Vue Weekly 824 Aug 4 - Aug 10 by Vue Weekly

FRONT: ARENA! FILM: COWBOYS! ALIENS! BACK: COMICS!

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VUEWEEKLY AUG 4 – AUG 10, 2011

ISSUE NO. 824 // AUG 4 – AUG 10, 2011

COVER

FOLK FEST

LOOKING BACK AT THE FESTIVAL'S JOURNEY

// 18 ARTS

FILM

ONE'S FUNDING WOES // 8

COWBOYS & ALIENS // 13

#200, 11230 - 119 STREET, EDMONTON, AB T5G 2X3 T: 780.426.1996 F: 780.426.2889

ISSUE NO. 824 // AUG 4 – AUG 10, 2011 // AVAILABLE AT OVER 1400 LOCATIONS

E: OFFICE@VUEWEEKLY.COM W: VUEWEEKLY.COM

EDITOR / PUBLISHER ................................................. RON GARTH // ron@vueweekly.com MANAGING EDITOR ...............................................EDEN MUNRO // eden@vueweekly.com ASSOCIATE MANAGING EDITOR ....................BRYAN BIRTLES // bryan@vueweekly.com

KEY ACCOUNTS MANAGER ROB LIGHTFOOT // rob@vueweekly.com

NEWS EDITOR SAMANTHA POWER .................................................................... samantha@vueweekly.com

SALES & MARKETING ERIN CAMPBELL // ecampbell@vueweekly.com ANDY COOKSON // acookson@vueweekly.com MEGAN HALL // mhall@vueweekly.com

ARTS & FILM EDITOR PAUL BLINOV ......................................................................................... paul@vueweekly.com MUSIC EDITOR EDEN MUNRO ....................................................................................... eden@vueweekly.com DISH EDITOR BRYAN BIRTLES ................................................................................... bryan@vueweekly.com STAFF WRITER CURTIS WRIGHT .................................................................................. curtis@vueweekly.com

CONTRIBUTORS Ricardo Acuña, Chelsea Boos, Josef Braun, Rob Brezsny, Gwynne Dyer, Jason Foster, Brian Gibson, James Grasdal, Fish Griwkowsky, Michael Hingston, Whitey Houston, Matt Jones, Maria Kotovych, Stephen Notley, Dan Savage, Mimi Williams, Mike Winters DISTRIBUTION

MICHAEL GARTH // michael@vueweekly.com

Shane Bennett, Todd Broughton, Alan Ching, Fred Curatolo, Barrett DeLaBarre, Aaron Getz, Raul Gurdian, Justin Shaw, Dale Steinke, Wally Yanish

LISTINGS GLENYS SWITZER ............................................................................ listings@vueweekly.com PRODUCTION MANAGER MIKE SIEK ...............................................................................................mike@vueweekly.com PRODUCTION PETE NGUYEN........................................................................................ pete@vueweekly.com CRAIG JANZEN ...................................................................................... craig@vueweekly.com LYLE BELL ................................................................................................ lyle@vueweekly.com

Vue Weekly is available free of charge at well over 1800 locations throughout Edmonton. We are funded solely through the support of our advertisers. Vue Weekly is a division of Postvue Publishing LP (Robert W. Doull, President) and is published every Thursday. Vue Weekly is available free of charge throughout Greater Edmonton and Northern Alberta, limited to one copy per reader. Vue Weekly may be distributed only by Vue Weekly's authorized independent contractors and employees. No person may, without prior written permission of Vue Weekly, take more than one copy of each Vue Weekly issue. Canada Post Publications Mail Agreement No. 40022989. If undeliverable, return to: Vue Weekly 10303 - 108 Street Edm, AB T5J 1L7

VUEWEEKLY AUG 4 – AUG 10, 2011

UP FRONT 3

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VUEWEEKLY AUG 4 – AUG 10, 2011

UP FRONT VUEPOINT

SAMANTHA POWER

No one solution Sirens could be heard on the south side in the early morning this week. Constant for almost half an hour they conveyed the urgency of something more than a fire and early the next day it was revealed that a seniors apartment had not just suffered a fire, but is under investigation for a potential homicide. It marks what could be Edmonton's 34th murder, a growing list of names who are lost to our city. And while that number grows so does the concern over what it means. While murder statistics and crime reporting can often feel like the most base level of exploitative news on our TV screens there is a reason we're drawn to the story. It's a brief glimpse into someone's life and a moment in our community's life that we hope to never experience and would prefer didn't exist. While many victims are people down on their luck, some have led a life that puts them in dangerous situations, others are just simply in the wrong place. The feeling of helplessness pervades as each circumstance is so different, we struggle with how to solve the problem. A general sense of confusion and concern hangs over the growing number: we don't quite believe Edmonton, our community, could foster such actions. In all the reporting on the issue there's been little

YOURVUE

GRASDAL'S VUE

// SAMANTHA@VUEWEEKLY.COM

analysis about why it's happening. Many cities experience fluctuations in homicide numbers. Some have called the current situation we face an aberration. But to those suffering through this abberation and for those trying to rebuild communities in this city, it's a difficult solution with little action to carry out. EPS is working to increase police presence on the streets, and city council looks to other municipalities for solutions, but there is a sense that there needs to be a focus on community—how we can build this growing city to a point where people feel comfortable seeking help and dealing with problems in a different way, where resources exist in time to prevent this suffering. Edmonton will soon hit its record number of homicides in one year. It's not a milestone a city carries easily and we shouldn't. Each person murdered had their families, their own communities who now grieve for them. As a city we can't help but feel their loss and their confusion. One community within Edmonton has begun to feel so unsafe, it's sending members away to live elsewhere while five seniors have been murdered in this city this year. This is not a way to build a city. We can do much better. V

Your Vue is the weekly roundup of your views on our coverage. Every week we'll be running your comments from the website, feedback on our weekly web polls and letters sent to our editors.

LAST WEEK:

COMMENTS

Statistics Canada released a report stating national crime rates are their lowest since the 1970s. Despite this, the Conservative government has increased spending on mega-prisons and the cost of the prison program has increased 86 percent since 2006. Should Canadians be spending more on large prison programs?

4.4% Yes,

"We are just being sold on a security agenda. The more the Conservatives spend on defense and prisons and tell us that we're in danger, the more we will entrust to them all the powers they seek.

despite the numbers there continues to be a lot of unreported crime.

Look to your community for safety

95.7% No,

regime which, frankly, doesn't like

we don't need expensive prisons to house criminals. The numbers don't support the need and the money should be put into rehabilitation programs and crime prevention.

and security, not a repressive

CHECK OUT VUEWEEKLY.COM/YOURVUE

THIS WEEK:

Edmonton suffered its 33rd murder of the year this past weekend. Should Edmontonians be concerned for what this may indicate about the social structure of our city?

O YEAR.

M YEAR T O R F E T A U T C U L F L IL 1. NO, CRIME RATES W

a lot of the things which people in this country hold dear."

2. YES, IT'S AN INDICATION THAT OUR COMMUNITIES NEED GREATER

NEWSROUNDUP THE RIGHT TO DIE

CARIBOU NEED PROTECTION

The Farewell Foundation for the Right to Die has renewed the court battle around assisted suicide. The group will start the process of challenging Canada's Criminal Code which makes it a punishable offence to assist an individual commit suicide. It has been 18 years since the high profile case of Sue Rodriguez was defeated by a vote of 5-4 at the Supreme Court to allow Rodriguez the legal right to death. The Farewell Foundation believes the restriction against assisted suicide is counter to the Charter of Rights and Freedoms.

Federal Environment Minister Peter Kent will soon be forced to reconsider emergency protections for wooldand caribou in northern Alberta. A federal court ruling has stated the federal government's failure to recommend emergency protection for caribou ignored scientific evidence. "It is not immediately apparent how, given the foregoing facts, the Minister reasonably could have concluded that there are no imminent threats to the national recovery of boreal caribou," Justice

ASSISTANCE.

SAMANTHA POWER // SAMANTHA@VUEWEEKLY.COM

QUOTE OF THE WEEK Crampton wrote in his decision. Ecojustice, which brought forward the court appeal, has sought a court order to force Minister Kent to recommend emergency protection for caribou. "The reason that the Species at Risk Act isn’t working is because the federal government continually refuses to let it work." says Melissa Gorrie, Ecojustice staff lawyer. Scientific research has pointed to tar sands projects being a key reason behind drastic declines in caribou populations.

VUEWEEKLY AUG 4 – AUG 10, 2011

"They have no right to be in Canada. And for the state broadcaster not to acknowledge that and work with law enforcement agencies is very disappointing." — Public Safety Minister Vic Toews believes the CBC should have been quicker to post the list of 30 suspected war criminals in Canada. Edmonton Sun Aug 2, 2011

UP FRONT 5

COMMENT >> ARENA

Unlikely suggestions

Arena debate goes provincial and suddenly taxes are a good idea It's not the first time the provincial govnot available and won't be coming. ernment has been asked to come up Even after a fiscal update revealed that with an extra $100 million in funding, the province's finances were in better but this time there's a difference. shape—to the tune of $1 billion— After the release of the Alberta than originally projected, the provincial budget this spring, government was adamant ENCE Alberta's school boards were INTERFER .com that there was no way it eekly @vuew faced with a funding shortwould fund the $100 million ricardo o Ricard fall of $100 million in order shortfall in education. Acuña to maintain the status quo. That Opposition parties and public shortfall would eventually result in interest groups suggested fixing the some 1000 teachers being lost around tax structure, or using funds from savthe province, increased class sizes and ings, or raising royalties to fund this and lost programs in many schools. other shortfalls, but the response was When teachers, parents, school boards always the same: there is no money. and Albertans at large pressured the govToday there is a new $100 million fundernment to come up with the money to ing request being floated before the avoid the further slide in the quality of our government, coming from the City of Ededucation system, the answer from govmonton as part of its quest to help local ernment was unequivocal: the money is billionaire Daryl Katz fulfill his dream of

CAL POLITI

6 UP FRONT

building a new downtown arena for his hockey team. We've been told that this project cannot go ahead unless either the province or the feds kick in $100 million. The initial reaction from the provincial government was what you'd expect given its recent statements around education and health-care funding: no way. This was also echoed by all of the candidates running for the Conservative Party leadership. But for some reason, in the last couple of weeks, Ed Stelmach and some of the leadership candidates have begun talking about ways that the government might come up with the $100 million. The first equivocation was the most surprising. Leadership candidate Ted Morton—the most radical of Tory fiscal conservatives—suggested the possibility

VUEWEEKLY AUG 4 – AUG 10, 2011

of a new tax for Edmontonians to raise the money to fund the new arena. That's right. A new tax from the same man who sees any government expenditure as too much government expenditure and for whom taxes are tantamount to theft. Ask him about raising taxes to properly fund education and health care in this province and see what kind of reaction you get. Other leadership candidates have not directly endorsed provincial dollars for the arena, but they have started to suggest that they too would be willing to talk to Alberta's municipalities and see if they can find a creative way to make this happen. Then last week Premier Stelmach also floated a plan to increase the funds in the Municipal Sustainability Initiative, a provincial fund for municipal infrastructure, and then have the province's municipalities agree to give it to Edmonton for the arena. It's that easy. And all it would take is a little creativity from Alberta's government. Aside from the obvious absurdity of any government money going to fund

a for-profit project which will benefit one of the province's wealthiest men, these two examples demonstrate the warped sense of priorities of both the provincial government and the Progressive Conservative Party. We don't have $100 million for education or health care, and there is no way to find it, but we are prepared to be creative, and potentially even increase taxes, to find $100 million for a private venture that many Edmontonians, and most Albertans, don't care about and don't want funded by their tax dollars? With a PC leadership vote coming in the fall, with an election at some point after that, hopefully Albertans will remember examples such as this one when they stop to consider who they want running this province on their behalf. V Ricardo Acuña is the executive director of the Parkland Institute, a non-partisan, public policy research institute housed at the University of Alberta.

How to build a city

In chasing provincial funding, the arena debate has become an either/or choice

dmonton's chief financial officer painted a pretty bleak picture during a May 3 presentation to city council: "We really don't have enough money to meet our capital needs," Lorna Rosen advised, "that's the message we're trying to give you here." Rosen's presentation outlined highlights of the city's long-term capital plan, which includes projects such as replacing the Walterdale Bridge and LRT expansion. Our city is far from alone. Unstable funding, steady population growth and aging infrastructure contribute to the infrastructure gap facing most Canadian municipalities. The gap is defined as the difference between required infrastructure investment and the funding available to pay for it. The province has taken steps to address the problem. In 2007, Premier Stelmach announced the $11.3 billion Municipal Sustainability Infrastructure (MSI) fund to provide predictable, sustainable funding for municipal infrastructure projects over a 10-year period. This year, $886 million in MSI funding was divvied up, with Edmonton receiving $165 million. The money contributed to several capital projects including the new police station in Terwillegar ($9.9 million), widening 137 Avenue ($14.1 million), the

new animal control facility ($6 million) and the Dawson Bridge rehabilitation ($17.8 million). The city has allocated its share of the fund right through to 2017, when it is scheduled to end. Despite this significant boost, Edmonton's infrastructure gap is widening. A 2002 report to council identified a $3.2 billion gap for the 10-year period from 2003 to 2012. In 2008, the city commissioned the Canada West Foundation to update the numbers. That study indicated infrastructure needs for the period 2008 – 2018 had ballooned to $27.6 billion. With only $8.3 billion in dedicated funding available, the city faces a $19.2 billion gap. Conrad Siu from the city's office of infrastructure advises that updated figures for the next 10-year period are currently being worked on by the budget office. He estimates they will be available in about a month. Fifteen days following Rosen's May presentation, the mayor ushered councillors into a closed-door meeting where a vote was carried by an 8-5 margin to proceed with the downtown arena project, despite the fact that a number of pieces of the funding puzzle remained missing. The Edmonton Journal's business editor Gary

Lamphier, a declared supporter of the arena project, speculated at the time that the vote was rushed in order to take advantage of a "lame-duck premier" nearing the end of his official term. "The justification for bringing this [motion] with no advance notification and no written report was hinged completely on the imminent departure of the premier," Councillor Linda Sloan told Lamphier in an interview following the vote. She said this was made perfectly clear to council in the private session. Last month, following a meeting between Mandel and Stelmach, the

arena, that's its prerogative. But with crumbling infrastructure around the city, citizens have little appetite for funding the dreams of a billionaire hockey team owner, says Lorne Humphreys. Humphreys is the president of Speak Up Edmonton, a citizens' group opposed to the proposed development. Humphreys notes that during last fall's election campaign, issues related to infrastructure were front and centre in every ward, with little to no public groundswell in favour of using public funds to build a downtown arena. He acknowledges Mayor Man-

Infrastructure is widely understood as being those things that contribute to the broader public good. If money keeps getting diverted to areas that have nothing to do with infrastructure, obviously that gap is going to widen even further. premier told assembled media that the province was looking at allowing the city to use MSI funds for the project. Up until that point, Stelmach was adamant that no provincial dollars would go directly to fund the arena. He is hoping to be able to boost the fund province-wide and says that if Edmonton's city council chooses to use any additional money to build an

del's commitment to the project was clear, but doesn't believe he has any mandate to divert these funds. "Infrastructure is widely understood as being those things that contribute to the broader public good," says Humphreys, noting that a privatelycontrolled arena doesn't fit the definition. "If money keeps getting diverted to areas that have nothing to do with

infrastructure, obviously that gap is going to widen even further." The city has a long list of needs. More than 40 new neighbourhoods, all of which need infrastructure and services, are approved with some already under construction. Twenty-two new overpasses will be needed in Edmonton over the next 30 years, according to a city report on July 23, and the city hopes to continue spending about $100 million per year on the Neighbourhood Renewal Program, which plans to replace roads, sidewalks and curbs and gutters in 29 neighbourhoods from 2011 to 2018. That program is funded through a combination of property taxes, provincial funding through the Alberta Municipal Infrastructure Program (AMIP) and MSIfund, and cost sharing with property owners. Councillor Don Iveson told local media last week that if the city comes into increased MSI money, he would prefer to see it spent on accelerating neighbourhood renewal. Humphreys agrees. The province has said it will analyze its first quarter fiscal results before making any further announcements about MSI funding, not likely before late August. MIMI WILLIAMS // MIMI@VUEWEEKLY.COM

COMMENT >> TERRORISM

Search for the one who benefits Gwynne Dyer has a crazy theory about Norway Three pieces about Muslims in the lims this time), who keep their women same paper on the same day (The Inindoors or make them cover every bit dependent, July 25). The first is a loof skin when they go out, who are the cal colour piece about how there are main victims of this disease. a lot more Middle Eastern tourists in The researcher didn't actually say London this summer. Why? Bethat, of course. She said: "You cause France has banned the get women living in certain "Islamic" veil (or the Babycommunities that perhaps lonian/Roman/Byzantine/ don't go out much because .com weekly e@vue Islamic veil, if you want to of religious, cultural tradigwynn e be precise) that covers the tions. They're covered up Gwynn Dyer when they do. They don’t face. So the high-spending female shoppers from the Gulf get enough access to sunlight, aren't going to Paris any more. so they get vitamin D deficient ... So So many of them are going to Lon(their children will) be presenting don instead that big London shops with rickets at around 18 months." like Selfridges and Liberty are reportFair comment, but it's striking that ing a 40 – 45 percent increase in innowhere in that story does the word ternational visitors compared to last "Muslim" appear. It didn't appear in year. And since Middle Eastern shopthe first story either. Everybody pers spend about 15 times as much as knows that both stories are about your average British shopper, they are Muslims, but the galumphing etimore than welcome even if many of quette that governs this discourse them look a little weird to the avermeans that you mustn't actually say age British eye. so. It's a well-meaning but idiotic Two pages on, a story about how attempt to compensate for the virickets, a bone disease that causes cious anti-Muslim rants that you'll stunted growth and bow legs in chilsee every day in other parts of the dren, is making a comeback in Britain. Western media. It's caused by a deficiency of vitamin D, And finally, on the letters page, an which is produced by sunlight acting on angry complaint by a British Muslim the skin. And it's Muslims (British Musabout the way that Western media

R DYEIG HT

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jumped to the instant conclusion that the hideous slaughter in Norway was the work of Muslim fanatics. "Now that the architect of the Norwegian massacre turns out to be a blue-eyed, blonde, white, Christian, right-wing fundamentalist," inquired Dr Shazad Amin, "where have all the so-called experts on 'Islamic terrorism' suddenly gone?" "I look forward to now seeing an equally vigorous explanation of how Norway was 'always a key target' for right-wing neo-Nazi groups, supported by a plethora of experts on 'Christian terrorism' to explain the theological basis for these attacks." If you hold your breath until that happens in the mainstream Western media, you will turn an attractive shade of blue, but we could try to apply the principle here. Just as Muslims living in northerly climes with weak sunlight suffer rickets because of their clothing preferences, for example, so "Christians" living in countries with strong sunshine suffer very high rates of skin cancer because of their custom of wearing as little clothing as possible. That is not really accurate, of

VUEWEEKLY AUG 4 – AUG 10, 2011

course, because a majority of the world’s Christians are not white. What's actually being observed is that people of European descent (most of whom are at least "culturally" Christian) get skin cancer a lot if they live in countries like Australia, South Africa and Argentina. The fully veiled women shoppers in London are not just generic "Muslims," either. They are almost all women from the Arabic-speaking countries of the Gulf, home to only a quarter of the world’s Arabs and only about three percent of the world’s Muslims. But this is really just quibbling. The real question is: what can be done about the obsession with "Islamic terrorism" in the Western media, to the virtual exclusion of other kinds of terrorism. It is so strong that even after Anders Behring Breivik claimed responsibility for the Norwegian horrors and explained his (right-wing, Christian fundamentalist) motives, Internet posts continued to argue that he was just a tool in the hands of Muslim extremists. It's the "hidden hand" theory of politics, and its adherents generally proceed by the logical process that the

lawyers refer to as "cui bono": who benefits from this action? It's hardly an infallible indicator of who is responsible, because you have to allow for the crazies, and also for those who are miscalculating where their interests really lie. Nevertheless, it's the methodology that the conspiracy theorists prefer. So, then, who benefited from Breivik's actions? Obviously he believed that it would serve his own delusional ideology (which he elucidated in a 1500-page Internet post), but who was really behind it? I'm drifting towards paranoia, I know, but stay with me. The week before the Norwegian tragedy saw a deluge of revelations of criminality and a firestorm of media criticism about the conduct of Rupert Murdoch's media empire. Suddenly, all the media attention has turned to Norway and terrorism, and the Murdochs are off the agenda. I'm not going to say anything that might get me sued, but if you like a really big conspiracy theory ... V Gwynne Dyer is a London-based journalist. His column appears every week in Vue Weekly.

UP FRONT 7

ARTS

REVUE // HE'S NO PROUST

SMALL MEMORIES By José Saramago Houghton Mifflin Harcourt 176 pp, $26.95

gaze down from the bank at the barely moving current, the almost stagnant water and, absurdly, I imagine that everything would go back to being as it was if only I could once again plunge my childhood nakedness into the river, if I could grasp in today's hands the long, damp pole or the sonorous oars of yesterday, and propel across the water's smooth skin the rustic boat that used to carry, to the very frontiers of dreams, the being I was then and whom I left stranded somewhere in time." This is a passage from early on in Small Memories, the new—and, since it's taken five years to be translated into English, posthumous— memoir from the late Portuguese writer José Saramago. Read the quote again. Drink it in. Ponder it. Let it wash over you. Oh, it's so awful. Right? We can admit this. Cloying, navel-gazing, and completely obvious. If Saramago didn't have a Nobel Prize to his name, there's no way a passage like that would have escaped the red pen of a judicious editor. But he does have that Nobel Prize.

And, more importantly, there's the body of work that won Saramago that prize: a shimmering, beguiling, and stylistically stunning list of novels, spanning seven decades, which acrobatically dismantle the usual notions of myth-making and storytelling. Saramago wrote with heart, too, not to mention absolute moral conviction. So maybe it doesn't matter that Small Memories is so inessential, such a trifling piece of work, from a writer capable of moving mountains. Maybe, by this point, he's earned a little self-indulgence. You do get the sense that Saramago is answering to nobody but himself here—conjuring up whatever fragments of memory he can from time spent as a youth in the tiny Portuguese village of Azinhaga before they're lost forever.

radish," when a drunk clerk at the registry office got a little too creative with the birth registry. (Nobody discovered the gaffe until Saramago registered for elementary school. He was seven.) There are also occasionally vivid details of a life

So maybe it doesn't matter that Small Memories is so inessential, such a trifling piece of work, from a writer capable of moving mountains. Maybe, by this point, he's earned a little self-indulgence.

And some of the recollections are sweet and compelling, too. Saramago accidentally acquired his legal last name, which is Portuguese for "wild

lived deep in the country. Saramago's grandmother used to clean her kitchen floor by applying a fresh coat of mud, then scraping it flat and letting it dry. During the winter, his grandparents would take the weakest piglets from the litter and let them sleep next to them in their bed. Azinhaga even had a local boatman, who would lackadaisically ferry people across the Tejo River, for crying out loud. But mostly the memoir is scatter-

ARTIFACTS

himself, is it too much to suggest that perhaps this material should have been recycled, and slipped into one of his novels instead? Another paragraph begins this way: "I have little else to say about our time in Rua Heróis de Quionga, just a few random memories of little importance." But then Saramago goes on to name them. All of them. The last one—true story—is "I've always loved bread." Memories don't come much smaller than that. MICHAEL HINGSTON // MICHAEL@VUEWEEKLY.COM

PAUL BLINOV // PAUL@VUEWEEKLY.COM

ONE's SummerWorks Woes indiegogo.com/ONE-3 When ONE was selected as one of three national companies for the SummerWorks series—out of 200odd submissions—it was a step toward bigger and better things for an independent company that, step by step, was rightly earning them. Redtoblue Performance's ONE puts an ultra stylish, abstracted take on the fable of Orpheus, led by a creative team packed with Edmontonians— Sterling winners Kristi Hansen and Amber Borotsik among them—has been getting out on the road, most recently to Calgary, (where it drummed up four Betty Mitchell Awards) to an 800-seat theatre in Albuquerque, NM. But then SummerWorks felt the sharp kick of unexpected funding loss. Just weeks before the festival opened, it received word that its grant application to Heritage Canada—a grant the fest had been receiving consistently for five years—was turned down, leaving the festival scrambling for funds and tightening its budget. That meant, for ONE, no support money for living in Toronto

8 ARTS

shot and overly detached, like watching slides of someone else's vacation. Worse, Saramago's memory doesn't seem to be quite up to the task he's set himself. Sample quotes: "assuming I'm not just making it up"; "I think it was the following summer"; "if my memory can be trusted"; "I can't be absolutely sure that things happened in exactly this sequence." If he was this unsure of

VUEWEEKLY AUG 4 – AUG 10, 2011

for the show's span, or promoting the show while it's there. "For [the] live work to continue, we have to go to the audience," explains director Eric Rose. "Our hope is really that we'd love to get picked up by a theatre company out East, and put together a tour for next year." The group is going to SummerWorks regardless—"Basically, we're doing this on a wing and a prayer," Rose rues— but, without time to stage a proper fundraiser, the company's set up an Indie-GoGo account to hopefully earn some support to present a uniquely Albertan work to a wider audience. "Often people think of Toronto as the theatre mecca or the hub," Rose says, "but I think in Alberta we don't do a great job sometimes of really promoting the incredible work. I mean, look at a company like Catalyst. Catalyst has just been to the Barbican [in London, UK] and Broadway. I mean, how many companies have done that? But one, I don't think we celebrate those achievements enough, and two, we need to support them, so that as a company that strives, and hopefully will one day get to those heights, you need to go to a marketplace where

people can see your work, in order to pick it up and promote it."

Fringe Peek-A-Boo Tue, Aug 9 (7:30 pm) The Fringe creeps ever closer, and for its 30th anniversary of giving us the eclectic mix of shows that only an unjuried theatre festival can, it's bigger than ever: more than 180 shows are scattered across Old Strathcona, downtown and Alberta Ave. Predicting what's worth your hard-earned Fringe money can be tricky. Of course, you could wait for the reviews to start trickling in, or you could hedge your bets a little more immediately: the Varscona Theatre's 4th Annual Peek-A-Boo offers up snippets of a smattering of potential hits, this year spanning from the political satire of Marty Chan's Mothership Down, to the mix of burlesque, history and theatrical plotting of Tudor Queens, from new company-around-town Send in the Girls. 15 productions total, local, national and beyond, will flesh out the night's sampler platter of theatrical teasers. (Varscona Theatre, $15)

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VUEWEEKLY VUEWEEKLY AUG 4 â&#x20AC;&#x201C; AUG 10, 2011

ARTS 9

FILM

PREVUE // THE SILVER SCREEN

// Paul Blinov

Homeward found

Metro Cinema finds a new home in the Garneau Theatre

he Metro Cinema Society and the Garneau Theatre's concurrent existences in the city have been both long and lovely, but strictly parallel. Until now: with Magic Lantern Theatres having departed from the building following a split with the block's new owner John Day (though the group is still running the Princess Theatre), the Garenau is the brand-new home for Metro's film programming. Metro's staff are, presently, marveling at the possibilities. "We were approached by the build-

ing's owner, John Day, and asked if we wanted to take over operations here, and we fought through the numbers, long enough for us to make sure that the math was gonna work out for us," explains Marsh Murphy, the Metro Cinema Society's executive director. "We said in the program and on our website that it's a dream come true to have our own space," adds Jill Watamaniuk, programming and print traffic coordinator, perched in a nearby seat in the Garneau's lobby. "In terms of programming that's an amazing thing—that there aren't limitations in terms of the space. We can screen seven days a week, and do more things, which is really exciting. Our partnerships can expand." Murphy and Watamaniuk have both been involved with the Metro society for years, but the organization's core staff has expanded with the move to include Pete Harris, a longtime Calgary film programmer. "When I first heard about the move, I obviously knew what it meant, the potential, the excitement," Harris says. "[It's] just a beautiful, beautiful theatre—it's very important that a building like this continues to be screening, and is available as a screen to local Albertan and Canadian filmmakers as well, which is part of the philosophy of the Metro, for sure." Both the Garneau and the Metro have rich, lengthy histories in the city. The theatre's existed since the 1940s, a still-

standing testament to early modernist chic. In a city that tends to knock its history down more than preserve it, its continued existence is an honest miracle. Like the district itself, it's named for Laurent Garneau a Métis trader turned politician who took part in Louis Riel's rebellion. He arrived in the Strathcona area a few years after that, in 1874. The Metro Cinema, originally called the National Film Theatre-Edmonton, was one of a handful of similar organizations linked together across the nation, all sharing touring screeners arranged by the Canadian Film Institute. Its first documented Edmonton screening was in 1971, a viewing of Passion de Jeanne d'Arc by Carl Dreyer, a silent film legendary for setting an early cinematic benchmark. But the society, both before and after changing its name to Metro Cinema in 1988, has been a citywide nomad, having operated out of wherever it could: The Edmonton Art Gallery, the Edmonton Public Library (both the downtown & Southgate branches), the Roxy Theatre, the National Film Boards's Colin Low Theatre and, most recently, Zeidler Hall in the Citadel Theatre. While films start playing this weekend, it's still a relatively soft opening for what the Metro has planned. The official launch is mid-September, when Metro will establish the increased payload it plans to include: late-night Friday screenings (this weekend it's The Big Lebowski), more thematically-linked runs, more part-

The Garneau has a new tenant

nerships—Murphy notes Metro's newfound proximity to the University and its film studies department, and a monthly viewing of Tommy Wiseau's cultishly bad The Room, are just a hint of what's in store. "We can be the community theatre for the city, in a way," says Harris. "We can showcase all the different cultural groups in town, and all the existing

film festivals." "I'm from Calgary, and I've followed the Metro programming for years, wishing I could do something like that down in Calgary on a regular basis," he adds. "It's a wide-open world of cinema to draw in, and that's the beauty of this job." PAUL BLINOV // PAUL@VUEWEEKLY.COM

REVUE // CAN'T STOP TEAM COCO

A different shade of Coco

The director of Conan O'Brien Can't Stop talks about the Harvard days Fri, Aug 5 (9 pm) Sat, Aug 6 (4 pm, 7 pm) Sun, Aug 7 (2 pm, 9 pm) Mon, Aug 8; Wed, Aug 10 (7 pm) Tue, Aug 9; Thu, Aug 11 (9 pm) Conan O'Brien Can't Stop Directed by Rodman Flender Metro Cinema at the Garneau

´´´

ocumenting a comedian in heat seems like a dream come true for any ardent director. Take a highly successful television personality who lawfully cannot do his bread-and-butter work on television, radio or the Internet, and watch him create a make-work project, record the footage and distill it for audience consumption on film. Without a Tonight Show, without a show at all and nothing but free time, Conan O'Brien embarked on the 32-city "Legally Prohibited From Being Funny

10 FILM

O'Brien, taking his show on the road

on Television" tour, and director Rodman Flender captured 149 hours of it—the workaholicism, the anger, the humour and the comedian's love—and refined it into 89 entertaining minutes. Vue Weekly had an opportunity to chat with Flender about Conan O'Brien, about the film and whether or not the president of Team Coco is actually a dick. VUE WEEKLY: After watching Conan O'Brien Can't Stop, my interpretation of

VUEWEEKLY AUG 4 – AUG 10, 2011

Conan is a little different than I thought it would be. Is he a difficult person to work with? RODMAN FLENDER: No, not at all. He was fine to work with—I guess what's your definition of "difficult"? VW: I found it a bit contradictory that he says he doesn't feel like he has a sense of entitlement, but he comes across that way. He's a bit more of a dick than I thought he would be, to be honest.

RF: Hmmm, OK. VW: Have you heard this before? RF: I've heard a few people say that who've seen the movie. No one who works with him says that—to a person, everyone who works with him is completely surprised by that because they find him to be consistently hilarious and entertaining. So, yes, only from those who've never met him or been in his presence. He's always trying to make people laugh and this, I think, is one of the themes of the movie. VW: Describe the relationship you have with Conan. RF: Conan and I actually met as undergraduates at Harvard University, we were on the Harvard Lampoon together—the humour magazine. We've remained friends ever since—even as an CONTINUED ON PAGE 11 >>

REVUE // YOU HAVE DIED OF DYSENTERY

Oregon trail

Subtle, western-y Meek's Cutoff easily one of the year's best films Fri, Aug 5 (7 pm) Sat, Aug 6 (2 pm & 9 pm) Sun, Aug 7 (4 pm & 7 pm) Mon, Aug 8; Wed, Aug 10 (9 pm) Tue, Aug 9; Thu, Aug 11 (7 pm) Meek's Cutoff Directed by Kelly Reichardt Metro Cinema at the Garneau

´´´´´

ur orientation is stitched into the canvas that appears in place of a traditional title card: Oregon, 1845. A small wagon train carrying three families and their hirsute, tasseled dandy of a guide traverses a landscape that undulates off in every which direction with little to recommend one route over the other. Crossing rivers and moving down hills is arduous and slow. In a memorable, inexplicably moving early scene, a pregnant woman chases her errant bonnet, hooked by the wind, as it snakes across the cracked earth. Daily chores, such as cooking, washing clothes, scrubbing dishes and repairing cartwheels, are most often undertaken in silence. One image of travel gives way to the next in a dissolve so slow it's like time has fallen asleep. The first word expressed by any of the characters isn't spoken aloud (it daren't be; not yet) but carved into a dead tree: LOST. Which is about the best one-word summation one could find to characterize the films of Kelly Reichardt, one of the finest, most distinctive, most resourceful contemporary American filmmakers. A sense of having lost one's way presses up against the margins of her earlier features, River of Grass, Old Joy and Wendy and Lucy. Here, in Meek's Cutoff, her most elaborate and ambitious production, her most dramatic narrative, her first period piece, and a western of sorts, one seen mainly through the eyes of women who have little say in their destinies, that sense of being lost drives the entire film, in so much as you can call the film "driven." Sparely scripted, like Reichardt's previous two features, by Oregon author Jonathan Raymond, its momentum is quiet, its tensions simmer a long while, its dangers are clearly mortal but most often latent, waiting. There's much at stake, but its desperation is conveyed judiciously. It's a gorgeously coloured, immersive film, pierced through with

A DIFFERENT SHADE OF COCO << CONTINUED FROM PAGE 10

undergraduate his talent was very apparent. He even acted in my student film, so I have been a fan of his for decades ... For me, this is my first time to see him at work, in a professional capacity. VW: Is there a distinct difference between what Conan was like in Harvard to what he is now as a celebrity? RF: No, he's very much the same. He's as sharp, funny and quick as he was then. And he's as down to earth—I've worked with some people over the

Quiet pioneering

the sort of historical detail rarely highlighted, and with political undercurrents that imbue it with a timelessness. The hopeful settlers are moving through the Oregon High Desert. As the film begins the group already suspects that their guide, Stephen Meek (Bruce Greenwood) may not know where he's going. Meek, with his Father Christmas beard, his little pipe and buckskin outfit, likes to hold court with tales of adventure and his intimate connection to the land, but not everyone is convinced, Emily Tetherow (Michelle Williams) perhaps least of all. Gender roles are clearly defined, but at night Emily whispers with her older, level-headed husband Soloman (Will Patton) about their plight. Their water supply is dwindling, and what food they can prepare is low on nourishment, particularly for the pregnant Glory White (Shirley Henderson). Their unease is exacerbated by the appearance of a lone, half-naked Indian (Rod Rondeaux) with an oddly handsome face and a scar on his shoulder, who the men capture. There is debate about whether to kill him immediately or keep him around in the hope that he might lead them to water. The group is genuinely afraid—"They don't think the way we do," says one of the women, "it's a documented fact"—but pragmatism wins out. Some of the film's most interesting passages find Emily negotiating with the nameless Indian with whom no one shares a language. These scenes aren't intended to render Emily as some sort of preternatural angel of tolerance; her motives are perfectly selfish, but her nonetheless courageous actions hold

years who have been catapulted into the stratosphere of celebrity and I've lost touch with some of them, some of them travel in different circles and have changed ... but not Conan. Conan is down to earth and I think that has to do with his work ethic, as you can see in the movie. He takes his work very seriously—if he looks like he is hard on those around him, you'll notice he is hardest on himself. He holds himself to very high standards and he holds those he welcomes into his inner circle to similar standards. I think if anything has changed over the years, it's that he's become more confident

the promise of some deeper understanding of this feared Other. Williams gives an even richer performance here than she did in Wendy and Lucy. A sequence filmed in long shot, in which Emily sees the Indian, drops her armload of kindling, and walks back to camp to fire an alarm shot from her cumbersome rifle, buzzes with a protracted, transfixing struggle between panic and clear-headedness. Greenwood, Patton, Henderson and Rondeaux also give nuanced performances peppered with thoughtful distinctions, though two of the younger actors, Paul Dano and Zoe Kazan, become annoying; they seem to be working too hard to generate drama, while Reichardt's approach often hangs back from the actors, rewarding subtlety and the ability to maintain tension over long takes. Reichardt filmed Meek's Cutoff in the now-rarely used 1.33 aspect ratio, which mirrors the square-framed point-of-view granted to the women through their bonnets, or any of the group while they gaze at the passing landscape through the upside-down U of the wagons. Great pains have been taken to convey this story with as much fidelity to the real experience as possible; even Jeff Grace's score feels like an extension of breath, the wind in the grass, and the soft clang of things dangling from the wagons. Such touches may seem slight on their own, but taken as a whole they form the ingredients for a rare work that transports us fully into not only a place but a mood, culminating in what is easily one of the best films you'll see this year. JOSEF BRAUN // JOSEF@VUEWEEK LY.COM

as a performer. VW: When you started the movie, did you have any idea how it would play out? RF: I had no agenda, honestly. I knew I didn't want to do a vanity project for Conan or an infomercial for him, nor was I out to "get him"—I didn't want to do a character assassination piece either. I just wanted to capture how he was going to put this show together. I didn't want to be a part of the movie; I didn't want the presence of the filmmaker known. CURTIS WRIGHT // CURTIS@VUEWEEKLY.COM

VUEWEEKLY AUG 4 – AUG 10, 2011

FILM 11

REVUE // THE BIG LEBOWSKI

Citizen Dude

How the Coens' slice of slacker-noir shuffled on beyond "cult classic" Fri, Aug 5 (11 pm) The Big Lebowski Written and directed by Joel and Ethan Coen Metro Cinema at the Garneau

e abided most critics shrugging him off when he strolled into theatres in March 1998. He sipped a White Russian in humble self-congratulation after the first midnight screenings of dialogue-quoting fans in the early '00s. Then came the conventions, now held regularly in his honour in the USA and UK. Then the Collector's Edition DVD, the Tenth Anniversary DVD and now the limited-release Blu-Ray. All the attention rattled him a little, but he sloughed it off by hitting the lanes. Even after becoming a target of serious

The Dude, almost certainly abiding

academic investigation—from Joshua M Tyree and Ben Walter's British Film Institute study: "[it] is the rarest kind of film, a comedy whose jokes become funnier with repetition. The same goes for its

multitudinous jukebox-like references to other films, many of which open up vistas for intertextual interpretation"—the Dude still abides. But exactly how did The Big Lebowski

become not just a cult-classic but the Coens' best movie and an all-time comicfilm masterpiece? Before we get too deep—or, as the Dude says to Jackie Treehorn, "Yeah, well, right man, there are many facets to this, uh, you know"—let's reiterate Tyree and Walter's most important point. The Big Lebowski is fuckin' hilarious, and habitually so, surrendering more of its plethora of verbal and visual jokes (including misidentifications, misunderstandings, mistrickery and mis-posturing) each time. That endearing, welcome-back vibe— we're happy to be slackers, just hanging with the Dude (Jeff Bridges) and even his pals, high-strung Walter (John Goodman) and out-of-it Donny (Steve Buscemi)—is the big heart of The Big Lebowski's irresistible charm. It's the constantly cool slacker movie. Rarely has such a smartly written film (Shakespeare, Herzl, the Talmud, and Lenin—Vladimir, not John— are quoted or misquoted) cared less to please.

