2 // FRONT
VUEWEEKLY // NOV 4 – NOV 10, 2010
COVER
INSIDE UP FRONT // 4/ 4 6 8 9 9
THE KIDS AREN'T ALL RIGHT //14
Vuepoint Media Links Dyer Straight In the Box Bob the Angry Flower
Nothern Light Theatre puts on The 4th Graders Present an Unnamed Love-Suicide
DISH // 10 11 Veni, Vidi, Vino
EDUCATION
ARTS // 14 15 Hopscotch
FILM // 30 31 Screen Caps
MUSIC // 34/ 38 Gutterdance 39 Music Notes 42 New Sounds 43 Old Sounds 43 Quickspins
20
Listening has to come before educating
28
Mental health should not be hidden subject
AT VUEWEEKLY.COM
BACK // 45 46 Queermonton 46 Lust for Life 46 Free Will Astrology
EVENTS LISTINGS 19 Arts 33 Film 36 Music 45 Events
// JProcktor
MUSIC Slideshow: Nashville Pussy
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IssuE no. 785 // NOV 4 – NOV 10, 2010 // Available at over 1400 locations Editor / Publisher.......................................... RON GARTH // ron@vueweekly.com MANAGING Editor............................................. EDEN MUNRO // eden@vueweekly.com associate mANAGING editor................... BRYAN BIRTLES // bryan@vueweekly.com NEWS Editor........................................................ SAMANTHA POWER // samantha@vueweekly.com Arts / Film Editor........................................... PAUL BLINOV // paul@vueweekly.com Music Editor....................................................... EDEN MUNRO // eden@vueweekly.com Dish Editor........................................................... BRYAN BIRTLES // bryan@vueweekly.com EDITORIAL INTERN.............................................. Meaghan Baxter // meaghan@vueweekly.com Staff writer....................................................... DAvID Berry // david@vueweekly.com creative services manager.................... MICHAEL SIEK // mike@vueweekly.com production.......................................................... CHELSEA BOOS // che@vueweekly.com ART DIRECTOR....................................................... PETE NGUYEN // pete@vueweekly.com Senior graphic designer........................... LYLE BELL // lyle@vueweekly.com WEB/MULTIMEDIA MANAGER........................ ROB BUTZ // butz@vueweekly.com LISTINGS ................................................................ GLENYS SWITZER // glenys@vueweekly.com
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CONTRIBUTORS Ricardo Acuña, Steve Anderson, Mike Angus, Josef Braun, Jonathan Busch, Dave Cournoyer, Nick Dehod, Gwynne Dyer, Amy Fung, Brian Gibson, James Grasdal, Whitey Houston, Sue Huff, Brenda Kerber, Ted Kerr, Stephen Notley, Mary Christa O'Keefe, Roland Pemberton, LS Vors, Mimi Williams, Dave Young Distribution Todd Broughton, Alan Ching, Barrett DeLaBarre, Mike Garth, Aaron Getz, Raul Gurdian, Justin Shaw, Dale Steinke, Wally Yanish
VUEWEEKLY // NOV 4 – NOV 10, 2010
FRONT // 3
UP FRONT
EDITORIAL
Vuepoint Missing pieces samantha power
// samantha@vueweekly.com
A
popular topic in education research, or perhaps simply media reportage of education research, is seen in the numerous stories on the feminization of education, the increased numbers of women as undergraduates and the higher graduation rates of women. All good news, but characterized recently as a crisis in education, where boys no longer have a place in a female-centered learning model. What's missing is an analysis on how these gains in women's education are actually translating into women's participation in society, leadership roles and politics. It seems once women get past the education system, things look a little bleak. To look at the numbers, the education system as an employer continues to hire men over women: the proportion of female tenured professors to male was only 30 percent according to CAUT. In 2008 only 22 percent of full-time university teachers were women. And just this past summer when 19 Canada Excellence Research Chairs were granted, all of them went to men. If the education system caters so much more to women, why haven't professorship and teaching positions reached parity? The world outside of the education sys-
tem doesn't look much better. For the last 13 years Canada has slid further down the international list of countries who elect women, coming in 50th this year for gender parity with only 23 percent of MPs in Parliament being women. In the business world only 13 percent of directors at Canada's top 500 private and public sector employers were women. Changing the education system to be far more inclusive to women has resulted in greater participation and success, but when the grad cap comes off, not a lot has changed in the last 20 years. Part of the problem is an often overlooked aspect of education: childcare. Until there is a national, accessible and affordable childcare system, women's participation in jobs and leadership positions—positions leading to promotions and elections—will lag behind men's. Maternity leave puts up huge obstacles to women reentering the workforce. Women are less likely to find a job matching their credentials after they leave the workforce and overall women have less confidence on reentering the workforce. Canadians may have improved the situation of women in the education system, but there are major policy and attitude changes to be made to the education sector and job market before those gains will have impacts on women's entry and success in the workforce. V
GRASDAL'S VUE
VUETUBE >> WATER WARS
YOURVUE Your Vue is the weekly roundup of all your comments and views of our coverage. Every week we'll be running your comments from the website, feedback on our weekly web polls and any letters you send our editors.
With the discovery of hundreds more dead and dying birds on Syncrude's tailings ponds, should the premier speed up his promise to shut down wet tailings ponds?
Yes 16 (69.57%) No 7 (30.3%) COMMENTS Migratory birds are at risk around the world and, despite the public outcry, the AB government seems to be largely apathetic. We have a responsibility to conserve these waterfowl populations. The oil companies did what they could to try and prevent this problem. I believe the people at the companies involved are even more saddened at this event and will do what they humanly can to prevent it. I find that treating them like they have to be punished and coercered and punished into compliance is unnecessary and unjust. Find this WEEK'S webpoll at vueweekly.com and send us your comments.
4 // FRONT
Water is essential to life, but it may not flow as freely in the future. Council of Canadians national chairperson Maude Barlow spoke in Edmonton on the increasing threat of privatized water markets. GO TO VUEWEEKLY.COM to watch the video of Maude Barlow's talk
VUEWEEKLY // NOV 4 – NOV 10, 2010
Revised history
Capital Power is changing its commitment to the environment mimi williams // mimi@vueweekly.com
B
ack in 2001, facing significant opposition from numerous resident and community groups over its application to expand the Genesee 3 power plant, Epcor amended its application to the Alberta Energy and Utilities Board (EUB) and volunteered to cut sulphurdioxide emissions from its proposed coal-fired electrical generating plant by more than half. "The commitments made by Epcor before this board and under oath are not made lightly," project manager Terry Bachynski told the Edmonton Journal at the time. In granting its approval, the EUB relied on Epcor's commitments and imposed operating conditions with strict environmental standards and emission
controls. The approval also included a caveat that the plant expansion design had to include provisions for future improvements in environmental performance should more strict emission standards be introduced in the future. The 83-page EUB approval stated, "The board would not only direct Epcor to fulfill its voluntary commitment of offsetting greenhouse gas (GHG) emissions, such that they are equivalent to those from a natural gas combined cycle plant. The board also directs those offsets to be updated to correspond to any future changes in emission standards for coalfired power plants or a corresponding gas-fired power plant." At the time, although it was still unclear how the federal and provincial governments were going to regulate emissions to fit in with the Kyoto Accord, nobody,
including the EUB, anticipated that weaker regulations would be introduced. Yet that was exactly what happened. Now, five years into the plant's operation, Capital Power and TransAlta, coowners of Genesee, have applied to the Public Utilities Board (formerly the EUB) for permission to renege on the promises made less than a decade ago. Capital Power, created last year in a controversial spinoff deal approved behind closed doors by Edmonton City Council, is arguing that weaker regulations have come into play and they are being unfairly disadvantaged in the marketplace. In hearings held last week, environmental groups, landowners and major utility companies lined up to oppose the application. Intervenors included ATCO Power, EnCana, Enmax, TransCanada
Energy Ltd, the Paul First Nation and the Clean Energy Coalition. Pembina Institute policy director Chris SeversonBaker represented the Clean Energy Coalition and the Mewassin Community Council, a group of landowners, at the hearing. He notes that none of the same players from Epcor are involved in this application and agrees that Capital Power is doing a bit of a rhetorical tap dance around the record. Severson-Baker says it's clear that the wording of the original approval was intended to ensure that the plant was not exempted from more stringent requirements in the future. "The EUB clearly didn't want the company grandfathered into exemption from more strict future emission regulations. Capital Power is inverting the meaning as far as we are concerned,” he said in an interview. "The
company is attempting to reinterpret history to make the case that somehow lowering the standards actually represents the public interest today." According to the Pembina Institute, coal-fired electricity is responsible for 22 percent of global warming pollution in Alberta, even exceeding the emissions generated by the tar sands. Severson-Baker notes that this application comes at a time when other jurisdictions in Canada are responding to the urgent need to cut greenhouse gas emissions by phasing out the use of coal to generate power. "At a time when Alberta desperately needs to demonstrate leadership on environmental issues, this would be a huge step backwards," he added. A decision on the application is possible before the end of the year. V
a dedicated foreign national which is a person who has arrived through the assistance of someone in violation of immigration law or who cannot be dealt with in a timely manner. If a person is designated in this class, they must be detained, unless they demonstrate undefined exceptional circumstances. Outside of that, the applicant would not have their status reviewed for a minimum of 12 months. The current law, according to the CCLA, requires review after 48 hours of detention. The Green Party is also calling for
a rejection of the bill, pointing out the retroactive clauses, allowing the Minister to impose these rules on refugees who applied for status in as far back as March 2009. The Bill was introduced by Vic Toews on October 21. RCMP estimate 800 – 1200 people are trafficked into Canada every year, with up to 2200 trafficked through Canada. Bill C-49 was proposed by the Conservatives as an attempt to stop this flow of people.
News Roundup UNCLEAR HEALTH CARE
INCREASED DOMESTIC VIOLENCE
A
T
UPE is calling for clarification around Bill 17, which proposed changes to the Alberta Health Act. The Act—introduced and passed first reading on October 28—has critics concerned that there is no strict wording prohibiting the privatization of health care. "We would like to see some clarification on the language used in the Act. For example, do 'health providers' include increasing the presence of private health delivery in the province?" Smith said, adding, "Additionally, no reference is made to protecting the public delivery of health care in Alberta, and that's scary." As well, The Friends of Medicare is concerned the Act does nothing to actually address the problems affecting health care. "Albertans don't need more empty rhetoric and broken promises. We pay good money through our taxes to have a public health system that is there when we need it," said executive director David Eggen. Friends of Medicare also cites the lack of teeth behind the proposed patient advocate and patient bill of rights as ineffective measures in the proposed revisions.
he Alberta Council of Women's Shelters released the shelter statistics for April 2009 to March 2010. Shelters in Alberta accommodated 5601 children and 6169 women. "Alberta continues to have one of the highest rates of family violence in Canada," said the director of member services Carolyn Goard. This past summer the Alberta government directed $2.4 million in funding to prevent violence against women and domestic violence. According to a 2004 Statistics Canada survey Alberta has the highest rates of domestic violence and leads the country in domestic assault, homicide-suicide and stalking. UNPROTECTED WETLANDS
A
wetland protection policy that had been promised by the Alberta government for the summer of 2009 may finally be delivered, but not to the standard that was once proposed. The wetland policy was proposed as no net-loss protection, ensuring that further industrial development does not result in net wetland loss. Greenpeace tar sands campaigner Mike Hudema believes the government has caved to
industry demands. "It's ironic that part of Sycrude's creative sentencing involved preserving a wetland, and yet CAPP, which partially represents Syncrude, fought to scrap the wetlands recommendation and won," said Hudema. "It's clear now just how far Syncrude and CAPP's concern for wetland protection goes—and that's about as far as their pocketbooks." Alberta currently does not have a policy protecting wetlands, while tar sands development is proposed to disturb over 4800 square kilometres of Alberta land, about half of which contains wetland. The recommendation of no net loss comes from an advisory group to the Alberta government which included stakeholders, environmental groups and industry. It was developed by consensus in 2005, only to then have industry send letters of non-support through the Canadian Association of Petroleum Producers.
samantha power
// samantha@vueweekly.com
QUOTE OF THE WEEK
HELP ONE, HURT ANOTHER
A
proposed federal bill may do more harm to those seeking refugee status in Canada. Bill C-49 is proposed to stop human smuggling, but may create greater obstacles to those attempting to gain status as a refugee. The bill aims to create a new status of applicant termed
VUEWEEKLY // NOV 4 – NOV 10, 2010
"We do not at this point in time, and I do not anticipate, that the transfer of public land for agriculture purposes would require public consultation." —Mel Knight, Alberta's Minister of Sustainable Resource Development, after Potatogate was resolved. Nov 2, 2010 Calgary Herald
FRONT // 5
COMMENT >> MEDIA
Thoughts from a crowd When Vancouverites gathered at the W2 topic of crowdsourcing as it relates to jourMedia Arts Centre for the second Fresh nalism. Hermida noted that "news organizaMedia Remixology social, myself and the tions are exploring more collective, collabother organizers expected that orative approaches, often around the conversations would be foedges of their news operations." cused on crowdsourced media By the end of the discussion, making. What we didn't anconsensus emerged that the ticipate was that attendees roles of media makers, artists, edia.ca raticm would have a hunger to talk programmers, owners etc. are democ steve@ about the implications of this shifting. Media editors, for examSteve on ple, could now be looked upon as new form of media making in Anders other spheres of society. taking on more of a curator role. Crowdsourcing, as defined by Jeff Howe who coined the term, is "the act of While it was interesting to survey the role taking a job traditionally performed by a of crowdsourcing in the world of media, designated agent (usually an employee) art, and software, the Remixology converand outsourcing it to an undefined, genersation quickly moved to broader questions ally large group of people in the form of about the role that crowdsourcing (and an open call." The Fresh Media discussion specifically Twitter) plays in social movestarted off with UBC Journalism Professor ments, and its role in the broader offline Alfred Hermida giving an overview of the world. Reilly Yeo, OpenMedia.ca's Manag-
MEDIA
LINKS
6 // FRONT
VUEWEEKLY // NOV 4 – NOV 10, 2010
ing Director, asked a question about the role of social media in social movements, citing a recent widely circulated article by Malcolm Gladwell. Perhaps the best response came from Twitter user Miraj Khaled (@asterix) who said "Twitter is only a platform & crowdsourcing a process. Movements are built by real people with the aid of these tools." Crowdsourcing is a process or mode of production that bases the production of media (or anything else) and decision-making within a community of people. As Asher notes, we are at an "early stage of shifting from hierarchal control structures to much more organic, much more free form" ways of operating. Why not move the behaviours associated with crowdsourcing— collaboration, free sharing, promiscuous creativity—to the offline world. In his book, appropriately titled Crowd-
sourcing, Jeff Howe describes a diverse array of examples of crowdsourcing being put to use, from tracking birds to NASA tracking changes on the surface of Mars to making T-shirts. The tools available through the open Internet and the collaboration they enable have eroded the barriers for participation in all facets of life, not just media production. This brings us back to the exciting moment we're at in regards to media: it's not just the content of media that can inspire change, but also the process of media making itself. As the boundaries and roles of the industrial era break down in front of us, one thing is for certain—it's a good time to engage. In case you're wondering, yes I did just crowdsource this column about crowdsourcing. V Steve Anderson is the National Coordinator of OpenMedia.ca. Media Links is a syndicated column supported by Common Ground, The Tyee, Rabble.ca, and Vue Weekly
COMMENT >> PRIVATIZATION
Issues
Issues is a forum for individuals and organizations to comment on current events and broader issues of importance to the community. Their commentary is not necessarily the opinion of the organizations they represent or of Vue Weekly.
A fair workplace
Responsibility for working conditions may lie with the University Ricardo Acuña // Ualberta.ca/parkland
For years now, groups like the Parkland Institute and various public sector unions have been warning about the dangers of privatizing and contracting out jobs from the public sector to for-profit businesses and corporations. In the last couple of months a number of these issues have come home to roost in a very high-profile way at the University of Alberta as the result of an ongoing battle between custodial workers at the U of A and their employer Bee Clean Building Maintenance. Bee Clean has been on the U of A campus since the school's administration began contracting out custodial jobs to the company in June 2001. Up until that time, all custodial services at the university were provided by people who were directly employed by the university and unionized as part of the Non-Academic Staff Association (NASA). Bee Clean's contract began with two engineering buildings on the west end of campus, and has slowly been spreading across the U of A since then. The current issue began in early October when a group of Bee Clean employees filed suit against the company claiming that they were not being paid for overtime and being forced to perform unpaid labour. These same employees, many of them Temporary Foreign Workers, proceeded to contact the Service Employees International Union (SEIU) in a bid to unionize their work-place. Since then there have been further allegations that Bee Clean is intimidating workers trying to organize the union, with many of them claiming they have been threatened with termination and deportation. Bee Clean has now admitted that they failed to pay overtime to a number of employees, but claims it was the result of an "administrative error." The company has also filed a defamation suit against SEIU and the union’s organizer, claiming that their allegations are false and inflammatory. In the meantime a broad-based campaign, under the banner of Justice for Janitors, has been launched on campus in support of the workers. One of the main focuses of the cam-
paign has been support for a request by Bee Clean employees to meet with university president Indira Samarasekera to explain their cause and ask her to work with Bee Clean to find a resolution to the problem. The response of university administration to the issue thus far is that it does not get involved in disputes between its contractors and their employees. The President has not commented directly on the issue, but her office maintains that the conflict is not the university's problem. The Justice for Janitors campaign has approached both the Association of Academic Staff at the University of Alberta (AAS:UA) and the Students' Union asking them to use their influence with the president and University administration to bring about a meeting, both to no avail. The AAS:UA echoed admin's sentiment that it is not their place, as an association, to get involved in a dispute between a third party and their employees, and the SU asserted that they could not even hear from the Bee Clean employees until they could seek out legal counsel on the issue. NASA has not been contacted by the campaign yet, but they will be in the near future. As universities across North America turn more and more to private contractors to offer services on campus, there are no tasks that are safe from contracting out. The rise of private prep schools on some Canadian campuses shows that even teaching positions on campus aren't safe from these types of arrangements. It is surprising, therefore, that U of A academics would think that these issues don't affect them, and it would be interesting to see if they would consider a private college on campus as none of their business. It will also be interesting to see how NASA reacts to the Justice for Janitors request, given that it was their members who previously did these jobs. The SU position was also a curious one, as they refused to even hear from the workers about the issues. Surely there are no legal implications to them hearing a presentation, especially after the SU President admitted that he had already heard directly from Bee Clean. Fiduciary responsibility means gathering informa-
tion to ensure decisions are made in a responsible and conscientious manner, not hearing from just one side and then refusing to hear from the other. Hopefully their legal counsel tells them as much. In 2001 when the privatization was about to happen there was a strong movement of students, staff and faculty opposing the privatization. At that time then President of the University Rod Fraser assured staff and students that the university would closely monitor the contract with Bee Clean, that they would establish clear criteria for all outsourcing, and that the entire initiative would be reviewed at a future date. This appears to be a clear recognition from the university that they do have a role to play in monitoring how Bee Clean carries out their contract. Current events also highlight the degree to which those protesters were right about lost accountability, transparency and reduced quality of jobs and workers' rights on campus. Further recognition is available from both the University's academic plan and their strategic plan, both of which make clear and strong statements about the importance to the University of the contribution and well-being of all members of the campus community. Unless they are now suggesting that they don't really consider the people who clean the university to be full-fledged members of the campus community, then both these core documents seem to reinforce that the university has a responsibility to hear from the Bee Clean workers, and to work towards finding a solution that considers their well-being. In the end, the courts and the Labour Relations Board will decide the fate of the Bee Clean workers and pass judgement on Bee Clean accordingly. But the role of the University and its various constituency groups will be judged by students, staff, faculty and the community at large. So far, the performance has not even come close to measuring up to the rhetoric, and that needs to be remedied in the near future if the University hopes to come out the other end with its reputation intact. V Ricardo Acuña is the Executive Director for the Parkland Institute, a non-partisan public policy research institute housed at the University of Alberta.
VUEWEEKLY // NOV 4 – NOV 10, 2010
FRONT // 7
COMMENT >> MEDIA ON THE MIDDLE EAST
Far too focused
Why does Western media obsess over the Middle East? The media in the Middle East carry a lot of food they consume. They also have huge Middle Eastern stories, of course, but why investments in the Western economies do most of the other media in the world that an oil embargo would hurt. Another oil do the same? Asian media strike a betembargo isn't going to happen, and stories ter balance, but Western media, and any about oil belong on the business pages. other media that basically follow the Well, then, how about the fact that American news agenda, focus obthe United States has invaded sessively on the region. Between two Middle Eastern countries in a third and a half of all foreign the past 10 years, and still has news stories in the Western troops in both of them? Does m o .c ly week e@vue print and broadcast media are that explain the obsessive focus gwynn e usually about the Middle East. on the Middle East? Gwynn No, because the obsession was Dyer This is a phenomenon that cries out there before the invasions. In fact, for an explanation, and it's not easy to find the causation is probably the other way a credible one. It's certainly not oil, which is round: the exaggerated importance with the lazy explanation. It's been 37 years since which Americans already viewed the Middle the oil-rich Arab states once refused to sell East was almost certainly a contributory factheir oil, and they couldn't do that again. tor in the Bush administration's decisions to Couldn't, because it would cause far too invade Afghanistan and Iraq. much disruption in their own economies. The greater Middle East contains about The 1973 oil embargo took place at a time 10 percent of the world's population. The when most of the major Arab oil-exporting Arab world at its heart is only five percent. countries had populations two or three The whole region accounts for only three times smaller than they are now, and when percent of the global economy, and protheir people did not live in full-fledged conduces almost nothing of interest to the sumer societies. rest of the world except oil. So why does it It's different now. The cash flow from oil dominate the international news agenda? exports pays not just for imported cars and The Europeans play a role in this, because plasma-screen TVs, but for the very food the media in the former imperial powers take that the local people eat: most Arab oila greater interest in their former colonies exporting states import half or more of the than in other countries of equal importance.
R DYEIG HT
STRA
8 // FRONT
VUEWEEKLY // NOV 4 – NOV 10, 2010
But the American media really set the agenda, and their fascination with the Middle East requires a different explanation. A large part of it is driven by the deep emotional investment in Israel that many Americans have. Israel is not viewed as just another foreign country, to be weighed by its strategic and economic importance. It is seen as a special place, almost an American protectorate, and its foreign policy agenda (which is all about the Middle East) largely sets the US media agenda. The other big factor is the lasting American obsession with Iran, which is as great as the obsession with Cuba. Both countries have successfully defied the United States, and that has been neither forgiven nor forgotten. Combine the love for Israel and the hatred of Iran, and you have an explanation for the American media's obsession with the entire Middle Eastern region. Most media elsewhere, especially in the West, just follow suit. It's a huge distortion that leads to the neglect of much important news about the rest of the world, but at least the Middle East gives good value for money. The news it generates is unfailingly interesting. V Gwynne Dyer is a London-based journalist. His column appears every week in Vue Weekly.
COMMENT >> HOCKEY
Oiler renaissance Last Oiler week was a good week. The Oilfairly crappy, no powerplay goals have ers had back-to-back road games in Columbeen scored on the Oilers while Hemmer's bus (a 3-2 shootout loss) and Chicago been on the ice. I like this new wrinkle (a wonderful 7-4 win). Then the to Ales' game. DY team returned to Edmonton to face the Canucks. The Oilers THREE-HEADED MONSTER tied the game up after being It was a good call by the Oilom ers brass to send goaltender down 3-0 in the first period eekly.c w e u v ox@ intheb but wound up losing 4-3. The Jeff Deslauriers to the minors; oung & Dave Y es worst part? Raffi Torres got a in fact, some might wonder just tl ir B n Brya hat trick. Boo. what he was doing here in the first place. Dubnyk and Deslauriers ALES IS A KILLER seem interchangeable skill-wise, at least Have you noticed? Ales Hemsky is actually to me. BB chipping in on the penalty kill this season. He has already been on the ice for 12:43 of CANADIAN RENAISSANCE penalty kill time over the first ten games. As of Monday night, the top seven point Overall, this puts Hemmer tenth in team getters in the NHL are Canadian-born playshorthanded time. This is a big change for ers. At eighth and ninth place, the only Euthe normally offensive-minded forward. ros in the top 10 are Daniel Sedin and Alex Although the Oiler penalty kill has been Ovechkin.
