Capilano Courier | Vol. 52, Issue 3. by Capilano Courier

VOLUME 52, ISSUE NO.3

r il ey o ' d el l

@rileyowenodell 2

letter from the editor

Power Dynamics

RACHEL D'SA Editor-In-Chief

“Jason Derulo” - Jason Derulo I was a shy kid. I’d suffocate my mother’s legs with my arms at family gatherings, avoid asking questions in class and keep my mouth zipped closed when told to do so. A couple of weeks ago, I came across Empress Of ’s song “Kitty Kat” (great song). Parallel to one of her other songs, “Woman Is A Word” (another great song), the track underlines the scrutiny and injustice that women face. While both songs slap, it was “Kitty Kat” that really drove a personal connection to this issue. It focuses less on the beauty of femininity and, through simple and straightforward lyrics, more on being brutally honest with current power dynamics. While this issue’s cover feature on BDSM may not directly correlate with my retelling of my childhood, there’s something to be said about taking a stance on reclaiming power for yourself. The power dynamics outlined in the article leads me to reflect on what it means to hold dominance. Stepping away from our internal doubts and judgements towards what that means for each of us as individuals. As time has gone on, I’ve opened up and, as the staff could testify, I’m repulsively chatty. I’ve learned to value my input, stand up for what I feel is right, yada yada. But that’s just me. From being belittled in business situations, to pushed aside in the line at Tim Hortons while you patiently wait for your london fog, we can find injustice everywhere. How we choose to react and implement change for ourselves is up to us. All I’m really saying is don’t sneak in front of me as I try to get my london fog. I will push you. Here’s the recipe for a powerful mojito:

½ oz. Fresh lime juice 1 tsp. Fine sugar/agave Mint leaves Club soda/seltzer 2 oz. White rum

1. 2. 3. 4.

Combine the lime juice and sugar/agave syrup so they are mixed more than your emotions. Mush in a few mints leaves the way you will mush anyone that steps on your confidence. Fill the glass two-thirds of the way with ice colder than those who envy you. Add the rum, lime rind and top with club soda.

editor-in-chief

communications director

capcourier@gmail.com

community.capcourier@gmail.com

Rachel Dâ&#x20AC;&#x2122;Sa

Helen Aikenhead

managing editor

news editor

manager.capcourier@gmail.com

news.capcourier@gmail.com

associate news editor

arts & culture editor

associatenews.capcourier@gmail.com

arts.capcourier@gmail.com

features editor

Sarah Rose

OPINIONS editor opinions.capcourier@gmail.com

art director

staff writer

Freya Wasteneys

Megan Amato

specialfeatures.capcourier@gmail.com

Cynthia Tran Vo

artdirector.capcourier@gmail.com

Sheila Arellano

Ana Maria Caicedo

Jayde Atchison

CONTRIBUTING WRITERS

CONTRIBUTING ILLUSTRATORS

Bridget Stringer-Holden, Alisha Samnami, Tom Balog, Benjamin Jacobs, Mayumi Izumi, Andres Caicedo, Kira Dinim, Teanna Jagdatt, Ashley Sandhu, Tristin Greyeyes, Alisha Samnani, Kaileigh Bunting, Denver Sparks-Guest, Nima Boscarino, Ashleigh Brink, Elizabeth Scott, Teanna Jagdatt

Ashley Loo, Christine Wei, Alison Johnstone, Sophie Young, Annie Chang, FEATURED ARTISTS

Emma Sato, Riley O'Dell, Felicia Lau, Evelyn Chua, Amy Asin, Aleksandar Jones, Talia Rouk, Nicole Shewchuk COVER ART

Valeriya Kim

COLUMNIST PORTRAITS

Coralie Mayer-Traynor 4

VOLUME 52 ISSUE NO.3

table Contents of

NEWS

OPINIONS

Japanese Settlement

BeyoncÃ© Emmy

CapU Radio

Land Acknowledgments

Yats Palat's TED Talk

Air Travel

The Cost of Therapy

Early Childcare Education

Trudeau Brownface

2030 Taskforce

Squamish Single-Use Plastic

CapU Blues Update

Climate Strike Review

FEATURES

ARTS & CULTURE

Master and Apprentice

Maplewood Jazz Series

Frogs and Mobs

Texts To Your Hooker

Peace Poppies

Exit 22 Macbeth

VAG: Vikky Alexander

Artist Feature

COLUMNS

Stew Jams

Mise En Place

VAG: Transits and Return

Queer And Now

What's In My Bag

I Can Code You The World

Deviant Beauty

Turning Blue

Direction Unknown

INTERESTED IN CONTRIBUTING?

Email capcourier@gmail.com INTERESTED IN ILLUSTRATING?

Submit your portfolio or examples of work to artdirector.capcourier@gmail.com

A Once Hidden Village Found in Media Spotlight How a Capilano professor’s archeological discovery has become a 15-year project JAYDE ATCHISON Staff Writer BOB MUCKLE Photographer ASHLEY LOO Illustrator

When you think of Capilano University and the surrounding areas, you may think of its forests, the Lower Seymour Conservation Reserve and the North Vancouver Cemetery. What you may not know is that hidden in the university’s backyard, in the North Vancouver forest, lies the remains of an abandoned Japanese Nikkei village. Bob Muckle, archeologist and anthropology professor at Capilano University, has been studying the abandoned site for the better part of 15 years. Despite the ongoing exhumation process and fieldwork over the last decade or so, there has been an increase of media attention over the last few months. Muckle attests this spotlight to Brent Richtor from the North Shore News. “I credit Richtor, he did a really nice piece. That’s what started it,” Muckle reflected. “He had written about me in the past and so as a courtesy this year I invited him up. I had never met him. I [told him] ‘there’s a good chance this is my last year at this particular site so if you wanna come up, you’re welcome to,’” Muckle added. Richtor wrote about the visit in a feature article in August which sparked interest in a CBC reporter. “I also credit Gloria Macarenko. Just a couple of days after the North Shore News article came out, she phoned me,” Muckle explained with a big smile. “She asked me to come down for a radio interview in studio and so I did!” Macarenko knew there was something to this story and brought it to CBC News where they wrote an online article, which quickly made its way around the world. Soon after that, mentions of Muckle and the Nikkei village were found in Archeology Magazine, Smithsonian Magazine, The National Post, The Vancouver Province, Atlas Obscura and BBC Radio. To some academics, the idea of being constantly contacted by the media may seem like a nuisance, but Robert Muckle is not one of those people. When asked how he feels about the sudden spur of attention he said, “I love it! It’s no work on my part, I get to just answer questions!” The only issues Muckle has had with the press is credibility. While experiences with larger publications have been largely positive, he finds the plagiarism in some smaller forums distressing as he has found himself lost

in a sea of fake news articles using his name out of context and incorrectly. Muckle has been teaching at CapU since it was known as Cap College. He has always been keen on public education and enjoys involving students in this fieldwork. Each time he runs the program—a seven-week course worth six credits—it provides hands-on experience for students that allows them to undertake a grad school level course without the pressure of having grad school expectations. “The field school provides them unlimited opportunities to see how far [students] can go with their own initiative. I’m [just] there to guide them,” said Muckle. “I have always been a big fan of the community college system and giving opportunities to people who wouldn’t otherwise get it.” Students that have worked with Muckle in the past have had their work credited in archeology textbooks and academic articles written by Muckle himself. While on the site, the teams have exhumed artefacts such as Japanese beer bottles, plates and bowls. The piece that means the most to Muckle is not any of the brightly coloured items, but instead an ordinary-looking item that looks like a large safety pin. Muckle hypothesized that Japanese men and women had been living at that camp between the years 1923-1942, but he needed evidence to back this up. After consulting with elderly Japanese Canadians, he learned that what he originally thought could be a diaper pin turned out to be a woman’s shawl pin—an item that was typically used in winter seasons. “I was looking for was evidence of women at the camp and also for evidence of a winter occupation,” explained Muckle. “If it was just a logging camp, they would have abandoned it in the winter. That one artifact gives me evidence of both.” Originally Muckle was unsure if he would be going back to the site for another field school, but due to the amount of interest and media he is now on the fence. Anything could happen between now and next summer, and students interested in getting involved are encouraged to email professor Muckle with inquiries.