Such seemingly casual storytelling is the trick to tightly weaving—"that rug really tied the room together!"—the plot's disparate elements. A kind of leftover '60s acid-flashback on '90s meltingpot America, the story stews a succulent mix of ingredients. A Western-style framework voiceover-narration from a mustachioed Stranger (Sam Elliott) and two Freudian dream-Busby Berkeley musical sequences drift through a slackermystery/LA neon-noir story that itself drifts nowhere in particular. Lightly parodying The Big Sleep—a noir whose 1946 adaptation plot was so complicated that the director, screenwriters and novelist Raymond Chandler himself didn't know who killed one of the characters—the anti-establishment Dude's byzantine investigation for the rich man (apparently based on Orson Welles' Charles Foster Kane) whose last name he shares proves, ultimately, to be a big hoax. CONTINUED ON PAGE 13 >>

REVUE // NOT YOUR TRADITIONAL ROM-COM

CRAZY, STUPID, LOVE

Mentor and mentee

Now playing Directed by Glenn Ficarra

´´´´

t's fair to say that most will question their relationships and/or ego after Crazy, Stupid, Love. The premise: Cal Weaver (Steve Carrell) is magically transformed—with the

help of a sprung-upon divorce request and, more importantly, the ultra-handsome Jacob Palmer (Ryan Gosling)—into a reborn man, the type that trades in his New Balance sneakers for finely tailored suits and boatloads of confidence. And it is in this manhood revolution that we realize the confines of superficiality, but moreover, the seemingly limitless, alluring nature of superficiality. It's honestly very clever. Relationships come and go Crazy, Stupid, Love tells us. And with that, a massive amount of chaos and unpredictability ensues. The draw: Crazy, Stupid, Love strikes a note with both of the sexes in an untraditional way. It's an anti-romantic comedy that hovers in the drawbacks of monogamy for the most part, while

popping into rom-com land, briefly. But it doesn't reach the syrupy pinnacle of this sad genre. The film—like the players it depicts—has many thinly veiled climaxes, which, while being satisfactory, ultimately leave the movie waiting for more. Deduction: men will want to see this movie because, like Hall Pass, it allows some higher-belief that with the right combination of Prada shoes and proper swagger, lives will be changed and hope is not lost. Women are said to be drawn like moths to fiery romantic comedies. Add a shirtless Gosling and watch the gushing unfold. Crazy, Stupid, Love is an outrageous, entertaining look at what relationships are, and the various roles within them. CURTIS WRIGHT // CURTIS@VUEWEEKLY.COM

REVUE // LITTLE BLUE MEN

THE SMURFS Now Playing Directed by Raja Gosnell

he Smurfs could've been foolish family fun, and when the movie begins in their little Euro-village, it is. But then a portal pops out of the script, whisking a certain wicked wizard and some blue-tinted midget-gnomes into our hyper-commercial world. As gamely as Hank Azaria grimaces as Gargamel, he always looks like he's been cast out

12 FILM

VUEWEEKLY AUG 4 – AUG 10, 2011

from a medieval theme-park, sentenced to wander among city shoppers. And as the Smuppets take Manhattan, the script runs a blue streak of snappy self-marketing and sappy smurfimentalism. The indigo guys (plus doll-like Smurfette, joined by a doll-like human in Jayma Mays) ooh and awe at our capitalist wonderland, help Patrick (Neil Patrick Harris) succeed in his perfumemarketing campaign, and ease his fears about fatherhood. It's raining brands, from taxi ads and toy stories to reality-TV-judge cameos

and the Smurfs' Wikipedia-entry and comics. It's all so calculatingly selfsmurmotional. And in a movie trying so hard to be kid-friendly, the cloying nonsense about Patrick preparing to be a Papa seems to be targeting a niche adult market—Dads who love Oprah, maybe ... who the blue-balls knows? Not the makers of The Smurfs, who sapped most of the fun-essence from this flick as they artificially inseminated it with their business sense. BRIAN GIBSON // BRIAN@VUEWEEKLY.COM

REVUE // COWBOYS! ALIENS! TOGETHER AT LAST!

The wild, intergalactic west

Cowboys & Aliens invades the silver screen by way of Edmonton Now playing Directed by Jon Favreau

Â´Â´Â´

n Arizona, 1873, Jake Lonergan (Daniel Craig) wakes up in a desert with no memory of how he got there, or why an oversized metal bracelet is currently attached to his arm. His arrival in a nearby town is met almost immediately with skuffleâ&#x20AC;&#x201D;he discovers that he's a wanted man, and a stint in county jail gets interrupted first by lights, then explosions and people getting snatched up by strange crafts in the sky. A desperate bid for survival is borne, led by Lonergan, a cantankerous cattle rancher (Harrison Ford) and a mysterious woman (Olivia Wilde), and if that sounds like all the fixings of a summer blockbuster, that's because Cowboys & Aliens is aiming to be exactly that. It's a decent blast of action adventure, even if the obvious allegory hereâ&#x20AC;&#x201D; of cowboys and aliens and natives and Europeansâ&#x20AC;&#x201D;gets saddlebagged while explosions and action ride full-tilt. In the hour before an early bird screening of the film last wednesday, Andrew Foley, local freelancer writer, occasional Happy Harbour Comics employee and one of the writers credited to the original Cowboys & Aliens graphic novel, sat autographing C&A coasters. The story's screen adaptation and cinematic debut

Laser-gun slinger

has brought him a newfound wave of local praise: when a young man stops to get a photo and asks him how he's feeling, "flustered" is his response. The guy genuinely seems taken aback by the tide of acclaim that's risen greeted him. "It was a lot of fun. I mean, I really quite enjoyed itâ&#x20AC;&#x201D;but I'm a sucker for Harrison Ford acting like a crotchety old man, so they really would've had to go quite far for me not to enjoy that," Foley says, in a follow-up phonecall a few days after the screening. Foley's involvement with Platinum Studios was borne in spite of the modern-day climate for comic book writers: in the '90s, Foley notes, the comicbook industry bottomed out somewhat, making it difficult for any unestablished writers to enter the field. "For about a two-year period, pretty much the only company that was actually accepting pitches from writers that

didn't have a track record was Platinum Studios. So I sent them something in I think it was 2001, 2002, and the editor passed on it, but he liked it enough that he said he'd toss work my way," Foley recalls. "He basically spent a year and a half training me how to do stuff his way, and after that, they hired me to write stuff that was developed in house." When Platinum wanted changes made to the initial graphic novel script they receivedâ&#x20AC;&#x201D;Foley notes they were trying to avoid the feel of a previous sci-fi western flop you might remember as Wild Wild Westâ&#x20AC;&#x201D;they went to Foley for the revisions. The press that Foley's involvement has garnered has kept him busy this week and last, but to test its lasting effects, he's looking ahead to September, when a more personal project sees release: a graphic novel, Done to Death, though In a spat of unfortunate timing, Done to Death is being released as industry titan DC Comics reboots most of its titles. Foley's hoping the buzz that Cowboys & Aliens has given him will translate to his new project, but he's uncertain. "Basically we're coming out in the worst possible time," he sighs. "... Hopefully [Cowboys & Aliens] has an effect, but I don't know for sure." PAUL BLINOV // PAUL@VUEWEEKLY.COM

CITIZEN DUDE

<< CONTINUED FROM PAGE 12

The film's one flaw is its thin portrayal of women: Maude (Julianne Moore) is a chilly feminist-artist caricature, while Lebowski's trophy-wife Bunny (Reid) is an airhead sexpot ... though she gets a semi-autobiographical moment of pathos when we learn, from another private detective searching for her, that she grew up on a farmstead in the Coens' home state of Minnesota before running off to LA and falling into porn. But much of that glaring flaw can be excused by The Big Lebowski's potent focus, also the Coens' main concern in their workâ&#x20AC;&#x201D;manhood. From the Dude being a "private dick," to his worries about the Nihilists rendering him a non-man by cutting his "Johnson" off, to the most ballsy of games, bowling, the film's replete with hilarious concerns about masculinity: "I won't say a hee-ro, 'cause what's a heero?â&#x20AC;&#x201D;but sometimes there's a man." Still, even though, throughout a marginalized LA (Venice Beach, the Valley, Pasadena), the Dude's repeatedly used, attacked (including by ferret), pissed on (vicariously, via his rug and increasingly damaged car), and is never the typical "big man" of the title, he abides ... as the one man in the film who's most comfortable with who he is. With its toking, strike-rolling, strolling PI closing the case his own shrugging way, The Big Lebowski is casually radical in its joyful explosion of the myth of the American movie hero.

BRIAN GIBSON // BRIAN@VUEWEEKLY.COM

VUEWEEKLY AUG 4 â&#x20AC;&#x201C; AUG 10, 2011

FILM 13

FILM WEEKLY FRI, AUG 5, 2011 – THU, AUG 11, 2011

CHABA THEATRE–JASPER 6094 Connaught Dr, Jasper, 780.852.4749

COWBOYS AND ALIENS (14A violence) DAILY

CINEPLEX ODEON NORTH 14231-137 Ave, 780.732.2236

CARS 2 (G) DAILY 12:50

DAILY 1:45, 3:50, 6:30

THOR (PG violence, frightening scenes) DAILY

1:05, 3:40

THOR 3D (PG violence, frightening scenes) FRI-SUN 7:15, 10:00; Digital 3d MON-THU 7:15, 10:00 KUNG FU PANDA 2 (G) DAILY 7:10, 9:15 KUNG FU PANDA 3D 2 (G) Digital 3d DAILY 1:10, 3:30

RIO (G) DAILY 1:50, 4:20, 6:45, 9:00 THE HANGOVER PART II (18A crude sexual

CAPTAIN AMERICA: THE FIRST AVENGER 3D (PG violence, not recommended for young

3:45, 7:05, 9:45

LOWS PART 2 3D (PG violence, frightening

RISE OF THE PLANET OF THE APES (PG)

THE SMURFS 3D (G) Digital 3d DAILY 1:30,

children) Digital 3d FRI-TUE, THU 12:00, 3:20, 7:25, 10:20; WED 12:00, 3:20, 10:20

THE SMURFS 3D (G) Digital 3d FRI-TUE, THU

4:00, 6:40, 9:00

11:40, 2:20, 4:50, 7:20, 9:50; WED 11:30, 2:00, 4:20, 7:20, 9:50

HARRY POTTER AND THE DEATHLY HALLOWS PART 2 (PG violence, frightening scenes,

HARRY POTTER AND THE DEATHLY HALLOWS PART 2 (PG violence, frightening

not recommended for young children) FRI-TUE 12:15, 3:10, 6:15; WED-THU 8:15

HARRY POTTER AND THE DEATHLY HALLOWS PART 2 (PG violence, frightening scenes, not recommended for young children) Digital 3d DAILY 1:10, 4:10, 7:15, 10:20

TRANSFORMERS: DARK OF THE MOON

(PG violence, coarse language) DAILY 3:30, 7:00, 10:15

COWBOYS AND ALIENS (14A violence) No passes DAILY 12:30, 3:20, 6:30, 9:10

COWBOYS AND ALIENS (14A violence)

Digital Cinema, No passes DAILY 1:40, 4:40, 7:30, 10:30

scenes, not recommended for young children) FRI-TUE, THU 12:10, 3:40, 6:45, 9:45; WED 12:10, 3:15, 10:30

TRANSFORMERS: DARK OF THE MOON

(PG violence, coarse language) DAILY 12:15, 3:45, 7:05, 10:25

COWBOYS AND ALIENS (14A violence) No passes DAILY 1:20, 4:15, 7:15, 10:15

COWBOYS AND ALIENS (14A violence)

Digital Cinema, No passes DAILY 11:30, 2:15, 5:00, 8:00, 11:00

9:10

RISE OF THE PLANET OF THE APES (PG) Ultraavx, No passes DAILY 12:20, 2:50, 5:20, 8:00, 10:45

LARRY CROWNE (PG coarse language) DAILY

HORRIBLE BOSSES (14A coarse language,

1:25, 4:25, 7:25, 9:40

JIHNE MERA DIL LUTEYA (PG) Punjabi W/E.S.T. DAILY 1:00, 3:45, 6:50, 9:45

ZINDAGI NA MILEGI DOBARA (PG) Hindi

W/E.S.T. Digital Cinema, DAILY 1:30, 4:45, 8:00

SINGHAM (PG violence) Hindi W/E.S.T. DAILY

9:20

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

violence) MON-THU 12:55, 4:00, 6:55, 9:55

crude sexual content) DAILY 12:40, 3:00, 5:30, 8:10, 10:50

BRIDESMAIDS (14A crude content, coarse

RISE OF THE PLANET OF THE APES (PG)

No passes DAILY 11:40, 2:10, 4:45, 7:20, 9:55

RISE OF THE PLANET OF THE APES (PG)

Ultraavx, No passes DAILY 12:25, 3:00, 5:40, 8:15, 10:50

WINNIE THE POOH (G) DAILY 11:30

CRAZY STUPID LOVE (PG coarse language) FRI-TUE, THU 1:20, 4:20, 7:10, 9:50; WED 4:20, 7:10, 9:50; Star & Strollers Screening: WED 1:00

HORRIBLE BOSSES (14A coarse language,

FRIENDS WITH BENEFITS (14A sexual content, coarse language) DAILY 1:50, 4:30, 7:20, 10:00

CRAZY STUPID LOVE (PG coarse language) FRI-TUE 11:35, 2:15, 5:00, 8:10, 11:00; WED 11:55, 2:15, 5:00, 8:05, 10:35; THU 5:00, 8:10, 11:00; Star & Strollers Screening: THU 1:00

THE HELP (PG mature subject matter, language may offend) No passes WED-THU 12:15, 3:30, 6:45, 9:55

crude sexual content) DAILY 12:10, 2:40, 5:30, 8:20, 10:50

BAD TEACHER (14A coarse language, crude

THE SMURFS (G) DAILY 12:40, 3:30

COWBOYS AND ALIENS (14A violence) No

children) Bargain Matinee, Child Admission Price, Digital 3d, Dolby Stereo Digital, Stadium Seating FRI-TUE 12:15, 3:15, 7:10, 10:10; WEDTHU 12:15, 3:10, 7:10, 10:10

COWBOYS AND ALIENS (14A violence)

DTS Digital, Child Admission Price, Bargain Matinee, No passes FRI-TUE 12:50, 3:50, 7:20, 10:20; DTS Digital, Child Admission Price, Bargain Matinee, No passes, Stadium Seating WED-THU 12:50, 3:50, 7:20, 10:20

HARRY POTTER AND THE DEATHLY HALLOWS PART 2 3D (PG violence, frightening scenes, not recommended for young children) Digital 3d, Stadium Seating, Child Admission Price, DTS Stereo FRI-WED 12:35, 3:35, 7:25, 10:25; THU 12:35, 3:35, 10:25

HORRIBLE BOSSES (14A coarse language,

crude sexual content) Child Admission Price, Bargain Matinee, Dolby Stereo Digital, Stadium Seating DAILY 12:10, 2:40, 5:15, 7:45, 10:15

FRIENDS WITH BENEFITS (14A sexual

content, coarse language) Child Admission Price, DTS Digital, Stadium Seating, Bargain Matinee FRI-TUE 12:20, 3:20, 7:05, 10:05

CRAZY STUPID LOVE (PG coarse language)

SUN, TUE, THU 12:50, 2:50

COWBOYS & ALIENS (14A violence) DAILY 7:00,

VUEWEEKLY AUG 4 – AUG 10, 2011

DAILY 7:15, 9:20; SAT, SUN, TUE, THU 1:15, 3:20

passes DAILY 1:20, 4:00, 6:40, 9:20

9:05; SAT, SUN, TUE, THU 1:00, 3:05

THE HELP (PG mature subject matter, language may offend) WED-THU 12:20, 3:25, 6:30, 9:35

CRAZY STUPID LOVE (PG coarse language) DAILY 7:00, 9:25; SAT, SUN, TUE, THU 1:00 3:25; Movies for Mommies: TUE, AUG 9, 1:00

DUGGAN CINEMA–CAMROSE

SMURFS (G) DAILY 7:05, 9:00; SAT, SUN, TUE,

6601-48 Ave, Camrose, 780.608.2144

THE CHANGE-UP (18A crude sexual content) DAILY 7:05, 9:30; SAT-SUN, TUE, THU 2:05

RISE OF THE PLANET OF THE APES (PG violence, not recommended for young children) DAILY 6:50 9:15; SAT-SUN, TUE, THU 1:50 COWBOYS AND ALIENS (14A violence) DAILY

6:45 9:20; SAT-TUE, TUE, THU 1:45

THE SMURFS (G) DAILY 6:55, 9:10; SAT-SUN, TUE, THU 1:55

FRIENDS WITH BENEFITS (14A sexual

content, coarse language) DAILY 7:00, 9:25; SATSUN, TUE, THU 2:00

THU 1:05, 3:00

CAPTAIN AMERICA: THE FIRST AVENGER

(PG violence, not recommended for young children) Presented in 3D DAILY 6:45, 9:15; SAT, SUN, TUE, THU 6:45, 9:15; Movies for Mommies: TUE, AUG 2: 1:00

HARRY POTTER AND THE DEATHLY HALLOWS PART 2 –3D (PG violence, frightening

scenes, not recommended for young children) Presented in 3D; DAILY 6:30, 9:10; SAT, SUN, TUE, THU 12:30, 3:10

PRINCESS 10337-82 Ave, 780.433.0728

THE TREE OF LIFE (PG) DAILY 6:45, 9:30; SAT-

CARS 2 (G) THU, AUG 4: 12:50, 3:30, 6:45 (PG violence, not recommended for young children) THU, AUG 4: 1:00, 3:50, 6:50, 9:50

CAPTAIN AMERICA: THE FIRST AVENGER 3D (PG violence, not recommended for young

children) Digital 3D THU, AUG 4: 1:30, 4:20, 7:20, 10:20

SMURFS 3D (G) Digital 3D, No passes THU, AUG 4: 1:20, 4:10, 6:40, 9:10 HARRY POTTER AND THE DEATHLY HALLOWS PART 2 (PG violence, frightening scenes, not recommended for young children) No passes THU, AUG 4: 2:30, 6:30, 9:40

HARRY POTTER AND THE DEATHLY HALLOWS PART 2 3D (PG violence, frightening scenes, not recommended for young children) Digital 3D, No passes THU, AUG 4: 12:30, 3:40, 7:00, 10:10

TRANSFORMERS: DARK OF THE MOON

(PG violence, coarse language) THU, AUG 4: 9:30

COWBOYS AND ALIENS (14A violence) No

SUN 2:00

MIDNIGHT IN PARIS (PG) DAILY 7:00, 9:10; SAT-SUN 2:30

SCOTIABANK THEATRE WEM WEM, 8882-170 St, 780.444.2400

DATE OF ISSUE ONLY: THU, AUG 4 ZOOKEEPER (PG) THU, AUG 4: 12:10, 2:40, 5:15 CARS 2 (G) THU, AUG 4: 12:20, 3:20, 6:45, 9:20; WED 3:45, 6:45, 9:20

CAPTAIN AMERICA: THE FIRST AVENGER

(PG violence, not recommended for young children) Digital Cinema THU, AUG 4: 12:50, 3:50, 9:50

CAPTAIN AMERICA: THE FIRST AVENGER 3D (PG violence, not recommended for young children) Ultraavx THU, AUG 4: 1:40, 4:40, 7:40, 10:40

SMURFS 3D (G) Digital 3D, No passes THU, AUG 4: 12:40, 3:40, 6:40, 9:30

HARRY POTTER AND THE DEATHLY HALLOWS PART 2 (PG violence, frightening scenes, not

recommended for young children) No passes THU, AUG 4: 3:00, 6:30, 9:45

HARRY POTTER AND THE DEATHLY HALLOWS PART 2 3D (PG violence, frightening scenes,

passes DAILY 1:50, 4:45, 7:30, 10:30

not recommended for young children) Digital 3D, No passes THU, AUG 4: 12:30, 4:00, 7:30, 10:45

WINNIE THE POOH (G) THU, AUG 4: 12:40

TRANSFORMERS: DARK OF THE MOON (PG

HORRIBLE BOSSES (14A coarse language,

crude sexual content) THU, AUG 4: 2:40, 5:00, 7:40, 10:15

CRAZY STUPID LOVE (PG coarse language) No

violence, coarse language) Digital 3D THU, AUG 4: 12:15, 3:45, 7:15, 10:30

COWBOYS AND ALIENS (14A violence) No passes THU, AUG 4: 12:45, 3:45, 7:00, 10:00

passes THU, AUG 4: 1:40, 4:30, 7:10, 10:00

WINNIE THE POOH (G) THU, AUG 4: 1:00

FRIENDS WITH BENEFITS (14A sexual

HORRIBLE BOSSES (14A coarse language, crude sexual content) THU, AUG 4: 12:00, 2:30, 5:00, 7:50, 10:20

content, coarse language) THU, AUG 4: 1:10, 4:00, 6:35, 9:20

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

DATE OF ISSUE ONLY: THU, AUG 4 COWBOYS & ALIENS (14A violence) No passes THU, AUG 4: 12:40, 2:55, 5:05, 7:20, 9:30

CAPTAIN AMERICA: THE FIRST AVENGER

may offend) No passes, Dolby Stereo Digital, Child Admission Price, Bargain Matinee WEDTHU 12:00, 3:15, 6:45, 10:00

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

RISE OF THE PLANET OF THE APES (PG) No

THE SMURFS 3D (G) Digital 3d, Child Admis-

THE HELP (PG mature subject matter, language

PARKLAND CINEMA 7

THE CHANGE UP (14A) DAILY 6:50, 8:50; SAT,

FRIENDS WITH BENEFITS (14A sexual content,

THE CHANGE-UP (18A crude sexual content) No passes, Stadium Seating, Bargain Matinee, Child Admission Price, DTS Digital DAILY 12:30, 3:30, 7:30, 10:30

2:00, 9:00; MON, WED 9:00; SUN 4:00, 7:00

DAILY 1:45, 4:25, 7:00, 9:35

Dolby Stereo Digital, Bargain Matinee, Child Admission Price, No passes FRI-TUE 12:45, 3:45, 6:45, 9:45; WED-THU 12:45, 3:45, 6:40, 9:50 sion Price, Bargain Matinee, DTS Digital, Stadium Seating DAILY 12:05, 2:45, 5:20, 7:55, 10:35

MEEK'S CUTOFF (PG) FRI, TUE, THU 7:00; SAT

THE CHANGE-UP (18A crude sexual content)

CAPTAIN AMERICA: THE FIRST AVENGER

CAPTAIN AMERICA: THE FIRST AVENGER 3D (PG violence, not recommended for young

language) SAT 4:00, 7:00; MON, WED 7:00; FRI, TUE, THU 9:00; SUN 9:00, 2:00

RISE OF THE PLANET OF THE APES (PG)

THE METROPOLITAN OPERA: DON PASQUALE ENCORE (Classification not avail-

violence, not recommended for young children) No passes, Bargain Matinee, Child Admission Price, Dolby Stereo Digital, Stadium Seating FRITUE 12:00, 3:00, 7:00, 10:00; WED-THU 12:25, 3:00, 7:05, 10:05

throughout) FRI 11:00

passes FRI-SUN 1:10, 4:15, 7:05, 9:50; MON-THU 1:10, 4:15, 7:05, 9:50

DATE OF ISSUE ONLY: THU, AUG 4

10200-102 Ave, 780.421.7020

14 FILM

children) Digital 3d DAILY 12:50, 3:50, 6:50, 9:40

THE SMURFS 3D (G) Digital 3d DAILY 1:30,

2020 Sherwood Dr, Sherwood Park 780-416-0150

RISE OF THE PLANET OF THE APES (PG

8712-109 St, 780.425.9212

CONAN O'BRIEN CAN'T STOP (14A coarse

FRIENDS WITH BENEFITS (14A sexual content, coarse language) DAILY 1:30, 4:30, 7:30, 10:10

CITY CENTRE 9

METRO CINEMA AT THE GARNEAU

CAPTAIN AMERICA: THE FIRST AVENGER 3D (PG violence, not recommended for young

GALAXY–SHERWOOD PARK

THE HELP (PG mature subject matter, language may offend) No passes WED-THU 12:10, 3:30, 6:50, 9:50

DAILY 12:55, 3:40, 6:55, 9:40

THE BIG LEBOWSKI (14A coarse language

sexual content) FRI-TUE 8:30, 10:55

able) WED 6:30

COWBOYS & ALIENS (14A violence) DAILY 1:05,

content, coarse language) FRI-TUE 1:40, 4:20, 6:45, 9:45

CRAZY STUPID LOVE (PG coarse language) No passes FRI-SUN 1:00, 3:45, 6:30, 9:15; MON-THU 1:00, 3:45, 6:30, 9:15

THE CHANGE-UP (18A crude sexual content) No passes DAILY 12:05, 2:35, 5:20, 8:00, 10:30

MONTE CARLO (G) DAILY 1:20, 3:55, 6:35,

FRIENDS WITH BENEFITS (14A sexual

not recommended for young children) Digital 3d DAILY 1:15, 4:15, 7:45, 10:45

RISE OF THE PLANET OF THE APES (PG)

No passes DAILY 1:00, 3:50, 6:45, 9:20

scenes, not recommended for young children) Digital 3d DAILY 12:45, 3:40, 6:35, 9:30

4:10, 6:55, 9:25

language, sexual content) FRI, SUN-THU 12:30, 3:30, 7:00, 10:00

No passes DAILY 12:00, 2:30, 5:10, 7:50, 10:40

crude sexual content) DAILY 1:50, 4:30, 7:15, 9:55

HARRY POTTER AND THE DEATHLY HALLOWS PART 2 (PG violence, frightening scenes,

THE CHANGE-UP (18A crude sexual content)

JUDY MOODY AND THE NOT BUMMER SUMMER (G) DAILY 2:00

9:35

HARRY POTTER AND THE DEATHLY HAL-

FAST FIVE (14A violence) DAILY 4:05, 7:05,

ommended for young children, coarse language) DAILY 1:15, 4:15, 7:00, 9:50

(PG violence, coarse language) DAILY 8:10

CAPTAIN AMERICA: THE FIRST AVENGER 3D (PG violence, not recommended for young

(PG violence, not recommended for young children) FRI-TUE 7:40, 10:40

BRIDESMAIDS (14A crude content, coarse language, sexual content) FRI-TUE 9:15

X-MEN: FIRST CLASS (PG violence, not rec-

THE CHANGE UP (14A) DAILY 12:50, 3:35, 6:50, SMURFS (G) DAILY 1:00, 3:30, 7:00, 9:30

content, nudity) FRI-TUE, THU 1:40, 4:10, 7:30, 10:05 10:05

Leduc, 780.352.3922

TRANSFORMERS: DARK OF THE MOON HORRIBLE BOSSES (14A coarse language,

CAPTAIN AMERICA: THE FIRST AVENGER

5074-130 Ave, 780.472.9779

LEDUC CINEMAS

4211-139 Ave, 780.472.7600

(PG violence, not recommended for young children) DAILY 1:00, 4:00, 7:00, 9:50

THE SMURFS (G) DAILY 12:10, 2:40, 5:15

HOODWINKED TOO! HOOD VS. EVIL (G)

CARS 2 (G) FRI-TUE 12:05, 2:40, 5:15

CLAREVIEW 10

CAPTAIN AMERICA: THE FIRST AVENGER

children) Digital 3d DAILY 12:45, 3:40, 6:50, 9:40

CINEMA CITY MOVIES 12

1525-99 St, 780.436.8585

CAPTAIN AMERICA: THE FIRST AVENGER

1:30, 6:55, 9:10

(PG violence, not recommended for young children) DAILY 1:30, 6:55, 9:10

CINEPLEX ODEON SOUTH

coarse language) No passes THU, AUG 4: 12:45, 4:55, 7:15, 9:25

(PG violence, not recommended for young children) No passes THU, AUG 4: 1:45, 4:15, 6:55, 9:20

SMURFS (G) No passes THU, AUG 4: 1:00, 3:00, 5:00, 7:00, 9:00

HARRY POTTER AND THE DEATHLY HALLOWS PART 2 (PG violence, frightening scenes, not recommended for young children) No passes THU, AUG 4: 1:20, 4:05, 6:45, 9:15

CRAZY STUPID LOVE (PG coarse language) No passes THU, AUG 4: 1:10, 4:10, 7:10, 10:10 BAD TEACHER (14A coarse language, crude sexual content) THU, AUG 4: 8:00, 10:45

FRIENDS WITH BENEFITS (14A sexual content,

coarse language) THU, AUG 4: 1:20, 4:20, 7:20, 10:15

HARRY POTTER AND THE DEATHLY HALLOWS PART 2 (PG violence, frightening scenes, not

recommended for young children) An Imax 3D Experience No passes THU, AUG 4: 12:00, 3:30, 7:00, 10:15

WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922

THE CHANGE UP (14A) DAILY 12:50, 3:35, 6:50,

9:35

SMURFS (G) DAILY 1:00, 3:30, 7:00, 9:30 COWBOYS & ALIENS (14A violence) DAILY 1:05,

3:45, 7:05, 9:45

RISE OF THE PLANET OF THE APES (PG) DAILY 12:55, 3:40, 6:55, 9:40

DISH

Find a restaurant

ONLINE AT DISHWEEKLY.CA

PROFILE // TEA BREEZES

Quick escape

// Bryan Birtles

Whyte Avenue tea house offers tropical bliss

The sunny side of the street

Jake and Mia Raynard Cha Island Tea Co 10332 - 81 Ave, 780.757.2482

dmontonians know about living through long and cold winters: for many, part of that feeling includes a desire to escape, even for a short while. And that escape can be a vacation, or it can simply involve visiting a tropical-themed café. Mia and Jake Raynard opened Cha Island Tea Co last summer after returning to Canada. Now married, the two first met in Taiwan, where they lived for about six years: going to school, teaching English, travelling and eventually learning the tea trade. The idea to open a café specializing in iced teas came after drinking many such beverages back in Taiwan. "Teas like this are on every street corner in Taiwan," Jake Raynard explains. "I didn't go a day without having three of them, and just got hooked on them. "There are chains that are as big as Tim Hortons here that do them," he adds. Indeed, these beverages are as popular there as bubble tea, he remarks. The country's hot and humid climate also contributed to Raynard's culinary choices. "I lived on liquids, as it was too hot to eat," he laughs. "I had almost no solids for six years." Raynard is not the only Canadian abroad who enjoys these iced teas, which differ from the kinds that we usually see in Canada in that they actually contain real tea, either green or black.

"All the other foreigners that I met there, especially Canadians, we all talked about, 'How come back home we never had iced tea like this?'" he recounts. "So everyone always says, 'Well, if I ever move back home, I'm going to open up a tea shop.'" Cha Island Tea Co allows Edmontonians a chance to experience a tropical getaway— with the bright yellow walls, bamboo plants as centerpieces on the tables and greenery everywhere, the café's atmosphere is bright and airy. A toy parrot perched on a ring suspended from the ceiling adds to this, too. Copies of National Geographic sit under the top glass of the tables, in case someone wants to read. "It makes everyone think of travelling," Raynard says. No stranger to travelling, he visited all around South-East Asia while living abroad, going to India, Japan, Hong Kong and Thailand. Cha Island also offers iced drinks that are popular outside of Asia. I sample a strawberry iced roobois, a tea popular in South Africa. I can see why—it's delicious. Travelling also underlies the café itself. If places that offer a tropical theme are popular in Edmonton, it's likely because of our long winters. where they offer a break fromt he weather. But even in the summer, Raynard also feels that this café allows people a chance to leave Edmonton, even briefly. "It's a quick trip somewhere warm." MARIA KOTOVYCH // MARIA@VUEWEEKLY.COM

VUEWEEKLY AUG 4 – AUG 10, 2011

DISH 15

BEER

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9567a 118 Ave

Ph: 477-2971

Bring in this ad for a free appetizer limit 1 per table

Beer fest

Folk Fest wouldn't be complete without a visit to the beer tent The Edmonton Folk Music Festival is TIP #2: When drinking in groups and one of my annual highlights. And what can agree on a beer, go for pitchers Folk Fest is complete without a visit rather than individual glasses. It is or four to the beer tentâ&#x20AC;&#x201D;officially more economical and better for the called the beer garden these environment. And be sure to days. I have spent my share take your turn to buy one. of time in the beer tent No one likes a freeloader. m o .c over the years, so I might ly k wee t@vue TIP #3: Don't feel like you be able to offer a few help- tothepin o s Ja n can't try some beer and food ful tips for surviving four Foster pairing. The Trad would go days in the beer tent (hopewell with green onion cake or even fully not continuously). the Pad Thai. That elephant ear likely The first thing rookies should know is goes best with the cider. Indian dishes that selection is limited. Big Rock has might like the Gopher as a complean exclusive on beer, and this year will ment. With salads and lighter fare be offering Traditional Ale, GrasshopI would look for either the Gopher per, Gopher and Lime in both glasses or the Grasshopper. Fries and other and jugs (which are slightly more than greasy goodness likely moves you 4 glasses) and Rock Creek Apple Cider back to the Trad. in glasses. However, what is lost in range is made up for in atmosphere. TIP #4: I find it smart to strategically There is no better place than the beer plan my beer tent visits. Everyone is tent on a sunny day. there on Friday and Saturday night, so So for both the uninitiated and the pick a slower time. The late-afternoon veterans, here is some advice for maxworkshops are often a good time to imizing your enjoyment of the beer head for a beer or two with friends. tent: TIP #1: Bulk buy your tickets. I cannot TIP #5: A game I like to play (yes, I restress this enough. If you know you ally am a beer geek) is pairing beer to are going to be hitting the beer tent the music playing on the main stage. a couple of times during the weekend, Some smoking hot blues band? Trad. buy a cluster of tickets on the first day Celtic jumping music likely calls for when it is slower. During busy times it Grasshopper. Why? Lord knows, but it cuts your lining up in half.

TO TH

PINT

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"2).' ). ! &2).'% 4(%!42% 4)#+%4 !.9 $!9 "%&/2% 0- &/2 /&& 9/52 /2$%2

16 DISH

VUEWEEKLY AUG 4 â&#x20AC;&#x201C; AUG 10, 2011

is fun to see if the guess feels right. TIP #6: Don't be afraid of the urinal (if you are male). Yes it is really just a trough, and it often has cigarette butts and beer glasses floating in it. I know it's rather disgusting, but suck it up and belly up to the trough. It's fast and it shortens the lines at the port-a-potties for your female companions. Just don't forget your urinal etiquette, boys.

And last but not least, pay attention to your consumption. The hot sun, relaxed party atmosphere, good music playing in the background, it may feel like your choices are consequence free. But they aren't. It is VERY easy to over-imbibe in the beer tent (yes, I have reason to know). Remember, you want to be in good enough shape the next day to do it all over again.

TIP #7:

This is just a starting point. There is so much to learn about proper beer tenting. I suspect many of you have your own strategies that are just as effective as mine. I would love to hear them. Feel free to find me in the beer tent this weekend, buy me a beer and tell me your tactics. I would love to hear them, and who doesn't love free beer? V

PROVENANCE

CURTIS WRIGHT // CURTIS@VUEWEEKLY.COM

Six facts about chocolate

2) You can probably thank West Africa for that chocolate you're enjoying— two-thirds of the world's cocoa is produced in this region. Forty-three percent is from the Ivory Coast alone, and much of it is produced through child labour. Sorry if it doesn't taste as good anymore. Keep in mind that, like coffee, fair-trade chocolate does exist.

Experience the international award-winning culinary talents of Chef Emmanuel David for lunch, dinner or Sunday brunch. Visit lapersaud.com for complete menus, service hours and convenient online reservations. La Cité francophone 8627, rue Marie-Anne-Gabour y (91st Street) 780.758.6636 www.lapersaud.com

3) Having started as a drink, chocolate didn't fall into its more-popular solid form until 1847, when Joseph Fry added sugar to the cocoa bean, making a pliable paste called Cocoa Butter. 4) For the naysayers, chew on this: chocolate, specifically dark chocolate, is good for you. It contains large amounts of disease-fighting flavonoids and antioxidants. Fact: eating 45 grams per day can cut down the risk of heart attack by 10 percent. Fact I made up: eating 45 kilograms per day won't hurt either. 5) The Hershey Company, started by Milton Hershey in 1894, is the world's largest chocolate producer. Hershey's started making chocolate for the ultra-wealthy, but later made it an affordable treat for everyone. The largest Hershey factory in Pennsylvania houses 90-million cocoa beans at a time. 6) The aphrodisiac qualities of chocolate are yet to be scientifically proven. However, the heart does have an undeniable affinity for the cocoa bean—springing up most often in mid-February (likely in a heart shape or surrounding a strawberry), on a Sunday in April (in egg or bunny form) or on any given time of any given day (in any given form). V

Gold Forest Grains: Pancake mix, pasta/ pastry berries, pasta/ pastry flour, rye four, whole wheat berries, whole wheat flour

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Spinach, lettuce, bok choy, rapini, onions, radishes, rhubarb, english and snap peas.

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Artisan, pioneer breads hand baked with organic grains and honey

Halwa Farms: Organic potatoes, carrots and beans

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Prairie Roots: Organic eggs

BOX

1) Chocolate is a raw or processed food produced from the seed of the Theobroma Cacao tree, which is native to Mexico, South and Central America. Chocolate's earliest documented use was in 1100 BC in a little something the Mesoamerican's liked to call xocolātl ("bitter water").