IN THE
BOX
HALL'S WAY Good on Taylor Hall for getting the monkey off his back and scoring his first NHL goal. While the first may have been an oldfashioned, greasy Oilers goal, the second was an absolute beauty and porthole into the future as Eberle dropped a beautiful nolook pass onto Hall's waiting stick against Chicago. BB DOWNTOWN ARENA Though curiously not a campaign issue in the last municipal election, the city is looking for your input into if and how a new downtown arena should be built. So cast off your cynicism and tell City Council what you think. Go to bit.ly/yegarena to take the survey. BB OILER PLAYER OF THE WEEK Theo Peckham: Have you ever seen this guy's eyes while he plays? Intensity. I'm scared to be in the same city as him on game night. BB Theo Peckham: The moustache. DY
BOB THE ANGRY FLOWER
VUEWEEKLY // NOV 4 – NOV 10, 2010
FRONT // 9
DISH
Find a restaurant
ONLINE AT DISHWEEKLY.CA
City's top chefs go for gold Hometown culinary masters keep Olympic spirit alive LS Vors // vors@vueweekly.com
The 2010 Gold Medal Plates was opulence on a grand scale
T
he recent Vancouver Winter Olympics catalyzed an unprecedented outpouring of national pride. Crowds were united by maple leaf attire and all conversations invariably revolved around the day's results. We screamed and cheered in unison when Alexandre Bilodeau flipped and skied to the firstever gold medal on Canadian ground. We twirled with glee at the grace and skill of ice dancers Tessa Virtue and Scott Moir, and held our collective breaths at the inner strength and determination of Joannie Rochette. We hooted and jumped on couches when our men's and women's hockey teams won gold. We Canadians came together as a nation, savoured our victories and relished this grand opportunity to welcome the world to our land. We are no longer glued to our televisions and the multitudes of red maple leaf mittens have diminished, but preparation for the next Olympics continues. Substantial funds are necessary to sustain coaches and athletes, and Gold Medal Plates is a significant source of financial support for Canadian Olympians. Essentially, this is a culinary Olympics that pits chefs from top restaurants against one another in the quest for gold, with proceeds from ticket sales benefitting Olympic hopefuls. Edmonton is the second stop on the competition's cross-Canada tour. On the evening of October 27, the Shaw Conference Center came alive with
10 // DISH
// Bryan Birtles
the enthusiastic chatter and footsteps of a well-heeled crowd. Servers with gargantuan platters of exotic and artistic appetizers weave deftly through the throngs of people, the entire venue a seamless, impromptu dance that ebbs and flows to the infectious melodies of a folksy-jazzy guitar and violin duo. This VIP reception is but a prelude to the competition itself, and
the atmosphere veritably hums with anticipation. Appetizers include deviled quail's eggs, seared tuna and mango, and Thai beef salad. Three chefs from Lazia and Wildflower Grill dish out velvety stuffed miniature potatoes, a refreshing pear slaw adorned with aromatic Moroccan-glazed pork, and kobe beef meatballs caressed with a
VUEWEEKLY // NOV 4 – NOV 10, 2010
sensuous peppercorn glaze, a dusting of piave vecchio cheese and a whisper of white truffle oil. The culinary chops of these two restaurants are decidedly solid. Chef Nathin Bye of both Lazia and Wildflower claimed gold at Edmonton's 2009 Gold Medal Plates. Ten Olympians are present, and later this evening each will be paired with a chef in a duet of athletic and culinary
prowess. The Olympians' palates prove to be as diverse as their chosen sports. Freestyle skier Alexandre Bilodeau, who won Canada's first gold medal of the games, mingles with guests and notes that life since the Olympics has been a whirlwind. "This fame, it can be overwhelming," he admits. He CONTINUED ON PAGE 12 >>
COMMENT >> WINE
Bottle of the sexes
Female winemakers buck tradizione in Italy In the heart of Tuscany, an hour's drive south of Florence, you wind your way through the wine-producing region of Chianti: stunning vistas of crumbling villas, cypress thickets, a countryside dotted with olive groves and VIDI hemmed by vineyards. VENI, Medieval cities like Montalcino have reputations for wine ly.com eweek as timeless as its fortress us@vu ikeang m walls. The wine here is BrunelMike lo, a Sangiovese clone and one Angus of Italy's most sought-after wines for its fleshy texture and flavours of dark berries, chocolate, leather and violets. In contrast to Chianti wines, Brunello develops more consistently and fully, thanks to its position on a stunning terDonatella Cinelli Colombini at home in her winery roir valley formed by a crater ("La Crete"). Its high acidity allows it to pair well with Having taken over the family farm over men and women may actually taste wine food while its aging quality is considered 25 years ago, Donatella's winery is now differently—an attitude that is starting to be one of Italy's finest. run completely by women, a trend that to catch on, as evidenced by the success Montalcino is a place where time seems reflects not only emerging attitudes in of women like Donatella, not only in Itto slow to a halt; aside from tourists Italy, but around the world. aly, but around the world. A little bit of by the bus-full, nothing seems to have Marketing statistics suggest that womhomework can easily lead you to female changed in over seven centuries. There en are buying and drinking more wine winemakers, and it may be worth trying is a significant change going on here, than men; some use science to back up to get your hands on a bottle just to try it however; Donatella Cinelli Colombini the argument, saying women are "superside by side with other wines of the same is one of the region's first female winetasters" with sharper senses and more varietal and compare. makers, who produces award-winning discriminating palettes. Battle of the sexes? If it means one wines in an industry that is as traditional While these may help add steam to the more reason to pull the cork, then as it is regulated. debate, there's still reason to believe that bring it on. V
VINO
VUEWEEKLY // NOV 4 – NOV 10, 2010
DISH // 11
GOLD MEDAL PLATES
<< CONTINUED FROM PAGE 10
admires the evening's opulent food and remarks that Indian curries are his favourite. Meaghan Mikkelson, a member of the women's hockey team, states, "Steak is definitely my favourite. Marinated and then grilled, so nothing too fancy." Gordon Bertie, who wrestled in the 1972 and 1976 Olympics, relishes salmon and arctic char. Gold medal cyclist Lori-Ann Muenzer shares her recipe for homemade salad and recommends the use of fresh herbs when in season. The crowd eventually migrates into a stately hall and the cooking competition commences. Ten stations are staffed by the head chef and culinary teams of Edmonton's premier restaurants: CafĂŠ de Ville, Share at the Westin, L2 at Fantasyland Hotel, Sage, Blackhawk Golf Course, Skinny
Legs & Cowgirls Bistro, The Dish, Zinc, Hundred Bar and Kitchen, and Packrat Louie Kitchen and Bar. Canadian spirits are paired with each station; notable offerings include Tinhorn Creek Vineyards and Quail's Gate Estates Winery, both of British Columbia, and Wayne Gretzky Estates Winery of Ontario. Ice sculptures take shape in the centre of the hall. They are striking, but the noise of the chainsaws replaces the pleasant background music with the aura of a construction site. Each team creates a miniature dish for the guests to sample. A panel of six judges, including Liane Faulder of the Edmonton Journal, NAIT chef educator Clayton Folkers, and renowned Toronto-based food writer James Chatto, examines, tastes and dissects each creation with the diligence befitting a team of forensic scientists. Ultimately, they will determine the 2010 victor of
Gold Medal Plates Edmonton.
crowned by a candied prosciutto chip, which crackles in glossy, salty glory. Omar offers a lavishly tender morsel of beef cheek kissed with a vivid maroon Madeira reduction. A dollop of intense, orange carrot puree provides visual and gustatory contrast, while
I move with purpose among the stations, sampling each dish. The competition is fierce. Standouts include the wares of Hundred's Paul Shufelt, Zinc's Dave Omar and Skinny Legs'
The tender meat gently hints of autumn fruit and smoke, and rests atop an elfin hillock of fennel and crabapple slaw. The entire dish is crowned by a candied prosciutto chip, which crackles in glossy, salty glory. Susan Kellock. Shufelt presents a round of applewood smoked pork tenderloin anointed with smoky fig and bacon jam. The tender meat gently hints of autumn fruit and smoke, and rests atop an elfin hillock of fennel and crabapple slaw. The entire dish is
a sprinkle of lobster powder adds additional complexity. Kellock tempts with a scatter of inky, earthy beluga caviar lentils that luxuriates in a maple-glazed lardon cream sauce. A fat Atlantic scallop imparts sweet and salt, reminiscent of a windy evening
VW: What awakened your love of food
net access and an opinion can be a food critic with a blog or online ratings sites. Is there still a niche for the professional critic? JC: I don't know the answer yet. I read online reviews when I visit a new city, but I look for professional reviews. I think amateurs can get carried away either for or against a restaurant. Complaining is much more fun, so professional critics have a responsibility to raise the bar by providing positive criticism.
on a Newfoundland beach. The evening progresses, and despite the sumptuous food and drink, the crowd's energy level continues to ascend. A silent auction purveys Olympic memorabilia, Alexandre Bilodeau delivers a speech both rousing and touching, and the masses shimmy and sway to the upbeat strains of Colin James and Blue Rodeo's Jim Cuddy. The 2010 Gold Medal Plates winners are revealed amidst great anticipation. Andrew Fung of Blackhawk Golf Course captures gold with a decadent beef short rib and foie gras gyoza paired with beef tataki adorned with shaved asiago, olive oil and ponzu sauce. Michael Brown of Share and Shane Chartrand of L2 receive silver and bronze, respectively. The names of these chefs may not be on the lips of all Canadians the next morning, but their dedication and talent truly befits the Olympic ideal. V
Here Comes the Judge James Chatto is the national senior judge on the 2010 Gold Medal Plates judging panel and one of Canada's most eminent food writers. During his brief stay in Edmonton, he conversed with Vue Weekly. Vue Weekly: How did you become in-
volved in Gold Medal Plates? Did you watch the Olympics? James Chatto: I was invited by Stephen Leckie, the founder of Gold Medal Plates, several years ago. As a "carrot" I was tak-
12 // DISH
en to Beijing and it was great fun. I loved watching the Olympics. It really brought the country together. VW: Is there such a thing as purely Cana-
dian cuisine? JC: I think so, but it raises the questions of, "Are we too big to have distinct cuisine?" There is such cultural diversity here. I would hate to say that perogies in Saskatchewan or curries in Brampton were not Canadian.
writing? JC: I've always been a writer and love to eat. Those things progressed side by side without crossing until a friend encouraged me to publish a book of my mother's recipes. That led to a second cookbook, a move to Canada from the UK, then more books, magazines and newspapers. VW: These days, anyone with Inter-
VUEWEEKLY // NOV 4 â&#x20AC;&#x201C; NOV 10, 2010
VW: Things like the slow food move-
ment and the 100-mile diet have gained popularity. What is the next big trend? JC: I wouldn't say those are trends, but rather, evolution and a return to what we, as humans, have always done, though I wouldn't want to give up lemons, olives and coffee. The last few decades have been an aberration, so it's encouraging to see a return to these philosophies about food. V
PROFILE // REMEDY CAFÉ
A meandering path
Remedy's owner took the long way to becoming a restaurateur LS Vors
// Bryan Birtles
// vors@vueweekly.com
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are is the person whose life follows a linear trajectory. Childhood career plans rarely materialize; instead, defining one's niche in the professional world is an iterative process that is constantly shaped by both personal and societal circumstances. This pattern is common in the restaurant industry where, despite a plethora of professionally trained chefs and managers, many have arrived quite by chance. Sohail Zaidi, founder of the wildly popular Remedy Café, followed an especially meandering path—one that originated in Pakistan, passed through New York City and Texas, and found its terminus in Edmonton. Zaidi, known as "Zee" to his many friends and customers, grew up in Pakistan and immigrated to the United States in 1991 after obtaining a Green Card through the Diversity Immigrant Visa program, also known as the "green card lottery." He found employment in New York City as a taxi driver, where he interacted with many well-known public figures. A paparazzo once hid in Zee's trunk for many hours while he tailed Madonna's entourage; Zee notes that this was among his most unusual tasks as a taxi driver. He subsequently moved to Texas and opened a gas station, but in 2000 ventured north of the 49th parallel to settle in Edmonton. Zee perceived a significant void in Edmonton's restaurant scene. Existing Indian restaurants could be categorized as "fine dining" or as "ethnic restaurants" but not as casual institutions where one could simply relax with a warm mug of richly spiced chai. He recognized an opportunity to fill this niche but concedes, "I hadn't run a restaurant before, but you learn as you go." Zee planned to serve coffee as well as chai, and chuckles as he re-
Remedy Café on 109 St is a cure for what ails you
counts a customer who ordered a cup of coffee with a shot of Baileys. "I don't drink and I wasn't quite sure what he meant, so I went into the kitchen and crumbled up bay leaves into his coffee!" Zee quickly became versed in the lingo of coffee and observes that the great volume of coffee shops in the university area is a boon for his business. He remarks that the recent opening of Transcend Coffee, which is a mere stone's throw from Remedy's doorstep, initiated a significant exchange of customers between the two businesses. "People go to Transcend for coffee and then come over here for chai and food. The Transcend staff comes here for lunch. [The opening of Transcend] has been a very good thing for this neighbourhood." Indeed, the chai at Remedy Café is legendary. Zee does not use a premixed base. Instead, he imports whole spices, such as star anise and cardamom pods,
directly from India and no fewer than 32 spices comprise his distinctive blend. He estimates that Remedy sells between 300 and 400 cups of chai each day. Remedy Café, in its early days, did not sell the classic Indian and Pakistani dishes that are now synonymous with this spot. One evening an inquisitive customer noticed Zee tucking into a bowl of homemade dhal and requested a taste. The customer was deeply impressed and, according to Zee, "The rest is history." Remedy's food menu quickly blossomed and presently includes, among others, butter chicken, palak paneer and vegan curried chicken. Zee explains that providing vegan options is a priority, given the rarity of such dishes in Edmonton. Gluten-free menu items are similarly rare but Zee notes that Remedy's masala dhosas, which resemble a large crepe composed of rice and lentil flour and stuffed with curried vegetables, fit the bill.
Zee marvels at the nonlinear trajectory of his life, a journey whose many twists and turns ended in Edmonton. "Edmonton is home now," he concludes, adding that the city is easy to navigate both in terms of his daily commute to work and his interpersonal interactions. "The people here are great," Zee explains. "After 9/11 I was scared that people would stop coming here, but nothing changed." In essence, the trajectory of Remedy, like the line or curve described by an object moving through space, has established a sound reputation in past time, a loyal and ever-expanding clientele in the present, and is moving inexorably toward a future of continued excellence. V
VUEWEEKLY // NOV 4 – NOV 10, 2010
Sohail "Zee" Zaidi Remedy Café 8631 - 109 St, 780.433.3096
DISH // 13
ARTS
"It's odd that we have to warn people that there are breasts and bums and skin, but we don't have to warn against, for example, that this person is killing women. It's that kind of hypocrisy that the play is kind of taking on."
Love and Human Remains /18
THEATRE // THE 4TH GRADERS PRESENT AN UNNAMED LOVE-SUICIDE
EMotiOnaL eXAm Paul Blinov // paul@vueweekly.com
before for NLT, in 2008's Cherish, though that was a far more traditional play (as much as a play about two lesbiansturned-adoptive mothers struggling for parental rights over a surrogate child could be called "traditional"). Most of the rest of the cast, too, have been popping up on NLT stages for a couple of years. "I knew that the dynamic between them was really good, and the dynamic between us was really good," Schmidt says, of Chu and Huff. "So I tried to get the whole cast like that. I tried to line up as many people who I knew bring the right energy and group energy together, so that we would enjoy this. Because I knew that as simple as this little 52-page script is, it's going to run really long, longer than that, and that it's going to be emotionally very difficult. "I just read it and went, 'Wow, there's some deep emotional statement being made underneath the bullying thing, I think, about the human condition, somehow.' And it's even more effecting to me
"They're you're at you have can't go
// Eden Munro
I
ts name alone can probably tip you off to the fact that The 4th Graders Present An Unnamed Love-Suicide is an odd little script. It doesn't play well with others, so to speak, or so you could assume from how its cast of damaged youth treat each other while coping with the recent death of their classmate Johnny. The play is the last thing he wrote, so the story goes, and now they're staging it in his honour. It plays out like autobiography for Johnny's final moments, with kind of uncomfortable aptitude. On the surface, Johnny's caught between the girl he loves, the malcontent, weight-conscious Rebecca, and an 'I get what I want' rich kid, while a bully lurks and a hall monitor broods in the background, all of them trying to pull him in different directions. If that seems a little,
14 // ARTS
well, childish, drop it back into the proper context of them staging this in honour of their now-deceased leading man (played by a different Johnny), and you find there are strange layers that never seem to fully reveal themselves, questions that go unanswered and a foggy, haunted atmosphere that hangs over the proceedings like a hovering ghost. Bullying is a factor in the events that transpire (though the recent flare-up of bullying stories in the media is sheer coincidence: the script was picked by director Trevor Schmidt a year and a half ago), but far from the whole issue: the meta-level of these children staging this play within the play adds an almost absurdist scope to its events as they unfurl, left unaddressed by its young characters and for our own minds to decipher.
"I think my first impression when I read it is that people are going to feel very unsettled, and they're not going to know how to respond to it," says Sue Huff, who plays Sally, the rich girl. "At points it's quite funny, and then it's quite tragic, and then it's disturbing, and then it's really sad, and poignant, and then it's funny again. It's like you can never quite settle in to one emotion, because there's about six going on at all times. "And it has, for me, a very Lord of the Flies underlying thing to it," adds Nadien Chu, who dons the sash of hall monitor Lucy. "Yes, they've been coached about appropriate behaviour, and 'this is what bullying is, and we don't do it.' And yet, as we're saying, they see it. That's not what they're seeing modeled. Huff and Chu have performed together
VUEWEEKLY // NOV 4 – NOV 10, 2010
"There's a strange distancing from the material as well, because of the way that it's stylistically written, and the way that it has to be presented. I think that it's not like a real play: it's not naturalistic, it's not realistic. It's adults playing children without getting caught in the trap of the cloying, kiddy mannerisms." Of course, some directorial choices are keeping it an arm's length from normalcy as well. Instead of being staged in a theatre, 4th Graders is going up in the Arts Barns' Studio B, a sterile little white room with space for an audience of only 30 each night, sparse lighting and, Schmidt explains, nowhere for an audience to hide. It was a space they were going to use for rehearsal—stage directions called for a plain white room with abandoned desk furniture—until they realized the tiny room was ideal for maintaining the mood. "We're all in this very tight room togeth-
living in a microcosm. When school, that's your world. And to survive in it, because you home until 3:30 every day."
to think that it's children feeling that." There's something in that idea, of children grappling with something so immensely emotional, that allows them to offer insights in simple, bare-bones terms that ring just as true to the adult world. That said, it's worth noting that adults, as guides or mentors or villain, are absent from 4th Graders. The few mentions we get of parents—"If you were my dad, I'd beat you harder," or "Kiss me on the forehead; I saw my mom do it to Mr Ericson. It looked nice"—are almost as disconcerting as whatever these children are going through. The kids aren't all right, and nobody really seems to be looking out for them. "They're living in a microcosm," Schmidt notes, "When you're at school, that's your world. And you have to survive in it, because you can't go home until 3:30 every day. "It's as if these kids don't even really know what it is they're doing with this play," he continues. "We've talked about why are they doing this play, who's got them doing this play. The bully's quite self-aware with some psychobabble about bullying. We went 'oh, I get it. This boy's killed himself and they've brought in the grief councilor, and everyone's learning new vocabulary about bullying and grief, about that sort of thing.' So the kids are being shepherded through this grief workshop along the way, and they're too young to really get it yet." Still, Schmidt doesn't seem totally convinced.
er," Huff notes. "And we can see you, and you can see us, and there's literally inches between us." And that intimacy means that "you can't be overlooked," Schmidt grins. Which, to engage with a play already operating on a few different levels, makes it hard not to connect, for better or worse, with these troubled children in the wake of immense grief they don't fully understand, and, layered as it is, we might not either. "Most [young] people understand mortality as a fish you have to flush down the toilet, or a bird that you bury in the backyard, or a dead grandma," Schmidt says. "There's something different when there's somebody your age: suddenly you understand that you could die." "And it changes your whole world," Huff adds. "If you look at, developmentally, children around age nine, that's when you really understand mortality. That is the pivotal point of recognition: before that, there's all this fantasy thinking about, y'know, you can come back, or the person will get up again, or it won't happen to me. But at age nine, something critical happens, and kids start to understand they can die, you will die, my mom will die, and it can become overwhelming." V Until Sun, Nov 14 (7:30 pm) The 4th Graders Present An Unnamed Love-Suicide Presented by Northern Light Theatre Transalta Arts Barns (Studio B), $18 – $26
COMMENT >> BOOKS
Till death do us part "When David Pepin first dreamed of killauthor Adam Ross' debut. Ross' grasp ing his wife, he didn't kill her himself. He of the pitfalls of marriage, of habit and dreamed convenient acts of God." The first blame, anxiety and miscommunication, is sentence is already Hitchcokian, drawextraordinary and offers little comfort. ing us very calmly toward this floating The vow states till death do us part. Peridea, giving words to deep, dark, haps, sometimes, it's only natural utterly common fantasies. The for one to want death to hurry first chapter describes David up already. The walls are closand Alice Pepin's marriage, 13 ing in. om years old, childless, and affluThere are three marriages— .c ly k e uewe ent, thanks to David's success hopscotch@v actually four, once we count as a designer of video games, the stories within stories in Josef some of which share this novel's Ross' Escher-esque design. Braun debt to MC Escher, the Dutch artThere's David and Alice, but Daist who "invited and then thwarted your vid's secretly writing a book, imagining efforts to grasp the whole, at the same his life as a crime novel, so there's also time making you feel trapped." Marriage, "David and Alice," and this second Alice its potential for ecstasy, but more pointmay or may not have been murdered by edly its looping traps, is the theme of David. She's found on the kitchen floor, Mr Peanut (HarperCollins, $32.99), US having died from anaphylactic shock af-
HOP H C SCOT
ter eating—or perhaps being force-fed— peanuts. Investigating Detective Hastroll is convinced Pepin's guilty, perhaps because he understands the matricidal impulse. Hastroll's wife is, not unlike Alice, nightmarishly passive-aggressive. She hasn't gotten out of bed for months and won't tell him why. "Men dream of starting over," Ross writes. "They dream of a clean slate, of disappearing, of walking off a plane on a layover and making a new life for themselves in a strange city ... Sitting in the living room, in his favourite chair, with his wife sobbing in her bed for hours on end, Hastroll understood this dream. Sit alone in the dark long enough, he thought, and it seems worth killing for." Hastroll's partner is Detective Sam
Sheppard, as in Dr. Sam Sheppard, who in 1954 may or may not have murdered Marilyn Sheppard, whose case may or may not have inspired The Fugitive. Sheppard was convicted, imprisoned, and then later had his conviction overturned. He died in 1970. In Mr Peanut, he's alive and well and on the NYPD payroll, yet still shares his real-life counterpart's tragic past. In Ross' most evocative narrative strand, the events leading up to Marilyn Sheppard's death are described in great detail, especially Sheppard's philandering, which Sheppard at one point considers part of some horrific karmic equation. There are also characters like Nathan Harold, the sensitive, wise, possibly telepathic "disaster liaison" for United Airlines. Like Mobius, the dwarfish wifekiller-for-hire who prompts Sheppard to tell his story, Harold resembles a character out of Haruki Murakami at his most fantastic, not quite of this world
VUEWEEKLY // NOV 4 – NOV 10, 2010
yet vivid, and serving a clear narrative purpose. Both are surprisingly compelling, and their perspectives feel integral to the novel. Here's what doesn't feel integral: a number of overwritten passages, and two university professors who turn up at the end to hold forth at considerable length on Hitchcock, marriage, and feminism, needlessly announcing themes Ross repeatedly implies elsewhere. Mr Peanut is comprised of a rich and eerily resonant pair murder mysteries in service of an even better meditation in marriage. It threads its multiple narratives in a manner that's intricate and fascinating, though its references to Hitchcock are excessive and simplistic, and it seems to want to be a closed circuit and offer a conclusion simultaneously. I'm willing to forgive everything because Ross' prose is so precise, his observations so insightful, and his ambition is as laudable as it is overextended. V
ARTS // 15
VISUAL ARTS // BLAZZAMO
Mathematical mind Kristi Malakoff's Blazzamo carries an astounding sense of detail
// Kristi Malakoff
Amy Fung // amy@vueweekly.com
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unning the length of the North wall in the main exhibition space of Latitude 53, Kristi Malakoff's "Swarm" explodes as a material intervention against the flatness of the gallery walls. Meticulously hand-placing 6000 colourtransparency butterflies of all different shapes and makes, the illusion of "Swarm" supersedes a simple colour arch or a heightened interest in lepidoptery; the sensation one gets when walking along "Swarm" is that of an erasure of the gallery boundaries, outlined by each butterfly frozen in mid-motion, lining door frames, baseboards, heat ducts and roof beams in its own line of motion. As an artist with a very visible mathematics background, Nelson-based Malakoff time and time again impresses viewers with her astounding sense of detail. Her hand is visible in everything, from the adhesion and placement of each acrylic peg in "Moon Dog" to the surgical cuts made to foreign stamps to enliven them into narrative spectacles. Her "Polyhedra Series" comes from a line of works she made using foreign currency, folding and re-valuing these pieces of paper money into a new value and purpose. There is also a conscious naivetĂŠ going on in taking currency from all corners of the world, from Bolivia to Zambia and folding them into exact symmetrical shapes that intersect and build new meanings together. There is a leveling of arbitrary values into equally arbitrary shapes and symbols, but one that engages in a completely new assemblage of meaning, free of exchange values and limits. Some of her newer works in Blazzamo include the "Untitled (Fruit Loop Tower)" which stands at eight feet in height, a circular structure made entirely of glued fruit loops. One forgets how fragile cereal could be in looking at this construction, and while the design was inspired by the texture of Islamic architecture, its looming rainbow spiral could easily fit
16 // ARTS
VUEWEEKLY // NOV 4 â&#x20AC;&#x201C; NOV 10, 2010
into all sorts of imaginations. One could only wish to walk all the way around the tower, which perhaps for logistical reasons, was sectioned off against a wall. Anchoring the room against "Swarm" on the opposing wall is "Stardust," which renders the demolished Stardust sign off of the Las Vegas Strip hotel of the same name. Malakoff re-envisions the faded bright lights in colourful tissue paper and backlit, but to anyone familiar with the original iconic neon sign, the use of negative space is rather complicated. The majority of bright graphics have been mounted onto dozens of individually precut MDF to give space between each star, which are then individually attached to float off the wall. While the neon sign uses light and darkness to contrast each graphic, here the demarcation of graphic is weighed down by the material as object rather than subject. Working on a similar piece during a recent Moscow residency that takes on a similar fascination with garish text in re-creating Russian graffiti using crepe paper, Malakoff there appears to have adhered each tissue directly to the wall, or to have at least achieved that illusion in its documentation. The difference, besides one being far more precious and time laborious in site specificity, is the illusion of the graphic subject being transferable between mediums, which is one of her most appealing traits as an artist who uses everyday objects and commands us to see them anew. Malakoff's greatest power as an artist is her ability to move us beyond the limitations of the gallery walls through her evocative transformations, blasting our spatial logic through a sense of retinal wonder and exactitude.V Until Sat, Nov 13 Blazzamo Works by Kristi Malakoff Latitude 53 (10248 - 106 St) Artist Talk on Sat, Nov 13, (2 pm)
ARTIFACTS
THEATRE // PREVUE
Sister act
Shadow's Women Who Steal go on a booze-fuelled, gun-wielding bender // Walter Tychnowicz
It's ladies night with Women Who Steal David Berry // david@vueweekly.com
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ucked into their dressing room backstage at the Varscona, Coralie Cairns and Karen Johnson-Diamond seem almost oblivious to anyone else's presence. Oh, sure, they're quite eager and engaged with answering questions, but as they talk, they sort of turn in on themselves, looking at each other while they suss things out, each asking for the other's opinion, almost kibitzing between themselves before they come out with an answer they can both agree with. It is a handy bit of chemistry for their show, Women Who Steal, to have. It follows Peggy (Cairns) and Karen (Johnson-Diamond) on a booze-fuelled, gun-wielding bender of a night, where they'll suss out what it means for them to be getting older, wonder about the road they might have taken and go from uneasy enemies to a very strange but very meaningful kind of friendship. As Johnson-Diamond explains, though, the tricky part for the duo has been finding the places where they differ. "Coralie and I have found that we're the same person," she says, and both break into a laugh. "In Calgary, I'm kind of the follower-upper of Coralie: whatever she's played here, I end up playing in Calgary. So it's a treat and a joy to actually do something with her. And we keep learning, 'Oh, you learn lines the same way. You screw up the same way. We think the same things about whatever.' It's like working with yourself."