NEWS

Capilano Radio Club Promotes Student Self-Expression A free resource to elevate student voices on campus SHEILA ARELLANO News Editor

As a club that aims to unify voices and connect people within the student community, the Capilano Radio Club (CRC) puts the spotlight on students both on and off campus. Showcasing opinions, talent and works through this form of new media is a priority for the club, and it often highlights initiatives and projects created by Capilano students. Organized by various groups on campus, the club has allowed faculties to work together in the past and more collaborations continue to emerge as new content is created. Since its genesis in 2017, the club has emerged as a platform for people to start their own podcasts. Today, six podcasts are running, and they are always scouting new talent. “We have a portable studio that we fundraised for. So, anybody on campus has access to that equipment and can create their own podcasts for free,” said Capilano Radio Club President Will Clements. “It is a really interesting and interactive way to reach students. And super accessible, too.” Through the resources this club offers, the Capilano community has grown as it shares student talent. The Capilano Radio Club offers a free outlet for career development opportunities and provides students with indispensable experience, crucial for anyone looking to get involved in podcasting or radio. “We spend a lot of time trying to find opportunities for students such as the Vancouver Podcast Festival, which we have applied to get funding for to send four students last year and we’re doing that again this year,” said Clements. “So, even finding opportunities like that through the world of podcasting is really cool.” When they started as a club, their goal was clear. “We wanted to find a niche here at CapU and create content in a new way, so it’s a bit more interactive,” Clements explained. “By

using online platforms, the format is way more engaging. I think that we are meeting the need for online interaction and campus engagement.” Through this form of audio communication, students have access to information that is timely and crucial. “I think it is so important for people to understand who the student life representatives are and what the communities on campus are doing,” Clements continued. “These things are not going to reach everybody by word of mouth, so the Capilano Radio Club seeks to share these things on and off campus.” There are various ways for CapU students to get involved and the team is more than happy to answer any questions. Depending on how many people are interested in joining the club, the leaders at the Capilano Radio Club host specialized meetings to welcome new members. Although there are no weekly meetings, the club is flexible and makes an effort to plan around students’ busy schedules. Students who are interested but unsure where to begin are encouraged to email the club for guidance. Clements notes that students will be provided with a survey which will help narrow their interests. Students at Capilano are encouraged to reach out to the Capilano Radio Club as it promotes diverse voices and offers free resources.

More information is available through https://capilanoradio.com and questions can be directed by email to capilanoradio@gmail.com

Building Connections with Trust and Faith CSU alumnus, Yats Palat, gives TEDx Talk in Philadelphia on "Why Trust and Faith Are Needed for the Progression of Humanity" BRIDGET STRINGER-HOLDEN Contributor

Capilano Students’ Union (CSU) alumnus and Capilano University (CapU) valedictorian, Yats Palat, added another accolade to his repertoire when he spoke to a TEDx Talk crowd in Philadelphia on Oct. 4 on the topic of trust and faith. "Faith is like the air, we can’t see it but it’s so essential to us for living, functioning, breathing and being happy," said Palat, who graduated from Capilano University in June with a Business Administration and Management Diploma. “What I really want to accomplish in my life is to change people’s lives and help them realize the value of each other and themselves. I believe that for us to be a stronger community and valuable members in society, we need to let go of our anxieties and doubts. I think that faith helps us let go of those.” Palat grew up as a rebellious kid that got kicked out of three different schools before he says he learned just how necessary faith was. “And I don’t mean a religious faith at all. I mean a faith in ourselves, in people, in the system, the country and all the kinds of things that we doubt so much,” explained Palat. As he matured and acquired a more positive outlook on life, he noticed how everyone had come together to help him turn his situation around. Their faith in him helped him start to believe in himself. As the youngest of five siblings, Palat learned to be a convincing speaker at a young age and used this experience in his TEDx Talk to educate people on the value of trust and faith. “I realized that there was power in having faith in humanity and having faith in each other. It literally saved my life,” said Palat, who feels that it’s now his responsibility to educate those lacking in faith who he feels may need positivity and optimism the most. After nearly being run over by a drunk driver, Palat realized that not everything was in his control. “I couldn’t do anything,” he said. “And it made me have so much more faith and reminded me that I need to be at peace with the things that I can’t control and that things will always work out, in a weird way. Once I started believing this, I started to study it.”

Whether by starting an organization or simply continuing to speak publicly, Palat hopes to inspire millions around the world to come together and conquer social isolation. “I feel in today’s world we’re all connected online but usually disconnected as people, so I’m very passionate about bringing people closer together and helping people build more meaningful relationships,” said Palat. Some of Palat’s previous speaking opportunities include reaching out to hospitals and prisons to make up for a lack of talks of a spiritual or philosophical nature. Palat also gave the valedictorian address when he graduated from Capilano University. He considers it his most rewarding public speaking experience because it allowed him to influence many developing minds that would be moving out into the professional world. After approaching the TEDx organizers, Palat went through a tough selection process alongside CEO’s and accredited intellectuals. Despite his age, they found his content and delivery to be highly valuable. The topic is very close to Palat—who has “faith” tattooed on his forearm—and he worked hard during the vetting process to provide a thorough outline and presentation despite preferring to speak from the heart and wing speeches. “I’d be happy if my TEDx Talk had a million views, but honestly, I just want people to use [these ideas] to create better lives. The greatest satisfaction for me would be if someone walked out of the TEDx Talk or read something on my blog and calls me or texts me and says ‘man I really needed to hear something like that, you have no idea what different it’s made, that’s the moment I look out for,” Palat said. Palat hopes that his talk will inspire other students. “If you don’t try then you’ll never know,” he says. While on his lunch breaks, Palat used to watch TEDx Talks and think, “I want to be a TEDx speaker, but I’m never going to get the chance.” Yats Palat’s website and a blog he uses to spread positivity and awareness can be found at www.fortheloveofpeople.com.