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Local. Organic. Delivered. VUEWEEKLY AUG 4 – AUG 10, 2011

DISH 17

MUSIC

PREVUE // SUMMERTIME JUGGERNAUT

How did we get here?

The origins of the Edmonton Folk Music Festival

Edmonton Folk Music Festival Thu, Aug 4 – Sun, Aug 7 Various Artists Gallagher Park, Sold out

t may be hard to believe after more than 15 years of sellouts, but the Edmonton Folk Music Festival wasn't always the summertime behemoth that it has become. It came close to the brink of failure a number of times, and its history is laden with debt, disaster and intrigue, in addition to its many triumphs. In 1980, with the province celebrating its 75th anniversary, an idea was hatched by Don Whalen and Mitch Podolak to hold a folk festival in Edmonton. Podolak had been the artistic director of the Winnipeg Folk Festival since its beginnings in 1974 and was an early booster of Edmonton's festival, driving the immense prairie distances from his home in Manitoba to Alberta's capital in order to meet with government members and organizers. Whalen, the EFMF's first artistic director, cut his teeth booking folk acts at the Hovel, a now-legendary venue that

18 MUSIC

operated throughout the 1970s on Jasper Avenue and 109 Street. "Don really was the motivating person behind getting one going in Edmonton and Mitch was also very motivating," recalls Holger Petersen, president and founder of the venerable Stony Plain Records and EFMF's first chairman of the board. "He started to come to Edmonton to meet with a small group of us that would go meet with members of city council and Horst Schmid, who was the minister of culture in the Lougheed government. Then Don put together a small group of volunteers and a board and got the ball rolling. That built up to the first festival." The government granted the fledgling organization $89 000 out of the $75 million it had set aside for anniversary celebrations and planning began in earnest. Gold Bar Park was selected as the site of the first festival, and most of the acts—as well as the PA system—came thanks to a concurrent anniversary folk celebration, the Travelling Goodtime Alberta Medicine Show, which was, curiously enough, organized by Podolak. "The province, in the anniversary year,

donated some money to have a school bus full of artists travelling around Alberta performing," Petersen says of a festival that included the likes of Sylvia Tyson, Connie Kaldor and Stan Rogers. "That was the nucleus of the first Edmonton Folk Music Festival." The second year didn't go nearly as smoothly. Funding didn't come through immediately for the festival and it looked as if 1980's celebration might be a one-time event. Through the persistent lobbying of Whalen, however, SummerFest—the board set up to fund Edmonton's summer festivals— decided to give the festival $15 000 after first refusing to fund it. The festival was also deeply in debt, despite the original grant and SummerFest's new support—a condition that would be cured by the 1981 festival, but which would continue to dog the fest during its early years. After 1981, EFMF's funding became more or less assured and the festival found a permanent home in Gallagher Park. By 1985, however, the festival faced perhaps its greatest crisis. A month af-

VUEWEEKLY AUG 4 – AUG 10, 2011

ter that year's festival, Whalen pleaded not guilty to three counts of gross indecency, charges he was later convicted of. Most of the staff quit. Negative publicity mounted and the festival's future looked bleak. Something would have to be done. Holger Petersen reluctantly stepped in. He went from being chairman of the board to being the festival's artistic director, a position he agreed to stay in for three years. "I had no ambitions to be the artistic director but was kind of talked into it by the board on an interim basis," he notes. "I had other jobs on the side and it wasn't like I needed another job— Stony Plain Records was starting to gain some momentum as a result of Ian Tyson's Cowboyography which was a huge record, I was still doing a show on CKUA as I have been for over 40 years—but I took it on and I absolutely loved doing it for the next three years." The festival hired a general manager—Andy Laskiwsky, the founder of the Hovel—to take on the day-to-day operations and allow Petersen to focus on the music. But the real problem

was the immense debt the festival was in. Without Whalen, creditors figured the festival couldn't survive and were calling in debts they might have been willing to wait for in other circumstances. The festival had to pay back more than $50 000. A number of benefit bingos were held. A concert featuring Rita McNeil and Spirit of the West was organized to raise funds. Creditors were convinced to either turn the debts into charitable donations or wait to be paid. Petersen begged artists to play for the small amount of money he could muster. "I really called in as many favours as I could ... we really were getting artists for the absolute minimum that they would come and perform for and help us out during the festival," he recalls. "If I look back at some of those budgets nowadays you just shake your head. It's incredible that we had people like the Robert Cray Band coming in for $1500." Under Whalen's direction the festival had been largely an acoustic affair, the CONTINUED ON PAGE 39 >>

SEPTEMBER 2011 ART GALLERIES/MUSEUMS: SEP 2011 AGNES BUGERA GALLERY )*+)( BYkh]j 9n]

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PROVINCIAL ARCHIVES OF ALBERTA 0---

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COMEDY: SEP 2011

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LITERARY: SEP 2011 CANADIAN AUTHORS ASSOCIATION ;Yehmk KYafl%B]Yf$ HYnaddgf DY[]jl]$ Je +%(,$ 0,(. EYja]%9ff%?YZgmjq Kl 1) Kl! [YfYml`gjkYdZ]jlY&[Y Rkmrka ?Yjlf]j hj]k]flk K`gjl >a[lagf Yf\ Hgafl g^ Na]o K]h *+ % *,$ *()) >ja =n]faf_ Hj]k]flYlagfk2 0 he3 ^j]] ^gj e]eZ]jk Yf\ Çjkl%lae] _m]klk' )( j]% lmjfaf_ _m]klk! KYl ogjck`ghk2 12+( Ye % , he3 ,( e]eZ]j!' /( fgf%e]eZ]j! dmf[` af[dm\]\ GARNEAU THEATRE 0/)* % )(1 Kl dal^]klYdZ]jlY& gj_ Ajk`Y\ EYfba$ hgdala[Yd Y[lanakl$ hj]k]flk `]j f]o Zggc$ Allah, Liberty and Love& Hj]k]fl]\ Zq Dal>]kl Yf\ l`] ?Yl]oYq K]h *.$ *())$ / he

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STANLEY A. MILNER LIBRARY / Kaj Oafklgf

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DANCE: SEP 2011

T.A.L.E.S. STORY CAFÉ SERIES Jgka] k :Yj$

MCMULLEN GALLERY M g^ 9 @gkhalYd$ 0,,(

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VUEWEEKLY AUG 4 – AUG 10, 2011

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T.A.L.E.S. STORYTELLING FESTIVAL

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T.A.L.E.S. MONTHLY STORYTELLING CIRCLE N]fm] L&:&9& /0(&1+*&,,(1 lYd]kklgjql]ddaf_&[ge L]dd klgja]k gj [ge] lg dakl]f *f\ O]\ g^ l`] egfl`3 K]h *()) % Bmf *()*$ / % 1 he >j]] ]n]fl

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EDMONTON BLUES SOCIETY Im]]f

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EGGE'S BARN >gjl =\egflgf HYjc$ O`al]em\

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THE SEASON 19

20 THE SEASON

VUEWEEKLY AUG 4 – AUG 10, 2011

NORTHERN BLUEGRASS CIRCLE MUSIC SOCIETY Zdm]_jYkkfgjl`&[ge Hd]YkYflna]o ;ge-

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SONIC BOOM Fgjl`dYf\k HYjc kgfa[Zgge^]k-

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WINSPEAR PRESENTS Oafkh]Yj ;]flj]$ 1/*( % )(* 9n] oafkh]Yj[]flj]&[ge B]ffa^]j OYjf]k kaf_]j%kgf_ojal]j!$ Yf\ =ja[ :aZZ ^gdc%Zdm]k! K]h ))$ *())$ /2+( he La[c]lk2 ,)&-($ -)&-( YnYadYZd] Yl Oafkh]Yj Zgp g^Ç[]

CLASSICAL MUSIC: SEP 2011 EDMONTON OPERA L`] =fbgq ;]flj]$ )() Ja]d

<j$ Kl 9dZ]jl ]\egflgfgh]jY&[ge']n]flk'dY\anafY& h`h La Divina–fashion.art.opera: K]Ykgf gh]faf_ ^mf\jYakaf_ ]n]fl af[dm\]k `a_` ^Yk`agf$ <B$ \Yf[af_$ Yf\ \jafck K]h +($ *())$ 0 he La[c]lk2 )*- YnYadYZd] Yl ]\egh]jY8]\egflgfgh]jY&[ge$ /0(&,*,&,(,(

EDMONTON SYMPHONY – Symphony Under the Sky @]jalY_] 9eh`al`]Ylj]$ @Yoj]dYc

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EDMONTON SYMPHONY ORCHESTRA Oaf-

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OCTOBER 2011 ART GALLERIES/MUSEUMS: OCT 2011 AGNES BUGERA GALLERY )*+)( BYkh]j 9n] /0(&,0*&*0-, Y_f]kZm_]jY_Ydd]jq&[ge Refraction: 9ZkljY[l hYaflaf_k$ Y[jqda[ gf [YfnYk Zq =jf]klaf] LY`]\d3 K]h *, % G[l /$ *())3 gh]faf_ j][]hlagf2 K]h *,$ * % , he$ Yjlakl af Yll]f\Yf[] =f[Ymkla[ ÈgjYd hYaflaf_k gf hYf]d Zq BYfa[] EYkgf Kl]]n]k3 G[l )- % *0$ *())3 gh]faf_ j][]hlagf2 G[l )-$ *()) * % , he$ Yjlakl af Yll]f\Yf[]

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STANLEY A. MILNER LIBRARY / Kaj Oafklgf

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GALLERY WALKS–124TH STREET AREA

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STANLEY A. MILNER LIBRARY º Alberta Arts Days / Kaj Oafklgf ;`mj[`add Ki /0(&1,,&-+0+ ]hd&

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LITERARY: OCT 2011 ART GALLERY OF ALBERTA (AGA) / EPL

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ART GALLERY OF ALBERTA (AGA) /

VUEWEEKLY AUG 4 – AUG 10, 2011

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STANLEY A. MILNER LIBRARY / Kaj Oafklgf

T.A.L.E.S.–ARTS DAYS Stanley Milner Library$

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THEATRE: OCT 2011 BOOKS ON TAPE LjYfk9dlY 9jlk :Yjfk$ H;D

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DEATH OF A SALESMAN ;alY\]d K`g[lgj L`]Y-

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MASKED MARVELS AND WONDERTALES

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MUSIC: OCT 2011 ARDEN THEATRE - Kl 9ff] Klj]]l$ Kl 9dZ]jl /0(&,-1&)-,* Yj\]fl`]Ylj]&[ge K]Ykgf DYmf[` oal` Egddq Bg`fkgf bYrr!3 KYl$ G[l )$ *())$ /2+( he L`] D]_]f\Yjq Ead]k Bg`fkgf Zdm]k!3 KYl$ G[l 0$ *())$ /2+( he Jmkk]dd <];Yjd] [gmfljq!3 >ja$ G[l ),$ *())$ /2+( he ;gdd]]f :jgof hgh!3 >ja$ G[l *)$ *())$ /2+( he La[c]lk YnYadYZd] Yl 9j\]f Zgp g^Ç[]

THE SEASONS 21

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EDMONTON BLUES SOCIETY D]]Ç]d\ @Ydd$

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NORTHERN BLUEGRASS CIRCLE MUSIC SO-

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VISUAL ARTS ALBERTA ASSOCIATION N999 ?Ydd]jq$ )(*)- % ))* Kl$ +j\ >d /0(&,*)&)/+) Galleries A and B2 9d @]f\]jkgf k Yjlogjck ZYk]\ gf e]egja]k g^ `ak eadalYjq eakkagf af 9^_`YfaklYf3 G[l . % Fgn -$ *())3 gh]faf_ j][]hlagf2 L`m$ G[l )+$ / % 12+( he Galleries A and B2 V-Bay2 9jl Ym[lagf ^mf% \jYak]j ^]Ylmjaf_ Yjlogjck ^jge kge] g^ 9dZ]jlY Yjlaklk& Hjg[]]\k _g lg N999 k ]p`aZalagf Yf\ ]\m[Ylagf hjg_jYek3 Fgn )( % <][ )$ *())3 gh]faf_ j][]hlagf2 L`m$ Fgn )($ / % 12+( he3 [dgkaf_ j][]hlagf2 L`m$ <][ )$ / % 12+( he WEST END GALLERY )*+(0 BYkh]j 9n]

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COMEDY: NOV 2011 COMIC STRIP O=E$ :gmjZgf Kl /0(&,0+&-111

l`][gea[kljah&[Y :gZZq D]] Kh][aYd Hj]k]flYlagf3 Fgn + % -$ *()) LB Eadd]j Kh][aYd Hj]k]flYlagf3 Fgn )( % )+$ *()) Jg[cq DYHgjl]3 Fgn ). % *($ *()) ?j]_ OYjj]f3 Fgn *+ % */$ *()) Ea[`Y]d Dg^lmk3 Fgn +($ *())

COMMON GROUND ARTS SOCIETY 9n]fm] L`]Ylj]$ 1(+( % ))0 9n] /0(&,//&*),1 Yn]fm]l`]Y% lj]&[Y L`] =\egflgf K`go NAA2 ;YZYj]l klqd] nYja]lq k`go ^]Ylmjaf_ \Yf[]$ l`]Ylj]$ Çde$ klYf\%mh [ge]\q$ \jYeY$ dan] emka[ Zq dg[Yd ]e]j_af_ Yjlaklk$ Yf\ Y \akhdYq g^ Yjlogjck$ hj]k]fl]\ Zq ;geegf ?jgmf\ 9jlk Kg[a]lq$ gf l`] oYddk g^ 9n]fm] L`]Ylj] Fgn )0$ *())$ /2+( he \ggj!$ 0 he k`go! LAUGH FOR LIFE GALA Oafkh]Yj ;]flj]$ Kaj

22 THE SEASON

VUEWEEKLY AUG 4 – AUG 10, 2011

Oafklgf ;`mj[`add Ki >]Ylmjaf_ [ge]\aYf Ea[`Y]d Bj&$ l`] Hj]L]fgjk Yf\ _m]kl h]j^gjeYf[] hYafl]j D]oak DYnga] Fgn -$ *())$ . he Ym[lagf!$ / he ]n]fl! La[c]lk2 ,- gj[`]kljY'l]jjY[] :$ ;$ >!' ,( \j]kk [aj[d]'mhh]j [aj[d] 9$ <!' +- _Ydd]jq =! YnYadYZd] Yl Oafkh]Yj Zgp g^Ç[]3 9 Z]f]Çl ^gj EmklYj\ K]]\ Yf\ ;Yf\]g @gmkaf_ 9kkg[aYlagf

DANCE: NOV 2011 ALBERTA BALLET–BEYOND WORDS BmZad]]

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BRIAN WEBB DANCE COMPANY Bg`f D& @YYj L`]Ylj]$ )((,- % )-- Kl Zo\[&[Y HjYaja] <Yf[] ;aj% [mal ^]Ylmjaf_ :jaYf O]ZZ Fgn )0 % )1$ *()) La[c]lk Yl LAP gf l`] KimYj]

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MILE ZERO DANCE O]klZmjq L`]Ylj]$ )(++(

% 0, 9n] /0(&,*,&)-/+ ead]r]jg\Yf[]&[ge L`] Oaj]\ :g\q2 9 Ead] R]jg <Yf[] KYdgf _m]kl [mjYl]\ Zq 9eq >mf_ KYl$ Fgn *.$ *())$ 0 he )- e]eZ]j!' *( _]f]jYd! Yl l`] \ggj

SHUMKA DANCERS BmZad]] 9m\algjame$ )),-- %

0/ 9n] K`mecY k J]\ :gglk Yf\ :mZZdq F]o Ogjck ?YdY Fgn )1$ *()) La[c]lk YnYadYZd] Yl La[c]lEYkl]j$ gj Yl k`mecY&[ge'la[c]lk

VINOK WORLD DANCE ;`Yl]Ym Dgmak @gl]d$ ))/*/ Caf_koYq /0(&,-,&+/+1 nafgc&[Y ;`jakleYk 9jgmf\ l`] Ogjd\2 <aff]j l`]Ylj] oal` `gkl kaf_]j'Y[lgj Laegl`q B& 9f\]jkgf$ Yf\ l`] Nafgc <Yf[]jk h]j^gjeYf[] g^ ^gdc [mdlmj] oal` dan] emka[ Fgn )- % *($ *()) La[c]lk YnYad% YZd] Zq h`gf] Yl /0(&,-,&+/+1 gj =2 af^g8nafgc&[Y

FILM: NOV 2011 ART GALLERY OF ALBERTA (AGA) D]\[gj L`]Ylj]$ Kaj Oafklgf ;`mj[`add Ki /0(&,**&.**+ qgmjY_Y&[Y Will the Real Alberta Please Stand Up: >ade Yf\ Zggc ka_faf_& >ade Zq ?]g LYcY[`$ ;YfY\Y$ *((1& Log q]Yjk Y^l]j l`] j]d]Yk] g^ l`] Çde$ LYcY[` `Yk hmZdak`]\ Will the Real Alberta Please Stand Up7 LYcY[` oadd afljg\m[] l`] Çde3 im]klagf Yf\ Yfko]j h]jag\ Yf\ Zggc ka_faf_ oadd ^gddgo l`] k[j]]faf_ O]\$ Fgn 1$ *())$ / he >j]] oal` ?Ydd]jq 9\eakkagf

/0(&,**&.**+ ]hd&[Y 9?9 :ggc ;dmZ2 <ak[mkk l`] [gff][lagfk ^gmf\ Z]lo]]f l`] nakmYd Yjlk Yf\ dal]jY% lmj]3 Late Nights On Air Zq =darYZ]l` @Yq L`m$ Fgn *,$ *())$ / he >j]]3 j]_akljYlagf j]imaj]\

CALDER LIBRARY )*-** % )+* 9n] ]hd&[Y' hjg_jYek%Yf\%]n]flk'hjg_jYek%\]lYad7]n]a\5)/./, Gf[] Mhgf Y :]l`d]`]e Fa_`l2 Bgaf klgjql]dd]j J]f]] =f_dgl Yk k`] k`Yj]k kge] n]jq \a^^]j]fl klgja]k ^gj ;`jakleYk Kmf$ Fgn */$ )2+( he >j]] ]n]fl CANADIAN AUTHORS ASSOCIATION ;Yehmk KYafl%B]Yf$ HYnaddgf DY[]jl]$ Je +%(,$ 0,(. EYja]%9ff%?YZgmjq Kl 1) Kl! [YfYml`gjkYdZ]jlY&[Y :j]f\Yf E[D]g\ hj]k]flk Hg]ljq H]j^gjeYf[] Fgn *- % *.$ *()) >ja =n]faf_ Hj]k]flYlagfk2 0 he3 ^j]] ^gj e]eZ]jk Yf\ Çjkl%lae] _m]klk' )( j]lmjf% af_ _m]klk! KYl ogjck`ghk2 12+( Ye % , he3 ,( e]eZ]j!' /( fgf%e]eZ]j! dmf[` af[dm\]\ GREENWOODS BOOKS /1*- % )(, Kl /0(&,+1&*((- _j]]fogg\k&[ge 9ea E[CYq O]\$ Fgn *$ *()) HAVEN SOCIAL CLUB )-)*( Klgfq HdYaf J\ /0(&1)-&00.1 =\egflgf Klgjq KdYe2 ojal]jk k`Yj] l`]aj gja_afYd$ -%eafml] klgja]k3 ^gddgo]\ Zq Y emka[ bYe +j\ O]\ ]n]jq egfl` Fgn ).$ *())$ / he ka_f%mh!3 /2+( he k`go! - j]_akljYlagf ^jge ojal% ]jk lg kmhhgjl l`] Kg[a]lq! T.A.L.E.S. MONTHLY STORYTELLING CIRCLE N]fm] L&:&9& /0(&1+*&,,(1 lYd]kklgjql]ddaf_& [ge L]dd klgja]k gj [ge] lg dakl]f *f\ O]\ g^ l`] egfl`3 K]h *()) % Bmf *()*$ / % 1 he >j]] ]n]fl

T.A.L.E.S. STORY CAFÉ SERIES Jgka] k :Yj$

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THEATRE: NOV 2011 BLESS YOU BILLY WILDER NYjk[gfY L`]Ylj]$

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CHICAGO, THE MUSICAL DY ;al L`]Ylj]$ 0.*/ jm] EYja]%9ff]%?YZgmjq /0(&*,*&*0*, loggf]% oYqla[c]lk&[ge Log GF=%O9Q La[c]lk Lg :jgY\oYq Hjg\m[lagfk <aj][l]\ Yf\ [`gj]g_jYh`]\ Zq Daf]ll] Keal`$ emka[Yd \aj][lagf Zq Kl]h`]f <]dYfg$ klY_] eYfY_]\ Zq HYl =q^gj\ G[l *0 % Fgn ,$ *())

KlYfd]q 9& Eadf]j DaZjYjq ZYk]e]fl$ / Kaj Oafklgf ;`mj[`add Ki /0(&,1.&/((( ]hd&[Y ;]flj] ^gj J]Y\af_ Yf\ l`] 9jlk k`go[Yk]k dalld]%cfgof Çdek ]n]jq egfl` Jo pour Jonathan: ;YfY\Y$ *()($ jYlaf_ L:9$ >j]f[` oal` =f_dak` kmZlald]k O]\$ Fgn 1$ *())$ .2+( he

H;D Klm\ag$ )(++( % 0, 9n] /0(&,/)&)-0. fgjl`]jf% da_`ll`]Ylj]&[ge Fgjl`]jf Da_`l L`]Ylj] :q Lj]ngj K[`ea\l Af Y ÇfYd Yf\ \jYeYla[ e]]laf_ Z]lo]]f ;d]ghYljY Yf\ `]j kakl]j Yf\ janYd! 9jkafg]$ gfdq gf] ogeYf [Yf ]e]j_] na[lgjagmk& L`] aeY_af]\ e]]laf_ Ykck o`Yl [gmd\ `Yn] Z]]f$ `Y\ l`]k] log oge]f ogjc]\ lg_]l`]j º [gmd\ l`]q `Yn] [`Yf_]\ l`] [gmjk] g^ `aklgjq ^gj oge]f 7 Fgn * % )*$ *())

CINEMA AT THE CENTRE DaZjYjq L`]Ylj]$

LITERARY: NOV 2011 ART GALLERY OF ALBERTA (AGA) / EPL ?j]]f Klm\ag$ Dgo]j D]n]d$ Kaj Oafklgf ;`mj[`add Ki

CORNER GASSED 2 BmZadYlagfk <aff]j L`]Ylj]$ *.1($ 000* % )/( Kl$ H`Yk] AA O=E Mhh]j D]n]d /0(&,0,&*,*, bmZadYlagfk&[Y :j]fl Yf\ l`] j]kl g^ l`] lgof Çf\ l`]ek]dn]k klm[c af l`] ea\\d] o`]f Go]f Yf\ `ak Z]kl ^ja]f\ >jYfc Zgl` \][a\] lg jmf ^gj EYqgj g^ ;Yl ;j]]c G[l *0$ *()) % BYf *)$ *()*

G P R C

Imagine

A Comprehensive Community College with campuses in Grande Prairie and Fairview

your future

Music programs at GPRC • Prepare for a career in music • Specialize on an instrument including voice • Perform with talented musicians in a combined College/Community Wind Ensemble (Band), Jazz Ensemble, Concert Choir, Community Musicals and Theatre Productions • The Fine Arts Department offers the diploma program on a full-time or part-time basis during the day and evening • Transfer opportunities to post secondary Bachelor of Music programs

Newly built sound studios • State of the art recording studio allows for “live-off-the-floor” recordings • Three Audient Zen consoles have recently been installed

@;BGFH@@8E:H<78

4A7 0"' 6BB? CE<M8F

We have the Music diploma program in:

Acoustic Specialization Interactive Digital Design Specialization

1.888.539.GPRC (4772)

VUEWEEKLY AUG 4 – AUG 10, 2011

www.gprc.ab.ca

THE SEASONS 23

DANIEL MACIVOR 9j\]f L`]Ylj]$ - Kl 9ff] Klj]]l$ Kl 9dZ]jl /0(&,-1&)-,* Yj\]fl`]Ylj]&[ge ;g% hjg\m[lagf oal` L`]Ylj] 9dZ]jlY Gf KlY_] Egf$ Fgn /$ *())$ /2+( he La[c]lk YnYadYZd] Yl 9j\]f Zgp g^Ç[] DIE-NASTY NYjk[gfY L`]Ylj]$ )(+*1 % 0+ 9n]

FALLING: A WAKE LjYfk9dlY 9jlk :Yjfk$ H;D Klm\ag

L`]Ylj]$ )(++( % 0, 9n] /0(&,(1&)1)( ^jaf_]l`]Ylj]&[Y 9jlk 9l L`] :Yjfk2 Oak`Zgf] L`]Ylj] Fgn )/ % */$ *()) La[c]lk'af^g2 Gfdaf]2 ^jaf_]l`]Ylj]&[Y3 /0(&,(1&)1)(

GRACE ET GLORIA DY ;al L`]Ylj]$ 0.*/ jm]

EYja]%9ff]%?YZgmjq /0(&,.1&0,(( dmfal`]Ylj]& [Y D MfaL` lj] Hjg\m[lagf g^ D MfaL` lj]$ oal` =f_dak` kmjlald]k Zq Lge Ra]_d]j$ ljYfkdYlagf Zq Ea[`]d Lj]eZdYq Fgn )/ % */$ *()) K]Ykgf la[c]lk2 1( Y\mdl!' -( klm\]fl!

<Yfa]d EY[Angj$ \aj][l]\ Yf\ \jYeYlmj_]\ Zq <Yfa]d :jggck$ Y F][]kkYjq 9f_]d hjg\m[lagf& 9 [ge]\a[ dggc Yl Y\\a[lagf$ \angj[]$ 9jl`mj K[`gh]f`Ym]j$ The Little Mermaid$ Yf\ l`] da^] g^ Bg`f <]fn]j Fgn )* % <][ ,$ *()) La[c]lk'K]Ykgf kmZk[jahlagfk YnYadYZd] gfdaf]

THE TORTOISE VERSUS THE HARE <go ;]fl]ffaYd ;]flj] k K`]dd L`]Ylj]º>gjl KYkcYl[`% ]oYf$ 0/(( % 0, Kl$ >gjl KYkcYl[`]oYf /0(&11*&.,(( ^gjlkYkc&[Y'^lkcWl`af_klg\g'K`]ddWL`]Ylj]&Ykhp Family Series2 Hj]k]fl]\ Zq EakkgmdY ;`ad\j]f k L`]Ylj]$ Zq Bae ;Yjgf$ emka[ Zq ?j]_ :gjak$ dqja[k Zq Bae ;Yjgf KYl$ Fgn )1$ *())$ + he Yf\ -2+( he La[c]lk2 )( Y\mdl!' /&-( k]fagj'qgml`! YnYadYZd] Yl l`] <go ;]fl]ffaYd ;]flj] la[c]l gmld]l$ /0(&11*&.,(($ La[c]lEYkl]j WALK AND ROLL 9j\]f L`]Ylj]$ - Kl 9ff]

Klj]]l$ Kl 9dZ]jl /0(&,-1&)-,* Yj\]fl`]Ylj]&[ge >Yeadq k`go2 Fgakq L`]Ylj] O]\$ Fgn *$ *())$ )) Ye La[c]lk YnYadYZd] Yl 9j\]f Zgp g^Ç[]

THE WEDDING SINGER EYqÇ]d\ <aff]j

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WHEN WORLDS COLLIDE <go ;]fl]ffaYd

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;]flj] k K`]dd L`]Ylj]º>gjl KYkcYl[`]oYf$ 0/(( % 0, Kl$ >gjl KYkcYl[`]oYf /0(&11*&.,(( ^gjlkYkc&[Y'^lkcW l`af_klg\g'K`]ddWL`]Ylj]&Ykhp Fort Series2 <jYeY hj]k]fl]\ Zq >gjl KYkcYl[`]oYf Bmfagj @a_` Yf\ >gjl KYkcYl[`]oYf @a_` K[`ggd& Af kmhhgjl g^ l`] \jYeY hjg_jYek Yl Zgl` g^ l`] k[`ggdk l`]j] oadd Z] Y kad]fl Ym[lagf ^mf\jYak]j af l`] l`]Ylj] dgZZq Fgn ,$ *())$ /2+( he La[c]lk2 )- Y\mdl!' )( k]fagj'qgml`!' - ]q]?G! YnYadYZd] Yl l`] <go ;]fl]ffaYd ;]flj] la[c]l gmld]l$ /0(&11*&.,(($ La[c]lEYkl]j

LETTERS IN WARTIME OYl]jogjck L`]Ylj]$

WITH BELLS ON Jgpq$ )(/(0 % )*, Kl$ Yf\ nYjagmk

HEY LADIES! Jgpq$ )(/(0 % )*, Kl$ Yf\ nYjagmk

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OFFENSIVE FOULS /0(&,+1&+1(- [gf[j]l]l`]%

WYRD SISTERS OYdl]j\Yd] HdYq`gmk]$ )(+** %

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OH SUSANNA! NYjk[gfY L`]Ylj] )(+*1 % 0+ 9n]

PINOCCHIO LjYfk9dlY 9jlk :Yjfk$ O]klZmjq

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24 THE SEASON

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STANLEY A. MILNER LIBRARY$ / Kaj Oafklgf

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EDMONTON BLUES SOCIETY ]\egflgfZdm]k%

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VUEWEEKLY AUG 4 – AUG 10, 2011

CLASSICAL MUSIC: NOV 2011 ALBERTA BAROQUE ENSEMBLE JgZ]jlkgfº

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EDMONTON CHAMBER MUSIC SOCIETY

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EDMONTON CLASSICAL GUITAR SOCIETY

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EDMONTON SYMPHONY ORCHESTRA Oaf%

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EDMONTON YOUTH ORCHESTRA

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I CORISTI CHAMBER CHOIR @gdq Ljafalq 9f% _da[Yf ;`mj[`$ )((+/ % 0, 9n] /0(&,*,&)-.) a[gjakla& [ge Muses2 ;]d]ZjYlaf_ l`] kgmj[]k ^gj [j]Ylan] afkhajYlagf af ogjck l`Yl `gfgmj l`] emk]k& <j <]ZjY ;Yajfk [gf\m[lgj! Fgn )1$ *())3 /2+( he La[c]lk2 *( Y\mdl!' )- klm\]fl'k]fagj! K]Ykgf HYkk2 ,- Y\mdl!' +( klm\]fl'k]fagj! YnYadYZd] Yl lapgfl`]kimYj]& [Y3 /0(&,*(&)/-/ MACLAB CENTRE FOR THE PERFORMING ARTS–LEDUC ,+(0 % -( Kl$ D]\m[ /0(&10(&)0..

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PETER ROBERTSON GALLERY )*+(, BYkh]j

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COMEDY: DEC 2011 COMIC STRIP O=E$ :gmjZgf Kl /0(&,0+&-111

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THEATRE: DEC 2011 AMAZING KRESKIN 9j\]f L`]Ylj]$ - Kl 9ff]

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DOW CENTENNIAL CENTRE'S SHELL THEATRE - Fort Saskatchewan 0/(( % 0, Kl$ >gjl KYkcYl[`-

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CLASSICAL MUSIC: DEC 2011 ALBERTA BAROQUE ENSEMBLE JgZ]jlkgfº

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OH SUSANNA! NYjk[gfY L`]Ylj] )(+*1 % 0+ 9n]

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LITERARY: DEC 2011 HAVEN SOCIAL CLUB )-)*( Klgfq HdYaf J\ /0(&1)-&00.1 =\egflgf Klgjq KdYe2 ojal]jk k`Yj]

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VERNON GOD LITTLE ?jYfl EY[=oYf Mfan]jkalq

;]flj] ^gj l`] 9jlk Yf\ ;geemfa[Ylagfk [Yehmk$ )kl È$ )((,- % )-. Kl L`]Ylj] DYZ K]Ykgf2 ;YfY\aYf Hj]ea]j]& :q <:; Ha]jj]$ Y\Yhl]\ Zq LYfqY Jgf\]j <][ * % )($ *())$ /2+( he3 <][ ,$ * he Yf\ /2+( he La[c]lk2 9\nYf[] la[c]lk YnYadYZd] af ]Yjdq K]h Yl LAP gf l`] KimYj]

THE WEDDING SINGER EYqÇ]d\ <aff]j L`]Ylj]$ )..)- % )(1 9n] eYqÇ]d\l`]Ylj]&[Y Oal` Y ZjYf\%f]o k[gj] l`Yl hYqk `geY_] lg hgh kgf_k g^ l`] )10( k$ L`] O]\\af_ Kaf_]j lYc]k mk ZY[c lg Y lae] o`]f `Yaj oYk Za_$ _j]]\ oYk _gg\$ [gddYjk o]j] mh$ Yf\ Y o]\\af_ kaf_]j bmkl ea_`l `Yn] Z]]f l`] [ggd]kl

VUEWEEKLY AUG 4 – AUG 10, 2011

THE SEASONS 25

I regard the theatre as

THE GREATEST

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

human being.

- Oscar Wilde

COSMOPOLITAN MUSIC SOCIETY OF EDMONTON Gd\ KljYl`[gfY H]j^gjeaf_ 9jlk ;]flj]$

0,*. % ?Yl]oYq :dnj\ Lm] Yf\ O]\ :Yf\ ;`jakleYk ;gf[]jl KYl$ <][ )($ *())$ /2+( % 12+( he3 Kmf$ <][ ))$ *())$ *2+( % ,2+( he Egf Yf\ ;`gjmk ;`jakleYk ;gf[]jl2 KYl$ <][ )/$ *())$ /2+( % 12+( he Egf Yf\ ;`gjmk :Yf\ J]`]YjkYd2 Kmf$ <][ )0 *())$ *2+( % ,2+( he La[c]lk2 >gj ]Y[` [gf[]jl2 )( Y\mdl!' / klm\]fl' k]fagj!'[`ad\ Çn] Yf\ mf\]j Yj] ^j]] af Y\nYf[]3 af^gj% eYlagf =2 af^g8[gkeghgdalYfemka[&gj_

EDMONTON COLUMBIAN CHOIRS E[<gm_Ydd

Mfal]\ ;`mj[`$ )((*- % )() Kl =\egflgf;gdmeZaYf% ;`gajk&[Y ;]d]ZjYlagf g^ ;`jakleYk2 >]Ylmjaf_ Y nYja]lq g^ [`ad\j]f k Yf\ Y\mdl [`gajk Kmf$ <][ ,$ *())$ /2+( he La[c]lk2 )- YnYadYZd] Yl /0(&,+(&.0(0 :]l`!

EDMONTON RECITAL SOCIETY EmllYjl @Ydd$

9dZ]jlY ;gdd]_] ;gfk]jnYlgjq g^ Emka[$ )((-( EY[% <gfYd\ <j ]\egflgfj][alYd&[ge F]o Gj^gj\ Kljaf_ ImYjl]l oal` 9Yjgf 9m _m]kl nagdakl! <][ ,$ *())$ /2+( he La[c]lk2 +( Y\mdl!' *( k]fagj'klm\]fl!