rector] John Hudson told me it was sort of Thelma and Louise-y, and I still use that description—it's definitely a strongwoman play, but at the same time, we're taking some of that apart," explains Johnson-Diamond. "You find yourself in the role a lot, or I do, anyway—there's a lot of, 'Oh yeah, that's totally my insecurity' or 'That's totally my cover-up.' I can't think of too many other plays that deal with exactly where I am in my life right now." V Thu, Nov 4 – Sun, Nov 21 (7:30 pm) Matinees Sat, Sun (2 pm) Women Who Steal Directed by John Hudson Written by Carter Lewis Starring Coralie Cairns, Karen JohnsonDiamond, Jeff Haslam Varscona Theatre (10329 - 83 Ave), $10 – $26
If You Can't Stop, Smile As You Go/ FFIW / Until Sat, Nov 13 The current pair of exhibits up in Harcourt House both work within the medium paint in very different ways. If You Can't Stop, Smile As You Go, is the culmination of Neil McClelland's year as Harcourt's artist in residence, with works both large and small focused on instilling in its viewers the nostalgic tingle of a family photo album: snapshots of family life, interpreted on brush and canvas. Meanwhile, decorating the front room gallery is Duncan Johnson's FWIW exhibit, a less controlled affair by the artist's own choice: his paintings play with material, colour and texture, or, as Johnson put it in Harcourt's newsletter, "I try my best to let the paint do its thing." (Harcourt House Art Centre, 3rd floor gallery, 10215 - 112 St) High Society / Until Sat, Nov 6 (7:30 pm) This weekend also closes Grant MacEwan's musical, High Society. The setting is Oyster Bay, Long Island, the music is by Tin Pan Alley legend Cole Porter (featuring his last big hit, the amorous "True Love"), and the evermounting stack of suitors are starting bother the otherwise-would-be blissful wedding of a socialite, while a reporter tries to get a gossip column scoop on the wedding. Directed by MacEwan alum Bridget Ryan. (John L Haar Theatre, Grant MacEwan University, Centre for the Arts and Communications [10045 – 155 St], $10 – $15)
That familiarity also extends to their characters. Both actresses point out that, though Women Who Steal obviously comes at it from an unconventional and comic angle, it is a play about women of a certain age having to deal with what their life has become, a rare opportunity that speaks to both of them rather directly. When he approached me about it, [di-
VUEWEEKLY // NOV 4 – NOV 10, 2010
ARTS // 17
THEATRE // PREVUE
THEATRE // PREVUE
Studies in Motion blends artistic disciplines
Edgy subject matter keeps Love and Human Remains relevant
Frame by frame
Sex and violence // Ed Ellis
Paul Blinov
The sad truth comes out in Love and Human Remains
// paul@vueweekly.com
O
fficially, Kim Collier is the director of Studies in Motion: The Hauntings of Eadweard Muybridge, but to hear her talk about this particular project, her role sounds more akin to that of a mediator, bringing different artistic disciplines together and balancing their influences to create a cohesive, unified whole. That's not to say Collier lacks directoral panache; quite the opposite, as proven on Monday night when she received the Siminovitch prize—which comes with a $100 000 purse, $25 000 of which must be given to a "protégé" of her choosing—for her innovation as artistic producer of Vancouver's Electric Company. That's quite the steady hand to have guiding Studies in Motion, the story of the man responsible for instantaneous photography, and his more-thanslight obsessions with documenting the movements of the body. A fairly linear, literal staging wasn't in the cards for Kevin Kerr's script; it just didn't seem ideal for capturing Muybridge's obsessions, or the photographs themselves, which had been Kerr's original inspiration. "The question was, how do you make something look like a frozen moment in time?" Collier explains. Collaboration was the solution; after bringing aboard Robert Gardiner, who was "interested in pioneering using video projections but as a lighting source for the stage," Collier brought composer Patrick Pennefather and choreographer Crystal Pite onboard the creative process, to figure out how the staging of Muybridge's photos and story could be more than just dialogue and blocking. "So, what is the shape of the light, how fast does it pulse, what direction does it come from, is it a point-five second, is it a three second, what kind of body movement coming into it will feel like it creates the image?" Collier continues. "All those things where you just try, trial and error, with a bunch of stuff in a room, a bunch of gear and programming, and pick away at it. So, [it was] experimentation, really, until we found a language that we thought worked really well, and then we were
18 // ARTS
able to move forward with continuing to build a production incorporating that language, and finding moments for that to happen." The end result folds dance and film into theatre, pushing all three into some uncharted onstage territory, to capture not only a unique story, but a pivotal moment in our culture. "I think what Kevin has articulated, and our works in the show have articulated, that this is a point in time when instantaneous photography happened, when people were able to look at an image and see something they hadn't before," Collier explains. "They weren't posing for the camera and sitting while it documented; you could actually see life captured in a moment in time. And since this time, we've progressed to be a culture that is completely saturated with media and image at all levels. So it's not that we know what exactly that has meant to us, but we do know that our fascination with them and obsession with media is probably changed us greatly, in our view to ourselves and our view to the world." V Thu, Nov 4 – Sun, Nov 14 (7:30 pm) Studies in Motion: The Hauntings of Eadweard Muybridge Written by Kevin Kerr Directed by Kim Collier Citadel Theatre (9828 - 101 A AVE), $37 – $57
David Berry // david@vueweekly.com
L
ove and Human Remains—or Unidentified Human Remains and the True Nature of Love, as it was known in its 1989 debut at Alberta Theatre Projects— is an unqualified local success story, a darkly comic story of sex and death set on Edmonton streets that helped catapult playwright Brad Fraser to his international reputation today. And yet, like everything that stakes its claim on the avant garde, which Human Remains does in both its form and subject, it runs the risk of getting stale, or at least dancing towards normalcy as the rest of the world catches up to it. For the young cast—nearly all of whom are about as old as the play itself—of the U of A's production of one of our finest theatrical exports, though, Love and Human Remains has lost none of the bite it had in its first run. Partly that's due to Fraser's clever script, of course, but partly it's because its subject matter— sex and violence, though particularly the former— remains eternally on the edge of acceptability. "It really thrusts things in your face that really tend to be subverted in our society—sex is taboo, still, even with the Internet and that throwing things in your face," explains Ben Dextraze, who plays David, the central character, an openly gay man happy to cruise Victoria Park for anonymous sex, but seemingly incapable of love. "This play was written in the late '80s, but I think it's still pretty risque, and it still rings really true." "I think you can see that just in what we have to
VUEWEEKLY // NOV 4 – NOV 10, 2010
warn people about," agrees Gianna Vacirca, who plays Candy, David's roommate and a woman confused about her own notions of love and sex. "It's odd that we have to warn people that there are breasts and bums and skin, but we don't have to warn against, for example, that this person is killing women. It's that kind of hypocrisy that the play is kind of taking on." Love and Human Remains weaves their stories in with a spate of serial killings that have the neighbourhood uneasy, the hang-ups and frustrations of a handful of other characters, and a lot of questions about what can happen to people who aren't able to confront their true feelings about how to love, with all that entails. That, says Dextraze, is what keeps it so powerful even today. "It's getting you to ask yourself, what are your motives, what are you looking for, exactly?" he explains. "I think this play tries to split those hairs, and not necessarily answer any questions, but make a statement about how we as members of society look for what we want, and what we can turn into when we don't get it." V Thu, Nov 4 – Sat, Nov 13 (7:30 pm) Love anD Human Remains Written by Brad Fraser Directed by John Kirkpatrick Starring Ben Dextraze, Gianna Vacirca Studio Theatre (Timms Centre, University of Alberta), $10 – $20
ARTS WEEKLY FAX YOUR FREE LISTINGS TO 780.426.2889 OR EMAIL LISTINGS@VUEWEEKLY.COM DEADLINE: FRIDAY AT 3pm
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TOM JONES AND THE TEMPLE OF DOOM
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O]Yn]jk ?mad\2 9ffmYd o]Ynaf_$ khaffaf_ Yf\ ÇZj]ogjck
VUEWEEKLY // NOV 4 – NOV 10, 2010
ARTS // 19
EDUCATION
EDUCATION // ABORIGINAL LEARNERS
The courage to learn
Alberta's school system must learn aboriginal culture before it can teach SUe huff // huff@vueweekly.com
M
y last three years as an Edmonton Public School trustee has shone a light down the well of my ignorance, in particular on complex issues like aboriginal education. As the saying goes, "I really didn't know what I didn't know." Sadly, I don't think I am unique. I believe we as Albertans have a long way to go before we can, as John Ralston Saul suggests in his book, A Fair Country, recognize the pivotal role aboriginal people play in our country. I agree with his premise that we are a MĂŠtis Nation and until we embrace that vision, we will never realize our full potential. I am embarrassed to say that prior to becoming a trustee, despite attaining an undergraduate degree, I knew practically nothing about the treaties, what they meant to aboriginal people, why they signed them and what our end of the bargain was in those agreements. I knew very little about the painful history around residential schools. The Canadian history I was taught simply did not include the aboriginal voice or perspective. As a trustee, I have had the good fortune to grow in my understanding of aboriginal culture. I've attended pipe ceremonies, Golden Eagle Feather graduation ceremonies, feasts, celebrations and drumming circles. I've listened to elders like Marge Friedel and Francis Whiskeyjack deliver teachings at Amiskawaciy School, Chief Carolyn Buffalo talk about the treaties and Dr Martin Brokenleg speak on the Circle of Courage. I've learned that, since the time of the treaties, aboriginal leaders have always acknowledged education to be the key to a better future. I've also learned that the stats for aboriginal education are alarming: aboriginal students attending nonreserve schools drop out of school at almost three times the rate of non-aboriginal students. The stats for aboriginal males, children in care and students attending reserve schools are even worse. Countless reports and studies have been commissioned, recommendations drafted and plans developed. The issue is so pressing that Alberta Education has made it one of their top goals for the next three years. Recently, the province has begun releasing information on aboriginal students' achievement to the public in an attempt to make the issue more fully transparent. This has provoked concern about possible stigmatization of aboriginal students. However, in late November, for the first time, the gen-
20 // EDUCATION
// Chelsea Boos
eral public will be able to see some of those results for individual school districts. It will, undoubtedly, provoke a lot of questions and, with those questions, may come the irresistible urge to assign blame. But before we jump to blame, I think we all need to listen carefully to aboriginal youth and their families. It has become very clear to me that aboriginal people do not want things done to them or for them anymore. They have clearly articulated that they want things done with them. A few weeks ago, I met with some aboriginal youth enrolled in a healing program offered through a non-profit organization. I was there to conduct a Big Listen on behalf of the Alberta Party, a new centrist provincial party. The aim of the Big Listen is to hear directly from Albertans in order to inform their policy development. I was actively seeking out voices, like aboriginal youth, which are rarely heard. With the permission
of the youth workers, I visited at lunchtime and asked the standard three questions behind the Big Listen: what pressures are you experiencing? What are your hopes for the future? What are you grateful for? The youth, aged 16 â&#x20AC;&#x201C; 21 years old, were very forthright with the answers. Their pressures invariably stemmed from drugs or alcohol and the chaotic damage of addiction. The hopes were sometimes simple: "I want to be successful and see more aboriginal people be successful."; sometimes personal: "I want to be a better role model to my baby sister than my parents."; and sometimes sharply political: "I wish there were more mental health and addictions counseling in jails. 70 percent of the people in jail are aboriginal and most have problems with addictions or mental health. Why don't they treat them rather than just continuing the revolving door?" In some cases, the hopes seemed so basic, so meager that
VUEWEEKLY // NOV 4 â&#x20AC;&#x201C; NOV 10, 2010
I felt what can only be described as shame ("I would like to see pavement in the Rez, so my shoes could stop being so muddy.") Surely in Alberta our children should have bigger dreams than a paved road? But the saddest answer of all was silence; two of the youth were unable to articulate a single hope for their future. The final question around gratitude provoked a range of answers (my family, this program, to be clean for five days, my beautiful baby), but, above all the others, one answer stands out in my mind: "I'm grateful the rope broke." I must have had a stunned look on my face, because the youth went on to gently clarify: "I tried to kill myself and the rope snapped. I'm grateful that happened so I could have a second chance and build a better life." The challenges faced by aboriginal children and families are real and profound. They are not, as some have hurtfully
suggested, suffering from a problem of "too much white charity." The real culprits are loss of identity and culture, racism, addiction, generational damage due to broken trust, family breakdown and, in far too many cases, extreme poverty which thrusts aboriginal people into a "Third World" existence in the middle of a "First World" province. Despite some recent progress, the education gap between aboriginal and non-aboriginal children is still unacceptably wide, and I believe that it will narrow only when we, as Albertans, address our collective ignorance about aboriginal culture and step forward, with eyes and hearts open, to be a part of the solution. The future of our children depends on us finding the courage to face ourselves. V Sue Huff is a former trustee with the Edmonton Public School Board. She currently serves as a Board member of the Alberta Party.
VUEWEEKLY // NOV 4 – NOV 10, 2010
EDUCATION // 21
22 // EDUCATION
VUEWEEKLY // NOV 4 – NOV 10, 2010
EDUCATION // FILM SCHOOL
Beyond the reel Teaching film in an Internet era Brian Gibson // brian@vueweekly.com
M
ost people are film-illiterate. I can't say it though. Academics get labelled ivory-tower dwellers, tossing their lofty pronouncements down to the masses as if their pearls of wisdom are gold coins in an informationrich but thought-poor "knowledge economy." So my words, as a professor who's taught film courses, are easily dismissed as haughty elitist hokum. But I also wouldn't say it because it's only half-true. You may be protesting, how can most people be film-illiterate when, before adulthood, they've seen millions of images, spent nearly as much time watching TV as sleeping, and can name more actors than historical figures? But almost all of us can walk by the time we're two. That doesn't mean most of us become good runners—it takes dedication and training. And the most important lesson I've learned from teaching film courses is that most of us, when it comes to cinema, seem to be criticalthinking-crippled because we've put our minds on cruise-control. I know because only in teaching film did I learn how much I'd been ignorant of big-screen basics. So, most of us are cinematically semi-illiterate. Still, it sounds a) harsh, b) elitist, c) dismissive, d) arrogant or e) all of the above? Let me explain why I think "visual semi-literacy" is such a problem by zooming out to frame some of the larger questions that film-teaching illuminates. Are university students from this first wave of the Internet generation—first-years were born in 1992 and can't remember a time before cellphones, email, Google, texting and Facebook—surface-surfers? To cope with the deluge of websites, feeds and chat, are they mainly skimmers and scanners of information, not sifters? Do they have less time and less of an attention-span to listen to one highly-specialized person talk to them in a classroom about a deep but narrow field of intellectual study? Is this generation less interested in or less capable of critical thinking? If there are even a few pixels of truth to any of these concerns, then no media are more dangerous for being taken at surfing, surface-value than TV and film, already considered escapist entertainment. A film studies professor I knew warned on the syllabus, "When you
come to [watch the film we'll discuss], you need to come to stay ... you are not 'going to the movies' here." It's hard to take notes on a film when you're used to sitting back and letting movies wash over you. My students often catch details quickly when prompted, once our discussions get going. But on first coming to each class, most seem ill-prepared, despite my urging them to take notes at the screening beforehand. Their Hollywood-conditioning— colour, grabby opening, quick pace, expository dialogue, no lingering of the camera, celebrity-name stars, mood-directing music, cool effects, 80 – 110-minute running-time—is obvious from their disinterest or scoffing. Eisenstein's Battleship Potemkin is boring. Arbogast's dying fall downstairs in Psycho is cheesy F/X. Chaplin's smile at the end of City Lights is creepy. Un Chien Andalou is just confusing. Students' critical eye may sharpen, especially now visual literacy's taught more at the elementary and highschool levels (in Alberta, the English Language Arts curriculum, including emphasis on visual texts, was launched in 1999). By Grade 12, though, they likely accept that Shakespeare's important (even if they still hate him). But it's hard to recognize good, even great films, when you don't know how they're constructed and rarely see films older than Star Wars. What most viewers don't know is film grammar, the basic language (types of shots, sound, mise en scène, etc) that structures a film and helps us evaluate and analyze it, just as we can assess the quality and subtext of sentences in a novel. In analyzing Dziga Vertov's Man with a Movie Camera for a course on the documentary (which explodes assumptions about truth), I point out how ahead-of-its-time (the 1920s) are the industrial-noise soundtrack, jump cuts, split screens and POV shots, the stop-motion animation making the camera and tripod do its own little dance, and the meta-filmic brilliance of editing the film to show the editor cutting the film that we're watching at that moment. In film comedy I review how meticulously Chaplin crafted a film and the importance of pantomime to his remarkably subtle, silentfilm humour. The other great lack in most people's film education is history. I've a lot of explaining to do about why Citizen Kane's so groundbreaking, from its deep focus (offering story detail at three levels: foreground, middle-
ground, background) and prismatic reflections on the enigma of an American "self-made man," to what I call its visual "object correlative" for Kane's lost childhood—the snowglobe. Un Chien Andalou interests them more once I note it's a natural precursor to the music video and, with its surrealism, paved the way for directors like Tim Burton. It helps that M and Psycho remain remarkably modern in story and look—their lack of colour doesn't badly date them (Norman Bates' clothes wouldn't put him out of place on a city street today). Still, explanations of German Expressionism and film noir, or how shocking shots of a post-coital woman in a bra or a flushed toilet were in 1960, must be plowed through to shore up appreciation for those thrillers. Without a strong sense of film history, it's tougher for viewers to understand a film's allusions, what esthetic or genre conventions it's playing with, or how original or unoriginal it is. And film gives the illusion of being less connected to its time than literature or even painting, especially today, when most movies are made in a predictably realist fashion and the avant-garde is less influential on the mainstream. I try to intrigue students with my passion for Sherlock Jr or Playtime or The Thin Blue Line, though classes can then become more about defending the film or developing their taste and less about teaching film analysis (still, converting a class into devotees of The Big Lebowski simply by introducing them to it is rather satisfying). With more recent works, you feel their minds locking on like tractor beams— here's their time, their space—and so we dig into the narrative right away, unearthing the subtext of a new classic like Michael Haneke's Caché.
that sell and hype, of media-technology that's all about the new—is against all of us. It's a reel tough battle, but one worth fighting. V Brian Gibson is an Assistant Professor with English Literature and Film at the Universite Sainte-Anne and regular contributor to Vue Weekly's film section.
When students question a film's merits, that can make for some fervid discussion, but far better is the recognition of a finely made, challenging film and an intellectual surrender to its spirit, a "getting into it" that means mentally cutting into the meat of the film—its grammar, historical context, and sociopolitical tensions. What's Lang saying about 1930 Germany in M? How does Hitchcock treat '60s women? What's Fincher suggesting about obsession in a post-JFK America in Zodiac? Teaching film analysis and criticism should bring out a film's thrills and spark a lust to see more of cinema as an art form. But from the moments we first watch TV and movies, the tide—of commercial entertainment, of surface images
VUEWEEKLY // NOV 4 – NOV 10, 2010
EDUCATION // 23
24 // EDUCATION
VUEWEEKLY // NOV 4 – NOV 10, 2010
VUEWEEKLY // NOV 4 – NOV 10, 2010
EDUCATION // 25
EDUCATION // SCHOOL BOARD
Elected for change
School board old guard reluctant to step aside Dave cournoyer // cournoyer@vueweekly.com
S
chool board elections are normally low-key contests that barely register on the radar of the mainstream media or political commenters, but this year's election of Edmonton Public School Board Trustees was an exception to the rule. Starting in the early summer, candidates were out of the starting gates early as a full door-to-door and lawnsign war erupted across the city. The effort resulted in six new faces elected to the nine-member board, an election night resulting in a different kind of Public School Board than Edmontonians are probably used to. What started this heated battle was not new. Although tensions were ignited by communities angry at their local trustees for not being responsive to concerns about the closure of neighborhood schools earlier this year, this conflict was an extension of a battle that began years ago. The narrative of this election could easily be described as the "old guard" versus the "new kids." This year, a newly involved group of community members who believed that the school board should be more than a bureaucracy of
26 // EDUCATION
education administrators stepped up for election. They believed that experience was good, but for too long the board has been dominated by retired administrators and civil servants who refuse to see themselves act as leaders in our city.
Two elections ago in the fall of 2004, a battle raged between the old guard, made up of longtime incumbent trustees and members of the now-defunct provincial parent advocacy group APPEAL (Albertans Promoting Public Education and Learning). In that election, APPEAL did not run a slate of candidates, but many of their members decided to step up from years as education advocates to stand as trustee candidates in their communities across the province. The day before the election in 2004, the Edmonton Journal published an op-ed from Leif Stolee, a longtime educator and administrator of Edmonton public schools, who effectively claimed that unless you are an educator, former administrator or have served on the public school board for at least three or four terms, you are not competent to serve as a trustee. It is likely that this op-ed sideswiped many of the new challengers and helped boost many of the old guard incumbents over the top in closely contested races for Ed-
monton Public School Board. Fast forward to 2010 and the same dynamic was present as the old guard and their supporters were still trying to hang onto their positions. In East Edmonton's Ward G, incumbent trustee George Rice chose not to debate challenger Sarah Hoffman at forums that would have likely been packed by hostile voters. Hoffman had been running an aggressive campaign against him for months. Rice had unapologetically voted to close neighbourhood schools in that ward, which raised the ire of many local parents and community leaders. After a wellorganized campaign that drew the cross-partisan support of MLAs Hugh MacDonald and Rachel Notley, Hoffman defeated Rice with over 14Â 000 votes to Rice's over 6000. To put these numbers into perspective, Hoffman received more votes than any other school board or City Council candidate standing in this election. In the Central Edmonton Ward F, 26 year-old Michael Janz faced off against retired Principal Bev Sawyer in a campaign where age and experience versus youth and new ideas was a defining narrative. On her website, Sawyer scolded
VUEWEEKLY // NOV 4 â&#x20AC;&#x201C; NOV 10, 2010
Janz in her best online principal voice for many things, including what she claimed was his inexperience, youth and focus on community connections. Sawyer questioned why the board's relevance to the community was becoming the single issue of this campaign. It turned out that it was. Janz won handedly on election night. Even Mayor Stephen Mandel jumped into the school board election by declaring that if re-elected he would create School Revitalization Zones in cooperation with the school boards, the provincial government, parents and local communities. It was the first time in recent memory that a serious mayoral candidate made schools a plank in his platform, even if it was a politically savvy move to shift the mayoral election debate away from the closure of the City Centre Airport. It will be up to the newly elected trustees to make sure that the Mayor follows up on his promise. As the old guard and their supporters desperately tried to keep their hold on Edmonton's Public School Board, they missed the broader picture. With new legislation expected to be introduced by Education Minister Dave Hancock next spring, discussions are being started
about further curtailing the governing powers of school boards, potentially even replacing them with partially-appointed boards. When the time arrives that school boards need to justify their relevance (and maybe even their very existence), this new group of trustees will need to prove that they are walking the talk on increasing their connections to the broader community, beyond just parents, teachers, and children. Until that day arrives, what can the new Public School Board do to become more open and relevant to communities? In the area of transparency, board meetings will now be live-cast online, allowing anyone with an Internet connection to tune in. With the election of six new board members and a new chairperson this week, the board has an opportunity to become more relevant to the broader community by participating in debates and getting involved in issues beyond the board's narrow traditional comfort zone. Poverty, homelessness, public health, neighborhood revitalization and development are just a few areas where the new school trustees could make a positive impact in their broader communities. Being relevant is the key. V
EDUCATION // ENVIRONMENT
Systems change
Education systems may not be able to provide transformative thought samantha power // samantha@vueweekly.com
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rom kindergarten to post-secondary graduation educational institutions are charged with the responsibility of not only informing students but also preparing students to learn about future challenges. Universities are often thought of as institutions of debate and transformative thinking on the great challenges that students will be confronted with in their lifetimes. Author and educator David Selby believes the current education system may not be prepared to tackle one particular challenge confronting students: climate change and environmental sustainability. Selby is the editor of Sustainability Education and the author of Education for Climate Change and Vue had the chance to speak with Selby about his views on the Canadian education system and how students may not have access to the information and the debate necessary for transformative change. VUE WEEKLY: You've been involved in the education system for numerous years. Has the context of environmental education changed over the years? DAVID SELBY: One story captured in this book is that environmental education has morphed into sustainability education. With the Bruntland report of 1987 and the Rio Conference in 1992, they came up with this idea of education for sustainable development. The idea was to bring together ideas of the development of human society and protecting the environment. That was bringing together two strands of education—environmental and developmental education—and they came together into education for sustainable development. Environmental education metamorphosed into education for sustainability. There is another story: a critique of how education for sustainable development is pretty quickly being taken over by the corporate sector and the government and becoming too mainstream. And many Canadian educators—I'd be one of them—basically say it's a sellout of the radical aspirations of environmental education and we'd prefer to stick with the term environmental education. There are some environmental educators—I guess you'd call them more mainstream—believing in green consumerism and green
corporatism and there are others who work through a different paradigm and believe that fairly transformative social change is needed and that can't be done through ESD. VW: The more radical perspectives on changing systematic structures—do you think that can be integrated into current education systems? DS: It's an open point. I've written
another book this year, called Education for Climate Change, that one much more than Sustainability Education talks about universities and schools and institutions being appropriate
Here's a problem, let's take climate change, schools are recognizing that climate change is a big issue, how do they deal with it? They do it by explaining its scientific causes and the ways of adapting or mitigating climate change, but they don't look at the root causes of it. And there are many places where you can see the economic market and consumerism as a cause. As well, increasingly we've divorced ourself from nature and that's a philosophical issue behind all we do that is hurting the environment largely. And schools aren't picking [those issues] up because governments aren't putting them into the curriculum. In a sense in terms of the global issues we've got, there's almost a curriculum denial at work.