NEWS

“Denial is Not a Policy” Thousands filled the street with signs and banners demanding climate action ALISHA SAMNAMI Contributor CHRISTINE WEI Illustrator

An estimated 100,000 people filled the streets surrounding Vancouver City Hall on Sept. 27 in participation with the Global Climate Strike. This came only a few days after 16-year-old Swedish activist Greta Thunberg addressed the United Nations at the Climate Change Summit, where she reprimanded world leaders for inaction regarding climate change. A sea of people shut down the Cambie Bridge and brought downtown traffic to a halt as they marched towards the CBC headquarters in the heart of Vancouver. The signs that accompanied them were a colourful mix of reused items, ranging from cardboard box flaps, to Bristol board perched atop of temporarily repurposed curtain rods. Sustainabiliteens, the youth organizers of Vancouver’s climate strike, had hoped that 15,000 people would join, but Nikolas Michael said he was thrilled to see such a remarkable turnout. “We have a short window to act,” said Michael. “We are trying to effect change as constituents and engaged citizens.” Emily Bridge, CSU President and Vice President Equity and Sustainability, was one of several young people who attended the event. “It was really encouraging,” said Bridge regarding the event turnout. “To everyone that showed up, or who made a statement that day, I just want to say how proud I am of our community.” Bridge was one of the organizers of the CSU walkout, which involved CSU members skipping work that day, as well as mobilizing students to join the CSU at the climate strike and sending a petition to Capilano University in a bid to have them declare a climate emergency. Bridge said that while Capilano University technically put out a statement, they could have taken a much stronger stance

regarding climate strike participation. “Understanding that it is part of a delicate political situation, the statement [put out by the President’s Office] could have been worded stronger and could have encouraged greater action.” Michael, a senior at Sutherland Secondary in North Vancouver, said that while the timing of the strike was coincidental, it’s something that voters should take advantage of when heading to the ballot box on Oct. 21. “We have a few more events planned before the election,” revealed the Sustainabiliteens organizer. “You should expect another strike to take place before the new year.” In the meantime, both Bridge and Michael encourage voting as a means of pushing the climate change agenda. “Use your vote to choose a climate leader,” said Bridge. “Every party, whether they have an official stance on the climate crisis, climate emergency, whatever they’re calling it—they’ve realized that this is a topical issue. It’s really become one of the top priorities, not just for students but for everyone. I would hope that it either encourages students to think more about voting or about their own political engagement.” Michael added that voters should reflect on not only the best suited party to best address the climate crisis, but also the party that will best address the various causes of the climate crisis. Michael also encouraged people to vote with their dollars. “Our lifestyle plays a large role in climate change and consumers should be aware of this,” he said. The turnout for the climate strike was incredible, both in Vancouver and across the country. If youth can demonstrate the same level of turnout at the voting booths, imagine the difference it would have for Canada.

Early Childhood Education Program Expands Its Horizons Observing the ECE CapU program expansions in Sechelt and Squamish TOM BALOG Contributor

British Columbia is seeing a growing demand for early childhood educators. It is estimated that for every 25 children in the province, there is only one trained professional. Early childhood educators require training from established institutions to work with children under the age of five in licensed preschools and childcare centres. There is a variety of pedagogical perspectives and different institutions that align themselves with these ideas. The Capilano Early Childhood Education (ECE) program has been given a funding boost from the Ministry of Advanced Education, Skills and Training to help meet the shortage in the province. The funding comes as a one-time expansion that will take place over the next two years at the Sechelt and Squamish satellite campuses. Capilano has partnered with Quest University in Squamish to use its campus to run the ECE program. The program runs during the evening twice a week at Quest University. Holding the program at Quest allows Capilano students to become more engaged with a university experience. The ministry awarded Capilano $460,454 for the Squamish expansion. Sechelt was awarded $414,545 to further the ECE program on

the Sunshine Coast. Offering the program in more remote areas of the province will help empower community members to meet the demands of early childhood educators. The Ministry of Advanced Education, Skills and Training is committed to meet the needs of the childcare issues in BC. Capital funding has been put forth to build more physical locations for childhood centres, and the funding given to Capilano is to compliment the new sites by supporting them with graduates of ECE. Early Childhood Educators of BC is offering a bursary program to new students providing a maximum of $4,000 of funding per school semester. For people who are contemplating to take part in the ECE program offered by Capilano University, the bursary offer is an extra push to join a growing industry. Childhood care centers in BC are struggling to find graduates to fill the positions available. Julia C. Black is the head of the ECE program at Capilano University and is thrilled about the expansion at the satellite campus. “It feels like we're on the edge of something exciting in ECE BC,” Black said.

“That is in terms of changing the narrative of what early childhood care and education could look like. Trying to move away from seeing it as a service like daycare to being a right and a space that is designed with young children in mind.” The early years of development in children are crucial for creating a foundation to learn lifelong cognitive and social skills. The funding was awarded earlier this year and the program began in September. The Squamish location will be accepting another wave of students to start in the Spring semester. With the ECE diploma being a two-year program and the degree program being three years, the expansion of the program is an exciting opportunity to join a growing field. New graduates looking for work will have the opportunity to find an establishment that aligns with their pedagogical perspective.

NEWS

Collaborative Planning for Capilano’s Future Communities from around campus plan for a better CapU BENJAMIN JACOBS Contributor

Over the last 50 years, Capilano University has transformed and built a reputation for being the university of the North Shore. There are no guarantees to what the future will hold for CapU and looking ahead even five or ten years can appear daunting. However, that does not mean that the university isn’t planning for the future. Starting in the new year, a task force made up of different university community members will begin planning for Capilano’s Envisioning 2030. The initiative is a collaboration between the university and its community members to map out the future. Capilano University president Paul Dangerfield launched this program in January 2019 as a decolonization process for the Envisioning 2030 project. “The purpose of this program is to ask, ‘what university are we?’” said Dangerfield. The initiative’s key goals are to differentiate CapU from other universities such as the University of British Columbia and Simon Fraser University, and elevate it to a place of imagination. CapU plans to give more opportunities to students with experience outside the traditional classroom. It hopes to deconstruct or de-colonize classrooms with work-integrated learning and look at how CapU can improve out-ofclass experiences. Of course, no plan is without its flaws. One challenge might be how the group receives and evaluates feedback. Another issue is long-term planning. This may raise questions concerning how many people will still be on board with this program and what opportunities will the future hold for the university and students. After all, for this program to

succeed CapU will need to push the envelope and think outside the box. With a school of around 1000 employees and nearly 10,000 students, the biggest issue may be finding a solution to their creative vision that everyone, or at least the majority can agree on. While Paul Dangerfield has been busy with this program, he’s not the only one involved. Many other groups plan to contribute, such as CapU student and CSU Indigenous Students’ Liaison Tristin Greyeyes. “Cap is like parenthood. Like parenthood, we do the best we can, and when we think we got it right, there is always room for improvement,” she said. “We are connected through the students because we are a union made up of students. Capilano is made of students, so although the CSU and CapU are separate, we both have the same interest.” Greyeyes plans to represent CapU students by giving them a voice and ensuring their needs and concerns are met. As the Indigenous Students' Liaison, she also plans to raise issues regarding recommendations on Truth & Reconciliation as well as the Missing and Murdered Indigenous Women. “I want to challenge the system to be more equitable; I want CapU to take lead and be an example to other post-secondary institutions.” In the past 50 years, CapU has had many ups and downs. With initiatives such as the taskforce for the Envisioning 2030 program, there is hope for a steady upward trajectory. From its infancy, there has been talk regarding Envisioning 2030’s long-term plans and feedback from representatives from the CSU and students, staff, and alumni will help the school grow.