EDMONTON SYMPHONY ORCHESTRA Oaf% kh]Yj ;]flj]$ Kaj Oafklgf ;`mj[`add Ki /0(&,*0&),), ]\egflgfkqeh`gfq&[ge A Merry Pops Christmas: :gZ :]jf`Yj\l Yf\ l`] ?j]]fogg\ Kaf_]jk Yf\ Mfan]jkalq g^ 9dZ]jlY @Yf\Z]dd Jaf_]jk3 <][ * % +$ *())$ 0 he3 *, % 0- A Michael W. Smith Christmas: A\mdl [gfl]ehgjYjq ;`jakleYk [dYkka[k oal` Ea[`Y]d O& Keal` kaf_]j% kgf_ojal]j$ [gehgk]j!3 <][ . % /$ *())$ /2+( he3 -( % 0( Handel's Messiah: >]Ylmjaf_ l`] M g^ 9 EY\ja_Yd Kaf_]jk Yf\ A ;gjakla ;`YeZ]j ;`gaj3 <][ ). % )/$ *())$ /2+( he3 *( % /- Y\mdl!' *( % /- klm\]fl'k]fagj!' *( qgml` mf\]j )0! A Lightly Classical Christmas: FYl`Yf :]j_ ZYjalgf] ng[Ydk!$ KlmYjl ;`Y^]lr [gf\m[lgj! <][ *) % **$ *())$ /2+( he3 *( % /- FESTIVAL CITY WINDS MUSIC SOCIETY L]_d]j ;]flj]$ ;gf[gj\aY Mfan]jkalq ;gdd]_]$ /+ Kl Yf\ ))* 9n] =2 af^g8^]klanYd[alqoaf\k&[Y ^]klanYd[alq% oaf\k&[Y Oafl]j ;gf[]jl2 9dd l`] [geemfalq [gf[]jl ZYf\k g^ >]klanYd ;alq Oaf\k Emka[ Kg[a]lq hj]k]fl Y nYja]lq g^ emka[ ^gj l`] ^]klan] k]Ykgf KYl$ <][ )($ *())$ /2+( he La[c]lk2 0 \ggj! GREENWOOD SINGERS ?j]]fogg\Kaf_]jk&

gj_ St Joseph's Basilica$ )((,, % ))+ Kl2 @qefk Yf\ J]Y\af_k ^gj ;`jakleYk2 9f ]n]faf_ g^ emka[ Yf\ k[jahlmj] j]Y\af_k ^gj ;`jakleYk3 Kmf$ <][ ))$ *())$ /2+( he3 la[c]lk2 )( YnYadYZd] Yl Kl& Bgk]h` k ;gdd]_]$ h`gf] /0(&,1*&/.0) ]pl& *+)$ Yf\ Yl l`] \ggj First Presbyterian Church$ )((*- % )(- Kl2 The Many Moods of Christmas2 L`] [`gaj oadd Z] Y[[gehYfa]\ Zq haYfakl @]d]f KlmYjl$ gj_Yfakl EYjfa] ?a]kZj][`l$ Yf\ l`] M g^ 9 >Y[mdlq g^ =\m[Ylagf @Yf\Z]dd Jaf_]jk3 Egf$ <][ )*$ *())$ 0 he3 la[c]lk2 *( Y\mdl!' )0 klm\]fl'k]f% agj!3 YnYadYZd] Yl LAP gf l`] KimYj]$ Yf\ Yl l`] \ggj

HEAR'S TO YOUR HEALTH OYdl]j EY[C]fra]

@]Ydl` K[a]f[]k ;]flj] >gq]j$ M g^ 9$ ))* Klj]]l =fljYf[] hYlja[aYlYg&[ge'`]YjkW`]Ydl`&Ykhp Ogjck Zq JYn]d Yf\ :]]l`gn]f Zq _m]kl h]j^gje]jk 9f\j]o OYf nagdaf!$ :jaYf EYfc]j []ddg! Yf\ HYlja[aY LYg haYfg! Egf$ <][ -$ *())$ - he >j]] ]n]fl

I CORISTI CHAMBER CHOIR Oafkh]Yj ;]flj] /0(&,*,&)-.) a[gjakla&[ge oafkh]Yj[]flj]&[ge @Yf\]d k Messiah2 A ;gjakla bgafk l`] =KG$ :add =\\afk [gf\m[lgj! <][ ). % )/$ *())$ /2+( he La[c]lk2 *( Y\mdl!' )- klm\]fl'k]fagj! K]Ykgf hYkk2 ,- Y\mdl!' +( klm\]fl'k]fagj! PRO CORO CANADA Oafkh]Yj ;]flj]$ Kaj

Oafklgf ;`mj[`add Ki hjg[gjg&YZ&[Y 9 Hjg ;gjg ;`jakleYk oal` <Y ;Ye]jY Kaf_]jk$ <j Bg`f :jgm_` [gf\m[lgj! Kmf$ <][ )0$ *())$ *2+( he KmZk[jah% lagfk YnYadYZd] Yl Oafkh]Yj Yl /0(&,*0&),),

RICHARD EATON SINGERS Oafkh]Yj ;]flj]$ Kaj

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JANUARY 2012 ART GALLERIES/MUSEUMS: JAN 2012 ALBERTA CRAFT COUNCIL )()0. % )(. Kl

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ART GALLERY OF ST ALBERT (AGSA) )1

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26 THE SEASON

VUEWEEKLY AUG 4 – AUG 10, 2011

CROOKED POT GALLERY ,1)* % -) 9n]$ Klgfq HdYaf$ 9dZ]jlY /0(&1.+&1-/+ Northern Lights2 Af []d% ]ZjYlagf g^ l`] 9dZ]jlY Oafl]j ?Ye]k%oafl]j l`]e]\ hgll]jq Yf\ _a^loYj] BYf + % >]Z *1$ *()* FINE ARTS BUILDING (FAB) GALLERY <]hYjl% e]fl g^ 9jl Yf\ <]ka_f$ M g^ 9$ Je +%10 >af] 9jlk :d\_ /0(&,1*&*(0) 9ff%EYja] Caf_2 E>9 <jYoaf_ Yf\ Afl]j% e]\aY3 9ffY ?YZq%Ljglr2 E>9 HjafleYcaf_3 <][ )+ % **$ *()) Yf\ BYf + % ),$ *()* 9f\j]Y CYklf]j2 E>9 HYaflaf_3 Badd @g%Qgm2 E>9 HjafleYcaf_3 BYf *, % >]Z )0$ *()*

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GALLERY AT MILNER KlYfd]q 9& Eadf]j DaZjYjq$

BLIND DATE ;alY\]d Ja[] L`]Ylj]$ 10*0 % )()

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MCMULLEN GALLERY M g^ 9 @gkhalYd$ 0,,( % ))* Kl /0(&,(/&/)-* ^ja]f\kg^mY`&gj_ FYlmj]2 HYaflaf_k afkhaj]\ Zq hg]l ;`gf KYf_%Hqgf k hg]e$ Back to Heaven; Yjlogjck Zq Cqmf_ @]] @g__ <][ )($ *()) % >]Z -$ *()* Gh]faf_ j][]hlagf2 L`m$ <][ )-$ *())

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PETER ROBERTSON GALLERY )*+(, BYkh]j

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GALLERY AT MILNER KlYfd]q 9& Eadf]j DaZjYjq$

DANCE: FEB 2012

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SOCIETY OF NORTHERN ALBERTA PRINT -ARTISTS (SNAP) KF9H ?Ydd]jq$ )()*+ % )*) Kl

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VISUAL ARTS ALBERTA ASSOCIATION N999 ?Ydd]jq$ )(*)- % ))* Kl$ +j\ >d /0(&,*)&)/+)

VINOK WORLD DANCE ;`Yl]Ym Dgmak @gl]d$ ))/*/ Caf_koYq /0(&,-,&+/+1 nafgc&[Y EYj\a ?jYk2 F]o Gjd]Yfk \aff]j Yf\ ]fl]jlYafe]flºYf ]n]faf_ g^ ;YjfanYd$ ^]Ylmjaf_ l`] j`ql`ek g^ F]o Gjd]Yfk oal` Nafgc Ogjd\Yf[] Yf\ jgnaf_ ]fl]jlYafe]fl >]Z )0$ *()* La[c]lk [gflY[l /0(&,-,&+/+1

LITERARY: FEB 2012 CANADIAN AUTHORS ASSOCIATION ;Yehmk KYafl%B]Yf$ HYnaddgf DY[]jl]$ Je +%(,$ 0,(. EYja]%9ff%?YZgmjq Kl 1) Kl! [YfYml`gjkYdZ]jlY&[Y L:9$ Gfdaf]2 [YfYml`gjkYdZ]jlY&[Y ^gj mh\Yl]k >]Z *, % *-$ *()* >ja =n]faf_ Hj]k]flYlagfk2 0 he3 ^j]] ^gj e]eZ]jk Yf\ Çjkl%lae] _m]klk' )( j]lmjfaf_ _m]klk! KYl ogjck`ghk2 12+( Ye % , he3 ,( e]eZ]j!' /( fgf%e]eZ]j! dmf[` af[dm\]\ HAVEN SOCIAL CLUB )-)*( Klgfq HdYaf J\ /0(&1)-&00.1 =\egflgf Klgjq KdYe2 ojal]jk k`Yj] l`]aj gja_afYd$ -%eafml] klgja]k3 ^gddgo]\ Zq Y emka[ bYe +j\ O]\ ]n]jq egfl` >]Z )-$ *()*$ / he ka_f% mh!3 /2+( he k`go! - j]_akljYlagf ^jge ojal]jk lg kmhhgjl l`] Kg[a]lq! T.A.L.E.S. MONTHLY STORYTELLING CIRCLE N]fm] L&:&9& /0(&1+*&,,(1 lYd]kklgjql]ddaf_&[ge L]dd klgja]k gj [ge] lg dakl]f *f\ O]\ g^ l`] egfl`3 K]h *()) % Bmf *()*$ / % 1 he >j]] ]n]fl

T.A.L.E.S. STORY CAFÉ SERIES Jgka] k :Yj$

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THE SEASONS 27

28 THE SEASON

VUEWEEKLY AUG 4 – AUG 10, 2011

THEATRE: FEB 2012

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ALBERTINE IN FIVE TIMES OYdl]j\Yd] HdYq-

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MUSIC: FEB 2012

CLASSICAL MUSIC: FEB 2012

ARDEN THEATRE - Kl 9ff] Klj]]l$ Kl 9dZ]jl

ALBERTA BAROQUE ENSEMBLE JgZ]jlkgfº O]kd]q Mfal]\ ;`mj[`$ )(*(1 % )*+ Kl YdZ]jlYZYjgim]& [ge ;]fljYd =mjgh]Yf ?]ek2 =darYZ]l` Cg[` Èml]! Kmf$ >]Z -$ *()*$ + he K]Ykgf KmZk[jahlagfk2 )*( Y\mdl oal` ;`YeZ]j Emka[ Lj]Ykmj]k!3 )(( Y\mdl oal`gml ;`YeZ]j Emka[ Lj]Ykmj]k!' )(( klm\]fl'k]fagj oal` ;`YeZ]j Emka[ Lj]Ykmj]k!3 +( oal`gml ;`YeZ]j Emka[ Lj]Ykmj]k! Kaf_d] la[c]lk2 *- Y\mdl!' *( k]fagj'klm\]fl! La[c]lk'kmZk[jahlagfk YnYadYZd] Yl l`] ?jYegh`gf]$ LAP gf l`] KimYj]$ h`gf] /0(&,./&.-+)$ Yl l`] \ggj

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DOW CENTENNIAL CENTRE'S SHELL THEATRE - Fort Saskatchewan 0/(( % 0, Kl$ >gjl

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FULL MOON FOLK CLUB Kl& :Ykad k ;mdlmjYd

VUEWEEKLY AUG 4 – AUG 10, 2011

CONCORDIA SCHOOL OF MUSIC JgZ]jl L]_d]j Klm\]fl ;]flj]$ ;gf[gj\aY Mfan]jkalq ;gdd]_]$ /+ Kl Yf\ ))* 9n] /0(&,/1&1+-- [gf[gj\aY&YZ&[Y' emka[ ;gf[gj\aY Kqeh`gfq Gj[`]kljY Kmf$ >]Z *.$ *()*$ * he La[c]lk2 )* Y\mdl!' )( klm\]fl'k]fagj!3 YnYadYZd] Yl LAP gf l`] KimYj]$ Yl l`] \ggj EDMONTON CHAMBER MUSIC SOCIETY ;gfng[Ylagf @Ydd$ M g^ 9 ;Yehmk /0(&,++&,-+* ]\egflgf[`YeZ]jemka[&gj_ Egflj]Yd k L`]Ylj] g^ =Yjdq Emka[ h]j^gje Hmj[]dd k <a\g Yf\ 9]f]Yk$ Y

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EDMONTON CLASSICAL GUITAR SOCIETY

EmllYjl @Ydd$ 9dZ]jlY ;gdd]_]$ )((-( EY[\gfYd\ <j -0/&/(0&*(,, ]\egflgf[dYkka[Yd_malYjkg[a]lq&gj_ <mg 9h]jag oal` 9f\j]o EY` _malYj!$ Yf\ J]f ]% HYmd] ?Yml`a]j nagdaf!3 _malYj Yf\ nagdaf ]fk]eZd] ^]Ylmjaf_ l`] LY^l KljY\anYja nagdaf >ja$ >]Z +$ *()*$ 0 he La[c]lk2 *- _]f]jYd$ *( klm\]fl'k]fagj'e]eZ]j!3 YnYadYZd] Yl LAP gf l`] KimYj]$ 9n]fm] ?malYjk$ 9[gmkla[ Emka[ K`gh$ 9<O Emka[ Kl& 9dZ]jl!$ l`jgm_` l`] kg[a]lq Yf\ Yl l`] \ggj

EDMONTON OPERA BmZad]] 9m\algjame$ )),-- % 0/ 9n] L`] EacY\g Zq ?adZ]jl Yf\ KmddanYf & Kmf_ af =f_dak` oal` =f_dak` kmh]jlald]k >]Z ,$ /$ 1$ *()*$ /2+( he La[c]lk YnYadYZd] Yl =\egflgf Gh]jY Zgp g^Ç[] Yl l`] Oafkh]Yj ;]flj] klY_] \ggj *f\ È$ ]\egflgfgh]jY&[ge'k]Ykgf'af\]p&h`h3 Kaf_d] la[c]lk YnYadYZd] Yl La[c]lEYkl]j gf K]h )-$ *()) EDMONTON OPERA EVENTS N]fm] L&:&9 Valentines Day Gala2 =\egflgf Gh]jY Yf\ ;YhalYd ;Yj] >]Z ),$ *()* La[c]lk YnYadYZd] Yl [gflY[l EYjq ;gmkaf]Ym$ <]d[gf ?jgmh H2 /0(&,1/&+*.) =2 eYjq& [gmkaf]Ym8\]d[gf_jgmh&[ge EDMONTON SYMPHONY ORCHESTRA Oaf-

kh]Yj ;]flj]$ Kaj Oafklgf ;`mj[`add Ki /0(&,*0&),), ]\egflgfkqeh`gfq&[ge D]l k >Ydd af Dgn] % 9 Hghk NYd]flaf]2 Bg`f HY_Yfg hj]k]flk Y jgeYfla[ [gf[]jl ^]Ylmjaf_ Y [gdd][lagf g^ lae]d]kk dgn] kgf_k3 >]Z )( % ))$ *()*$ 0 he3 *, % 0- <akf]q af ;gf[]jl2 EY_a[Yd Emka[ ^jge l`] Egna]k3 KYl$ >]Z )0$ *()*$ * he Yf\ / he3 -- % 0( Y\mdl!' *1 % +- [`ad\! ?dgjagmk Nga[]k2 B]Yfaf] <] :aim] kghjYfg! Yf\ l`j]] g^ =\egflgf k [`gajk3 >ja$ >]Z *,$ *()*$ /2+( he3 KYl$ >]Z *-$ *()*$ 0 he3 *( % /-

EDMONTON YOUTH ORCHESTRA Oafkh]Yj ;]flj]$ Kaj Oafklgf ;`mj[`add Ki /0(&,+.&/1+* ]qkg&[ge K]fagj Yf\ Afl]je]\aYl] Gj[`]kljYk Kmf$ >]Z *.$ *()*$ * he La[c]lk2 )- Y\mdl!' )( k]fagj' klm\]fl! La[c]lk Yf\ af^gjeYlagf2 YnYadYZd] h`gf] /0(&,+.&/1+*$ LAP gf l`] KimYj] I CORISTI CHAMBER CHOIR Oafkh]Yj ;]flj] Oafkh]Yj ;]flj]$ Kaj Oafklgf ;`mj[`add Ki /0(&,*,&)-.) a[gjakla&[ge oafkh]Yj[]flj]&[ge ?dgjagmk Nga[]k2 ?m]klk g^ l`] =\egflgf Kqeh`gfq$ :add =\\afk [gf\m[lgj!$ a ;gjakla h]j^gjek :Y[` k ;YflYlY -- A[` Yje]j E]fk[`$ a[` K f\]fcf][`l$ Yf\ Hgmd]f[ k ?dgjaY >]Z *, % *-$ *()*$ /2+( he La[c]lk2 *( Y\mdl!' )- klm\]fl'k]fagj! K]Ykgf HYkk2 ,- Y\mdl!' +( klm\]fl'k]fagj! Yl oafkh]Yj[]flj]&[ge$ /0(&,*0&),), PRO CORO CANADA E[<gm_Ydd Mfal]\ ;`mj[`$ )((*- % )() Kl hjg[gjg&YZ&[Y ;YfY\Y E]]l Ko]\]f2 =jac O]klZ]j_ [gf\m[lgj! Kmf$ >]Z )*$ *()*$*2+( he KmZk[jahlagfk YnYadYZd] Yl Oafkh]Yj Yl /0(&,*0&),),

SUNDAYS AT THREE >ajkl Hj]kZql]jaYf ;`mj[`$ )((*- % )(- Kl j[[g&]\egflgf&YZ&[Y'kmf\YqkWYlW+& `led ;YfY\aYfk F]Yj Yf\ >Yj2 Gj_Yf ;gf[]jl K]ja]k2 ;jYa_ @meZ]j >]Z )($ *()*$ / he La[c]lk2 *( Y\mdl!' )0 k]fagj'klm\]fl!3 YnYadYZd] Yl LAP gf l`] KimYj]$ Oafkh]Yj Zgp g^Ç[]$ Yl l`] \ggj KmZk[jahlagfk2 .( Y\mdl!' ,- k]fagj'klm\]fl!

THE SEASONS 29

36 season th

WOMEN & POWER

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### 30 THE SEASON

VUEWEEKLY AUG 4 â&#x20AC;&#x201C; AUG 10, 2011

MARCH 2012 ART GALLERIES/MUSEUMS: MAR 2012 ART GALLERY OF ALBERTA (AGA) Kaj Oaf-

klgf ;`mj[`add Ki /0(&,**&.**+ qgmjY_Y&[Y Rearview Mirror2 ;gfl]ehgjYjq 9jl ^jge =Ykl Yf\ ;]fljYd =mjgh]3 BYf *0$ *()* % 9hj *1$ *()* RBC New Works Gallery2 ;`jak EaddYj3 BYf *0$ *()* % 9hj *1$ *()* Icons of Modernism2 >]Z ))$ *()* % EYq *)$ *()* Early Mistresses of the Abstract and the Modern: EYj +$ *()* % Bmf +$ *()* Alberta Process Painting2 EYj +$ *()* % Bmf +$ *()* All Day Sunday2 9jl Y[lanala]k ^gj Ydd Y_]k +j\ Kmf ]n]jq egfl`$ )* % , he3 ^j]] oal` Y\eakkagf

ART GALLERY OF ST ALBERT (AGSA) )1 H]jjgf Kl$ Kl 9dZ]jl /0(&,.(&,+)( Yjl_Ydd]jqg^klYdZ]jl&[Y Yjlk`]jalY_]&[Y Immuto: 9jlogjck Zq B]ffa^]j OYff]j EYj ) % 9hj *0$ *()* COMMON GROUND ARTS SOCIETY 9n]fm]

L`]Ylj]$ 1(+( % ))0 9n] /0(&,//&*),1 Yn]fm]l`]Ylj]&[Y L`] =\egflgf K`go NAAA2 ;YZYj]l klqd] nYja]lq k`go ^]Ylmjaf_ \Yf[]$ l`]Ylj]$ Çde$ klYf\%mh [ge]\q$ \jYeY$ dan] emka[ Zq dg[Yd ]e]j_af_ Yjlaklk$ Yf\ Y \akhdYq g^ Yjlogjck$ hj]k]fl]\ Zq ;geegf ?jgmf\ 9jlk Kg[a]lq$ gf l`] oYddk g^ 9n]fm] L`]Ylj] EYj *$ *()*$ /2+( he \ggj!$ 0 he k`go!

CROOKED POT GALLERY ,1)* % -) 9n]$ Klgfq HdYaf$ 9dZ]jlY /0(&1.+&1-/+ Anticipation of Things to Come2 ;]jYea[ Yjlogjck Zq :YjZ OYl[`eYf EYj ) % +)$ *()* Gh]faf_ j][]hlagf2 >ja$ EYj +$ ) % - he FINE ARTS BUILDING (FAB) GALLERY <]-

hYjle]fl g^ 9jl Yf\ <]ka_f$ M g^ 9$ Je +%10 >af] 9jlk :d\_ /0(&,1*&*(0) ;gdaf Dqgfk2 E>9 HjafleYcaf_ The Alcuin Awards for Excellence in Book Design in Canada: L`ak k`go [gn]jk Zggck af ]a_`l [Yl]_gja]k ;`ad\j]f k$ Daeal]\ =\alagfk$ Ha[lgjaYd$ Hg]ljq$ Hjgk] >a[lagf$ Hjgk] Fgf%Ç[lagf$ Hjgk] Fgf%Ç[lagf AddmkljYl]\$ Yf\ J]^]j]f[]! hmZdak`]\ af *()( >]Z *0 % EYj *0$ *()*

GALLERY AT MILNER KlYfd]q 9& Eadf]j DaZjYjq$ / Kaj Oafklgf ;`mj[`add Ki /0(&1,,&-+0+ ]hd&[Y 9jlogjck Zq e]eZ]jk g^ l`] K[mdhlgj k 9kkg[aYlagf g^ 9dZ]jlY EYj ) % +)$ *()* MCMULLEN GALLERY M g^ 9 @gkhalYd$ 0,,(

% ))* Kl /0(&,(/&/)-* ^ja]f\kg^mY`&gj_ HYll]jf$ ^gje$ \]lYad2 h`glg_jYh`k g^ fYlmjYd Yf\ eYfm^Y[lmj]\ dYf\k[Yh]k Zq <j JgfYd\ O`al]`gmk] >]Z )) % 9hj )-$ *()* Gh]faf_ j][]hlagf2 L`m$ >]Z ).$ *()*

MULTICULTURAL CENTRE PUBLIC ART GALLERY–Stony Plain -,)) % -) Kl$ Klgfq HdYaf

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PETER ROBERTSON GALLERY )*+(, BYkh]j

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SOCIETY OF NORTHERN ALBERTA PRINTARTISTS (SNAP) KF9H ?Ydd]jq$ )()*+ % )*) Kl

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VISUAL ARTS ALBERTA ASSOCIATION

N999 ?Ydd]jq$ )(*)- % ))* Kl$ +j\ >d /0(&,*)&)/+) Galleries A and B2 Ogjck Zq 9dZ]jlY Hgll]j k 9kkg[aYlagf EYj ) % 9hj ),$ *()* Gh]faf_ j][]hlagf2 L`m$ EYj )$ *()*$ / % 12+( he

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DANCE: MAR 2012 ALBERTA BALLET–BEYOND WORDS BmZad]] 9m\algjame$ )),-- % 0/ 9n] /0(&,*0&.0+1 YdZ]jlYZYdd]l&[ge Swan Lake: Ogjd\ hj]ea]j] g^ Cajc H]l]jkgf k Swan Lake, [`gj]g_jYh`q Yf\ klY_af_ Zq Cajc H]l]jkgf Y^l]j H]lahY Yf\ AnYfgn$ emka[ Zq Hgqlj Adqa[` L[`Yacgnkcq$ Y[[gehYfa]\ Zq l`] ;Yd_Yjq H`ad`Yjegfa[ Gj[`]kljY EYj *+ % *,$ *()* K]Ykgf kmZk[jahlagfk2 KlYjl Yl )*- -%hY[c!3 klYjl Yl )(( ,%hY[c!3 klYjl Yl /- +%hY[c!3 YnYadYZd] Yl 9dZ]jlY :Ydd]l Zgp g^Ç[]$ /0(&,*0&.0+13 k]Ykgf kmZk[jahlagfk fgl YnYadYZd] ^gj hmj[`Yk] gfdaf] BRIAN WEBB DANCE COMPANY Laeek ;]flj] ^gj l`] 9jlk$ 0/ 9n]$ ))* Kl Zo\[&[Y KqdnYaf =eYj\ <Yfk] EYj 1 % )($ *()* La[c]lk Yl LAP gf l`] KimYj]

COMMON GROUND ARTS SOCIETY 9n]fm] L`]Ylj]$ 1(+( % ))0 9n] /0(&,//&*),1 Yn]fm]l`]Ylj]&[Y L`] =\egflgf K`go NAAA2 ;YZYj]l klqd] nYja]lq k`go ^]Ylmjaf_ \Yf[]$ l`]Ylj]$ Çde$ klYf\%mh [ge]\q$ \jYeY$ dan] emka[ Zq dg[Yd ]e]j_af_ Yjlaklk$ Yf\ Y \akhdYq g^ Yjlogjck$ hj]k]fl]\ Zq ;geegf ?jgmf\ 9jlk Kg[a]lq$ gf l`] oYddk g^ 9n]fm] L`]Ylj] EYj *$ *()*$ /2+( he \ggj!$ 0 he k`go! EXPANSE DANCE FESTIVAL LjYfk9dlY 9jlk :Yjfk$ O]klZmjq L`]Ylj]$ )(++( % 0, 9n] /0(&,(1&)1)( ^jaf_]l`]Ylj]&[Y Yraeml`l`]Ylj]&[ge 9jlk 9l L`] :Yjfk2 Egn]e]fl Yjlk ^]klanYd ^]Ylmj]k \Yf[]$ h`qka[Yd l`]Ylj]$ [aj[mk Yjlk$ h]j^gjeYf[] Yjl& >]Ylmjaf_ dg[Yd$ fYlagfYd Yf\ afl]jfYlagfYd \Yf[] Yf\ Zg\q ZYk]\ h]j^gjeYf[] Yjlaklk EYj 0 % ))$ *()* La[c]lk'af^g2 Gfdaf]2 ^jaf_]l`]Ylj]&[Y$ Yraeml`l`]Ylj]& [ge3 /0(&,(1&)1)( SHUMKA DANCERS BmZad]] 9m\algjame$ )),-- % 0/ 9n] SHUMKA at 50: R]ljgkh][lan] Yf\ f]o ogjck af[dm\af_ log @ghYck$ Y h]j^gjeYf[] Zq K`mecY k ,( \Yf[]jk ^]Ylmjaf_ Harvest Angels$ Pathways to Hopak$ A Cobbler's Promise$ Yf\ Y emdla%e]\aY ha][]$ The Eye of Kupalo–Mystery Masque$ ]f\af_ oal` l`] -(l` 9ffan]jkYjq @ghYc =Yjdq EYj[` *()* La[c]lk YnYadYZd] Yl La[c]lEYkl]j$ gj Yl k`mecY&[ge'la[c]lk

LITERARY: MAR 2012 ARDEN THEATRE - Kl 9ff] Klj]]l$ Kl 9dZ]jl

/0(&,-1&)-,* Yj\]fl`]Ylj]&[ge Hg]l K`Yf] Cgq[rYf >ja$ EYj *$ *()*$ /2+( he La[c]lk YnYadYZd] Yl 9j\]f Zgp g^Ç[]

CANADIAN AUTHORS ASSOCIATION

;Yehmk KYafl%B]Yf$ HYnaddgf DY[]jl]$ Je +%(,$ 0,(. EYja]%9ff%?YZgmjq Kl 1) Kl! [YfYml`gjkYdZ]jlY&[Y >j]\ Kl]fkgf hj]k]flk @aklgja[Yd >a[lagf EYj ). % )/$ *()* >ja =n]faf_ Hj]k]flYlagfk2 0 he3 ^j]] ^gj e]eZ]jk Yf\ Çjkl%lae] _m]klk' )( j]lmjfaf_ _m]klk! KYl ogjck`ghk2 12+( Ye % , he3 ,( e]eZ]j!' /( fgf%e]eZ]j! dmf[` af[dm\]\

HAVEN SOCIAL CLUB )-)*( Klgfq HdYaf J\ /0(&1)-&00.1 =\egflgf Klgjq KdYe2 ojal]jk k`Yj] l`]aj gja_afYd$ -%eafml] klgja]k3 ^gddgo]\ Zq Y emka[ bYe +j\ O]\ ]n]jq egfl` EYj *)$ *()*$ / he ka_f%mh!3 /2+( he k`go! - j]_akljYlagf ^jge ojal]jk lg kmhhgjl l`] Kg[a]lq! T.A.L.E.S. ALBERTA STORYTELLING RETREAT /0(&1+*&,,(1 lYd]kklgjql]ddaf_&[ge

Ogjck`ghk$ klgjq [aj[d]k$ \]lYadk YnYadYZd] kggf gf l`] L&9&D&=&K& o]Zkal] Khjaf_ *()*

T.A.L.E.S. CONCERT 9jl ?Ydd]jq g^ 9dZ]jlY$ D]\-

[gj L`]Ylj]$ Kaj Oafklgf ;`mj[`add Ki /0(&,**&.**+ qgmjY_Y&[Y Ogjd\ Klgjql]ddaf_ <Yq2 >]Ylmjaf_ l]dd]jk Yf\ lYd]k ^jge eYfq [mdlmj]k Yf\ ljY\alagfk Kmf$ EYj )0$ *()*$ * % + he

T.A.L.E.S. MONTHLY STORYTELLING CIRCLE

COMEDY: MAR 2012

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COMMON GROUND ARTS SOCIETY 9n]fm]

T.A.L.E.S. STORY CAFÉ SERIES Jgka] k :Yj$

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eafaeme [gn]j

THEATRE: MAR 2012 BLUE MAN GROUP BmZad]] 9m\algjame$ )),--

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VUEWEEKLY AUG 4 – AUG 10, 2011

THE GREAT MOUNTAIN 9j\]f L`]Ylj]$ - Kl

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THE SEASONS 31

32 THE SEASON

VUEWEEKLY AUG 4 – AUG 10, 2011

CLASSICAL MUSIC: MAR 2012 ALBERTA BAROQUE ENSEMBLE JgZ]jlkgfº

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EDMONTON CHAMBER MUSIC SOCIETY

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EDMONTON COLUMBIAN CHOIRS E[%

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EDMONTON RECITAL SOCIETY @gdq Ljafalq 9f_da[Yf ;`mj[`$ )((+/ % 0, 9n] ]\egflgfj][alYd& [ge JgZaf <gqgf ljmeh]l!$ KYjY` @g haYfg! EYj )0$ *()*$ + he 9\eakkagf Zq \gfYlagf

EDMONTON SYMPHONY ORCHESTRA Oaf% kh]Yj ;]flj]$ Kaj Oafklgf ;`mj[`add Ki /0(&,*0&),), ]\egflgfkqeh`gfq&[ge Behind the Silver Screen: :add =\\afk [gf\m[lgj!$ 9k`m kYpgh`gf]!3 L`m$ EYj )$ *()*$ 0 he3 *( % /- Late Night Hollywood: DYl] fa_`l [gf[]jl 9k`m kYpgh`gf]!3 >ja$ EYj *$ *()*$ 12+( he3 *( % ,( A Symphonic Guide to New Music: oal` :jaYf ;mjj]fl fYjjYlgj!3 gl`]j emka[ ^]Ylmjaf_ Na[lgj Hahcaf []ddg!; Kmf$ EYj ,$ *()*$ * he3 *( % .- Benjamin Grosvenor: Lm]$ EYj .$ *()*$ /2+( he3 *( % -( Copland's Clarinet Concerto: k`go[Yk] g^ BYe]k ;YehZ]dd [dYjaf]l!3 >ja$ EYj 1$ *()*$ /2+( he3 KYl$ EYj )($ *()*$ 0 he3 *( % /- French Inspirations: KmkYf @g]hhf]j È ml]!3 O]\$ EYj ),$ *()*$ /2+( he3 *( % .- The 1950s - The Golden Age of Black and White: ;`Yhl]j . Y [Yhh]ddY _jgmh!$ CYj]f Emjh`q Yf\ >YjY` 9dnaf3 EYj ). % )/$ *()*$ 0 he3 *, % 0- Bach to the Future: KYl$ EYj *,$ *()*$ * he3 *) % *1 Y\mdl!' )+ % )/ [`ad\! Rolston plays Dvorák: >]Ylmjaf_ K`YmfY Jgdklgf3 Y ogjd\ hj]ea]j] g^ Y f]o ogjc Zq =KG ;ge% hgk]j af J]ka\]f[] JgZ]jl JanYd$ Yf\ L[`Yacgnkcq k aehYkkagf]\ Ç fYd kqeh`gfq$ BmdaYf Cm]jla [gf\m[lgj!3 KYl$ EYj +)$ *()*$ 0 he3 *( % /- FESTIVAL CITY WINDS MUSIC SOCIETY L]_d]j ;]flj]$ ;gf[gj\aY Mfan]jkalq ;gdd]_]$ /)*0 9\Y :dn\ =2 af^g8^]klanYd[alqoaf\k&[Y ^]klanYd[alqoaf\k& [Y >mf\jYakaf_ ;gf[]jl ^gj l`] ;gf[gj\aY Mfan]jkalq ;gdd]_] K[`ggd g^ Emka[2 >]klanYd ;alq Oaf\k Emka[ Kg[a]lq 9\nYf[]\ :Yf\ Yf\ ;gf[gj\aY ;geemfalq ;`gjmk [gddYZgjYl]$ oal` Y\\alagfYd _m]kl h]j^gje]jk KYl$ EYj *,$ *()*$ /2+( he La[c]lk2 )*' )( HEAR'S TO YOUR HEALTH OYdl]j EY[C]fra]

APRIL 2012

Khjaf_ K`go Yf\ KYd]2 Ogjck Zq l`] 9jl Kg[a]lq g^ KljYl`[gfY ;gmflq3 9hj *( % **$ *()*3 >ja\Yq fa_`l j][]hlagf oal` Yjlaklk af Yll]f\Yf[]&

ART GALLERIES/MUSEUMS: APR 2012

CROOKED POT GALLERY ,1)* % -) 9n]$ Klgfq HdYaf$ 9dZ]jlY /0(&1.+&1-/+ L`] L`j]] >Y[]k g^&&& April2 ;]jYea[ Yjlogjck Zq B]Yff]ll] Oja_`l 9hj + % *0$ *()* Gh]faf_ j][]hlagf2 KYl$ 9hj /$ )) Ye % + he

AGNES BUGERA GALLERY )*+)( BYkh]j 9n]

FINE ARTS BUILDING (FAB) GALLERY <]%

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ALBERTA SOCIETY OF ARTISTS OYdl]j\Yd]

HdYq`gmk]$ )(+** % 0+ 9n] /0(&,*.&((/* Yjlaklk% kg[a]lq&YZ&[Y oYdl]j\Yd]hdYq`gmk]&[ge Diverse Scapes2 JmjYd Yf\ mjZYf dYf\k[Yh] hYaflaf_k Zq DYmja] EY[>Yq\]f$ D]gfY GdYmk]f$ =ad]]f JYm[`]j%Kmllgf$ Yf\ =dYaf] Lo]]\q 9hj , % ),$ *()* af [gfbmf[lagf oal` OYdl]j\Yd] k hjg\m[lagf g^ The Love of the Nightingale3 Yf\ gf KYl$ 9hj /$ Yf\ KYl$ 9hj ),$ )( Ye % + he Gh]faf_ j][]hlagf2 9hj +$ *()*$ / he

ART GALLERY OF ALBERTA (AGA) Kaj Oaf% klgf ;`mj[`add Ki /0(&,**&.**+ qgmjY_Y&[Y Rearview Mirror2 ;gfl]ehgjYjq 9jl ^jge =Ykl Yf\ ;]fljYd =mjgh]3 BYf *0$ *()* % 9hj *1$ *()* RBC New Works Gallery2 ;`jak EaddYj3 BYf *0$ *()* % 9hj *1$ *()* Icons of Modernism2 >]Z ))$ *()* % EYq *)$ *()* Early Mistresses of the Abstract and the Modern: EYj +$ *()* % Bmf +$ *()* Alberta Process Painting2 EYj +$ *()* % Bmf +$ *()* All Day Sunday2 9jl Y[lanala]k ^gj Ydd Y_]k +j\ Kmf ]n]jq egfl`$ )* % , he3 ^j]] oal` Y\eakkagf

@]Ydl` K[a]f[]k ;]flj] >gq]j$ M g^ 9$ ))* Klj]]l =f% ljYf[] hYlja[aYlYg&[ge'`]YjkW`]Ydl`&Ykhp =fk]eZd] EY\] af ;YfY\Y haYfg imYjl]l$ =dakkY D]] nagdaf!$ K`Yjgf O]a nagdY!$ JY[`]d E]j[]j []ddg!$ 9f_]dY HYjc haYfg! Egf$ EYj *.$ *()*$ - he >j]] ]n]fl

ART GALLERY OF ST ALBERT (AGSA) )1 H]jjgf Kl$ Kl 9dZ]jl /0(&,.(&,+)( Yjl_Ydd]jqg^klYd% Z]jl&[Y Yjlk`]jalY_]&[Y Immuto: 9jlogjck Zq B]ffa^]j OYff]j EYj ) % 9hj *0$ *()*

RICHARD EATON SINGERS JgZ]jlkgf O]kd]q

ART SOCIETY OF STRATHCONA COUNTY

Mfal]\ ;`mj[`$ )(*(1 % )*+ Kl /0(&,*0&+/+/ ja[`% Yj\]Ylgfkaf_]jk&[ge Ja[`Yj\ =Ylgf Kaf_]jk hj]k]fl Klmll_Yjl ;`YeZ]j ;`gaj$ >ja]\]j :]jfamk [gf\m[lgj! O]\$ EYj ),$ *()*$ 0 he La[c]lk2 h`gf] l`] Ja[`Yj\ =Ylgf Kaf_]jk g^Ç []$ /0(&,*0&+/+/

hYjle]fl g^ 9jl Yf\ <]ka_f$ M g^ 9$ Je +%10 >af] 9jlk :d\_ /0(&,1*&*(0) :<=K *()*2 Ogjck Zq ?jY\mYl% af_ klm\]flk [gehd]laf_ l`] , q]Yj :Y[`]dgj g^ <]ka_f Hjg_jYe3 9hj + % ),$ *()) :>9 *()*2 Ogjck Zq ?jY\mYlaf_ klm\]flk [gehd]laf_ l`] , q]Yj :Y[`]dgj g^ >af] 9jlk Hjg_jYe3 9hj ). % *($ *())

GALLERY AT MILNER KlYfd]q 9& Eadf]j DaZjYjq$ / Kaj Oafklgf ;`mj[`add Ki /0(&1,,&-+0+ ]hd&[Y Water: H`glg_jYh`k Zq Bg]d Cggh 9hj ) % +($ *()* GALLERY WALKS–124TH STREET AREA 9_f]k :m_]jY ?Ydd]jq$ :]Yj[dYo ?Ydd]jq$ H]l]j JgZ]jl% kgf ?Ydd]jq$ K[gll ?Ydd]jq$ KF9H$ Yf\ <Y^^g\ad ?Ydd]jq /0(&,00&,01* _Ydd]jq%oYdc&[ge Khjaf_ ?Ydd]jq OYdc2 KYl$ 9hj *)$ *()*$ )( Ye % - he3 Kmf$ 9hj **$ *()* )* % , he MCMULLEN GALLERY M g^ 9 @gkhalYd$ 0,,(

% ))* Kl /0(&,(/&/)-* ^ja]f\kg^mY`&gj_ Pattern, form, detail: h`glg_jYh`k g^ fYlmjYd Yf\ eYfm^Y[lmj]\ dYf\k[Yh]k Zq <j JgfYd\ O`al]`gmk]3 >]Z )) % 9hj )-$ *()*3 gh]faf_ j][]hlagf2 L`m$ >]Z ).$ *()* 25th Anniversary Show: 9jlogjck Zq M g^ 9 @gkhalYd klY^^ af []d]ZjYlagf g^ l`] >ja]f\k g^ Mfan]jkalq @gkhalYd k *-l` 9ffan]jkYjq3 9hj *) % Bmf )/$ *()*3 gh]faf_ j][]hlagf2 L`m$ 9hj *.$ *()*

MULTICULTURAL CENTRE PUBLIC ART GALLERY–Stony Plain -,)) % -) Kl$ Klgfq

HdYaf /0(&1.+ */// emdla[]flj]&gj_'E;H9?&`led HYaflaf_k Zq LYZal`Y ?adeYf3 EYj ). % 9hj ))$ *()*3 gh]faf_ j][]hlagf2 Kmf$ EYj )0$ *()* OYl]j[gdgmjk Zq =dYaf] >mff]dd3 9hj )+ % EYq *+$ *()*3 gh]faf_ j][]hlagf2 Kmf 9hj )-$ *()*

PETER ROBERTSON GALLERY )*+(, BYkh]j

9n] /0(&,--&/,/1 l^2 )&0//&0*.&++/- hjgZ]jlkgf_Yd% d]jq&[ge 9ZkljY[l hYaflaf_k Zq JgZ]jl ;`jakla]3 EYj +) % 9hj )/$ *()*3 gh]faf_ j][]hlagf2 KYl$ EYj +)$ * % , he Khjaf_ ?jgmh K`go2 F]o Yjlogjck Zq _Ydd]jq Yjlaklk3 9hj *) % EYq -$ *()*

SOCIETY OF NORTHERN ALBERTA PRINT ARTISTS (SNAP) KF9H ?Ydd]jq$ )()*+ % )*) Kl

/0(&,*+&),1* kfYhYjlaklk&[ge 9jlogjck Zq Lg\\ Kl]oYjl3 EYj ** % 9hj *)$ *()*3 gh]faf_ j][]hlagf2 EYj ** Mfan]jkalq g^ 9dZ]jlY k]fagj Hjafl K`go3 9hj *. % EYq )1$ *()*3 gh]faf_ j][]hlagf2 9hj *.$ *()*

VISUAL ARTS ALBERTA ASSOCIATION N999 ?Ydd]jq$ )(*)- % ))* Kl$ +j\ >d /0(&,*)&)/+) Galleries A and B2 Ogjck Zq 9dZ]jlY Hgll]j k 9kkg[aY% lagf EYj ) % 9hj ),$ *()* Gh]faf_ j][]hlagf2 L`m$ EYj )$ *()*$ / % 12+( he

LITERARY: APR 2012 CANADIAN AUTHORS ASSOCIATION ;Yehmk KYafl%B]Yf$ HYnaddgf DY[]jl]$ Je +%(,$ 0,(. EYja]%9ff%?YZgmjq Kl 1) Kl! [YfYml`gjkYdZ]jlY& [Y DakY Eggj] hj]k]flk >a[lagf 9hj *( % *)$ *()* >ja =n]faf_ Hj]k]flYlagfk2 0 he3 ^j]] ^gj e]eZ]jk Yf\ Ç jkl%lae] _m]klk' )( j]lmjfaf_ _m]klk! KYl ogjck`ghk2 12+( Ye % , he3 ,( e]eZ]j!' /( fgf% e]eZ]j! dmf[` af[dm\]\ EDMONTON POETRY FESTIVAL L`] 9jl]jq

Yf\ gl`]j \goflgof n]fm]k ]\egflgfhg]ljq^]klanYd& [ge /0(&,-,&+*++ Egj] l`Yf log \gr]f ]n]flk []d]ZjYlaf_ hg]ljq g^ Ydd caf\k 9hj *+ % +($ *()* La[c]lk2 Egkl ]n]flk ^j]]3 la[c]lk YnYadYZd] Yl \ggj

HAVEN SOCIAL CLUB )-)*( Klgfq HdYaf J\ /0(&1)-&00.1 =\egflgf Klgjq KdYe2 ojal]jk k`Yj] l`]aj gja_afYd$ -%eafml] klgja]k3 ^gddgo]\ Zq Y emka[ bYe +j\ O]\ ]n]jq egfl` 9hj )0$ *()*$ / he ka_f% mh!3 /2+( he k`go! - j]_akljYlagf ^jge ojal]jk lg kmhhgjl l`] Kg[a]lq! T.A.L.E.S. MONTHLY STORYTELLING CIRCLE N]fm] L&:&9& /0(&1+*&,,(1 lYd]kklgjql]ddaf_&[ge L]dd klgja]k gj [ge] lg dakl]f *f\ O]\ g^ l`] egfl`3 K]h *()) % Bmf *()*$ / % 1 he >j]] ]n]fl

Extra Mile Club

Raise $1,000 to be in the Extra Mile Club

September 18, 2011 - 11am to 4pm Sir Winston Churchill Square, Edmonton Join us for the 2011 Scotiabank AIDS Walk for Life, featuring a free pancake breakfast, a special performance from the Citadel Theatre and a concert by The Big Breakfast Boogie Band.