cation and the change we're talking about into an area of training and vocationalism—learn so you can go into this kind of career which fits into the status quo, business as usual rather than, "Hey, take a step back and think about the kind of world you want and the part you're going to play in how you're going to create it." VW: On a societal level, will we be able to address climate change if we can't address it in our education system? DS: There are other ways of learning. In a recent article I'm writing I refer to blessed unrest, a term used by author Paul Hawkin, to talk about alternative
groups who aren't organized or coalescing and how they are responding to the attack on fundamental humanity happening through global forces and in an sense he doesn't write about education, but other areas of learning. If climate change continues to become runaway, which is likely, than I think people will begin to see that schools are not the providing the appropriate places that people need for learning and will find these places out in society. Schools have a huge challenge in picking up these issue fully or they will find themselves perceived as being increasing irrelevant. V
VW: The book Sustainability Education talks a lot about interdisciplinarity as a key area for environmental education to grow but when we look at university courses, it's pretty easy to put an environmental education course in a political science or sociology department, but it's slow to spread in an economic or engineering department. DS: Yes, there are areas where it's much easier for these issues to be siphoned off to. A lot of places don't pick up these issues too much as its kind of seen as peripheral to what they do. In elementary schools interdisciplinary is not so difficult, but as soon as you get to a high school there are less chances. Issues of sustainability and climate change are so multidimensional you need an interdisciplinary view, but
Many Canadian educators—I'd be one of them— basically say it's a sellout of the radical aspirations of environmental education. vehicles for bringing about the transformation needed if we're going to confront the problems we've got in the world. There are some difficulties here. There's the whole question of economic growth and in climate change thinking there's a growing school of thought that one of the problems of climate change is the global market place and the economic growth fetish and that's led to massive consumerism, now being exported to the developing world, and in a sense the education systems in Alberta, Ontario, anywhere, they're not taking on the growth issue as a point of learning because schools, in many ways, seek to replicate what is.
most students are not given that multidisciplinary chance. VW: A lot of people view universities as the place for transformative and fundamental change. Based on what you're saying can we actually have these discussions of transformative change in universities? DS: Universities are certainly meant to be those places where people come together and discuss and are challenged and informed. I think universities today are much too caught up in the corporate sector and government demands, which are largely tied to the needs of the corporate sector and that moves the university away from edu-
VUEWEEKLY // NOV 4 – NOV 10, 2010
EDUCATION // 27
EDUCATION Roundup SAVING LIBRARIES
MIDDLE PLACE
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Q
UPE and Calgary library workers have successfully stalled impending budget cuts to Calgary libraries. The $2.8 million cuts were proposed last September in an effort to stem Calgary's budget shortfall. Library workers quickly launched a campaign, with CUPE Alberta, to stop the cuts which would have resulted in the reduction of library hours, services and an inability to open a new facility in 2011. CUPE President Rh'ena Oake points out the Calgary Public Library is the second busiest in Canada, yet ranks 21st in funding levels. Oake states that they have received confirmation that the cutbacks will be reduced to minor levels with little impact on services. "This is a victory for library workers, and our communities," said Oake. "The support our local received has been encouraging, and exemplifies the power of collective work within the labour movement." Budget discussions in Calgary continue throughout November.
uality of post secondary education is often referred to in terms of its affordability, accessibility, quality of instruction and research. Unfortunately, according to a recent international study by the Higher Education Strategy Associates, Canada ranks ninth internationally in affordability and accessibility, putting it right in the middle of the pack. The second edition of HESA's Global Higher Education Rankings placed Finland at the top of the list for affordability and accessibility. "They have reasonable education costs, a strong and generous system of both loans and grants, high participation rates and an egalitarian student intake. From a student perspective, there is a lot to like there," said HESA president Alex Usher. Canada's ninth place is due largely to poor enrolment rates, poor student aid levels and a high cost of living impacting students ability to pay tuition and living costs. "Canada does quite well in
terms of attainment rates and in making sure that university students are broadly representative of the population," said Mr Usher. "Where we fall down is on getting people into university in the first place—despite the oftheard meme that Canada allows too many young people into university, what we find is that on an apples-toapples comparison, Canada lags well behind most of the advanced OECD countries on this measure." EDUCATION IN A RECESSION
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lberta Education Minister Dave Hancock will be in Paris discussing the economic benefits of education investment. The OECD education policy forum is a chance for OECD education ministers to discuss innovations and opportunities. Hancock would like to bring a focus on transformative education to meet the challenges of the 21st century. "The world is changing and we must change with it," he said. "In Alberta, we are investing a great deal of time and energy
in transforming our education system to ensure that every child is prepared for the world into which he or she will graduate. This work is absolutely necessary to creating the best possible 21st century education system for Alberta." The OECD conversations are focused on maintaining funding for education in a period of recessionary planning and shrinking budgets. WEB LITERACY TRANSLATES OFFLINE
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he National Literacy Trust in Great Britain recently conducted two surveys that reveal social media may be positively contributing to literacy rates. According to the results, 20 percent of students, aged 7 – 16, never read fiction or non-fiction books, but 67 percent of students read websites weekly and 46 percent read blogs. The studies reveal that this participation in online media may be creating a positive attitude toward reading and writing. Where 49 percent of students say writing is boring, according to the studies, 60 percent of bloggers en-
joyed writing and those students who maintain a blog or participate in online media are more confident in their writing ability. The studies found that those who participated in online blogging culture were also more likely to keep a journal, write music or short stories.
13
percent of students have their own website
24 blog
percent write a
56
percent have a profile on a social networking site —National Literacy Trust
samantha power // samantha@vueweekly.com
COMMENT >> MENTAL HEALTH
Opening conversation
Mental health of students shouldn't be a closed book feel included, motivated and supported so that escape isn't their preference.
// Chelsea Boos
As Tyler Clementi drove towards the George Washington Bridge to end his life at 18 years, any passing thoughts about his family, friends or his promising musical career were completely overshadowed by the shame, isolation and hopelessness that compelled him into the water. The death of the Rutgers University student in September was widely discussed, especially in light of numerous other suicides of LGBTQ youth around the same time. These casualties of the sickening, ongoing harassment of LGBTQ youth have forced the issue into prominence
28 // EDUCATION
in the public discourse, but Clementi's case in particular highlights the importance of proper mental-wellness support systems for students. Central to Clementi's tragic narrative are the strained relations between the young violinist and his dorm mate Dharun Ravi. It was Ravi who set up a live Internet stream of Clementi's sexual encounters, and is now being charged with invasion of privacy. Clementi had allegedly complained to his dorm advisor about the incidents, demonstrating that good student mental health depends on all aspects of campus services. Students must
University can be a trying time for many young people. Often, freshmen have moved to a new place, leaving their friends, families and familiar surroundings behind. This transition would be difficult on its own, but university also comes with rapidly mounting social, academic and financial pressure in a large, highly competitive environment. Campus life, especially in first year, usually offers more opportunities for binge drinking, substance abuse and sex than students had during any other period in their lives. These are all aggravating factors during a period (15 – 24 years old) when mental distress and disorders begin to manifest. Fifteen percent of students will be diagnosed with a mental disorder during their time at school, but that is less than half of the total number who suffer, as most opt not to seek support. One in four students reported having elevated psychological distress in a 2004 Canadian campus survey. Despite the fact all students face the stress of deadlines, relationship difficulties and financial woes that influence mental health, the stigma associated with mental disorders often guard people against seeking help no matter how dire their situation is. This is the biggest obstacle that we must overcome before progress can be made. Suicide is the second-leading cause of death among university students, after automobile accidents. Among thousands of peers, and at an institution dedicated
VUEWEEKLY // NOV 4 – NOV 10, 2010
to the intellectual and healthful benefit of the community as a whole, students should never feel like they have no where to turn. About half of students exhibit symptoms of being clinically depressed at some point during each school year; this peaks, predictably, during the dark winter months. Depression, other than its potential violent outcomes, also causes withdrawal from academic, social and extra-curricular activities, hurting not only the individual, but also the overall strength of the campus community they participate in. This is a growing trend among young people. It's time we talked about it openly. We need to fight for the good mental health of the world's future societal and scientific leaders. This fight should be from every angle and with every resource. I'm encouraged by the attention it has been receiving over the last few years. The U of A, as well as numerous other schools around the world have started to take steps that are appropriately suitable to the gravity of this issue. The U of A, for example, unveiled its "Helping Individuals at Risk" policy, which came into effect during the last school year. Its aim is to "facilitate a 'connecting of the dots' of what could otherwise be viewed as isolated and less urgent incidents," to intervene in cases where individuals are exhibiting signs of mental duress. As part of this increased commitment, five more full-time counselors were hired at the U of A Student Counselling Services. There are a number of specialized groups to foster dialogue on issues like recovering from sexual assault to overcoming social anxiety.
Nobody should be compelled to speak about past or current difficulties, but they should always feel that there are places to do it safely, while at the same time helping themselves and others. These services are available for all students, and individual services are free. These networks are effective, and most importantly, often proactive. Part of the goal of making mental health a top priority is to facilitate a healthy, unabashed discussion. So many cases of mental affliction go without professional consultation. People who consider getting assistance often don't for fear of the stigma they feel will be placed on them. Additionally, family and friends avoid bringing up the issue of an individual's mental health due to discomfort, which prevents people from getting help when they really need it. I see no reason why mental health should not be discussed as openly with friends as one's exercise habits or study schedule. It is arguably the most significant portion of overall wellness, and should be weighted in our universities' services accordingly. This is a fundamental change in attitude that will take time, but will be worth everything we put into it once we get there. It's time we engage in open discussion about the lives of people like Tyler Clementi; death shouldn't be the only thing that makes us talk. V Nick Dehod is currently the President of the University of Alberta Students' Union and previously served as the Vice-President Student Life.
VUEWEEKLY // NOV 4 – NOV 10, 2010
EDUCATION // 29
VUEWEEKLY.COM
A Brit-hit list of across-the-pond stars shooting into the director's chair SIDEVUE: ATD SYNDROME
Online AT
FILM
"It almost feels unfair to call Ron Galella a paparazzo. ... He's a craftsman, at least, which doesn't seem fair to say about most of the new breed." DVD DETECTIVE
REVUE // UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES
Mythic Metamorphoses
Uncle Boonmee Who Can Recall His Past Lives pulls off some impossible feats of filmmaking Brian Gibson // brian@vueweekly.com
M
ood instead of plot; atmosphere instead of story. Art-filmmakers can't be afraid to go where mainstream camera-anglers fear to tread—into poetry, instead of prose. But there's a fine line between mystic and mystifying, between mesmerizing and narcotizing. Apichatpong Weerasethakul, the Thai director now officially anointed as one of the world's best filmmakers with this year's top prize at Cannes, crosses that line rarely with his Palme d'Or winner, Uncle Boonmee Who Can Recall His Past Lives. (Not to mention breaking the conventional rule about short, banal titles.) And his moments of magic and myth are so spellbinding that any of the film's lulls are easily forgiven. Weerasethakul's command is felt from the first scene, a view of the jungle held with a certain calm serenity as a bull is led out of a grove. The brightly lit, widescreen shot of lush, rural Thailand has become his trademark—they seem like slide samples of everyday life, as I noted in my review of his previous feature, Syndromes and a Century. While this film offers a more immediate (but less cumulative) sense of reincarnation than that one, the lives of the few people followed here are, again, imbued
Uncle Boonmee sees dead people
with a mysterious force by the quiet observation of the camera. It's a kind of weight through waiting, through letting the spirit of nature, and supernatural spirits, descend. We move along in a car with Tong (Sakda Kaewbuadee) and Jen (Jenjira Pongpas), the sun glinting in through the window, as they return with his uncle, Boonmee (Thanapat Saisaymar), to his longan fruit-farm. Boonmee's
kidneys are slowly failing. Around him, lives (perhaps his past ones, perhaps not) and souls reappear—the lines that preface the film, inspired by a 1983 book by a Buddhist abbot, declare: "My past lives as an animal and other beings rise up before me." We're with the three at the house when dusk comes. Sedate, composed, the camera watches darkness. Jungle hills slope
out their silhouettes as the constant sound of insects thrums. We're slowly surrounded. And so comes the return of Boonsong, Boonmee's son. He's a Monkey Ghost now, an ape-like creature with laser-red eyes. Weerasethakul manages the near-impossible here, swirling tenderness, mournfulness, and the magic of metamorphosis together without the scene ever losing its eerie power. A wild man of the jungle, Boonsong embodies the return of man to nature. The sequence where Monkey Ghosts stare back at us from the tropical thicket of fronds and vines is hauntingly sublime. Jen's older sister, Huay (Boonmee's wife), also returns, her apparition also sitting itself down at the table. Eventually, the three mortals trek to a cave, where Boonmee dies. This is, pretty much, the whole story that Weerasethakul gives us. The film occasionally betrays too much of its art-installation origins—it's the last in the director's multi-platform art project "Primitive"—in the latter half. There are some still images, shots of men posing with a Monkey Ghost as if on set, and the end sees a disruptive shift to more urban spaces (a garish karaoke bar, a non-descript hotel room). These are sequences that seem they'd be better as short films looped on a gallery wall. But the film's central moments are unforgettable.
The scene where Weerasethakul sweeps us into myth should be impossible to pull off. A princess goes to a forest pool and has the kind of experience that only writers—particularly Ovid, in Metamorphoses—could render with the necessary fantastic gravitas. Until now. It's a cinematic moment of transformative, strange, fairy-tale ecstasy, wild nature and regal woman thrashed together in spellbinding tenderness. As death approaches for Boonmee, a certain calm comes with it. Perhaps that's because the spirits we see don't haunt but connect: "Ghosts aren't attached to places but to people, to the living." The beauty of Uncle Boonmee Who Can Recall His Past Lives is in its transformation of death into a wondrous mystery. The natural world and what lies beyond it come to be comfortingly strange and strangely comforting. V Fri, Nov 5, Sun, Nov 7 (7 pm), Sat, Nov 6, Mon, Nov 8 (9 pm) Uncle Boonmee Who Can Recall His Past Lives Written and directed by Apichatpong Weerasethakul Featuring Sakda Kaewbuadee, Jenjira Pongpas, Thanapat Saisaymar Metro Cinema (9828 – 101A Ave)
REVUE // STONE
Between God and a hard place Stone doesn't conform to the rigidity of genre Josef Braun // Josef@vueweekly.com
W
hen parole officer Jack Mabry (Robert De Niro) asks his pastor for spiritual advice he's told that God speaks to us in mysterious ways, though the pastor may not have imagined the Lord being channeled through a trashtalking convicted arsonist when he offered that old chestnut. Mabry's in charge of Gerald "Stone" Creeson (Edward Norton), who for all his abrasive locker-room jive seems to have a good heart and an earnest desire to get out of jail and get his shit together. Stone comes across some New Age-y pamphlet in the prison library promising spiritual awakening to those who listen for the right sound. Stone's awakening comes one day during lunch while staring at a nature scene mural on the mess hall wall.
30 // FILM
Stone was written by Angus MacLachlan, who previously scripted Junebug, based on his own play. Directed by Phil Morrison, Junebug exuded a warm eccentricity and subtle playfulness with form. Stone, directed by John Curran, is more somber and downplays its characters' quirks, though it's very easy to imagine the comedy version, particularly after we factor in Stone's wife Lucetta (Milla Jovovich), a talented seductress who's big into healing with magnets and aims to boost her husband's chances of early release by cozying up to Mabry. As different in tone as Junebug and Stone are, their similarities constitute much of what's fascinating in both films: an interest in the line that divides religious practice from spiritual thirst, and in the fundamental role outsiders play in shaping communities. I began Stone mildly intrigued but expecting little. I was surprised by how
deftly that intrigue held me to the end. Curran's previous directorial credits include The Painted Veil and We Don't Live Here Anymore, so it's no wonder he seems especially interested in flushing out the themes of marital disharmony in MacLachlan's text. Stone spends much of his first encounter with Mabry boasting about his wife's sexual abilities, while at the same time insisting she's an alien— that's the word he uses: "alien." Stone wants to know about Mabry's marriage, how it works, how sexual interest is sustained over decades, but Mabry's the real stone in this relationship, refusing to disclose any personal details. The truth is that Mabry's marriage to Madylyn (Frances Conroy), a tippling Bible thumper, appears deeply unhappy, probably sexless and has probably been that way from the start, as the film's disturbing prologue set in the early days of
VUEWEEKLY // NOV 4 – NOV 10, 2010
their marriage implies. This prologue is utterly unnecessary—there's no reason for us to know the specifics of Mabry's dark side, and its dramatization, awkwardly using younger actors to play De Niro and Conroy, feels like something demanded by outside forces with little faith in an audience's ability to read between the lines. Curran doesn't have Morrison's charm or penchant for esthetic detours, but I wonder if his approach isn't actually closer to MacLachlan's intentions. In any case, I don't think anything Curran does here hurts the story's integrity, and the device of manifesting Stone's obsession with listening for that magic sound through an aural landscape of Christian radio broadcasts, insect buzzing, and an immersive piece of glassy ambient music from Jon Brion is accumulatively effective. As well, Curran should perhaps get some credit for bringing out the
best in his leads. There's an engrossing chemistry between De Niro and Norton, and a near palpable heat coming off of Jovovich, who imbues what could have been a one-dimensional supporting role with considerable complexity. I only worry that some viewers might be put off by Stone simply because it's hard to tell what the film's trying to be. I've seen it described as a thriller, which feels utterly wrong, and I've read Manohla Dargis' New York Times review, which tries to finger it as failed neonoir, which seems even more wrong. Stone doesn't adhere to genre, nor does it defy genre in any flamboyant way. I don't know what to call it, but I think for all its flaws its ambitions are noble and the results substantial ... if you only listen closely enough. V Opening Fri, Nov 5 Stone Directed by John Curran Written by Angus MacLachlan Starring Robert De Niro, Edward Norton, Milla Jovovich
SCREENCAPS
Jack Goes Boating / The House of Branching Love >> 32
Saw 3D
Now Playing Directed by Kevin Greutert Written by Patrick Melton, Marcus Dunstan Starring Costas Mandylor, Sean Patrick Flanery, Tobin Bell, Betsy Russell Though the latest instalment of the Saw franchise tells us that the gruesome moral debate of bear traps and exploding heads is finally over, its most innovative quality ended after Saw III. The story for the film, in which the Jigsaw Killer meets his death but maintains a legacy to last four times over, became the formula by which the films would closely follow up to now—a series of corrupt individuals face deadly timebased traps that reflect their wrongdoings, while in the meantime, Jigsaw's motivations are filled in via flashbacks and police inquiries. And as the constant but necessary debriefings of backstory pile up, it's about as confusing as arriving at a murder-mystery party and being forced to make up a character on the spot that everybody else already knows is not the killer. Saw 3D, aka Saw VII, wants to go out with a bang, or at least enter into the ring of the Halloween box office one last time with Paranormal Activity (who nabbed last year's lead), and it does so with a little help from a pair of plastic glasses and a few splashes of cartoon
Megamind
Opening Fri, Nov 5 Directed by Tom McGrath Written by Alan J Schoolcraft, Brent Simons Starring Will Ferrell, Tina Fey, Jonah Hill
blood. For a series that was once so raw and gritty, the live comic book 3-D quality now echoes the camp of red paint and rubber guts of 2000 Maniacs and Color Me Blood Red, though only in a couple random scenes that render the spectacle useless and unnecessary. The plot—and trust me, there is one— cuts between Jigsaw's crooked understudy Hoffman (Costas Mandylor), as he attempts to murder the wife of his
famous mentor, and Bobby (Sean Patrick Flanery), a self-help guru who pays big time in a treacherous maze after he fakes a story of surviving one of Jigsaw's traps. It looks, feels and bleeds like every other Saw film that came before it, but is entertaining enough for newbies to squirm their way through and "torture porn" critics to bitch about on Blogspot. Jonathan Busch
// jonathan@vueweekly.com
Such are the powers of Will Ferrell's mugging that even hiding behind 3-D animation can't hide him: Megamind, our titular supervillain-cum-reluctant-hero may as well have some curly red hair at the top of his bulbous blue head, for all that Ferrell subsumes character into personality. It's a wonder no one has tried to do this before, because animation seems like an ideal Ferrell medium: even Tina Fey and Brad Pitt manage to subsume themselves into their animated avatars for most of Megamind, but Ferrell is wiped across the screen from the villain's nonsensical mispronunciations to the immature megalomania. Ferrell being Ferrell is almost always good for a laugh, and Megamind's outsized selfconfidence and bumbling ineptitude play right to his strengths, but the real draw of the film is in the story, which is actually
VUEWEEKLY // NOV 4 – NOV 10, 2010
kind of a welcome subversion of superhero stories, and not just in the way you think. There is the basic plot, of course: after Megamind finally offs his mortal enemy, the Mr Goody-two-shoes Metroman (Pitt), his boredom forces him to create a new hero, one who inevitably turns selfish and evil; cue the blue meanie turning good, a turn that's basically inevitable, unless we're actually going to start making children's movies with morally ambiguous anti-heroes. Still, within that, there's some interesting interplay. Metroman is kind of a pompous doofus, a bit of a windbag who gets by on his rugged looks, strength and pandering to the crowds. Megamind, on the other hand, is basically all brains—comic bumbling notwithstanding—and part of his initial contempt comes from how easily people are swayed by a smile and some feats of strength. When he does finally save the day, it's his cleverness that wins out, and the real underlying message here seems to be that being smart is at least as important as being strong. That's a rare thought for any superhero tale, even one that's trying to be funny, and the fact it's for kids makes it all the more welcome. David Berry
// david@vueweekly.com
FILM // 31
SCREENCAPS Jack Goes Boating
Opening Fri, Nov 5 Written by Robert Glaudini Directed by Philip Seymour Hoffman Starring Hoffman, Amy Ryan, John Ortiz Princess Theatre (10337 - 82 Ave) Its simple title implies an everyman sort of figure, one on a simple quest. And while those three words certainly ring true by the film's end—to a very modern everyman, to boot—they're hardly where Jack Goes Boating places its emphasis. The surrounding events mark a far complicated milleux, and frame a more modern, detailed portrait
CONTINUED FROM >> 31 of a downtrodden man hopefully bumbling his way towards an updraft. Awkward and alone, a pair of married friends—whose own relationship is crumbling—set Jack up on a blind date with mortuary sales rep Connie (Amy Ryan), whose own awkward shell is starting to show her middle-age malaise, but the date sets Jack into action: he's got a goal now, and he's willing to push himself. Philip Seymour Hoffman's dynamic of want versus will to achieve it unfolds with a kind of bumbling charm as he struggles to find ways to win her over. Hoffman directs and stars here, and focuses on his charater's attempts to find a zenlike balance with the world. It's the kind of full-bodied performance Hoffman's known
for, though he proves a capable enough director, too: there's some weird inconsistencies to the whole movie, moments and dialogue that probably read better when staged off-broadway than on screen, but Hoffman also captures some very beautiful, filmic moments—buffered by a score composed by indie-stalwarts Grizzly Bear, almost wordless scenes of Jack visualizing learning to swim, or cooking up a chef-quality dish in his mind, whispering "perfect" after every imaginary step reaches completion. It makes for a beautiful, ambiguous moments, watcing a man trying to overcome a world that isn't cutting him down, but obviously isn't looking out for him either.
the cracked, third-hand mirror of this tawdry effort from brother Mika, Finnish master Aki Kaurismäki's deadpan, neo-Chaplinesque comedies (Drifting Clouds, The Man Without A Past) gleam all the brighter. And that's the closest to family love you'll get after this feeble farce about sordid blood-ties and odd-couple sex. Family counselor Juhani Helin (HannuPekka Björkman) and business trainer Tuula (Elina Knihtilä) are having the kind of divorce that puts "crime" in "acrimonious": he chainsaws her favourite chair, she bites his leg, they scream nasty names and odious summaries of their failed marriage at each other. Juhani hires, through his shady brother-in-law, prostitute Nina (Anna Easteden) to pose as his girlfriend and disgust Tuula into leaving the house, which they still hatefully share. But a murky world trails Nina because of a suspicious death being investigated by the cops and by Tuula's mother, prostitutering leader Yrsa (Kati Outinen). This is the kind of movie where you see the main characters' jobs once, then never again. Men and women clash and cling, rutting about in various, preposterous combinations. Beast beds Beauty when Juhani, rotund, sweaty and 40ish going on 60ish, actually has sex with gold-hearted whore
Nina—who always happens to be dressed for a possible men's-mag photo-shoot. But then, this is the kind of movie where a misogynist gynecologist (two words that should never be coupled) hooks up with a lady in a super-bouffant and Japanese dresses. Why? Not because it's funny or there's a point. The dialogue's neither sly nor wry. Other than the near-silent but nosy neighbour, every brushstroke at humour splatters into cartoonishness. There's no sense of a buried history between Juhani and Tuula that can make the ending sweet. There's no real darkness to the comedy, just some dingy, superficial trappings of darkness: a strip club, a burial pit, yelling and screaming, a few guns, some feeble noir touches. And the movie's horticultural (or whoreticultural) metaphor—Juhani's failure to manfully tend to Tuula's "garden"—is stunted. One of the Shakespearean lines quoted here—"things rank and gross in nature possess it merely"—rings true of this false flick. Mired in ugly, unfunny histrionics, stale comic stereotypes, and pat plot contrivances, The House of Branching Love is a shabby excuse for a black comedy.
Paul Blinov
// paul@vueweekly.com
The House of Branching Love
Fri, Nov 5, Sun, Nov 7 (9 pm), Sat, Nov 6, Mon, Nov 8 (7 pm) Written by Petri Karra, Mika Kaurismäki, Sami Keski-Vähälä Directed by Mika Kaurismäki Featuring Hannu-Pekka Björkman, Elina Knihtilä, Anna Easteden Metro Cinema (9828 - 101A Ave) The House of Branching Love offers two forking avenues of thought to follow but they quickly dead-end, like the movie itself. The first—if you were wondering what the European equivalent of the slumming, quirky Sundance comedy is, look no further. The second—in
32 // FILM
VUEWEEKLY // NOV 4 – NOV 10, 2010
Brian Gibson
// brian@vueweekly.com
FILM WEEKLY FRI, NOV 5 – THU, NOV 11, 2010 s CHABA THEATRE�JASPER 6094 Connaught Dr, Jasper, 780.852.4749
HEREAFTER (PG coarse language, mature subject matter) FRI�SAT 7:00, 910; SUN�THU 8:00
DUE DATE (14A crude content, substance
abuse) FRI�SAT 7:00, 910; SUN�THU 8:00
CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585
MEGAMIND (G) No passes FRI 1:15, 3:30,
6:00, 7:10, 8:15, 10:30; SAT 1:15, 3:30, 6:00, 8:15, 10:30; SUN�THU 1:30, 3:45, 6:00, 8:30, 10:45
MEGAMIND 3D (G) No passes Digital 3d: FRI 12:20, 2:40, 4:50, 9:30; SAT 12:20, 2:40, 4:50, 7:10, 9:30; SUN�THU 2:00, 4:30, 7:00, 9:30; Ultraavx: FRI�SAT 12:00, 2:30, 5:00, 7:30, 10:00; SUN�THU 1:00, 3:15, 5:30, 8:00, 10:15
GOLMAAL 3 (STC) DAILY 1:15, 4:25, 7:30
DUE DATE (14A crude content, substance abuse) FRI�SAT 12:05, 2:15, 4:30, 6:45, 9:00, 11:15; SUN�THU 2:30, 5:00, 7:30, 10:00; Digital Cinema: FRI�SAT 1:15, 3:30, 5:45, 8:00, 10:15; SUN�THU 1:30, 4:00, 6:30, 9:00, 11:10
ACTION REPLAYY (PG) Hindi W/E.S.T.
