of the bar scene.

LIVING

PROO

F

RECIPE Starry Night 1 oz Goldschlager 1 oz Jägermeister Pour the Goldschlager into a chilled glass, then add the Jägermeister. Garnish with starfruit or star anise and admire the way the gold flakes in the Goldschlager twinkle in the darkness of the Jägermeister, like stars winking in the night sky.

Jägermonster 1 oz Jägermeister Dash of grenadine Orange juice Orange zest Pour the Jägermeister into a tall glass filled with ice. Add a dash of grenadine, then fill with orange juice. Garnish with a twist of orange zest.

VUEWEEKLY // JUN 24 – JUN 30, 2010

DISH // 15


BEER

Mould breaker

'Gypsy brewer' prides himself on edgy beer Brewing beer is all about geography. His beer is controversial, experimental taste follows with caramel, toffee, brown Think of Munich and Oktoberfest imand highly prized. He receives some of sugar and a bit of chocolate. I also pick mediately comes to mind. Amsterdam is the highest ratings on the online beer up some dark fruits, such as raisin and Heineken. Dublin is Guinness. St Louis is communities (which are flawed, but plum. There is a tang to the flavour— Budweiser. Boston is Sam Adams. Even interesting sources of beer opinion). not sour, but just a slight sharpness to here, Edmonton is linked with Alley Kat, His philosophy is truly unique. First, he add a dimension to the experience. Hop Calgary with Wild Rose. Breweries conmakes no apologies for making beer runs in at the end and leaves a lingering nect themselves with a communiseen as inaccessible by some. In floral bitterness that counters the initial ty, and build their business by a recent interview available sweetness. This beer has hops in it. Jackie anchoring with that commuonline he said: "I don't design Brown is a bold and assertive brown ale nity and growing outward. beer for the common people, that is intended to make you pay attenUnless you are Mikkel Borg tion to what you are sipping. kly.com my goal is to make the best e e w e int@vu Bjergsø, the one-man show beer in the world, which costs The second beer is US Alive, a strong tothep that is Mikkeller Brewing. Mika lot of money." Belgian ale with an aggressive hop adJasonr kel, for the record, is Danish—a His second principle is to condition—what you could call a merging Foste country not normally recognized stantly produce new beer, rather of two brewing traditions (Belgian and as a beer powerhouse—but that isn't than stick to a small handful of regular American). It explodes into the glass with all that relevant in his case. You see, Mikkel is not your average brewer. He Every one of his beers is produced at a different is what one might call a "gypsy brewer". brewery around the world. He borrows someone He has consciously decided to not build else's brewing equipment for a day and produces a brewery and anchor himself in geography. Instead every one of his beers is prohis eclectic, ambitious beer. He has brewed in duced at a different brewery around the England, Belgium, Italy, Norway, the US, Scotland world. He borrows someone else's brewand many other places. ing equipment for a day and produces his eclectic, ambitious beer. He has brewed in England, Belgium, Italy, Norway, the US, Scotland and many other places. beers. He usually produces 30 different an effervescent deep orange-gold with a And, speaking of geography, a selection beer styles a year. "If a beer is perfect, huge cascading off-white head. Two aroof Mikkel's beer is now available in Alwhy brew it again? I want to move on to mas hit me immediately—a piney hop and berta, which is what makes the story of the next one," he articulated in the same an earthy mustiness. There is also quite a Mikkeller far more interesting. interview. His commitment to innovation bit of fruitiness to the beer—grapefruit, turns some people off, but on the other sweet orange, white grape and other cithand he sometimes offers an invaluable rus, along with some peppery support. service to the brewing world. For examThe flavour in the beer fights itself a bit. ple, he has started a "Single Hop" series, The hop bitterness, which is pronounced, where he makes a hoppy India Pale Ale combats the Belgian spiciness expected with the same malt base and adds a sinin this style and a pungent earthiness. I gle, different hop each time. His goal is to wonder if age will help these competing help teach beer drinkers how to better flavours come to some kind of peace? It discern the subtle differences between finishes with a large bitter linger. beer styles. I find myself enjoying this beer. It is As for what we can find here, the recent multi-layered, complex and sharp. It reshipment (which will likely sell out fast, minds me, in many ways, of a hoppy Orso don't dally) demonstrates his impresval. This is not the kind of beer I would sive range, as it includes an Americanfind myself quaffing a few pints of, both style brown ale, an imperial stout, a because of its alcohol content (eight barley wine and a dry-hopped Belgian percent) and its petulant "look at me!" strong. None are for the uninitiated, I will attitude. But for a slow, appreciative sip, quickly warn. it is remarkably good. I found myself contemplating repeatedly what it would be I sampled a couple of the new arrivals like in three years. to get a sense of whether Mikkeller's Mikkeller is not built for everyone— reputation was deserved or simply hype. of that there is no doubt. But if you like First, I tried the most accessible, the your brewer to break the mould, Mr. Jackie Brown, the brown ale. It is a chestMikkel is definitely your man. V nut brown beer with a slight haze and a light tan head that lingers for the entire Jason Foster is the creator of onbeer.org, session. The aroma is of sweet caramel, a website devoted to news and views on some toffee and a subtle sour edge. The beer from the prairies and beyond.

TO TH

E

PINT

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VUEWEEKLY // JUN 24 – JUN 30, 2010


SLIDESHOW >> PADMANADI

Special guests cut the ribbon to mark the official opening of Padmanadi's new location. Go to vueweekly.com for more photos of the event.

VUEWEEKLY // JUN 24 â&#x20AC;&#x201C; JUN 30, 2010

DISH // 17


INSIDE // ARTS

ARTS

Online at vueweekly.com >>ARTS

20

Arts Reviews Find reviews of past theatre, dance and visual arts shows on our website.

Rent

COMMENT >> ART

PREVUE // THE WORKS

Going beyond form

The Works brings deeper aspects of visual art to the forefront David Berry // david@vueweekly.com

T

he Works holds a unique spot in Edmonton's art festival season, and not just because it often coincides with the official start of summer. Though it doesn't give much away in terms of scope or reach to the likes of the Fringe or Folk Fest, it does have the unique challenge of presenting a medium that hasn't quite seeped into the city's general consciousness the way theatre and music have. One really only has to look at the most recent, misguided controversy over the homelessness sculpture—a hubbub that seems to pop up with clockwork regularity in our town—to realize that visual art just doesn't quite speak to the city the way other art forms do. It's a challenge, then, to speak to an audience in the broad and encompassing way that a festival has to, but it's one that the organizers of the annual fest, celebrating its silver anniversary, seem to relish. You could point only to their increasingly clever ads, which have consistently encouraged laymen to think about the way art intrudes on everyday life; a better example, though, might be their recent trilogy of themes, loosely organized around environmental issues, and culminating in this year's Earth. As festival coproducer Dawn Saunders Dahl points out, these are a way to demonstrate to those who couldn't be considered connoisseurs that art is about than just appreciating form, that it speaks to something more universal. "This is a concrete way of stating that this is happening and that we need to do something about it," explains Dahl. "Hopefully we're encouraging discussion, really—that's a huge part of why we're doing it, so people go home and think about art in a different way, and think about how a message can be given to so many people through an event like The Works."

18 // ARTS

An open letter Dear Lindsay Blackett, successful business model to the arts, comMy name is Amy Fung and I'm a cultural bined with a general lack of value building, worker based in Edmonton, Alberta. You the majority of culture in this country has should know that your recent comments slipped to nothing more than a hand out, regarding the quality of Canadian film and unable to sustain itself, and a joke on the television as "shit" will not be forgotten world stage. Completely outdated modanytime soon, because their repercussions els for tax credits, production incentives, will be a problem for years to come. content regulation and even ideas Like your other actions, such as of what Canadian culture could silencing opposers like Karen look like, has forced the hand of Lynch, bringing forward backcultural producers to survive, wards bills like 44 and patronrather than compete. m ekly.co izingly describing major fiscal vuewe amy@ cuts as "haircuts," this move Your definition of what "shit" Amy further suggests that you hold actually is remains unclear. As g Fun no respect for those working in a rookie politician with no backyour portfolio, grandstanding this ground in the arts, I am curious as to mess until you can leapfrog into a far how you judge artistic value and merit? I better cabinet position. wonder if you can even name 10 Canadian And I'm sure you will, which just means filmmakers off the top of your head, with another unqualified Minister of Culture and at least one from Alberta? You have publicCommunity Spirit will take a go at it. Perly said that you have no time for television, haps he/she will even take a page from you, but you do enjoy the American reality-TV creating even greater headaches with the series The Bachelorette ... Alberta Foundation for the Arts and going No one expects you to know the insides toe-to-toe with naysayers at public events. and out of every cultural medium, or even The thing that disappoints me the most is have good taste, but your words have simthat not only have you reaffirmed our proplified a deeply rooted and complex situvincial government's general disrespect for ation that is doing no favours for anyone. cultural producers on a national stage, but You can stand by your comment, as I do you have given fire to the general lack of not think this is a matter of being right or respect Canadians hold for arts and culture. wrong. But if a child was doing mediocre For someone in your position to say those work in school, would you also call her stuthings, you have made it just that much pid for not doing as well as her peers? And harder for producers to secure private then bicker about whether you were right funds and for distributors to take Canadian or not? There are deeper issues here, and it content seriously. is a matter of attitude and action. As a Minister of Culture, you surely unI understand you may not have the financial derstand how little respect your portfolio means to spare aid, but not every problem already receives, how little funding cultural needs money thrown at it as a resolution. If producers already have to work with, and you took the time to listen—and I mean reyet you felt you could kick them in the ally listen without feeling your authority is teeth, fueling this notion that Canadian being challenged—that would be a positive content is a waste of tax payer's money gesture in acknowledging you want to work and suggesting, in your own language, that together with mutual respect. cultural workers need to start spinning shit You are the bridge between the industry into gold or get cut off. and government. You are supposed to help; Mr Blackett, your comments seem to and if you can be honest enough to admit completely ignore the fact that you and you don't know how to help, then that's the those who came before you have failed in first positive step in this whole mess. V their jobs, and what you are calling shit is the direct result of decades of negligence Amy Fung is the author of from people just like you. Unable to apply a PrairieArtsters.com

IE PRASITRERS

ART

LEG WORK >> Kevin Friedrich's "Hybrid" To that end, they've gathered together more than 30 shows across 18 venues throughout downtown. Though some adhere to the theme a bit more closely than others, patrons will be able to see everything from Jan Novotny's tweaking of our culinary habits "How We Know What We Eat" to Chris Flodberg's exploration of our canine companions, "dog," to Laura St Pierre's abandonedcars-as-greenhouses installation "Auto Park" to Maureen Enns "A Wildhorse Landscape," which examines the lives of the wild horses of Alberta's Ghost Forest region. "I've lived in Alberta my whole life, and I never even realized we had wild horses," admits Dahl, pointing out this kind of discovery is one of the more practical applications of art. "I hope

// Kevin Friedrich

that people will have a similar kind of realization, and recognize that there's something to be said here, and artists are saying it." Beyond the theme, the festival will also continue some of its other outreach projects, including the workshops in Churchill Square, the Canadian Aboriginal Artist Program and a tribute to long-time Edmonton art critic Gilbert Bouchard—a man who did much to popularize visual arts himself—in the form of a show and artists' personal reflections on the man. V Fri, Jun 25 – Wed, July 7 The Works Art & Design Festival Various Locations Full details at theworks.ab.ca

VUEWEEKLY // JUN 24 – JUN 30, 2010


PREVUE // SERCA FESTIVAL OF IRISH THEATRE

Words of the Irish

The power of language strengthens Serca's Irish works Paul Blinov // paul@vueweekly.com

'W

hen we think of Irish culture, we often think of knot work and step-dance, which I love and are great and certainly those are Irish culture," Theatre Prospero's Mark Henderson explains, after succeeding in his search for a quiet spot to take a call. "But the things that have shaped and defined my life, my thoughts, English-speaking civilization, have been Ireland's writers: poets, playwrights—and more often than not, we don't even know they were Irish." Henderson's talking about Irish theatre, in particular. A man in the midst of producing the Serca Festival of Irish Theatre, focused on works from Emerald Isle, he points to the polished witticisms of Oscar Wilde and the bleak ironies of Samuel

Beckett, both of whom have roots on the island, for whom acclaim spreads around the world, and yet neither's usually acknowledged as being specifically Irish. It could be argued, I suppose, that those two in particular have individual voices so strong they transcends national recognition, but Ireland's method of storytelling itself, of strong irony and mixing light and dark together, comes through in the works of both. And there's disproportionally more where they came from. Henderson himself is in Maggie Now Part Two: The Book of Everything, a series of plays—based on an American Betty Smith's account of an immigrant Irish family in Brooklyn—which helped inspire Serca after Part One (out of four) earned blazing reviews in the 2006 Fringe. Still interested in performing Maggie pieces and similar Irish ones, Henderson and

the rest of the group started looking at stepping outside the Fringe, "To create something else, something that was truly it's own festival that celebrated this incredible contribution to our culture." Getting involved with the Caught in the Act theatre series, aligned with Arts on the Ave, gave them the opportunity: not only are their four manstage plays, but poetry and music, and a venue pub set up between shows. In addition to Maggie, there's another Fringe repeat, The Good Thief, directed by Wayne Paquette and Starring Frank Zotter as a grubby, unnamed thug telling how a simple job—intimidating someone at the behest of a local crime lord—went awry; The Lime Tree Bower, a trio of young men monologizing about life in the small seaside town they dwell in; and Spokesong, a

tale of bicycles and car bombs, splitting the difference between giddy and gritty in 1973 Belfast. Henderson sees them all possessing strange, skillful linguistic turns, the power of which points back toward their heritage. "It's the use of the language," he notes, of what sets irish writers apart. "And it doesn't matter whether it's somebody as intensely polished as Wilde, or somebody as gritty as Martin McDonagh. It's what they're able to do with the language, with people using the word as an action. "That’s something that in late 20th century, possibly early 21st century North American theatre, we seem to have gotten away from. I was told during some of my early drama education ‘just don’t worry about the text, what’s the action?’ which I always sort of found a little weird," he laughs, "because how is this play supposed to happen then? It comes out of what the playwright put down on the paper. That’s the prime mover of the whole damn thing. Sure, there’s other things, but what we say and how we say it, that’s so integral to the action of the play." Zotter, who plays The Good Thief, seems

to be finding that true. In revisiting the Thief, he's found himself striping down an already sparse one-man performance. "As it was, it was simply me on a chair with a light telling a story," he says. "We did find times throughout the original production to veer into kind of performance mode by acting out a bit, and taking on different voices. This time around, we're actually going more simple. We're trusting the story more. Which is, both kind of daunting and freeing, because he writes so well, and so beautifully, and simply telling it, you have to trust that that's engaging enough , so that no superfluous acting is required." "With this character, it's all about trusting I don't need to give it any bells and whistles. And that is really freeing and liberating. You tell his story, and let the words speak for themselves." V

That they were a group of aboriginal women looking to share the plights of more aboriginal women, as opposed to someone on the outside trying to tell their stories, seemed to make members of the aboriginal community more eager to share their stories, McLeod notes. After amassing hordes of research, the group began working with U of A assistant professor/theatre facilitator Jane Heather in 2007 to help them fashion the plethora of stories into a theatrical presentation. The resulting evening is heavy, McLeod admits, but the way she sees it, not shying away from the harsh realities ensures the real issues facing aboriginal women get explored— and each show will be followed by a Q&A session, where the audience can get anything they need say off of their chests. "We ultimately decided that we

weren't going to sugarcoat it, that it actually was going to be a stark portrayal of what happens in our society, and it is going to hurt, watching it, and we know this is going to happen for people," she says. "We know the play's very heavy, and that it's very raw. One of the things that we went back and forth on a lot of times is the fact that we didn't want to perpetuate stereotypes as viewed in today's society, but there is still an element of reality we need to address." V

Until Sun, Jun 27 Serca Festival of Irish Theatre Old Cycle Building (9141 - 118 Ave) $12 – $16, Festival Passes for $30 – $40 For Full Schedule go to sercafestival.ca

PREVUE // A MUSTA-BE: MASKIHKIY MASKWA ISKWEW

Unearthing aboriginal plight Old Earth pulls no punches with A Musta-Be Paul Blinov // paul@vueweekly.com

M

askihkiy Maskwa Iskwew, translated, means "Medicine bear woman," a Cree moniker attached to a far more recognizable name in Edmonton history: Yvonne Johnson, an aboriginal woman convicted of murdering a man she thought guilty of molestation in 1989. She wrote a book, Stolen Life: The Journey Of A Cree Woman while in prison, detailing the murder, the abuses she experienced at an early age and the rehabilitation she experienced behind bars. But while incarcerated (she was granted day parole in

2008), Johnson noticed something disconcerting in the aboriginal women in jail beside her. "She'd been noticing this really disturbing trend that these women who were behind bars with her, these aboriginal women, would have their daughters visiting them, and within a couple years their daughters would be behind bars with them," explains Amanda McLeod, a member of aboriginal theatre collective Old Earth Productions—another member of which, Chris Grignard, attended a talk Johnson gave at the University of Alberta. "She was talking to her audience, and asking for a way to get this out there, and get this

out into the community and kind of address it, essentially. So that was one of the things that we decided to do." McLeod, Gringard and the other members of Old Earth Productions— formed after a successful Walterdale production of The Rez Sisters brought requests for multiple remounts—began researching and collecting stories back in 2005, of the tribulations faced by aboriginal mothers and daughters, culminating in the show A Musta-Be: Maskihkiy Maskwa Iskwew, an amalgamation of Johnson's story, with their own stories and those they found in the aboriginal communities throughout Canada.

VUEWEEKLY // JUN 24 – JUN 30, 2010

Thu, Jun 24 – Sat, Jun 26 (7:30 pm) A Musta-Be: Maskihkiy Maskwa Iskwew Written by Jane Heather, Old Earth Productions Directed by Heather Starring Darlene Auger, Roxanne Blood, Chehala Leonard, Amanda McLeod Second Playing Space, Timms Centre (87 ave & 112 st), $10

ARTS // 19


REVUE // RENT

PREVUE // FEATS FESTIVAL

Decent payday

Feats of footwork

Mixed performances hit the major moments with power The eighth annual dance festival breaks down barriers Mel Priestley // mel@vueweekly.com

I

LIGHT MY CANDLE >> Rent's best in its big moments David Berry // david@vueweekly.com

S

o, Rent is a modern Broadway smash, but I don't think it's unfair to say that it trades on some of Broadway's baser tendencies, namely melodrama (you might remember the final number of Team America's Rent parody was "Everybody has AIDS!") and (literal) show-stoppers. It's easy to understand why the film failed to ignite the passions that the stage version can: without feeling the live thrill of someone belting out the words that might ruin/save their life, the patchwork manipulation of the story and the ridiculous metaphors of the lyrics come to the forefront, leaving the musical feeling less like an essential statement about late'80s New York bohemia and more like a maudlin update of Puccini's classic opera. With those key elements, though, it's not hard to understand why this woke up a whole new generation of young musical-goers (the fabled Rentheads, or as J Kelly Nestruck once put it "the most annoying of all musical fans"). With its nods to modern pop and rock—though I'd hesitate to call them more than nods, even for the mid-'90s playing the late-'80s—its lightly romanticized world where aspiring filmmakers and rock stars and performance artists are the arbiters of true feeling and its frequent but powerful tragic numbers, it's almost scientifically designed to speak to those of a certain temperament. And, to its credit, Martin Galba's production zeros right in on that appeal and doesn't look back. As mentioned, a lot of this depends on getting caught under the spell of the performers, and here there's something of a mixed bag, though it's right more than it's wrong. I saw the opening night "Blue" cast, which featured several stand-

20 // ARTS

// David Wilson

out performances. Adam Mazerolle-Kuss struggled as filmmaker/narrator Mark—he felt much more like someone who was excited to be singing numbers he's done into the bathroom mirror than a true character—but the relationships he documents were very well-played: Alix Ryan-Wong fell a bit flat with her solo as exotic dancer Mimi ("Out Tonight") but otherwise captured the doomed affair between her and George Krissa's struggling musician Roger, who has one of the show's highlights, beautifully. Even better was the combination of Tyler Smith and Tyler Pinsent as Collins and Angel, respectively: the former brought a certain stoicism to his philosophy prof that lent the maudlin second half some grounding, while the latter nailed the insouciant but intense charisma of his doomed drag queen. Less successful was the performance artist/manager duo of Maureen (Nicole English) and Joanne (Brittany Taylor): the former couldn't rise above a part that's frankly a little annoying, while the latter sung quite well, but likewise couldn't really flesh out an underdeveloped role. The cast as a whole definitely hits the major moments, though, which are quite key. Whatever is lacking in character development needs to be made up for with powerful singing, and there was rarely a doubt that they felt the big moments— which is enough, really, to remind one why exactly Rent got so big in the first place. V Until Sat, Jun 26 (7:30 pm; Sat Matinee 2 pm) Rent Directed by Martin Galba Music, book and lyrics by Jonathan Larson Starring George Krissa, Richie Cannon, Alix RyanWong, Nevada Collins-Lee La Cite Francophone (8627 - 91 St), $25

t may be easy—perhaps too easy—to pigeonhole dance into a certain set of expectations about style, performance and audience: you're either into ballet, or tap, or contemporary or East Indian, and too often these categories seem mutually exclusive from each other. However, the Alberta Dance Alliance (ADA) aims to break down these barriers with its eighth annual Feats Festival. "The festival has always been about a celebration of dance for as many communities as we can have," states Bobbi Westman, Executive Director of ADA. "We try very hard to bridge the professional community with the public, and stage a place for the public to try dance." Indeed, this festival isn't just about gathering people together to watch traditional dance performances (though some events cater to this as well); the Feats Festival also provides the general public, people of all ages and levels of dance experience, with a chance to see dance as well as learn some moves for themselves. In the festival's youth component, a few young people will join the performance and take classes with

People can come online and show us their best dance, and then that will be showcased in public various instructors. The Feats Festival also teamed up with the International Jazz Festival to host some dance shows in-between performances of jazz artists at Jazz in the Park, an annual Jazz Festival event held at Louise McKinney Park. The dancers will both perform and teach people some steps. "The audience can get up and move around and have an open time to play with their kids," says Westman. There will also be a flash mob at some point during the festival, and anyone can visit the ADA website, learn the choreography from an instructor and participate. The festival will also feature an online living room dance party: "People can come online and show us their best dance, and then that will be showcased in public," explains Westman—this could prove rather interesting, especially given the sort of dancing I've seen happen in various living rooms. Let's hope some participants bring a web cam to their Canada Day parties. Though the festival is mainly local, largely featuring Edmonton-based artists, it also has a broader pull—many of these dancers have moved elsewhere looking for work and are only now returning home, so they may be more well-known abroad than they are here.