TO REGISTER GO TO www.hivedmonton.com OR EMAIL: joyce.l @ hivedmonton.com

VUEWEEKLY AUG 4 – AUG 10, 2011

THE SEASONS 33

T.A.L.E.S. STORY CAFÉ SERIES Jgka] k :Yj$

)(,/- % 0( 9n] /0(&1+*&,,(1 lYd]kklgjql]ddaf_&[ge )kl L`m ]Y[` egfl`3 K]h % Bmf ;Yd_Yjq L&9&D&=&K& Klgjql]dd]jk3 gh]f ea[ ghhgjlmfalq 9hj -$ *()*$ / % 1 he . eafaeme [gn]j

THEATRE: APR 2012 APOCALYPSE PRAIRIE N]fm]2 L:9 Yraeml`% l`]Ylj]&[ge /0(&,(1&)1)( 9raeml` L`]Ylj] 9hj ' EYq *()* ARE WE THERE YET? /0(&,+1&+1(- [gf[j]%

l]l`]Ylj]&[Y ;gf[j]l] L`]Ylj] :q BYf] @]Yl`]j K[`ggd lgmj2 9hj * % */$ *()*

BEOWULF DY ;al >jYf[gh`gf]$ 0.*/ jm] EYja]% 9ff]%?YZgmjq /0(&,//&-1-- ogjck`gho]kl&gj_ Ogjck`gh O]kl L`]Ylj] 9hj )* % *1$ *()*$ Lm] % KYl /2+( he Yf\ Kmf * he La[c]lk YnYadYZd] Yl Ogjck`gh O]kl Zgp g^Ç[]$ /0(&,//&-1--$ ]pl +()3 =2 Zgpg^Ç[]8 ogjck`gho]kl&gj_ BLUE MAN GROUP BmZad]] 9m\algjame$ )),--

% 0/ 9n] )&0..&-,(&/,.1 :jgY\oYq9[jgkk;YfY\Y& [Y :jgY\oYq 9[jgkk ;YfY\Yº=ph]ja]f[] l`] H`]% fge]fgf3 Y l`]Ylja[Yd k`go Yf\ [gf[]jl [geZafaf_ [ge]\q$ emka[$ Yf\ l][`fgdg_q EYj */ % 9hj )$ *()* La[c]lk YnYadYZd] Yl :jgY\oYq9[jgkk;YfY\Y&[Y

BOEING, BOEING EYqÇ]d\ <aff]j L`]Ylj]$

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CHICAGO EYqÇ]d\ <aff]j L`]Ylj]$ )..)- % )(1

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CHIMPROV NYjk[gfY L`]Ylj]$ )(+*1 % 0+ 9n] jYha\Çj]l`]Ylj]&[ge JYha\ >aj] L`]Ylj] k dgf_^gje [ge]\q k`go2 aehjgn ^gjeYlk$ aflja[Yl] fYjjYlan]k$ Yf\ gf]%Y[l hdYqk >ajkl l`j]] KYl ]n]jq egfl`$ )) he$ K]h *()) % Bmf *()* La[c]lk2 )(' - `a_` k[`ggd klm\]fl!' 0 J>L e]eZ]j Yl l`] \ggj gfdq! THE COUNTRY NYjk[gfY L`]Ylj]$ )(+*1 % 0+ 9n] /0(&,+,&--., k`Y\gol`]Ylj]&gj_ K`Y\go L`]Ylj] :q EYjlaf ;jaeh Ja[`Yj\ Yf\ ;gjjaf] `Yn] ]k[Yh]\ lg Y f]o Yf\ h]Y[]^md da^] af jmjYd =f_dYf\$ Zml o`]f Yf mf[gfk[agmk qgmf_ ogeYf ak \ak[gn]j]\ gmlka\] l`]aj \ggj$ al l`j]Yl]fk lg mfjYn]d l`]aj addmkagf g^ eYjalYd Zdakk EYj *) % 9hj 0$ *()*$ /2+( he$ eYl * he La[c]lk2 )- hj]na]ok!3 >ja % KYl fa_`l2 *.' *+ klm\]fl'k]fagj!3 Lm]%L`m$ Kmf eYl2 **' *( klm\]fl' k]fagj! DIE-NASTY NYjk[gfY L`]Ylj]$ )(+*1 % 0+ 9n] /0(&,++&++11 \a]%fYklq&[ge L`] dan] aehjgnak]\ kgYh gh]jY ^]Ylmjaf_ aehjgnakgjk <YfY 9f\]jk]f$ EYll 9d\]f$ D]gfY :jYmk]f$ H]l]j :jgof$ :]daf\Y ;gjfak`$ Lge =\oYj\k$ B]^^ @YkdYe$ Cgjq EYl`]okgf$ EYjc E]]j$ K`]ja Kge]jnadd]$ <YnafY Kl]oYjl$ Kl]h`Yfa] Ogd^]$ Yf\ <gfgnYf Ogjcmf Jmfk ]n]jq Egf$ G[l *()) % EYq$ *()*$ /2+( he kmZb][l lg g[[YkagfYd [`Yf_]! La[c]lk YnYadYZd] Yl l`] Zgp g^Ç[] THE ECSTATICS LjYfk9dlY 9jlk :Yjfk$ Klm\ag :$

)(++( % 0, 9n] /0(&,/)&)-0. fgjl`]jfda_`ll`]Ylj]& [ge Fgjl`]jf Da_`l L`]Ylj] :q =jacY @]ff]Zmjq Yf\ Jml` EY\g[%Bgf]k 9 hYaj g^ Yfgj]pa[ fmfk$ Kakl]jk EYj_m]jal] Yf\ 9Za_Yad$ Yj] l`] gfdq log o`g j]eYaf Y^l]j )*0 g^ l`]aj Kakl]jk km\\]fdq h]jak`& @]dd% Z]fl gf k]d^% h]j^][lagf l`jgm_` klYjnYlagf Yf\ hjYq]j$ l`]q kljan] lg Z] l`af$ affg[]fl Yf\ \ge]kla[Yddq aeh][[YZd]$ Ydd ^gj l`] kYc] g^ l`]aj j]da_agmk \]nglagf 9hj - % )-$ *()*

GOD OF CARNAGE ;alY\]d K`g[lgj L`]Ylj]$

10*0 % )() 9 9n] /0(&,*0&*))/ [alY\]dl`]Ylj]&[ge EYafklY_] K]ja]k2 :q QYkeafY J]rY$ ljYfkdYl]\ Zq ;`jaklgh`]j @Yehlgf$ \aj][l]\ Zq BYe]k EY[<gfYd\$ klYjjaf_ >agfY J]a\& L`ak [ge]\q afljg\m[]k mk lg log k]lk g^ hYj]flk o`g e]]l Y^l]j l`]aj kgfk `Yn] Y Ç_`l Yl k[`ggd& 9f ]f[gmfl]j l`Yl k]]ek _gg\%fYlmj]\ Yl Çjkl koa^ldq \a_j]kk]k aflg `adYjagmkdq ZY\ eYff]jk Yf\ [gehd]l] [ge]\a[ [`Ygk EYj )( % 9hj )$ *()* La[c]lk'K]Ykgf kmZk[jahlagfk YnYadYZd] gfdaf]

Yll`]jgpq&[ge L`]Ylj] F]logjc :q L`] Gd\ Ljgml Hmhh]l Ogjck`gh oal` 9fgfqegmk ;gfljaZmlgjk 9 hmhh]l \g[me]flYjq YZgml l`] ]ngdmlagf g^ `Yhhaf]kk& L`] Gd\ Ljgmlk k]]c l`] gja_af g^ Zdakk Yegf_kl l`] a_fgjYfl& L`] k`go `Yk Z]]f ojall]f gf l`] o]Z ^gj Ydd lg [gee]fl$ [jala[ar]$ gj [gfljaZml]& Nakal ooo& l`]gd\ljgmlk&gj_'a_fgjYf[] Hj]na]ok2 EYj *( % *)$ *()*3 EYj ** % 9hj 0$ *()*

JUMP FOR GLEE BmZadYlagfk <aff]j L`]Ylj]$

LE PORTRAIT GOOBLE /0(&,.1&0,(( dmfal`]Y% lj]&[Y D MfaL` lj] K[`ggd Lgmj! :q Bgf DY[`dYf Kl]oYjl Hjg\m[lagf g^ L` lj] dY K]ara e] NYf[gm% n]j! Lgmjaf_ EYj )+ % *+$ *()* Yf\ 9hj )( % */$ *()* K]Ykgf la[c]lk2 1( Y\mdl!' -( klm\]fl! THE LOVE OF THE NIGHTINGALE OYdl]j\Yd] HdYq`gmk]$ )(+** % 0+ 9n] /0(&,+1&*0,- oYdl]j\Yd]% hdYq`gmk]&[ge :q LaeZ]jdYc] O]jl]fZYc]j$ \aj][l]\ Zq 9d]p @Yocafk Log kakl]jk d]Yn] l`]aj kmffq$ [d]Yj Yf\ Zja_`l 9l`]faYf `ge]& L`]q bgmjf]q lgoYj\ Y dYf\ g^ k`Y\gok$ g^ l`af_k `a\\]f$ Yf\ l`]aj dan]k Yj] [`Yf_]\ 9hj , % ),$ *()* La[c]lk2 )* % ). YnYadYZd] Yl LAP gf l`] KimYj] A MIDSUMMER NIGHT'S DREAM ;alY\]d EY[dYZ L`]Ylj]$ 10*0 % )() 9 9n] /0(&,*0&*))/ [alY% \]dl`]Ylj]&[ge EYafklY_] K]ja]k2 :q OaddaYe K`Yc]% kh]Yj]$ \aj][l]\ Zq Lge Ogg\$ klYjjaf_ Bmda]f 9jfgd\& >]Ylmjaf_ hYjla[ahYflk g^ l`] *())'*()* ;alY\]d':Yf^^ ;]flj] Hjg^]kkagfYd L`]Ylj] Hjg_jYe 9hj / % *1$ *()* La[c]lk'K]Ykgf kmZk[jahlagfk YnYadYZd] gfdaf] OH SUSANNA! NYjk[gfY L`]Ylj] )(+*1 % 0+ 9n]

34 THE SEASON

THE SOUND OF MUSIC ;alY\]d K`g[lgj L`]Ylj]$ 10*0 % )() 9 9n] /0(&,*0&*))/ [alY\]dl`]Ylj]&[ge EYafklY_] K]ja]k2 Emka[ Zq Ja[`Yj\ Jg\_]jk$ dqja[k Zq Gk[Yj @Yee]jkl]af AA$ Zggc Zq @goYj\ Daf\kYq Yf\ Jmkk]d ;jgmk]$ \aj][l]\ Zq :gZ :Yc]j$ klYjjaf_ J]b]Yf ;gmjfgq]j 9hj *) % EYq *($ *()* La[c]lk'K]Ykgf kmZk[jahlagfk YnYadYZd] gfdaf] THE SPITFIRE GRILL O]lYkcaoaf E]egjaYd 9jlk ;]flj]$ -*(. % -( Kl$ O]lYkcaoaf /0(&+-*&0+0+ o]lYkcaoafl`]Ylj]kg[a]lq&[ge O]lYkcaoaf L`]Ylj] Kg[a]lq OYl]jogjck L`]Ylj] :q >j]\ 9dd]q Yf\ BYe]k NYd[i$ ZYk]\ gf l`] Çde Zq D]] <Yna\ Rdglg^^ Emka[Yd \]ha[laf_ l`] bgmjf]q g^ Y qgmf_ ogeYf bmkl j]d]Yk]\ ^jge hjakgf o`g \][a\]k lg klYjl `]j da^] Yf]o af Y jmjYd Oak[gfkaf lgof 9hj */ % *1$ EYq , % .$ *()*3 >ja % KYl 0 he3 Kmf * he La[c]lk2 )THEATRESPORTS NYjk[gfY L`]Ylj]$ )(+*1 % 0+

9n] jYha\Çj]l`]Ylj]&[ge Aehjgn jmfk ]n]jq >ja$ K]h *()) % Bmd *()*$ )) he kmZb][l lg g[[YkagfYd [`Yf_]! La[c]lk2 )(' 0 e]eZ]j!

THEBANS ?jYfl EY[=oYf Mfan]jkalq ;]flj] ^gj

TITANIC, THE NEW MUSICAL Oafkh]Yj

;]flj]$ Kaj Oafklgf ;`mj[`add Ki /0(&*,*&*0*, loggf]oYqla[c]lk&[ge Log GF=%O9Q La[c]lk Lg :jgY\oYq Hjg\m[lagfk <aj][l]\ Zq :YjZYjY EY`$ emka[Yd \aj][lagf Zq JgZ ;mjlak$ gj[`]kljY Yf\ [`gjmk \aj][lagf Zq <Yna\ ?YjZ]j$ klY_] eYfY_]\ Zq Kl]h`% Yfa] ?YdZY$ oal` 9ffY :]Ymegfl Yf\ L`] =\egflgf E]ljghgdalYf ;`gjmk 9hj , % -$ *()* La[c]lk2 )( YnYadYZd] Yl l`] Oafkh]Yj ;]flj] Zgp g^Ç[]

UNTITLED Laeek ;]flj] ^gj l`] 9jlk$ M g^ 9$ ))*

Kl$ 0/ 9n] klm\agl`]Ylj]&[Y M g^ 9 Klm\ag L`]Ylj] BgfYl`Yf ;`jakl]fkgf Yf\ :j]llY ?]j][c] [j]Yl] Y f]o ogjc oal` [`gj]g_jYh`]j DYmjY Cj]okca$ l`] q]l lg Z] g^Ç[aYddq fYe]\ Untitled$ \]n]dgh]\ af Ykkg[aYlagf oal` ;YlYdqkl L`]Ylj] EYj *1 % 9hj /$ *()*$ /2+( he3 eYlaf ] 9hj -$ )*2+( he La[c]lk YnYadYZd] Yl l`] Laeek :gp G^Ç[] Yl /0(&,1*&*,1-$ =2 mg^Yklm\agl`]Y% lj]8_eYad&[ge3 Y\nYf[] la[c]lk YnYadYZd] Yl LAP gf l`] KimYj] /0(&,*(&)/-/3 Yl Laeek :gp G^Ç[] Egf % >ja$ )) Ye % * he \mjaf_ ]Y[` k`go k gh]faf_ o]]c Yf\ l`jgm_`gml l`] hdYq k jmf$ Yf\ gf] `gmj Z]^gj] ]Y[` h]j^gjeYf[]

MUSIC: APR 2011 ARDEN THEATRE - Kl 9ff] Klj]]l$ Kl 9dZ]jl /0(&,-1&)-,* Yj\]fl`]Ylj]&[ge 9jdg ?ml`ja] ^gdc!3 9hj )1 % *($ *()*$ /2+( he La[c]lk YnYadYZd] Yl 9j\]f Zgp g^Ç[] EDMONTON MUSIC AWARDS Eq]j @gjgoalr

L`]Ylj]$ M g^ 9 ;Yehmk ]\egflgfemka[YoYj\k&[ge Lg Y[cfgod]\_]$ []d]ZjYl] Yf\ hjgegl] =\egflgf emka[ Yf\ emka[aYfk af Ydd ^gjek KYl$ 9hj *0$ *()*

FULL MOON FOLK CLUB Kl& :Ykad k ;mdlmjYd ;]flj]$ )(0)1 % /) 9n] /0(&,+0&.,)( ê^[&gj_ Oàl]`gjk] Dmc] <gm[]l Yf\ E]dakkY E[d]ddYf\! 9hj )+$ *()* La[c]lk2 )0 Y\nYf[]!' ** \ggj!'[àd\ mf% \]j )* `Yd^%hja[] \ggj gfdq!3 Kap HY[c Yf\ >mdd K]Ykgf HY[c YnYadYZd]& 9\nYf[] la[c]lk YnYadYZd] Yl 9[gmkla[ Emka[ K`gh$ LAP gf l`] KimYj] GRANT MACEWAN UNIVERSITY ;]flj] ^gj l`] 9jlk Yf\ ;geemfa[Ylagfk ;Yehmk$ Bg`f D& @YYj L`]Ylj]$ )((,- % )-- Kl ?malYj3 9hj )$ *()*$ /2+( he :a_ :Yf\ºEY[=oYf'M g^ 93 9hj *$ *()*$ /2+( he 9\nYf[] la[c]lk YnYadYZd] Yl LAP gf l`] KimYj] af ]Yjdq K]h3 [`][c ^gj l`] kh][aYd egfl` g^ emka[ hYkk HORIZON STAGE )(() ;YdY`gg J\$ Khjm[] ?jgn] /0(&1.*&011- `gjargfklY_]&[ge >Yeadq EYlaf ]2 ;gffa] CYd\gj kgf_k Yf\ klgja]k ^gj [àd\j]f!3 KYl$ 9hj /$ *()*$ * he3 )- Ydd Y_]k Bg`f J]ak[èYf Yf\ l`] BYqZaj\k Zdm]_jYkk!3 KYl$ 9hj ),$ *()*$ /2+( he3 la[c]lk2 *- Y\mdl!' *( klm\]fl'k]fagj!' - ]q]?g! L`] =e]j% Yd\k hgdcY Yf\ oYdlr!3 Kmf$ 9hj *1$ *()*$ * he3 la[c]lk2 *- Y\mdl!' *( klm\]fl'k]fagj!' - ]q]?g! NORTHERN BLUEGRASS CIRCLE MUSIC SOCIETY Hd]YkYflna]o ;geemfalq D]Y_m]$ )(0.( % -/

KimYj]$ Yl l`] \ggj ;gf[gj\aY Jaf_]jk Yf\ BmZadgkg :]ddk g^ ;gf[gj\aY3 >ja$ 9hj */$ /2+( he3 la[c]lk2 )* Y\mdl!' )( klm\]fl'k]fagj!3 YnYadYZd] Yl LAP gf l`] KimYj]$ Yl l`] \ggj ;gf[gj\aY Kqeh`gfq Gj[`]kljY3 Kmf$ 9hj *1$ * he3 la[c]lk2 )* Y\mdl!' )( klm\]fl' k]fagj!3 YnYadYZd] Yl LAP gf l`] KimYj]$ Yl l`] \ggj

COSMOPOLITAN MUSIC SOCIETY OF EDMONTON Gd\ KljYl`[gfY H]j^gjeaf_ 9jlk ;]flj]$

0,*. ?Yl]oYq :dnj\ Hghk ;gf[]jl2 Lm] Yf\ O]\ :Yf\k3 >ja$ 9hj )+$ *()*$ 0 % )( he3 KYl$ 9hj ),$ *()*$ 1 % )( he ;`gjmk ;gf[]jl2 KYl$ 9hj *0$ *()*$ /2+( % 12+( he3 Kmf$ 9hj *1$ *()*$ *2+( % ,2+( he La[c]lk2 >gj ]Y[` [gf[]jl2 )( Y\mdl!' / klm\]fl'k]fagj!'[`ad\ Çn] Yf\ mf\]j Yj] ^j]] af Y\nYf[]3 af^gjeYlagf =2 af^g8 [gkeghgdalYfemka[&gj_

EDMONTON CLASSICAL GUITAR SOCIETY

EmllYjl @Ydd$ 9dZ]jlY ;gdd]_]$ )((-( EY[\gfYd\ <j -0/&/(0&*(,, ]\egflgf[dYkka[Yd_malYjkg[a]lq&gj_ :]jlY JgbYk _malYj$ Kgml` 9e]ja[Yf! >ja$ 9hj *($ *()*$ 0 he La[c]lk2 *- _]f]jYd$ *( klm\]fl'k]fagj'e]e% Z]j!3 YnYadYZd] Yl LAP gf l`] KimYj]$ 9n]fm] ?malYjk$ 9[gmkla[ Emka[ K`gh$ 9<O Emka[ Kl& 9dZ]jl!$ l`jgm_` l`] kg[a]lq Yf\ Yl l`] \ggj

EDMONTON OPERA EVENTS L`] O]klaf$ )()+- % )(( Kl ]\egflgfgh]jY&[ge']n]flk' Zjmf[`&h`h Opera Brunch2 9 egjfaf_ g^ ^gg\ Yf\ Yf aflaeYl] j][alYd Zq l`] Yjlaklk klYjjaf_ af l`] hjg\m[lagf g^ Fidelio 9hj )-$ *()*$ )) Ye Zjmf[`!$ )*2)- he j][alYd! KmZk[jahlagf la[c]lk2 ).- Y\mdl kmZk[jahlagf!' 1( [`ad\!3 af^gjeYlagf Yf\ la[c]lk YnYad% YZd] Yl /0(&,*1&)((( EDMONTON OPERA º OPERA 101 9jl ?Ydd]jq g^ 9dZ]jlY 9?9!$ D]\[gj L`]Ylj]$ dgo]j d]n]d$ Kaj Oafklgf ;`mj[`add Ki /0(&,*1&)((( 9 ?ma\] lg l`] gh]jY3 mf[gn]j l`] j]Yd ogjcaf_k g^ gh]jY$ hj]k]fl]\ Zq B]^^ E[;mf] O]\$ 9hj ))$ *()*$ / % 1 he Hj]% j]_akl]j Yl /0(&,*1&)(((

ARDEN THEATRE - Kl 9ff] Klj]]l$ Kl 9dZ]jl

/0(&,-1&)-,* Yj\]fl`]Ylj]&[ge Bmda] F]kjYddY` gh]jY'[YZYj]l! KYl$ 9hj ), Yf\ Kmf$ 9hj )-$ *()*$ /2+( he La[c]lk YnYadYZd] Yl 9j\]f Zgp g^Ç[]

CONCORDIA SCHOOL OF MUSIC JgZ]jl L]% _d]j Klm\]fl ;]flj]$ ;gf[gj\aY Mfan]jkalq ;gdd]_]$ /+ Kl Yf\ ))* 9n] /0(&,/1&1+-- [gf[gj\aY&YZ&[Y'emka[ >]klanYd ;alq Oaf\k Afl]je]\aYl] :Yf\3 KYl$ 9hj ),$ /2+( he3 la[c]lk2 )* Y\mdl!' )( klm\]fl'k]fagj!3 YnYadYZd] Yl LAP gf l`] KimYj]$ Yl l`] \ggj ;gf[gj\aY ;geemfalq ;`gjmk3 KYl$ 9hj *)$ /2+( he3 la[c]lk2 )* Y\mdl!' )( klm\]fl'k]fagj!3 YnYadYZd] Yl LAP gf l`]

FINE ARTS BUILDING (FAB) GALLERY

FROM CRADLE TO STAGE: AN EVENING OF ONE-ACTS OYdl]j\Yd] HdYq`gmk]$ )(+** % 0+ 9n]

<]hYjle]fl g^ 9jl Yf\ <]ka_f$ M g^ 9$ Je +%10 >af] 9jlk :d\_ /0(&,1*&*(0) Ea[`Y]d =mZYfc2 E>9 HYaflaf_ AfKa_`l2 NakmYdaraf_ @]Ydl` @meYfala]k2 9 [gddYZgjYlan] ]p`aZalagf l`Yl hj]k]flk Y oa\] YjjYq g^ afimajq%ZYk]\ hjY[la[]$ j]k]Yj[` Yf\ l]Y[`af_ af E]\a% [Yd @meYfala]k Yl l`] M g^ 9& =phdgjaf_ l`] e]l`g\k mk]\ lg nakmYddq [geemfa[Yl] Yf\ ljYfkdYl] cfgod]\_] ^jge `]Ydl`%j]dYl]\ ogjc af oYqk l`Yl Yj] Y[[]kkaZd] Yf\ ]f_Y_af_ lg [geemfala]k Zgl` gf Yf\ g^^ [Yehmk EYq / % ))$ *()*

GALLERY AT MILNER KlYfd]q 9& Eadf]j DaZjYjq$ / Kaj Oafklgf ;`mj[`add Ki /0(&1,,&-+0+ ]hd&[Y Gml Yf\ 9Zgml af 9dZ]jlY2 Gad hYaflaf_k Zq EYjq Bg EYbgj EYq ) % +)$ *()* MCMULLEN GALLERY M g^ 9 @gkhalYd$ 0,,(

% ))* Kl /0(&,(/&/)-* ^ja]f\kg^mY`&gj_ *-l` 9ffan]jkYjq K`go2 9jlogjck Zq M g^ 9 @gkhalYd klY^^ af []d]ZjYlagf g^ l`] >ja]f\k g^ Mfan]jkalq @gkhalYd k *-l` 9ffan]jkYjq 9hj *) % Bmf )/$ *()* Gh]faf_ j][]h% lagf2 L`m$ 9hj *.$ *()*

MULTICULTURAL CENTRE PUBLIC ART GALLERY–Stony Plain -,)) % -) Kl$ Klgfq HdYaf

/0(&1.+ */// emdla[]flj]&gj_'E;H9?&`led OY% l]j[gdgmjk Zq =dYaf] >mff]dd3 9hj )+ % EYq *+$ *()*3 gh]faf_ j][]hlagf2 Kmf$ 9hj )-$ *()* @a_` 9jl *()*3 EYq *- % Bmf /$ *()*

SOCIETY OF NORTHERN ALBERTA PRINTARTISTS (SNAP) KF9H ?Ydd]jq$ )()*+ % )*) Kl

@Ydd$ 9dZ]jlY ;gdd]_] ;gfk]jnYlgjq g^ Emka[$ )((-( EY[<gfYd\ <j ]\egflgfj][alYd&[ge CYl`]jaf] ;`a haYfg! 9hj *1$ *()*$ /2+( he La[c]lk2 +( Y\mdl!' *( k]fagj'klm\]fl!

EDMONTON SYMPHONY ORCHESTRA Oaf% kh]Yj ;]flj]$ Kaj Oafklgf ;`mj[`add Ki /0(&,*0&),), ]\egflgfkqeh`gfq&[ge 9f AlYdaYf ?malYj ;gf[]jlg2 ;`Yjd]k Gdana]ja%Emfjg] [gf\m[lgj!3 KYl$ 9hj ),$ *()*$ 0 he3 *( % /- Lgeeq :Yfck Yf\ >ja]f\k2 Lgeeq :Yfck j]lmjfk lg l`] `]de g^ l`] Gj[`]kljY$ oal` HB H]jjq Yf\ KmkYf ?adegmj3 9hj */ % *0$ *()*$ 0 he3 *, % 0- FESTIVAL CITY WINDS MUSIC SOCIETY

L]_d]j ;]flj]$ ;gf[gj\aY Mfan]jkalq ;gdd]_]$ /)*0 9\Y :dn\ =2 af^g8^]klanYd[alqoaf\k&[Y ^]klanYd[alqoaf\k& [Y Afl]je]\aYl] :Yf\ ;gf[]jl2 L`] Afl]je]\aYl] :Yf\ g^ >]klanYd ;alq Oaf\k Emka[ Kg[a]lq$ af [gddYZg% jYlagf oal` _m]kl h]j^gje]jk KYl$ 9hj ),$ *()*$ /2+( he La[c]lk2 0 \ggj!

GREENWOOD SINGERS 9dd KYaflk 9f_da[Yf

;Yl`]\jYd$ )((+- )(+ Kl /0(&,*(&)/-/ ?j]]fogg\K% af_]jk&gj_ 9dd L`af_k =f_dak`2 Hjg_jYe Z]_afk oal` l`] emka[ g^ l`] =darYZ]l`Yf Y_]$ af[dm\] hYjl kgf_k Zq =d_Yj Yf\ NYm_`Yf OaddaYek$ =f_dak` ^gdc kgf_k$ Çfak`af_ oal` dan]dq k]d][lagfk ^jge ;gd] Hgjl]j k Cakk E]$ CYl] >ja$ 9hj )+$ *()*$ 0 he La[c]lk2 *( Y\mdl!' )0 klm\]fl'k]fagj!3 YnYadYZd] Yl LAP gf l`] KimYj]$ Yf\ Yl l`] \ggj

PRO CORO CANADA Oafkh]Yj ;]flj]$ Kaj Oaf%

klgf ;`mj[`add Ki hjg[gjg&YZ&[Y ?gg\ >ja\Yq Yl l`] Oafkh]Yj2 <j D]gfYj\ JYlrdY^^ [gf\m[lgj! >ja$ 9hj .$ *()*$ /2+( he KmZk[jahlagfk YnYadYZd] Yl Oafkh]Yj Yl /0(&,*0&),),

RICHARD EATON SINGERS Oafkh]Yj ;]flj]$

Kaj Oafklgf ;`mj[`add Ki /0(&,*0&+/+/ ja[`Yj\% ]Ylgfkaf_]jk&[ge ?&>& @Yf\]d2 AkjY]d af =_qhl oal` ;Yl`]jaf] 9Z]d] Yf\ =jacY Ng_]d kghjYfgk!$ J]Z][[Y ;dYZgjf Ydlg!$ Laegl`q K`Yflr l]fgj!$ Ea[`Y]d Cmjk% [`Yl Yf\ EYjc Oadcgfkgf ZYjalgf]k!$ 9dZ]jlY :Yjgim] =fk]eZd]$ D]f JYlrdY^^ [gf\m[lgj! Kmf$ 9hj **$ *()*$ + he La[c]lk2 h`gf] l`] Ja[`Yj\ =Ylgf Kaf_]jk g^Ç[]$ /0(&,*0&+/+/

ART GALLERIES/MUSEUMS: MAY 2012

O]kd]q Mfal]\ ;`mj[`$ )(*(1 % )*+ Kl YdZ]jlYZY% jgim]&[ge 9ddY ;gj\Y2 EYjc >]o]j nagdaf! Kmf$ 9hj *1$ *()*$ + he K]Ykgf KmZk[jahlagfk2 )*( Y\mdl oal` ;`YeZ]j Emka[ Lj]Ykmj]k!3 )(( Y\mdl oal`gml ;`YeZ]j Emka[ Lj]Ykmj]k!' )(( klm\]fl'k]fagj oal` ;`YeZ]j Emka[ Lj]Ykmj]k!3 +( oal`gml ;`YeZ]j Emka[ Lj]Ykmj]k! Kaf_d] la[c]lk2 *- Y\mdl!' *( k]fagj'klm\]fl! La[c]lk'kmZk[jahlagfk YnYadYZd] Yl l`] ?jYegh`gf]$ LAP gf l`] KimYj]$ h`gf] /0(&,./&.-+)$ Yl l`] \ggj

EXILS /0(&,.1&0,(( dmfal`]Ylj]&[Y D MfaL` lj]

EDMONTON RECITAL SOCIETY EmllYjl

% 0/ 9n] >a\]dag Zq :]]l`gn]f$ kmf_ af ?]jeYf oal` =f_dak` kmh]jlald]k 9hj *)$ *,$ *.$ *()*$ /2+( he La[c]lk YnYadYZd] Yl =\egflgf Gh]jY Zgp g^Ç[] Yl l`] Oafkh]Yj ;]flj] klY_] \ggj *f\ È$ ]\egflgfgh]jY& [ge'k]Ykgf'af\]p&h`h3 Kaf_d] la[c]lk YnYadYZd] Yl La[c]lEYkl]j gf K]h )-$ *())

NORTHERN LIGHTS FOLK CLUB Im]]f

ALBERTA BAROQUE ENSEMBLE JgZ]jlkgfº

CROOKED POT GALLERY ,1)* % -) 9n]$ Klgfq HdYaf$ 9dZ]jlY /0(&1.+&1-/+ 9ffmYd Khjaf_ ?Yj\]f K`go2 >]Ylmjaf_ ogjck Zq EYjagf EYb]Ym$ JgZ]jl >gj\ Yf\ ^ja]f\k$ ^]Ylmjaf_ hgll]jq ^gj l`] _Yj\]f EYq ) % +)$ *()* Gh]faf_ j][]hlagf2 EYq ,$ *()*$ )) Ye % + he

PETER ROBERTSON GALLERY )*+(, BYkh]j

MAY 2012

CLASSICAL MUSIC: APR 2012

KYl % Kmf eYlaf ] * he3 fg k`go gf Egf$ EYq *) La[c]lk2 )/ klm\]fl'k]fagj!' *( Y\mdl!3 YnYadYZd] Yl LAP gf l`] KimYj] /0(&,*(&)/-/$ gj Yl l`] \ggj

EDMONTON OPERA BmZad]] 9m\algjame$ )),--

9d]pYf\jY ;geemfalq @Ydd$ )(,*- Mfan]jkalq 9n] /0(&*00&0))) fgjl`]jfda_`lk^[&[Y 9f\j]o Yf\ RY[`YjaY` Keal`3 KYl$ 9hj /$ *()*$ / he \ggjk!$ 0 he [gf[]jl! >jgfl Hgj[` J]na]o3 KYl$ 9hj *)$ *()*$ / he \ggjk!$ 0 he [gf[]jl! La[c]lk ]Y[` [gf[]jl!2 )0 Y\n Y\mdl!' ** \ggj Y\mdl!$ Y\nYf[] la[c]lk YnYad% YZd] Yl LAP gf l`] KimYj]$ 9[gmkla[ Emka[$ Eq`j] k Emka[3 [`ad\ . % )* `Yd^%hja[] Yl \ggj3 [`ad\ mf\]j . ^j]]3 Emdla%hY[c Yfq 0# la[c]lk! )( h]j[]fl \ak[gmfl YnYadYZd] Yl fgjl`]jfda_`lk^[&[Y3 kaf_d] la[c]lk YnYadYZd] ]f\ g^ 9m_mkl

Yll]f\Yf[]$ Yf\ hj]k]flYlagf g^ YoYj\k Egl`]jk <Yq 9jl K`go Yf\ L]Y2 EYq .$ *()*$ )) Ye % , he$ Yjl aklk af Yll]f\Yf[] Yf\ Yl ogjc

AGNES BUGERA GALLERY )*+)( BYkh]j 9n]

/0(&,0*&*0-, Y_f]kZm_]jY_Ydd]jq&[ge 9ZkljY[l hYaflaf_k$ Y[jqda[ gf [YfnYk Zq K[gll HYllafkgf EYq *. % Bmf 0$ *()* Gh]faf_ j][]hlagf2 EYq *.$ * % , he$ Yjlakl af Yll]f\Yf[]

ALBERTA SOCIETY OF ARTISTS /0(&,*.&((/* Yjlaklk%kg[a]lq&YZ&[Y Jubilee Auditorium$ )),-- % 0/ 9n] Dgn] Da]k :d]]\af_ º L`] =p`aZalagf2 9jlogjck Zq e]eZ]jk g^ l`] 9dZ]jlY Kg[a]lq g^ 9jlaklk$ ZYk]\ gf gj afkhaj]\ Zq emka[ Yf\ dqja[k g^ =dlgf Bg`f3 EYq ) % +)$ *()) Walterdale Playhouse$ )(+** % 0+ 9n]3 oYd% l]j\Yd]hdYq`gmk]&[ge2 9 :YdYf[] g^ Gj\]j Yf\ ;`Ygk2 9jlogjck gf hYh]j Zq =jac ;`]mf_3 EYq ), % )1$ *()*$ \mjaf_ OYdl]j\Yd] k hjg\m[lagf g^ >jge ;jY\d] lg KlY_]3 Ydkg gh]f ]n]jq KYl$ )( Ye % + he ART GALLERY OF ALBERTA (AGA) Kaj Oafklgf ;`mj[`add Ki /0(&,**&.**+ qgmjY_Y&[Y A[gfk g^ Eg\]jfake2 >]Z ))$ *()* % EYq *)$ *()* =Yjdq Eaklj]kk]k g^ l`] 9ZkljY[l Yf\ l`] Eg\]jf2 EYj +$ *()* % Bmf +$ *()* 9dZ]jlY Hjg[]kk HYaflaf_2 EYj +$ *()* % Bmf +$ *()* All Day Sunday2 9jl Y[lanala]k ^gj Ydd Y_]k +j\ Kmf ]n]jq egfl`$ )* % , he3 ^j]] oal` Y\eakkagf ART GALLERY OF ST ALBERT (AGSA) )1