SAW 3D (R) Digital 3d FRI�SAT 1:00, 3:30,
CINEMA CITY MOVIES 12 5074-130 Ave, 780.472.9779
DAILY 1:20, 4:20, 7:05, 9:50
SCORE A HOCKEY MUSICAL (PG) DAILY 1:40, 4:10, 7:10, 9:05
I DO (PG) FRI 4:35, 8:00; SAT�THU 1:05, 4:35, 8:00
THE AMERICAN (14A sexual content, nudity) DAILY 1:50, 4:40, 7:25, 9:40
THE LAST EXORCISM (14A disturbing content, gory scenes) DAILY 2:00, 4:45, 7:40, 10:00 THE SWITCH (PG mature subject matter, not recommended for young children) DAILY 1:30, 4:30, 7:20, 9:50
THE EXPENDABLES (18A brutal violence) DAILY 1:25, 4:15, 7:15, 9:55
EAT PRAY LOVE (PG language may offend) DAILY 1:00, 4:00, 6:50, 9:45
THE OTHER GUYS (PG coarse language,
not recommended for young children, crude sexual content) DAILY 4:05, 9:15
THE SORCERER'S APPRENTICE (PG violence, frightening scenes) DAILY 1:45, 6:50 DESPICABLE ME (G) DAILY 1:05, 3:55,
6:30, 9:00
TOY STORY 3 3D (G) Digital 3d DAILY 1:10, 3:45, 6:45, 9:20
CINEPLEX ODEON NORTH 14231-137 Ave, 780.732.2236
MEGAMIND (G) No passes FRI�TUE, THU
1:20, 4:00, 6:20, 8:45; WED 4:00, 6:20, 8:45; Star & Strollers Screening, No passes WED 1:00
MEGAMIND 3D (G) Digital 3d, No passes
DAILY 12:00, 2:30, 5:00, 7:30, 10:00
DUE DATE (14A crude content, substance
abuse) FRI�TUE, THU 12:15, 2:45, 5:10, 7:40, 10:10; WED 5:10, 7:40, 10:10; Ultraavx: DAILY 1:10, 3:40, 6:10, 8:30, 10:45; Star & Strollers Screening: WED 1:00
SAW 3D (R) Digital 3d DAILY 12:50, 3:10, 5:30,
8:10, 10:40
THE GIRL WHO KICKED THE HOR� NET'S NEST (14A sexual violence, violence) DAILY 12:10, 3:20, 6:40, 9:50
PARANORMAL ACTIVITY 2 (14A fright-
ening scenes) Digital Cinema DAILY 12:30, 2:50, 5:20, 8:00, 10:30
RED (14A violence) DAILY 1:40, 4:30, 7:15,
10:05
JACKASS 3D (R) Digital 3d FRI�SUN, TUE� THU 1:50, 4:40, 7:50, 10:20; MON 1:50, 4:40, 10:20 HEREAFTER (PG coarse language, mature subject matter) DAILY 12:20, 3:15, 6:30, 9:30 CONVICTION (14A coarse language) DAILY 12:40, 3:30, 6:50, 9:40
LIFE AS WE KNOW IT (PG, language may
offend, substance abuse) FRI�SUN, TUE, THU 1:00, 3:50, 7:00, 9:45; MON, WED 1:00, 3:50, 9:45
THE SOCIAL NETWORK (PG coarse language, substance abuse) DAILY 1:30, 4:20, 7:10, 9:55 THE TOWN (14A violence, coarse language) FRI, SUN�TUE 1:15, 4:10, 7:20, 10:15; SAT 4:10, 7:20, 10:15
THE TEMPEST (STC) SAT 1:00 BON JOVI: THE CIRCLE TOUR (Classification not available) MON 7:00
MORNING GLORY (PG mature subject
matter, coarse language) No passes WED�THU 1:15, 4:10, 7:20, 10:10
6:00, 8:30, 11:00; SUN�TUE 1:00, 3:30, 6:00, 8:10, 10:25; WED�THU 1:00, 3:30, 6:00, 8:25, 10:50
PARANORMAL ACTIVITY 2 (14A frightening scenes) FRI�SAT 2:00, 4:15, 6:30, 8:30, 10:45; SUN 1:00, 4:30, 8:05, 10:15; MON�TUE 1:00, 3:15, 7:45, 10:00; WED�THU 1:00, 3:15, 5:30, 7:45, 10:00
RED (14A violence) DAILY 2:10, 4:45, 7:30,
10:05
JACKASS 3D (R) Digital 3d FRI�SAT, WED�
THU 1:10, 3:30, 5:45, 8:00, 10:40; SUN�TUE 1:10, 3:25, 5:45, 8:00, 10:30
HEREAFTER (PG coarse language, mature
subject matter) FRI�SAT 1:30, 4:30, 7:35, 10:30; SUN�THU 1:15, 4:10, 7:15, 10:10
CONVICTION (14A coarse language) DAILY 1:30, 4:00, 7:00, 9:30
STONE (18A sexual content) FRI�SAT, WED�
THU 1:20, 3:40, 6:15, 8:30, 11:00; SUN�TUE 1:45, 4:30, 7:40, 10:20
LIFE AS WE KNOW IT (PG, language may
offend, substance abuse) FRI, SUN�TUE, THU 1:45, 4:40, 7:30, 10:20; SAT 4:40, 7:30, 10:20; WED 1:45, 4:40, 10:20
THE SOCIAL NETWORK (PG coarse
CLAREVIEW 10 4211-139 Ave, 780.472.7600
THE SOCIAL NETWORK (PG coarse
language, substance abuse) FRI 3:45, 6:30, 9:15; SAT�SUN, THU 12:50, 3:45, 6:30, 9:15; MON� WED 5:15, 8:10
SECRETARIAT (G) FRI 4:00, 6:50, 9:40; SAT�
SUN 1:10, 4:00, 6:50, 9:40; MON�TUE 5:10, 8:05
LIFE AS WE KNOW IT (PG, language
may offend, substance abuse) FRI 4:05, 6:45, 9:25; SAT�SUN, THU 1:20, 4:05, 6:45, 9:25; MON�WED 5:25, 8:15
RED (14A violence) FRI 4:20, 7:05, 9:45; SAT�
SUN, THU 1:35, 4:20, 7:05, 9:45; MON�WED 5:35, 8:20
JACKASS 3D (R) Digital 3d FRI 4:50, 7:20, 9:55; SAT�SUN, THU 2:00, 4:50, 7:20, 9:55; MON�WED 5:40, 8:40
HEREAFTER (PG coarse language, mature subject matter) FRI 3:40, 6:35, 9:30; SAT�SUN, THU 12:45, 3:40, 6:35, 9:30; MON�WED 5:00, 8:00 PARANORMAL ACTIVITY 2 (14A
frightening scenes) FRI 4:30, 7:00, 9:20; SAT� SUN, THU 1:40, 4:30, 7:00, 9:20; MON�WED 5:50, 8:45
SAW 3D (R) Digital 3d FRI 4:35, 7:25, 9:50; SAT�SUN, THU 1:00, 4:35, 7:25, 9:50; MON� WED 5:20, 8:30
MEGAMIND 3D (G) Digital 3d, No passes
FRI 4:10, 6:40, 9:10; SAT�SUN, THU 1:30, 4:10, 6:40, 9:10; MON�WED 4:50, 7:50
DUE DATE (14A crude content, substance abuse) No passes FRI 4:40, 7:10, 9:35; SAT� SUN, THU 1:50, 4:40, 7:10, 9:35; MON�WED 5:30, 8:25
SECRETARIAT (G) FRI 3:20, 6:45, 9:25;
SAT�SUN 12:30, 3:20, 6:45, 9:25; MON�TUE 6:45, 9:25
THE SOCIAL NETWORK (PG coarse language, substance abuse) FRI 4:00, 6:40, 9:20; SAT�SUN, THU 1:20, 4:00, 6:40, 9:20; MON�WED 6:40, 9:20
HEDLEY: GO WITH THE SHOW� LIVE IN HD (classification not available) SUN 5:00
MORNING GLORY (PG mature subject matter, coarse language) No passes WED 6:45, 9:25; THU 12:30, 3:20, 6:45, 9:25
DUGGAN CINEMA�CAMROSE 6601-48 Ave, Camrose, 780.608.2144
8712-109 St, 780.433.0728
THE GIRL WHO KICKED THE HORNET'S NEST (14A sexual violence,
violence) DAILY 6:45, 9:30; SAT�SUN 2:00
GRANDIN THEATRE�ST ALBERT Grandin Mall, Sir Winston Churchill Ave, St Albert, 780.458.9822
RED (14A violence) DAILY 1:15, 5:05, 7:10 JACKASS (R) DAILY 3:15, 9:25 PARANORMAL ACTIVITY 2 (14A
frightening scenes) DAILY 12:50, 2:35, 4:15, 6:00, 7:45, 9:30
SECRETARIAT (G) DAILY 12:55, 3:10, 5:25 SAW 3D (R) DAILY 7:40, 9:30 DUE DATE (14A crude content, substance
GLOBAL VISIONS FILM FESTIVAL Art Gallery of Alberta Theatre, 2 Sir Winston Churchill Sq; Metro Cinema, Citadel Theatre, 9828-101A Ave; Paramount Theatre, 10275 Jasper Ave; globalvisionsfestival.com
FESTIVAL RUNS: NOV 11�14
CHILDREN OF SOLDIERS/THE TRENCHES (STC) Paramount Theatre:
ALPHA AND OMEGA 3D (G) FRI�SAT 12:05, 2:25, 4:45; SUN�TUE 1:40, 3:55
DUE DATE (14A crude content, substance
LEDUC CINEMAS
THE TOWN (14A violence, coarse language) FRI�SAT, MON�THU 1:50, 4:35, 7:20, 10:05; SUN 1:50, 7:20, 10:05
PARANORMAL ACTIVITY 2 (14A frightening scenes) DAILY 7:10, 9:10; SAT� SUN 2:10
HEDLEY: GO WITH THE SHOW�LIVE IN HD (Classification not available) SUN 5:00 MORNING GLORY (PG mature subject matter, coarse language) No passes WED 1:40, 4:40, 7:15, 9:50; THU 1:40, 4:40, 7:15, 9:40 CITY CENTRE 9 10200-102 Ave, 780.421.7020
DUE DATE (14A crude content, substance
abuse) Dolby Stereo Digital, Stadium Seating DAILY 12:20, 2:45, 5:10, 7:35, 10:00
RED (14A violence) DAILY 6:55; SAT�SUN
DTS Digital, Stadium Seating FRI�TUE 12:45, 3:50, 7:05
LIFE AS WE KNOW IT (PG, language may
offend, substance abuse) Stadium Seating, DTS Digital FRI�TUE 9:55
RED (14A violence) Stadium Seating, DTS Digital DAILY 12:00, 3:30, 7:00, 9:45 THE SOCIAL NETWORK (PG coarse language, substance abuse) Stadium Seating, DTS Digital DAILY 12:15, 3:15, 7:15, 10:15
SAW 3D (R) No passes, Stadium Seating,
Digital 3d DAILY 12:30, 2:55, 5:15, 7:45, 10:05
PARANORMAL ACTIVITY 2 (14A
frightening scenes) Stadium Seating, Digital 3d DAILY 12:10, 2:35, 5:00, 7:25, 9:55
MORNING GLORY (PG coarse language, mature subject matter) Dolby Stereo Digital WED�THU 12:45, 3:50, 7:05, 9:55
content, coarse language, substance abuse) DAILY 7:15, 9:15; SAT�SUN 2:30
SCOTIABANK THEATRE WEM
MEGAMIND (G) Digital Cinema, No passes DAILY 12:45, 3:15, 6:30, 9:00
MEGAMIND 3D (G) Digital 3d, No passesDAILY 12:00, 2:30, 5:00, 7:30, 10:00
MEGAMIND: AN IMAX 3D EXPERI� ENCE (G) No passes FRI, MON�WED 1:30, 4:15, 7:00, 9:30; SAT�SUN, THU 11:30, 2:00, 4:30, 7:00, 9:30
DUE DATE (14A crude content, substance abuse) FRI�TUE, THU 12:30, 2:50, 5:10, 7:50, 10:30; WED 3:20, 5:30, 7:50, 10:30; Star & Strollers Screening: WED 1:05
SAW 3D (R) Digital 3d DAILY 1:50, 4:50, 7:45, 10:45
PARANORMAL ACTIVITY 2 (14A
frightening scenes) DAILY 12:10, 2:40, 5:20, 8:00, 10:45
RED (14A violence) DAILY 12:50, 3:50, 6:50, 4:40, 7:40, 10:40
HEREAFTER (PG coarse language, mature
subject matter) FRI�TUE, THU 12:20, 3:30, 6:45, 10:10; WED 3:50, 6:45, 10:10; Star & Strollers Screening: WED 1:00
LIFE AS WE KNOW IT (PG, language may offend, substance abuse) FRI�SAT, MON�THU 1:10, 4:10, 7:10, 10:15; SUN 1:10, 7:45, 10:15 THE SOCIAL NETWORK (PG coarse
language, substance abuse) DAILY 1:20, 4:20, 7:20, 10:20
LEGEND OF THE GUARDIANS: THE
OWLS OF GA'HOOLE (PG violence, frightening scenes, not recommended for young children) FRI�TUE, THU 1:00, 4:00, 6:30, 9:20; WED 1:00, 4:00, 9:20 THE TOWN (14A violence, coarse language) FRI�TUE 12:40, 3:40, 6:40, 9:40
1:50
12:50
SAW 3D (R) DAILY 9:15
MEGAMIND (G) DAILY 7:00, 9:25; SAT�
HEDLEY: GO WITH THE SHOW� LIVE IN HD (Classification not available)
SAW VII (R) DAILY 9:35; SAT�SUN 3:35
MORNING GLORY (PG mature subject
EDMONTON FILM SOCIETY Royal Alberta Museum, 102 Ave, 128 St, royalalbertamuseum.ca/events/movies/movies.cfm
THE SEARCHERS (PG) MON 8:00 GALAXY�SHERWOOD PARK 2020 Sherwood Dr, 780.416.0150 Sherwood Park 780-416-0150
DUE DATE (14A crude content, substance
THE TOWN (14A violence, coarse language)
abuse) DAILY 7:05. 9:40; SAT�SUN 1:05, 3:40
SECRETARIAT (G) DAILY 6:50; SAT�SUN
HEREAFTER (PG coarse language, mature
DAILY 12:35, 3:00, 5:30, 8:00, 10:25
DUE DATE (14A crude content, substance HEREAFTER (PG coarse language, mature subject matter) DAILY 6:55, 9:30; SAT�SUN 12:55, 3:30
MEGAMIND 3D (G) Digital 3d, No passes FRI 4:45, 7:15, 9:45; SAT�SUN, THU 12:00, 2:15, 4:45, 7:15, 9:45; MON�WED 7:15, 9:45
JACKASS 3D (R) Digital 3d Stadium Seating
Leduc, 780.352.3922
RED (14A violence) DAILY 6:45, 9:05; SAT� SUN 1:45
MEGAMIND 3D (G) Digital 3d, Dolby Stereo Digital, Stadium Seating, No passes DAILY 12:05, 2:40, 5:20, 7:55, 10:30 subject matter) Dolby Stereo Digital DAILY 12:25, 3:45, 7:10, 10:10
JACK GOES BOATING (14A sexual
JACKASS 3D (R) Digital 3d DAILY 1:40,
3:00, 4:55, 7:00, 8:50
THU, NOV 11: 8:00; ; filmmaker of Children of Soldiers in attendance for Q & A to follow
THE TEMPEST (STC) SAT 1:00; WED 7:00
SUN 2:00
MEGAMIND (G) No passes DAILY 1:00,
SUN 2:05
10:15; SUN�TUE 6:40, 9:45
10337-82 Ave, 780.433.0728
YOU WILL MEET A TALL DARK STRANGER (14A) DAILY 7:00, 9:00; SAT�
9:50
MEGAMIND (G) DAILY 7:05, 9:15; SAT�
INCEPTION (PG violence) FRI�SAT 7:00,
PRINCESS
abuse) No passes DAILY 1:20, 3:20, 5:20, 7:20, 9:20
language, substance abuse) DAILY 1:10, 4:20, 7:10, 10:10
abuse) DAILY 7:00 9:00; SAT�SUN 2:00
TUE, THU 12:40, 3:10
WEM, 8882-170 St, 780.444.2400
GARNEAU
MORNING GLORY (PG coarse language, mature subject matter) WED 5:10, 8:05; THU 1:15, 4:00, 6:50, 9:40
SECRETARIAT (G) DAILY 6:40; SAT�SUN,
abuse) FRI 4:30, 7:00, 9:30; SAT�SUN, THU 11:45, 2:00, 4:30, 7:00, 9:30; MON�WED 7:00, 9:30
SAW 3D (R) Digital 3d FRI 3:30, 7:40,
10:00; SAT�SUN, THU 1:00, 3:30, 7:40, 10:00; MON�WED 7:40, 10:00
PARANORMAL ACTIVITY 2 (14A
SUN 1:00, 3:25
METRO CINEMA 9828-101A Ave, Citadel Theatre, 780.425.9212
UNCLE BOONMEE WHO CAN RE� CALL HIS PAST LIVES (PG frightening scenes, sexual content) FRI, SUN 7:00; SAT, MON 9:00
HOUSE OF BRANCHING LOVE (STC) FRI, SUN 9:00; SAT, MON 7:00
BLOODIED BUT UNBOWED (STC)
WED 8:00
PARKLAND CINEMA 7 130 Century Crossing, Spruce Grove, 780.972.2332 (Spruce Grove, Stony Plain; Parkland County)
MEGAMIND 3D (G) DAILY 6:30-9:00; SAT�SUN, TUE, THU 12:30-3:00
frightening scenes) FRI 4:10, 7:30, 10:00; SAT�SUN, THU 1:40, 4:10, 7:30, 10:00; MON� WED 7:30, 10:00
MEGAMIND 2D (G) DAILY 7:00, 9:30;
RED (14A violence) FRI 4:20, 7:10, 9:50; SAT�
abuse) DAILY 7:15, 9:40; SAT�SUN, TUE, THU 1:00, 3:30
SUN, THU 1:30, 4:20, 7:10, 9:50; MON�WED 7:10, 9:50
JACKASS 3D (R) Digital 3d FRI 4:35, 7:20, 9:55; SAT�SUN, THU 1:50, 4:35, 7:20, 9:55; MON�WED 7:20, 9:55
HEREAFTER (PG coarse language, mature subject matter) FRI 3:40, 6:50, 9:35; SAT�SUN, THU 12:45, 3:40, 6:50, 9:35; MON�WED 6:50, 9:35 LIFE AS WE KNOW IT (PG, language
may offend, substance abuse) FRI 4:15, 6:55, 9:40; SAT, THU 1:15, 4:15, 6:55, 9:40; SUN 1:15, 9:40; MON�WED 6:55, 9:40
SAT�SUN, TUE, THU 1:15, 3:45
DUE DATE (14A crude content, substance SAW 3D (R) DAILY 7:30, 9:35 PARANORMAL ACTIVITY 2 (14A frightening scenes) DAILY 7:20, 9:40; SAT� SUN, TUE, THU 1:20, 3:50 RED (14A violence) DAILY 6:45, 9:10; SAT�
SUN, TUE, THU 1:10, 3:40
LIFE AS WE KNOW IT (PG, language
may offend, substance abuse) DAILY 9:20
ALPHA AND OMEGA 3D (G) SAT�SUN, TUE, THU 12:50, 3:20
VUEWEEKLY // NOV 4 – NOV 10, 2010
SUN 5:00
matter, coarse language) No passes WED� THU 12:40, 3:40, 6:40, 9:40
WESTMOUNT CENTRE 111 Ave, Groat Rd, 780.455.8726
RED (14A violence) Dolby Stereo Digital FRI 7:00, 9:45; SAT�SUN 4:00, 7:00, 9:45; MON� THU 8:00
SECRETARIAT (G) Dolby Stereo Digital FRI 6:45, 9:35; SAT�SUN 3:30, 6:45, 9:35; MON�THU 7:30
DUE DATE (14A crude content, substance
abuse) No passes, DTS Digital FRI 7:15, 9:55; SAT�SUN 4:15, 7:15, 9:55; MON�THU 8:15
THE SOCIAL NETWORK (PG coarse
language, substance abuse) DTS Digital FRI 6:35, 9:25; SAT�SUN 3:45, 6:35, 9:25; MON� THU 7:45
WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922
MEGAMIND (G) DAILY 6:55, 9:25; SAT� SUN 12:55, 3:25
DUE DATE (14A crude content, substance abuse) DAILY 7:10, 9:35; SAT�SUN 1:10, 3:35
PARANORMAL ACTIVITY 2 (14A
frightening scenes) DAILY 7:05, 9:40; SAT� SUN 1:05, 3:40
YOU AGAIN (G) DAILY 7:00; SAT�SUN 12:55
RED (14A violence) DAILY 9:30; SAT�SUN
3:30
FILM // 33
2010/2011
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SLIDESHOW >> Bands as Bands
Culture worrier
Luke Doucet trawls for substance in the age of flash In association with
International Guitar Night Friday, November 12 – 7:30 p.m.
A celebration of acoustic guitar featuring master guitarists from Brazil, Italy, England and the U.S. Tickets: $25 Adults, $20 Students & Seniors, $5 eyeGO www.theguitarnight.com Box Office: 780-962-8995 www.horizonstage.com ROYAL INN EXPRESS
Luke Doucet jangles it up on his latest, Steel City Trawler
Mary Christa O'Keefe // marychrista@vueweekly.com
'T
here's a paradox in wanting to be brief and exciting on a record and at the same time wanting to tackle some gigantic issues in a way that is meaningful, not just vitriolic and pissy," Luke Doucet offers. "Brevity was a macro-idea of production: I wanted the songs to be three minutes long, not eight minutes long." With Andrew Scott—Sloan's drummer—he did. Banished (mostly) were the ruminating guitar noodles and interiority that marked Blood's Too Rich, Doucet's previous effort. Instead, the recent Steel City Trawler is stuffed with compressed jangly gems, lusty riff-heavy rockers, one butch Canadiana classic and a couple moody heartfelt standalones. The record heaves with borrowings from disparate branches of the redwood of modern music—throbbing post-punk bass, hot southern-fried grubby licks, amphetamine heartbeat rhythms of mod and more—pastiched into the bedrock of Doucet's muscular journeyman songcraft. He acknowledges the pilfering from the record bin of history. "That's Andrew Scott. Andrew has a knack for finding the thing in a song that is the most 'thieveable'. He has no qualms. He'll say, 'I know what this needs—we need to steal this riff, from this obscure Kinks B-side from 1975.' And I tell him he's the producer, and I'll point the finger when the time comes," Doucet laughs. Bucking against the music's insouciance
34 // MUSIC
VUEWEEKLY // NOV 4 – NOV 10, 2010
is the gravity of much of the content. "A couple themes recur, issues of 'god' and 'purpose' and 'intellectual honesty,'" Doucet explains. "Those are big subjects, to the point that I'm flirting dangerously close to my all-time lyrical nemesis, which is to use the term 'society' in a record, which I'll never do. But, strangely, this record almost cries out for it, because I'm expressing some frustrations and looking critically at us as a whole, which comes dangerously close to pointing a finger, particularly concerning religion. And that was one of the challenges: to feel like I'm taking this on in a serious way that I can stand behind, but not just being reactionary and offensive— because, you know, I can be those ways." Doucet's always been a thoughtful songwriter, which is admirable, considering his prodigious guitar skills—the Gretsch White Falcon that gives its name to Doucet's band is as much a part of him as the horsey portion is to a centaur— could've easily forged him a career without his slaving over writing (which he's admitted doesn't come easily). Much of his thoughtfulness has been intimately scaled, encompassing familial, tribal and romantic relationships, and odd, touching encounters disgorged by his peripatetic working life. Yet with each album, his field of vision has expanded, taking in wider swaths of the world. "This album is more outward-looking. I think that's what it is," Doucet notes. "I'm apprehensive about talking about some of the songs. ['Thinking People'] is so spe-
cifically thematic, and political, and I'm not a very subtle or metaphorical writer, so it's all out there. It's risky—politics in music is like jokes: effective once, then after people get the punchline, what next?" He sighs. "But it used to be you could only create organically with disheveled maniacs in a small room, and now any collection of young men with decent haircuts and one decent songwriter and a great computer can make a record that'll fool most people. There's a connection between my bitching about bigger issues, what people might be prone to accepting as truth, and the lying going on in music. Most of the records now—not just Kanye West, where autotune is part of the song—have been fucked with so much by technology that peoples' ears are trained to expect perfection always. Most of those records are not going to be viewed in 25 years as anything more than opportunistic pop culture parasitic fucking noise. As an artist, I see what's happening in my backyard, and I see it happening in the population and with politics. This is what we're dealing with—people remaking the truth. In the age of reality television and reality rock 'n' roll and reality politics— which are all anything but—I feel these conversations are essential to our intellectual survival as a fucking society." V Wed, Nov 10 (7 pm) Luke Doucet & the White Falcon With the Sunparlour Players Horowitz Theatre, $24
VUEWEEKLY // NOV 4 – NOV 10, 2010
MUSIC // 35
MUSIC WEEKLY FAX YOUR FREE LISTINGS TO 780.426.2889 OR EMAIL LISTINGS@VUEWEEKLY.COM DEADLINE: FRIDAY AT 3PM
THU NOV 4 ACCENT EUROPEAN LOUNGE Stuart Hoye, Brian
Mcleod (folk/roots); 9:30pm11:30pm; no minors; no cover
ELECTRIC RODEO� Spruce Grove Open Stage
Thu: Bring an instrument, jam/sing with the band, bring your own band, jokes, juggle, magic; 8-12
ENCORE CLUB With A
BLUE CHAIR CAFÉ Thu Nite Jazz Series: Don Berner Trio; 7.30pm; $8
Latin Twist: free Salsa Dance Lessons at 9pm
BLUES ON WHYTE Trevor
Robin Woywitka, Broken City, Me and My Anatomy, Warren Skaley; 7:30pm
Finlay
BOHEMIA O'Mally, Low Flying Planes, Jens Jeppesen; no minors; 8pm; $8 (door)/$6 (member) BRIXX BAR Radio Brixx: rock and roll with Tommy Grimes; 8pm
CAFÉ HAVEN Paul Cresey;
7pm
CARROT CAFÉ Zoomers
Thu afternoon Open Mic; 1-4pm
CENTURY CASINO Chris
Hillman, Herb Pedersen (The Desert Rose Band); $29.95/$39.95 at TicketMaster
CHRISTOPHER'S PARTY
PUB Open stage hosted by Alberta Crude; 6-10pm COLAHAN'S Back-porch
jam with Rock-Steady Freddy and the Bearcat; every Thu 8pm-midnight
CROWN AND ANCHOR Fat Dave Soap Co, Michael James
CROWN PUB Crown
Pub Latin/world fusion jam hosted by Marko Cerda; musicians from other musical backgrounds are invited to jam; 7pm-closing
DUSTER'S PUB Thu open
jam hosted by the Assassins of Youth (blues/rock); 9pm; no cover
DV8 Open mic Thu hosted
by Cameron Penner/ and/or Rebecca Jane
HAVEN SOCIAL CLUB
HOOLIGANZ Open stage
Thu hosted by Phil (Nobody Likes Dwight); 9pm-1:30am
HYDEAWAY�Jekyll and Hyde All Ages Open Stage Jam; 7pm
J AND R Classic rock! Woo!