VUEWEEKLY // JUN 24 – JUN 30, 2010

LEAPFROG >> The Feats festival gets everyone involved // Pete Yee "The program is also diverse in terms of its showcasing," Westman notes. "There's Indian work in there, some southeast Asian, contemporary ballet, modern contemporary dance, tap—it gives a sampling for an audience to take a look at, as well as celebrate, the real diversity that we have within dance." Westman goes on to state that this year's festival focused particularly on finding ways to partner with new audiences and potential dance enthusiasts, as well as provide more opportunities for families to come together and dance. "But at the end of the day, it's really just about celebrating what we do as a dance community." V Fri, Jun 25 – Sun, Jul 4 Feats festival Various locations $15 for main stage performances Full schedule available at abdancealliance.ab.ca


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VUEWEEKLY // JUN 24 – JUN 30, 2010

ARTS // 21


INSIDE // FILM

FILM

Online at vueweekly.com >> FILM

23

Stars in our eyes Jonah Hex

Brian Gibson glances upwards to our star-struck culture

REVUE // TOY STORY 3

Goodbye to innocence

Toy Story 3 continues the series' potent metaphors of growing up David Berry // david@vueweekly.com

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here are, of course, many reasons why the Toy Story franchise established Pixar as the master of modern animation—not the least of which are the wit, charm, detail and feeling that are de rigeur in even the rare non-masterpiece Pixar productions—but I think a lot of it comes down to the fact that, in cheap plastic child's playthings, Pixar has found two very potent metaphors on the nature of growing up. The obvious one, of course, is about childhood innocence and imagination, and even if that's all you get from any part of the trilogy, you still have a delightful and moving series. The idea of toys coming to life is such a basic, universal idea—I can't picture the imagination-starved child who never wondered if their action figures and dolls had a life of their own—that it's instant fairy tale territory, and Toy Story 3 features two of the finest scenes that explore this idea in the entire series. The first opens the film, and it takes us,

PLAYTIME'S OVER >> The cast of Toy Story 3 face toy retirement—daycare for the first time, into Andy's imagination not as we see it but as he does, with a daring, improbable, raucous, epic battle that features all of our favourite characters at their imagined best. The second, one of the most touching scenes Pixar's ever created—no small order—finishes the film, and its inevitability is just one more reason why it's so incredibly moving.

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The other metaphor, though, has gotten more prominent as the series continues, and is basically about the nature of parenthood. I missed this one through the first go-round—I was 11 when the first film came out—but in their living forms, Woody (Tom Hanks) and Buzz (Tim Allen) are basically stand-ins for parents, and their narrative troubles are potent explorations

of the struggles parents face, not in raising children but in defining themselves. Stay with me: in the first film, Buzz has to learn that, even though he's not (or no longer) a galaxy-traversing, freewheeling space ranger, he still has a kid that loves him, and that's pretty special; in the second, Woody is tempted by immortality, but is ultimately willing to sacrifice it for the ephemeral but more meaningful love of his child; now, in the finale, the whole gang has to deal with the fact that Andy is moving on—going to college, as a matter of fact—and they even end up at a toy retirement community, complete with a grizzled, cane-sporting old vet at its head (Lotso, voiced by Ned Beatty), in the form of Sunnyside Daycare. That Sunnyside is actually a kind of torture chamber speaks to our nervousness about retirement homes, though it also adds a slightly cruel but very knowing punch to the message that, as toys, the gang has to be willing to accept the fact that their kid isn't always going to need them in his life. It also, of course, provides the escape narrative that all

the Toy Story films have used, and honestly, if you're going to quibble with this film, that would be it: though it's got all the spry cleverness of the others, by now the plot feels a bit rote, and all the notes here feel fairly familiar. All that's entirely redeemed, though, by the way those two metaphors pay off—especially the former. The last scene—which I won't spoil, but which is pretty obvious, though again no less powerful for that—is just utterly heartbreaking in the way that only growing up can be, one of those moments where bitter necessity meets unrestrained sentimentality, and it should be more than enough to bring anyone who's ever had to say goodbye to some part of their innocence to tears. V

erful character. She may be paranoid and neurotic, almost childlike in Vitti's timid, occasionally playful performance, but where Corrado waxes philosophical and romanticizes his search for meaning, it's Giuliana who genuinely searches, urgently scouring the desert-like world of Red Desert for some place where she won't feel so hopelessly ungrounded, unmoored as the cargo ships that continually slide into frame, and haunted by the electronic drones that permeate the soundtrack.

ana, Ugo, Corrado and three others partake in a failed orgy in a seaside hut. One of the women tears apart the bright red walls of the hut for firewood—a gesture that might also be a small homage to Luis Buñuel's The Exterminating Angel (1962), which also satirizes bourgeois manners. Yet this film takes a bold step forward, advancing on Antonioni's established themes and style, not only in its distinctive audio-visual design, which looks forward to David Lynch's Eraserhead (76) or the ecologically-themed photography of Edward Burtinsky, amongst many other important works of art, but also in its almost perverse pushing of the boundaries of drama—Red Desert is endlessly fascinating, richly detailed, mysterious and hypnotic, but it would be misleading to call it in any sense entertaining. Criterion's new release of Red Desert on DVD and Blu-ray is itself a strange and beautiful object, designed to highlight the film's most chilling and engaging images and garnished with supplements that offer plentiful insights into the making and reception of the film while, wisely, never going so far as to pretend there could be anything like a definitive interpretation of its bizarre and enigmatic story, one that still seems to speak to us from some under-explored place that both surrounds us and remains invisible. V

Toy Story 3 Directed by Lee Unkrich Written by Michael Arndt, John Lasseter, Andrew Stanton, Unkrich Featuring Tom Hanks, Tim Allen, Joan Cusack, Ned Beatty

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COMMENT >> DVD

A new kind of landscape

Red Desert pulls human drama from industrial location Red Desert (1964) opens with images of Guiliana (Monica Vitti) enters this landindustrial architecture, immense pipes and scape with her son Valerio (Valerio Barstrange towers seen from some distance in toleschi) in fuzzy green and orange coats, rack focus, rendered as ghostly, unincolours so vivid they seem otherworldhabitable monuments, as though ly here. Giuliana herself seems our eyes need adjust to these transported from another, very unprecedented apparitions of different place, still reeling from a new kind of landscape. Our the taxing journey. Who is this m o kly.c visual lives were already inunwoman? She seems well-to-do, uewee v @ e v tecti dated with the products of such dvdde vaguely resembles a young Barf e s o J places, but Red Desert lingers at bara Streisand, yet she approachn Brau the source of these products. The es a stranger lunching near the site film's setting changes with each seof a strike and pleads with him to buy quence, yet the striking palate modulates his already half-eaten sandwich. She then only slightly. Collaborating with cinemascurries off to consume the sandwich ravtographer Carlo di Palma, director Michelenously, and in private. As we get to know angelo Antonioni introduced colour into and try to make sense of such behaviour, his work with this film, and it's as though we might surmise that her desire for the he strove to introduce each one at a time. If sandwich derives from some displaced urge Red Desert still arrests us through its use of for human contact, yet her need to eat it uncolour and design alone, it may be because seen reveals an inability to follow-through each and every shape and colour is photowith this puzzling attempt at intimacy. It all graphed as though only just discovered. seems very peculiar, but here's the catch: Our world has changed, this film tells us, neurotic as she appears, Giuliana is perhaps and the change is total. the most normal person in Red Desert.

DVCD TIVE

DETE

22 // FILM

Giuliana's husband Ugo (Carlo Chionetti) works for the company who erected those spectral chemical plants. Compared to his wife, Ugo seems perfectly amiable, socially adept. When he smiles he looks like Steve Buscemi. He expresses concern for Giuliana, who has recently survived an auto accident, yet he seems incapable of dealing with her hysteria. He clumsily attempts to seduce her to no effect. Along comes Corrado (Richard Harris), a fellow industrialist consulting Ugo in his search for workers to take to Patagonia. Corrado is undergoing his own existential crisis and seems drawn to Giuliana. He tells her he keeps moving around, that he feels out of place everywhere he goes. He's embodied, rather fittingly, by an Irish actor, though he's meant to be Italian. Does he really relate to her? Or does he simply find her vulnerability appealing, perhaps erotically inviting? He speaks as though trying to comfort her yet too often just sounds condescending and pompous. Among the most fascinating elements in Red Desert is Giuliana's slow emergence as its most pow-

VUEWEEKLY // JUN 24 – JUN 30, 2010

Red Desert is a film in which landscape possesses an overwhelming influence on the human psyche. Its images of environmental devastation are not to be taken as lament— they're far too esthetically charged, drawing upon the work of contemporaneous painters such as Morandi, Pollock and Rothko. This wintry post-natural world is in one sense observed objectively, without sentiment. How its landscape effects the characters, or rather, how it's already effected the characters, most of whom, like Ugo or Valerio, are by now fully assimilated, is the essential subject. Red Desert capitalizes on the sense of modern alienation and bourgeois repression cultivated in Antonioni's preceding trilogy of L'avventura (1960), La notte (1961) and L'eclisse (1962). This lineage is most apparent in the famous sequence where Giuli-


COMMENT // FILM

3-D daze

Is the next wave in TV and movies actually taking our motion out of the picture? Brian Gibson // brian@vueweekly.com

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wenty-seven billion people, give or take a few million (and obviously most of that number are repeat offenders), will make the 2010 World Cup the single most-watched event in world history, but this year some are seeing the tournament as never before: 25 out of 64 matches are being shot on a twin-camera system, one recording the action for the left eye and the other recording the action for the right eye for a viewer looking through LCD shutter glasses (each lens' shutter opens and closes rapidly to ensure which eye is seeing which image). Bring the two together and you get three: 3-D soccer for 3-D televisions, available since March, from $2000 to $7000 and beyond (not always including the glasses, and not including the new 3-D Blu-Ray player needed for 3-D Blu-Ray). In the startlingly near, inyour-face future, this depth-adding extra dimension, given its illusion of thrusting you among the action, may add the most depth to the pockets of sports networks, video-game makers and porn producers. Still, it's Hollywood that triggered the tsunami. At least 21 major-release

films will be in 3-D this year (there were 17 in 2009, 11 in 2008 and eight in 2007). By next summer, a menagerie of franchises—Alvin and the Chipmunks, Jackass, Piranha, Madagascar, Saw, Smurfs—will have been reborn in 3-D. And the movie that launched this extra-dimensional surge, Avatar, will have two sequels. But 3-D isn't new. It's antique. As New Yorker critic Anthony Lane explicated a few months ago (just before the Oscars saw James Cameron's ex-wife Kathryn Bigelow edge out his military blockbuster with her 2-D war film The Hurt Locker), 3-D came before movies. Twenty years after its invention, Oliver Wendell Holmes perfected the stereoscope device in 1860, bringing two stereo-photographed images together into a picture that seems to have depth, and "you sense that impatient souls like Holmes," Lane writes, "were willing the cinema into being." Cinema's long sold the illusion of novelty, and the static cling of the new being spun for 3-D is thrilling consumers this time around, much to the cha-ching-ing benefit of filmmakers and studios. 3-D films can't yet be burned, ripped, or otherwise pirated, while some movies are con-

verting images to 3-D in post-production (which, critic Mark Kermode observes, "just makes a load of 'flat' elements look like they're floating around on opposing planes of flatness"). Plans are in the works to convert old 2-D movies into 3-D, so Bogey may soon be very, very closely "looking at you, kid." But what will the effect of 3-D be on moviegoing, moviewatching and how motion pictures move us? In 1960, as he eyed the bloody shocking, midway turn of Psycho in a London cinema, The Observer's Philip French recently recalled, as "Janet Leigh stared out at us from the floor, a man sitting in front of me staggered into the aisle and vomited: testimony to the sensitive stomachs of the time, or (as several other people I know witnessed a similar incident at the Plaza that week) evidence that Paramount's publicity department had hired a method actor for the film's opening run?" Until sound-films arrived for good in the 1930s, in-house orchestras would often provide the score. In the '50s, William Castle installed skeletons that came out of the theatre's walls to dance above the audience and electric seats that jolt-

ed them. From the '20s through the '60s, journals, exhibitions, lectures and cine-clubs sprang up to promote, discuss and even disseminate films. And at least until TV became widely accessible, some groups would often talk back to the screen, urging her to reject him or warning the hero not to enter that dark alley. Carnival gimmickry? Pretentious discussion? Naïve imagination? Some of that, but viewers were also getting involved, not just sitting back. And viewers today seem far less involved in and less active—certainly not activist—about film. A screening was once an event (especially in towns without a theatre, awaiting travelling projectionists and their outdoor light-show) but it's now a commonplace. We usually drive to a cineplex, buy concessions, sit quietly in a darkened space, then go our separate ways afterwards, only united for a few hours in apathetic silence. (Even this recent moviegoing ritual may fade, since the US Federal Communications Commission approved, in May, a request from the Motion Pictures Association of America to send first-run HD films directly into homes via cable or satellite.) 3-D takes the inaction further by

pretending to bring the action even closer to us. As we sit still, the world seems to pop out at us, objects whiz near and the background perspective deepens. But we don't move any more than before. We wait, and watch and hope for wonder. 3-D doesn't seem to be sharpening our critical eye, to be provoking or jolting our sensibilities or making us participate. It's more bombarding than immersive, more interested in trying to astound and surround instead of engage us. This is what happens when technology becomes a film's selling and talking point, not the film itself—what the film has is more important than what the film is about. With 3-D, what's coming out to get you from the screen is made more interesting than what's on screen for you to get at. Of course, it's just technology—technique and content are up to directors. But if the hyped technology flattens critical depth rather than rounding a film's subtexts and tangled emotions into focus, that technology becomes the message and it can only make the medium less artistic and the viewer a mere spectator on the sidelines— more passive, more uncritical and less, well, multi-dimensional. V

REVUE // JONAH HEX

More dead than alive

While mercifully brief, Jonah Hex is still sub-par ation on the "magical negro," merely happy to help the white hero along his journey before dissolving back into the woods. The score could be described as Metallica meets Morricone, though once having met they apparently have nothing to say to one another. Even under rubber Brolin maintains charisma, yet he really has little to do other than grunt and take heaps of punishment. Malkovich has a new funny wig to add to his collection but otherwise is unremarkable in another payday villain role. Megan Fox plays the prostitute who apparently spends her free time at the rifle range and it's true she has very nice legs. Her close-ups however are only one of many shots in the movie that seem digitally enhanced for absolutely no reason at all. V

Josef Braun // josef@vueweekly.com

A

long time ago, in the days before plastic surgery, confederate supersoldier Jonah Hex (Josh Brolin) sees his family roasted alive at the hands of the super-evil Quentin Turnbull (John Malkovich) before being left dangling from a cross with a nasty facial disfigurement that will make the consumption of beverages forever cumbersome. As the days pass Hex gets so close to expiry that even when the noble Crow Indians revive him he retains the ability to converse with the dead, a gruesome parlor trick that comes in handy in his new vocation as half-zombie bounty hunter. So Jonah Hex is a supernatural western of sorts, based on the DC comic that I only remember because my uncle Ricky used to give me his copies after he'd read them, along with his old Sgt Rocks. (Is it just me, or did only middle-aged bachelors buy all those war and western comics back in the 1980s?) Jonah Hex was directed by the guy who brought us Horton Hears a Who.

NOT DEAD YET >> Jonah Hex's titular protagonist It was written by William Farmer and the guys behind the Crank franchise, which is only slightly more indicative as to what's in store. Jonah Hex is about as dumb as the Crank movies, and it shares the Crank movies' particular brand of exaggerated, cartoonish

// Supplied

violence, yet it has nothing of the gofor-broke audacity or absurd digressions that arguably distinguish the Cranks somewhat from the rest of your sub-Guy Ritchie actioners. There's not much going on in Jonah Hex, which results in its merciful brevity—it runs

about an hour and 20—yet also results in a paucity of characterization that renders the potentially colourful leads one-dimensional and shuttles those handy Crow Indians so far into the background as to make them crude functionaries, yet another vari-

VUEWEEKLY // JUN 24 – JUN 30, 2010

Jonah Hex Directed by Jimmy Hayward Written by William Farmer, Mark Neveldine, Brian Taylor Starring Josh Brolin, John Malkovich, Megan Fox



FILM // 23


COMMENT // FILM

Stars in our eyes the actual film trails behind. Look at Knight and Day and you see the movie, or at least trailer, obviously sliphen it comes to watching movping in nods to the most recent incarnaies, we've had stars in our eyes tion of Tom Cruise in the public imagefor more than a century now. The Tom nation: the Cruise who jumped up on the Cruise-control vehicle Knight and Day couch with Oprah to zealously declare and the Adam Sandler & Co clown-car his love for his actress-wife. So he's givGrown Ups, both opening this week, are ing his eager smile while splayed out on just the latest cosmetic comets shoota car hood, complimenting June (Caming into theatres. eron Diaz) on her "beautiful dress" beA movie universe without a star sysfore opening fire on some baddies, then tem seems unthinkable, but it did grinning as he goes along with her exist. Pre-1910, films relied on in a diner, confirming "I'm the their company names, not star guy" before he slips on shades power. Directors and actors to off-handedly warn, "Please, didn't get credited (partly to for your own safety—stay in prevent them demanding the booth." Tweaked a little kly.com e e w e vu brian@ higher wages). Longer confor dramatic purposes, this is Brian tracts meant more screenthe Cruise made out to be, in time for some, though, and Gibson tabloids and on entertainment soon viewers were asking for shows, on another wavelength, names or mailing requests for photos. the slightly oddball, little bit loopy (with Reviewers joined in, lobby picturea swirl of whispers of his Scientology), posters followed and the first fan mag too-enthusiastic (bordering-on-weird) popped up in 1911. The star system had star out-of-touch with the real world. landed, just as studios moved across the But Sandler and co seem to be even continent to Hollywood. more comfortable just playing themFlash-forward to today's Entourage era, selves—or what we think are their when stars have agents and negotiate real selves—in Grown Ups. On-screen, their salaries or gross-percentages beSandler, Chris Rock, David Spade, Rob fore even signing on to a picture, and the Schneider and Kevin James are a bunch result is a dazzling mirage, celebrity aura of child-men buddies joking around blurring with name-brand marketing as with each other, just as they seem to be off-screen when they're on talk-shows promoting the picture. They comment, stand-up style, on kids not knowing how to play outdoors anymore or one pal's May – December marriage; one of them has an obviously Hollywood trophy-wife (Salma Hayek as, basically, Salma Hayek); Sandler reverts to that jokey, slightly rumbling delivery he gives to lines when he's in his most regular-joe-comic, at-home, Adam Sandler-ish roles. Their own childhood photos (presumably) are even used to show them as kids before their now grown-up roles. The star system has become so accepted that it's even tainted reviews—many critics spend an inordinate amount of time reviewing an actor or, worse, their perception of that actor based on their celebrity persona. Even that esteemed periodical of record The New Yorker is particularly guilty of this—in one recent round-up, "Male Call," David Denby waxed erudite for one page about Edward Norton's social concerns and "the actor he could be" and almost is in Leaves of Grass, then went on to consider Brian Gibson

// brian@vueweekly.com

W

SIDE

VUE

24 // FILM

VUEWEEKLY // JUN 24 – JUN 30, 2010

City Island through the prism of Andy Garcia and gaze at The Bounty Hunter through the spectrum of light running from Gerard Butler to Gerard Butler. Even though acting's just one element of a film's mise-en-scène (most journalists secretly know how true this is, since most interviews with actors

The star system has become so accepted that it's even tainted reviews—many critics spend an inordinate amount of time reviewing an actor or, worse, their perception of that actor based on their celebrity persona.