H]jjgf Kl$ Kl 9dZ]jl /0(&,.(&,+)( Yjl_Ydd]jqg^klYdZ]jl& [Y Yjlk`]jalY_]&[Y @a_` =f]j_q2 PNAAA2 9jlogjck Zq l`] klm\]fl g^ Kl 9dZ]jl @a_` K[`ggdk EYq - % *0$ *()*

ART SOCIETY OF STRATHCONA COUNTY

9& B& Gll]o]dd 9jl ;]flj]'Dg^l ?Ydd]jq$ -1( :jgY\eggj :dn\$ K`]jogg\ HYjc /0(&1**&+)/1 YjlkljYl`[gfY& [ge 9jlogjck Zq e]eZ]jk g^ l`] 9jl Kg[a]lq g^ KljYl`[gfY ;gmflq$ Yjlogjc ak [`Yf_]\ YZgml ]n]jq ]a_`l o]]ck$ l`] _Ydd]jq af[dm\]k Y _a^l k`gh g^ Yjlakl eY\] al]ek3 gh]f KYl$ )( Ye % , he3 Kmf )* % , he Student Art Show, Coeh]lalagf$ Yf\ KYd]3 EYq + % ,$ *()*3 >ja\Yq fa_`l j][]hlagf oal` klm\]fl Yjlaklk af

VUEWEEKLY AUG 4 – AUG 10, 2011

9n] /0(&,--&/,/1 l^2 )&0//&0*.&++/- hjgZ]jlkgf_Yd% d]jq&[ge Khjaf_ ?jgmh K`go2 F]o Yjlogjck Zq _Yd% d]jq Yjlaklk3 9hj *) % EYq -$ *()* 9ZkljY[l hYaflaf_k Zq K`]adY Dm[c3 EYq )* % *.$ *()*3 gh]faf_ j][]hlagf2 KYl$ EYq )*$ * % , he

/0(&,*+&),1* kfYhYjlaklk&[ge Gallery Exhibition2 Mfan]jkalq g^ 9dZ]jlY k]fagj Hjafl K`go3 9hj *. % EYq )1$ *()*3 Gh]faf_ j][]hlagf2 9hj *.$ *()* Community Event2 Egl`]j k <Yq =n]fl2 eYc] Y mfaim] _a^l ^gj qgmj ege gf `]j kh][aYd \Yq3 EYq )+$ *()* Gallery Exhibition2 9jlogjck Zq 9jl`mj <]keYjl]Ymp Yf\ 9ddakgf Eggj]3 EYq *, % Bmf +($ *()*3 gh]faf_ j][]hlagf2 EYq *,

DANCE: MAY 2012 ALBERTA BALLET–BEYOND WORDS BmZad]] 9m\algjame$ )),-- % 0/ 9n] /0(&,*0&.0+1 YdZ]jlYZYd% d]l&[ge Dgn] Da]k :d]]\af_2 >]Ylmjaf_ l`] emka[ g^ Kaj =dlgf Bg`f Yf\ :]jfa] LYmhaf$ [`gj]g_jYh`q Zq B]Yf ?jYf\%EYalj]$ na\]g hjgb][lagfk Zq 9\Ye DYjk]f EYq )) % )*$ *()* K]Ykgf kmZk[jahlagfk2 KlYjl Yl )*- -%hY[c!3 klYjl Yl )(( ,%hY[c!3 klYjl Yl /- +%hY[c!3 YnYadYZd] Yl 9dZ]jlY :Ydd]l Zgp g^Ç[]$ /0(&,*0&.0+13 k]Ykgf kmZk[jahlagfk fgl YnYadYZd] ^gj hmj[`Yk] gfdaf]

:q JgZ]jl :]dd]^]madd] Yf\ H`adahh] Kgd\]nadY Hjg\m[% lagf g^ L` lj] \] dY Na]add] )/$ [g%hjg\m[lagf oal` L` lj] d =k[Ygm]ll] Yf\ L` lj] Kgjla] \] K][gmjk EYq )( % )+$ *()* K]Ykgf la[c]lk2 1( Y\mdl!' -( ^gj klm\]fl

/0(&,+1&*0,- oYdl]j\Yd]hdYq`gmk]&[ge F]o Ogjck Zq dg[Yd hdYqoja_`lk3 kmZeakkagf \]Y\daf]2 K]h )-$ *())3 [gflY[l KYjY` NYf LYkk]d$ 9jlakla[ <aj][lgj$ Yl oYdl]j\Yd]Y\-+8_eYad&[ge Dg[Yd hdYqoja_`lk ogjck Yj] k]d][l]\ ^jge Yf gh]f [ge% h]lalagf af l`] ^Ydd Yf\ \]n]dgh]\ oal` YkkaklYf[] g^ \jYeYlmj_]k$ l`jgm_` lg ^mdd hjg\m[lagfk EYq ), % )1$ *()* La[c]lk2 )* % ). YnYadYZd] Yl LAP gf l`] KimYj]

Yll`]jgpq&[ge L`]Ylj] F]logjc :q <Yfa]d EY[Angj$ \aj][l]\ Zq :jY\d]q Egkk Dan]k [gdda\] Yf\ afl]jloaf] af mfafl]f\]\ Yf\ mf]ph][l]\ oYqk Yk l`j]] klgja]k Yj] aflja[Yl]dq ]flYf_d]\2 l`] \qaf_ eYf o`g \ak[gn]jk `ak ogjd\ ak fgl o`Yl `] `Y\ l`gm_`l3 l`] log dgn]jk gf l`] Zjafc g^ [gddYhk] Yf\ l`] log e]f [j]Ylaf_ l`] hdYq % afl]jhj]laf_ Yf\ j]%afl]jhj]laf_ al ja_`l af ^jgfl g^ gmj ]q]k Hj]na]ok2 EYq ) % *$ *()*3 EYq + % *($ *()*

LITTLE ELEPHANTS NYjk[gfY L`]Ylj]$ )(+*1 %

0+ 9n] /0(&,+,&--., k`Y\gol`]Ylj]&gj_ K`Y\go L`]Ylj] <ge]kla[ [ge]\q Zq :]daf\Y ;gjfak` ^]Y% lmjaf_ :]daf\Y ;gjfak`$ Fa[gdY =dZjg$ ?d]ff F]dkgf$ <YnafY Kl]oYjl$ \aj][l]\ Zq Bg`f @m\kgf& EYjagf Yf\ 9d^ Yj] egnaf_ ^jge l`]aj dgf_ lae] ^Yeadq `ge] oal` l`] `]dh g^ l`]aj log Y\mdl \Ym_`l]jk& :ml o`]f Yf mf]ph][l]\ h`gf] [Ydd ]phgk]k Yf mf% j]n]Yd]\ ^Yeadq ^Y[l$ al mfd]Yk`]k Y [ge]\a[ lgjj]fl g^ j]n]dYlagfk EYq *+ % Bmf )($ *()*3 Lm] % KYl /2+( he3 KYl % Kmf * he La[c]lk2 )- hj]na]ok!3 >ja % KYl fa_`l2 *.' *+ klm\]fl'k]fagj!3 Lm]%L`m$ Kmf eYl2 **' *( klm\]fl'k]fagj!

MEDEA Laeek ;]flj] ^gj l`] 9jlk$ M g^ 9$ ))* Kl$ 0/ 9n] klm\agl`]Ylj]&[Y M g^ 9 Klm\ag L`]Ylj] :q =mjaha\]k$ \aj][l]\ Zq <gffY EYja] :YjYllY E>9 L`]kak! =mjaha\]k $ Y j]l]ddaf_ g^ l`] eql` g^ BYkgf Yf\ E]\]Y [`Ydd]f_]\ l`] egjYd mfan]jk] g^ 9l`]% faYfk af alk \Yq& Lg\Yq l`ak [dYkka[ klgjq g^ Y ogeYf kg Zdaf\]\ Zq b]Ydgmkq Yfd rage that she kills her own children still stands as a poo]j^md [YmlagfYjq lYd] g^ l`] eY\f]kk l`Yl eYq ]fkm] o`]f dgn] Yf\ dgqYdlq Yj] Z]ljYq]\ EYq )/ % *.$ *()*$ /2+( he3 EYq *,$ )*2+( he La[c]lk YnYadYZd] Yl l`] Laeek :gp G^Ç[] Yl /0(&,1*&*,1-$ =2 mg^Yklm\agl`]Ylj]8 _eYad&[ge3 Y\nYf[] la[c]lk YnYadYZd] Yl LAP gf l`] KimYj] /0(&,*(&)/-/3 Yl Laeek :gp G^Ç[] Egf % >ja$ )) Ye % * he \mjaf_ ]Y[` k`go k gh]faf_ o]]c Yf\ l`jgm_`gml l`] hdYq k jmf$ Yf\ gf] `gmj Z]^gj] ]Y[` h]j^gjeYf[] OH SUSANNA! NYjk[gfY L`]Ylj] )(+*1 % 0+ 9n]

FILM: MAY 2012 DREAMSPEAKERS FILM FESTIVAL NYjagmk n]fm]k l`jgm_`gml =\egflgf /0(&+/0&1.(1 \j]Ye% kh]Yc]jk&gj_ >]Ylmjaf_ 9Zgja_afYd lYd]flºY ja[` Yf\ \an]jk] Zg\q g^ Yjlakla[ [j]Ylagfk af Ydd Ykh][lk g^ l`] Yjlk dg[Yddq$ fYlagfYddq$ Yf\ afl]jfYlagfYddq& K[j]]faf_k Yj] `]d\ l`jgm_`gml l`] ^]klanYd EYq +( % Bmf *$ *()* Gh]faf_ Fa_`l2 O]\$ EYq +($ *()* La[c]lk2 *( gh]faf_ fa_`l!3 / ]Y[` k[j]]faf_!

LITERARY: MAY 2012 HAVEN SOCIAL CLUB )-)*( Klgfq HdYaf J\ /0(&1)-&00.1 =\egflgf Klgjq KdYe2 ojal]jk k`Yj] l`]aj gja_afYd$ -%eafml] klgja]k3 ^gddgo]\ Zq Y emka[ bYe +j\ O]\ ]n]jq egfl` EYq ).$ *()*$ / he ka_f%mh!3 /2+( he k`go! - j]_akljYlagf ^jge ojal% ]jk lg kmhhgjl l`] Kg[a]lq! T.A.L.E.S. MONTHLY STORYTELLING CIRCLE

N]fm] L&:&9& /0(&1+*&,,(1 lYd]kklgjql]ddaf_&[ge L]dd klgja]k gj [ge] lg dakl]f *f\ O]\ g^ l`] egfl`3 K]h *()) % Bmf *()*$ / % 1 he >j]] ]n]fl

T.A.L.E.S. STORY CAFÉ SERIES Jgka] k :Yj$ )(,/- % 0( 9n] /0(&1+*&,,(1 lYd]kklgjql]ddaf_&[ge )kl L`m ]Y[` egfl`3 K]h % Bmf Gml G^ 9^ja[Y3 gh]f ea[ ghhgjlm% falq EYq +$ *()*$ / % 1 he . eafaeme [gn]j

THEATRE: MAY 2012 CHICAGO EYqÇ]d\ <aff]j L`]Ylj]$ )..)- % )(1

9n] La[c]lk2 /0(&,0+&,(-)$ Lgdd ^j]]2 )&0//&-*1&/0*1 eYqÇ]d\l`]Ylj]&[Y :jgY\oYq Emka[Yd 9hj )/ % Bmf )/$ *()*

LjYfk9dlY 9jlk :Yjfk$ )(++( % 0, 9n] /0(&.)1&*+./ jYZa\eYjegl&[Y O`]f ;: k \g_ \a]k ^jge jYZa]k$ ;: Z]_afk lg im]klagf l`] ]pakl]f[] g^ Yf Y^l]jda^]& 9 [`Yf[] e]]laf_ oal` Yf Yjlakla[ ca\ g^^]jk ;: Y h]Y[] g^ eaf\ Yf\ k]lk af eglagf Y ^ja]f\k`ah l`Yl oadd hmk` l]]f Yf_kl lg l`] n]jq daealk& <jm_ mk]$ kma[a\]$ ]Ylaf_ \akgj\]jk$ l]]f nagd]f[]$ j]Z]ddagf Yf\ k]pmYd a\]flalq [gdda\] Yf\ [Yj]]f lgoYj\ Yf ]f\af_ l`Yl k Zgl` `Ymfl% af_ Yf\ `gh]^md EYq )/ % */$ *())$ Lm] % KYl Yl 0 he$

OPERATION EVASION ;YlYdqkl L`]Ylj]$ 0-*1 ?Yl]oYq :dn\ /0(&/-0&1111 ^aj]^dql`]Ylj]&[ge >aj]^dq L`]Ylj] Yf\ ;aj[mk Gh]jYlagf =N9kagf ak ZYk]\ gf l`] ZarYjj] Zml ^Y[lmYd Y[[gmfl g^ l`] emdlahd] \akYhh]YjYf[]k g^ l`] [gjhk] g^ =nY H]jgf& ;j]Yl]\ Yf\ h]j^gje]\ Zq >aj]^dq k 9ffa] <m_Yf$ Gh]jYlagf =N9kagf ak Y ^mkagf g^ fYjjYlan]$ Y]jaYd Yjlk$ emdlae]\aY$ oal` dan] emka[ Zq BYkgf Cg\a]$ hjgb][lagfk Yf\ da_`laf_ Zq B]^^ Gkl]jdaf Yf\ \aj][lagf Zq Bg`f MddqYll EYq )* % *($ *()*$ 0 he La[c]lk2 *( YnYadYZd] Yl LAP gf l`] KimYj]$ /0(&,*(&)/-/ THE SOUND OF MUSIC ;alY\]d K`g[lgj L`]Ylj]$ 10*0 % )() 9 9n] /0(&,*0&*))/ [alY\]dl`]Ylj]&[ge EYafklY_] K]ja]k2 Emka[ Zq Ja[`Yj\ Jg\_]jk$ dqja[k Zq Gk[Yj @Yee]jkl]af AA$ Zggc Zq @goYj\ Daf\kYq Yf\ Jmkk]d ;jgmk]$ \aj][l]\ Zq :gZ :Yc]j$ klYjjaf_ J]b]Yf ;gmjfgq]j 9hj *) % EYq *($ *()* La[c]lk'K]Ykgf kmZk[jahlagfk YnYadYZd] gfdaf] THE SPITFIRE GRILL O]lYkcaoaf E]egjaYd 9jlk ;]flj]$ -*(. % -( Kl$ O]lYkcaoaf /0(&+-*&0+0+ o]lYkcaoafl`]Ylj]kg[a]lq&[ge O]lYkcaoaf L`]Ylj] Kg[a]lq OYl]jogjck L`]Ylj] :q >j]\ 9dd]q Yf\ BYe]k NYd[i$ ZYk]\ gf l`] Çde Zq D]] <Yna\ Rdglg^^ Emka[Yd \]ha[laf_ l`] bgmjf]q g^ Y qgmf_ ogeYf bmkl j]d]Yk]\ ^jge hjakgf o`g \][a\]k lg klYjl `]j da^] Yf]o af Y jmjYd Oak[gfkaf lgof 9hj */ % *1$ EYq , % .$ *()*3 >ja % KYl 0 he3 Kmf * he La[c]lk2 )THEATRESPORTS NYjk[gfY L`]Ylj]$ )(+*1 % 0+ 9n] jYha\Çj]l`]Ylj]&[ge Aehjgn jmfk ]n]jq >ja$ K]h *()) % Bmd *()*$ )) he kmZb][l lg g[[YkagfYd [`Yf_]! La[c]lk2 )(' 0 e]eZ]j!

MUSIC: MAY 2012 NORTHERN BLUEGRASS CIRCLE MUSIC SOCIETY Hd]YkYflna]o ;geemfalq D]Y_m]$ )(0.( % -/

CLASSICAL MUSIC: MAY 2012 CONCORDIA SCHOOL OF MUSIC JgZ]jl L]% _d]j Klm\]fl ;]flj]$ ;gf[gj\aY Mfan]jkalq ;gdd]_]$ /+ Kl Yf\ ))* 9n] /0(&,/1&1+-- [gf[gj\aY&YZ&[Y'emka[ >]klanYd ;alq Oaf\k KYl$ EYq *.$ /2+( he La[c]lk2 )* Y\mdl!' )( klm\]fl'k]fagj!3 YnYadYZd] Yl LAP gf l`] KimYj]$ Yl l`] \ggj COSMOPOLITAN MUSIC SOCIETY OF EDMONTON Gd\ KljYl`[gfY H]j^gjeaf_ 9jlk ;]flj]$

0,*. ?Yl]oYq :dnj\ /0(&,+*&1+++ Bgafl ;gf[]jl2 Egf :Yf\ Yf\ Kl 9dZ]jl ;geemfalq :Yf\3 KYl$ EYq )*$ *()*$ / % 1 he La[c]lk YnYadYZd] ^jge l`] ;gkeg% hgdalYf Emka[ Kg[a]lq$ =2 af^g8[gkeghgdalYfemka[&gj_

The Theatre Production program at the MacEwan Centre for the Arts and Communications includes instruction in

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audio, lighting, costum

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VUEWEEKLY AUG 4 â&#x20AC;&#x201C; AUG 10, 2011

THE SEASONS 35

DA CAMERA SINGERS >ajkl :Yhlakl ;`mj[`$

)((+) % )(1 Kl \Y[Ye]jY&YZ&[Y K]j_]a JY[`% eYfafg^^ k All-Night Vigil2 <Y ;Ye]jY Kaf_]jk Yf\ Khajalmk ;`YeZ]j ;`gaj ^jge ;Yd_Yjq EYq .$ *()*$ + he La[c]lk2 *(' )-

EDMONTON COLUMBIAN CHOIRS JgqYd ?d]fgjY ;dmZ$ ))).( Jan]j NYdd]q J\ =\egflgf;g% dmeZaYf;`gajk&[Y Fa_`l gf :jgY\oYq2 9f ]n]faf_ g^ \aff]j Yf\ [YZYj]l [gf[]jl Zq Zgl` [`ad\j]f Yf\ Y\mdl [`gajk >ja$ EYq ))$ *()*3 KYl$ EYq )*$ *()*$ . he ;g[clYadk!$ .2+( he k`go!$ 0 he \aff]j! La[c]lk2 9nYadYZd] af BYfmYjq *()* Yl /0(&,+(&.0(0 :]l`! EDMONTON SYMPHONY ORCHESTRA Oaf%

kh]Yj ;]flj]$ Kaj Oafklgf ;`mj[àdd Ki /0(&,*0&),), ]\egflgfkqeh`gfq&[ge Dreaming of Carnegie: L`] =KG hj]k]flk l`] kYe] hjg_jYe l`]q oadd lYc] lg l`] klY_] g^ ;Yjf]_a] @Ydd& L`] =KG k f]o ;gehgk]j af J]ka\]f[] JgZ]jl JanYd oadd Ydkg ojal] Y f]o ogjc ^gj làk [gf[]jl; >ja$ EYq ,$ *()*$ /2+( he3 KYl$ EYq -$ *()*$ 0 he3 *( % /- The ESO at Carnegie Hall (EST) - New York: Lm]$ EYq 0$ *()*$ /2+( he3 la[c]lk ^gj làk h]j^gjeYf[] oadd Z] YnYadYZd] af >]Z *()* The Last Night of the Proms: E]dY <Yad]q kghjYfg!$ :gZ :]jf% `Yj\l [gf\m[lgj!3 L`m$ EYq )/$ *()*$ 0 he3 *( % /- Bach, Haydn and Beethoven: EYj[ <]kljmZ nagdaf!3 O]\$ EYq *+$ *()*$ /2+( he3 *( % .- Beethoven's Pastorale Symphony: Kl]^Yf Bmf_caf\ nagdY!3 Kmf$ EYq */$ *()*$ * he3 *( % .- Elliot Madore: =ddagl EY\gj] ZYjalgf]!$ Y[[gehYfa]\ Zq :add =\\afk haYfg!3 Lm]$ EYq *1$ *()*$ /2+( he3 *( % -(

EDMONTON YOUTH ORCHESTRA Oafkh]Yj

;]flj]$ Kaj Oafklgf ;`mj[`add Ki /0(&,+.&/1+* ]qkg&[ge K]fagj Yf\ Afl]je]\aYl] Gj[`]kljYk Kmf$ EYq .$ *()*$ * he La[c]lk2 )- 9\mdl!' )( k]fagj' klm\]fl! La[c]lk Yf\ af^gjeYlagf2 YnYadYZd] h`gf] /0(&,+.&/1+*$ LAP gf l`] KimYj]

FESTIVAL CITY WINDS MUSIC SOCIETY L]_d]j ;]flj]$ ;gf[gj\aY Mfan]jkalq ;gdd]_]$ /+ Kl Yf\ ))* 9n] af^g8 ^]klanYd[alqoaf\k&[Y ^]klanYd[alqoaf\k& [Y Khjaf_ ;gf[]jl2 9dd l`] [geemfalq [gf[]jl ZYf\k g^ l`] >]klanYd ;alq Oaf\k Emka[ Kg[a]lq hj]k]fl l`]aj ÇfYd ^gjeYd [gf[]jl g^ l`] k]Ykgf KYl$ EYq *.$ *()*$ /2+( he La[c]lk2 0 \ggj! I CORISTI CHAMBER CHOIR @gdq Ljafalq 9f_da[Yf ;`mj[`$ )((+/ % 0, 9n] /0(&,*,&)-.) [gflY[l8a[gjakla&[ge a[gjakla&[ge Spirits2 <j& <]ZjY ;Yajfk [gf\m[lgj! EYq )*$ *()*$ /2+( he La[c]lk2 *( Y\mdl!' )- klm\]fl'k]fagj! K]Ykgf HYkk2 ,- Y\mdl!' +( klm\]fl'k]fagj!3 YnYadYZd] Yl lapgfl`]k% imYj]&[Y3 /0(&,*(&)/-/ OPERA NUOVA–2012 VOCAL ARTS FESTIVAL NYjagmk n]fm]k af[dm\af_ ;gfng[Ylagf @Ydd$

Laeek Yl l`] M g^ 9$ gl`]jk L&:&9 ng[YdYjlk^]klanYd& [Y >]klanYd jmfk2 EYq *- % Bmf )1$ *()) Ng[Yd ?]ek ;gf[]jl2 EYq *- KY[j]\ Emka[ af l`] 9^l]jfggf2 EYq */ Kgf_ Kgaj]]º=f_dak` Kgf_2 EYq *1 ;dYkka[ :jgY\oYq ;gf[]jl2 Bmf ) Kgf_ kgaj]]º?]jeYf Da]\3 Bmf - 9f =n]faf_ g^ Da_`l Gh]jY2 Bmf 0 Kgf_ Kgaj]] º >j]f[` E]dg\a]2 Bmf )* FmgnY EYafklY_] Hjg\m[% lagf2 Bmf ),$ )-$ ). Kgf_ Kgaj]]ºKhYfak` Yf\ AlYdaYf2 Bmf )1 FmgnY EYafklY_] Gh]jYk2 Lg Z] Yffgmf[]\ af Fgn]eZ]j jmf Bmf *. % +($ *()* La[c]lk YnYadYZd] Yl LAP gf l`] KimYj]

RICHARD EATON SINGERS Oafkh]Yj ;]flj]$

Kaj Oafklgf ;`mj[`add Ki /0(&,*0&+/+/ ja[`Yj\]Y% lgfkaf_]jk&[ge L`] DYkl Fa_`l g^ l`] Hjgek2 Ja[`Yj\ =Ylgf Kaf_]jk _m]klk g^ l`] =\egflgf Kqeh`gfq Gj[`]kljY!$ JgZ]jl :]jf`Yj\l [gf\m[lgj! L`m$ EYq )/$ *()*$ 0 he

THE SHEAN PIANO COMPETITION EmllYjl @Ydd$ 9dZ]jlY ;gdd]_] ;Yehmk$ ?jYfl EY[=oYf Mfa% n]jkalq$ )((-( EY[<gfYd\ <j /0(&10*&11). K`]Yf% ;geh]lalagf&[ge Kap ÇfYdaklk ^jge Y[jgkk ;YfY\Y [geh]l] ^gj l`] 0((( lgh hjar] Yf\ ghhgjlmfalq lg h]j^gje oal` l`] =\egflgf Kqeh`gfq Gj[`]kljY L`m$ EYq )/3 >ja$ EYq )0$ *()*$ ) % , he$ Yf\ .2+( % 12+( he Zgl` \Yqk! >j]] ]n]fl

JUNE 2012 ART GALLERIES/MUSEUMS: JUN 2012 AGNES BUGERA GALLERY )*+)( BYkh]j 9n]

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nakmYd Yjl$ Çde Yf\ emdla\ak[ahdafYjq [gddYZgjYlagf Bmf / % )/$ *()*

LITERARY: JUN 2012

PETER ROBERTSON GALLERY )*+(, BYkh]j

9n] /0(&,--&/,/1 l^2 )&0//&0*.&++/- hjgZ]jlkgf_Yd% d]jq&[ge Kmee]j ?jgmh K`gok2 F]o Yjlogjck Zq _Ydd]jq Yjlaklk3 Bmf % 9m_$ *()*

SOCIETY OF NORTHERN ALBERTA PRINTARTISTS (SNAP) KF9H ?Ydd]jq$ )()*+ % )*) Kl

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T.A.L.E.S. MONTHLY STORYTELLING CIRCLE

VISUAL ARTS ALBERTA ASSOCIATION N999 ?Ydd]jq$ )(*)- % ))* Kl$ +j\ >d /0(&,*)&)/+) Water Media–The Works Festival 20122 9jlogjck Zq Nak% mYd 9jlk 9dZ]jlY k e]eZ]jk`ah af [gfbmf[lagf oal` L`] Ogjck 9jl Yf\ <]ka_f >]klanYd Bmf ), % Bmd *)$ *()* Gh]faf_ j][]hlagf2 L`m$ Bmf ),$ *()*$ / % 12+( he

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N]fm] L&:&9& /0(&1+*&,,(1 lYd]kklgjql]ddaf_&[ge L]dd klgja]k gj [ge] lg dakl]f *f\ O]\ g^ l`] egfl`3 K]h *()) % Bmf *()*$ / % 1 he >j]] ]n]fl

THE WORKS ART AND DESIGN FESTIVAL

Kaj Oafklgf ;`mj[àdd KimYj] Yf\ NYjagmk dg[Ylagfk l`jgm_`gml =\egflgf /0(&,*.&*)** l`]ogjck&YZ&[Y Gn]j ,( gf]%g^%Y%caf\ Yjl ]pàZalk Yf\ afklYddY% lagfk$ Yf\ gn]j *-( kh][aYd ]n]flk$ h]j^gjeYf[]k Yf\ ghhgjlmfala]k lg e]]l l`] eaf\k Z]àf\ l`] Yjl Bmf *) % Bmd +$ *()*

ART GALLERY OF ALBERTA (AGA) Kaj Oaf%

klgf ;`mj[`add Ki /0(&,**&.**+ qgmjY_Y&[Y Early Mistresses of the Abstract and the Modern: EYj +$ *()* % Bmf +$ *()* Alberta Process Painting2 EYj +$ *()* % Bmf +$ *()* All Day Sunday2 9jl Y[lanala]k ^gj Ydd Y_]k +j\ Kmf ]n]jq egfl`$ )* % , he3 ^j]] oal` Y\eakkagf

CROOKED POT GALLERY ,1)* % -) 9n]$ Klgfq HdYaf$ 9dZ]jlY /0(&1.+&1-/+ Now, for Something Different2 ;]jYea[ Yjlogjck Zq JgZ]jl :Yj[dYq Bmf ) % *1$ *()* Gh]faf_ j][]hlagf2 KYl$ Bmf *$ )) Ye % + he GALLERY AT MILNER KlYfd]q 9& Eadf]j DaZjYjq$

/ Kaj Oafklgf ;`mj[`add Ki /0(&1,,&-+0+ ]hd&[Y 9Zgja_afYd L]]f 9jl3 hYjl g^ l`] Ogjck >]klanYd \Yl]k Yf\ lald] L:9! Bmf ) % +($ *()*

MCMULLEN GALLERY M g^ 9 @gkhalYd$ 0,,(

% ))* Kl /0(&,(/&/)-* ^ja]f\kg^mY`&gj_ 25th Anniversary Show: 9jlogjck Zq M g^ 9 @gkhalYd klY^^ af []d]ZjYlagf g^ l`] >ja]f\k g^ Mfan]jkalq @gkhalYd k *-l` 9ffan]jkYjq3 9hj *) % Bmf )/$ *()*3 gh]faf_ j][]hlagf2 L`m$ 9hj *.$ *()* F]o L]jjYaf2 HYkl]d dYf\k[Yh] hYaflaf_k Zq <Yna\ K`cgdfq$ Bm\al` EYjlaf$ Yf\ ;Yl`Yjaf] ;gehklgf3 Bmf *+ % 9m_ *.$ *()*3 gh]faf_ j][]hlagf2 L`m$ Bmf *0$ *()*

MULTICULTURAL CENTRE PUBLIC ART GALLERY–Stony Plain -,)) % -) Kl$ Klgfq

HdYaf /0(&1.+ */// emdla[]flj]&gj_'E;H9?&`led @a_` 9jl *()*3 EYq *- % Bmf /$ *()* <jYoaf_k Yf\ hYaflaf_k Zq Bg`f Rqh3 Bmf 1 % Bmd ))$ *()*3 gh]faf_ j][]hlagf2 Kmf$ Bmf )( *()*

NEXTFEST 2012 Jgpq$ )(/(0 % )*, Kl$ Yf\ nYjagmk

gl`]j n]fm]k l`jgm_`gml =\egflgf /0(&,-+&*,,( Yll`]jgpq&[ge L`]Ylj] F]logjc$ hj]k]fl]\ Zq l`] F]pl^]kl 9jlk ;gehYfq K`go[Yk] g^ dg[Yd$ fYlagfYd$ Yf\ afl]jfYlagfYd ]e]j_af_ Yjlaklkºl`] Yjlakla[ nga[] g^ l`] f]pl _]f]jYlagf& >]Ylmjaf_ l`]Ylj]$ \Yf[]$ emka[$

HAVEN SOCIAL CLUB )-)*( Klgfq HdYaf J\ /0(&1)-&00.1 =\egflgf Klgjq KdYe2 ojal]jk k`Yj] l`]aj gja_afYd$ -%eafml] klgja]k3 ^gddgo]\ Zq Y emka[ bYe +j\ O]\ ]n]jq egfl` Bmf *($ *()*$ / he ka_f% mh!3 /2+( he k`go! - j]_akljYlagf ^jge ojal]jk lg kmhhgjl l`] Kg[a]lq!

THEATRE: JUN 2012 AVENUE Q DY ;al L`]Ylj]$ 0.*/ jm] EYja]%9ff]% ?YZgmjq /0(&*,*&*0*, loggf]oYqla[c]lk&[ge Log GF=%O9Q La[c]lk Lg :jgY\oYq Hjg\m[lagfk :q Dgh]r$ EYjp Yf\ O`allq k$ \aj][l]\ Yf\ [`gj]g_jYh`]\ Zq Daf]ll] Keal`$ emka[Yd Yf\ ZYf\ \aj][lagf Zq JgZ]jl :jY\^gj\ Bmf )- % +($ *()* 9n] La[c]lk2 /0(&,0+&,(-)$ Lgdd ^j]]2 )&0//&-*1&/0*1 eYqÇ]d\l`]Ylj]&[Y :jgY\oYq Emka[Yd 9hj )/ % Bmf )/$ *()*

FEATS - FESTIVAL OF DANCE NYjagmk n]fm]k l`jgm_`gml =\egflgf YZ\Yf[]YddaYf[]&YZ&[Y 9 emdla%\ak[ahdafYjq \Yf[] ^]klanYd lg []d]ZjYl] Yf\ hj]k]fl ]n]jql`af_ ^jge ljY\alagfYd ^gdc Yf\ [gf% l]ehgjYjq ogjck lg mfmkmYd Yf\ ZjaddaYfl egn]e]fl h]j^gjeYf[]k Bmf */ % Bmd 0$ *()*

CHIMPROV NYjk[gfY L`]Ylj]$ )(+*1 % 0+ 9n]

NEXTFEST 2012 Jgpq$ )(/(0 % )*, Kl$ Yf\ nYjagmk gl`]j n]fm]k l`jgm_`gml =\egflgf /0(&,-+&*,,( Yll`]jgpq&[ge L`]Ylj] F]logjc$ hj]k]fl]\ Zq l`] F]pl^]kl 9jlk ;gehYfq K`go[Yk] g^ dg[Yd$ fYlagfYd$ Yf\ afl]jfYlagfYd ]e]j_af_ Yjlaklkºl`] Yjlakla[ nga[] g^ l`] f]pl _]f]jYlagf& >]Ylmjaf_ l`]Ylj]$ \Yf[]$ emka[$ nakmYd Yjl$ Çde Yf\ emdla\ak[ahdafYjq [gddYZgjYlagf Bmf / % )/$ *()*

DREAMSPEAKERS FILM FESTIVAL NYjagmk n]fm]k l`jgm_`gml =\egflgf /0(&+/0&1.(1 \j]Ye% kh]Yc]jk&gj_ >]Ylmjaf_ 9Zgja_afYd lYd]flºY ja[` Yf\ \an]jk] Zg\q g^ Yjlakla[ [j]Ylagfk af Ydd Ykh][lk g^ l`] Yjlk dg[Yddq$ fYlagfYddq, an\ afl]jfYlagfYddq& K[j]]faf_k Yj] `]d\ l`jgm_`gml l`] ^]klanYd EYq +( % Bmf *$ *()* Gh]faf_ Fa_`l2 O]\$ EYq +($ *()* La[c]lk2 *( gh]faf_ fa_`l!3 / ]Y[` k[j]]faf_! NEXTFEST 2012 Jgpq$ )(/(0 % )*, Kl$ Yf\ nYjagmk gl`]j n]fm]k l`jgm_`gml =\egflgf /0(&,-+&*,,( Yll`]jgpq&[ge L`]Ylj] F]logjc$ hj]k]fl]\ Zq l`] F]pl^]kl 9jlk ;gehYfq K`go[Yk] g^ dg[Yd$ fYlagfYd$ Yf\ afl]jfYlagfYd ]e]j_af_ Yjlaklkºl`] Yjlakla[ nga[] g^ l`] f]pl _]f]jYlagf& >]Ylmjaf_ l`]Ylj]$ \Yf[]$ emka[$ nakmYd Yjl$ Çde Yf\ emdla\ak[ahdafYjq [gddYZgjYlagf Bmf / % )/$ *()*

CHICAGO EYqÇ]d\ <aff]j L`]Ylj]$ )..)- % )(1

DANCE: JUN 2012

FILM: JUN 2012

T.A.L.E.S. STORY CAFÉ SERIES Jgka] k :Yj$

L`]Ylj] <ge]kla[ [ge]\q Zq :]daf\Y ;gjfak` ^]Y% lmjaf_ :]daf\Y ;gjfak`$ Fa[gdY =dZjg$ ?d]ff F]dkgf$ <YnafY Kl]oYjl$ \aj][l]\ Zq Bg`f @m\kgf& EYjagf Yf\ 9d^ Yj] egnaf_ ^jge l`]aj dgf_ lae] ^Yeadq `ge] oal` l`] `]dh g^ l`]aj log Y\mdl \Ym_`l]jk& :ml o`]f Yf mf]ph][l]\ h`gf] [Ydd ]phgk]k Yf mf% j]n]Yd]\ ^Yeadq ^Y[l$ al mfd]Yk`]k Y [ge]\a[ lgjj]fl g^ j]n]dYlagfk EYq *+ % Bmf )($ *()*3 Lm] % KYl /2+( he3 KYl % Kmf * he La[c]lk2 )- hj]na]ok!3 >ja % KYl fa_`l2 *.' *+ klm\]fl'k]fagj!3 Lm]%L`m$ Kmf eYl2 **' *( klm\]fl'k]fagj!

jYha\Çj]l`]Ylj]&[ge JYha\ >aj] L`]Ylj] k dgf_^gje [ge]\q k`go2 aehjgn ^gjeYlk$ aflja[Yl] fYjjYlan]k$ Yf\ gf]%Y[l hdYqk >ajkl l`j]] KYl ]n]jq egfl`$ )) he$ K]h *()) % Bmf *()* La[c]lk2 )(' - `a_` k[`ggd klm\]fl!' 0 J>L e]eZ]j Yl l`] \ggj gfdq!