Open stage, play with the house band every Thu; 9pm
NORTH GLENORA HALL
ON THE ROCKS Salsaholic Thu: Dance lessons at 8pm; Salsa DJ to follow
RIC’S GRILL Peter Belec
PLANET INDIGO�St Albert Hit It Thu: breaks,
Jam by Wild Rose Old Time Fiddlers ( jazz); every Thu; 7-10pm
RUSTY REED'S HOUSE OF BLUES Gord Mathew's Band
SECOND CUP�Varscona Live music every Thu night; 7-9pm
WILD BILL’S�Red Deer
TJ the DJ every Thu and Fri; 10pm-close
WILD WEST SALOON Average Jo (Jo Hikk)
DJs BILLY BOB’S LOUNGE Escapack Entertainment
BLACK DOG FREEHOUSE Big Rock
EXPRESSIONZ CAFÉ
Gameshow every Thu with Patrick and Nathan; 9pm
RENDEZVOUS PUB Mental
Thurzday with org666
SPORTSWORLD Roller Skating Disco: Thu Retro Nights; 7-10:30pm; sportsworld.ca STOLLI'S Dancehall, hip hop with DJ Footnotes hosted by Elle Dirty and ConScience every Thu; no cover TAPHOUSE�St Albert An eclectic mix every Thu with DJ Dusty Grooves
contemporary/folk/rock); 8pm; $10
CHROME LOUNGE Every
Thu: 123 Ko
JEFFREY'S CAFÉ Lora Jol (pop/rock singer/songwriter); $10
Underground House every Thu with DJ Nic-E
JULIAN'S�Chateau Louis
DJ every Thu at 9pm
jam; 7-11pm
PLAY NIGHTCLUB
BRIXX BAR Radio Brixx
JAMMERS PUB Thu open
CENTURY ROOM
THE DRUID IRISH PUB
ARTERY CJSR Fundrive
show with Jesse, Shane, Tiffany and Erik and guests
release); 7:30pm; $25
Benefit Show, Featuring Bombchan, Black Mastiff, Krang
BLACKJACK'S ROADHOUSE Fri Night Got
the Blues: Jaird Nestibo (jazz, contemporary rock)
BLUE CHAIR CAFÉ Brent Parkin and friends; 8pm; $15 BLUES ON WHYTE Trevor
FLUID LOUNGE Girls
Night out
of Ruin; no minors; 7pm; $10 (door)
FUNKY BUDDHA�Whyte Ave Requests with DJ
CARROT Live music Fri: all ages; 7pm; $5 (door)
LIVE WIRE BAR Open
Stage Thu with Gary Thomas
LYVE ON WHTYE Hey
GAS PUMP Ladies Nite: Top
40/dance with DJ Christian
HALO Thu Fo Sho: with
Allout DJs DJ Degree, Junior Brown
Ocean!, Wednesday Morning Blues, The Consonance; 8pm; $20 (adv at TicketMaster)/$25 (door)
KAS BAR Urban House:
MARYBETH'S COFFEE HOUSE�Beaumont Open
Mike Tomas
Mic Thu; 7pm
NAKED CYBERCAFÉ
Open stage every Thu; bring your own instruments, fully equipped stage; 8pm
with DJ Mark Stevens; 9pm
LUCKY 13 Sin Thu with DJ NEW CITY SUBURBS
Bingo at 9:30pm followed by Electroshock Therapy with Dervish Nazz Nomad and Plan B (electro, retro)
Close
HAVEN SOCIAL CLUB
8pm; no cover
L.B.'S PUB Thu open jam
Thiessen (ambient/folk/indie); 8-10:30pm; no cover
GLENORA BISTRO Colin
ARDEN Kat Danser (CD
Finlay
Damian
FESTIVAL PLACE Kevin Breit and the Sisters Euclid I (jazz); Jazz Appreciation Session with Raymond Baril free 30-45 min session preceding the concert; 6:45pm (concert); $32 (table)/$30 (box )/$28 (theatre) at Festival Place box office
The Warped 45s, WyClarify, John Jenkins' Small Town Revival; 7:30pm
FILTHY MCNASTY’S Punk Rock Bingo with DJ S.W.A.G.
LEVA CAFÉ Olivier
Uptown Folk Club: Raisin’ Cain, Nadine Kellman and Brian Gregg; 7:30pm (door), 8pm (music); $12 (adv at Myhre's Music, Acoustic Music)/$15 (door)
AXIS CAFÉ Peter Katz (adult
Graham Lawrence (jazz piano); 8pm
with Kenny Skoreyko, Fred Larose and Gordy Mathews; 9pm-1am
Generation
ENCORE CLUB 4 Play Fri
FRI NOV 5
BUDDY'S Thu Men’s Wet Underwear Contest with DJ Phon3 Hom3; 9pm (door); no cover before 10pm
ELECTRIC RODEO� Spruce Grove The Beat
electro house spun with PI residents
Thu: DJs on 3 levels–Topwise Soundsystem spin Dub & Reggae in The Underdog with Tommy Grimes spinning rock and roll
EARLY STAGE SALOON� Stony Plain Mr Lucky
BRIXX BAR Keep 6 and Ides
CASINO EDMONTON The Classics (nostalgia)
CASINO YELLOWHEAD Souled Out (pop/rock)
COAST TO COAST Open
IRISH CLUB Jam session; IVORY CLUB Duelling piano
JEFFREY'S CAFÉ The Rault Brothers (folk and blues); $15 JEKYLL AND HYDE PUB Every Fri: Headwind (classic pop/rock); 9pm; no cover
JULIAN'S�Chateau Louis Graham Lawrence (jazz piano); 8pm
LYVE ON WHTYE Early
Show: Stone Iris (CD release), Mad Shadow, Hale Hale; 7pm (door); $8 (adv at YEG Live)/$10 (door); Late Show: Mustard Smile (rock); $5
MEAD HALL Realcamino,
Soul Side In; 8pm (door), 9pm (show); $8
MYER HOROWITZ THEATRE Todd Snider;
8pm; $29 at TicketMaster
Stage every Fri; 9:30pm
ON THE ROCKS GO!
CROWN AND ANCHOR
PAWN SHOP Nevermore,
Maple Tea
DOW SHELL THEATRE�
Fort Saskatchewan The Wright Songs: An acoustic evening with Michelle Wright; 7:30pm; sold out DV8 Guardians of Power,
Warbringer, Blackguard, Hatesphere; 8pm; $26.50 at Blackbyrd, Freecloud and foundationconcerts.com
RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm2am
Scythia, Marching Mind; 9pm
VENUE GUIDE 180 DEGREES 10730-107 St, 780.414.0233 ACCENT EUROPEAN LOUNGE 8223-104 St, 780.431.0179 ARDEN 5 St Anne St, St. Albert, 780.459.1542 ARTERY 9535 Jasper Ave AVENUE THEATRE 9030-118 Ave, 780.477.2149 AXIS CAFÉ 10349 Jasper Ave, 780.990.0031 BANK ULTRA LOUNGE 10765 Jasper Ave, 780.420.9098 BILLY BOB’S Continental Inn, 16625 Stony Plain Rd, 780.484.7751 BLACK DOG FREEHOUSE 10425-82 Ave, 780.439.1082 BLACKJACKS ROADHOUSE� Nisku 2110 Sparrow Dr BLACKSHEEP PUB 11026 Jasper Ave, 780.420.0448 BLUE CHAIR CAFÉ 9624-76 Ave, 780.989.2861 BLUES ON WHYTE 10329-82 Ave, 780.439.3981 BOHEMIA 10575-114 St BOOTS 10242-106 St, 780.423.5014 BRIXX BAR 10030-102 St (downstairs), 780.428.1099 BUDDY’S 11725B Jasper Ave, 780.488.6636 CAFÉ HAVEN 9 Sioux Rd, Sherwood Park, 780.467.9541 CASINO EDMONTON 7055 Argylll Rd, 780.463.9467 CASINO YELLOWHEAD 12464153 St, 780 424 9467 CHATEAU LOUIS 11727 Kingsway, 780 452 7770 CHRISTOPHER’S 2021 Millbourne Rd, 780.462.6565 CHROME LOUNGE 132 Ave, Victoria Trail
36 // MUSIC
CHURCH OF SCIENTOLOGY 10255-97 St, 780.425.3662 COAST TO COAST 5552 Calgary Tr, 780.439.8675 COLAHAN'S 8214-175 St, 780.487.8887 COOK COUNTY SALOON 8010 Gateway Boulevard; 780.432.2665 COPPERPOT Capital Place, 101, 9707-110 St, 780.452.7800 CROWN AND ANCHOR 15277 Castledowns Rd, 780.472.7696 CROWN PUB 10709-109 St, 780.428.5618 DIESEL ULTRA LOUNGE 11845 Wayne Gretzky Drive, 780.704. CLUB DEVANEY’S IRISH 9013-88 Ave, 780.465.4834 DOW SHELL THEATRE�Fort Saskatchewan 8700-84 St DRUID 11606 Jasper Ave, 780.454.9928 DUSTER’S PUB 6402-118 Ave, 780.474.5554 DV8 8307-99 St, DV8TAVERN. com EARLY STAGE SALOON 491152 Ave, Stony Plain EDDIE SHORTS 10713-124 St, 780.453.3663 EDMONTON EVENTS CENTRE WEM Phase III, 780.489.SHOW ELECTRIC RODEO�Spruce Grove 121-1 Ave, Spruce Grove, 780.962.1411 ENCORE CLUB 957 Fir St, Sherwood Park, 780.417.0111 EXPRESSIONZ CAFÉ 9938-70 Ave FIDDLER’S ROOST 8906-99 St FILTHY MCNASTY’S 10511-82 Ave, 780.916.1557 FLOW LOUNGE 11815 Wayne Gretzky Dr, 780.604.CLUB FLUID LOUNGE 10105-109 St,
VUEWEEKLY // NOV 4 – NOV 10, 2010
780.429.0700 FUNKY BUDDHA 10341-82 Ave, 780.433.9676 GAS PUMP 10166-114 St, 780.488.4841 GOOD EARTH COFFEE HOUSE 9942-108 St HALO 10538 Jasper Ave, 780.423. HALO HAVEN SOCIAL CLUB 15120A (basement), Stony Plain Rd, 780.756.6010 HILL TOP PUB 8220-106 Ave, 780.490.7359 HOOLIGANZ 10704-124 St, 780.452.1168 HORIZON STAGE 1001 Calahoo Rd, Spruce Grove, 780.962.8995 HYDEAWAY 10209-100 Ave, 780.426.5381 IRON BOAR PUB 4911-51st St, Wetaskiwin IVORY CLUB 2940 Calgary Trail South JAMMERS PUB 11948-127 Ave, 780.451.8779 J AND R 4003-106 St, 780.436.4403 JEFFREY’S CAFÉ 9640-142 St, 780.451.8890 JEKYLL AND HYDE 10209-100 Ave, 780.426.5381 JUNCTION BAR AND EATERY 10242-106 St, 780.756.5667 KAS BAR 10444-82 Ave, 780.433.6768 L.B.’S PUB 23 Akins Dr, St Albert, 780.460.9100 LEGENDS PUB 6104-172 St, 780.481.2786 LEVA CAFÉ 11053-86 Ave LEVEL 2 LOUNGE 11607 Jasper Ave, 2nd Fl, 780.447.4495 LIVE WIRE 1107 Knotwood Rd. East
LOIS HOLE LIBRARY 17650-69 Ave, 780.442.0888 MARYBETH'S COFFEE HOUSE–Beaumont 5001-30 Ave, Beaumont MCDOUGALL UNITED CHURCH 10025-101 St MORANGO’S TEK CAFÉ 10118-79 St NAKED CYBERCAFÉ 10354 Jasper Ave NEWCASTLE PUB 6108-90 Ave, 780.490.1999 NEW CITY 10081 Jasper Ave, 780.989.5066 NIKKI DIAMONDS 8130 Gateway Blvd, 780.439.8006 NORTH GLENORA HALL 13535109A Ave O’BYRNE’S 10616-82 Ave, 780.414.6766 ON THE ROCKS 11730 Jasper Ave, 780.482.4767 ORLANDO'S 1 15163-121 St OVERTIME Whitemud Crossing, 4211-106 St, 780.485.1717 PAWN SHOP 10551-82 Ave, Upstairs, 780.432.0814 PLANET INDIGO�Jasper Ave 11607 Jasper Ave; St Albert 812 Liberton Dr, St Albert PLAY NIGHTCLUB 10220-103 St PLEASANTVIEW COMMUNITY HALL 10860-57 Ave QUEEN ALEXANDRA HALL 10425 University Ave REDNEX BAR�Morinville 10413100 Ave, Morinville, 780.939.6955, rednex.ca RED PIANO BAR 1638 Bourbon St, WEM, 8882-170 St, 780.486.7722 RED STAR 10538 Jasper Ave, 780.428.0825 RENDEZVOUS 10108-149 St
RIC’S GRILL 24 Perron Street, St Albert, 780.460.6602 ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253 ROSE AND CROWN 10235-101 St RUSTY REED'S HOUSE OF BLUES 12402-118 Ave, 780.451.1390 SECOND CUP�Mountain Equipment 12336-102 Ave, 780.451.7574; Stanley Milner Library 7 Sir Winston Churchill Sq; Varscona, Varscona Hotel, 106 St, Whyte Ave SIDELINERS PUB 11018-127 St, 780.453.6006 SPORTSWORLD 13710-104 St SPORTSMAN'S LOUNGE 8170-50 St STARLITE ROOM 10030-102 St, 780.428.1099 STEEPS�College Plaza 11116-82 Ave, 780.988.8105; Old Glenora 12411 Stony Plain Rd, 780.488.1505 STOLLI’S 2nd Fl, 10368-82 Ave, 780.437.2293 TAPHOUSE 9020 McKenney Ave, St Albert, 780.458.0860 TRANSALTA ARTS BARNS 10330-84 Ave WHISTLESTOP LOUNGE 12416-132 Ave, 780. 451.5506 WILD BILL’S�Red Deer Quality Inn North Hill, 7150-50 Ave, Red Deer WILD WEST SALOON 12912-50 St, 780.476.3388 WINSPEAR CENTRE 4 Sir Winston Churchill Sq WOK BOX 10119 Jasper Ave WUNDERBAR 8120-101 St, 780.436.2286 Y AFTERHOURS 10028-102 St, 780.994.3256, yafterhours.com
RUSTY REED'S HOUSE OF
BLUES Donald Ray Johnson (CD release); 9:30pm; $10
STARLITE ROOM The Protege: Sting of the Scorpion, Long Walk Short Dock, Dave Stone, For a Fee, Lady Just iz, Joy One, guests; no minors; 9pm; $20 at Foosh, Bogarts STEEPS�Old Glenora Live
Music Fri
TAPHOUSE�St Albert Bobby Craig, Colin Close, McKenzie Rayne
TOUCH OF CLASS� Chateau Louis Brian Calnan
People Get Nasty with Peep n Tom, Showboy and rotating guest; DJS; every Fri; 9pm (door)
FESTIVAL PLACE Professor Louie and the Cromatix (pop/ rock); 7:30pm; $36 (table)/$34 (box)/$30 (theatre) at Festival Place box office
RESTAURANT Jazz on the Side Sun; $25 if not dining
stage every Sat 3-6pm, backline provided
HAVEN SOCIAL CLUB
DJs
ROUGE LOUNGE Solice Fri
HILLTOP PUB Open stage/
SPORTSWORLD Roller Skating Disco Fri Nights; 7-10:30pm; sports-world.ca
AZUCAR PICANTE Every Sat: DJ Touch It, hosted by DJ Papi
CHURCH OF SCIENTOLOGY Open
stage; blues and original, all welcome every Sun; 7-9:30pm
IRON BOAR PUB Jazz in
BLACK DOG FREEHOUSE Sat DJs on three levels. Main Floor: Menace Sessions: alt rock/electro/trash with Miss Mannered
CROWN PUB Latin/world fusion jam hosted by Marko Cerda; musicians from other musical backgrounds are invited to jam; 7pm-closing
BLACKSHEEP PUB Sat DJ
DEVANEY’S IRISH PUB
jam, 3-7:30pm; country/rock band 9pm-2am
BUDDY'S Sat: Feel the rhythm with DJ Phon3 Hom3; 8pm (door); no cover before 10pm
EDDIE SHORTS Sun
JEFFREY'S CAFÉ Billie
CENTURY ROOM
REDNEX�Morinville DJ
Gravy from the Source 98.5
RED STAR Movin’ on Up Fri: indie, rock, funk, soul, hip hop with DJ Gatto, DJ Mega Wattson
GAS PUMP Blues Jam/open
Signal Sound, guests
mic Sat: hosted by Sally's Krackers Sean Brewer; 3-5:30pm
STOLLI’S Top 40, R&B, house
(pop/rock); 8:30pm
with People’s DJ
WILD BILL’S�Red Deer
TEMPLE Options Dark Alt
IVORY CLUB Duelling piano show with Jesse, Shane, Tiffany and Erik and guests
WILD WEST SALOON Average Jo (Jo Hikk)
WOK BOX Fri with Breezy Brian Gregg; 3:30-5:30pm
YARDBIRD SUITE Jean-
Pierre Zanella Quartet; 9pm; $16 (member)/$20 (guest) at TicketMaster
Classical FRESH START BISTRO
Friday Live Music: Edmonton Classical Guitar Society presents an evening of classical music with Ernst Birss and David Grainger-Brown (guitar), Tami Cooper (flute); 7pm; $10
DJs 180 DEGREES Skinou
Night; Greg Gory and Eddie Lunchpail; 9pm (door); $5 (door)
Y AFTERHOURS Foundation Fri
JAMMERS PUB Sat open
SAT NOV 6
Zizi and the Gypsy Jive (folky jazz); $15
180 DEGREES Dancehall
JULIAN'S�Chateau Louis
and Reggae night every Sat
Underground House every Sat with DJ Nic-E
THE DRUID IRISH PUB Sat
Dennis Begoray (jazz piano); 8pm
DJ at 9pm
Open stage with Trace Jordan 1st and 3rd Sat; 7pm-12
L.B.’S PUB Sat Jam with Gator and friends; 5-9pm
hip hop, house, mash up
ARDEN Baha'i Unity in
Diversity Concert: Roland Majeau Trio, Anna Beaumont, Isokan Afrika, M.C.F.S. Jiggers; 7pm
LYVE ON WHYTE Early Show: Doug Hoyer, (7" release), A Little Project, Mitchmatic; 7pm (door); $5; Late Show: Mustard Smile (rock); $5
ARTERY Family Jam and Sing
MEAD HALL Strangers,
ALBERTA BEACH HOTEL
Along, post karaoke party; 6pm
ART GALLERY OF ALBERTA�Ledcor Theatre
*Wear*Red* Fri: with Femcee DJ Eden Lixx
Anubis Sax Quartet; 8pm; $20/$10
AZUCAR PICANTE Every Fri: DJ Papi and DJ Latin Sensation
AVENUE THEATRE Fame,
Wander, From Within, Skies Of Strife; 8pm
MORANGO'S TEK CAFÉ Sat open stage: hosted by Dr. Oxide; 7-10pm
EMPIRE BALLROOM Rock, ENCORE CLUB So Sweeeeet
Sat
ESMERALDA’S Super Parties: Every Sat a different theme FLUID LOUNGE Sat Gone
Gold Mash-Up: with Harmen B and DJ Kwake
FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro with DJ Damian
Cleanse Kill, The Illustrated, Display of Decay, Neation; all ages; 6:30pm (door); $10
MYER HOROWITZ THEATRE Shoufou Alwawa
Wayn Im Hussein, Ajyal Group; 8pm
Connected Fri: 91.7 The Bounce, Nestor Delano, Luke Morrison
AXIS CAF�Metro Room
HALO For Those Who Know: house every Sat with DJ Junior Brown, Luke Morrison, Nestor Delano, Ari Rhodes
NEW CITY SUBURBS
JUNCTION BAR AND EATERY LGBT Community:
BAR�B�BAR DJ James; no
BLACK DOG FREEHOUSE
BANK ULTRA LOUNGE
cover
BAR WILD Bar Wild Fri BLACK DOG FREEHOUSE
Fri DJs spin Wooftop and Main Floor: Eclectic jams with Nevine–indie, soul, motown, new wave, electro; Underdog: Perverted Fri: Punk and Ska from the ‘60s ‘70s and ‘80s with Fathead
Jon McPhail (country/folk/rock), Ryelee; 8pm; $10 Hair of the Dog (live acoustic music every Sat); 4-6pm; no cover
BLACKJACK'S ROADHOUSE�Nisku Sat
night concert series: Stephanie Harpe (rock); 9pm
BLUES ON WHYTE Trevor
BRIXX BAR Gzus Murphy
CENTURY ROOM
Underground House every Fri with DJ Nic-E
CHROME LOUNGE Platinum VIP Fri
THE DRUID IRISH PUB DJ
every Fri at 9pm
EMPIRE BALLROOM Rock,
(CD release), Nova and Rome Angel, Advo and DJ Shorttop; no minors; 9pm; $20 at Foosh, Bogarts
CARROT Open mic Sat; 7:30-
10pm; free
CASINO EDMONTON The Classics (nostalgia)
CASINO YELLOWHEAD Souled Out (pop/rock)
COAST TO COAST Live bands every Sat; 9:30pm
hip hop, house, mash up; no minors
CROWN AND ANCHOR
ESMERELDA'S Ezzies
CROWN PUB Acoustic Open
Freakin Frenzy Fri: Playing the best in country
FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro with
DJ Damian
Maple Tea
Stage during the day/Electric Open Stage at night with Marshall Lawrence, 1:30pm (sign-up), every Sat, 2-5pm; evening: hosted by Dan and Miguel; 9:30pm-12:30am
GAS PUMP Top 40/dance
with DJ Christian
EARLY STAGE SALOON� Stony Plain Mr Lucky
IRON HORSE House in the
EDDIE SHORTS The Kurt
Horse: Every Fri featuring a different house DJ; 2 Different DJs, 2 Styles of Music, 2 levels
JUNCTION BAR AND EATERY LGBT Community:
Rotating DJs Fri and Sat; 10pm
NEWCASTLE PUB Fri House, dance mix with DJ Donovan NEW CITY LIKWID LOUNGE DJ Anarchy Adam
(punk)
PLAY NIGHTCLUB Pretty
ON THE ROCKS GO!