make it clear that they often don't have a good sense of the film as a whole), it's been vaulted into the stratosphere. And however much the star system grew out of people's demand for it, it's now mutated into a beast that distorts people's perception and interest in a film—for instance, there's a generation of women (perhaps recalling his role in the Polanski rape case), who are utterly uninterested in seeing anything with Jack Nicholson in it. And then others—and not just teenage girls—will see a film just because a certain actor's in it. The Tom Cruise of late '90s publicityperception, though, or more precisely, his much-covered marriage with Nicole Kidman, was rather brilliantly used by Stanley Kubrick for Eyes Wide Shut, which otherwise wouldn't have drawn so many viewers, though it probably would have garnered better reviews, since many critics seemed to buy into the whole "overblown, arty, disappointing use of Cruise and Kidman" backlash against the film. But Sandler's own persona was probably a big reason why his going against type in an impressionist arthouse comedy didn't help the boxoffice for PT Anderson's masterpiece Punch-Drunk Love (though many critics found the film to be the only saving grace for his otherwise irritating onscreen persona up to then). One of the biggest problems with the


star system may just be that it's become impossible to tell if a role's all just canny persona-playing and movie-marketing or genuinely having fun with distorted media image. It also means that actors who seem to be so obviously not playing themselves—a Nazi or obviously "not normal" person or, sometimes, uncannily impersonating a person more famous than themselves—often get the spotlight come awards time. Apart from our culture's schizoid relationship to celebrity—singing the praises of idols or happily dragging fallen ones through the mud—another big problem with the star system is that it tends to chew up and spit out actresses, who are so reduced to their image that their star power has a shorter battery-life. The most erudite example of star system analysis may be French academic Roland Barthes' essay "The Face of Garbo," which explains just how much starlets were basically celluloid Aphrodites to be awestruck by even as Barthes buys, however eloquently, into the pseudo-religious mystique of the screen-star: "Garbo still belongs to that moment in cinema when capturing the human face still plunged audiences into the deepest ecstasy, when one literally lost oneself in a human image as one would in a philtre, when the face represented a kind of absolute state of the flesh, which could be neither reached nor renounced." Nicholson, Eastwood and other actors are still going strong well into their 70s. Male stars seem to be more durable and bankable not just because of the basic sexism of the industry—more starring, complex roles for men—but also because many female stars get more tarred and brushed by the tabloids: as spurned (Jennifer Aniston) or betraying (Angelina Jolie) or sluttish/washed-up sex-star/wreck (too many in the last week alone to count). There's also the stereotype of men being more complex actors. Starting with Brando and running through De Niro, Pacino, Depp, Day-Lewis and perhaps now Gosling, we're told that it's men, particularly, who turn acting into such deep craft, disappearing into their roles, finding a new kind of method-acting in their talent-madness. And most of these top stars are white (Will Smith and Denzel Washington are exceptions that only prove the rule, since they usually play characters who are utterly palatable to white North America). The system has made for more viciously segregated films, too: foreign films, Sundance films and documentaries may as well be called non-star films in most cases. But perhaps what we gave, we can take away—audiences launched the star system with their demands back in the first decade of the nineteenth century, and only audiences can bring it back down to earth. Or maybe we don't want to? Perhaps we're happy to have celebrity-actor personas to be irritated or beguiled or fascinated or reviled by, and we go to see a movie because it's like watching someone we sort of think we know act a little bit like what we expect—a kind of false front in an already untrue tale that only helps us escape our too-real lives even more.V Brian Gibson's SideVue column appears online each week at vueweekly.com

FILM WEEKLY FRI, JUN 25 – THU, JUL 1, 2010

WED�THU 11:50, 3:10, 6:40, 10:00

THE LAST AIRBENDER (STC) THU 1:50, 6:50, 9:10

KILLERS (PG violence, coarse language) FRI�MON 4:10,

GROWN UPS (PG crude content, language may offend)

GET HIM TO THE GREEK (18A substance abuse, crude

KNIGHT AND DAY (PG violence, coarse language) DAILY 6:55 9:20; FRI, SAT, SUN, THU 1:55

JONAH HEX (14A violence) FRI�MON 9:10

PRINCE OF PERSIA: THE SANDS OF TIME (PG

THE TWILIGHT SAGA: ECLIPSE (PG violence) WED�

THE KARATE KID (PG violence, not recommended for young children) DAILY 6:50, 9:30; SAT�SUN, TUE, THU 12:50, 3:30; No 12:50 and no 6:50 show on Jul 1

7:05, 9:40; TUE 4:10, 7:05, 9:20

sexual content) DAILY 12:40, 3:50, 7:25, 10:25

s

CHABA THEATRE�JASPER 6094 Connaught Dr, Jasper, 780.852.4749

TOY STORY 3 (G) DAILY 7:00, 9:05; SAT�THU 1:30 GROWN UPS (PG crude content, language may offend) DAILY 7:00, 9:05; SAT�THU 1:30

CINEMA CITY MOVIES 12 5074-130 Ave, 780.472.9779

violence, not recommended for young children) FRI�TUE 12:50, 4:30, 7:40, 10:35; WED�THU 12:50, 4:15, 7:40, 10:35

SEX AND THE CITY 2 (14A sexual content, not recommended for young children) FRI�MON 11:40, 3:05, 6:50, 10:05; TUE 11:40, 3:05 SHREK FOREVER AFTER 3D (PG) Digital 3d FRI�TUE 11:45, 2:30, 5:10, 7:45, 10:20; WED 11:45, 2:30, 10:20

ROBIN HOOD (14A) FRI�SUN, TUE 12:10, 3:20, 6:55,

RAAVAN (STC) Hindi W/E.S.T. FRI�SAT 1:20, 4:15, 7:45, 11:00; SUN�TUE 1:20, 4:15, 7:45; WED�THU 1:00, 4:15, 7:45

10:10; MON 12:10, 3:20, 10:10

RAAJNEETI (14A) Hindi W/E.S.T. FRI�TUE 1:00, 4:25, 7:50

children) FRI�MON, WED�THU 12:45, 3:40, 6:45, 9:35; TUE 12:15, 3:10, 6:15

MACGRUBER (18A, crude content) FRI�SAT 1:50, 4:45,

IRON MAN 2 (PG violence, not recommended for young

7:40, 9:40, 11:55; SUN�THU 1:50, 4:45, 7:40, 9:40

LONDON ASSURANCE (STC) MON 7:30

A NIGHTMARE ON ELM STREET (18A, gory violence)

THE TWILIGHT SAGA: ECLIPSE (PG violence)

FRI�SAT 1:55, 4:40, 7:30, 9:50, 12:05; SUN�THU 1:55, 4:40, 7:30, 9:50

FURRY VENGEANCE (PG) DAILY 1:40, 4:20, 6:40

Midnight, No passes TUE 12:05; WED 11:30, 12:15, 12:45, 1:15, 2:45, 3:30, 4:00, 4:30, 6:30, 7:00, 7:30, 7:45, 9:45, 10:15, 10:20, 10:45; No passes THU 11:30, 12:15, 12:45, 1:15, 2:45, 3:30, 4:00, 4:30, 6:30, 7:00, 7:30, 7:45, 9:45, 10:15, 10:30, 10:45

DAILY 7:05, 9:05; FRI, SAT, SUN, THU 2:05

THU 6:45, 9:15; THU 1:45

TOY STORY 3 (G) DAILY 7:00, 9:00; FRI, SAT, SUN, THU 2:00

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

GROWN UPS (PG crude content, language may offend) No passes Fri 3:15, 7:30, 10:00; SAT�SUN 12:15, 3:15, 7:30, 10:00; MON�TUE 7:30, 10:00; WED�THU 12:15, 3:10, 7:30, 10:00 KNIGHT AND DAY (PG violence, coarse language) No passes FRI 3:40, 7:10, 9:50; SAT�SUN, WED�THU 12:45, 3:40, 7:10, 9:50; MON�TUE 7:10, 9:50

TOY STORY 3 (G) No passes FRI 4:40, 7:20, 9:55; SAT� SUN, WED�THU 11:30, 2:00, 4:40, 7:20, 9:55; MON�TUE 7:20, 9:55

TOY STORY 3 3D (G) Digital 3d, No passes FRI 3:30,

THE LAST AIRBENDER 3D (STC) THU 12:55, 3:30, 6:55, 9:30

TOY STORY 3 (G) DAILY 6:45, 7:10, 9:05; SAT�SUN,

TUE, THU 12:45, 1:10, 3:05; Not Presented In 3D

PRINCE OF PERSIA: THE SANDS OF TIME (PG violence, not recommended for young children) FRI�MON 6:50; SAT�SUN, TUE 12:50, 3:10

THE A�TEAM (PG violence, coarse language, not recommended for young children) DAILY 7:05, 9:20; SAT� SUN, TUE, THU 1:05, 3:20; no 3:20, 9:20 show on Jul 1

PRINCESS 10337-82 Ave, 780.433.0728

BABIES (PG nudity) DAILY 7:00; SAT�SUN 1:00 THE GIRL WITH THE DRAGON TATTOO (18A sexual violence, disturbing content) DAILY 9:00; SAT�SUN 3:00 CITY ISLAND (PG coarse language, mature subject matter) DAILY 7:15, 9:15; SAT�SUN 2:00

6:45, 9:30; SAT�SUN 12:30, 3:30, 6:45, 9:30; MON�TUE 6:45, 9:30; WED�THU 12:30, 3:30, 6:45, 9:35

SCOTIABANK THEATRE WEM

THE TWILIGHT SAGA: ECLIPSE (PG violence) No

JONAH HEX (14A violence) FRI 4:45, 7:35, 9:40; SAT�SUN,

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

THE LAST AIRBENDER (STC) No passes THU 1:20, 4:15,

THE A�TEAM (PG violence, coarse language, not

GROWN UPS (PG crude content, language may offend) No passes FRI�MON 1:20, 4:20, 7:20, 10:20; TUE 10:20; WED�THU 1:20, 4:20, 7:20, 10:20; TUE 1:20, 4:20, 7:00

DATE NIGHT (PG sexual content, language may offend)

THE LAST AIRBENDER 3D (STC) Digital 3d, No passes

THE LOSERS (14A, violence) DAILY 9:55 OCEANS (G) FRI�SAT 1:05, 4:35, 7:25, 9:20, 11:15; SUN� THU 1:05, 4:35, 7:25, 9:20

1:25, 4:05, 6:30, 9:00, 11:20; SUN�THU 1:25, 4:05, 6:30, 9:00 FRI�SAT 1:10, 3:55, 7:15, 9:30, 11:45; SUN�THU 1:10, 3:55, 7:15, 9:30

CLASH OF THE TITANS (PG nudity, not recommended for young children) FRI�SAT 1:35, 4:30, 6:45, 9:45, 12:00; SUN�THU 1:35, 4:30, 6:45, 9:45 THE LAST SONG (PG) FRI�SAT 1:15, 4:00, 6:50, 9:25, 11:40; SUN�THU 1:15, 4:00, 6:50, 9:25

HOW TO TRAIN YOUR DRAGON 3D (PG violence)

3d FRI�SAT 1:30, 4:10, 7:00, 9:15, 11:35; SUN�THU 1:30, 4:10, 7:00, 9:15

THE BOUNTY HUNTER (PG violence, sexual content) DAILY 1:45, 4:50, 7:10, 10:00

CINEPLEX ODEON NORTH 14231-137 Ave, 780.732.2236

passes TUE 7:00 7:15, 10:00

THU 12:00, 3:20, 6:45, 9:30

TOY STORY 3 (G) Star & Strollers Screening, No passes THU 1:00

CITY CENTRE 9 10200-102 Ave, 780.421.7020

THE KARATE KID (PG violence, not recommended for young children) Dolby Stereo Digital, Stadium Seating DAILY 12:25, 3:35, 6:45, 9:55 GROWN UPS (PG crude content, language may offend) No passes, Stadium Seating, DTS Digital FRI�MON, WED�THU 12:15, 2:50, 5:25, 8:00, 10:35; TUE 12:15, 2:50, 6:30, 9:00 JONAH HEX (14A violence) Dolby Stereo Digital FRI�TUE 12:10, 2:30, 5:00, 7:35, 9:50; WED�THU 12:10, 2:30, 5:00

GROWN UPS (PG crude content, language may offend) No passes FRI�TUE 11:40, 1:10, 2:20, 4:00, 5:00, 6:40, 7:40, 9:20, 10:40; WED�THU 11:40, 1:10, 2:30, 4:00, 5:00, 6:40, 7:40, 9:20, 10:40

FRI�TUE 12:30, 1:00, 3:30, 4:00, 7:00, 7:30, 9:45, 10:15; WED 12:40, 12:45, 3:40, 3:45, 6:30, 7:40, 9:15, 10:25; THU 12:45, 3:45, 7:40, 10:25

KNIGHT AND DAY (PG violence, coarse language) No

HARRY BROWN (18A, brutal violence, substance abuse,

TOY STORY 3 (G) No passes FRI�TUE, THU 11:30, 2:00, 4:40, 7:30, 10:15; WED 4:40, 7:30, 10:15

THE A�TEAM (PG violence, coarse language, not recom-

passes DAILY 1:30, 4:20, 7:50, 10:30

TOY STORY 3 3D (G) Digital 3d, No passes FRI�WED 12:10, 1:00, 2:40, 3:50, 5:30, 6:30, 8:10, 9:10, 10:45; THU 12:10, 1:00, 2:40, 3:50, 5:30, 6:30, 8:10, 9:00, 10:45

JONAH HEX (14A violence) FRI�WED 12:00, 2:10, 4:50,

7:00, 8:50

THE A�TEAM (PG violence, coarse language, not recommended for young children) DAILY 1:40, 4:30, 7:20, 10:10

THE KARATE KID (PG violence, not recommended for young children) DAILY 12:40, 3:40, 7:10, 10:20 KILLERS (PG violence, coarse language) FRI�MON 12:50,

3:15, 6:55, 9:30; TUE 12:50, 3:30, 6:55, 9:30

GET HIM TO THE GREEK (18A substance abuse, crude sexual content) DAILY 1:50, 4:50, 8:00, 10:35

PRINCE OF PERSIA: THE SANDS OF TIME (PG

violence, not recommended for young children) FRI�TUE 1:20, 4:10, 6:50, 9:40

TOY STORY 3 (G) Digital 3d, Stadium Seating, No passes

coarse language) DTS Digital, Stadium Seating FRI�MON 12:00, 2:35, 5:15, 7:50, 10:25; TUE 12:00, 2:35 mended for young children) No passes, Stadium Seating DAILY 12:20, 3:50, 7:10, 10:10

KNIGHT AND DAY (PG violence, coarse language) No

WED 12:10, 2:10, 4:45, 7:35, 9:40; MON�TUE 7:35, 9:40

recommended for young children) FRI 4:15, 7:15, 10:10; SAT�SUN 1:20, 4:15, 7:15, 10:10; MON�TUE 7:15, 10:10; WED�THU 1:20, 4:10, 7:00, 10:10

THE KARATE KID (PG violence, not recommended for

young children) FRI 3:20, 6:40, 9:45; SAT�SUN, WED�THU 11:45, 3:00, 6:40, 9:45; MON�TUE 6:40, 9:45

GET HIM TO THE GREEK (18A substance abuse, crude sexual content) FRI 4:30, 7:45, 10:15; SAT�SUN 1:30, 4:30, 7:45, 10:15; MON�TUE 7:45, 10:15 PRINCE OF PERSIA: THE SANDS OF TIME (PG

violence, not recommended for young children) FRI 4:00, 7:40, 10:20; SAT�SUN 1:15, 4:00, 7:40, 10:20; MON�TUE 7:40, 10:20

sexual content) DTS Digital, Stadium Seating FRI�TUE 12:40, 3:45, 7:15, 10:20; WED 7:15, 10:20; THU 7:15, 10:15

JONAH HEX (14A violence) FRI�TUE 11:50, 2:20, 4:45,

10:30

TOY STORY 3: AN IMAX 3D EXPERIENCE (G)

No passes FRI�MON 11:30, 2:00, 4:30, 7:00, 9:30; TUE 11:30, 2:00

THE A�TEAM (PG violence, coarse language, not

THE KARATE KID (PG violence, not recommended for young children) FRI�TUE, THU 11:45, 3:15, 6:40, 10:10; WED 6:40, 10:10; Star & Strollers Screening: WED 1:00

passes WED�THU 11:15, 12:00, 2:15, 3:15, 5:30, 6:30, 8:30, 9:30

THE TWILIGHT SAGA: ECLIPSE (PG violence) Digital Cinema, No passes WED�THU 1:00, 4:15, 7:15, 10:15 THE LAST AIRBENDER (STC) No passes THU 12:10, 2:45, 6:50, 9:15

GARNEAU 8712-109 St, 780.433.0728

PLEASE GIVE (14A coarse language, nudity) DAILY 7:00, 9:00; SAT�SUN 2:00

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

TOY STORY 3 (G) No passes DAILY 1:00, 3:10, 5:20,

7:30, 9:30

THE LAST AIRBENDER (STC) No passes, Dolby Stereo

6:15, 9:50

4211-139 Ave, 780.472.7600

12:15, 1:00, 3:00, 3:45, 6:30, 7:30, 9:15, 10:15; WED�THU 12:15, 2:00, 3:00, 4:45, 6:30, 7:30, 9:15, 10:15

THE TWILIGHT SAGA: ECLIPSE (PG violence) No

THE A�TEAM (PG violence, coarse language, not recom-

CLAREVIEW 10

passes DAILY 1:15, 4:15, 7:10, 9:50

TOY STORY 3D (G) Digital 3d, No passes FRI�TUE

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

7:00, 9:15; Sat-Sun 12:00, 2:30, 4:50, 7:00, 9:15; MON�TUE 7:00, 9:15

THE TWILIGHT SAGA: ECLIPSE (PG violence) No passes, Dolby Stereo Digital, Stadium Seating TUE 11:59; WED�THU 12:30, 1:00, 3:30, 4:00, 7:00, 7:30, 10:00, 10:30 Digital, Stadium Seating THU 12:00, 2:35, 5:10, 7:45, 10:20

KNIGHT AND DAY (PG violence, coarse language) No

SHREK FOREVER AFTER 3D (PG) Digital 3d FRI 4:50,

passes, Stadium Seating, DTS Digital FRI�TUE 12:05, 2:45, 5:20, 7:55, 10:30; WED�THU 12:05, 2:45, 5:20, 7:55, 10:40

GET HIM TO THE GREEK (18A substance abuse, crude

WEM, 8882-170 St, 780.444.2400

mended for young children) No passes FRI�TUE 2:30, 7:45

JONAH HEX (14A violence) No passes FRI�TUE 4:45, MARMADUKE (G) FRI�TUE 12:50

KILLERS (PG violence, coarse language) FRI�TUE 12:30, 3:30, 6:30, 9:20

GET HIM TO THE GREEK (18A substance abuse,

crude sexual content) DAILY 1:50, 4:50, 7:50, 10:45 PRINCE OF PERSIA: THE SANDS OF TIME (PG violence, not recommended for young children) FRI�MON, WED�THU 12:50, 3:50, 6:50, 9:40; TUE 12:00, 2:45, 5:30

SEX AND THE CITY 2 (14A sexual content, not

recommended for young children) FRI�TUE 7:15

SHREK FOREVER AFTER 3D (PG) Digital 3d FRI�

WED 12:00, 3:20, 6:45, 9:10

IRON MAN 2 (PG violence, not recommended for young children) FRI�MON 12:40, 4:00, 7:00, 10:00; TUE 12:10, 3:10 THE TWILIGHT SAGA: ECLIPSE (PG violence) Midnight, No passes TUE 12:01; WED�THU 1:00, 1:30, 4:00, 4:30, 7:00, 7:30, 10:00, 10:30 THE TWILIGHT SAGA: ECLIPSE (PG violence) No passes WED�THU 12:30, 3:30, 6:30, 9:30

KNIGHT AND DAY (PG violence, coarse language) No

THE TWILIGHT SAGA: ECLIPSE: THE IMAX EXPE� RIENCE (PG violence) Midnight, No passes TUE 12:01; No passes WED�THU 11:30, 2:20, 5:10, 8:00, 10:45

passes DAILY 12:45, 2:55, 4:55, 7:10, 9:20

SEX AND THE CITY 2 (14A sexual content, not recom-

SHREK FOREVER AFTER 3D (PG) Digital 3d FRI�SUN, WED 1:50, 4:20, 6:50, 9:10; MON�TUE 4:50, 7:50

GROWN UPS (PG crude content, language may offend) No passes DAILY 1:30, 3:30, 5:30, 7:40, 9:35

THE TWILIGHT TRILOGY (STC) No passes TUE 7:00

PRINCE OF PERSIA: THE SANDS OF TIME (PG

THE KARATE KID (PG violence, not recommended for young children) No passes FRI�WED 1:10, 3:45, 6:20, 8:55

THU 12:00, 3:20, 6:45, 9:20

SHREK FOREVER AFTER 3D (PG) Digital 3d FRI�WED

violence, not recommended for young children) FRI�SUN 12:30, 3:30, 6:55, 9:45; MON�TUE 5:30, 8:30

mended for young children) FRI�SUN, TUE 12:20, 3:30, 7:05, 10:15; MON 12:20, 3:30, 10:15 12:45, 3:20, 6:45, 9:00

LONDON ASSURANCE (STC) MON 7:30 THE TWILIGHT SAGA: ECLIPSE (PG violence) Mid-

night, No passes TUE 12:01, 12:02; WED�THU 11:50, 12:30, 1:15, 3:00, 3:45, 4:15, 6:20, 7:00, 7:30, 9:30, 10:00, 10:40