An update on the team and their future plans MAYUMI IZUMI Contributor

This year marks the fourth season in a row that the Capilano Blues women’s volleyball team has won a bronze medal at Pacific Western Athletic Association (PACWEST). Meghan Koven, a fifthyear CapU student and seasoned player, described the team’s success with one word—“standards.” The Capilano Blues have had many challenges to overcome, but the athletes have persevered through changes in team lineups, injuries and the implementation of a new coach. In June, Rob Gowe transferred from Simon Fraser University to become the head coach of the Blues. “I think practices are going well, but we still have room for improvement in many aspects, including myself,” Coach Gowe said. “The transition from assistant coach to head coach is a challenge in the amount of time required to be as prepared as possible, which I am getting better at, but still have to improve.” Growe is also the Head Coach & Program Lead for Volleyball Regional Excellence program in North Vancouver, Head Coach for Team BC selects as well as Head Coach for Seaside Volleyball

Club. He said that he is able to manage all the different teams because, “I have good coaches helping me at every level”. The women’s volleyball team has an unusually high number of players this year. While most teams have 14 to 16, Capilano Blues have 21 strong athletes in their roster to choose from. The team ranges from 17to 22-year-olds but despite the differences in age and the necessity of competition, the players have formed a strong bond quickly. Kelsey Towers, a second-year player majoring in Human Kinetics explained one of the challenges of having a lot of players is that there is a “deeper bench." This leads them to be respectfully competitive with each other because they have to compete for a spot on the court but off the court they are friends. One of the athletes new to the team is Rookie Eva Nagata, who was invited by Capilano University to play for the Blues from her hometown on the Faroe Islands, which is located halfway between Iceland and Norway. She accepted the invite because it provided an opportunity to play for a university team and believes that the day-to-day routine of practicing and

the building of community has been a positive experience. The Blues played their first two games of the season against the Douglas College Royals, October 11th and 12th in which the team lost the first game and won the second. Their next two games were on October 25 and 26 against the Vancouver Island Mariners. As a team, the Capilano Blues have encountered challenges but support has emerged from the athletic department at CapU and the athletes have worked together to overcome the inevitable difficulties that arise. Through this, they have grown as a team. This year, their goal is to win first place at Nationals in Quebec, although they would also be pleased with second place as they have previously come third. Until then, the team continues to train, improve and deal with the daily demands of being student athletes. For more information on the Capilano University Blues teams visit www.athletics.capilanou.ca/landing index

NEWS

ALEKSAN DAR JO N ES

@aleksvisuals 14

AMY AS I N

@amy_asin_ FEATURED ART

t g h s z i Jaz N Atley King hosts a weekly music series that regularly showcases emerging talent from the CapU Jazz Studies program FREYA WASTENEYS Managing Editor ALISON JOHNSTONE Illustrator

Students mill, forming a line behind the neon “self service” sign at the bar. It’s Tuesday and a single bartender in her fifties hustles back and forth pouring drinks, delivering food and occasionally shouting names into the crowd under a burden of fry plates and $3 tacos. The neighbourhood pub turned live music joint has all the makings of a good jazz bar—slightly seedy and unassuming. As the jazz troupe prepares, event organizer Atley King—sporting a backward baseball cap and oversized jacket—climbs onto the platform to hang a print above the lopsided black curtains that frame the stage. Propped askew, it shows a familiar image of Jack the Bartender pouring a martini—a nostalgic Canadian

classic in hyper-saturated realism. It has the makings of a good inside joke, but King assures me the choice is totally random. At 23, King is friendly and unpretentious. The fourth-year jazz student answers his emails with smiley faces and greets newcomers with an equally ready smile. In January, he started the Maplewood Jazz Series on a whim because he wanted to give CapU Jazz students a chance to showcase their music and play regularly. “I told my friend Tyler and he thought it was a really good idea,” said King. “That night I went home and made a big list of places we could hold it.” King admitted that Maplewood Pub was originally low on his list of venues, but after visiting the pub

on a scouting mission with his girlfriend he was quickly sold. “I’d looked at a few other places that had a slightly hipper, younger crowd, like Colony or Seymours,” he said, “but when I went to Maplewood and walked upstairs, I looked around and immediately knew the place was perfect.” The high vaulted ceilings of the Maplewood Taphouse are lit by a haphazard collection of chandeliers, with “Miller Genuine Draft” and “Original 16” signs acting as fluorescent wall décor. For all its quirks, there’s no denying that the acoustics are to die for. And the yam fries aren’t too shabby either. Tonight, the four-part ensemble consists of sax player Adam Kyle, guitarist Alvin Brendan, with Derek Maroney on bass and an enthusiastic Tyler Murray on drums. The music begins and the inconspicuous troupe of students finds their groove. Eyes closed, they’re no longer just students, but professionals buoyed by spontaneous applause. The Tuesday night series features a rotating sampler of student jazz bands of varying experience. King noted that some nights are busier than others. On this particular night, approximately 40 students crowd the upstairs lounge—a number which is “about average” according to King. “In the first week of school or second week of school, we had a huge show—

the place was packed with students from all years. Everyone was there. Maybe not everyone, but it was full,” said King. “It was just this big crazy night of community. You typically get one night out of the month where you’re like ‘wow, this really feels like something special.’” As the sole organizer, advertiser, and procurer of musicians, King wears many hats. The jack of all trades brings the same vigour to his own music, playing in multiple bands in various capacities— most notably as a member of the Wax Cowboys. “I mostly play vibraphone. But also a little bit of guitar. And drums and bass too,” he said. “Practically everyone in the program plays multiple instruments.” King takes a community-first approach in most of the things he pursues. Whether it’s in his band Wax Cowboy, as a music teacher at the Resound School of Music, or as a student in the CapU Jazz Studies Program, his passion for sharing and pursuing knowledge and mentorship can’t be overlooked. But as a student himself, and with his impending graduation in the Spring, he knows he can’t carry on organizing the event forever without some support. “I worry sometimes that people take it for granted and forget that this won’t be around forever,” he said. “I understand that people get caught up in their classes and school work, but there’s more to school than that. We can learn a lot from

other students. And typically what you learn is relevant and contemporary, or you come away with new people to collaborate with. People just have to put in a bit of effort and come out to these things.” Most in attendance are jazz students, lending to the strong sense of camaraderie, but amidst the close-knit clusters are a few notable enthusiasts. One student from Liberal Studies notes that she attends whenever she can, and several older couples in the back corner sit tapping feet and fingers. “So many talented people come through here,” says the sole bartender sliding a cider across the bar. “It’s a fun idea.” As the band winds down a brisk and brassy number—a Jazz Standard called “On the Trail”—the lead sax promises to play one more tune. “Teresa’s here, right?” he calls to the crowd. “This one is for you…” We’re carried away on a sultry rendition of “When Sunny Gets Blue” while the encouraging yet static face of Jack the Bartender oversees all. Looking around the room, I’m filled with a feeling that I can’t quite put my finger on—but whatever it is, it’s definitely something special.