FREEWILL SHAKESPEARE FESTIVAL- 2012 @]jalY_] 9eh`al`]Ylj]$ @Yoj]dYc HYjc /0(&,*-&0(0. ^j]]oaddk`Yc]kh]Yj]&[ge K`gok L:9 af Khjaf_$ *()* Bmf *. % Bmd **$ *()*3 Lm]%Kmf Yl 0 he3 KYl%Kmf Yl * he3 LjY_]\q hdYqk ]n]f \Yl]k ]n]faf_k gfdq!$ ;ge]\q hdYqk g\\ \Yl]k Yf\ Ydd eYlaf ]k La[c]lk2 **&-( Y\mdl!' +- ^]klanYd hYkk]k!3 YnYadYZd] Yl LAP gf l`] KimYj]& Lm] fa_`lk Yf\ KYl eYlaf ]k Yj] HYq%O`Yl% Qgm%Oadd LA CAGE AUX FOLLES DY ;al >jYf[gh`gf]$ 0.*/ jm] EYja]%9ff]%?YZgmjq /0(&*,*&*0*, loggf]oYqla[c]lk&[ge Log GF=%O9Q La[c]lk Lg :jgY\oYq Hjg\m[lagfk <aj][l]\ Yf\ [`gj]g_jYh`]\ Zq EYjlaf ?YdZY$ emka[Yd \aj][lagf Zq JgZ]jl :jY\^gj\$ klY_] eYfY_]\ Zq 9dd]f] @g\_afk Bmf )- % +($ *()* LET THERE BE HEIGHT DY ;al >jYf[gh`gf]$

0.*/ % 1) Kl /0(&/-0&1111 Çj]Èql`]Ylj]&[ge >aj]Èq k 9]jaYd ;YZYj]l >mf\jYak]j ^]Ylmj]k hjg^]k% kagfYd Yf\ mh[geaf_ Y]jaYdaklk$ kh][aYd _m]kl Yjlaklk$ Yf\ Y kad]fl Ym[lagf Bmf 0 % 1$ *()*$ / he \ggj!$ 0 he k`go! La[c]lk2 *0 YnYadYZd] Yl LAP gf l`] KimYj]$ /0(&,*(&)/-/

LITTLE ELEPHANTS NYjk[gfY L`]Ylj]$ )(+*1 % 0+ 9n] /0(&,+,&--., k`Y\gol`]Ylj]&gj_ K`Y\go

SPROUTS NEW PLAY FESTIVAL FOR KIDS

KlYfd]q 9& Eadf]j DaZjYjq L`]Ylj]$ / Kaj Oafklgf ;`mj[`add KimYj] /0(&,+1&+1(- [gf[j]l]l`]Ylj]&[Y ;gf[j]l] L`]Ylj] HmZda[ h]j^gjeYf[]k2 Bmf 1 Yf\ Bmf )1$ *()*

SYLVIA EYqÇ]d\ <aff]j L`]Ylj]$ )..)- % )(1

9n] La[c]lk2 /0(&,0+&,(-)$ Lgdd ^j]]2 )&0//&-*1&/0*1 eYqÇ]d\l`]Ylj]&[Y KlYjjaf_ ;af\q OaddaYek Yf\ =\\a] E]ccY ^jge LN k Laverne & Shirley! L`] [dYkka[ dgn] ljaYf_d] % `mkZYf\$ oa^]$ Yf\&&&\g_7 9 oallq$ afl]d% da_]fldq [ge]\a[ Yf\ l]f\]j lYd] YZgml da^] Yf\ dgn] af l`] ea\\d] q]Yjk& EYlmj] [gfl]fl$ fgl kmalYZd] ^gj [`ad\j]f Bmf ** % 9m_ )1$ *()*

THEATRESPORTS NYjk[gfY L`]Ylj]$ )(+*1 % 0+ 9n] jYha\Çj]l`]Ylj]&[ge Aehjgn jmfk ]n]jq >ja$ K]h *()) % Bmd *()*$ )) he kmZb][l lg g[[YkagfYd [`Yf_]! La[c]lk2 )(' 0 e]eZ]j!

MUSIC: JUN 2012 NEXTFEST 2012 Jgpq$ )(/(0 % )*, Kl$ Yf\ nYjagmk gl`]j n]fm]k l`jgm_`gml =\egflgf /0(&,-+&*,,( Yll`]jgpq&[ge L`]Ylj] F]logjc$ hj]k]fl]\ Zq l`] F]pl^]kl 9jlk ;gehYfq K`go[Yk] g^ dg[Yd$ fYlagfYd$ Yf\ afl]jfYlagfYd ]e]j_af_ Yjlaklkºl`] Yjlakla[ nga[] g^ l`] f]pl _]f]jYlagf& >]Ylmjaf_ l`]Ylj]$ \Yf[]$ emka[$ nakmYd Yjl$ Çde Yf\ emdla\ak[ahdafYjq [gddYZgjYlagf Bmf / % )/$ *()* NORTHERN BLUEGRASS CIRCLE MUSIC SOCIETY Hd]YkYflna]o ;geemfalq D]Y_m]$ )(0.( % -/

CLASSICAL MUSIC: JUN 2012 COSMOPOLITAN MUSIC SOCIETY OF EDMONTON Oafkh]Yj ;]flj]$ ;`mj[`add Ki

/0(&,+*&1+++ Q]Yj =f\ ;gf[]jl2 9dd :Yf\k Yf\ ;`g% jmk K]Ykgf >afYd] Kmf$ Bmf +$ *()*$ /2+( % )(2+( he La[c]lk YnYadYZd] ^jge l`] ;gkeghgdalYf Emka[ Kg[a]l$ =2 af^g8[gkeghgdalYfemka[&gj_

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RULE BREAKERS AND SCENE MAKERS S E E T H E T H E AT R E L E A D E R S O F T O M O R R O W, T O D AY

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BY DAVID LINDSAY-ABAIRE DECEMBER 1 – 10, 2011 GUEST CREATOR & DIRECTOR JONATHAN CHRISTENSON MARCH 29 – APRIL 7, 2012

EDMONTON VOCAL MINORITY O]klZmjq L`]Ylj] =\egflgf Ng[Yd Eafgjalq k Hja\] ;gf[]jl L`m$ Bmf 0$ *()*$ /2+( he OPERA NUOVA–2012 VOCAL ARTS FESTIVAL ;gfng[Ylagf @Ydd$ Laeek Yl l`] M g^ 9$ nYjagmk gl`]j n]fm]k L&:&9 ng[YdYjlk^]klanYd&[Y >]klanYd jmfk2 EYq *- % Bmf )1$ *()) Ng[Yd ?]ek ;gf[]jl2 EYq *- KY[j]\ Emka[ af l`] 9^l]jfggf2 EYq */ Kgf_ Kgaj]]º=f_dak` Kgf_2 EYq *1 ;dYkka[ :jgY\oYq ;gf[]jl2 Bmf ) Kgf_ kgaj]]º?]jeYf Da]\3 Bmf - 9f =n]faf_ g^ Da_`l Gh]jY2 Bmf 0 Kgf_ Kgaj]] º >j]f[` E]dg\a]2 Bmf )* FmgnY EYafklY_] Hjg\m[lagf2 Bmf ),$ )-$ ). Kgf_ Kgaj]]ºKhYfak` Yf\ AlYdaYf2 Bmf )1 FmgnY EYafklY_] Gh]jYk2 Lg Z] Yffgmf[]\ af Fgn]eZ]j jmf Bmf *. % +($ *()* La[c]lk YnYadYZd] Yl LAP gf l`] KimYj]

JULY 2012

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ART GALLERIES/MUSEUMS: JUL 2012

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EDMONTON SYMPHONY ORCHESTRA Oaf% kh]Yj ;]flj]$ Kaj Oafklgf ;`mj[`add Ki /0(&,*0&),), ]\egflgfkqeh`gfq&[ge A Tribute to Ray Charles: =ddak @Ydd kaf_af_ `alk3 Bmf ) % *$ *()*$ 0 he3 *, % 0- Late Night Brahms: DYl] Fa_`l [gf[]jl ^]Ylmjaf_ :add =\\afk$ 9f_]dY ;`]f_ haYfg!3 >ja$ Bmf 0$ *()*$ 12+( he3 *( % ,( Angela Cheng plays Brahms: 9f_]dY ;`]f_ haYfg!3 KYl$ Bmf 1$ *()*$ 0 he3 *( % /-

BY DAVID GREIG NOVEMBER 3 – 12, 2011

BY WILLIAM SHAKESPEARE FEBRUARY 9 – 18, 2012

commission/creation

EDMONTON OPERA EVENTS <]ngfaYf :g% lYfa[ ?Yj\]f @oq .($ HYjcdYf\ ;gmflq$ - cek fgjl` g^ <]ngf Gh]jY Yd >j]k[g Bmf **$ *()*

VUEWEEKLY AUG 4 – AUG 10, 2011

ALBERTA SOCIETY OF ARTISTS OYdl]j\Yd] HdYq`gmk]$ )(+** % 0+ 9n] /0(&,*.&((/* Yjlaklk% kg[a]lq&YZ&[Y oYdl]j\Yd]hdYq`gmk]&[ge NINE – The Exhibition2 9jlogjck Zq e]eZ]jk g^ l`] 9dZ]jlY Kg[a]lq g^ 9jlaklk3 Yf ]phdgjYlagf g^ l`] aeY_]jq Yf\ l`]e]k af >j]\ja[g >addafa k Çdek Bmd , % ),$ *()*3 jmfk af [gfbmf[lagf oal` l`] :jgY\oYq emka[Yd Nine; Yf\ gf KYl$ Bmd / % ),$ )( Ye % + he Gh]faf_ j][]hlagf2 Bmd +$ / he ART GALLERY OF ST ALBERT (AGSA) )1 H]jjgf Kl$ Kl 9dZ]jl /0(&,.(&,+)( Yjl_Ydd]jqg^klYd% Z]jl&[Y Yjlk`]jalY_]&[Y What Kind of Animal am I?: 9jlogjck Zq :]cc O]ddk Bmd - % *0$ *()* ART SOCIETY OF STRATHCONA COUNTY

9& B& Gll]o]dd 9jl ;]flj]'Dg^l ?Ydd]jq$ -1( :jgY\eggj :dn\$ K`]jogg\ HYjc /0(&1**&+)/1 YjlkljYl`[gfY& [ge 9jlogjck Zq e]eZ]jk g^ l`] 9jl Kg[a]lq g^ KljYl`[gfY ;gmflq$ Yjlogjc ak [`Yf_]\ YZgml ]n]jq ]a_`l o]]ck$ l`] _Ydd]jq af[dm\]k Y _a^l k`gh g^ Yjlakl eY\] al]ek3 gh]f KYl$ )( Ye % , he3 Kmf )* % , he KYdakZmjq ?j]]f`gmk]k$ -*++/ JYf_] J\ *+*$ K`]j% ogg\ HYjc3 KYdakZmjq K`go Yf\ KYd]2 9jl k`go Yf\ kYd] af kmhhgjl g^ K9>>JGF2 Bmd$ *()*

CROOKED POT GALLERY ,1)* % -) 9n]$ Klgfq HdYaf$ 9dZ]jlY /0(&1.+&1-/+ 14 Hours, Functional Woodfired Pottery2 ;]jYea[ Yjlogjck Zq LYeeq HYjck% D]__] Bmd * % +)$ *()* Gh]faf_ j][]hlagf2 KYl$ Bmf +($ )) Ye % + he GALLERY AT MILNER KlYfd]q 9& Eadf]j DaZjYjq$ / Kaj Oafklgf ;`mj[àdd Ki /0(&1,,&-+0+ ]hd&[Y Celebrating the History of Edmonton2 H`glg =pàZal Zq Eac] Egjmra3 Bmd ) % +)$ *()* Gl`]j k`gok oalàf l`] daZjYjq Yk hYjl g^ l`] Ogjck >]klanYd3 Bmf *) % Bmd +$ *()* MCMULLEN GALLERY M g^ 9 @gkhalYd$ 0,,( %

))* Kl /0(&,(/&/)-* ^ja]f\kg^mY`&gj_ F]o L]jjYaf2 HYkl]d dYf\k[Yh] hYaflaf_k Zq <Yna\ K`cgdfq$ Bm\al` EYjlaf$ Yf\ ;Yl`Yjaf] ;gehklgf Bmf *+ % 9m_ *.$ *()* Gh]faf_ j][]hlagf2 L`m$ Bmf *0$ *()*

MULTICULTURAL CENTRE PUBLIC ART GALLERY–Stony Plain -,)) % -) Kl$ Klgfq HdYaf

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PETER ROBERTSON GALLERY )*+(, BYkh]j

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THE WORKS ART AND DESIGN FESTIVAL

DANCE: JUL 2012 FEATS - FESTIVAL OF DANCE NYjagmk N]fm]k l`jgm_`gml =\egflgf YZ\Yf[]YddaYf[]&YZ&[Y 9 emdla%\ak[ahdafYjq \Yf[] ^]klanYd lg []d]ZjYl] Yf\ hj]k]fl ]n]jql`af_ ^jge ljY\alagfYd ^gdc Yf\ [gf% l]ehgjYjq ogjck lg mfmkmYd Yf\ ZjaddaYfl egn]e]fl h]j^gjeYf[]k Bmf */ % Bmd 0$ *()*

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THEATRE: JUL 2012 FREEWILL SHAKESPEARE FESTIVAL- 2012 @]jalY_] 9eh`al`]Ylj]$ @Yoj]dYc HYjc /0(&,*-&0(0. ^j]]oaddk`Yc]kh]Yj]&[ge K`gok L:9 af Khjaf_$ *()* Bmf *. % Bmd **$ *()*3 Lm]%Kmf Yl 0 he3 KYl%Kmf Yl * he3 LjY_]\q hdYqk ]n]f \Yl]k ]n]faf_k gfdq!$ ;ge]\q hdYqk g\\ \Yl]k Yf\ Ydd eYlaf ]k La[c]lk2 **&-( Y\mdl!' +- ^]klanYd hYkk]k!3 YnYadYZd] Yl LAP gf l`] KimYj]& Lm] fa_`lk Yf\ KYl eYlaf ]k Yj] HYq% O`Yl%Qgm%Oadd NINE OYdl]j\Yd] HdYq`gmk]$ )(+** % 0+ 9n]

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SYLVIA EYqÇ ]d\ <aff]j L`]Ylj]$ )..)- % )(1

9n] La[c]lk2 /0(&,0+&,(-)$ Lgdd ^j]]2 )&0//&-*1&/0*1 eYqÇ ]d\l`]Ylj]&[Y KlYjjaf_ ;af\q OaddaYek Yf\ =\\a] E]ccY ^jge LN k DYn]jf] K`ajd]q! L`] [dYkka[ dgn] ljaYf_d] % `mkZYf\$ oa^]$ Yf\&&&\g_7 9 oallq$ afl]d% da_]fldq [ge]\a[ Yf\ l]f\]j lYd] YZgml da^] Yf\ dgn]

af l`] ea\\d] q]Yjk& EYlmj] [gfl]fl$ fgl kmalYZd] ^gj [`ad\j]f Bmf ** % 9m_ )1$ *()*

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MUSIC: JUL 2012 NORTHERN BLUEGRASS CIRCLE MUSIC SOCIETY Hd]YkYflna]o ;geemfalq D]Y_m]$ )(0.( % -/

AUGUST 2012 ART GALLERIES/MUSEUMS: AUG 2012 ART GALLERY OF ST ALBERT (AGSA) )1 H]jjgf Kl$ Kl 9dZ]jl /0(&,.(&,+)( Yjl_Ydd]jqg^klYd% Z]jl&[Y Yjlk`]jalY_]&[Y @go ^Yj ak al ^jge =Ykl lg O]kl72 9jlogjck Zq Fa[gd] :YmZ]j_]j 9m_ * % K]h )$ *()* CROOKED POT GALLERY ,1)* % -) 9n]$ Klgfq HdYaf$ 9dZ]jlY /0(&1.+&1-/+ Blooms Galore and More2 >mf[lagfYd Yf\ `Yf\ Zmadl hgll]jq Zq LjY[q EYf\j][c Yf\ @]deml BYflr 9m_ ) % +)$ *()* Gh]faf_ j][]h% lagf2 KYl$ 9m_ ,$ )) Ye % + he GALLERY AT MILNER KlYfd]q 9& Eadf]j DaZjYjq$ / Kaj Oafklgf ;`mj[`add Ki /0(&1,,&-+0+ ]hd&[Y =pljYgj\afYjq Na]ok g^ ;geegf HdY[]k2 H`glg_jYh`k Zq <Yna\ :Yaf] 9m_ ) % +)$ *()* MCMULLEN GALLERY M g^ 9 @gkhalYd$ 0,,( %

))* Kl /0(&,(/&/)-* ^ja]f\kg^mY`&gj_ F]o L]jjYaf2 HYkl]d dYf\k[Yh] hYaflaf_k Zq <Yna\ K`cgdfq$ Bm\al` EYjlaf$ Yf\ ;Yl`Yjaf] ;gehklgf3 Bmf *+ % 9m_ *.$ *()*3 gh]faf_ j][]hlagf2 L`m$ Bmf *0$ *()*

MULTICULTURAL CENTRE PUBLIC ART GALLERY–Stony Plain -,)) % -) Kl$ Klgfq HdYaf

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PETER ROBERTSON GALLERY )*+(, BYkh]j

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SOCIETY OF NORTHERN ALBERTA PRINT ARTISTS (SNAP) KF9H ?Ydd]jq$ )()*+ % )*) Kl

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LITERARY: AUG 2012 HAVEN SOCIAL CLUB )-)*( Klgfq HdYaf J\ /0(&1)-&00.1 =\egflgf Klgjq KdYe2 ojal]jk k`Yj] l`]aj gja_afYd$ -%eafml] klgja]k3 ^gddgo]\ Zq Y emka[ bYe +j\ O]\ ]n]jq egfl` 9m_ )-$ *()*$ / he ka_f%mh!3 /2+( he k`go! - j]_akljYlagf ^jge ojal% ]jk lg kmhhgjl l`] Kg[a]lq!

THEATRE: AUG 2012 SYLVIA EYqÇ ]d\ <aff]j L`]Ylj]$ )..)- % )(1

MUSIC: AUG 2012

Molly Johnson October 1 Hamlet (Solo) October 7 Russell DeCarle October 14 Colleen Brown October 21 Viver Brasil (Dance) October 29 & 30 Genticorum November 4 Little Miss Higgins November 10 Good Lovelies/Human Statues November 12 The Amazing Kreskin December 15 The Hot Club of San Francisco December 17 Edmonton Symphony Orchestra January 15 Ghost River Theatre January 27 & 28 Nashville North feat. James Murdoch & Jay Sparrow February 3 Patricia O’Callaghan February 8 Guitar Republic February 24 Blue Bird North feat. Ron Hynes, Catherine MacLellan, Dave Gunning & Madison Violet March 17

Anais Mitchell and the Hadestown Orchestra March 21 & 22 L’Orchestre L’Hommes L’Orchestre performs Tom Waits March 27 & 28 Arlo Guthrie April 19 & 20

The Legendary Miles Johnson October 8 Daniel MacIvor November 7 Kevin Fox November 18 Kim Stockwood December 9 & 10 Eve Egoyan (Piano) January 21 Shane Koyczan (Poetry) March 2 Julie Nesrallah April 14 & 15

JAZZ AT THE LAKE FESTIVAL NYjagmk af\ggj

Yf\ gml\ggj n]fm]k af KqdnYf DYc] Lgof BYrr9l% L`]DYc]&[ge )(l` 9ffmYd BYrr 9l L`] DYc] >]klanYd2 , \Yqk g^ dan] bYrr emka[%%Ydd klqd]k ^gj Ydd Y_]k 9m_ ). % )1$ *()* La[c]lk2 YnYadYZd] Gfdaf]2 BYrr9lL`]DYc]& [ge3 egj] af^g2 =2 af^g8KqdnYfDYc]BYrr>]klanYd

NORTHERN BLUEGRASS CIRCLE MUSIC SOCIETY Hd]YkYflna]o ;geemfalq D]Y_m]$ )(0.( % -/

For complete summer listings in 2012 go to:

VUEWEEKLY AUG 4 – AUG 10, 2011

THE SEASONS 37

38 THE SEASON

VUEWEEKLY AUG 4 – AUG 10, 2011

HOW DID WE GET HERE?

seems so obvious,'" Petersen says.

classic idea of what makes a folk fest. Petersen opened it up to many of the blues artists and Texas singer-songwriters he was interested in and working with through Stony Plain Records. "I thought that we should do it differently because we're a different city and I always thought that blues would be a bigger part of the picture and at the time I was really aware of Texas singer-songwriters," he says. "I was working with John Prine and Guy Clark and Townes Van Zandt and Doug Sahm and I quickly became aware of Lyle Lovett and his first record and so many others. They loved coming up here and being part of it." Petersen also formalized the volunteer parties that have become a huge part of the festival and are often the home of the best jams of the weekend. "The other festivals that had been going on were doing volunteer parties at the host hotel but they were never very well organized—they were like a drop-in situation and a lot of time they were a bust," Petersen says, recalling that making the rehearsal room and the party room one and the same meant there would be full sound and production in the party room. "Then it was a matter of scheduling artists who would appear at the festival but also schedule them to appear onstage at the parties. That kind of gave the whole party thing a lift: we had some amazing jams and continue to. Some of the best music is at those parties." Perhaps Petersen's greatest contribution, however, was solidifying Ian Tyson's Alberta anthem "Four Strong Winds" as the festival's closing number. Over the years it has been led by the likes of Tyson himself, k.d. lang, Bill Bourne and Corb Lund among many others. "The Winnipeg Folk Festival and I think Vancouver were using 'Barrett's Privateers,' which was a great Stan Rogers song about the Halifax pier, but I just thought, 'That doesn't comply with where we are, who we are, and it just seems like that's the most famous Alberta song by an Albertan so it just

Petersen's three years were up after the 1988 festival and he and the board began to search for his replacement, a search that kept coming back to Calgary concert promoter Terry Wickham. There was only one problem: Wickham didn't want the job. "I had my own company in Calgary and it wasn't a big company but I was doing concerts. It wasn't providing a great living but it was providing a living," Wickham says. "I had my friends there, we had a little house, we'd just had a baby and when Holger said, 'Would you be interested in taking it over?' I said, 'That's really nice, but I want to live in Calgary.'" Months of searching continued to prove fruitless for the folk fest, however, and finally somebody convinced Wickham to apply for the job, which he'd only accept on the condition he'd be able to do it from his home in Calgary. The festival accepted that and the arrangement was made. On his way back home, however, everything changed for Wickham. "As we were driving back I was saying to my wife, 'You don't have to spend that much time in Edmonton ... we've got the new baby and everything,' and she said, 'Why don't we just move to Edmonton?' and I said, 'Well, I thought you didn't want to move to Edmonton,''" he laughs. "So I got the job on Saturday and said I'm going to live in Calgary, drove back on the Sunday and then the CBC phones me on the Monday—and you know the CBC, they're always trying to look for whatever—and they said, 'We hear you're going to live in Calgary,' and I said, 'No actually, that's not the case. It was yesterday, but now it's not.'" With his residence settled, Wickham turned his attention to the festival's longtime money problem: like Petersen, Wickham inherited a festival deeply in debt. "The festival was $60 000 in debt— it didn't have a pot to piss in," he recalls. "We had free office space over at Ortona Armoury and if you sold everything you'd be lucky to get $1000. We hadn't paid our T-shirt supplier from the year before. We hadn't paid our

<< CONTINUED FROM PAGE 18

travel agent. Long distance calls? We could barely afford them." Wickham's first action was to raise ticket prices. It was divisive—the board only voted 5-4 in favour of it—but it was not only necessary to keep the festival alive, it just made sense. At the time, the $25 price of a festival pass would barely buy you a ticket to a popular show at the Jubilee, but it was somehow expected to buy a whole weekend of music. Wickham moved the price up a little at a time while concentrating on making the lineup better year after year so that no one would notice. "I couldn't go from a $30 ticket price to a $90 ticket price in one year—I had to be patient," he says. "So we kept raising the price by $5, $10, but the trick with us is that every time we raised the ticket price we also raised the artistic budget. And sometimes we even raised the artistic budget by $100 000 but didn't raise the ticket price because we were doing OK." A walk on site led to the discovery of spots for additional stages which would increase the value of a weekend pass. In 1993, Wickham expanded the site and added Thursday to the weekend in order to better the experience at little cost. "If you think about it, the site's already built, the staff's already there, the publicity's already paid, it doesn't cost that much to add a Thursday night," he says. "Now we could really focus on talent that night and as long as you brought in the same amount of money that's spent, you're not losing any money," Wickham and the EFMF staff worked to bring in new sponsors, make deals for office equipment and chip away at the deficit. There were also a number of innovative ideas to raise funds. "The whole candle idea, these people lighting candles, it's a nice tradition now but the catalyst for that is we bought a whole bunch of candles at 25 cents and sold them for 50 cents," Wickham recalls. "It was a fundraiser—burn away the deficit." Whereas Petersen had brought in the blues and the Texas singer-songwriters, Wickham skewed the festival towards

VUEWEEKLY AUG 4 – AUG 10, 2011

younger tastes and brought in acts from around the world. During his first years as artistic director, Wickham booked acts as diverse as Benin singersongwriter Angélique Kidjo, Irish fiddler Paddy Glackin, alternative bands Violent Femmes and Crash Test Dummies, and a 21-year-old Sarah McLachlan. This year's lineup reflects the whole evolution of the festival with folk acts like k.d. lang and Ron Hynes, blues acts such as Taj Mahal and John Mayall, Texas singer-songwriter Lyle Lovett, Haitian troubadours Ti Coca & Wanga Nègès, as well as indie acts like Andrew Bird and Edward Sharpe & the Magnetic Zeros.

in the next while as long as I can keep it thriving and healthy. That's what turns my crank is to make it as good as it can be and hopefully the leading folk festival in the world—which I think it is." BRYAN BIRTLES // BRYAN@VUEWEEKLY.COM

This article couldn't have been written without the help of Playing the Field: The Story of the Edmonton Folk Music Festival, by Rod Campbell (B Evan White, 1994).

The folk fest has existed as long as it has—and come to be the way that it is—through the hard work of more than just its three artistic directors. Staff, performers, countless volunteers as well as committed patrons are all collectively responsible for the festival we have, one that is unique in terms of programming, in terms of location, in terms of attendance and in terms of quality in North America, perhaps the world. "It's a good gig. It's become an easier gig," reflects Wickham. "We've laid all the groundwork really well. It's like planting a garden: we planted the right seeds. We used to watch it and go, 'Oh, we sold 64 000 weekend passes, and then 72 and then 75,' so it was a constant improvement. "Somebody has to fly around the world and listen to folk music and drink beer and it might as well be me," he laughs. "I have no intention of retiring

MUSIC 39

PREVUE // BOUND FOR CUBA

HANG LOOSE Fri, Aug 5 (8 pm) With the Frolics, Service:Fair, Peace Be Still Wunderbar, by donation

DOWNTOWN

Aug 4-6, DWAYNE ALLEN t Aug 9-13, DERINA HARVEY

WEM

Aug 4-6, XANDER QUINN t Aug 9&10, ANDREW SCOTT Aug 11-13, AJ t SUNDAY NIGHT KARAOKE t WWW.EDMONTONPUBS.COM

see music and punk rock as being really empowering and vital to lives," says Hang Loose vocalist/guitarist, Mark Raymond Hayes, days before his surf-rock trio, Hang Loose, will play a Solidarity Rock fundraiser. "We take it for granted here that we can do things whenever we want, whenever we want." Solidarity Rock was created by Drew McIntosh to promote solidarity between Canadian and Cuban musicians. Founded in 2008 thanks to $1000 in donations from a benefit show, it has morphed into something special, something unique to Edmonton. Local band 7 And 7 Is was the first to visit Cuba under the Solidarity Rock

Hang Loose in its natural environment

banner, in fact the "first rock band to ever tour Cuba," McIntosh lauds. Hang Loose is just the next in a line of Edmonton groups assembled to bring music, instruments, recording gear and fraternity to Cuba. As Hang Loose and McIntosh organize prior to their Cuban rock expedition, they realize that as much as this experience is about creating a bond with Cuba, it's also about strengthening the bonds within their own community. "Not only do we get to help these kids

AUG 6

UFC 133: EVANS VS. ORTIZ

AUG 12&13

LIVE MUSIC: BURNSTICK In Sutton Place Hotel #195, 10235 101 Street, EDMONTONPUBS.COM

LIVE MUSIC

Aug 5&6, TODD REYNOLDS Aug 8, JIMMY WHIFFEN Aug 10, DUFF ROBINSON Aug 12&13, ROB TAYLOR edmontonpubs.com

DEVANEY’S IRISH PUB

WHAT’S YOUR FAVOURITE DAY OF THE WEEK? SATURDAY & SUNDAY, BREAKFAST UNTIL 4PM SUNDAY, CELTIC MUSIC MONDAY, SINGER SONG WRITER TUESDAY, WING NIGHT WEDNESDAY, OPEN STAGE, PIZZA w/ JUG NIGHT THURSDAY, CHEAP JUG NIGHT

40 MUSIC

!"#$%$&'(&)&*+,'(-+*+.&-*).+/)*0&12&"#$%$&34&546&7(+.&78.+*&9':+8(+;

VUEWEEKLY AUG 4 – AUG 10, 2011

in less fortunate places, like Cuba, do their punk rock thing, we get to really add to our own town and our own community," says Hayes. "A totally unique experience." Things like guitar strings, drum sticks and amps are hard to come by in Cuba, so Solidarity Rock aims to bring the supplies needed to rock out to a place that could really use it. "The ability to actually share what you've got with people is a very humanizing experience," says McIntosh "We're going to Cuba to find out where the commonalities with Cubans are in the human experience." "It all started with people in Edmonton," he continues. "I really feel that what we're able to do with this project is export the best things about Edmonton. Take all of this awesome stuff and people we have and channel it into something great. City of Champions!" CURTIS WRIGHT // CURTIS@VUEWEEKLY.COM

VUEWEEKLY AUG 4 – AUG 10, 2011

MUSIC 41

Edmonton African Dance Festival

A celebration of African Dance, Arts, Music, Culture…

Fundraising Dinner: Awards & Banquet Performing LIVE from NewYork: Emma Agu (only African who performed @ President Obama’s Inauguration), Chisom Oz Lee, Chisom Orji !

PREVUE // FOLK METAL

AMON AMARTH

Friday August 26, 2011 5 pm – 1 am Coast Edmonton Plaza 10155 105 St. Edmonton, AB

Tickets: $60 African Dance Festival Free!

August 27 – 28 10 am – 9 pm Sir Winston Churchill Square, Edmonton, AB Contact Adaku 780 200 8351 info@edmafricandancefestival.com www.edmafricandancefestival.com

These guys have come to terms with each other

Sun, Aug 7 (7 pm) Edmonton Event Centre, $29.50

t could be expected that a band known for its thundering onstage performances and songs about viking conquest and death would also have members with equally strong personalities. Luckily, Amon Amarth's five members have found a way to shelve their differences and work together. "We've come to terms with each

other," drummer Fredrik Andersson explained from Sweden, just prior to heading out on the second half of the band's North American tour. "We've had our struggles, but after a while it becomes a brotherlike relationship. We learn to respect each other." Perhaps it's this attitude of respect that has lead to the tour's rather cordial title, "An Evening With Amon Amarth." But it was the challenge of playing the entirety of the band's new

album, Sutur Rising, that lead the group to play a solo tour—that and an inability to find an opener in time. "The tour was booked late and we couldn't find an opening act," says Andersson. "But we took it as a challenge. It's always hard to leave songs from a new album off the setlist. And people seemed to enjoy it—though it's hard not to enjoy an Amon Amarth show." Named "Breakthrough Act" by Metal Hammer in 2009, the band is smart to have dedicated an entire evening to songs that have become metal standards, such as "Death in Fire" from 2002's Versus the World and "Guardians of Asgaard" from Twilight of the Thunder God. Success, Andersson points out, is just an added bonus to the music the band is creating, which is really what has kept the members together over 10 years. "We all share the same goal," says Andersson, "It's amazing to see where it's taking us and we're just going to continue what we do." SAMANTHA POWER SAMANTHA@VUEWEEKLY.COM

PREVUE // SPECTRAL SONGS

EXTRA HAPPY GHOST!!! Sat, Aug 6 (9:30 pm) Wunderbar

feel like often times, music, when it is getting at something, it's done in very overly-simplistic terms," Matthew Swann states, after a few moments of concentrated thought. "'Oh, I'm sad, I'm happy, I'm in love.' And I feel that's not necessarily how things are. I think it's almost dangerous to treat things in that way, because we fail to see how overly-complex every instance of our day-to-day actions of being a person are." It's fitting, then, that the Calgarybased Swann's musical outfit extra happy ghost!!! is a little more layered

with what it's trying to convey on Modern Horses, his second album as ghost!!!. Its nine songs are unusually far-reaching slices of lo-fi pop: warm hooks are buried in its fuzzy, distant guitars and spectral harmonies, but they come saddled with a feeling of disconnect, like a step between the instruments and your ears has somehow been removed, obscuring the songs' poppier nature with a buffer of atmosphere and dialed-back production. Recorded in Chad VanGaalen's Yoko Eno home studio—and with VanGaalen himself on production duties—Modern Horses also saw Swann bringing other musicians and voices

into his songs for the first time, as well as an inaugural move beyond bedroom recording to working in a larger studio set up. The most difficult part of that switch, Swann notes, was actually getting everyone involved in the room at the same time, but the resulting, more collaborative effort didn't disappoint him. "It was an ideal situation, 'cause Chad works in some really unorthodox ways, and I work in some really unorthodox ways, and I think our lack of orthodoxy worked," he laughs. "I think we understood. And he's just a real easy guy to get along with." PAUL BLINOV // PAUL@VUEWEEKLY.COM

PREVUE // ORGANIZATIONAL CHAOS

THE ORDER OF CHAOS Fri, Aug 5 (7 pm) With Miskatonic, Veil of Hinnom, Through The Trenches, Unity Through Tragedy and BTYB Starlite Room

n the beginning, John Simon Fallon didn't really have his sights set on metal infamy. Rather, when the guitarist began the Order of Chaos, he looked it as a nice reason to "jam and drink 10 beers with friends." Seven years later, the band has evolved into a different entity. Experiences and memories sweat from the walls of the group's decrepit downtown jam space—a ramshackle tenement that houses many bands and many songs. It's not the group's original jam space:

42 MUSIC

VUEWEEKLY AUG 4 – AUG 10, 2011

the Order of Chaos was forced to relocate after an arsonist set fire to its original space in a side room of a friend's business. Two years later, the Order of Chaos relishes in the 'today' of the band. "We were jamming the next week after the fire," says Fallon. "We've been pretty resilient—we've faced other adversities over the years. It's too easy to just quit," adds fellow OOC member, John Saturley. Along with something Fallon and Saturley now almost lovingly refer to as "the fire," OOC lived through a massive vehicle accident outside of Medicine Hat that ended the group's tour, and nearly ended the members' lives, a jam space break-in and the departure (and, often, the welcoming back) of band members.

The positivity and resilience of The Order of Chaos shines through the adversity. Recently signed to Germany's Killer Metal Records, the group released its scorching second album, Burn These Dreams, and now the female-fronted five-piece is finally enjoying a bit of "order in all of the chaos." "Things can happen at any moment," says Saturley. "I think a lot of bands might get crippled by something like the things that have happened to us—if you have dealt with that adversity, you can be stronger. "Some difficulties are good, some are enjoyable, and some you have to dive head first into." CURTIS WRIGHT // CURTIS@VUEWEEKLY.COM

ON THE RECORD

BRYAN BIRTLES // BRYAN@VUEWEEKLY.COM

Fire and brimstone

Kim Nekroman on Nekromantix's latest album

Kim Nekroman and Nekromantix

Sat, Aug 6 (8 pm) Nekromantix With the Brains Starlite Room, $20.25

ore than two decades into its existence, Nekromantix has by now proven it knows a thing or two about psychobilly. So when the band titled its latest album What Happens in Hell, Stays in Hell, you can be sure it's speaking form experience. Bassist, singer and founder Kim Nekroman spoke to Vue Weekly about the group's latest album, the way it records and his famous coffin-shaped double bass. VUE WEEKLY: How long did it take to make What Happens in Hell, Stays in Hell, from the initial songwriting through to the end of the recording? KIM NEKROMAN: That's kind of hard because with this album we wrote songs, we went into the studio and then we got offered a tour with Reverend Horton Heat so we had to leave it all behind, come back and try to pick it up again which we did, and then we got offered a tour with Rob Zombie and we had to leave it all behind again. So to me it's been over a couple of years but effective time we spent not that much. What we did after the Rob Zombie tour is we had already recorded some stuff but we weren't happy with that because it was made in a rush so we re-did the whole thing. It's just one of those things we were listening to it and the songs were there but the energy could be better. Especially after being on the road so much that made the band really tight so we knew we could do better. VW: When you were writing the songs,

did you come at them in a particular way? Lyrics first? Music first? KN: It's different from song to song, but in general lyrics are always last. That's like the necessary evil I have to do in the end. There are a few exceptions, like "Bats in My Pants," that little line right there is something that just came to my head and I thought it sounded funny and then the song just

wrote itself. But for the most part it's music first, then lyrics. I can't sit down one day and get inspiration to write lyrics, I kind of have to force myself in a recording process. We record most of the instruments and then I start to work on the lyrics. I kind of have to put myself under pressure or give myself a deadline so I can push those songs out. VW: Did you take the songs to the band fully formed, or were they sketches that were then filled out as a group? KN: That depends on the song. I'm the main songwriter in the band and most of my songs I leave open for whatever. I'm very impulsive and along the way I can change up a lot of stuff. We can start recording and I can be like, "Fuck, let's try this instead," or, "Let's add this." So I'm very open until the very end with changing stuff. VW: How did you decide which songs to include on the album? Did you have an idea of what you wanted What Happens in Hell, Stays in Hell to be when you started, or did the finished shape emerge as the writing and recording went along? KN: That totally emerges as the recording goes along. When it comes to music I'm not a big fan of saying, "OK this album is going to be like this or this or this," because it just kind of shapes itself. Of course there's little stuff like you can change guitar sounds to sound softer or harder, but it's all something that happens in the now, in the actual moment. I don't know how people do that other stuff, I guess they need to have a vision. With this band this is the eighth album so we already have a sound and, even though every album in my opinion sounds different, it still sounds like Nekromantix. VW: What do you like about producing the band's albums yourself? KN: I've been in hot-shot studios that cost $2000 a day and basically what you pay for is a nice kitchen and Xboxes and all that shit. We have our own studio in our garage where we can just work at our own pace so that way we don't feel bad if one day we're not into it, we don't feel bad because we're not paying $1500 a day. That way you're in total control and there's no pressure and I think that affects the end result. There's nobody standing watching. If we go a week over there's no problem because we're in control of that too.

Do you use the coffin bass to record or is that just for performance? KN: Oh no, I use the coffin bass to record. I've tried others—I have other normal double basses—and no matter what, every time, I always end up using the coffin bass on the recordings because it's so much better. V VW:

VUEWEEKLY AUG 4 – AUG 10, 2011

MUSIC 43

LIVESOUNDS ROB ZOMBIE AND SLAYER Jul 31, 2011 / Rexall Place

Rob Zombie and Slayer's co-headlining tour showcased two extremes that metal's upper echelon is capable of reaching: after Exodus's brief opening set—fine, if unmemorable—Zombie's massive onstage theatrics raised the showmanship bar to ridiculous peaks: robots were engulfed in flames (there were many, many flames), multiple costume changes occurred and the skeleton mic stands that popped up showcased a penchant for over-the-top pageantry, but Zombie backed it up with a solid repertoire of headbanger anthems and groovy metal riffing. Slayer was the opposite: four guys

on stage, little banter, absolutely no bullshit. A pair of decals hung above a stage-spanning stack of Marshall amps, but that was it (until a massive logo unveiled itself halfway through the set), yet the band's chugging riffs and unnatural intensity felt like a far darker exploration than any elaborate stage production, reaching hypnotic heights of chugging metal riffs and a balancing lack of showboating. Slayer didn't play an encore. Really, there was no need after a solid three hours that mixed both spectacle and intensity. WORDS BY PAUL BLINOV PHOTOS BY EDEN MUNRO

QUICKSPINS WHITEY HOUSTON

// QUICKSPINS@VUEWEEKLY.COM

Comet Gain Howl of the Lonely Crowd (Fortuna Pop!) Totally awesome Plus everything I love In under an hour

Lil Wayne Sorry 4 the Wait (Independent) He's fresh out of jail And yet he's still killing it In the first degree .