TOY STORY 3 (G) Star & Strollers Screening, No passes WED 1:00

THE LAST AIRBENDER (STC) No passes THU 12:00, 2:20, 5:10, 7:45, 10:25

THE LAST AIRBENDER 3D (STC) Digital 3d, No passes THU 1:20, 4:10, 6:45, 9:15

GET HIM TO THE GREEK (18A substance abuse, crude

sexual content) FRI�SUN 1:00, 4:00, 7:20, 9:55; MON 5:40, 8:35

THE TWILIGHT SAGA: ECLIPSE (PG violence) WED� THU 1:45, 4:25, 7:05, 9:25

THE LAST AIRBENDER (STC) THU 1:10, 3:15, 5:15, 9:15

THE A�TEAM (PG violence, coarse language, not recommended for young children) FRI�SUN 12:50, 3:45, 6:40, 9:30; MON�TUE 5:10, 8:25; WED�THU 12:50, 3:45, 7:20

THE KARATE KID (PG violence, not recommended for

young children) FRI�SUN 12:20, 3:20, 6:35, 9:35; MON�TUE 5:00, 8:10; WED�THU 12:20, 3:20, 6:35, 9:45

TOY STORY 3 (G) No passes FRI�SUN 1:10, 3:50, 6:30,

9:15; MON�TUE 4:45, 7:45; WED�THU 1:10, 3:50, 6:40, 9:20

TOY STORY 3 (G) No passes FRI�SUN 1:40, 4:25, 7:05,

9:40; MON�TUE 5:20, 8:20; WED�THU 1:40, 4:25, 7:05, 9:40

LEDUC CINEMAS Leduc, 780.352.3922

GROWN UPS (PG crude content, language may offend) DAILY 7:10, 9:35; SAT�SUN 1:10, 3:35

THE A�TEAM (PG violence, coarse language, not recom-

menfded for young children) FRI�TUE 7:05; SAT�SUN 1:05

KILLERS (PG violence, coarse language) DAILY 9:20; SAT�SUN 3:20

JONAH HEX (14A violence) FRI�SUN 1:30, 4:30, 7:00, 9:20;

GROWN UPS (PG crude content, language may offend) No passes FRI�SUN 12:20, 1:15, 3:15, 4:15, 6:30, 7:45, 9:20, 10:30; MON 12:20, 1:15, 3:15, 4:15, 6:30, 7:45, 10:30, 10:45; TUE 12:20, 1:15, 2:45, 4:15, 6:30, 7:45, 9:20, 10:30; WED� THU 12:20, 3:15, 6:50, 9:40

THE TWILIGHT SAGA: ECLIPSE (PG violence) WED�THU 12:55, 3:40, 6:55, 9:40; Midnight Show TUE: 12:01 am

KNIGHT AND DAY (PG violence, coarse language) No passes FRI�SUN, WED�THU 12:40, 3:40, 6:45, 9:25; MON� TUE 4:40, 8:00

THE KARATE KID (PG violence, not recommended for

KNIGHT AND DAY (PG violence, coarse language) No passes FRI�MON 12:15, 3:45, 7:10, 10:20; TUE 12:15, 3:45, 6:20, 9:20; WED�THU 12:10, 3:45, 6:20, 9:20

No passes FRI�SUN, WED�THU 1:20, 4:10, 7:10, 9:50; MON�TUE 4:30, 8:50

TOY STORY 3 (G) No passes FRI�TUE 12:30, 3:30, 7:00, 9:45; WED 12:30, 3:30, 7:00, 9:50; THU 4:10, 7:20, 10:20

passes, Midnight TUE 12:01; On 3 Screens: WED�THU 12:30, 1:00, 1:30, 3:30, 4:00, 4:30, 6:30, 7:00, 7:30, 9:30, 10:00, 10:30

CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585

TOY STORY 3 3D (G) Digital 3d, No passes FRI�TUE

12:00, 1:00, 3:00, 4:00, 6:30, 7:30, 9:30, 10:15; WED 12:00, 1:00, 3:00, 4:10, 6:30, 7:40, 9:30, 10:15; THU 11:45, 12:30, 3:00, 3:30, 6:30, 7:00, 9:30, 9:50

JONAH HEX (14A violence) FRI�TUE 12:05, 2:20, 4:40,

7:15, 9:50; WED 12:05, 2:25, 4:40, 7:05, 9:55

THE A�TEAM (PG violence, coarse language, not recommended for young children) DAILY 1:10, 4:20, 7:50, 10:40

THE KARATE KID (PG violence, not recommended for young children) FRI�TUE 11:50, 12:45, 3:10, 6:40, 10:00;

MON�TUE 5:50, 8:45; WED�THU 10:10

GROWN UPS (PG crude content, language may offend) THE TWILIGHT SAGA: ECLIPSE (PG violence) No

TOY STORY 3 (G) DAILY 7:00, 9:25; SAT�SUN 1:00, 3:25 young children) DAILY 6:50, 9:30; SAT�SUN 12:50, 3:30

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

O CAMINHO DAS NUVENS W/ GIRL AND A BICYCLE (STC) MON 7:00

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

THE LAST AIRBENDER 3D (STC) Digital 3d, No passes THU 1:50, 4:20, 6:50, 9:20

DUGGAN CINEMA�CAMROSE

KNIGHT AND DAY (PG violence, coarse language) DAILY 6:55, 9:10; SAT�SUN, TUE, THU 12:55, 3:10

THE KARATE KID (PG violence, not recommended for

GROWN UPS (PG crude content, language may offend) DAILY 7:00, 9:15; SAT�SUN, TUE, THU 1:00, 3:15; Movies for Mommies: TUE 1:00

THE A�TEAM (PG violence, coarse language, not recom-

THE TWILIGHT SAGA: ECLIPSE (PG violence) TUE

6601-48 Ave, Camrose, 780.608.2144

young children) FRI�WED 6:40 9:25; FRI, SAT, SUN 1:40

mended for young children) FRI�TUE; 6:50 9:15; FRI, SAT, SUN 1:50

Midnight; WED�THU 6:45pm & 9:25; THU 12:45, 3:25

VUEWEEKLY // JUN 24 – JUN 30, 2010

THE LAST AIRBENDER (STC) Digital 3d, No passes

WESTMOUNT CENTRE 111 Ave, Groat Rd, 780.455.8726

THE A�TEAM (PG violence, coarse language, not

recommended for young children) Dolby Stereo Digital FRI 6:25, 9:20; SAT�SUN 12:45, 3:35, 6:25, 9:20; MON� TUE 5:10, 8:20

THE KARATE KID (PG violence, not recommended for young children) Dolby Stereo Digital FRI 6:50, 10:00; SAT�SUN 12:30, 3:45, 6:50, 10:00; MON�WED 5:00, 8:00 GROWN UPS (PG crude content, language may offend) No passes, DTS Digital FRI 6:40, 9:35; SAT�SUN 1:00, 3:55, 6:40, 9:35; MON�THU 5:20, 8:10 KNIGHT AND DAY (PG violence, coarse language) No passes, DTS Digital FRI 7:00, 9:45; SAT�SUN 1:15, 4:05, 7:00, 9:45; MON�THU 5:30, 8:30 THE TWILIGHT SAGA: ECLIPSE (PG violence) No passes, Dolby Stereo Digital WED�THU 5:10, 8:20 THE LAST AIRBENDER (STC) No passes, Dolby Stereo Digital THU 5:00, 8:00

WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922

TOY STORY 3 (G) DAILY 7:00, 9:25; FRI 4:00; SAT,

SUN 1:00, 3:25

KNIGHT AND DAY (PG violence, coarse language) DAILY 6:55, 9:35; SAT�SUN 1:05, 3:35

THE A�TEAM (PG violence, coarse language, not recommended for young children) DAILY 7:05, 9:40; SAT, SUN 1:05, 3:40 THE KARATE KID (PG violence, not recommended for young children) DAILY 6:50, 9:30; SAT, SUN 12:50, 3:30

THE TWILIGHT SAGA: ECLIPSE (PG violence) TUE 12:01

FILM // 25


26 // FILM

VUEWEEKLY // JUN 24 – JUN 30, 2010


INSIDE // MUSIC

MUSIC

30

Enter Sandor

32 37

Tom Petty Music Notes

Online at vueweekly.com >>MUSIC Slideshow Tom Petty, the Whitsundays VueTube go to vueweekly.com/vuetube for our archive of performances at the Vue studio

PREVUE // THE PAPERBACKS

Keepers of the flame

The Paperbacks' Lit From Within is a beacon of rock and activism Mary Christa O'Keefe // marychrista@vueweekly.com

W

innipeg is the belly-button of Canada, a busy dot nestled in the Red River Valley floodplain at the borderlands of the endless Prairie and bosky Canadian Shield. Perhaps the city's quirky geography explains its easy accommodation of opposing extremes and facility for virtuous navel-gazing—Winnipeg has long been a hotbed for creative types (cultivated by admirable provincial support for the arts) and fiery activists. Often, the two intertwined, a fecund marriage expressed in artists like the granddaddies of earnest Canadiana post-punk, the Weakerthans (although older Winnipeggers Burton Cummings and Neil Young also know a thing or two about high-minded hooks). Doug McLean came up in the Winnipeg scene around the same time as the Weakerthans, meshing punk and politics. A couple of years and bands later, he founded the Paperbacks with bandmates from other projects, and in 2002 they released an EP, followed by a full-length, then toured extensively. Over the next several years they played the white-knuckled Indie Game of Life, trying to make art without going broke while growing older and weary and less comfortable with financial insecurity. They gained and lost members, recorded albums and kept writing and touring. "Ten years is a long time to be doing something," McLean offers. "It's weird when you're looking back, lining up dates and occurrences—it's just our lives, right? It just keeps happening. "But being in a band is weird anyways," he continues. "I was reading some interview with Sting and he was saying, 'I don't want to play in the Police anymore because it's basically just like a gang you have with your little buddies,' and that's sort of what a band is, I guess. There are elements of an adolescent thing to bands, principles that tie together for people to be in a band. It's interesting to go through your adulthood and change so much about yourself for your actual normal life and then have this other thing that's with you all the time—it'll always take you back, to some degree. I don't mean 'hold you back'; I just mean making music is tied to reverie or memory or what you dreamed of as a kid." "You don't want to be the old guy at the record store yelling at kids about

TURN THE PAGE >> The Paperbacks move forward with a double-concept double album the past," McLean sighs. "You have to find different motivations for making music as you keep going, if it's not going to be money or success or whatever." The songwriter sees parallels between art-making and activism, and not only in that both are often disdained as quixotically unworthy of "adult" contemplation (unless you've achieved the influence and wealth of Sting, or at least Death Cab For Cutie).

"I was talking to a friend who'd been involved in activism forever and it was the same kind of thing as with music, where you see people you came up with drift away or change their minds or whatever," he says. "Actually, activism is probably worse, because there's so much burnout and the stakes are higher. But yeah, trying to maintain something that's basically a product of idealism—which a band is, or any kind of advocacy or creative project

// Supplied

is—is tough." Sometimes crises of motivation are best addressed by hurtling headlong into an ambitious endeavour, which is exactly what the Paperbacks did: the band made a concept album. A double concept album. A double concept, double album, packed with double meanings, called Lit From Within. "It gets kind of meta, at some point," McLean laughs. "It had its start from a

VUEWEEKLY // JUN 24 – JUN 30, 2010

'Why do we do this?' conversation with a friend. An alone-on-Christmas, 'Aaahagh!, I do all this stuff, and here I am!' kind of conversation. At the same time, the band needed something to work on, something big. The idea of a double album was maybe just a joke at first, but then it was, 'Let's do it!'. Afterwards, I was thinking: 'What's worthy of a double album? What would make it worthwhile and cohesive?' So motivation became not only what I was thinking about in general, it became the topic." A bajillion puns have been made about the Paperbacks' literary bent— McLean's descriptive heartfelt and brainy lyrics heightening arty, textural, propulsive rock—but Lit From Within really has the feel of well-told fiction, and although it's stuffed with intimacies, it draws a compelling portrait of a contemporary North American life of creative struggle and dissent. As its title suggests, the album has moments that are touchingly transparent as well as incendiary. "I was writing with that friend in mind, trying to pick up little things from our past, even musically, to tie it together," McLean recalls. "Little references to older songs, stuff she likes, a lot of goofy things. That informed the sound too, trying to summon up music we'd done in the past, even in other bands, and what we were listening to when we were really active and involved in things." Songs on each disc echo one another, with lyrical and musical motifs recurring to amplify or contradict ideas and moods. "The structure is basically two acts: raising these issues on one disc and sort of resolving them on the second," McLean notes. "There are lots of connections between songs if anyone wants to find them. I always liked when a body of work revolves around a world you create, and when you piece it together you have this massive work where stories have different flavours, but you still have this overarching thing. I like that concept for making art, this endless body that grows with you but still has its own containment. It can always be there; you can take the growth you've had in your life and apply that in your fiction." V Sat, Jun 26 (7:30 pm) The Paperbacks With We Were Lovers, the Zolas Haven Social Club $10 (advance), $12 (door)

MUSIC // 27


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

THU JUN 24 ARTERY Summer Madness: All Ages Hip Hop show: Grim Empire lead by Stephen ‘Komrade’, Brothers Grim, Chubbs, NineLivez, DJ Globe, Extended Clip Ent, The Overachievers; $10 BLUE CHAIR CAFÉ Thu Nite Jazz Series: Brett Miles Trio; 7:30pm; $8 BLUES ON WHYTE Dueling Basses: Russel Jackson, Sam Cockrell BRIXX Radio Brixx presents The Apresnos, Minto, The Greff Band with Tommy Grimes; 8pm (door); $10 (door)

Grabil and Mitch Williams (young, indie-rock duo); $10 JULIAN'S�Chateau Louis Graham Lawrence ( jazz piano); 8pm L.B.'S Open jam with Ken Skoreyko; 9pm LIVE WIRE Open Stage Thu with Gary Thomas MARYBETH'S COFFEE HOUSE�Beaumont Open Mic Thu; 7pm NEW CITY LIKWID LOUNGE The Dead Letters, Fear of Crime, guests NAKED CYBERCAFÉ Open stage every Thu; bring your own instruments, fully equipped stage; 8pm

Big Rock Thu: DJs on 3 levels– Topwise Soundsystem spin Dub & Reggae in The Underdog BRIXX Radio Brixx with Tommy Grimes spinning rock and roll BUDDY'S DJ Bobby Beatz; 9pm; no cover before 10pm CENTURY ROOM Underground House every Thu with DJ Nic-E DRUID Dublin Thu: DJ at 9pm FILTHY MCNASTY’S Punk Rock Bingo with DJ S.W.A.G. FLUID LOUNGE Girls Night out FUNKY BUDDHA�Whyte Ave Requests with DJ Damian GAS PUMP Ladies Nite: Top 40/ dance with DJ Christian HALO Thu Fo Sho: with Allout DJs DJ Degree, Junior Brown KAS BAR Urban House: with DJ Mark Stevens; 9pm LEVEL 2 LOUNGE Absolut Thu: with DJ NV and Joey Nokturnal; 9:30pm (door); no cover LUCKY 13 Sin Thu with DJ Mike Tomas NEW CITY SUBURBS Bingo at 9:30pm followed by Electroshock Therapy with Dervish Nazz Nomad and Plan B (electro, retro)

NORTH GLENORA HALL Jam by Wild Rose Old Time Fiddlers

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

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

RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 8pm1am

PLANET INDIGO�St Albert Hit It Thu: breaks, electro house spun with PI residents

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

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

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

RUSTY REED Comedy night with Howie Miller at 7:30pm and 10pm followed by music SECOND CUP�Varscona Live music every Thu night; 7-9pm

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

DV8 Open mic Thu hosted by Cameron Penner/ and/or Rebecca Jane ELECTRIC RODEO�Spruce Grove Open Stage Thu: Bring an instrument, jam/sing with the band, bring your own band, jokes, juggle, magic; 8-12 ENCORE CLUB With A Latin Twist: free Salsa Dance Lessons at 9pm HAVEN SOCIAL CLUB The Violet Hour, The Shoulder, special guests; 7:30pm; $10 (door) HOOLIGANZ Open stage Thu hosted by Phil (Nobody Likes Dwight); 9pm-1:30am HYDEAWAY�Jekyll and Hyde Metal Thursday: Kryoshere/Civil Savage, Quietus 24; 8pm J AND R Classic rock! Woo! Open stage, play with the house band every Thu; 9pm JAMMERS Thu open jam; 7-11pm JEFFREY'S CAFÉ Brittney

SPORTMAN'S LOUNGE Hipcheck Trio and guests (jazz, blues) every Thu; 9pm TAPHOUSE�St Albert Last Horizon, Brought To You By, Radioflyer, NoWeiser; 9pm; $10 UNION HALL Taio Cruz WILD WEST SALOON Tera Lee

CARROT Live music Fri: all ages; The Proper Charlies; 7pm; $5 (door) CASINO EDMONTON Robin Kelly (pop/rock) CASINO YELLOWHEAD Capital Newz (Pop/Rock) CENTRAL PARK LOUNGE Charlie Austin (solo piano); 5-7pm; no cover; part of Jazz Fest CENTURY CASINO Little River Band; 7pm; $29.95/$39.95 at TicketMaster, Century Casino CHURCHHILL SQUARE The Sky Life; Works Fest COAST TO COAST Open Stage every Fri; 9:30pm DV8 Ronnie Hayward's Rockabilly Birthday Bash; 9pm EARLY STAGE SALOON�Stony Plain The Swifty's ENCORE CLUB 4 Play Fri

PLAY NIGHTCLUB Gameshow every Thu with Patrick and Nathan; 9pm PROHIBITION Throwback Thu: old school r&b, hip hop, dance, pop, funk, soul, house and everything retro with DJ Service, Awesome

IRISH CLUB Jam session; 8pm; no cover IVORY CLUB Duelling piano show with Jesse, Shane, Tiffany and Erik and guests

RENDEZVOUS Metal Thurzday with org666

GLENORA BISTRO Fri with Friends: Ralph Pretz; 8:3010:30pm; $10

SPORTSWORLD Roller Skating Disco: Thu Retro Nights; 7-10:30pm; sports-world.ca STOLLI'S Dancehall, hip hop with DJ Footnotes hosted by Elle Dirty and ConScience every Thu; no cover

FRI JUN 25

Classical

AVENUE THEATRE Will Belcourt, The Fantastic Brown Dirt, Casey Barkley

DJs

BRIXX Early Show: Mindweiser, As It Standz, 7pm (door), $10 (door); Late Show: Options, Greg Gory, Eddie Lunchpail, 10:30pm (door), $5 (door)

FIDDLER'S ROOST Needles to Vinyl, Red Stripe, and Breezy Brian Gregg, Harry Gregg, friends; 7pm (door), 8pm (music); $10 (door); benefit concert; proceeds to the weekend to end women's cancers

WINSPEAR Chick Corea, Terry Clarke Trio; 7:30pm; $54.50/$59.75; pre-festival concert for the Edmonton Jazz Festival Society TIMMS CENTRE Opera Nuova: Romeo et Juliette–Charles Gounod, Rosemary Thomson (conductor); 7:30pm; Premium: $37.50 (adult)/$32.50 (student/ senior); Regular: $32.50 (adult)/$27.50 (student/senior) at TIX on the Square; sung in French with English surtitles

Matthew Good, Ill Scarlett, Swollen Members, Shout Out Out Out, Christian Hansen and the Autistics, Static in the Stars, 40 Gun Flagship, DJ Dane Gretzky, Allout DJs, DBZ & KGZ, D-KOI

180 DEGREES Sexy Fri night ARTERY Family Jam; 6pm

AXIS CAFÉ Calista Rock; 8pm BLUE CHAIR CAFÉ World Exploration Jazz Quartet; 8pm; $12; part of Jazz Fest BLUES ON WHYTE Dueling Basses: Russel Jackson, Sam Cockrell

BILLY BOB’S LOUNGE Escapack Entertainment

BOHEMIA Scrapbooker, Party at the Moontower, Renegade Cop; 9pm; $5 (door)

BLACK DOG FREEHOUSE

BOONSTOCK �Gibbons

Rd, 780.462.6565 CHROME LOUNGE 132 Ave, Victoria Trail CKUA 10526 Jasper Ave COAST TO COAST 5552 Calgary Tr, 780.439.8675 COPPERPOT Capital Place, 101, 9707-110 St, 780.452.7800 CROWN AND ANCHOR 15277 Castledowns Rd, 780.472.7696 CROWN 10709-109 St, 780.428.5618 DIESEL ULTRA LOUNGE 11845 Wayne Gretzky Drive, 780.704. CLUB DEVANEY’S 9013-88 Ave, 780.465.4834 DRUID 11606 Jasper Ave, 780.454.9928 DUSTER’S 6402-118 Ave, 780.474.5554 DV8 8307-99 St, DV8TAVERN.com EARLY STAGE SALOON 4911-52 Ave, Stony Plain EDDIE SHORTS 10713-124 St, 780.453.3663 EDMONTON EVENTS CENTRE WEM Phase III, 780.489.SHOW ENCORE CLUB 957 Fir St, Sherwood Park, 780.417.0111 FIDDLER’S ROOST 8906-99 St FILTHY MCNASTY’S 10511-82 Ave, 780.916.1557 FLOW LOUNGE 11815 Wayne Gretzky Dr, 780.604.CLUB FLUID LOUNGE 10105-109 St, 780.429.0700 FUNKY BUDDHA 10341-82 Ave, 780.433.9676 GAS PUMP 10166-114 St, 780.488.4841 GLENORA BISTRO 10526 Jasper