You can follow the Maplewood Jazz Series on Instagram @maplewood_jazz

A RT S & CULTURE

Texts To Your Hooker Meet the Montreal-based sex worker behind the Instagram page roasting cringe-worthy messages from clients ANA MARIA CAICEDO Arts & Culture Editor

“I need to eat your ass Tmrw I can eat your ass I crave your ass” This message is one of the tamer texts of the dozens that Audrey Watson receives on a daily basis. As a 24-yearold sex worker based in Montreal, these messages don’t exactly shock her. In fact, they’re so ubiquitous by now that she typically doesn’t give them a second thought. “The largest use of my time in sex work is texting people, so it doesn’t bother me exactly—it can be irritating but, no, I wouldn’t say it’s overwhelming,” she told me over the phone. A little over a year ago, Watson decided to start sharing these kinds of messages online. She created @ textstoyourhooker, an Instagram page where she posts screenshots of the most terrifically ridiculous messages she receives as an escort. The page wavers between cringy and hilarious, a small window into the daily experience of a modern-day sex worker. “You get a lot of shitty texts and calls from people and it’s just a good way to kind of laugh about it instead of get[ting] cynical,” she explained. “You get to see kind of an aspect of the absurdity and shittyness of people, but first and foremost

[the page] was really just for my own entertainment, and I guess partly a way to release the irritation and annoyance and frustration with people.” It’s been almost three years since Watson first started working as an escort. Originally from the States, she moved to Montreal after high school to study at McGill. As a trans woman and anglophone with no work permit, there weren’t many options or places for her to work. She struggled with escorting at first. “There’s kind of a learning curve learning to deal with clients practically and emotionally. You’re putting yourself in a very vulnerable, intimate, position and it takes a toll on you,” she explained. “You need to give them the idea that you’re having a good time at least, and you’re seeing people sometimes regularly who you’ll sort of become close to even if you don’t really like them just because you keep seeing them. So you develop some sort of bond, which is also exhausting.” Watson remembered having to learn to deal with clients offering her drugs appropriately. She’s had clients steal from her and yell at her. “But I guess the most stressful [aspect] is really just dealing with the fact that you’re having sex with strangers—I mean, it’s like, even if you detach yourself, it’s still kind

of an intimate position to be in, and it’s pretty exhausting just meeting strangers and continuing to give that energy,” she said. “I didn’t have anybody I knew who could guide me at all, so it was definitely stressful in the beginning, but I feel really entirely comfortable with it now.” Many of the people who interact with the @textstoyourhooker page seem to be sex workers as well. On one post where one client wrote “I’m sexy as shit. You should[n’t] even be charging me,” someone commented: “I hate when they feel entitled just because they’re attractive. That doesn’t pay my bills.” Another post features a screenshot of a client’s abs. “The continuing saga of undesired/uninvited ab-pics,” Watson captioned it. “It’s like they have decided the dick is the offensive part so sending abs and torsos must be okay except we didn’t ask for any of it…” wrote one person. In a way the page functions as an online space where sex workers can laugh at these messages and attitudes collectively. Since she started escorting, Watson has met and befriended many other sex workers. “At a certain point pretty much all of my friends were sex workers,” she said. “It’s nice partly because I think very few people who aren’t sex workers understand entirely the strangeness of it—I don’t mean strangeness in a bad

way, it’s just there are lots of things that become part of your world that are really just not normal or understandable without being in those positions,” she explained. “There are very few people I could talk to in detail about sex work who aren’t sex workers. I mean, I could talk to them, but for one thing, it makes a lot of people uncomfortable, and even the people who it doesn’t make uncomfortable haven’t necessarily been in those positions and it’s harder to relate to, I think.” The conflation of sex work and sex trafficking is a misconception that continues to prevail today. In 2013, the Supreme Court of Canada ruled that the laws criminalizing sex work were unconstitutional. A year later, the conservative government introduced The Protection of Communities and Exploited Persons Act. Sex work activists and rights organizations criticized the legislation for making sex work even more dangerous than before, which was since confirmed by B.C. researchers. “I think one [large misconception about sex workers] is the idea that sex workers tend to be uneducated or are doing the job because they’re forced into it,” Watson said. “I think a lot of people see sex workers as kind of the trope of a sex worker on the street, and

in reality, a large number of sex workers, for one thing, are doing it because they want to. I mean, you make a really high income and, even though the work can be emotionally stressful, it also leaves you a lot of free time to pursue other things,” she stressed, noting that many of the sex workers she knows are very well educated, with some working other professional jobs like elementary school teachers. “In general, most sex workers I know pretty much are normal people with the exception that they tend to be more openminded than other people,” she chuckled. “I like sex workers.” Follow @textstoyourhooker on Instagram

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Bold, bloody,

bewitching

Exit 22 will revive Macbeth this November

ANDRES CAICEDO Contributor

Exit 22 will open the 2019-2020 Capilano University theatre series on November 14 with Macbeth at the BlueShore Theater. Director Nicholas Harrison’s production enhances the traditional story of Macbeth by incorporating mystical aspects. “For the team, it was time to revive Shakespeare’s classical world onto the stage with a magical touch,” said Stage Manager William Sandwith, who also revealed this production will see characters using wands instead of swords. Mac Christion, a high school athlete who “fell in love with the idea of risk and drama under the spotlight” and turned to theater, plays the lead role of Macbeth. During my interview with him, his confident demeanor mirrored that of a confident Macbeth. Camryn Smith’s rendition of Lady Macbeth features twists to the traditional character that will shock audiences. “I really love how Nick, our director, has framed how Lady Macbeth is in this production

specifically because, traditionally, Lady Macbeth kind of loses all her power by the end of the play,” Smith said. “Here, we’ve done something where she has more power. She’s a bit more powerful than she traditionally is in productions.” A shortage of actors and small working space proved challenging for the production. The limited number of actors meant that many were forced to play multiple background roles— actors who recently died on stage need to reappear on stage as different characters. Exit 22’s Macbeth will incorporate an expanded supernatural world while holding true to the play’s original themes of intrigue and ambition. If you’re a fantasy-lover— or weren’t satisfied with the last season of Game of Thrones—this production may just be for you. Macbeth will run November 14-23 at the BlueShore Financial Centre for the Performing Arts

Vikky Alexander Reimagines Landscapes Extreme Beauty is a journey into a world of consumer culture and the everyday architecture that surrounds us KIRA DINIM Contributor

When it comes to art, people often find themselves disconnected. It seems to be a common experience in the art world, at least for some, that you go to a gallery and marvel at the artist’s technical skill, wonder about the deeper meaning of their work, feel inferior to their profound messages, and then leave Vikky Alexander’s retrospective Extreme Beauty, at the Vancouver Art Gallery, was nothing like this. Her installations and art pieces emphasize bringing the viewer into the work. The retrospective, which is an adventure through her artistic career, is made up of mirrors, highly reflective glass, and pieces you step into become surrounded by. Obsession (1983), a massive blown up series of photos of model Christie Brinkley, is perhaps the most well-known piece in Alexander’s collection of work. The artwork, which used photographs placed under yellow plexiglass that she pulled from fashion magazines and advertisements and blew up to the size of posters, was made when Alexander was experimenting with the process of Appropriation as an artist in the 1980s New York. Strikingly, it does not feel like a criticism. Alexander appropriated these beautiful images and highlighted their sexual nature, seemingly not with the intent to scorn them, but merely to shine a spotlight on how highly sexual advertising has become, while allowing viewers to draw their own conclusions about it. “My work is not issue-driven,” said Alexander. “It’s more