NEW CITY LIKWID LOUNGE Punk Rawk Sat with
PAWN SHOP Women
cancelled; instead: Field and Stream, Whitsundays, Sans Aids; $5 (door)
HALL Northern Lights Folk
BOOTS Retro Disco: retro Chaser; 8pm (door); no cover before 10pm
NEWCASTLE PUB Top 40 Sat: requests with DJ Sheri
3-7pm; DJ 9:30pm
BOHEMIA Paint My Decks,
No Ego DJs, live painting by Joe Clarke; no minors; 8pm; free
West Express featuring Shelley Foss and Chris Mostoway; $10
EDMONTON EVENT CENTRE Dirty South,
Chris lake; 9pm
ELECTRIC RODEO� Spruce Grove The Beat Generation
EXPRESSIONZ CAFÉ
Uptown Folk Club: What Makes a Band Succeed, with Raisin’ Cain; 1-4pm; $5 (member)/$10 (non member)
Rotating DJs Fri and Sat; 10pm
O’BYRNE’S Live band Sat
QUEEN ALEXANDRA
Bash: DJ spinning retro to rock classics to current
BUDDY’S Fri: DJ Arrow
Knucklehead, Old Wives, Vicious Cycles, DJ G-Whiz; 8:30pm (door); $12 (door)
Finlay
BLACKSHEEP PUB Fri
dance
BLUE PEAR
Kids: Emily Saves the Orchestra: Edmonton Symphony Orchestra and Platypus Theatre; 2pm, Hear the Music: main lobby pre-concert activities at 1:15pm; $21-$29 (adult)/$13-$17 (child) at Winspear box office
Wetaskiwin featuring jazz trios the 1st Sat each month; $10
TJ the DJ every Thu and Fri; 10pm-close
WINSPEAR Symphony for
Club: Dennis Lakusta, Alannah Dow; $18 (adv at TIX on the Square, Acoustic Music, Myhre's)/$22 (door)
RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm-2am REXALL PLACE Cesar
Todd and Alex
PALACE CASINO Show Lounge Sat night DJ
PAWN SHOP SONiC
Presents Live On Site! AntiClub Sat: rock, indie, punk, rock, dance, retro rock; 8pm (door)
PLANET INDIGO�Jasper Ave Suggestive Sat: breaks
electro house with PI residents
PLAY NIGHTCLUB Every Sat with DJ Showboy; 8pm (door)
Millan; all ages; 6:30pm (door), 7:30pm (show); $25, $52.50, $69.50
RED STAR Sat indie rock, hip hop, and electro with DJ Hot Philly and guests
RUSTY REED'S HOUSE OF
RENDEZVOUS Survival
BLUES Donald Ray Johnson (CD release); 9:30pm; $10 STARLITE ROOM
Lascivious Burlesque presents Freak Show with Looking East and The Shakedowns; no minors; 9pm; $10 (adv)/$12 (door)
TOUCH OF CLASS� Chateau Louis Brian Calnan
(pop/rock); 8:30pm
WILD WEST SALOON Average Jo (Jo Hikk)
WINSPEAR CENTRE Voices
metal night
SPORTSWORLD Roller
Skating Disco Sat; 1pm-4:30pm and 7-10:30pm
FESTIVAL PLACE He Said She-Said with Sue Foley and Peter Karp (blues); 7:30pm; $18 HORIZON STAGE The Wright Songs: An Acoustic Evening with Michelle Wright; 2pm and 7:30pm; $40 (adult)/$35 (student/ senior)/$5 eyeGO at Horizon box office, TicketMaster J AND R BAR Open jam/
stage every Sun hosted by Me Next and the Have-Nots; 3-7pm
LOIS HOLE LIBRARY Sun Afternoon Music; 2 -3pm; drop-in
LYVE ON WHYTE Special Opening Party: Barrio Ju Ligans; 11pm (door); no cover
NEWCASTLE PUB Sun Soul Service (acoustic jam): Willy James and Crawdad Cantera; 3-6:30pm NEW CITY Open Mic Sun hosted by Ben Disaster; 9pm (sign-up); no cover O’BYRNE’S Open mic Sun with Robb Angus (Wheat Pool); 9:30pm-1am
ON THE ROCKS Seven Strings Sun: Jordan Lee, Lesley Pelletier and Alyssa Banks; 9pm; $5 ORLANDO'S 2 PUB Sun Open Stage Jam hosted by The Vindicators (blues/rock); 3-8pm PAWN SHOP Women,
Whitsundays, Sans Aids; 9pm; $12 (adv) at Blackbyrd, Listen, foundationconcerts. com
ROYAL COACH�
Chateau Louis Petro Polujin (classical guitar); 5pm RUSTY REED'S HOUSE
OF BLUES Mighty Insomnia Open Blues Jam; 8pm
SECOND CUP�Mountain Equipment Co-op Live TRANSALTA ARTS BARNS
Y AFTERHOURS Release Sat
SUN NOV 7 ARDEN Alexander
Sevastian; 11am (brunch), 1pm (performance)
Albert Open stage/jam
The Mill Creek Colliery Band, Dr Fordyce Pier (conductor); 7:30pm; $18/$14 (student/ senior) at door, TIX on the Square
acoustic oriented open stage hosted by Rob Taylor
music every Sun; 2-4pm
YARDBIRD SUITE Jane
MCDOUGALL UNITED CHURCH Sparkling Brass:
Celtic Music Session, hosted by Keri-Lynne Zwicker, 4-7pm
TEMPLE Oh Snap! every Sat:
BEER HUNTER�St
Classical
based open stage hosted by Mike "Shufflehound" Chenoweth; every Sun evening
STOLLI’S ON WHYTE Top 40, R&B, house with People’s DJ
for Hospice: featuring Adam Gregory, Kalsey Kulyk; 7pm; $29 at Winspear box office Bunnett and the Spirits of Havana, Sandro Dominelli Trio; 9pm; $24 (member)/$28 (guest) at TicketMaster
B�STREET BAR Acoustic-
every Sun; 2-6pm
BLACK DOG FREEHOUSE Who Made Who–The Rock and Roll Resurrection: The Maykings (revive The Who), The Dirty Dudes (revive AC/DC); 10pm; no cover BLUE CHAIR CAFÉ Sun Brunch: Jim Findlay Trio; 10am-2.30pm; donations
Homefest: Al Brant, Dennis Lakusta, Kevin Cook, Bob Hahrig, Jessica Heine, Maria Dunn, Rob Heath, more; 12-5pm; $15/under 12 free at Earth's General Store, TIX on the Square, Myhre's Music
YARDBIRD SUITE
Peripheral Vision; 8pm; $16 (member)/$20 (guest) at TicketMaster
Classical WINSPEAR CENTRE Lest We Forget: A Musical Tribute: Cosmopolitan Music Society with guests Lieutenant (N) Robert Byrne, MC J’Lyn Nye, Vimy Ridge Academy Pipe Band, Canadian Forces Cenotaph Party, Canadian Legion Colour Party, joining the CMS concert bands and chorus; 7.30pm; $20 at CMS office
VUEWEEKLY // NOV 4 – NOV 10, 2010
MUSIC // 37
COMMENT >> DOLLARS AND FIGHTS
A fistful of money
And a few solid right hooks on stage as well As of my writing on Tuesday, CJSR was just It's also a pretty safe bet that most of the under half of their FunDrive goal of musicians in the city first heard some$125 000 with about two-fifths thing that inspired them on the of the annual on-air fundraiser station. The prevalence of blogs left. I hope that by the time has made it a bit easier to find you read this they'll be much a diverse array of music, but ly.com closer, but let this serve as a CJSR's DJs still act as curators eweek u v @ david reminder for you to pick up for anyone without the time d Davi y the phone and throw someor inclination, and they tend to Berr thing at the venerable indepenboast an array of knowledge that dent station. rivals even the best blogs. Full disclosure: I'm a volunteer at CJSR, so All of which is to say, of course: pick up I come from a slightly biased place, but I the phone (780.492.2577) and drop someonly volunteer there because I believe pretthing on them. ty strongly in their goals. There are a variety of great reasons to support them, but Women problems as far as the local music scene is concerned, For anyone who missed the announcethere is no bigger supporter than CJSR. Pick ment, Calgary's Women—whose second just about any band that has made a mark album, Public Strain, is in the conversation in Edmonton and beyond, and you can be for one of the best of the year—has cansure they first got spins on CJSR. celled its Edmonton show that was sup-
R GUTTE E
DANC
DJs
FILTHY MCNASTY'S Metal
BACKSTAGE TAP AND GRILL Industry Night: with
Mon: with DJ S.W.A.G.
DJs
FLUID LOUNGE Mon Mixer
BLACK DOG FREEHOUSE
Atomic Improv, Jameoki and DJ Tim
BLACK DOG FREEHOUSE Sun Afternoons: Phil, 2-7pm; Main Floor: Got To Give It Up: Funk, Soul, Motown, Disco with DJ Red Dawn
FLOW LOUNGE Stylus Sun
RnR Sun with DJ IceMan; no minors; 9pm; no cover
SPORTSWORLD Roller
Skating Disco Sun; 1-4:30pm; sports-world.ca
MON NOV 8
TUE NOV 9 BLUES ON WHYTE Jack
CROWN PUB Underground
At The Crown: underground, hip hop with DJ Xaolin and Jae Maze; open mic; every Tue; 10pm; $3
DRUID IRISH PUB Open
stage with Chris Wynters; 9pm
L.B.’S Tue Jam with Ammar; 9pm-1am
NEW CITY LIKWID LOUNGE Open Mic; Hosted
Tue: The Balconies and Sean Brewer, hosted by Mark Feduk; 9pm; $8
BUDDYS Tue with DJ Arrow Chaser; free pool all night; 9pm (door); no cover
ESMERALDA’S Retro Tue; no cover with student ID
stage with Jonny Mac, 8:30pm, free
Sessions; 8-11:30pm
Licious: Gypsy and circus fusion spectaculars; last Wed every month
FUNKY BUDDHA�Whyte Ave Latin and Salsa music,
OIL CITY ROADHOUSE
dance lessons 8-10pm
Mark Chesnutt (country folk); 8pm; $34 at TIcketMaster
NEW CITY LIKWID LOUNGE ‘abilly, Ghoul-rock,
PLEASANTVIEW COMMUNITY HALL
spooky with DJ Vylan Cadaver
RED STAR Tue Experimental
Indie Rock, Hip Hop, Electro with DJ Hot Philly
WED NOV 10
Acoustic Bluegrass jam presented by the Northern Bluegrass Circle Music Society; Slow pitch for beginners on the 1st and 3rd Wed prior to regular jam every Wed, 6.30pm; $2 (member)/$4 (non-member)
BANK ULTRA LOUNGE
Wed Nights: with DJ Harley
BLACK DOG FREEHOUSE Main Floor: Blue Jay’s Messy Nest Wed Night: Brit pop, new wave, punk, rock ‘n’ roll with LL Cool Joe BRIXX BAR Really Good... Eats and Beats with DJ Degree and Friends
BUDDY'S Wed: DJ Dust 'n' Time; 9pm (door); no cover DIESEL ULTRA LOUNGE
by Ben Disaster; 9pm
BLACK DOG
FREEHOUSE Sleeman Mon:
O’BYRNE’S Celtic Jam with
FREEHOUSE Main Floor:
RED PIANO BAR Wed Night Live: hosted by dueling piano players; 8pm-1am; $5
BLUES ON WHYTE Jack
PADMANADI Tue open
BLUES ON WHYTE Jack
7:3pm
FLUID LOUNGE Wed
BOHEMIA Ghost Cousin,
SECOND CUP�Mountain Equipment Open Mic every
IVORY CLUB DJ ongoing
BLACK DOG live music monthly; no cover De Keyzer
DEVANEY'S IRISH PUB
Open stage Mon with Ido Vander Laan and Scott Cook; 8-12
NEW CITY This Will Hurt you Mon: Johnny Neck and his Job present mystery musical guests
PLEASANTVIEW COMMUNITY HALL
Acoustic instrumental old time fiddle jam hosted by the Wild Rose Old Tyme Fiddlers Society; 7pm
ROSE BOWL/ROUGE LOUNGE The Legendary
Shannon Johnson and friends
De Keyzer
SECOND CUP�124 Street
Henry and the Nightcrawlers, Pre/Post; no minors; 8pm; $6 (door)
Open mic every Tue; 8-10pm
SECOND CUP�Stanley Milner Library Open mic
every Tue; 7-9pm
SIDELINERS PUB Tue All Star Jam with Alicia Tait and Rickey Sidecar; 8pm SPORTSMAN'S LOUNGE Open Stage hosted by Paul McGowan and Gina Cormier; every Tue; 8pm-midnight; no cover
STEEPS�Old Glenora
Rose Bowl Mon Jam: hosted by Sean Brewer; 9pm
RUSTY REED'S HOUSE OF BLUES Blue Monday
YARDBIRD SUITE Tue
DJs BAR WILD Bar Gone Wild Mon: Service Industry Night; no minors; 9pm-2am BLACK DOG FREEHOUSE Main Floor: Eclectic Nonsense, Confederacy of Dunces, Dad Rock, TJ Hookah and Rear Admiral Saunders
Glitter Gulch Wed
stage with Mark Davis; all ages; 7:30-10:30pm
Every Tue Open Mic; 7:309:30pm
Open Blues Jam: Jim Guiboche; 8pm
38 // MUSIC
DJs
HAVEN SOCIAL Open
PLAY NIGHTCLUB
LOUNGE Reggae on Whyte:
NEW CITY Circ-O-Rama-
Brian Gregg; 12-1pm
BRIXX BAR Troubadour
BRIXX BAR Troubadour Tue: with Brandon Baker, Chris Assaad, host Mark Feduk; 8pm
SAVOY MARTINI
LYVE ON WHYTE The
GOOD EARTH COFFEE HOUSE Wed with Breezy
NEW CITY LIKWID LOUNGE Daniel and Fowler (eclectic tunes)
WINSPEAR One Last Time: An Evening with Procol Harum and the Edmonton Symphony Orchestra; Gary Brooker (piano, vocals), Josh Phillips (Hammond organ), Geoff Whitehorn (guitar, vocals), Geoff Dunn (drums, vocals) and Matt Pegg (bass, vocals), William Eddins and Da Camera Singers; 7:30pm; $36-$81 at Winspear box office
Main Floor: CJSR’s Eddie Lunchpail; Wooftop: with DJ Gundam
De Keyzer
Rotating Drag shows; every Sun; 9pm (door)
FIDDLER'S ROOST Little Flower Open Stage Wed with Brian Gregg; 8pm-12
LUCKY 13 Industry Night with DJ Chad Cook every Mon
NEW CITY SUBURBS Get Down Sun: with Neighbourhood Rats
posed to go this Saturday at Pawn Shop. The group actually cancelled a whole slate of dates, including a forthcoming European tour, after a band fight on stage in Victoria, which reportedly involved some punches being thrown and possibly more than one band member declaring it the group's "last show ever." (Also, apparently they were all in Halloween costumes, but that's really just an absurd aside.) Flemish Eye, Women's label, says the boys just need a break after an intensive touring schedule, and I hope for the sake of Alberta's music scene and music fans in general that that's indeed all it is: there are very few bands out there who do what Women do quite as well. In the meantime, our own Field + Stream has been kind enough to fill in for the band, and it should be a great show with Sans AIDS and the Whitsundays. V
Night Sessions: Festival Session: Andrew Glover Quartet; 7:30pm (door), 8pm (show); $5
WINSPEAR One Last Time:
An Evening with Procol Harum and the Edmonton Symphony Orchestra; Gary Brooker (piano, vocals), Josh Phillips (Hammond organ), Geoff Whitehorn (guitar, vocals), Geoff Dunn (drums, vocals) and Matt Pegg (bass, vocals), William Eddins and Da Camera Singers; 7:30pm; Sold out
VUEWEEKLY // NOV 4 – NOV 10, 2010
RIVER CREE Kenny Rogers;
Wed; 8-10pm
STARLITE ROOM Raised
Eats and Beats: DJ Degree every Wed, Edmonton’s Bassline Community; 6pm (music); no cover till 11pm
Fist: Remembering Yesterday, Built On Despondency, This is War, Lysergik Funeral, Through The Messenger, Display of Decay; no minors; 8pm; $12 (door)
COPPERPOT RESTAURANT Live jazz
STEEPS TEA LOUNGE� College Plaza Open mic
BRIXX BAR Really Good…
every Wed night: Rollanda Lee Quartet; 6-9pm
CROWN PUB Creative original Jam Wed (no covers): hosted by Dan and Miguel; 9:30pm-12:30am EDDIE SHORTS Goodtime jamboree Wed open stage hosted by Charlie Scream; 9pm-1am EMPIRE BALLROOM The
Return of House featuring Roger Sanchez and Sidney Samson
EXPRESSIONZ CAFÉ
Wed Open stage; 7-11pm; admission by donation
FESTIVAL PLACE
The The Trews (Friends and Total Strangers Tour 2010); 8pm; $30 (adv) at foundationconcerts.com
every Wed; 8pm
TEMPLE Wyld Style Wed: Live hip hop; $5
MYER HOROWITZ THEATRE Luke Doucet and
Wind-up Wed: R&B, hiphop, reggae, old skool, reggaeton with InVinceable, Touch It, weekly guest DJs Rock This
every Wed; open DJ night; 9pm-close; all DJs welcome to spin a short set
LEGENDS PUB Hip hop/R&B with DJ Spincycle NEW CITY LIKWID
LOUNGE DJ Roxxi Slade (indie, punk and metal) NEW CITY SUBURBS
Shake It: with Greg Gory and Eddie Lunchpail; no minors; 9pm (door)
NIKKI DIAMONDS Punk and ‘80s metal every Wed
the White Falcon, Sunparlour Players; 7pm (door); $22.50 at Blackbyrd, Listen
PLAY NIGHTCLUB Movie
WILD WEST SALOON
Wed
Mark Lorenz
YARDBIRD SUITE
Run Stop Run; 8pm; $16 (member)/$20 (guest) at TicketMaster
Classical MCDOUGALL CHURCH
Music Wed at Noon: Guillaume Tardif and Alison Minkun (violin, piano); 12:1012:50pm; free; 780.468.4964
Night every Wed; 9pm (door)
RED STAR Guest DJs every STARLITE ROOM Wild Style Wed: Hip-Hop; 9pm
STOLLI'S Beatparty Wed:
House, progressive and electronica with Rudy Electro, DJ Rystar, Space Age and weekly guests; 9pm-2am; beatparty.net
Y AFTERHOURS Y Not
Wed
MUSIC NOTES Hey Ocean / Thu, Nov 4 (10:30 pm) Hey Ocean's upbeat jams will have you wondering why the ocean hasn't answered them yet. (Lyve on Whyte)
Kat Danser / Fri, Nov 5 (7:30 pm) Much has been made of the Internet's ability to connect musical niches to people who don't live in their specific milieu, but when Kat Danser wanted to sing Mississippi blues, she obviously didn't feel like a little YouTubin' would do the trick. Instead, Edmonton's "Queen of the Swamp Blues" made a number of trips to the Mississippi Delta in order to bring back the genuine article. She releases her third album, Passin' a Time, Friday. (Arden Theatre, $25) Jane Bunnett / Sat, Nov 6 (9 pm) It's not for nothing that someone is called a flute and saxaphone phenom. Jane Bun-
nett is a multiple Grammy-nominated and six-time Juno Award winning multiinstrumentalist who is bringing her improvisational daring, her Afro-Cuban influences and her courageous artistry to Edmonton. (Yardbird Suite, $32.50)
Knucklehead / Sat, Nov 6 (9 pm) After 15 years as a band, Calgary's Knucklehead is still more than content to bring you the punk-rocking-ist punk rock possible and the group's latest album, Hearts on Fire, attests to that. Plus, this will be one of your last chances to see balls-to-thewall punk rock at its spiritual home in Edmonton, New City Suburbs, before it moves across the river. (New City) Homefest 2010 / Sun, Nov 7 (12 pm) Presented by the Edmonton Coalition on Housing and Homelessness since 2003, Homefest calls our attention to the crisis of homelessness on Edmonton's streets while at the same time raising money for
people living in poverty. Featuring the likes of Al Brant, Kevin Cook, Bob Jahrig, Joe Nolan, Painting with Ella, Polyjesters, Maria Dunn and Jan Randall, this year's Homefest promises to be a rootsy good time. (Arts Barns, $15)
Feast or Famine / Thu, Nov 11 (7 pm) It looks like this time around it's feast for Edmonton's Feast or Famine. With its debut album in the group's collective hands, the ska band will be celebrating its release into the wee hours of the morning. (Lyve on Whyte) Ruth Moody / Thu, Nov 11 (7:30 pm) A founding member of the Wailin' Jennys, Ruth Moody brings her solo show to town in support of her new album, entitled The Garden. The album features the likes of Crooked Still, Kevin Breit, Luke Doucet and Oh Susanna, and the show promises to bring the roof down on the Haven's basement confines. (Haven Social Club, $10) â&#x20AC;&#x201D;Bryan Birtles
PREVUE // Eden Munro
Shout Out Out Out Out
With Christian Hansen & the Autistics, the Whitsundays Sat, Nov 13 / Starlite Room, $20
VUEWEEKLY // NOV 4 â&#x20AC;&#x201C; NOV 10, 2010
MUSIC // 39
40 // MUSIC
VUEWEEKLY // NOV 4 – NOV 10, 2010
Woodhands Thu, Nov 11 (8 pm) With guests Pawnshop, $10 You don't have to look much past singer Dan Werb to understand that Woodhands is a band of contradictions. With his slight curls, designer specs and penchant for cardigans, he looks more like a bookish grad student than a synth-dance monster, but put him on a stage and within seconds he'll be exploding in a fury of keytar mastery, white-boy rhythm and buckets of hard-earned sweat. Likewise, Woodhands—rounded out by ecstatic drummer Paul Banwatt, also of the Rural Alberta Advantage—has more going on than it first appears. The duo's second album, Remorsecapade, is a big, explosive record, one that pushes the smaller indie flavour of its debut Heart Attack into full-on, body-melting dancemusic territory, with throbbing beats and effortless electro hooks. What remains, though, is the emotional depth of Werb's lyrics, which never feel like placeholders for a big beat. Whatever else is going on behind them—and it's usually something bumping—they're psychologically tricky stories of frustrated love and loss, a mixture that isn't obviously peanut butter and chocolate, but which works quite well for the Toronto duo. "I see angst as sort of potential energy, and you can get it out in a bunch of different ways," explains Werb over the phone from New York, where the band made a stop for CMJ. "You can dance it out, or do the punk-rock delivery that's kind of been our bread and butter up to this point, or whatever. They're different, but they're sparked by that same potentiality." That explains the link, although even Werb admits that music and lyrics tend
Can these guys get a hand?
// Chris Frampton
to come from pretty different places. Although he has noticed that the more he writes the more his lyrics tend to get infected by the infectious exultation of dance. "For better or for worse, I tend to need to write lyrics when I'm going through bullshit with partners," he admits with a kind of knowing chuckle. "But that's changing, actually: we're starting work on our next album, which will probably be an EP, and it's all going to be songs written about the perfect life, to contrast with the dark, angst-ridden stuff I've been writing up until now. Even I'm getting tired of hearing myself whine about girls." David Berry
// david@vueweekly.com
Doug Hoyer
Dough Hoyer considers writing a third new song
Sat, Nov 6 (7 pm) With Mitchmatic, A Little Project Lyve on Whyte, $5 Doug Hoyer's songs tend to be as congenial as the man himself, bright ditties about love and summer and bikes and the lovely little bits of life. For the lead track of his first seven-inch, the matterof-factly-titled Two New Songs by Doug Hoyer, though, he found himself inspired by something a might bit darker: deep questions about his identity. "Yeah, it was some existential-crisis kind of stuff," Hoyer admits of "Song from a Kind Stranger's Floor," which addresses his lack of self-definition in his typical breezy, Jonathan-Richman-
// Amy Kaye
by-way-of-Jens-Lekman manner. "It was just on my mind: what am I doing? Is this who I am, or am I someone else? It felt kind of weird, but it worked: I've been able to get that out and move on." That's evident from the B-side, an AM radio-style gem called "Lakes of Mars," which tackles the more typically Hoyerian subject of love through some sci-fi and philosophical ramblings that are ultimately tossed away for romance. It is welcome proof that Hoyer has a pretty good clue as to his identity: a man who writes catchy little ditties infused with more than their fair share of wit. David Berry
// david@vueweekly.com
VUEWEEKLY // NOV 4 – NOV 10, 2010
MUSIC // 41
NEWSOUNDS Belle And Sebastian Write About Love (Matador)
Paul Blinov // paul@vueweekly.com
M
aintaining the status quo isn't always a bad thing. Sure, there have been little tweaks to the Glasgow-born pop music machine that is Belle and Sebastian—the biggest was pairing up with producer Trevor Horn, resulting in the lusher, more produced Dear Catastrophie Waitress (2003), an influence the band carried along into The Life Pursuit (2006) despite swapping Horn out for Tony Hoffer—but mostly the formula has only been altered in subtle ways. Unless you demand the term "lo-fi" always be affixed to "twee pop," chances are you're not complaining about how frontman Stuart Murdoch hasn't really shaken things for seven albums. Write About Love is studio album number eight, and while it's not as precious or hushed as any of the band's earlier releases—B&S's slide towards bigger production values continues unabated—it is more of the shimmering pop from a band that's proven itself more than capable of delivering that time and time again. I wouldn't call it
their finest, but it's certainly fine. Opener "I Didn't See It Coming"— penned not by Murdoch, but violinist Sarah Martin—launches into some familiar hues of jangily guitar, boygirl harmonies, a universal pining for school-age romance. There's a duet with Norah Jones, "Little Lou, Ugly Jack, Prophet John," her smoky-smooth pipes actually matching the slower pace of album nicely. If there is a flaw here, it's that some of the hooks often feel cramped, down too low in the mix below the increasing layers of production gloss. This is an album of low to mid-tempo B&S songs, which, usually broken up with a few more punchier numbers throughout, start to drag their heels like the bored schoolgirls Murdoch's written about so many times. Maybe songwriting is a factor—Murdoch opened up the songwriting process to the rest of his band more than ever before—but while you can appreciate the band being able to tap into the usual fixations that Murdoch has for years, it's the music itself, not the lyrics, that seems to lack the vivacity of youth. Write About Love lacks the panache of a "Funny Little Frog" or a "Dylan in the Movies," a speedy, punchy little number to give you that feeling of immediacy. The fastest we get is the slippery bass and single guitar notes of "I Want the World to Stop" and the '70s thrust of the title track, both emphasizing qualities of the band—how a chorus can shift into bittersweet ruminations while still —that seem to lack elsewhere. So maybe that's the first signs of a band growing up and slowing down. But I doubt it; all in all, not much has changed. Write About Love is basically all Murdoch or his band has ever done, and in the lovelorn, bookish sentiment that those three words imply. He's always done a fine job of it, too. This is hardly different. V
Wingless Angels Volume II (Mindless) Over on the flip side of Keith Richards' life as one of the Rolling Stones has been his love for the music of Jamaica, and, even more importantly, his dedication to making music with his friends. While that's all he's ever done, really, be it in the Stones or with the New Barbarians or any of the myriad of guest spots he's slipped in over the years, nowhere has it been more evident than on the 1997 release of Wingless Angel's self-titled debut. Featuring singer Justin Hinds leading a number of local Jamaican players on a set of Nyabinghi chants—a rhythmic music of vocals and drums, which influenced other forms like reggae and ska—with Richards adding guitar, piano and other sounds in a subtle, often barely there way, the first record was a glimpse into another world where music drifts from the musicians out into the air, sharing the Jamaican space with the living sounds of nature. Hinds passed away in 2005, but not before he and Richards reconvened— this time in a recording studio—to capture a second volume by the Wingless Angels. Where the first one was like an invitation into the Jamaican musicians' world, this one places them in a more conventional space for a recording, at least in terms of the silence that the music emerges from. Not that Volume II is a slick effort; it's just that it stands in its own sonic space: while the additional instrumentation on the first album was generally quiet and subtle, sneaking up on the music and sometimes remaining so far back that it was only upon multiple listens that it became apparent, this time out it's much more prominent, with Richards' guitar being perhaps the most essential. That's not surprising, either, given that Richards' playing is particularly inspired here, be it in the slow twists of "Oh What a Joy," the sharper riffing against a blues harp on "Shady Tree" or the gently rolling picking over the bass line on "Band of Angels." To be sure, Wingless Angels is not a solo endeavour, but rather a full-on collaboration between friends. And it's Hinds' voice, not Richards' guitar, that acts as a beacon for the course of the record, his smooth pipes soaring over the booming drums which act as the backbone. Part of what makes Volume II so remarkable is that Richards melds his playing perfectly with the drums and voices (and bass, along with occasional harmonica and fiddle), and the result is an album that conjures a steady, relaxed vibe without falling away into sleepy background music. Through it all, the players never rush even a single beat, though they always remain steadfast in their progression towards the end, and that makes the album a compelling listen. Eden Munro
// eden@vueweekly.com
42 // MUSIC
VUEWEEKLY // NOV 4 – NOV 10, 2010
OLDSOUNDS
Zola Jesus Valusia (Sacred Bones) Zola Jesus makes pop music for dark, wintery nights, and she does it well. The foursong Valusia, like the year's other EP, Stridulum, showcases Nika Roza Danilova's icy, operatic voice continuing to find greater expression than before. "Poor Animal" is almost unexpectedly upbeat, with a thumping drum and synth chords that play off of each other, pulsing along and inching her music closer to the dancefloor than ever before. "Towers" has lapping waves of synth that tug like riptide only to drop away, leaving drums and a voice that reveals "It feels like / I'm the only one." There's some bittersweet sentiment behind "Sea Talk," and closer "Lightsick" is about as powerful a ballad as they come, using minimal, repeating piano and Danilova's voice alone to crescendo into powerful catharsis.