Ave, 780.482.3531 HALO 10538 Jasper Ave, 780.423. HALO HAVEN SOCIAL CLUB 15120A (basement), Stony Plain Rd, 780.756.6010 HILL TOP 8220-106 Ave, 780.490.7359 HOLY TRINITY ANGLICAN CHURCH 10037-84 Ave HOOLIGANZ 10704-124 St, 780.452.1168 HYDEAWAY 10209-100 Ave, 780.426.5381 IRON BOAR 4911-51st St, Wetaskiwin IVORY CLUB 2940 Calgary Trail South JAMMERS 11948-127 Ave, 780.451.8779 J AND R 4003-106 St, 780.436.4403 JEFFREY’S CAFÉ 9640 142 St, 780.451.8890 JEKYLL AND HYDE 10209-100 Ave, 780.426.5381 KAS BAR 10444-82 Ave, 780.433.6768 L.B.’S 23 Akins Dr, St Albert, 780.460.9100 LEDER BARN�Spruce Grove 52514 Range Rd, Spruce Grove LEGENDS 6104-172 St, 780.481.2786 LEVEL 2 LOUNGE 11607 Jasper Ave, 2nd Fl, 780.447.4495 LIVE WIRE 1107 Knotwood Rd. East MACLAB CITADEL THEATRE 9828-101A Ave, 780.425.1820 MARYBETH'S COFFEE HOUSE–Beaumont 5001-30 Ave, Beaumont

JEFFREY'S CAFÉ Shelley Jones; $15; part of Jazz Fest JULIAN'S�Chateau Louis Graham Lawrence (jazz piano); 8pm LEDER BARN�Spruce Grove Haven Social Club 2nd Anniversary Barn Party: Joe Nolan, Ido van der Laan, Ariane Mahryke Lemire, Scott Cook; Bands: Jay Gilday Band, Jeff Stuart and the Hearts, Str8 Up Gypsies, Boogie Patrol, Souljah Fyah; fireworks display; 5pm (gate); $10 JEFFREY'S CAFÉ Jazz Divas: Shelley Jones; $15; part of Jazz Fest JEKYLL AND HYDE PUB Every Fri: Headwind (classic pop/rock); 9pm; no cover LB'S Trainwreck; 9:30pm-2am MACLAB CITADEL THEATRE Carol Welsman and the Edmonton Jazz Orchestra; part of Jazz Fest

NEW CITY LOUNGE MOD CLUB: Travy D & Blue Jay NEW CITY SUBURBS Hank and Lily, The Awesomehots, Jill Pollock; 9pm (door); no minors; tickets at New City, Megatunes, Blackbyrd ON THE ROCKS Moscow Dynamo with DJs RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm-2am RENDEZVOUS Dead Jesus, Paraspchotic, mystery guest RUSTY REED'S HOUSE OF BLUES Tacoy Ryde; 9pm-2am; $5 STARLITE ROOM Black Mountain, Lord Beginner; 8pm (door); $20 at TicketMaster, Blackbyrd, Listen STEEPS�Old Glenora Live Music Fri: Brandon Quigley, guests; 8pm; free TAPHOUSE�St Albert Noweiser, Econoline Crush TOUCH OF CLASS�Chateau Louis Howard Young (pop/ rock); 8:30pm WILD WEST SALOON Tera Lee X�WRECKS Big and Fearless (classic rock); 8pm YARDBIRD SUITE Terry Clarke Trio, 8pm and 9:30pm show; Yardbird Late Night: James Clarke Trio; 11:30pm; part of Jazz Fest

Classical TIMMS CENTRE Opera Nuova: Guiseppe Verdi's Falstaff; 7:30pm

DJs

AZUCAR PICANTE Every Fri: DJ Papi and DJ Latin Sensation BANK ULTRA LOUNGE Connected Fri: 91.7 The Bounce, Nestor Delano, Luke Morrison BAR�B�BAR DJ James; no cover BAR WILD Bar Wild Fri BLACK DOG FREEHOUSE Fri DJs spin Wooftop and Main Floor: Eclectic jams with Nevine–indie, soul, motown, new wave, electro; Underdog: Perverted Fri: Punk and Ska from the ‘60s ‘70s and ‘80s with Fathead BOOTS Retro Disco: retro dance BUDDY’S DJ Arrow Chaser; 8pm; no cover before 10pm CENTURY ROOM Underground House every Fri with DJ Nic-E CHROME LOUNGE Platinum VIP Fri DRUID DJ Fri at 9pm EMPIRE BALLROOM Rock, hip hop, house, mash up; no minors ESMERELDA'S Ezzies Freakin Frenzy Fri: Playing the best in country FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro with DJ

VENUE GUIDE 180 DEGREES 10730-107 St, 780.414.0233 ARTERY 9535 Jasper Ave ARTS BARNS 10330-84 Ave, 780.448.9000 AVENUE THEATRE 9030-118 Ave, 780.477.2149 AXIS CAFÉ 10349 Jasper Ave, 780.990.0031 BANK ULTRA LOUNGE 10765 Jasper Ave, 780.420.9098 BILLY BOB’S Continental Inn, 16625 Stony Plain Rd, 780.484.7751 BLACK DOG FREEHOUSE 1042582 Ave, 780.439.1082 BLUE CHAIR CAFÉ 9624-76 Ave, 780.989.2861 BLUES ON WHYTE 10329-82 Ave, 780.439.3981 BOHEMIA 10575-114 St BOONSTOCK Gibbons, 20 mins NE of Edm, 780.975.0311, boonstock.ca/ bands.shtml BOOTS 10242-106 St, 780.423.5014 BRIXX 10030-102 St (downstairs), 780.428.1099 BUDDY’S 11725B Jasper Ave, 780.488.6636 CAFFREYS IN THE PARK 1-99 Wye Rd, Sherwood Park, 780.449. Pint (7468) CASINO EDMONTON 7055 Argylll Rd, 780.463.9467 CASINO YELLOWHEAD 12464153 St, 780 424 9467 CENTRAL PARK LOUNGE Sutton Place Hotel, 10235-101 St, 780.428.7111 CHATEAU LOUIS 11727 Kingsway, 780.452.7770 CHRISTOPHER’S 2021 Millbourne

28 // MUSIC

VUEWEEKLY // JUN 24 – JUN 30, 2010

MCDOUGALL UNITED CHURCH 10025-101 St MORANGO’S TEK CAFÉ 10118-79 St NAKED CYBERCAFÉ 10354 Jasper Ave NEWCASTLE 6108-90 Ave, 780.490.1999 NEW CITY 10081 Jasper Ave, 780.989.5066 NIKKI DIAMONDS 8130 Gateway Blvd, 780.439.8006 NORTH GLENORA HALL 13535109A Ave O’BYRNE’S 10616-82 Ave, 780.414.6766 ON THE ROCKS 11730 Jasper Ave, 780.482.4767 ORLANDO'S 1 15163-121 St OVERTIME Whitemud Crossing, 4211-106 St, 780.485.1717 PAWN SHOP 10551-82 Ave, Upstairs, 780.432.0814 PLANET INDIGO�Jasper Ave 11607 Jasper Ave; St Albert 812 Liberton Dr, St Albert PLAY NIGHTCLUB 10220-103 St PLEASANTVIEW COMMUNITY HALL 10860-57 Ave PROHIBITION 11026 Jasper Ave, 780.420.0448 QUEEN ALEXANDRA HALL 10425 University Ave 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 RITCHIE UNITED CHURCH 962474Ave, 780.439.2442

ROBERTSON WESLEY UNITED CHURCH 10209-123 St ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253 ROSE AND CROWN 10235-101 St RUSTY REED'S HOUSE OF BLUES 12402-118 Ave, 780.451.1390 SECOND CUP�Mountain Equipment 12336-102 Ave, 780.451.7574; Stanley Milner Library 7 Sir Winston Churchill Sq; Varscona, Varscona Hotel, 106 St, Whyte Ave SIDELINERS 11018-127 St, 780.453.6006 SPORTSWORLD 13710-104 St SPORTSMAN'S LOUNGE 8170-50 St STARLITE ROOM 10030-102 St, 780.428.1099 STEEPS�College Plaza 11116-82 Ave, 780.988.8105; Old Glenora 12411 Stony Plain Rd, 780.488.1505 STOLLI’S 2nd Fl, 10368-82 Ave, 780.437.2293 TAPHOUSE 9020 McKenney Ave, St Albert, 780.458.0860 UKRAINIAN CENTRE 11018-97 St, 780.483.8999 WESTWOOD UNITARIAN CHURCH 11135-65 Ave, 780.428.6187 WHISTLESTOP LOUNGE 12416132 Ave, 780. 451.5506 WILD WEST SALOON 12912-50 St, 780.476.3388 WINSPEAR CENTRE 4 Sir Winston Churchill Square; 780.28.1414 X�WRECKS 10143-50 St YESTERDAYS 112, 205 Carnegie Dr, St Albert, 780.459.0295


Damian GAS PUMP Top 40/dance with DJ Christian LEVEL 2 LOUNGE Formula Fri: with rotating residents DJ's Groovy Cuvy, Touretto, David Stone, DJ Neebz and Tianna J; 9:30pm (door); 780.447.4495 for guestlist NEWCASTLE Fri House, dance mix with DJ Donovan NEW CITY LIKWID LOUNGE DJ Anarchy Adam (punk) PLAY NIGHTCLUB Pretty People Get Nasty with Peep n Tom, Showboy and rotating guest; DJS; every Fri; 9pm (door) REDNEX�Morinville DJ Gravy from the Source 98.5 RED STAR Movin’ on Up Fri: indie, rock, funk, soul, hip hop with DJ Gatto, DJ Mega Wattson ROUGE LOUNGE Solice Fri SPORTSWORLD Roller Skating Disco Fri Nights; 7-10:30pm; sports-world.ca STOLLI’S Top 40, R&B, house with People’s DJ STONEHOUSE Top 40 with DJ Tysin TEMPLE Options Dark Alt Night; Greg Gory and Eddie Lunchpail; 9pm (door); $5 (door)

SAT JUN 26 180 DEGREES Dancehall and Reggae night every Sat ALBERTA BEACH HOTEL Open stage with Trace Jordan 1st and 3rd Sat; 7pm-12 ARTERY The Frolics (CD release party), Lascivious Burlesque, guests; no minors; 7pm ARTS BARNS Nils Landgren Funk Unit and Wil Campa; part of Jazz Fest AVENUE THEATRE Schools out party: Radio For Help, Seventh Rain, Seven Sided, Letters to Elise, The Sky Life; all ages; 7pm; $10 AXIS CAF�Metro Room Field Assembly Adult, Gianna Lauren (contemporary folk); 8pm; $10

HILLTOP Open stage/mic Sat: hosted by Sally's Krackers Sean Brewer; 3-5:30pm HOLY TRINITY ANGLICAN CHURCH Dana Wylie; 7pm (door), 8pm (show); $15 IRON BOAR Jazz in Wetaskiwin featuring jazz trios the 1st Sat each month; $10 IVORY CLUB Duelling piano show with Jesse, Shane, Tiffany and Erik and guests JAMMERS Sat open jam, 3-7:30pm; country/rock band 9pm-2am JEFFREY'S CAFÉ Jazz Divas: Rollanda Lee; $15; part of Jazz Fest JECKYLL AND HYDE� Underground Parkade The Works Opening Night Party: Ensemble Mujirushi, All Out DJs, Nik 7 and Jaycie Jayce (Shout Out Out Out Out), Lindsay Brandon; Videos from Calgary's ARTCity; 7pm (door); $5 (door) JULIAN'S�Chateau Louis Dennis Begoray (jazz piano); 8pm L.B.’S Darrell Kitkitz Memorial Jam with Mark Ammar and Kenny Skoreyko; 9:30pm-2am LOUISE MCKINNEY PARK Jazz In The Park: Sandro Dominelli Trio, Nils Landgren Funk Unit, Will Campa, Ola Onabule, Edmonton Jazz Orchestra; 12-7pm; free MACLAB CITADEL THEATRE Ola Olabule and The Black Pioneer Heritage Singers; part of Jazz Fest

CENTRAL PARK LOUNGE Bill Richards (solo piano); 5-7pm; no cover; part of Jazz Fest COAST TO COAST Live bands every Sat; 9:30pm CROWN Acoustic Open Stage during the day/Electric Open Stage at night with Marshall Lawrence, 1:30pm (sign-up), every Sat, 2-5pm; evening: hosted by Dan and Miguel; 9:30pm-12:30am DRUID DJ Sat at 9pm EARLY STAGE SALOON�Stony Plain The Swifty's EMPRESS ALE HOUSE Miss Quincy (Your Mama Don't Like Me album release tour), Scott Cook; 4pm GAS PUMP Blues Off Jasper every Sat 3-6pm; all musicians welcome HAVEN SOCIAL CLUB The Paperbacks, We Were Lovers, The Zolas; 7:30pm; $10 (ad)/$12 (door)

ESMERALDA’S Super Parties: Every Sat a different theme FLUID LOUNGE Sat Gone Gold Mash-Up: with Harmen B and DJ Kwake FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro with DJ Damian HALO For Those Who Know: house every Sat with DJ Junior Brown, Luke Morrison, Nestor Delano, Ari Rhodes LEVEL 2 LOUNGE Signature Sound Sat: with DJ's Travis Mateeson, Big Daddy, Tweek and Mr Wedge; 9:30pm (door); $3; 780.447.4495 for guest list NEWCASTLE Top 40 Sat: requests with DJ Sheri NEW CITY LIKWID LOUNGE Punk Rawk Sat with Todd and Alex NEW CITY SUBURBS Black Polished Chrome Sat: industrial, Electro and alt with Dervish, Anonymouse, Blue Jay

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

O’BYRNE’S Live band Sat 3-7pm; DJ 9:30pm ON THE ROCKS Moscow Dynamo with DJs

QUEEN ALEXANDRA HALL Edmonton Blues Society: The Wiremen; 7:30pm (door), 8pm (music); $3 (member)/$5 (guest)

CASINO YELLOWHEAD Capital Newz (Pop/Rock)

ENCORE CLUB So Sweeeeet Sat

NEW CITY SUBURBS Black Polished Chrome Sat: Electro/ Alternative/Industrial with DJs Blue Jay, Dervish, Anonymouse)

BLUES ON WHYTE Dueling Basses: Russel Jackson, Sam Cockrell

CASINO EDMONTON Robin Kelly (pop/rock)

EMPIRE BALLROOM Rock, hip hop, house, mash up

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

PAWN SHOP Shredmonton: The official Iron Maiden after party featuring Striker; $10

CARROT Open mic Sat; 7:3010pm; free

CENTURY ROOM Underground House every Sat with DJ Nic-E

NEW CITY LOUNGE Cleanse Kill, Last Horizon, Psycomantium

BLUE CHAIR CAFÉ Dave Babcock and his Jump Trio; 8pm; $15; part of Jazz Fest

BRIXX Moonitor (CD release), Comaduster and Dead Musician; 9pm; (door) $12 (door)

BUDDY'S DJ Earth Shiver 'n' Quake; 8pm; no cover before 10pm

MORANGO'S TEK CAFÉ Sat open stage: hosted by Dr. Oxide; 7-10pm

OVERTIME Jamaoke: karaoke with a live band featuring Maple Tea

BOONSTOCK �Gibbons The Offspring, Papa Roach, Chevelle, Age of Daze, Hail the Villain, Stand Down, Hollywood Assassyn, Self Evolution, Face First, No Heat Tomorrow, Band Wars Winner, Dirty City Hearts, Harman B & Kwake, DJ Ryan Wade, DJ Dusty Grooves, DBZ & KGZ, Da Phutur

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

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

BLACK DOG FREEHOUSE Hair of the Dog: Jesse Dee & Jacquie B (live acoustic music every Sat); 4-6pm; no cover

BOHEMIA art+muzak!: local live music and visual artistry; 9pm; free (member)/memberships available at the door

Touch It, hosted by DJ Papi

PALACE CASINO Ransom

RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm-2am RENDEZVOUS Me Next, The Have Nots, What Grace?, Looking East REXALL PLACE Iron Maiden (Final Frontier World Tour), Dream Theater; all ages; 6pm (door), 7:30pm (show); $39.50, $65, $89.50 at livenation.com RIVER CREE�The Venue Frankie Valli and the Four Seasons; 8pm RUSTY REED'S HOUSE OF BLUES Tacoy Ryde; 9pm-2am; $5 STARLITE ROOM Sons of No One, Scantily Clad and The Well Dressed Men, The Shoulder; 9pm; $12 (door) TAPHOUSE�St Albert Our Last Crusade, Built on Despondency, Desecrate the Gods, Desousa Drive; 9pm TOUCH OF CLASS�Chateau Louis Howard Young (pop/ rock); 8:30pm WILD WEST SALOON Tera Lee YARDBIRD SUITE Owen Howard Quintet, 8pm and 9pm show; Yardbird Late Night: Rubim De Toledo, 11:30pm; part of Jazz Fest

Classical TIMMS CENTRE Opera Nuova: Romeo et Juliette–Charles Gounod, Rosemary Thomson (conductor); 1:30pm, 7:30pm; Premium: $37.50 (adult)/$32.50 (student/senior); Regular: $32.50 (adult)/$27.50 (student/senior) at TIX on the Square; sung in French with English surtitles

DJs

AZUCAR PICANTE Every Sat: DJ

RED STAR Sat indie rock, hip hop, and electro with DJ Hot Philly and guests RENDEZVOUS Survival metal night SPORTSWORLD Roller Skating Disco Sat; 1pm-4:30pm and 7-10:30pm STOLLI’S ON WHYTE Top 40, R&B, house with People’s DJ TEMPLE Oh Snap!: Every Sat, Cobra Commander and guests with Degree, Cobra Commander and Battery; 9pm (door); $5 (door)

SUN JUN 27

NEW CITY Open Mic Sun hosted by Ben Disaster; 9pm (sign-up); no cover

The Bear, guests; 8pm; $20 TicketMaster, Blackbyrd, Unionevents.com

NEW CITY SUBURBS Queers Never Die: Connie Lingua (Antonio Bavaro), DJ Tianna J.; 8pm (door); no minors

YARDBIRD SUITE Dupont T, 8pm and 9:30pm show; Yardbird Late Night: Modo Trio featuring Wayne Horvitz, 11pm; part of Jazz Fest

O’BYRNE’S Open mic Sun with Robb Angus (Wheat Pool); 9:30pm-1am ON THE ROCKS The Raptors ORLANDO'S 2 Sun Open Stage Jam hosted by The Vindicators (blues/rock); 3-8pm REXALL PLACE�Northlands Star Wars in concert (multimedia); 2:30pm and 7pm; tickets at TicketMaster ROYAL COACH�Chateau Louis Petro Polujin (classical guitar); 5pm RUSTY REED'S HOUSE OF BLUES Open stage with the Rusty Reed Band; 4-8pm SECOND CUP�Mountain Equipment Co-op Live music every Sun; 2-4pm

Classical TIMMS CENTRE Opera Nuova: Guiseppe Verdi's Falstaff; 1:30pm, 7:30pm

DJs

BACKSTAGE TAP AND GRILL Industry Night: with Atomic Improv, Jameoki and DJ Tim BLACK DOG FREEHOUSE Sun Afternoons: Phil, 2-7pm; Main Floor: Got To Give It Up: Funk, Soul, Motown, Disco with DJ Red Dawn BUDDY'S DJ Bobby Beatz; 9pm; Drag Queen Performance; no cover before 10pm FLOW LOUNGE Stylus Sun NEW CITY SUBURBS Get Down Sun: with Neighbourhood Rats PLAY NIGHTCLUB Rotating Drag shows; every Sun; 9pm (door) SAVOY MARTINI LOUNGE Reggae on Whyte: RnR Sun with DJ IceMan; no minors; 9pm; no cover SPORTSWORLD Roller Skating Disco Sun; 1-4:30pm; sportsworld.ca

BLUE PEAR RESTAURANT Jazz on the Side Sun: Don Berner (sax); $25 if not dining

BLUE PEAR RESTAURANT Jazz: Doug Berner (trumpet/ bass) BLUES ON WHYTE Big Rude Jake

DEVANEY’S Celtic Music Session, hosted by Keri-Lynne Zwicker, 4-7pm DV8 Youth Pessimist, Profits of Crime, Back Alley Boozers; 9pm; $6 EDDIE SHORTS Sun open stage hosted by Rob Taylor HYDEAWAY Sun Night Songwriter's Stage: hosted by Rhea March J AND R Open jam/stage every Sun hosted by Me Next and the Have-Nots; 3-7pm MACLAB CITADEL THEATRE Bill Frisell Trio; part of Jazz Fest MEAD HALL Lazy Sun: Crowded City Skyline & So' N' So and the Somethin' R' Others; no minors; 7pm; $5 NEWCASTLE Sun Soul Service (acoustic jam): Willy James and Crawdad Cantera; 3-6:30pm

BLACK DOG FREEHOUSE Main Floor: Eclectic Nonsense, Confederacy of Dunces, Dad Rock, TJ Hookah and Rear Admiral Saunders BUDDY'S DJ Dust 'n' Time; 9pm FILTHY MCNASTY'S Metal Mon: with DJ S.W.A.G.