Vikky Alexander Heike’s Room, 2004 inkjet print on canvas Collection of the Vancouver Art Gallery, Gift of Robert G. Woods and Petra Tode-Woods

about discovering stuff rather than fingerwagging.” Alexander tells me in earlier years she was inspired by the media, but lately, her focus has shifted towards her environmental locations and utopian architecture. This progression of inspiration is evident in her retrospective. As you move deeper into the gallery, her work becomes larger, more tangible. She moves away from the method of Appropriation and begins to incorporate imagery from the natural world into her art. One of the most impactful pieces in the retrospective is titled Lake in the Woods (1986), which takes up an entire hallway. One wall is papered with a picturesque scene of an alpine lake in the forest, so real that you feel as though you’re standing on the edge of it. On the other wall is wood panelling with mirrors placed at eye level along the top. As you walk through it, you see yourself reflected in the landscape. It plays with the idea of placing the viewer into the work, calling attention to one’s relationship with the natural world in our city-centered society. Alexander uses mirrors again in her piece Vaux-Le-Vicomte Panorama (1998), which is a projected image of a baroquestyle garden broken up by a series of columns made of mirrors that the viewer is invited to walk through. This installation is a dizzying adventure into perspective and interaction; the experience is dreamlike

and surreal. The next room continues the dreamlike viewer interaction with a series of snapshots of shop windows, store interiors, and streets from around the world. Each photograph is behind highly reflective glass, and as you look at one after the other, you see your own face staring back. There’s very little separation between the viewer and the artist in Alexander’s work. Each piece feels like it’s intended to take you on a journey of self-discovery, where you must examine how you fit into the world Alexander is showing you. The retrospective ends in a room where each wall is covered by a collage-like mural that goes from the floor to the ceiling. When asked about these works, which are her newest, Alexander said her goal was “putting people in a completely different environment,” comparing it to Alice in Wonderland. Watching the progression of her career and sources of inspiration as you travel through the exhibit is a rare delight, made all the better by the self-discovery it invites.

Extreme Beauty will be on display until January 26, 2020 at the Vancouver Art Gallery

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emma sato A R T I S T F E AT U R E

TEANNA JAGDATT Contributor

Muted, pastel colours and delicate figures define Emma Sato’s work. A student in the IDEA program, Sato wanted to challenge herself as an artist upon entering the program by experimenting with different mediums outside of illustration. About a year ago, she picked up a camera and found a love for photography—specifically, with portrait work. “[Photography] kind of felt like the missing piece in my experience in art and design,” Sato said. Her photographs concentrate on women and the detail in their movement, playing with a sort of tension that arises from the purity she depicts.

A RT S & CULTURE

Stew Jams: A Community Recipe

SRO’s, rabid rental rates levied by absentee slumlords, uncontrollable fires, a drug crisis and gang violence paint a portrait of the south Bronx in 1973. Somewhat reminiscent of Vancouver’s downtown East Side today, The Bronx was where DJ Kool Herc, a Jamaican teenager, created an escape for a devastated community through music: hip-hop. Gangbangers dropped their weapons to pick up turntables and microphones, reforming as the Universal Zulu Nation. Zulu jam spaces spread through the local community to spark a culture that changed lives. In 2004, the houses in the same neighbourhood were worth millions. You’ve heard the rest of this, or think you have. “You have to know where hip-hop’s been in order to know where it’s going,” mused DJ Grand Wizzard Theodore in the 2001 documentary Scratch – named after the very technique he pioneered. Almost 45 years later, it’s precisely these historical fires that fuel the melting pot of Vancouver’s freestyle hip-hop collective Stew Jams. Spearheaded by Larisa Sanders with co-host Rupert Common and a full live band led by drummer Chris Cuoto, the Stew collective are stirring up just that — community empowerment through music. It’s showtime underneath a haze of saturated blue light at the Red Gate Arts Society. Poised between the steady stream of verse flowing from the stage like the late September rain outside, Common takes a moment to acknowledge the work they’re doing here. “There’s so much more we can do if we actually come together,” he says, his eyes cast out like a net to the small sea

Stew Jams puts the needle to the groove by creating musical soup for the soul in Vancouver’s hip-hop community SARAH ROSE Features Editor CELINE PINGET Photographer

amongst the crowd, “it’s just one step out of infinite steps.” The ingredients for Stew are simple: musicians, dancers, DJ’s, emcees and artists that add to the vibration of empowerment. “Within hip-hop they’re all linked,” said Sanders. “There’s so much we can do together to influence each other.” Despite the co-opted, villainized or often mangled appropriation by the music industry, hip-hop reflects a deep origin in the culture of young, urban, working-class people of colour. Representation is an important issue for Sanders and the Stew crew. “In Vancouver there’s a bad rep on hip-hop, to the point where a lot of industry folks don’t want to work with—” her tone drops to sarcasm as her hands create quotes around the word—“hip-hop.” Sanders describes the process for booking shows as a pay-to-play model where hip-hop acts are required to pay to perform should they not sell a certain number of tickets — something not present within other genres. Older business owners of these aforementioned venues who see hip-hop as music for ‘undesirables’ often refuse acts based on their misappropriated stereotypes. “It’s about money and their egos,” said Sanders. “It’s commercialized, corporate, all-male,” Common added. “You have these spaces, but no one is getting free in them. That’s not hip-hop.” “Coming into the Stew Jams there’s not one ounce of that,” she continued, pushing her dark hair aside. “Hip-hop’s not mumble rap, it’s a movement, it’s about community, it’s about giving a voice to underrepresented voices.” On stage, Sanders stands casually

surveying the scene. The keys ring clear, the rhythm is driven by a thick scratch! of a hand sliding across a record.The heartbeat of Cuoto’s kick pedal thrums through the soup of sounds. Although everyone in the cypher demonstrates they’re capable of subtle wordplay, melody, and gentle arpeggios, they often beat the metaphorical crap out of the mic. Their words have purpose, not just power. Stew welcomes first timers and wellknown freestyle figures like Higher Knowledge of affiliated collective The Hip Hop Drop in East Vancouver, where Common also volunteers. Here, HK runs through rhythmic, fluidic prose, tossing out tales from his past as a former gang member. “We have a Stew collective that we kind of just call our family that comes out,” says Common. “The Hip Hop Drop really serves the community, too. HK is all about community building, about male accountability and anti-violence.” Sound begins to trickle out as Sanders signals the band to hold formation. She introduces tonight’s featured act: Butterflies In Spirit, a collective of the family of missing and murdered Indigenous women and girls utilizing the healing practice of dance. They’re led by Lorelei Williams (Skatin Nation Sts’Ailes), who serves as the women’s coordinator for the Vancouver Aboriginal Community Policing Centre. “This isn’t just a dance group,” says Williams, “this is also a group of people who actively look for women who are missing.” The Butterflies set the tempo, moving across the floor like fingers across a record. Indigenous hip-hop artist JB the First Lady aka Jerilynn Webster (Nuxalk Nation,