The Horrors Skying (XL) Well ... three albums in Still seems manufactured by "Cool band" factory

Little Dragon Ritual Union (Peace Frog) The titular track Perma stuck in my mind like Sonic super glue

Marvin Gaye What's Going On 40th ann. edition (Universal) I'm suspicious of The self professed music fan Who doesn't own this

Screaming Trees Last Words: The Final Recordings (Sunyata)

VUEWEEKLY.COM/SLIDESHOWS >> for more of Eden Munro's photos

44 MUSIC

VUEWEEKLY AUG 4 – AUG 10, 2011

I have loved this band And now it sounds so dated As my balls droopeth

Mariachi El Bronx Mariachi El Bronx II (ATO) ´´´ Sounding like an idea composed after one too many ounces of tequila, Mariachi El Bronx rose out of the ashes of Los Angles hardcore punk band the Bronx and the deep Mexican culture of the group's city. Yet, being much more than a cheap device, Mariachi El Bronx is a well-composed meeting of exciting, strongly orchestrated mariachi with a tenderly acoustic sense, which sounds at home with Matt Caughthran's hoarse voice. Retaining a sense of solidarity punk rock is known for, Mariachi El Bronx II has a fresh sound that, even through this unimaginable transformation, still somehow sounds like punk.

NEWSOUNDS

10442 whyte ave 439.1273

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TEDESCHI TRUCKS BAND

Mike Angus Hymns (Shameless) ´´´´

CD + LP

REVELATOR

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CURTIS WRIGHT // CURTIS@VUEWEEKLY.COM

World Under Blood Tactical (Nuclear Blast) ´´´ Frontman Deron Miller has some aggressive tendencies he’s been hiding while at his day job with CKY. But it’s an aggression that is equally matched in the talents of Divine Heresy drummer Tim Yeung and the combination has created a forceful death metal album in Tactical. World Under Blood, is a direct channeling of aggressive, rapid drums, numerous technical guitar solos and some seriously bleak lyrics. Even some of the short melodic tendencies are less annoying with forceful instrumentals almost pushing them out of the way. SAMANTHA POWER // SAMANTHA@VUEWEEKLY.COM

Grey Reverend Of the Days (Motion Audio/Ninja Tune)

Let's start with full disclosure: Mike Angus contributes to Vue Weekly as a freelancer. He also occasionally tends a bar I frequent. Reviewing this disc approaches what you might call a conflict of interest, something I usually work to avoid— somewhat obviously, it can be uncomfortable if you don't happen to like what your acquaintance happens to be making. So, that said, I wouldn't review this if it couldn't honestly stand on its own two legs, and Hymns, Angus's solo debut (his dayband is the Wheat Pool) is more than capable of doing so. It's a strong collection of heartfelt folk songs that don't simply emulate the work of his other project, they find their own particular palette to draw from. Gently lapping harmonies and spacious atmosphere let songs like album standouts "Oh Rodeo" and "Scaffold Christ" develop their own gravitas. The more upbeat "Swallow It Whole" is a sunshine sketch of old memories anchored to acoustic pop—"We were sneaking round / We were breaking vows," goes part of the refrain, which pulls on youthful nostalgia with a sense of warm reflection rather than bittersweet lament. If the latter half of the album leans a little heavy towards the precious side of pop-folk—though the mid-song vocal burst of "Cold, Cold Ground" helps alleviate the feeling—you'll hardly notice. At just 25 minutes to span eight songs, Hymns sweeps by, disappearing before it wears out its sense of freshness. And however brief, these are very welcome songs to sit with. PAUL BLINOV // PAUL@VUEWEEKLY.COM

´´´´ Of the Days magically shows the striking and relaxed relationship a man can have with his guitar. More than most artists who do the singer-songwriter thing, Grey Reverend sounds like he's at home in simplicity—in this plainness, the sounds are clean but subtly remarkable. "Altruistic Holiday," starts Of the Days off with whisper-quiet, summery guitar immediately reminiscent of Seu Jorge's work (he covered Bowie on The Life Aquatic soundtrack), where Grey's voice is met note-for-note with his instrument, setting the listener up for the minimalism and talent that's to follow. Of the Days is a fine display of an underappreciated talent—a quiet gift of a beautiful voice and simple instrument. CURTIS WRIGHT // CURTIS@VUEWEEKLY.COM

VUEWEEKLY AUG 4 – AUG 10, 2011

MUSIC 45

46 MUSIC

VUEWEEKLY AUG 4 – AUG 10, 2011

FAX YOUR FREE LISTINGS TO OR EMAIL

DEADLINE:

folk/jazz/pop/ singer-songwriter live music Thu; 9:30pm11:30pm; no minors; no cover

" Toby

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" Toby Paul Fuellbrandt; all ages; 7pm; $5 (door) The Red Hotz " Doc Holiday

Ozbourne Experience, Motorhezbollah, Sanktuary; 9pm Emergfest: Suite Fri Main Stage: Lissie, Taj Mahal Trio, Noah and the Whale; 9pm-12:30am (Session Stages 6-9pm); edmontonfolkfest.org/ performers-2/schedule live music every Fri; 7-10pm; $10 The Uptown Jammers (house band); every Fri; 5:30-9pm Celeigh Cardina, Daniel Zeggelaar duo, Daughters of England; 8pm : LivRock Summer Concert: Sister Gray, The Apresnos, This Girl, That Boy; 5-11pm; $15-$75 (w/backstage pass) at liverinfo.ca, 780.444.1547; proceeds support the Canadian Liver Foundation Jam session every Fri; 8pm; no cover s "7 8 Harpdog Brown and Graham Guest (blues); $15 " " Headwind (classic pop/ rock); every Fri; 9pm; no cover # Rock 'n' roll open mic every Fri; 8:30pm; no cover " Alcoholic White Trash, Lesbian Fist Magnet, Fuquored; $10; no minors Eldorado Creek (country) 80-D; $5 The Secretaries, Hellfire Special; Throttle, Of Nature; 8pm; $10 (adv) Hottest dueling piano show featuring the Red Piano Players every Fri; 9pm2am : Xander Quinn Metal Fest 2011: Order of Chaos, Miskatonic, Veil of Hinnom, Through The Trenches, Unity Through Tradgedy, BTYB : (' ((0 TJ the DJ every Thu and Fri; 10pm-close Billy Ringo ! Breezy Brian Gregg every Fri; 3:305:30pm ! The Kyler Schogen Band; 8-12

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Hottest dueling piano show featuring the Red Piano Players every Sat; 9pm2am : )( (-3(

VUEWEEKLY AUG 4 â&#x20AC;&#x201C; AUG 10, 2011

MUSIC 47

An Evening with Gene Simmons

Jump Up 2011; 9pm

= ! Xander Quinn

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= 136') 307) DJ every Sat

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Street VIBS: Reggae night every Sat

$ DJ Touch It, hosted by DJ Papi; every Sat Sold Out Sat: with DJ Russell James, Mike Tomas; 8pm (door); no line, no cover for ladies before 11pm DJs on three levels every Sat: Main Floor: Menace Sessions: alt rock/ electro/trash with Miss Mannered; Underdog: DJ Brand-dee; Wooftop: Sound It Up!: classic Hip-Hop and Reggae with DJ Sonny Grimezz DJ every Sat #: Feel the rhythm every Sat with DJ Phon3 Hom3; 8pm (door); no cover before 10pm Head Mashed In Saturday: Mashup Night Jump Up 2011; 9pm

! Jump Up 2011; 9pm Intimate Saturdays: with DJ Aiden Jamali; 8pm (door) # = !*95) 7) Top tracks, rock, retro every Sat with DJ Damian DJ Christian every Sat For Those Who Know: house every Sat with DJ Junior Brown, Luke Morrison, Nestor Delano, Ari Rhodes

# LGBT Community: Rotating DJs Fri and Sat; 10pm ! Top 40 requests every Sat with DJ Sheri ! # Polished Chrome: every Sat with DJs Blue Jay, The Gothfather, Dervish, Anonymouse; no minors; free (5-8pm)/$5 (ladies)/$8 (gents after 8pm) = 08/508/ Saturdays at Eleven: R 'n' B, hip hop, reggae, old school Show Lounge DJ every Sat ! Transmission Saturdays: Alt, DJ, punk-rock Indie rock, hip hop, and electro every Sat with DJ Hot Philly and guests ! $

Your Famous Saturday with Crewshtopher, Tyler M ! Roller Skating Disco every Sat; 1pm-4:30pm and 7-10:30pm DJ Nic-E spins every Sat Every Fri Sat with DJ Randall-A Oh Snap! Oh Snap with Degree, Cobra Commander, Battery, Jake Roberts, Ten-O, Cool Beans, Hotspur Pop and P-Rex; every Sat Celebrity Saturdays: every Sat hosted by Ryan Maier # Signature Saturdays # Release Saturdays: DJ Kristoff and Friends; 11:30pm

Acoustic jam every Sun; 9pm An Evening with Amon Amarth (hard rock/metal); 7pm (door); all ages; tickets at TicketMaster, UnionEvents.com Sun Main Stage: Blackie and the Rodeo Kings 2-3pm; Andrew Bird, Lyle Lovett and His Large Band, k.d. lang and the Siss Boom Bang 7-11pm; Finale; ; edmontonfolkfest.org/ performers-2/schedule " $ < Tama Neilene (U22 Productions); 12-2pm Open jam/ stage every Sun hosted by Me Next and the Have-Nots; 3-7pm

= 5

-&)35 Open stage/jam every Sun; 2-6pm

! Sun Soul Service (acoustic jam): Willy James and Crawdad Cantera; 3-6:30pm

: = +4,6 Open mic every Sun hosted by Tim Lovett

! # DIY Sunday Afternoons: 4pm (door), 5pm, 6pm, 7pm, 8pm (bands)

! # Mason Rack

# Open mic every Sun; 9:30pm-1am

Jazz on the Side Sun; 6pm; $25 if not dining

Seven Strings Sun: Dawn in the City; $5

! Band War 2011/Battle of the bands, 6-10pm; Open Stage with host Better Us Than Strangers, 10pm-1am # Celtic open stage every Sun with Keri-Lynne Zwicker; 5:30pm; no cover : Open jam every Sun; 3-8pm

: Open stage jam every Sun; 4pm = 06/5%+/ 26+1.)/5 0 01 Live music every Sun; 2-4pm ! Sun Blues Jam: hosted by Blues Curry and Javed; 3-7pm

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48 MUSIC

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9020 McKenney Ave, St Albert, 780.458.0860 : 11010101 St # 10004 Jasper Ave, 7870.990.1255, thetreasurey.ca # 10740 Jasper Ave, 780.428.8655, vinylretrolounge.com ! 15135 Stony Plain Rd, 780.758.2058 ! 12416-132 Ave, 780. 451.5506 ! = )( ))3 Quality Inn North Hill, 7150-50 Ave, Red Deer, 403.343.8800 ! " 10119 Jasper Ave ! 8120-101 St, 780.436.2286 " ! 9303-50 St # 10028102 St, 780.994.3256, yafterhours.com

Acoustic instrumental old time fiddle jam every Mon; hosted by the Wild Rose Old Tyme Fiddlers Society; 7pm Michael Buble, Naturally 7; 8pm; $29, $45, $75, $115 Acoustic open stage every Mon; 9pm

Main Floor: Blue Jayâ&#x20AC;&#x2122;s Messy Nest: every Mon with DJ Blue Minefield Mondays/House/Breaks/ Trance and more with host DJ Pheonix, 9pm ! !5 Metal Mon: with DJ S.W.A.G. ! Industry Night every Mon with DJ Chad Cook ! Madhouse Mon: Punk/ metal/etc with DJ Smart Alex

! Mason Rack Open stage every Tue; with Chris Wynters; 9pm Tue Blues Jam with Ammar; 9pm-1am Jimmy Ordge ! Celtic jam every Tue; with Shannon Johnson and friends; 9:30pm

Open stage every Tue; with Mark Davis; all ages; 7:3010:30pm Open stage jam every Tue; hosted by Gary and the Facemakers; 8pm 7 0/&&0 Open mic every Tue; 8-10pm 7 0#+)&4 ()+&/ ($/#/4 Open mic every Tue; 7-9pm 7 1**&/3,,% Open stage/open mic every Tue; 7:30pm; no cover All Star Jam every Tue; with Alicia Tait and Rickey Sidecar; 8pm 5 Open stage every Tue; hosted by Paul McGowan; 9pm

Main Floor: alternative retro and not-so-retro every Tue; with Eddie Lunchpail; Wooftop: From dub to disco: One Too Many Tuesdays with Rootbeard

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

! DJ Arrow Chaser every Live hip hop and open mic with DJs Xaolin, Dirty Needlz, Frank Brown, and guests; no cover Creepy Tombsday: Psychobilly, Hallowe'en

horrorpunk, deathrock with Abigail Asphixia and Mr Cadaver; every Tue ! 7 '40& 2& Latin and Salsa music every Tue; dance lessons 8-10pm ! High Anxiety Variety Society Bingo vs. karaoke with Ben Disaster, Anonymouse every Tue; no minors; 4pm-3am; no cover Experimental indie rock, hip hop, electro with DJ Hot Philly; every Tue

Main Floor: Glitter Gulch: Brian Dunn, Dave Phillips; 8pm

! Mason Rack Static Thought; 9pm Acoustic jam every Wed, 9pm; no cover 7 '40& 2& Open mic every Wed (unless there's an Oilers game); no cover " 6 Open stage with Randall Walsh; every Wed; 7-11pm; admission by donation Patio Series: TBA, Berna-Dean Holland; 7:30pm; $8 at the Festival Place box office, TicketMaster

5 Little Flower Open Stage every Wed with Brian Gregg; 8pm-12 Breezy Brian Gregg every Wed; 121pm Open stage every Wed with Jonny Mac, 8:30pm, free " Open stage every Wed with host Cody Nouta; 9pm Jimmy Ordge Troubadours and Tales: 1st Wed every month; with Tim Harwill, guests; 8-10pm ! Open Stage every Wed hosted by JTB; 9pm-1am ! Acoustic Bluegrass jam presented by the Northern Bluegrass Circle Music Society; Slow pitch for beginners on the 1st and 3rd Wed prior to regular jam every Wed, 6.30pm; $2 (member)/$4 (nonmember) Wed Night Live: hosted by dueling piano players; 8pm-1am; $5 7 Rick Mogg (country) 7 ,1+0#(+ .1(-*&+0 Open mic every Wed; 8-10pm

Rev'd Up Wed: with DJ Mike Tomas upstairs; 8pm

Main Floor: RetroActive Radio Wed: alt '80s and '90s, Post Punk, New Wave, Garage, Brit, Mod, Rock and Roll with LL Cool Joe; Wooftop: Soul/breaks with Dr Erick

Really Good... Eats and Beats: every Wed with DJ Degree and Friends

!5 DJ Dust 'n' Time every Wed; 9pm (door); no cover Treehouse Wednesday's Wind-up Wed: R&B, hip hop, reggae, old skool, reggaeton with InVinceable, Touch It, weekly guest DJs Hip hop/ R&B with DJ Spincycle ! Wed Pints 4 Punks: with DJ Nick; no minors; 4pm3am; no cover Punk and â&#x20AC;&#x2DC;80s metal every Wed Guest DJs every Wed Wild Style Wed: Hip-Hop; 9pm Wild Style Wed: Hip hop open mic hosted by Kaz and Orv; $5

SLIDESHOW THE BURNING HELL WED, JUL 20, 2011 / HAVEN SOCIAL CLUB

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

VUEWEEKLY AUG 4 â&#x20AC;&#x201C; AUG 10, 2011

MUSIC 49

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VUEWEEKLY AUG 4 â&#x20AC;&#x201C; AUG 10, 2011 VUEWEEKLY

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# # # Â&#x153; J]qfgd\k 9dZ]jlY Emk]me .,*.%,( 9n]!$ O]lYkcaoaf Â&#x153; >]Ylmjaf_ h]j^gjeYf[]k Zq l`] ;YfY\aYf >gj[]k KfgoZaj\k Yf\ gl`]jk Â&#x153; Aug 7-8

% Â&#x153; Kl 9dZ]jlÂżk Caf_kogg\ HYjc Â&#x153; KYl$ 9m_ )+$ K]h )($ )%*2+(he Â&#x153; *(3 j]_akl]j Yl /0(&,-,&(/() ]pl& **)3 ]2 af^g8_Yl]oYqYkkg[aYlagf&[Y \jgh%afk Yj] o]d[ge]!

JONESIN'CROSSWORD

MATT JONES // JONESINCROSSWORDS@VUEWEEKLY.COM

FREEWILL ASTROLOGY ARIES (Mar 21 - Apr 19) Symbolically speaking, there is a Holy Grail hidden close to you, and you know it, but you haven't been able to find it. The Grail is a golden chalice filled with medicine that could open what needs opening in you. Luckily, you will soon come into possession (symbolically speaking) of a big, thick magical wand that can give you a new advantage. Here's what I conclude: Use your wizard stick to locate the cup of wonder so you can take a big sip.

TAURUS (Apr 20 - May 20) Much of the work you're doing right now is invisible to the naked eye. You're learning a lot while you sleep, drawing sustenance from hidden reservoirs and steadily improving yourself through the arts of creative forgetting and undoing. Continue this subtle artistry. Be discreet. Don't underestimate how important silence and even secrecy may be for you right now. The healing transformations unfolding in almost total darkness should not be exposed or revealed prematurely; they should be protected with vigilance. GEMINI (May 21 - Jun 20) Either Way I'm Celebrat-

Across 1 "Buddy on ___" (Buckethead song) 6 "Pierrot le ___" (Jean-Luc Godard movie) 9 Sheet music header for the viola or bassoon 14 "Drag Me To Hell" director Sam 15 Neighbor of Greece: abbr. 16 Pimiento's place 17 Make an escape 19 Hot dog option 20 Really, really integral baseball stats (or a hair stylist ad interrupted by a cookie ad)? 22 "Annabel Lee" author 23 Alum 24 Hip-hop label "Respecting DJs since 1984" 28 Nat ___ (documentary network, for short) 29 Spooky mammal 32 Native Alaskan 33 Took to court 34 E pluribus ___ 36 Dubliners add liquor to the circle (or a soap ad interrupted by a furniture store ad)? 39 ___ Maarten (Caribbean island) 40 Feels under the weather 41 Sunni's faith 42 One way to wager on horses: abbr. 43 Dachshund diagnoser 44 Ron who's changing his name 45 "Clan of the Cave Bear" author Jean 47 Dept. of the Interior org. that employs forest firefighters 48 Reynolds' impressions of an MTV dimwit (or a cosmetics ad interrupted by a rental car ad)? 54 Stephen Vincent ___ 55 King Arthur's sword 57 Scrabble 3-pointer 58 "Go team!" 59 Circumvent 60 Horny mythical beast 61 Baseball execs 62 Final decision Down 1 Wall St. worker 2 Health scare of 2002-2003 3 "In ___ of flowers..." 4 "___ of the World" (Pat Metheny album) 5 Dirt trail in a park 6 It's a travesty 7 Muffin spread

8 9 10 11 12 13 18 21 24 25 26 27 28 30 31 33 35 37 38 44 46 47 48 49 50 51 52 53 54 56

They make techies look tame Hot chocolate Thunderous event Bellybutton stuff Days before the big day Palin impersonator Gift tag word Wear away Speaker's platform "The river," in Mexico Fakeout move By a hair Remorseful feeling Like an old lady (anagram of ELIAN) Sushi fishies Director of 2011's "The Adventures of Tintin" Band with the 2010 album "Congratulations" Comes to the rescue Money in the sky Thomas Edison's middle name Speak Family of classical composers Test release Student's daily workload Big test Lead single from The Smashing Pumpkins' "Gish" Place to do your bidding? Brew Little bullets Rock's ___ Speedwagon

LAST WEEK'S ANSWERS

ing. That's the title of a poetry comic book by Sommer Browning, and I suggest it as a worthy title for your life in the coming days. The adventure you're in the midst of could evolve in several possible directions, each with a different rhythm, tone and a distinct lesson and climax. But regardless of the path you end up taking, I'm almost positive you will have good reasons to throw yourself a party at the end. I also advise you to decide which version of the story you prefer, then make it your strong intention to materialize it.

CANCER (Jun 21 - Jul 22) During the skunk mating season, two robust members of the species made the crawl space beneath my house their trysting place. Siren-like squalls rose from their ecstasy, spiraling up into my kitchen accompanied by plumes of a stench that I imagined the Italian poet Dante, in his book The Inferno, might have identified as native to the ninth level of hell. Being as instinctively empathic as I am, I naturally appreciated how much delight the creatures were enjoying. At the same time, I wished they would take their revelry elsewhere. So I called on the Humane Society to flush them out without harm. If anything resembling this scenario takes place in your sphere—if someone's pursuit of happiness cramps your style—I suggest you adopt my gentle but firm approach.

LEO (Jul 23 - Aug 22) Astronomer Sir Fred Hoyle rejected the prevailing scientific theory that life on this planet emerged by accident from a primordial soup. The chance of that happening was as likely as "a tornado sweeping through a junkyard [and assembling] a Boeing 747 from the materials therein." I do think that something less amazing, but still semi-miraculous, is in the works for you, Leo. I'm getting a vision of a windy thunderstorm blowing through a junkyard in such a way as to assemble an impressionistic sculpture of you wearing a crown of flowers and X-ray specs as you ride confidently on the back of a lion.

VIRGO (Aug 23 - Sep 22) In the 1939 film The Wizard of Oz, the yellow brick road symbolizes a path leading to all of life's answers. Dorothy and her companions follow that road in the belief it will take them to the all-powerful Wizard of Oz in the Emerald City. While I don't mind you playing with the idea that you may eventually find your own personal yellow brick road, for the immediate future I urge you to adopt the attitude Elton John articulated in his song, "Goodbye Yellow Brick Road": "Oh I've finally decided my future lies beyond the yellow brick road." It's time to add more nuts-and-bolts pragmatism to your pursuit of happiness.

VUEWEEKLY AUG 4 – AUG 10, 2011

ROB BREZSNY // FREEWILL@VUEWEEKLY.COM

LIBRA (Sep 23 - Oct 22) Some readers get enraged about the "crafty optimism" I advocate in my book Pronoia Is the Antidote for Paranoia. Given what they regard as the miserable state of the world, they feel it's a sin to look for reasons to be cheerful. One especially dour critic said that after reading a few pages of the book, he took it out in his backyard, doused it with gasoline and incinerated it. You may face similar opposition in your attempts to foment redemption, smoke out hope and rally the troops, Libra. I urge you to be extra fierce in your devotion to peace, love and understanding. SCORPIO (Oct 23 - Nov 21) My ego is a supreme adversary. It tries to trick me into thinking its interests are exactly the same as my own. It periodically strives to bamboozle me into believing that I should be motivated by pride, competitiveness, or judgmental evaluations of other people. When I'm not vigilant, it lulls me into adopting narrow perspectives and subjective theories that are rife with delusions about the nature of reality. Don't get me wrong: I still love my ego. Indeed, being on good terms with it is my only hope for keeping it from manipulating me. I bring this up, Scorpio, because it's prime time for you to come to a riper understanding of your own ego so you can work out a tougher, more nononsense agreement with it. SAGITTARIUS (Nov 22 - Dec 21) Sagittarian author Derrick Jensen wrote the book A Language Older Than Words. He weaves together the tale of his abusive childhood with an angry analysis of the damage human beings have done to the earth and each other. It's a wrenching text, but in the end it offers redemption. A review by Publisher's Weekly says that "Jensen's book accomplishes the rare feat of both breaking and mending the reader's heart." I invite you to pursue a similar possibility. Summon the courage to allow your heart to be broken by a blessed catharsis that will ultimately heal your heart so it's even stronger and smarter than it was before the breaking.

CAPRICORN (Dec 22 - Jan 19) Right now you may be feeling especially squeezed by one of the apparent contradictions in your life. But it's not as contradictory as you think. Its seemingly paradoxical elements are in righteous harmony with each other at a higher level of understanding. I believe you can rise to that higher level so as to see what has been hidden from your view. For best results, let go of any temptation you might have to act as if you're oppressively defined by your past.

AQUARIUS (Jan 20 - Feb 18) Psychologist and priest David Rickey counsels people who are about to be married. "You are perfectly mismatched," he likes to tell them. "As much as you think you have chosen each other because of beauty or shared interests, the deeper reason is that unconsciously you know the other person is going to push your buttons. And the purpose of relationships is for you to discover and work on your buttons." Aquarius, you're in a phase when you have extraordinary power to learn from and adjust to the challenges that come from having your buttons pushed by those you care about.

PISCES (Feb 19 - Mar 20) In his song "Crazy," British singer Seal repeats the following line numerous times for emphasis: "We're never going to survive unless we get a little crazy." I recommend it as a mantra for you to rely on in the coming days. Your emotional health will depend on your ability to laugh at yourself, play along with absurdity and cultivate a grateful reverence for cosmic riddles. Being a little crazy will not only keep you robustly sane; it will also allow you to enjoy and capitalize on the divine comedy life presents you with.

BACK 51

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CLASSIFIEDS

130.

Coming Events

Lite 95.7 Community Scoop Experience the rich culture of Latin America! The 8th Annual Latin Festival is on Aug. 7 at 11310-111 Ave. from 10am - 5pm. For more info find the Summer Latin Festival on Facebook or call Olivia at 780-455-6300. Lite 95.7 Community Scoop Support a great cause and fill your belly with delicious food! The Ronald McDonald House is holding it's Red Shoe Crawl from 1-7p.m. on Aug. 7 on Whyte Ave. For more info head to... www.rmhnorthernalberta.org.

510.

Legal Notices

Notice, Garry Roland Nordell has filed his secured party creditor documents in Washington States UCC office.

1005.

Help Wanted

Italian cafe (Tiramisu) looking for cooks ($13-$14/hr) and server ($10/hr) email resume to cmpmik@gmail.com

1005.

Help Wanted

The Bangkok Express in South Edmonton is seeking kitchen helper. Duties include prepping Asian foods, stocking shelves, cleaning. Operating rice cookers, and other kitchen equipment. $11.00-14.00 per hr. Full Time. please email resume to info@bangkokexpress.ca The Bangkok Express in South Edmonton is seeking a CookThai Food. Duties include prepping and cooking Thai food, operating rice cookers, and other kitchen equipment. $13.00-16.00 per hr. Full Time. please email resume to info@bangkokexpress.ca

1600.

Volunteers Wanted

Help Create a Future Without Breast Cancer - Volunteer with the Canadian Breast Cancer Foundation. Call 780-452-1166. The Canadian Cancer Society needs volunteers to drive clients to and from cancer-related treatment. Volunteer in a homework club to help immigrant children & youth succeed in school! www.emcn.ab.ca or call Chissa@423.9516

1600.

Volunteers Wanted

VOLUNTEERS NEEDED for the Schizophrenia Society of Alberta’s OPEN MINDS WALK & RUN! Contact Justine at julan@schizophrenia.ab.ca or 780-452-4661. More information at www.walkandrun.ca. Want to be featured on Lite 95.7's Community Scoop? Get in touch with Robin! Share your story and give her your tip: robin@lite957.ca

2020.

Musicians Wanted

Ele. ukulele player seeking rockabilly/alt country or indie pop band. Call Luke 780-919-1395

2040.

Music Instruction

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

2200.

Massage Therapy

IF YOU'RE TIRED OF INEFFICIENT THERAPY. Therapeutic Massage. Open Saturdays. Heidi By appointment only 1-780-868-6139 (Edmonton)

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Crissy - Gorgeous blue-eyed California Barbie. Very busty, tanned and toned. Mae-Ling - Sweet and sexy, Chinese Geisha doll with a slender figure. Candy - Petite, busty, bilingual African princess. Nicky - Mysterious, naturally busty darling with sandy blonde hair. Faith Extremely busty flirtatious blonde, that will leave you wanting more. AhanaDelightful, petite, naturally busty, blue-eyed brunette specializing in fetishes Mercedes - Exotic, sexy, young Puerto Rican sweetheart, busty with green eyes. Vita - Slim, sexy, Brazilian bombshell with big eyes and pouty lips. Kasha - Girl next door, naturally busty, European cutie. Monica - Slim, busty, caramel, Latina beauty. Jewel - Playful, energetic brown-eyed brunette with curves in all the right places. Carly - Tall, busty, European cutie. 9947 - 63 Ave, Argyll Plaza www.passionsspa.com

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VUEWEEKLY AUG 4 – AUG 10, 2011

COMMENT >> GENDER

A matter of identity

Facebook users want to be able to reveal themselves

n attaining Facebook founder Mark Zuckerberg's open world, it seems rather antithetical to limit the site's gender options to only two. Transgender, pangender and multigendered Facebook users have started a campaign to change that. A petition launched on allout.org asks Facebook's director of social good Randi Zuckerberg to change Facebook's gender listing to become something more reflective of people's identities. The question has become more pertinent as Google+, the recently launched social network competing with Facebook, showed flexibility in responding to early users' demands for a more gender-neutral environment allowing for updates on users' actions to be referred to without gendered pronoun usage. But the debate over gender identity is about more than how the networking site itself refers to the user: it's about the growing importance of online representations of self. While both Google+ and Facebook allow for gender to be masked, neither really allows for the flexibility that is a growing multi-gender society. The options available on online platforms should be about more than masking an identity, but also about assisting to define and feel confident in identity. The

motivation behind Facebook and the corresponding mass interest is based on our desire to know more about each other. Although not always a good thing, it's a desire that is reflected in the consistent growth in Facebook users. Part of this is a reflection of our desire to be active agents in the creation of our identity. David Gauntlett, author of Media, Gender and Identity, believes identity creation is a "known

choice for identity should be shattered, and replaced with "multiple forms of identity—not a new range of restrictive categories, but an abundance of modes of self-expression." While there may be an urge to scoff at Facebook's role in this transition, it could become the very place for this social change to begin to occur. The growth of the medium and its importance in communication and cultural significance cannot be ignored. Over

The debate over gender identity is about more than how the networking site itself refers to the user: it's about the growing importance of online representations of self.

requirement" in Western society. "Because 'inherited recipes for living and role stereotypes fail to function,' we have to make our own new patterns of being," Gauntlett says, quoting sociologist Ulrich Beck. Gauntlett believes the social world is no longer confident in its traditions—that identity has become a much more experimental endeavour. There is an increasing desire to reflect the fact the world is multigendered beyond just the binary options normally presented. Sociologist Judith Butler has stated that the binary

half of the population of Canada has a membership on the site and its role as a tool in social movements around the world is a phenomenon only just beginning to be understood. At an individual level the site excels at contributing to social capital—the creation of connections. By restricting the creation of true identity, Facebook is restricting the ability of its members to create their social capital—the exact opposite of what the site intended. V SAMANTHA POWER // SAMANTHA@VUEWEEKLY.COM

PsychicJason Readings D. Kilsch with

turning non-believers into believers

Daily appointments at Mandolin Books (6419 - 112 Ave.) $30/half-hour - $60/hour Call (780) 479-4050 Or call Jason (780) 292-4489

VUEWEEKLY AUG 4 – AUG 10, 2011

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COMMENT >> SEX

Listen up

Dan lets his readers tell their stories Hey, everybody: two things ... excused myself to go back to the hotel. First: last week, the GOP officially On my way, I ran into another teen"denounced" me. Because the nation ager, a girl. I struck up a conversation is at peace, Americans are going and was surprised to hear her back to work, and the climate answer in a British accent. situation is completely under Like myself, she was bored controlâ&#x20AC;&#x201D;so, hey, why not go as hell. I invited her to my m o ekly.c vuewe after the gay dude who writes savagelove@ hotel room to get high. I Dan that smutty sex column and make my move, which she avage goes along with. We're both S gives Rick Santorum fits? Second: last week, a Savage Love naked when I get an awful idea reader denounced me for failing to dethat would make any sane and sober vote any recent column inches to my girl run screaming for the hills. Being readers' titillating anecdotes. As I hate young and ripped, I vocalize it without disappointing a reader, I invited folks to considering the outcome: "What if you send in their dirty/sexy vacation stories. pretend to be Hermione Granger?" This Here's the best of the bunch. was about the time of the fourth movie

E SAVAG

LOVE

I was 15 and on vacation in Cape Cod. Beaches never did anything for me, so I

release, and I had a big crush on Emma Watson. As soon as the words left my lips, I knew that I wasn't getting laid that day. But I got laid that day. THE WANDER YEARS

Head to vueweekly.com/sex and Expose your Naked Truth

Seven years ago, we went to a wedding. Upon arrival, my girlfriend and I found ourselves in the quaintest, daintiest, lace-doiliest B&B we'd ever seen. The wedding was a wonderful affair held in a historic building. By the time the two of us returned to the B&B, we were drunk, happy and horny. If I had been reading Savage Love back then, I would've known that we were breaking all the anal sex rules: it had been a first-date activity for us, we never took it slow, and we never used lots of lube. It had always worked before. This time, however, was different. With her on all fours on the lace doily bedspread, I pulled back and noticed what could not be described as santorum (no lube, just fecal matter). We immediately headed for the shower with her exclaiming loudly how much she "hates when there's shit!" We got clean. The sheets were a different story. I can't remember whether we left them there or stole them, but I do remember the

chilly farewell we received from the lady who ran the place. It occurred to me then just how nonsoundproof the walls of a 150-year-old clapboard house probably are. THAT COMES FROM THERE?

I was 19. He was older and married. We were both in Utah for a folk-dancing event. He and his wife were nonmonogamousâ&#x20AC;&#x201D;in the open way, not in the (sometimes creepy) Mormon way. His wife wasn't interested in playing with me, so he and I fucked in the back of his truck while she folk-danced at the folk festival I'd travelled to frickin' Utah to

attend. The next day, he drove me the hour back to their house in Salt Lake City so we could fuck some more. The next time we ran into each other was at yet another folk festival. We found an unused second-floor room in one of the buildings and used a piano to barricade the door. We left the window open for ventilation, and so that our vocalizations could rain down on the heads of the innocent Seattleites going about their folk festival business. FRICKIN' UTAH

I'm a bi male, 25, and into bondage. Four years ago, I responded to the personal ad of a reasonably attractive French guy with an unreasonably amazing dungeon. I sent pictures and said I'd love to spend a weekend in his dungeon if I ever made it over. He offered to pay for a plane ticket if I would spend a week in his dungeon. After doing Christmas and NYE with

try for

free

54 BACK

BEST WEEK EVER

As we were leaving, we could see their shadows from outside the tentâ&#x20AC;&#x201D;meaning we had just done a four-way shadow show for everyone in the campsite.

meet real women tonight

www.livelinks.com

the family, I headed to Paris for the last week of my winter break. Within 48 hours, I was begging him to let me out. He agreed to let me go if I still wanted out in two hours. But the bondage was "only real now" that I wanted out, he said in his sexy French accent, and he told meâ&#x20AC;&#x201D;while slowly stroking my dickâ&#x20AC;&#x201D;that I was beautiful and brave and strong and that I could get through the week. Which is what I did. On my last night in Paris, he took me to an expensive restaurant, ordered a bottle of champagne and toasted my bravery and strength.

-ORE ,OCAL .UMBERS s

VUEWEEKLY AUG 4 â&#x20AC;&#x201C; AUG 10, 2011

About 10 years ago, when I was 15, my very lenient parents took me and two of my girlfriends to one of those allinclusive resorts in Mexico. We partied and drank with some nice Mexican boys we met on the beach. On our final night, we all downed a bunch of flaming shots. Long story short: I ended up falling through a second-story window and cutting my head pretty badly, one of my girlfriends and I got into a drunken fistfight (I still have no idea about what), and then I lost my virginity on the beach to one of those nice Mexican boys. I woke up the next morning with a hangover, drunken shits and a pussy full of sand. The plane ride back was miserable ... but, oh, what a memory.

us to their campsite later that night. That's when I learned four is the tangle thresholdâ&#x20AC;&#x201D;four bodies can literally get so tangled you have to stop to undo yourselves. They had a little propane lamp, and as we were leaving, we could see their shadows from outside the tentâ&#x20AC;&#x201D;meaning we had just done a four-way shadow show for everyone in the campsite. ROB #2

I have just returned from vacationâ&#x20AC;&#x201D; or "holiday," as we say in the UKâ&#x20AC;&#x201D;so here goes: my boyfriend and I both love hiking, so off we went to the Lake District, one of the prettiest walking regions in the country. The highest mountain in England, Scafell Pike, is there, so of course we had to climb it, just like pretty much every other tourist. What most of them don't do is attempt the two-hour ridge traverse to reach the top of the second highest mountain in England, Scafell. We did. Whereas Scafell Pike had been so crowded there was no space for us to sit and have lunch, Scafell was deserted. I've always had a kink for outdoor sex, and it seems he has a fetish for mountain scenery, because we had possibly the best sex we've ever had on top of that mountain, enjoying spectacular views of the gorgeous English countryside. There is nothing like being fucked while staring out at the landscape that inspired the poetry of Wordsworth and Coleridge! CLIMBER LOVES IMPULSIVE FELL FUCKING

GOOD TIMES

Thanks for sharing, vacationers. Your regularly scheduled sex advice returns next weekâ&#x20AC;&#x201D;now go Google "santorum," everybody. V

In the Provincetown dunes, my BF and I met another couple with the same first names as ours. They invited

Find the Savage Lovecast (my weekly podcast) every Tuesday at thestranger.com/savage.

BOB THE ANGRY FLOWER

BACKWORDS

When in search of colour, downtown is not the first place that jumps to mind. However, random acts of art bring colour back to the streetscape. This temporary installation at 99 Avenue and 108 Street is an unexpected splash in an otherwise drab area riddled with gravel parking lots and prefabricated concrete office towers. In a similar style to guerilla knitting, the artist has bombed a railing with colourful fabric and created

VUEWEEKLY AUG 4 â&#x20AC;&#x201C; AUG 10, 2011

CHELSEA BOOS // CHE@VUEWEEKLY.COM

something that draws your eye away from the shoes of the person walking in front of you. In the time it took to snap this photo, at least five people coming out of this building looked up and smiled. V Chelsea Boos is a multidisciplinary visual artist and avid flĂ˘neur. Back Words is a discussion of her explorations in Edmonton and a photographic diary of our local visual culture.

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VUEWEEKLY AUG 4 – AUG 10, 2011