NEW CITY LIKWID LOUNGE Daniel and Fowler (eclectic tunes)

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

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

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

YARDBIRD SUITE Bob Tildesley Project, 8pm and 9:30pm show; part of Jazz Fest

MON JUN 28

B�STREET Acoustic-based open stage hosted by Mike "Shufflehound" Chenoweth; every Sun evening

DJs

FLUID LOUNGE Mon Mixer

BLACK DOG FREEHOUSE Who Made Who–The Rock and Roll Resurrection: The Maykings (revive The Who), The Dirty Dudes (revive AC/DC); 10pm; no cover

BLUES ON WHYTE Ska Sun: Rude City Riot; 9pm

ROBERTSON WESLEY UNITED CHURCH Andiamo! Belle Canto Pre-Tour Concert Italy 2010; 7pm; $10 (adult)/$7 (student) at TIX on the Square

TAPHOUSE�St Albert Scantily Clad and the Well Dressed Men , The Infectuals

BEER HUNTER�St Albert Open stage/jam every Sun; 2-6pm

BLUE CHAIR CAFÉ Sun brunch: Jim Findlay; 10:30am-2:30pm; donations

Classical

CENTRAL PARK LOUNGE Torben Molm-Pederson; 5-7pm; no cover; part of Jazz Fest DEVANEY'S Open stage Mon with Ido Vander Laan and Scott Cook; 8-12 LILITH 2010�Northlands Sarah McLachlan, Sugarland, Kate Miller-Heidke, Grace Potter and the Nocturnals, Erykah Badu, Colbie Caillat, Winning Our Stage Artist Ash Koley, Frazey Ford, Sheryl Crow; all ages event; 2:30pm; $81.50, $151.50, $252 at Livenation.com, TicketMaster

LUCKY 13 Industry Night with DJ Chad Cook every Mon

TUE JUN 29 BLUE PEAR Audrey Ochoa (Jazz trombone); $25 if not dining BLUES ON WHYTE Big Rude Jake BRIXX Elisapie Isaac, Mark Feduk; 8pm (door); $15 (door); part of Jazz Fest CENTRAL PARK LOUNGE Wayne Feschuk (solo piano); 5-7pm; no cover; part of Jazz Fest CKUA Jazz'Art Concert: PierrePaul Bugeaud, Gord Graber, Jamie Philp, Bill Richards, Brett Miles (artists paint to live jazz); 7pm; no cover; part of the Works Fest featuring painters Jacques Martel, Sylvia Grist, Susan Woolgar, Louise Piquette, Nathalie Shewchuk-Paré CROWN Underground At The Crown: underground, hip hop with DJ Xaolin and Jae Maze; open mic; every Tue; 10pm; $3 DRUID Open stage with Chris Wynters, guest Cory Woodward; 9pm HAVEN SOCIAL CLUB Austin Lucas, guests; 7:30pm; $10 (door) JEFFREY'S CAFÉ Jazz Divas: Lori Mochasy; $15; part of Jazz Fest L.B.’S Ammar’s Moosehead Tue open stage; 9pm MACLAB CITADEL THEATRE Joshua Redman `James Farm`Quartet; part of Jazz Fest NEW CITY LIKWID LOUNGE Open Mic; Hosted by Ben Disaster; 9pm O’BYRNE’S Celtic Jam with Shannon Johnson and friends OVERTIME Tue acoustic jam hosted by Robb Angus RUSTY REED'S HOUSE OF BLUES Marshall Lawrence acoustic jam; 9pm-2am; $5 SECOND CUP�124 Street Open mic every Tue; 8-10pm SECOND CUP�Stanley Milner Library Open mic every Tue; 7-9pm

NEW CITY This Will Hurt you Mon: Johnny Neck and his Job present mystery musical guests

SIDELINERS Tue All Star Jam with Alicia Tait and Rickey Sidecar; 8pm

NEW CITY LOUNGE Brazilian Money, Sans Aids, Mt. Royal, Freak Heat Waves (Pre-Sled Island Party)

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

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

STARLIGHT ROOM/BRIXX Elisapie Issac, Anti-Pop Consortium (alt hip hop), The Paronomasiac with Nik 7; 9pm; $20 at Blackbyrd, Foosh, Listen, TicketMaster

PROHIBITION Chicka-Dee-Jay Mon Night: with Michael Rault ROSE BOWL/ROUGE LOUNGE The Legendary Rose Bowl Mon Jam: hosted by Sean Brewer; 9pm RUSTY REED'S HOUSE OF BLUES Blue Mondays: Jamming with Jimmy; 9pm2am; $5 STARLITE ROOM Minus

STEEPS�Old Glenora Every Tue Open Mic; 7:30-9:30pm WINSPEAR Nikki Yanofsky, John Pizzarelli; 7:30pm; $60-$70 at Winspear box office; part of Jazz Fest YARDBIRD SUITE Franca Masu, 8pm and 9:30pm show; Jam Session hosted by Chris Andrew; part of Jazz Fest

VUEWEEKLY // JUN 24 – JUN 30, 2010

MUSIC // 29


COMMENT >> NXNE

Down on the street

Iggy and the Stooges lead the loudest charge at Toronto's NXNE For years, two music festivals have coThe throng lurched forward as the band existed in Toronto: Canadian Music Week, opened with "Raw Power," guitars squelchfilled with band showcases, forums, award ing from the speakers, screaming across the shows and schmooze fests, and NXNE, square, then bouncing back off the glass which just wrapped up this past weekwindows of the Eaton Centre across end. It is also filled with band showYonge Street, creating an ungodly cases, forums, award shows and echo. For a band that based itschmooze fests. self on making rock 'n' roll that But, after this year, NXNE has didn't need to sound like it was m clearly made itself the Toronto necessarily in tune or on time, it ekly.co e w e u @v steven festival that Canadian bands was perfect. n e Stev or need to attend. Most can't do By the time the heat, the both, so it's a choice between one sweat and the push wore on us, Sand or the other. we moved back, looking to check out NXNE had been flirting with moving showjust how many people had migrated to the cases into open spaces, out of the clubs. But core to see the show; Iggy was belting out never has any Canadian festival done some"Out of my mind on Saturday night, 1970 thing as daring as what the NXNE programrollin' in sight." There was the Stooges, mers came up with for the 2010 fest. For blasting a song that was plain scary in four nights, NXNE hosted festivals at Yonge1970—and it sounded as snarly, as angry Dundas Square, Toronto's attempt to copy and as relevant 40 years later. the worst part of New York: Times Square. The shows were open to the public. Show The throng continued to grow. As my up, and rock out. No passes or wristbands wife and I stumbled through the masses needed. No special treatment for any media to the edge of the square, we saw that members. Just bring the public together in police had closed down Yonge Street. one giant, sweaty mass. Mudhoney, X and It was filled with people dancing. Traffic De La Soul were draws. was stopped dead at the intersection of But one night stood above all else. On the Yonge and Dundas streets as more people Saturday night of the festival, the reunited flooded to the square. There were people Iggy and the Stooges, with fIREHOSE legsitting on bus shelters, on the top of enend Mike Watt taking over for the late Ron tranceways, on advertising signs, so they Asheton on bass, took to the stage. could look over the thousands there to Set time was 9:30 pm but as the Racatch a view of Iggy in his shirtless glory. veonettes tried unsuccessfully to kill the There were homeless people smashing vibe with a lifeless, carboard-cutout of an into each other in a mosh pit of poverty opening set, the crowd grew and grew. and grime. My wife and I were simply sucked in to a The irony, of course, is that when the band mass of young and old. There were fiftywas together in the late ‘60s and early ‘70s, somethings crammed into too-tight pants, and reformed to record Raw Power in 1973, fat rolls hidden under spiked belts. There it was never popular. The group was lucky were curious kids. to play to 200 people a night. The records By the time Iggy Pop appeared on stage, were commercial failures. The Stooges greeting the crowd with a hearty "Fuck probably played to more people on that you," the crowd had swelled to the point one night in Toronto than in a year's worth where I couldn't see an end to the crush. of touring to support 1970s' Fun House.

ENTER

SAND

DJs

BLACK DOG FREEHOUSE Main Floor: CJSR’s Eddie Lunchpail; Wooftop: with DJ Gundam BRIXX Troubadour Tue: The Balconies and Sean Brewer, hosted by Mark Feduk; 9pm; $8 BUDDY'S DJ Arrow Chaser; 9pm ESMERALDA’S Retro Tue; no cover with student ID FUNKY BUDDHA�Whyte Ave Latin and Salsa music, dance lessons 8-10pm NEW CITY LIKWID LOUNGE ‘abilly, Ghoul-rock, spooky with DJ Vylan Cadaver

Project, Caged Therapy, The Red Limit, The Raptors, Senorita Justice, DJ Dusty Grooves, Allout DJs, Da Phutur DJs; tickets at Boonstock ticket centre, TicketMaster, Foosh, Down Hill Riders BRIXX Really Good Eats and Beats: DJ Degree and friends; 6pm (music) CAFFREYS IN THE PARK Train Wreck CENTRAL PARK LOUNGE Devin Hart (solo piano); 5-7pm; no cover; part of Jazz Fest

PROHIBITION Tue Punk Night

COPPERPOT RESTAURANT Live jazz every Wed night: Don Berner; 6-9pm; $15 at TIX on the Square; part of Jazz Fest

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

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

WED JUN 30

EDDIE SHORTS Goodtime jamboree Wed open stage hosted by Charlie Scream

BLACK DOG FREEHOUSE Main Floor: Glitter Gulch Wed BLUE CHAIR CAFÉ Nathan Ouelette Quartet; 8pm; $10; part of Jazz Fest BLUE PEAR Jazz: Karen Porkka (sax); $25 if not dining BLUES ON WHYTE Big Rude Jake BOONSTOCK Above and Beyond, Call Before You Dig, Throttle, Keep 6, Rob Taylor

30 // MUSIC

OR

EDMONTON EVENT CENTRE Countdown to Canada Day: Armin van Burren, Glenn Morrison and Dave Dfekt; $57 at TicketMaster, Foosh (Whyte), Rain Salon (WEM)

HAVEN SOCIAL Open stage with Jonny Mac; 6pm (door); no cover HYDEAWAY�Jekyll and Hyde Holtkopf, Radio Zebra, Himiko DethNoiZZZ; 8pm JEFFREY'S CAFÉ Jazz Divas: Krystle Dos Santos; $15; part of Jazz Fest JUBILEE AUDITORIUM Impact; 6pm LEVEL 2 LOUNGE Open mic MACLAB CITADEL THEATRE Salute to Benny Goodman: Dave Bennett, Tommy Banks, Peter Appleyard, Rollanda Lee; 7:30pm; part of Jazz Fest NEW CITY Circ-O-RamaLicious: Gypsy and circus fusion spectaculars; last Wed every month NEW CITY SUBURBS Bison BC, Death Toll Rising, Begrime OIL CITY ROADHOUSE Jaydee Bixby, guests; 8pm; $24 at TicketMaster OVERTIME Dueling pianos featuring The Ivory Club

EMPRESS ALE HOUSE Concealer (heavy dance-pop gothic psychedelia); 9pm

PAWN SHOP Sleepy Sun, Mini Mansions (members of Queens of the Stone Age); 8pm; $10 at Blackbyrd, Listen, foundationconcerts.com

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

PLEASANTVIEW COMMUNITY HALL Acoustic Bluegrass jam presented by the Northern

VUEWEEKLY // JUN 24 – JUN 30, 2010

It wasn't a concert anymore: it was an event. Forty years later, the Stooges was getting its due for being one of the bands to lay the groundwork for the punk rock revolution. But, while this was the coup de grace for NXNE—the outdoor show of outdoor shows to establish the festival as the big winner of the Canadian music battle—was there any spillover effect for the 600-plus indie bands who were playing showcases in clubs throughout the city? Of all the shows I attended, only one had a lineup because it was full inside, and that was to see Vancouver blues-rockers the Pack AD at Toronto's Dakota Tavern. On a tour of other venues, there looked to be a lot of bands playing to half-empty houses. Of course, I went out club-hopping on garbage night in the trendy Ossington-Queen West neighburhood, which has just been gentrified. The smell of rotting meat and puke couldn't be escaped at any of the venues in the area. Maybe that was it. But, by putting all the big draws in the square, where they could be seen for free, was NXNE only drawing fans away from the clubs to see the bands that need the breaks? Leaving the Stooges show, I saw a lot of people heading to the streetcar stops and the subway stations, not lining up for festival passes, even though the festival had cut the prices on Saturday. And, heck, my wife and I aren't Freedom55ers like Iggy Pop and the rest of the Stooges, but we were too damn tired after seeing the Stooges, of being in that sweltering pit, to want to do anything but go home after the gig. Iggy said before the band finished the set that he wanted to get off the stage so he could go get drunk; we just wanted to hit the sack. V Steven Sandor is a former editor-in-chief of Vue Weekly, now an editor and author living in Toronto.

Bluegrass Circle Music Society every Wed evening PROHIBITION Wed with Roland Pemberton III RED PIANO BAR Canada Day dueling pianos show RIVER CREE Wed Live Rock Band Nazareth, Headpins hosted by Yukon Jack; 7:30-9pm RUSTY REED'S HOUSE OF BLUES Danny Coady Band; no cover SECOND CUP�Mountain Equipment Open Mic every Wed; 8-10pm STARLIGHT ROOM/BRIXX Kid Koala Presents the Slew Live, Knight Riderz; 8pm (door); $30 at TIX on the Square STEEPS TEA LOUNGE�College Plaza Open mic every Wed; hosted by Ernie Tersigni; 8pm STEEPS TEA LOUNGE�Whyte Ave Open mic every Wed; 8pm TEMPLE Wyld Style Wed: Live hip hop; $5 YARDBIRD SUITE Andre Ledroux, 8pm and 9:30pm show; Celcius Quartet, 11pm; part of Jazz Fest

DJs

BANK ULTRA LOUNGE Wed Nights: with DJ Harley BLACK DOG FREEHOUSE Main

Floor: Blue Jay’s Messy Nest Wed Night: Brit pop, new wave, punk, rock ‘n’ roll with LL Cool Joe BRIXX Really Good... Eats and Beats with DJ Degree and Friends BUDDY'S DJ Dust 'n' Time; 9pm; no cover before 10pm DIESEL ULTRA LOUNGE Wind-up Wed: R&B, hiphop, reggae, old skool, reggaeton with InVinceable, Touch It, weekly guest DJs FLUID LOUNGE Wed Rock This IVORY CLUB DJ ongoing every Wed; open DJ night; 9pm-close; all DJs welcome to spin a short set LEGENDS Hip hop/R&B with DJ Spincycle NEW CITY LIKWID LOUNGE DJ Roxxi Slade (indie, punk and metal) NEW CITY SUBURBS Shake It: with Greg Gory and Eddie Lunchpail; no minors; 9pm (door) PLAY NIGHTCLUB Movie Night every Wed; 9pm (door) RED STAR Guest DJs every Wed STARLITE ROOM Wild Style Wed: Hip-Hop; 9pm STOLLI'S Beatparty Wed: House, progressive and electronica with Rudy Electro, DJ Rystar, Space Age and weekly guests


VUEWEEKLY // JUN 24 – JUN 30, 2010

MUSIC // 31


SLIDESHOW >> TOM PETTY

Wed, Jun 16 / Tom Petty & the Heartbreakers / Rexall Place Go to vueweekly.com for more of Eden Munro's photos.

32 // MUSIC

VUEWEEKLY // JUN 24 – JUN 30, 2010


SLIDESHOW >> TOM PETTY

VUEWEEKLY // JUN 24 – JUN 30, 2010

MUSIC // 33


PREVUE // JOEY ONLY OUTLAW BAND

On the run

Joey Only hits the Transgression Trail

A MERRY MAN >> Joey Only leads his Outlaw Band through the Canadian landscape Mike Angus // mikeangus@vueweekly.com

'W

e're a relentless band. We don't like to take breaks, we just play play play play," Joey Only explains of his Joey Only Outlaw Band's three upcoming shows in Edmonton. "My drummer says if we're gonna drive for four hours, he wants to play for four hours." A quick scan of the man's biography, and descriptions like "relentless," "authentic," "the real deal" keep popping up. For the seven-piece cowpunk band from Vancouver, hitting the road means getting out there and staying out there for months on end. This summer sees the group performing almost every day for the next three months in support of a new album, Transgression Trail. Recorded in Vancouver with Edmontonian Steve Loree (Greyhound Tragedy), the album consists of more relentless country, punk, barroom anthems and hard-hitting psychedelic jams. "I think when you come see us at the Black Dog, you'll probably get the best idea of what we're really about," Only explains. "That's the way we like to play: really go at it non-stop, play all night and come at you with waves of songs, and we jam things out to make things interesting. In that way we're sort of a psychedelic country band. Musically, we're not afraid to go to places that some bands don't go to. We're a loud band." While the band's previous albums have dealt with classic songs about Canadian history, the past four years have seen the players experience so much on the road that Transgression Trail has become a more personal recording. "We've been playing a lot of shows

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and working the country side. ... Because of that, this record is really a collection of stories of things that have happened to us while playing over the last four years," he points out. "A lot of the songs we play are songs about Canadian history, so this album is a little bit of a departure from that in the sense that it's about ourselves quite a bit. The song 'Transgression Trail' is supposed to be about a dead cowboy who haunts the Auditorium Hotel [in Nanton, AB], but in other ways it's about my own sins. Most of the songs are stories directly related to our adventures like that." At the end of the day, Only simply wants to show up on any given night and connect with the audience. "I played in punk bands for so many years, I really wanted to be able to go to any town in Canada and put on a show, and I think the best way to do that is playing folk and country music. Our stories are pretty much completely Canadian; we're not going to sing about anything American. We have that connection to people in each town we get to, we have songs about their province, things they recognize and things they associate within their daily lives." V Joey Only Outlaw Band Tue, Jun 29 (7:30 pm) With Austin Lucas Haven Social Club, $10 Thu, Jul 1 (9 pm) With Whiskey Wagon, the Give 'Em Hell Boys Hooliganz Pub, free Sat, Jul 3 (3 pm) Black Dog, free


VUEWEEKLY // JUN 24 – JUN 30, 2010

MUSIC // 35


PREVUE // ANTI-POP CONSORTIUM

Anti-Pop consolidation Hip-hop group road tested latest album Bryan Birtles // bryan@vueweekly.com

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aving been away from each other for over seven years following a breakup in 2002, the members of New York City hip-hop group AntiPop Consortium picked up where they left off with the 2009 release of Fluorescent Black. The album—the group's first since 2002's post-breakup release Arrhythmia—was written differently from Anti-Pop's previous work, explains one of the group's MCs, Beans. "When we were making Fluorescent Black we were consistently touring

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even without a record label. Most of the material on the album was already crowd approved because we were doing those songs live before we did the album. We would write a song and then immediately start doing it live to test it out," he says. "Fluorescent Black was the longest record to make because we were mostly touring during that time. We were usually gone two or three weeks every month for a year doing that record. We were gone a lot so every time we were home and had a chance to we were working on the record, whereas doing Arrhythmia we had a solid six months where we did nothing but work on the record."