Cayuga Six Nation) provides the words. She wields her voice as a battle cry: “I wanna walk the whole damn world,” Webster pierces through the speakers. “My stolen sisters, I’m looking for my sister, where did she go, why?” Her voice reverberates through the room with unrestrained, righteous rage, crying out for the thousands of missing and murdered Indigenous women of the last three decades. With the First Ladies Crew she foundeda decade ago, the act of rapping allowed Webster to reconnect with Indigenous oral history and her matrilineal voice. But the culture of hip-hop laid the groundwork with emcees as the storytellers and the keepers of history and tradition. The roots of hip-hop’s oral tradition as a voice for oppressed groups comes from the Malian Dogon people of West Africa and the nommo spirits. The nommo power of creation lies in the generative power of spoken language, in the animated genesis of words to transform objects and create life. “It’s incredible how intention can actualize,” Sanders reflected, “we’ve created a safe container where people feel comfortable to just be vulnerable which is really important, and it’s set with a lot of intention.” The factors leading to the creation of hip-hop as a necessary cultural entity are a stew of social, musical and political influences as diverse and complex as the sound itself. For people like Common, Sanders and Cuoto, they experience firsthand the transformative power of jam spaces in communities. “Music and art are so necessary, and we want to be providing that in our city,”

Common explained, his heartfelt words framed by loose curls against either side of his temples. “There’s so many people who come and they call it their church, they go: ‘oh my god, I needed this.’” Sanders offers a nod in solidarity, “it’s something they didn’t even realize they needed until they experience it,” Sanders added. For the rest of the month, Sanders and Cuoto will travel through the east coast. They’re seeking connections and collaborations with other jam communities like Le Cypher and the Kalmunity Vibe Collective in Montreal. Ideally, even as far as collectives like The Shed in New York. “We want to elevate to the point [that] other people know about us as well,” said Sanders. Her silhouette is soft, but her presence felt—poised against a backdrop of late summer flowers bathed in the ambient overcast grey. She acknowledges them for a moment, her eyes dancing from one to the next like a bee visualizing pollen. She knows communities like Stew, The Hip Hop Drop and theFirst Ladies Crew will continue to provide the pulse for healing and self-actualization within the city and beyond. “As you grow, you naturally get bigger,” Sanders mused. The Stew Jams are held on the last Monday of every month at 9pm at the Red Gate Art Society, admission by donation.

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weaving a path through indigenous histories Transits and Returns at the Vancouver Art Gallery highlights Indigenous artists from across the world JAYDE ATCHISON Staff Writer

Warm, rustic shades of yellow, green, brown and pink decorate a cloak made of possum skin. These colours depict Australian Indigenous plant and food sources from around the Maiwar (Brisbane) River. Surrounding the flowers, leaves and fruit are stitched sections that represent a map of the Maiwar area. Cutting diagonally down the map is a jet black charcoal rendition of the river that begins at the top right corner. The piece, titled Skin Country, was created by Wathaurung and Scottish artist Carol Mcgregor in 2018. Each zone on the map visually narrates an aspect of the land and those who are connected to it. Skin Country opens Transits and Returns, the Vancouver Art Gallery’s latest exhibition that features 21 Indigenous artists from around the world. “Carol’s work is a real celebration of country, honouring the practices that come from country,” said co-curator Freja Carmichael. “Carol collaborated with Brisbane community members, traditional owners and Aboriginal people to celebrate the plant wisdoms.” Transits and Returns takes up the entirety of the third floor. The works displayed bring life to cultural practices that have been dormant for years due to colonization and marginalization. Indigenous culture is demonstrated by the artists through the intricate details of woven blankets and beaded moccasins, along with the use of traditional languages. The two local Indigenous artists featured in Transits and Returns are Debra Sparrow (Musqueam) and T’uy’t’tanatCease Wyss (Squamish).

Sparrow’s four woven blankets in the exhibition were commissioned for various celebrations. Historically, weaving was a part of everyday life when Musqueam people wove mats for beds, baskets for carrying water and clothes that were worn daily. Woven blankets are also created to honour the people receiving them. One of Sparrow’s blankets honours Aaron Wilson, a Musqueam member that graduated from UBC Law. The blanket is intertwined with white, blue and yellow wool to display UBC’s colours. Wyss’s work mixes basket weaving, digital media and storytelling. There’s a touch station In the central room where her work is shown where visitors can run their fingers over the traditional materials used in weaving. Their works are displayed in what co-curator Tarah Hogue described as “the heart of the physical center of the exhibition.” Hogue explained that the curators “wanted to ground the exhibition in local knowledge and local practices.” The majority of the art shown on the third floor is made by Indigenous women. One of these women, Marianne Nicholson, who is Dzawada’enuxw and Scottish, was moved to represent her culture when she began making art. “I couldn’t understand what I was doing at the time, but I understand now that I was trying to acknowledge something near and dear to me,” Nicholson reflected. “It seemed very simple and yet it seemed invisible in the public, so I wanted to acknowledge it.” Nicholson’s reflection alludes to how Indigenous art is not frequently displayed

Carol McGregor Skin Country, 2018 possum skins, charcoal, ochre, binder medium, waxed thread Courtesy of the Artist Photo: Carl Warner

in western institutions, and because of this, the greater public often remains ignorant of the existence and value of those cultures. Thirty-six t-shirts scream for attention from the back wall of the exhibit. These shirts are part of the collaborative work between Kanaka Maoli artists Drew Kahu’āina Broderick and Nāpali Aluli Souza, titled 36 views of Lē’ahi (2017) and We need to talk about Diamond Head (2019). In 36 views of Lē’ahi, there are 36 variations of tourist shirts from Hawai’i that hang on a blank white wall. Directly facing the piece is a bench that hosts two sets of headphones where visitors are encouraged to sit and listen. Neon pinks, greens and yellows are scattered across Diamond Head tourist shirts (a volcanic cone located on the island Oʻahu that is a tourist landmark). Upon putting the headphones on, soothing Hawai’ian music plays, which quickly shifts to a deep voice describing how Hawai’i is not just a place for tourists: it’s the origin and home of Indigenous Hawai’ian people. Staring at the disheveled shirts and listening to the stories of Diamond Head prompts a reflection on how Indigenous lands have been mistreated and overthrown for decades for the sake of Western people and a profit. The artworks of Transits and Returns are strong in message and beautiful in creation. Each artist gives the audience a glance into their Indigenous knowledge, experience and cultural practice. Transits and Returns will be on display until February 23, 2020 at the Vancouver Art Gallery

BAG

H AT '

IN M

ATRIN

Photos and text by ASHLEY SANDHU

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Atrin, a third-year IDEA student, carried a basic black backpack from Miniso, but with a gold parrot pin attached to the lash tab on the front. “I received it as a gift from my aunt a few years ago,” she said. Inside her backpack, there was an assortment of books and tools essential for a design student.

She first pulled out her polar bear notebook and (with a smirk) the latest copy of the Courier. The notebook is where all her ideas and concepts are sketched in. Here you can see her wireframe ideas for an app design that she is developing. As an avid fan of K-Pop, Atrin is creating a design for a K-Pop concert application.

Some other notable items she pulls out include a Rilakkuma pencil case, her cat wallet, and her phone with a cat phone case. “But I don’t even like cats,” she exclaimed. She explained further how she simply loves “anything that’s cute” and often visits stationery shops like Art Box to buy her gear.

Atrin also carried a laptop (accessorized in a rose gold case) and a tote bag for extra notebooks.