Harry Nilsson Pussy Cats (RCA Victor)
Originally released: 1974 Harry Nilsson's Pussy Cats has the unique distinction of being an album that sounds like the circumstances that produced it. Produced by John Lennon, the record works as a soundtrack to its own construction, a ramshackle, drunken creation of strange beauty. Nilsson and Lennon were mobbing around Los Angeles at the time: terrorizing clubs and bars, heckling the Smothers Brothers and putting tampons on their heads at the Troubadour. Lennon was estranged from Yoko Ono and in the company of new paramour and former secretary May Pang, who functioned as production assistant on this album. This period of time is often referred to by Lennon as his "Lost Weekend," recalling the film and book of the same name. Many of the musicians (including Nilsson, Lennon, Ringo Starr and Keith Moon) lived together in Santa Monica during the recording process, allowing for equal parts debauchery and studio cohesion. The most divisive element on this album is the state of Nilsson's voice. During the recording of this album, he burst his vocal cord and refused to tell Lennon about it, fearing that he might
Paul Blinov
// paul@vueweekly.com
The Sainte Catherines Fire Works (Union 2112)
The latest album from the Sainte Catherines is a typically angsty, yet infectiously catchy collection of tracks. The majority of the disc features anthems of soured platonic and romantic relationships, like the appropriately titled "We Used to be in Love" and "No Friends." Contrasting the heartbreak are lyrics about drinking too much, taking too many pills—pair these with loud, frantically fast guitar and drum lines, and the result is an overall sound that could be mistaken for a multitude of other punk bands.
QUICKSPINS
Meaghan Baxter
// meaghan@vueweekly.com
The Hyena Dog Robbery The Hyena Dog Robbery (Independent)
A "Secret Agent Man"-inspired guitar line opens up the Hyena Dog Robbery's self-titled LP, followed quickly by some dirty punk and a growled-out vocal that sounds something like Jim Morrison might've had he fronted the Stooges rather than the Doors. From there, the band actually treads across a fairly wide swath of ground—an epic sweeping sound on "Whiskey Sawdust," a T-Rex groove (with synths) on "905 girl"—all while keeping one foot firmly planted in punk. Still, the music ultimately feels a bit stale and too familiar. Eden Munro
// eden@vueweekly.com
cancel the sessions. Luckily for us, they trucked through this circumstance and delivered an album that is more emotionally enriching with the lack of Nilsson's usual dynamism. Half of Pussy Cats is dedicated to covers, which seems particularly appropriate. These versions are half-remembered, hazy renditions of songs that are either practically public domain ("Subterranean Homesick Blues," "Rock Around The Clock") or somehow linked with Nilsson's predilection for morose unrequited romance ("Save the Last Dance for Me"). Basically, the kind of songs you think about when you're not in your right mind. So even whilst witless and hampered by physical and emotional setbacks, Lennon and Nilsson still could not shake their flair for the conceptual. The music here is a shambolic mix of genres and styles that perfectly mirrors the drunken mindstate, functioning as a metamusical exercise that takes the focus away from Nilsson's atypical vocal deficiencies. "All My Life" juxtaposes the playfulness and baroque pop arrangements of early Nilsson with the nakedly confessional nature of Lennon's solo work. "Don't Forget Me" and "Old Forgotten Soldier" are literal or metaphorical expressions of our protagonist's deflated psyche—sparse balladry from a depressed, scarred crooner. Even though the subjects, production and chosen songs have a dark edge, the record has an unmistakable aura of fun. Harry indulges ("Shootin' them up / Drinkin' them up, taking them pills / Foolin' around, all my life") but hopes to eventually "change [his] way." That seems to be the method behind this album: taking yourself to the edge, hanging off and pulling yourself back up again. Nilsson was laid bare emotionally and still enjoyed himself in the process, making Pussy Cats a testament to musical catharsis. V ROLAND PEMBERTON
// ROLAND@vueweekly.com
WHITEY HOUSTON // QUICKSPINS@vueweekly.com
The Creepshow They All Fall Down (Stomp)
Frank Horvat A Little Dark Music (Independent)
Hallowiener punk Usual spooky shit here Plus good tunes for once
Mentally taxing Like doing long division While watching C-Span
Chris Colepaugh and the Cosmic Crew • Missed a Page (Independent)
Adam Haworth Stephens We Live On Cliffs (Saddlecreek)
Blue collar rock guy He can strum, he can sing, and He can tar your roof
Who needs Two Gallants When just one Gallant will do? Think of the savings
.
Syndicate Villain Can't Sleep The Clown Will Eat Me (International Arts)
John Lefebvre The Initial Album (Eagle Medallion Fortress)
Suspicious boasting Like dudes who talk themselves up But work at Arby's
He scored 10 cool points Just for rhyming Wild Turkey With Albequerque
VUEWEEKLY // NOV 4 – NOV 10, 2010
MUSIC // 43
PREVUE
Essential Todd Snider 1. "Talkin' Seattle Grunge Rock Blues" Snider's first hit, off his debut Songs for the Daily Planet, it's a sly piss-take on the faux-alternative of grunge. Rarely has it been skewered so effectively.
2. "Beer Run" Arguably Snider's most famous song, probably because you can take this tale of frat boys trying to get some brews with or without irony.
3. "Ballad of the Kingsmen" Fri, Nov 5 (8 pm) Horowitz Theatre, $37 Todd Snider's wry humour and willingness to take the piss out of everyone and everything have always been the things that push his bare-bones songwriting into another stratosphere. In honour of his upcoming show at Myer Horowitz, Vue takes a look at some of the finest examples of such. David Berry
// david@vueweekly.com
44 // MUSIC
VUEWEEKLY // NOV 4 â&#x20AC;&#x201C; NOV 10, 2010
4. "Conservative Christian Right-Wing Republican Straight White American Males" A couple standouts from Snider's best album, East Nashville Skyline, they're perfect representations of his winding-road sense of humour, clear-headed political opinions and general penchant for sticking his nose into places where people would rather he didn't.
5. "America's Favorite Pastime (The Ballad of Dock Ellis)" Off of his latest, The Excitement Plan, it is, as Rolling Stone said, the finest song ever written about the time Dock Ellis threw a no-hittter on LSD.
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COMMENT >> LGBTQ
COMMENT >> ALT SEX
The Popular thing to do
Private pleasures
Being an outsider is experienced differently by everyone Popular theatre turns the phrase "can't see the forest What is needed in Popular Theatre is an understanding for the trees" on its head by asking—if we are all trees, that a play is a living thing, an opportunity to give life to what kind of forest do we live in, do we want to live complexity, and that creation cannot be done in isolain, can we live in? In popular theatre different points of tion. As part of the writing process Haroun did research view are considered, collaboration through the process through blogs and social networking to gain insight into of creation is encouraged and dialogue in all forms is the the lives of young Muslim women. Through Concretre, basis for the resulting play. he also teamed up with Edmonton's Centre for Race and In 1987 as a community engagement project in Culture (CRC), meeting many young women who a University of Alberta theatre class, Concrete engaged in dialogue with CRC and Haroun. I Theatre was formed, rooted in popular theasked Haroun if he drew parallels between atre, collaborating first with girls and womthe young women he was hearing from en living and working on the streets. Long and his experiences growing up, thinking it m o kly.c after the school year ended the project might be easy to draw on his own feelings uewee v @ d te continued and Concrete opened up to other of otherness in writing about someone else. Ted communities, looking at issues like dating vi"It's hard to compare or generalize ... maybe Kerr olence, media awareness and sexuality. Finding on a metaphorical level like the frustrations," success and fulfilment working largely with youth, he answered When I asked Ouchi a similar quesby 1998 Concrete was a professional theatre for young tion she agreed with Haroun: "Even within Islam, each audiences, working within a popular theatre framework. country, region have their own stories" pointing out that Last week launching it's 21st season Concrete is preto generalize would be to misrepresent. Both resisted miering Under Cover, a play exploring challenges faced the temptation to universalize the play for all minorities. by teenagers of Middle Eastern descent in Canada told Instead in keeping with Popular Theatre and Concrete's primarily through the story of Ella. Under Cover is directethos, both went back to the notion of complexity and ed by a founding member of Concrete, current Artistic a desire not to portray stereotypes on the stage. While Director Mieko Ouchi, and written by Mark Haroun. both hope youth will find something they can relate to in Under Cover, the goal is not to put forward a parable, At first blush Haroun, a white, half Egyptian, late twenbut rather that youth will have a greater understanding ties gay guy from St Albert well known for his award of the realities faced by Middle Eastern youths and will winning writing on a CBC prairie drama, may seem like question whether tolerance is enough. a strange fit to tell the story of Ella, a young Muslim It is easy as a "minority" to assume an understanding woman navigating reactions from her high school peers of other communities' issues—to over identify and asafter she decides to wear the hijab. For Ouchi, who has sume all our problems are the same. This is dangerous worked with him before, Haroun is a perfect fit, having a to do even within a community. Over simplification great ear for writing dialogue for young people she says, leads to problems down the road: the devil, as they and because of his own experiences. "Mark took a trip say, is in the details. What the process of Under Cover to Egypt, when he came back I remember him talking highlights is that being a minority one's self is not carte about how the experience made him feel isolated in St blanche into the experience of others. It is through lisAlbert. That trip was an awaking," Ouchi recalls. tening, supporting and getting out of the way—of the Of course as Haroun and Ouchi know, being a good story or otherwise—that is the best we often can do writer, and experiencing "otherhood" is not enough. for each other. V
R QUEE
ON MONT
Dear Brenda, Could you please recommend some good books on female erotica? It's overwhelming to find something on the web. Literally Inclined
Dear Seeking, I've seen several different types of non-prescription products that claim to do the same thing as Viagra. You'll have more luck finding them online than in any store. Most of those products are just combinations of gingko biloba, ginseng, damiana extract and other Dear Literally, natural substances that improve circulation. Viagra It's hard to recommend something without knowing contains PDE-5 which acts specifically on the blood what you're into, but I'll do my best. My first vessels in the penis. These substances just pick would be the Cleis press anthologies promote circulation in general, so whether which are published every year. They inyou'll get enough to affect circulation in clude Best Women's Erotica, Best Lesyour penis is doubtful. I've seen two differbian Erotica, Best Bondage Erotica and ent supplements that contain something ly.com k e e w @vue so forth. These are sensual, exceptionally called Icarin which is supposed to have the brenda a d n well-written erotic stories, not just your same effect as PDE-5. I can't find any stude r B typical "I never thought it would happen to Kerber ies showing that it's safe and effective. me" smut stories. They're edited by people like If you have actual erectile problems, you reViolet Blue and Tristan Taormino, women who really should see a doctor. Troubles with erections ally know hot erotica. The best place to start is Best are often a result of other serious health problems of the Best Women's Erotica", which is a selection of that need to be diagnosed and treated. the best from previous anthologies. Check out Violet If you want the herbal Viagra to get firmer, longerBlue's site, tinynibbles.com. She has a section on her lasting erections and to have more intense sex, there site dedicated to erotica which includes lists of books are other things you can try. A cock ring will give and on-line stories. If you're into edgier stuff, you can't you firmer erections and will keep the blood closer beat The Story of O. It's rough but smokin' hot. Also to surface of your skin so that you feel more senalong those lines are Laura Antoniou's books like the sation. To last longer, try bringing yourself close to Marketplace series. the point of orgasm and then stopping or switching My personal preference for erotica is totally old to something less intense. This takes some practise school. I am a big fan of Nancy Friday's books like Forand self-control, but it's worth the effort. When you bidden Flowers and Women on Top. For years, women finally do finish, it's much stronger. You can also try have been sending Friday detailed descriptions of their a ball stretcher, which, in spite of the name, does not own sexual fantasies, and she publishes them along hurt. It just holds your balls down and away from with her insights and analyses. I love the stories in your body, making it harder for you to ejaculate and these books because they are real. There is an immeallowing you to enjoy that pre-orgasm sensation londiacy and rawness to them that makes them very hot. I ger. Although they take a little more work, play techkeep returning to them even now. niques like this are way more fun and more reliable than just taking a pill. V Dear Brenda, I had a friend who picked up some herbal Viagra on vaBrenda Kerber has been a social worker and sexual cation in Mexico. It was awesome! Where can I find this health educator in Edmonton not-for-profits for the past stuff in Edmonton? 11 years. She is the owner of the Edmonton-based sexSeeking supplements positive adult toy boutique, The Traveling Tickle Trunk.
LUST E LIF
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HOROSCOPE ARIES (Mar 21 – Apr 19) In Marcel Proust's novel, In Search of Lost Time, one of the characters makes a vulgar observation about the odd attractions that sometimes come over us human beings: "Anyone who falls in love with a dog's behind will mistake it for a rose." It's my duty to point out that the opposite occurs, too. People may think a marvelous thing is worthless, and dislike it or ignore it as a result. My advice to you, Aries, is to avoid both of these errors in the coming week.
first task is to determine your "constitutional." This is the remedy that serves as your fundamental medicine. After analyzing your astrological omens, I'm guessing that you might need an adjustment in the regimen that keeps you healthy. Consider making some changes in the food you eat, the sleep you get, the exercise you do, and the love you stir up.
ILL FREEW GY
CANCER (Jun 21 – Jul 22) "Freedom is in the unknown," said phikly.com losopher John C Lilly. "If you believe e e w e l@vu TAURUS (Apr 20 – May 20) Poet there is an unknown everywhere, freewil Rob y in your own body, in your relationPaul Eluard frequently fantasized n Brezs and wrote about his dream woman, ships with other people, in political but never found her. "The cards have preinstitutions, in the universe, then you dicted that I would meet her but not recognize have maximum freedom." I think this is the most her," he said. He contented himself with being in important thought you could meditate on right love with love. It's a losing proposition to hope now, Cancerian. You are close to summoning the for a dream lover to show up in our lives, since magic that would allow you to revel in what's unno one can ever match the idealized image we known about everything and everyone you love. create. Even if there were such a thing as a perThat would dramatically invigorate your instinct fect mate, we would probably not recognize that for freedom. person, as Eluard said, because they'd be so different from our fantasy. Taurus, I'm happy to inLEO (Jul 23 – Aug 22) I planted a garden for the form you that the next two months will be prime first time last summer. It wasn't easy. The soil in time for you to cultivate your connection with an my backyard was hard clay that I could barely imperfect beauty. penetrate with a shovel. A helpful clerk at the garden store revealed a solution: gypsum. All GEMINI (May 21 – Jun 20) When you begin I had to do was pour the white powder on my treatment with a homeopathic doctor, his or her intransigent dirt and wet it down for a few days.
ASTR
46 // BACK
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The stuff performed as advertised on the package: It, "worked like millions of tiny hoes." A week later, I was able to begin planting. In the coming days, Leo, I think you could benefit from the metaphorical equivalent of a million tiny hoes. You've got to break down a hard surface to create a soft bed for your seeds. VIRGO (Aug 23 – Sep 22) Recent research suggests that yawning raises alertness, enhances cognitive awareness, reduces stress, and strengthens the part of the brain that feels empathy. Andrew Newburg, MD recommends regularly inducing yawns. He says it helps you solve problems, increases your efficiency, and intensifies your spiritual experiences. (Read more here: bit.ly/YawnGenius.) During the current phase of your astrological cycle—which is a time when self-improvement activities are especially favoured—you should experiment with recreational yawning. LIBRA (Sep 23– Oct 22) Check out this haiku by Mizuhara Shuoshi, translated from Japanese by William J Higginson: "stuck in a vase / deep mountain magnolia / blossoms open." I think it pretty much sums up your current situation. More accurately, it captures the best possible scenario you can strive to achieve, given your circumstances. Yes, there are limitations you have to deal with right now: being in the vase. There's no reason
VUEWEEKLY // NOV 4 – NOV 10, 2010
you can't bloom like a deep mountain magnolia. SCORPIO (Oct 23 – Nov 21) Technorati, a search engine for blogs, says there are well over 100 million blogs on the Internet. An estimated 94 percent of them have not been updated for at least four months. In accordance with the current astrological indicators, Scorpio, I expect you to do something about this problem. Refresh your blog in the coming week, or consider launching one. Use every other way you can imagine to show the world who you are. Be articulate, demonstrative and revelatory. SAGITTARIUS (Nov 22 – Dec 21) I think you can handle more hubbub and uproar than you realize. I also suspect you're capable of integrating more novelty, and at a faster rate, than the members of all the other signs of the zodiac. That's why I think you should consider interpreting what's happening in your life right now as "interesting adventures" instead of "disorienting chaos." The entire universe is set up to help you thrive on what non-Sagittarians might regard as stressful. CAPRICORN (Dec 22 – Jan 19) "Dear Rob: My boyfriend's heart is in the right place. He likes to give me flowers. The only trouble is, the bouquets he brings are homely. A recent batch was a hodgepodge of blue delphiniums, white carnations, and red geraniums. Is there any way to
steer him in a more esthetically correct direction without deflating his tender kindness? —Unsatisfied Capricorn." Dear Unsatisfied: In my opinion, one of the tasks you Capricorns should be concerned with right now is learning to love the gifts that people want to give you. Maybe at a later date you can start training them to provide you with exactly what you want. For the now, welcome and celebrate their generosity. AQUARIUS (Jan 20 – Feb 18) Your new vocabulary word for the week is "skookum," a term from the Chinook Indians. My astrological colleague Caroline Casey says it means "in cahoots with good spirits" and "completely made for the job." Wikipedia suggests when you're skookum, you've got a clear purpose and are standing in your power spot. According to my reading of the omens, Aquarius, these definitions of skookum fit you pretty well right now. PISCES (Feb 19 – Mar 20) In the coming days, it's crucial for you to be spontaneous, but not rash. Do you know the distinction? Read the words of psychologist Abraham Maslow: "Spontaneity (the impulses from our best self) gets confused with impulsivity and acting-out (the impulses from our sick self), and there is then no way to tell the difference." Stay true to the vitalizing prompts arising from your inner genius, not the distorted compulsions erupting from your inner maniac. V
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the ad is non-profit. Ads of more than 20 words subject to regular price or cruel editing. Free ads must be submitted in writing, in person or by fax. Free ads will run for four weeks, if you want to renew or cancel please phone Glenys at 780.426.1996/fax 780.426.2889/e-m listings@vueweekly. com or drop it off at 10303-108 St. Deadline is noon the Tuesday before publication. Placement will depend upon available space Wufniks Magazine is looking for short fiction and poetry submissions. wufniks.com Send us your scribblings. submissions@wufniks.com Expressionz Café: looking for family friendly performers and presenters for the monthly marketplace at 9938-70 Ave. Info E: expressionzcafe@gmail.com Expressionz Café: looking for visual artists and creative business/wellness, green vendors for the Monthly Marketplace. Located south of Whyte Ave, 9938-70 Ave. Info/book vendor space E: expressionzcafe@gmail.com Free art demo Saturdays: Naess Gallery–Paint Spot, 10032-81 Ave, 780.432.0240 Profiles Art Gallery–St Albert are looking for functional and decorative pieces and are interested in hearing from fibre artists and artists working in wood and glass. E: jennyw@artsheritage.ca for info
EDUCATIONAL Top acting training Apply today! www.topactingschool.ca
HELP WANTED Change your life! Travel, Teach English: We train you to teach. 1000’s of jobs around the world. Next in-class or ONLINE by correspondence. Jobs guaranteed. 7712-104 St. Call for info pack 1.888.270.2941 The Cutting Room is looking for Assistants and Stylists Please drop off your resume at 10536-124 Street
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Arts on the Ave and Arts Hab: Looking for tenants for the Old Cycle Building 9141-118 Ave– As- Is space for 2011. Building walk-through Nov 6, noon and 4pm; Nov 8, noon, 4pm and 730pm artshav.com and artsontheave.org The Friends of University Hospitals: search for fresh, uplifting artwork for the Mazankowski Alberta Heart Institute, MAHI, The Quiet Rooms. Deadline: Fri, Nov 12, 4pm; info: Don Trembath at don.trembath@albertahealthservices.ca Harcourt House artist run centre: Call for Submissions 2011/2012 Gallery Exhibition Programming Deadline: Nov 30 Info: harcourthouse.ab.ca> Muttart Conservatory–call for art submissions–juried exhibition; deadline: Nov 22; Info: Muttartconservatory.ca WINTERSCAPES: Urban or Rural–Open call for all artists/ Deliver art: Dec 1-4; exhibit: Dec 10-Jan 30; $10 entry fee. The Paint Spot, T: 780.432.0240 E: info@ paintspot.ca
MODAL MUSIC INC. 780.221.3116
Stage Struck! 2011, Call for entrants. Submissions for ADFA/Edmonton one-act play festival, Feb 25/26, accepted until Dec 13, 2010. Info/registration package from Mary-Ellen, 780.481.3716, mperley@shaw.ca.
ARTIST TO ARTIST
Night 32 Productions Inc. seeks a qualified screen writer for a TV pilot titled “Dogs 'n Snakes and Innocent Women”, a comedy set at the Blues on Whyte, Sat afternoon jam. The first draft has been written. Contact us with contact info and sample of work. Kevin Sisk, Associate Producer, drsiskphddd@msn.com
Need a volunteer? Forming an acting troupe? Want someone to jam with? Place up to 20 words FREE, providing
Movements Dance is accepting applications for Dance Instructor for its 2010/2011 season. Applicants should have an extensive background in West African and
Quality music instruction since 1981. Guitarist. Educator. Graduate of GMCC music program
ʸ ʸ ʸ ʸ ʸ ʸ ʸ ʸ ARTIST/NON PROFIT CLASSIFIEDS
Caribbean dance with a min of 5 yrs experience. Info: 780.415.5211 Any artist, musician, or performance artist interested in being featured for the Local Art Showcase @The Old Strathcona Antique Mall, please be inspired to contact Jenn@oldstrathconamall.com Expressionz Café is looking for café and special concert events volunteers. T: 780.437.3667. General kitchen help: front of house, food prep, baking, etc. Shifts available MonFri, 9am-12pm, 11am-2pm, 1-4pm, and evening shifts for special concert events (Wed-Sun 6-10pm) Voice actors needed for work on video game based graphic novels. Interested? Check outfrostmore.com for lists of characters. Then E: Ike at lobitec@hotmail.com Call for entries: 2011 Dreamspeakers; Deadline: Mar 31, 2011; Info E: info@dreamspeakers.org. Send entries to: Attn: Executive Director, Dreamspeakers Festival Society, 8726-112 Ave, Edmonton, AB, T5B 0G6 Call to local artists, musicians, performers for Yuk Yuk's new "Thursday Night Variety Show". Call 780.481.9857 and ask for Chas or email: chaz_beau@hotmail.com for info Actors to meet monthly to work on scenes and monologues with optional coaching from professional director and actor. email: elaine.elrod@telus.net Night 32 Productions Inc. seeks a qualified screen writer for a TV pilot titled “Ghostwater” a horror-cop drama. The first draft has been written. Please contact Kevin Sisk, Associate Producer at drsiskphddd@msn.com with contact info and sample of your work
MUSICIANS Singer-songwriter, playwriter, dancer, R&B funk, director, voice actor, actor stuntman, ready for anything, Katz 587.785.4481; OKatz33@telus.blackberry.net Uptown Folk Club at Expressionz Café “What Makes a Band Succeed” workshop with Raisin’ Cain; Nov 6, 1-4pm; $5 (member)/$10 (non member) Morango's Tek Café is looking for bands and musicians for shows on Friday nights....contact Dr. Oxide at ..... doctoroxide@shaw.ca Latin/Gypsy/jazz guitarist, bassist and percussionist wanted for original band. Practice twice/wk, music theory a must. Songs are ready. Alin 780.237.2546 Drummer and bass player needed for new indie-rock band (ex-members of Cassidy) in the vein of Temper Trap, Coldplay, Snow Patrol. Serious inq only; shows are being booked. Vocals a plus. Sean 780.863.5315 Blues band needs a keyboard/vocalist. Mature, with writing capabilities, a believer, and gear. 780.686.9178 or E: cam@drblu.ca. W: drblu.ca Vocalist wanted – Progressive/Industrial/metal; age 17-21. Contact justinroyjr@gmail.com Bass player needed asap for modern rock trio. Please call 780.999.5124 Lead singer looking for band to jam with. Covers and originals. Paul 780.270.4886 or 780.761.2721 Looking for a bass player/co-writer for full original rock trio. Please txt or call 299.7503
COSMOPOLITAN MUSIC SOCIETY Opportunity for amateur adult musicians and singers to learn and perform concert band and choral music under professional music direction. Contact Darlene at 780.432.9333; generalmanager@cosmopolitanmusic.org
VOLUNTEER Volunteer website for youth 14-24 years old. youthvolunteer.ca Volunteer at The Deep Freeze Festival, Jan 8-9 and experience the arts on 118th Ave. Info on volunteer opportunities E: deepfreezevolunteers@gmail.com Team Leaders Needed–Christmas Bureau For individuals who have worked with community charities and enjoy working with the public. Info on this and the Christmas Bureau’s other volunteer opportunities contact Darlene at 780.414.7682, christmasbureau.ca The Sexual Assault Centre: recruiting volunteers for the 24 hours crisis line. If you're empathetic, caring, non-judgmental, want to gain experience contact Joy T: 780.423.4102, E: joys@sace.ab.ca for info
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