Known for its avant-garde proclivities and progressive leanings, Anti-Pop Consortium is considered to be one of the most literary purveyors of hip hop, so it ought to come as no surprise that the group's members met at a poetry slam. With the intersections of poetry and hip hop being enthusiastically explored in recent years, many are coming around to the idea that the spoken words of MCs and the spoken words of poets are one and the same. Not so, says Beans. "One does influence the other and I understand why people say there's a lineage between the two but, in my opinion, it's two distinct things," he

VUEWEEKLY // JUN 24 – JUN 30, 2010

BACK IN BUSINESS >> Hip-hop's Anti-Pop Consortium returns says. "I think the main difference is the cadence—with poetry you don't necessarily need to be too dependent on a beat and it's not as rhythmically based, it's more focused on the strength of the words, whereas [with rap] you need to know how to land on the beat and what separates you is how you land, your personal approach to landing on the beat." The main thing in Anti-Pop's world right now is the work. In addition to its current tour, the group has a new album ready to be released this fall that Anti-Pop collaborated on with avantgarde pianist Matthew Shipp while Beans will be releasing another solo re-

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cord around the same time. Unlike the myriad of artists who see hitting the road as a burden undertaken in order to continue making music, Beans looks forward to the experience. "I fuckin' love it," he exclaims. "I don't know why, I just like my job. It beats sitting behind a desk and I like that aspect of the work. You make records to promote them and that's what touring does and that's a part of the work that I enjoy." V Tue, Jun 29 (8 pm) Anti-Pop Consortium Starlite Room, $20


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Fri, Jun 25 (9 pm) / Black Mountain Black Mountain will be the centre of attention when it graces the stage of the Starlite Room this Friday. With plans to release a new album in the fall, Black Mountain has set itself up on a seemingly endless tour that will see the band roll through Canada, America and the United Kingdom dropping its riff-heavy psych-rock to the people of three countries. (Starlite Room, $20)

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Sat, Jun 26 (8 pm) / Dana Wylie A storied genre like folk music sometimes feels like a spent force: after Guthrie and Dylan and Mitchell, what can possibly be said? One way to jazz things up is to, literally, jazz things up. Dana Wylie does just that on her third LP, Something's Going to Happen Here. The album incorporates Wylie's rangy, precise vocals and folk songwriting chops with soulful standup bass and keyboards to create a sound of artful simplicity. Wylie's more straightforward singer-songwriter numbers come off a little flat in comparison to the delicious jazz experiments, but her remarkable voice, trained in musical theatre at the MacEwan Centre for the Arts, beguiles the ear enough to retain interest even then. The album release gig at Holy Trinity on Saturday offers a chance to hear her live. (Holy Trinity Anglican Church) —Lewis Kelly

Jun 24, 25, 26 / Boonstock Previously best-known for its annual town-wide garage sale—which happens every September—the town of Gibbons is quickly gaining a reputation as a musical hub, thanks to the rising prominence of the Boonstock festival. This year's festival features the likes of Papa Roach, the Offspring and local favourites Shout Out Out Out Out. (Gibbons, AB) Mon, Jun 28 (8 pm) / Minus the Bear Seattle indie rock group Minus the Bear was minus a label when it went into the studio to record it's latest album, but after a few months of it sitting on the shelf, OMNI saw release last month. The group will bring its characteristic mathy, indie songs to Edmonton this Monday. (Starlite Room, $20) —Bryan Birtles

Fri, Jun 25 (9 pm) / The Hank and Lily Show Fans of masked banditos with commitment issues and spritely half deer girls from a magical forest would be wise to take in the Hank Pine and Lily Fawn Show at New City this Friday. Known for their deep commitment to story across a myriad of mediums, Hank and Lily have told their tale across comic books, film and international stages. (New City, $12) —Bryan Birtles

Sat, Jun 25 (8 pm) / Party at the Moontower The kind of band that is willing and able to write its first EP from the perspective of Dazed and Confused character Fred O'Bannion about what his life became after graduation is not the type of band to start attempting any sort of deeply meaningful artistic statements. For Vancouver's appropriately-named Party at the Moontower, its new EP, entitled Fifty Year Storm, is based around the same sense of fun that elicited lyrics about O'Bannion becoming an alcoholic who pines for glory days. "There's no theme to this new one—it ranges from Patrick Swayze to wanting to murder a fellow classmate who got a DeLorean," explains lead singer and Edmonton ex-pat Brian Sepanzyk. "Whenever I start thinking about writing lyrics, the theme of murder always seems to come up. I don't know why. I'm trying to get away from that, but every time, I wonder what it'd be like to murder someone." While murder may seem like an odd choice, the inclusion of Patrick Swayze is bound to tweak a few ears, especially the answering machine message at the end of the EP's first track, where it sounds like Swayze apologizes to Sepanzyk for his behaviour from the previous night. In fact, the message is real. The singer, whose day job is in the film industry, had a run-in with the actor at the wrap party for the Edmonton-shot Christmas in Wonderland. "We were drinking and he turned to me in mid-conversation and goes, 'What the fuck's the matter with your hat man? I wanna piss in your hat, man,'" Sepanzyk reiterates, insisting the story happened. "Then he says, 'Someone should kick your ass, man.' Then he takes the hat off my head, took a swig of his beer, threw the hat on the ground and stomped

on it—with these magnificent black cowboy boots, mind you. "I had drank quite a bit by this time, so I berated him for quite awhile, called him a washed up cunt—I won't go into everything I said to him. I stopped and he was just staring at me and he went, 'I was just kidding man, I just wanted to get a laugh out of ya. OK everybody take it easy see you later,' and just left. "It was dead silent. Then all of a sudden this guy comes up to me and goes, 'Did you just call Swayze a cunt?' "'Yeah.'" (Bohemia [10575 - 114 St], $7) —Bryan Birtles

VUEWEEKLY // JUN 24 – JUN 30, 2010

MUSIC // 37


PREVUE // THE FROLICS

North of the border Trio frolics to Edmonton

WE'RE A HAPPY FAMILY >> The Frolics smile for the camera Angela Johnston // angela@vueweekly.com

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my Fralick and her husband Scott, two-thirds of the Frolics, relocated to Edmonton from Nashville in 2008 after their drummer landed himself in jail once again. "He's a great guy, but he just makes the stupidest decisions," Fralick admonishes. She is smiling and balancing her 11-month-old daughter on her petite lap. The "he" is Curt, who had a few run-ins with the law over activities like driving drunk. The band's website features a mug shot of him, smiling broadly. On the Frolics' first album, he wrote "Davidson Co. Jail" about his time in the slammer. After the duo ditched the drummer, they drove across the border to Edmonton. CBC had offered Fralick's husband, who was born and raised in Edmonton, a television-reporting job, and the pair took the opportunity to move forward with his career as well as the band. They put an ad on Kijiji and soon met their current drummer, Jeff Emsley, who Fralick says really brought the band together. "He is fantastic. He's totally changed the sound of our band," she says. "We all write together as a band, which is something we

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never did before." In late 2009, the trio went back to Nashville to record the band's sophomore album, Ripe, working with the same producer as on the first album. "He just really understands our sound," Fralick says. She laughs and adds that he charged them a special "neighbour discount" price. The album was released on the heels of the youngest Fralick's birth. When she realized she was pregnant, Fralick says she was certain the baby would destroy the band. The poor babe was even forced to don a shirt that read "I ruined a perfectly good band." Fralick says she was surprised to find that the pregnancy seemed to inspire her songwriting and the baby hasn't been troublesome to the band's existence at all. Emsley's wife, who Fralick refers to as "the creative marketing guru of the band," helps out by minding the baby while the band plays gigs or records. "A band with a built-in baby-sitter is always a good thing." V Sat, Jun 26 (8 pm) The Frolics With Lascivious Burlesque ARTery


VUEWEEKLY // JUN 24 – JUN 30, 2010

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COMMENT >> MIA

Between party lines

Reading the MIA/New York Times controversy What's so special about a truffle fry? A variaencing why we select our media. tion on the traditional French fry, a truffle fry When it comes to the nuts and bolts of things, is cut julienne style, prepared with truffle oil, the casual music listener needs easy shorthand kosher salt and russet potatoes. It has a thinner, to decide who comes into their parlour. So why softer consistency than your average fry and is do people like Jay-Z? Because he's cool. But usual served with spicy mayo. They're delicious. cool is such an ephemeral concept. What is cool Luckily, truffle fries are not isolated to high-end about him? He is a rich guy, he claims he used to dining establishments. You can get an approxisell drugs 30 years ago (but still talks about domation at the grocery store. ing it today), he can afford expensive clothes, he During Lynn Hirschberg's New York Times is considered desirable by someone we colexposĂŠ on the perceived flimsiness of lectively find to be desirable. Sri Lankan pop star MIA's politics, the Basically, he tells us he's cool, the laH AS writer juxtaposes the artist's eye- B A C K L bel tells us he's cool, so he must be rolling shock statements ("Give war a cool. He is a movie character, a con.com chance") with her choice of meal (the duit for danger that lends the listener weekly e u v @ roland aforementioned delicate baked good) a vicarious thrill. No one wants to be d n Rola rton a misanthropic guy with a patriarchal to present a portrait of hypocrisy. But Pembe like a truffle fry, MIA isn't really that complex, thus people rarely self-identify much different from the other products with a rapper like El-P, for instance. Everywe digest on a daily basis. man artists can be successful but only if they Her single "XXXO" is junk food, a Happy Meal of seemingly straightforward synth pop that reThe truth of the matter veals itself over time to be a complex arrangeis that MIA's reputation ment by Bmore house impresario Blaqstarr and dubstep whizkid Rusko. Label ringer special refor being a Sri Lankan mix guest Jay-Z is the toy inside; we can choose rebel soldier girl is whether or not we want to play with him and overblown. From the discard him when we lose interest (as usual, almost immediately). Somewhat tellingly, a malabeginning, I've always propism in the chorus makes the song ("You seen her as a technoscout. want me be somebody who I'm really not"). She purposefully dates The truth of the matter is that MIA's reputation for being a Sri Lankan rebel soldier girl is herself with the current overblown. From the beginning, I've always seen state of media through her as a technoscout. She purposefully dates extended metaphor. herself with the current state of media through extended metaphor. This is apparent on her older work ("URAQT in particular") and on "XXXO" ("Upload your photo, see below / You like what you see, you can download and store"; "You're reflect an idealized version of everyday reality tweeting me like Tweety Bird on your iPhone"). It back to the listener. When this reflection is done used to be "call me if you need someone to talk in a negative light, it's naturally conflicting. Noto", now it's R Kelly saying "text me back somebody wants to be normal or flawed. But everything freaky". These lines are clumsy and base one wants to be rich. from a literary perspective but they represent Then again, some people just want to feel danthe true direction of the artist and are effective gerous. MIA's background (daughter of a Tamil in bonding with today's audience. Tiger, temporarily banned from the US) connects this subtext to her music but shouldn't While the vague political affiliation is a crebe considered the focus, even if she courts it by ation of the artist, like Public Enemy before her, claiming people are trying to make her into a terpolitics are merely a gateway to the party. Rororist. She is not a sociologist: she's a musician. I man Gavras's sensationalist video for "Born Free" don't look for my news on TMZ and I don't take is fast-paced and visually interesting but the political cues from musicians, so neither should song itself is of little consequence. The video's you or the The New York Times. presentation of the song implies that the sound So what Hirschberg is raking MIA through the is less important than the image, a special edit coals for is actually the same conceit all pop of which is made with several ambient moments stars must make to be successful. The message for the action to be taken in fully. The video is is window dressing for the image of the product. famous for the execution of a red-haired child At least MIA has a strength in being a technobut more jarring is how its short film format logical barometer. She bounces between the mostly ignores the song, which has a pseudoproducers du jour like Madonna and includes revolutionary message that you barely notice media trends in her lyrics. The album cover for over the nine minutes and six seconds the video her new album /\/\/\Y/\ (MAYA in ASCII) is made pushes the song length to. What is actually beout of YouTube progress bars. There is value to ing sold here? MIA's pop art because unlike someone like Lady Please roll it back to "XXXO" to note the conGaga who is insular in her strive for fashion poptent of the previously mentioned toy's guest ulism, it is actually reflective of world culture. verse. Yes, Jay-Z, 40-year-old multi-millionaire It's world music that doesn't shun technology, part owner of the soon-to-be Brooklyn Nets and making it more of a social statement than a poBeach House fan, is still rapping about murderlitical one. ing someone (who is this guy he hates so much?) with a Tech-9 or semi-automatic pistol and "pushRoland Pemberton is a musician and writer, as ing weight" over a relatively plaintive future rap well as Edmonton's Poet Laureate. His music colballad about love and image. With this, we are umn appears in Vue Weekly on the last Thursday again confronted by the concept of image influof each month.

BLUES

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SLIDESHOW >> THE WHITSUNDAYS

Fri June 18 / The Whitsundays / The Pawn Shop Go to vueweekly.com for more of CHELSEA BOOS' photos.

VUEWEEKLY // JUN 24 – JUN 30, 2010

MUSIC // 41


ALBUM REVIEWS

New Sounds

Ozzy Osbourne Scream (Epic) 

Eden Munro // eden@vueweekly.com

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he prince of darkness has become a joke. How did that happen? Well, years and years (and years and years) of the sort of drug abuse that would make Keith Richards shiver, leading to some decisions that fit perfectly with the prince's image during the '70s and '80s but which today seem ill-advised at best and downright stupid at worst—biting the head off a bat, biting the head off a dove, pissing on the Alamo—making him seem like something of a sad drunk even before the unfortunate television series that took every opportunity to turn the man into a slapstick comedian. Add to that a series of unfocused albums treading on familiar ground and suffering from sterile recordings, and you've got a fallen man named Ozzy Osbourne. With the spectre of a weekly dose of comedic shenanigans now behind him, Osbourne returns to music once more on Scream, this time without Zakk Wylde on guitar for the first album since 1988's No Rest For the Wicked. Standing in for Wylde is Greek guitarist Gus G, and, truthfully, he's a fine stand-in for Wylde

even if his songwriting chops are still in question: the album was largely written by Osbourne and co-producer Kevin Churko, with occasional help from keyboardist Adam Wakeman. G hammers some mean metallic riffs that hold the album together and lets loose with scorching solos when neccessary. And Osbourne himself sounds reinvigorated vocally this time out: even as far back as the 1970s when he was fronting Black Sabbath, Osbourne's voice has been at its best when there's an audible strain, as though he's channeling an unearthly force through his vocal cords, twisting just to the point of breaking. (Drop the needle on Sabbath's "Symptom of the Universe" for a fine example.) And throughout Scream Osbourne does his best to erase any lingering doubts about his current vocal abilities. Unfortunately, the songs are where the album stumbles. Not that this is an unmitigated disaster—though there are certainly a couple of major stumbles in the clunky, awkward lyrics of the otherwise fine "Latimer's Mercy" and the overly sentimental (but thankfully brief) album closer "I Love You All"—but neither do the songs particularly catch a fire—at least not immediately: "Let it Die," "Soul Sucker" and "Life Won't Wait" all have late-breaking bursts of energy that propel the songs forward, but simply offer too little too late as far as breathing life into Scream. Sadly, Osbourne has already gone on record as saying that he can't wait for the next album, since this one was constructed in pieces by him and Churko in the studio rather than with the band as a whole the way he prefers it, and he's also said that about the last couple of albums as well. It's reaching the point in time where Osbourne needs to take control of his music and do it the way he claims to want to if there's any hope of getting one last great album out of the prince, rather than yet another half-and-half deal like Scream. V

Tender Forever No Snare (K)  No Snare, the third album from Melanie Valera, is a passionate glow pop album from the infamous K Records. On this release Valera sheds her bedroom lo-fi aesthetic for an eloquently polished sound. The dry and quiet Casio percussion of The Soft and the Hardcore and Wider has been supplanted by conspicuously large drum tracks with round kicks and wet claps. Valera's melodies are gorgeously crafted though her lyrics are somewhat redundant. Her voice has deepened, her songs have darkened, her new jams are less catchy, but any fan of Tender Forever will surely find No Snare an ample offering. Joe Gurba

// joe@vueweekly.com

Scrapbooker Lying For the Sake of Lying (Independent) 

Scrapbooker's new EP opens with "Budd," a track that crosses boundaries, touching down with an effects-driven intro, bouncing off some metallic guitar riffing before leading into a spoken-word breakdown over top of barely contained drum hits, finally finding relief in a punked-out blast of screams and guitars. While the whole EP continually challenges accepted song structres, what makes it all work in a brilliant way is that Scrapbooker can dig itself deep down into some mean grooves that tie the disparate pieces together and keep the band focused on the music. Eden Munro

// eden@vueweekly.com

Minus the Bear Omni (Dangerbird) 

In the past, Minus the Bear seemed to hit the same note endlessly, spending two albums reinterpreting a pretty standard blueprint— glitchy, energetic riffs plus icy, detatched vocals. Omni starts to shift away from that: the abundance of funked-up keyboards, the playful spasms of guitar on "Summer Angel," everything about "The Thief" show progress towards a soulful edge and more emotion in Jake Snider's vocals. Omni still occasionally gets hunkered down in riffs—when in doubt, the band starts to noodle, which isn't usually particularly interesting—but even a few steps forward are a very good thing. Paul Blinov

// paul@vueweekly.com

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VUEWEEKLY // JUN 24 – JUN 30, 2010


Bruce Springsteen & the E Street Band London Calling: Live in Hyde Park (Columbia)  It doesn't take long on the new live DVD from Bruce Springsteen & the E Street Band for the man himself to demonstrate that, even after decades of legendary, sweatdrenched performances, he has no plans to slow down. In fact, watching Springsteen open up with the Clash's "London Calling" and then launching into his own "Badlands," it seems clear that planning is not really part of what he does on stage with his band: Springsteen simply loses himself in the music and the band just follows along, in tune as only a group that has played together since the early '70s can be. Springsteen and the rest of the band react to each other in the moment and the band is still sharp and at the top of its game. Eden Munro

// eden@vueweekly.com

The Ravenna Colt Slight Spell (Removador) 

The Ravenna Colt's debut album is much like the first car I owned: it starts really well, but it never gets up to a decent speed. Slight Spell opens well with the promising "South of Ohio," arguably the best and most focused track on the album, but quickly trips into a mire of mediocrity, dragged to a halt by countless repetitive sounding southern folk-rock ballads. It's not really a bad record—it's just terribly uninteresting. Jim Dean

// jim@vueweekly.com

Open Mike Eagle Unapologetic Art Rap (Mush) 

Don't judge this book by its awful cover — this is easily one of the best rap albums of the year. Unapologetic Art Rap is remarkably Open Mike Eagle's debut fulllength. It is not often you encounter a rapper who can remain intellectually stimulating within complicated rhyme schemes and dynamic flows while not once abandoning the topic matter. And his sedate baritone voice presents each word with perfect enunciation. His influences clearly subsume rap music without denouncing it. It's all quite impressive. This may indeed be Art Rap but it needs no apologies. Joe Gurba

// joe@vueweekly.com

ALBUM REVIEWS Iron Maiden The X Factor (EMI)

1998's Virtual XI, often sounded—with an occasional exception—like an amateur Iron Maiden tribute band, the first Originally released: 1995 release actually holds some interest as a historical document of a It speaks rather loudly that band in transition. Iron Maiden is a band that still The X Factor is immediately kly.com e e w e vu eden@ exists—and thrives—today, different from the albums ben e Ed having weathered the rough fore it; Iron Maiden had gone Munro from its punk-metal roots to a seas of the music industry over a 30-year recording career. While so more epic approach before dialing many bands fall the metal back by the wayside some on No after an album or Prayer For the two, or are pushed Dying and Fear of onward towards the Dark in favour a life of greatest of shorter songs hits and casino relying more on tours, Iron Maiden straight-ahead has consistently rock 'n' roll proevolved in subtle gressions than ways and steadthe lengthy, intrifastly refused to cate lines made simply roll over famous on some and coast on past of the band's earglories. (This has lier works. On The been true even X Factor the band while the band shifted somewhat has celebrated a THE X FACTOR >> An underappreciated metal effort abruptly, assumnumber of its earlier albums on tour, while ing a sound that was heavier and sludgier still keeping up with creating new music than in the past, and one that was more and feeding the creative lifeblood of the suited to Bayley's voice. It wasn't a comband and its six members.) plete reinvention, but certainly the band But while the band today comes across was reaching outward rather than retreatas a happy family, traversing the globe in ing to comfortable positions. its very own plane—often flown by singWhile the return of Dickinson to the er/pilot Bruce Dickinson—on the wings fold would once again clean up the of each new album, things haven't always sound somewhat, with Dickinson's airbeen so chummy between the bandraid-siren vocals replacing Bayley's low members: the group has seen three difrumble, Bayley tracks like "Fortunes of ferent vocalists take the microphone on War" and "Blood on the World's Hands" record during its career. And while Paul saw the band engaging in a grander scale Di'Anno, the singer who put his stamp of songwriting as a general rule, with on the band's earliest releases—demos, Harris's bass lines taking the lead more compilation cuts and a pair of albums— than ever before. Elsewhere, "Sign of the has survived fondly in many memories Cross" was as epic as the band had ever for the punk edge he contributed to the been, and "2 AM" and "The Unbeliever" band in the early days, and Dickinson has pushed against perceived limitations in come to be the most recognizable and style as the band adjusted to its new best fit for the band following Di'Anno's singer. departure, Blaze Bayley, the man who reThe X Factor is not an overwhelming placed Dickinson for a couple of albums success, but it does illustrate a band that in the mid-'90s, has not faired so well. somehow found new direction out of a While Bayley's second record with the band, period of drifting experimentation. V

OULNDDS

SO

HAIKU The Steve Miller Band Bingo (Roadrunner) Is there anything Joe fucking Satriani Won't take a shit on?

QUICK

SPINS

quicksp

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uewe ins@v

Whiteoyn Houst

Bent By Elephants This is Water (Independent)

So soft and soothing Like a bag of puppies, dipped In Mentholyptus

Child Bite The Living Breathing Organ Summer (Joyful Noise)

Clay Walker She Won't Be Lovely Long (Curb)

Frantic schizoid rock Quite satisfying despite Child biting Nick Cave

Bland modern country With no cliché left untouched Should sell like hot cakes

Sun Wizard Sun Wizard EP (SWM)

Walter Schreifels An Open Letter To The Scene (Dine Alone)

Name implies bong jams Not quite, this is fine "vest" rock Still quite blaze worthy

This seems pretentious But actually is spot on Surprise! I liked it

VUEWEEKLY // JUN 24 – JUN 30, 2010

MUSIC // 43


PREVUE // SLEEPY SUN

Embrace the Fever

Psych-rockers go from road to studio and back without pause being part-time students from Santa Cruz. It's been purely working as musicians and developing our songs."

SLEEPY SUN >> Awake in the woods

// Hadas

Mike Angus // mikeangus@vueweekly.com

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an Francisco's psychedelic rocking Sleepy Sun is on tour promoting, Fever, the band's new album of heady jams that picks up where its debut, Embrace, left off. The tour will last the summer, which is just as well, since the members are basically nomads, explains guitarist Matt Holliman. "When we left Santa Cruz, where we recorded Embrace, we left for San Francisco while we were starting to tour and write what would become Fever, but at the end of March last year, we no longer had a house and we've been touring since then,"

he laughs. "So we just get off the road and try to find a place to stay, then we get together and write and rehearse." Fever sees the band at a more mature stage in its young career, Holliman explains, as the band members have all graduated from university in Santa Cruz and now fully engage as working, touring musicians. "At that point [following Embrace], everyone in the band had day jobs where we'd get off around 9:30 at night and then we'd get together at the practice space for about three hours a night, every night for a year. So the record [Fever] came out of that experience—of going to San Francisco, working as musicians and no longer

While Fever definitely has a fitter, more mature and fleshed-out sound, the two albums have a strong connection due to the non-stop work habits of the band. "In retrospect, they're the same in terms of there wasn't much of gap between the recording of Embrace and starting to write of Fever," Holliman explains. "Some of the songs that came out of the studio for Embrace ended up on Fever. Fever has more concise moments when it comes to writing, a little more maturity in terms of editing. By the time we came to record Fever, we'd spent considerable time in the studio. "For either of the records, we never came with a finished song; when we come together to rehearse, it's not just a finished thing, it's an idea we keep changing right up to the recording process," he adds. "A lot of that was writing in the studio to see what fit the songs best. That's just how we work." V Wed Jun 30, (8 pm) Sleepy Sun With Mini Mansions, Outdoor Miners Pawn Shop, $10

HOROSCOPE ARIES (Mar 21 – Apr 19)

According to my reading of the astrological omens, you would definitely benefit from crawling into a fetal position and sucking your thumb while lying in the comfy embrace of a humongous mommy substitute. But you shouldn't tolerate any tricks or jokes that might limit your ability to sink into total peace and relaxation.

what's next on the schedule? The shock of the new will soon subside, giving you a chance to more fully integrate the fresh approaches you've been adopting. I suggest you relax your hyper-vigilance and slip into a slower, smoother, more reflective groove.

CANCER ( Jun 21 – Jul 22)

Here are the low-paying jobs I've done that I wasn't very good at: tapping sap TAURUS (Apr 20 – May 20) from maple trees in Vermont; drivIn 1998, I spent three weeks ing a taxi in North Carolina; digreading The Psychoanalyging ditches in South Carolina; sis of Fire and The Poetics and picking olives from trees Y G O of Reverie, two books by A S T R O L in the south of France. Do I .com weekly French philosopher Gaston feel like a failure for being l@vue freewil Bachelard. His teachings such a mediocre worker and Rob y were so evocative that I filled making so little money? No, Brezsn because up two 120-page journals with although it took me a my notes. To this day, I still refer while, I finally found jobs I was good to them, continuing to draw fresh inspi- at, and have been thriving ever since. ration from ideas I wasn't ripe enough Why would I judge myself harshly for to fully understand when I first encoun- having trouble doing things that weren't tered them. You're entering a phase of in sync with my soul's code? Please apyour astrological cycle when a similar ply this line of thinking to yourself. event could happen for you, Taurus: a supercharged educational opportunity LEO ( Jul 23 – Aug 22) that will fuel you for a long time. Each year, Playboy magazine publishes a list of the best colleges to go to if you GEMINI (May 21 – Jun 20) prefer partying to studying. As a counCongrats, Gemini! You have not only terpoint to this helpful information, weathered your recent phase of relent- HuffingtonPost.com offered a compenless novelty, but you've thrived on the dium of the best anti-party schools. adjustments it demanded of you. I am Brigham Young got favourable mention hereby awarding you with the rare and since it has a policy forbidding students prestigious title of Change-Lover, which from drinking, smoking and having sex. I only bestow upon one of the signs of For the next three weeks, Leo, I recomthe zodiac every four years or so. So mend that you opt for environments

FREEW

44 // BACK

ILL

that resemble the latter more than the former. It's time for you to get way down to business, cull the activities that distract you from your main purpose, and cultivate a hell of a lot of gravitas.

VIRGO (Aug 23 – Sep 22)

You're entering a phase of your longterm cycle when cultivating abundance is an especially smart thing to do. To take maximum advantage, I suggest that you be both extra generous and extra receptive to generosity. I realize that the second half of this assignment might be a challenge. You Virgos often feel more comfortable giving than receiving. But in this case, I must insist that you attend to both equally. The giving part won't work quite right unless the receiving part is in full bloom.

LIBRA (Sep 23 – Oct 22)

What have you lost in recent months, Libra? This week begins a phase when will you have the potential to not exactly recover it, but rather to re-create it on a higher level. Maybe a dream that seemed to unravel was simply undergoing a reconfiguration, and now you're primed to give it a new and better form of expression. Maybe a relationship that went astray was merely dying so it could get resurrected, with more honesty and flexibility this time around.

SCORPIO (Oct 23 – Nov 21)

I'm guessing that you've been ushered into a frontier that affords you no recognizable power spot. It probably feels

VUEWEEKLY // JUN 24 – JUN 30, 2010

uncomfortable, like you've lost the inside track. And now along comes some wise guy (me) who advises you in his little horoscope column that you are exactly where you need to be. He says that this wandering is pregnant with possibilities that could help you make better use of the magic circle when you get back inside at a later date. I hope you will heed this wise guy and resist the temptation to force yourself back into the heart of the action.

SAGITTARIUS (Nov 22 – Dec 21)

There used to be a tradition in Sweden that young women could dream of the person they would ultimately wed if they put seven kinds of flowers beneath their pillows on Midsummer's Eve. That's crazy nonsense, of course. Right? Although I must note that two nights ago I placed a gladiolus, hydrangea, lilac, orchid, snapdragon, tulip and rose under my pillow, and subsequently dreamed of being visited by the lilycrowned Goddess of Intimacy, who asked me to convey a message to you Sagittarians. She said that if you even just imagine slipping seven flowers under your pillow, you will have a dream about what you should do in order to help your love life evolve to the next stage of its highest potential.

CAPRICORN (Dec 22 – Jan 19)

Have you ripened into such a knowledgeable, sophisticated person that you're hard to surprise? I hope not. I hope you will invite life to blow your

mind. In the days to come, your strongest stance will be that of an innocent virgin who anticipates an interesting future. Blessings you can't imagine will visit you if you'll excuse yourself from outdated expectations and irrelevant complications.

AQUARIUS ( Jan 20 – Feb 18)

The notorious Wicked Bible was published in 1631. That wasn't its original name. It was supposed to be as holy as every Bible, but it contained an error that slipped by the proofreaders' notice: Where the Ten Commandments were listed, the word "not" was excluded from one commandment. What remained, was "Thou shall commit adultery." Most of these books were later burned, and the publisher was punished. Be on the lookout for a comparable flap, Aquarius: a small omission that could change the meaning of everything. Ideally, you'll spot the error and fix it before it spawns a brouhaha.

PISCES (Feb 19 – Mar 20)

The plant known as the squirting cucumber has an unusual talent: When the fruit is ripe, it opens up and spits out a rapid-fire stream of seeds that travels a great distance. In the coming weeks, Pisces, you'll have resemblances to this aggressive fructifier. It'll be prime-time to be proactive about spreading your influence and offering your special gifts. The world is begging you to share your creative spirit, preferably with rapid-fire spurts that travel a great distance. V


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VUEWEEKLY // JUN 24 – JUN 30, 2010

BACK // 45


COMMENT >> LGBT

Emotions of the rainbow

Inclusion of critical thought only strengthens social change When you think about it, the concept of ing to rearrange the emotional landscape a festival to celebrate pride is a bit of a of queer activism and thought, often by strange one. Are there other emotions worquestioning why some feelings such as thy of 10 days of dancing and debauchpride seem more valid or more useery? Granted, in a city that also fetes ful than others. Heather Love, for the Honda Indy, an accordion exinstance, suggests that queers travaganza and the Grey Cup as "feel backwards" and insists festivals (no offense intended that we develop "a politics of .com to these niche attractions), a queer refusal" based on the ly k e e vuew lucas@ festival built around one emo"ugly feelings" we find so hard s Luca d tion of a community might fit to write into happy-go-lucky r right in. But why, when we try to scripts for selfhood. Crawfo think beyond pride, is it so difficult Jose Esteban Munoz discusses to think of other feelings or sentiments "feeling brown" while Ann Cvetkovich insists around which our various coalitions might that trauma deserves a bigger role in public operate? Does pride and all of its "positive" dialogue. Prominent thinkers such as Eve cousins necessarily help germinate a lively Sedgwick, Douglas Crimp and others filled public dialogue about queerness? an entire volume in 2009 with the idea of Droves of queer writers have been trygay shame. Suffice it to say that queers

EERN Q UN TO MO

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HELP WANTED Kitchen Help – Thai Cuisine Experience preparing Thai food an asset. Please e-mail resume to camster1964@gmail.com Change your life! Travel, Teach English: We train you to teach. 1000’s of jobs around the world. Next in-class or ONLINE by correspondence. Jobs guaranteed. 7712-104 St. Call for info pack 1.888.270.2941 The Cutting Room is looking for Assistants and Stylists Please drop off your resume at 10536-124 Street

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46 // BACK

With their multi-emotional landscape of humour, anger, humiliation and shame, the group has done a lot: calling out the or cancel please phone Glenys at 780.426.1996/fax 780.426.2889/e-m listings@vueweekly.com or drop it off at 10303-108 St. Deadline is noon the Tuesday before publication. Placement will depend upon available space

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have a lot of feelings these days! But what are we feeling at this moment, after such a fraught time for Pride in Canada? A San Francisco group answers these questions forcefully, even with their counterintuitive name: Gay Shame. Far from an invitation to self-loathing, the name of this consensus-based and anti-assimilation group is meant to call out many facets of urban and conventional queer organizing. With race, class, and gender at the forefront of their direct actions, Gay Shame San Francisco tries to show that what appear to be civil rights issues (such as marriage) are often "grabs for privilege."

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

Movements Dance is accepting applications for Dance Instructor for its 2010/2011 season. Applicants should have an extensive background in West African and Caribbean dance with a min of 5 yrs experience. For info call 780.415.5211 Glass & Porcelain Painting for artists and art instructors. The Paint Spot’s provides the paint and teaches you how to decorate dishes, coffee mugs and glasses on Jun 25, 7-9pm and Jun 26, 12-5pm. T: 780.432.0240; E: info@paintspot.ca Old Strathcona Antique Mall: Any artist or musician interested in hanging art or performing in monthly showcases contact Jenn@oldstrathconamall.com; visual art will showcase for one month Expressionz Café, 9938-70 Ave, looking for visual artists and artisans for weekly art market and rotating gallery space. T: 780.437.3667; W: expressionzcafe.com Allied Arts Council/Spruce Grove Art Gallery: call for Alberta artists 55 and over to participate in the 2010 Senior Art Show. Deadline: Sep 17. 780.962.0664, E: alliedac@shaw.ca Enjoy painting or drawing outdoors? Join outings with likeminded artists. Free. No instruction. Contact terryelrod762@gmail.com Actors to meet monthly to work on scenes and monologues with optional coaching from professional director and actor. email: elaine.elrod@telus.net 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. Deadline: Jun 30; info: 780.962.0664; alliedartscouncil.com

MUSICIANS

Professional metal band seeks dedicated guitarist and bass player. No coke heads etc Call Rob 780.952.4927 Harmonica player, vocalist, percussionist, front man. 30 yrs experience. Available for live sessions or road work. Serious inquiries only, please. J.B. 780.668.8665

VUEWEEKLY // JUN 24 – JUN 30, 2010

implicit privilege of gay-driven gentrification in particular, they have noted that many gay people protested the creation of a queer youth shelter in their neighbourhood; respond to the intertwined sexist and racist quality of HIV-prevention ads created by the San Francisco Department of Public Health ("Don't be a bitch. Wear a condom."); and, made it known that the Human Rights Campaign's "Buy for Equality" project, through which the HRC suggests that gays ought to buy goods from Coors, Nike, Shell and others, owing to their standards of "equality", prioritizes affluent gay consumerism over the embarrassing state of these companies' histories and current practices of labour rights. In its early years, Gay Shame San Francisco held annual Gay Shame Awards, with categories ranging from "Making More Queers Homeless" to "Helping Right-wingers Cope." With witty critique and dead serious public shaming and actions, this group shatters the myth of "constructive" political speech. They remind us that very violent ideas and We are a party / wedding band that already has over 10 gigs booked. Looking for a lead guitarist to fill out our sound. Call 780.271.0030 today! Andy the Traxxman 25 yrs exp looking to join band or duo. Would like to play gigs on south side of city. Guitar, bass, vocals, all styles. Goal to have fun and make some money, 780.980.9515 Pro level trio require experienced drummer. Please be able to rehearse at least once/wk and have an upbeat attitude. T: 780.299.7503

VOLUNTEER Volunteer website for youth 14-24 years old. youthvolunteer.ca

practices can very well be reproduced in happy and cooperative tones as much as any other. With all of the potent and important history of Pride festivals in mind, at this time—when being against something in a pride parade seems to confuse some people, and when radical queers in Toronto, Edmonton and elsewhere feel the normative pull to be constructive and cooperative with those committing violence­ —it seems important to ask whether or not other feelings than pride ought to be re-evaluated as not just politically effective but socially crucial. While we have so many reasons to be proud of each other, perhaps there's something equally positive about taking a moment to consider the award-winning shamefulness we sometimes witness and to not only allow ourselves a myriad of valid emotions about queerness but also to reconnect with the urgent and often negative emotions and critiques that have for so long generated social change. V


COMMENT >> ALT SEX

Quick fix

No fast and easy solutions to low libido

Dear Andrea: if there were a pill I would be all over that I'm 41 and I'm finally starting to wonder sucker, but there is not. why sex has never been as big a deal Not that people aren't trying. Female for me as it seems to be for most sexual dysfunction is a matter of people. Early on in a relationsome keen interest over there ship it's pretty interesting, but in Big Pharma. Hippie chick or that fades pretty fast (for me, desperate housewife, everyone om not the guy) and then ...  nothwants that pill, and everyone eekly.c w e u v altsex@ ing. I mean I just don't really else wants to sell it to them. It's Andresaon just that there's no such thing care. This doesn't seem right. r e Nem I'm healthy! I'm just not that moand possibly never will be. Sigh. tivated by sex, and I wonder if this is We're forever hearing that some something I should fix. Am I dysfunction40 (sometimes you hear something more al? Or asexual? Is there a pill for this? clearly ridiculous, like 60) percent of Love, women report some sort of dysfunction Dreary Doris or major dissatisfaction. Most of these are desire disorders and anorgasmia, but Dear Doris: true sexual aversion and physical pain are Sadly, no. I'm a big fan of the quick fix and also players. None of these, not even pain,

ALT.

SEX

VOLUNTEER Edmonton Mennonite Centre for Newcomers, need volunteers to help immigrant children and youth of all ages–volunteer in a homework club. Phillip Deng at 780.423.9516, pdeng@emcn.ab.ca

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

SOS Fest (sosfest.ca): volunteers needed! Jul 9-11; Whyte Ave. eclectic music festival; 90 performers 22 venues. E: volunteers@sosfest.ca

Volunteers required for studies at UofA. Call 780.407.3906; E: UofADep@gmail.com. Reimbursement provided

The Edmonton Immigrant Services Association is looking for volunteers to help with its New Neighbours, Host/Mentorship, Language Bank, and Youth Programs. Contact Alexandru Caldararu (Volunteer Coordinator) at 780-474-8445 or visit www.eisa-edmonton.org <http:// www.eisa-edmonton.org> for more detail.

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

The Great White North Triathlon requests volunteers for the 19th edition on Jul 4 as lifeguards, kayakers, transition marshals, security, course marshals, set-up and tear down. LeRoy at royal.legend99@gmail.com; lwilliam@telus.net; 780.478.1388 Join Us! Volunteer for The Works Art and Design Festival Jun 25-Jul 7. Shannon Bowler T: 780.426.2122, ext 230, E: volunteer@theworks.ab.ca, W: theworks.ab.ca Join the Freewill Shakespeare Festival as a volunteer for its 22nd season, Jun 29-Jul 25. Troy O’Donnell 780.425.8086, E: volunteer@freewillshakespeare.com Edmonton International Fringe Theatre Festival is looking for volunteers for the 2010 Fringe, Aug 12-22; Info: fringetheatre.ca/volunteer Grow a Row with Edmonton Meals on Wheels; local gardeners and farmers to donate their fresh produce 780.429.2020 for info; Katherine Dalusong E: katherine. dalusong@mealsonwheelsedmonton.org Edmonton Immigrant Services Association: looking for volunteers to help with Youth Tutoring & Mentorship, New Neighbours, Language Bank, and Host/Mentorship programs. Contact Alexandru Caldararu 780.474.8445; W: eisa-edmonton.org

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

are anywhere near as well-understood as one might wish. There is even some controversy over whether low desire is even dysfunctional as much as it's just a regular old point along the human spectrum. At the far end you see the true asexuals (you aren't one), many of whom are lately demanding their right to be, well, left alone. I come down solidly on the wishywashy side of that controversy: some lack of interest represents a real problem, and some is just a variant like loving or hating cilantro (yuck). As ever, it's only a problem if it's a problem for you. Not him, not her, not them. We have, as yet, nothing like a sure-fire cure for male desire disorders, either, and they do exist, but most males with sexual complaints have no problem wanting it, they're just having some problems getting it, or getting it the way they want. They come too fast, or not at all, or too slowly, or they are still waiting for the erection without which it is difficult to determine whether they come too fast or not.

VOLUNTEER

Male desire. Looking for an open minded female to go white water rafting. Expenses paid. Call James at 780.299.9547

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

ALL HOT SEXY BABES Try it FREE! 18+ 780.665.0808 403.313.3330

Break the Code! Help an adult to read and write. Call Jordan Centre for Family Literacy 780.421.732; famlit.ca

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Meals on WheelsºNgdmfl]]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&*(*(

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 cnib.ca or call 780.453.8304 Bicycle Mechanic volunteers for Bissell Centre community homeless or near homeless members on Mon, Wed, Fri, 9am-12pm. Contact Linda 780.423.2285 ext 134 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, dl.learningcentre@shaw.ca

SERVICES

Have you been affected by another person's sexual behaviour? S-Anon is a 12-Step fellowship for the family members and friends of sex addicts. Call 780.988.4411 for Edmonton area meeting locations and info, sanon.org SACE–Public Education Program: Sexual Assault Centre of Edmonton (sace.ab.ca) provides crisis intervention, info, counseling, public education. T: 780.423.4102/F: 780.421.8734/E: info@sace.ab.ca; sace.ab.ca/24-hour Crisis Line: 780.423.4121

The Candora Society of Edmonton–Board Recruiting; candorasociety.com; promotes positive growth in the lives of women, children/families in Rundle/Abbotsfield communities. Info: Elaine Dunnigan E: edunnigan@shaw.ca

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

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

Mediation & Restorative Justice Centre Edmonton: Vol Facilitator Recruitment 2010; mrjc.ca/mediation/ volunteering/complete a volunteer application form; 780.423.0896 ext. 201

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

HAD ENOUGH? COCAINE ANONYMOUS 780.425.2715

Volunteers instructors needed–Tap Dancing, Line Dancing and Calligraphy. Wed: kitchen helper, Fri: dining room servers; Wed evening dinners: dishwashers, kitchen prep and servers. Mary 780.433.5807

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: abhealthgroup@gmail.com; aboriginalhealthgroup.org

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

Keiskamma Art Project: women and men from the villages of South Africa’s Eastern Cape province need donations of fabrics to create felted and embroidered goods. Need: fine, open weave cottons, silks (silk ponge, silk chiffon, silk gauze), rayon, viscose; fabric pieces larger than a 2" square. Deliver to 13604-108 Ave before Jul 15. Info E: wendy4keiskamma@yahoo.com

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

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

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

Canadian Mental Health Association, cmha-edmonton. ab.ca 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

STEAMWORKS GAY & BI MENS BATHHOUSE. 24/7 11745 JASPER AVE. 780.451.5554 WWW.STEAMWORKSEDMONTON.COM 100S OF HOT LOCAL SINGLES It's FREE to try! 18+ 780.669.2323 403.770.0990

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 volunteer@ ninahaggertyart.ca

S.C.A.R.S.: Second Chance Animal Rescue Society. Our dogs are TV stars! Watch Global TV every Sat at 9:45 AM where new, wonderful dogs will be profiled. scarscare.org

by it at some level. But supplemental hormones are tricky bastards and do weird stuff—often unexpected weird stuff, like raising your cholesterol or giving you acne— and you can't just throw extra testosterone into the mix and expect it to neatly adjust one system without messing with another. This is serious see-your-doctor stuff. All this is very interesting (to me, anyway) but kind of beside the point for you. You don't sound all that dysfunctional; maybe on the cool end of the sexy-o-meter but by no means all the way to "cold fish." You're into it enough with a new guy. You failed to mention if anything else about those relationships stayed interesting after the sex waned, but I’m guessing not so much. Are these the wrong guys for you? Or are you somehow shutting yourself down, or shutting them out? I think this is more about partner choice or relationship skills, yours or theirs, and I know for sure they don’t make a pill for those. Love, Andrea

ADULT

The Support Network: Volunteer today to be a Distress Line Listener. Apply at thesupportnetwork. com T: 780.732.6648

Mechanics needed: The Edmonton Bicyle Commuters' Society operates a volunteer-run community bike workshop called BikeWorks, 10047-80 Ave (back alley), also accepting bicycle donations; E: volunteer@edmontonbikes.ca; W: edmontonbikes.ca

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

Women, being all yin and internal and mysterious and stuff, are a different story. That low libido, is it hormonal, or caused by a current situation, like exhaustion or resentment or a partner's perceived lack of affection or support? Is it a leftover from some earlier traumatic event, or from a less traumatic but equally desire-snuffing history of bad sex? Where does anorgasmia leave off and lack of interest set in? Is it a woman's duty to "fix" something she really doesn't think is broken, just to please a partner? How about to save a marriage? There is, I'm afraid, nothing yet available in the way of an "aphrodisiac" for women. You can see how needing to feel loved, respected, desired and/or appreciated before the sexual response cycle can fire up is going to be pretty hard to "fix" with a pill. I would for sure like to own stock in the company that came up with one, though. There is, in truth, no universal aphrodisiac out there, discovered or not. The closest thing we've got is testosterone, in that both female and male desire looks to be driven

IS DRINKING A PROBLEM? A.A. CAN HELP! 780.424.5900

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

LOCAL CHAT. TRY IT FREE : code 2315

780.413.7122

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

1.900.451.2853 (75 min/$2495) www.cruiseline.ca Purchase time online now!

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VUEWEEKLY // JUN 24 – JUN 30, 2010

18+

BACK // 47


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VUEWEEKLY // JUN 24 – JUN 30, 2010

Vue Weekly Issue 766 June 24 - 30 2010  

Vue Weekly Issue 766 June 24 - 30 2010

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