A RT S & CULTURE

TAL I A RO U CK

@talrouck

Nic o l e S h ewc h u k

@nicolechuck FEATURED ART

More Than Just An Emmy Nominee “What a wicked way to treat the girl that loves you” - Homecoming, not winning a 2019 Emmy JAYDE ATCHISON Staff Writer

Six years ago, I put on my best little black dress and strut into Rogers Arena to experience Beyoncé in concert. What I saw that night was an empowering performance in which Beyoncé was proud to showcase a predominantly female ensemble. Witnessing these talented women on stage alongside the Queen of Pop herself was inspiring to say the least, so when I heard that Beyoncé was going to be the first black woman to headline Coachella five years later, I went through a new level of FOMO that I never knew existed. Although nothing compares to seeing the show live, I was nevertheless overjoyed to discover the performance was going to be immortalized in the documentary, Homecoming. As any member of the Beyhive can agree, this was the musical documentary we were all waiting for. The duet with Jay-Z, the dance-off with Solange and the iconic reunion of Destiny’s Child made for one of the best singalongs on Netflix (and of all time?). Fast forward to autumn where we see the falling of leaves, change of wardrobe and the kick-off of award show season. The Emmy Awards have come and gone, but the rage of Homecoming not winning even one of the six categories it was nominated for lives on. One small solace is that the film was a least recognized and nominated for the following categories: Outstanding Directing for a

Variety Special; Outstanding Variety Special (prerecorded); Outstanding Costumes for Variety, Nonfiction or Reality Programming; Outstanding Music Direction; Outstanding Production Design for a Variety Special; and Outstanding Writing for a Variety Special. The competition was stacked in each category, and the winners deserved the recognition they received that night. However, the two categories where I believe Homecoming was the clear victor are Outstanding Variety Special (pre-recorded) and Outstanding Music Direction Instead, Carpool Karaoke: When Corden Met McCartney Live From Liverpool won Outstanding Variety Special, and while I love everything about Paul McCartney I think the team on Homecoming should have swept up that award. Homecoming is compiled between two nights at Coachella, with one night in yellow costumes and the other in pink. This means in order to create seamless edits, the entire team had to hit their marks in the same moments and places two nights in a row. There is no room for error or redos.The work Beyoncé put into choosing each dancer, singer and performer to create this concert shows a level of dedication to representing African Amercian culture in a live setting that is rarely seen. It is hard to see how over 200 people keeping their performance perfectly in sync for two live shows can lose

to two men harmonizing in a car. I have no doubt that the cast of Fosse/ Ferdon (winners of Outstanding Music Direction) worked incredibly hard for their dance and musical scenes, but with a television series there are opportunities to cut, give feedback, take a break and retry. With a documentary, the audience gets an insight into the rehearsals and the talent that needs to be perfected before going on stage. I can’t help but feel that Homecoming demonstrated a set of dancing and singing that matched Beyoncé’s original works. Beyoncé has been creating albums that advocate for women being proud of their bodies, sexuality and culture. She uses her medium to speak out on social issues and this is shown through the musical direction in the documentary. Even though I feel Homecoming was overlooked at the Emmys, I am not surprised. Award shows have a history of skipping over women and people of colour, which is exactly who Homecoming strives to empower. Hopefully there comes a day that a performance of this caliber is properly recognized by the industry in more than just a nomination.

OPI NIONS

Whose Land Is It Anyways? Spilling the tea on land acknowledgments, and what reconcili-action really means

TRISTIN GREYEYES Contributor

You may have heard someone before a class or at an event acknowledge the traditional “unceded” land we stand on. Land acknowledgments have become a protocol, but there are still mixed feelings from both Indigenous and non-Indigenous peoples. "Land acknowledgements started at a time when Indigenous existence and our claims to our land was questioned by all levels of government, media, and civic institutions. Standing up in front of those institutions and saying ‘This is Indigenous lands’ was challenging the status quo,” says Khelsilem who is an Indigi-queer, writer, activist, public speaker and an elected Squamish Nation Council Member. Often there is little connection to why we are acknowledging the land we stand on. Instead, it is a memorized phrase that is rattled off like an item on a checklist, with no action attached. What is offensive isn't the land acknowledgement itself but the fact that it is often just tokenism. An Indigenous person might hear, "we acknowledge that we are on stolen lands, and our presence here is the continuation of systematic violence towards Indigenous people and we are willing to participate in reconciliation except the one thing that might actually help—giving back the land." Acknowledging is one thing, action is another. Reconcili-action is not the act of bringing Indigenous people to the table to do some talking, cry with each other, expose their traumas, maybe host some

events and workshops, shake hands, then pay your token Indigenous person(s) and call it a day. They just want land back. Real action has to be long term, and sustainable. Stop using blanket words. Instead of unceded, say stolen. Name the issue so no one can deny it. Remember that it is a privilege to not have to advocate for your peoples’ basic human rights. Hire more than one Indigenous person, an individual cannot speak on behalf of the rest of the Indigenous people. Do some of your own research online before asking questions to an Indigenous person. Tread lightly, ask first, be accomodating and then some. Learn how to say hello in the language whose land you’re on—it’s basic but goes a long way. Be very patient. Be aware of your unconscious and conscious biases. Don't speak for Indigenous people without Indigenous people. Do your own decolonizing and push for decolonization in all the places that you occupy. Most importantly, give the land back. From Alberta to Ontario, Indigenous nations were forced to make treaties with the British empire, which was never honoured. Never once did those nations say "we give up our land." In so-called British Columbia, the British skipped the treaties and went straight to forcibly removing the Salish people from their traditional homelands. Canada in its entirety was founded on stolen land. Finders keepers doesn't make sense in a court of law, nor is it a legal stance. It

wasn't discovered like the outdated history Canadians might still learn in high school because people were already here. So how did this happen? Genocide. The legacy of colonization thrives and many Canadians continue to benefit from the displacement and systemic racism, while Indigenous people are treated lowerclass, often living in impoverishment thirdworld conditions without the basic human necessities like clean water. It wasn’t enough that Canada took and continues to take from Indigenous people, the state also discriminates against Indigenous people. The stolen land has a tremendous impact which has resulted in cultural loss, genocide, intergenerational-trauma, dependency, and our climate crisis. There is no justice on stolen land. Here is what everyone should be saying after land acknowledgements, courtesy of Khelsilem: “This is Indigenous land and it’s time land is returned to them or they be compensated for it. Start with Crown lands, parks, and government purchases of private lands on sacred sites. Tax property values and and use natural resource royalties and give a portion to local Indigenous nations." I acknowledge that I am on the stolen and unsurrendered lands of the sovereign Coast Salish nations; Sḵwx̱wú7mesh,

Lil̓ wat7ul, xʷməθkʷəy̓əm, shíshálh, səl̓ilwətaɁɬ. Give us our land back.

and

Restrictions on Air Travel to Stop Ecocide. The environmental impact of air travel is rarely considered, but has a big impact on our carbon footprint SHEILA ARELLANO News Editor

The world today is at war. The psychological impacts of wealth are constantly fighting against the environment. It’s not news that money is a priority to many—if not all. Western values celebrate consumerism, wealth, and individualistic mindsets which lead to environmental apathy that incites people to believe the environment and everyday life are two separate things. This twisted understanding—or lack thereof— creates a dismissive attitude towards activities such as air travel. When people are planning a trip or traveling for business, they don’t think their actions are contributing to climate change. In truth, air travel is one of the quickest growing sources of CO2. Alongside other types of transport, air travel contributes two percent of global emissions every year. In fact, according to an article in the Vancouver Sun, these emissions increased by 75 percent between 1990 and 2012 alone. The reasons for air travel vary, but the main ones include business and leisure. As air travel becomes cheaper, more people are able to afford it. This leads to more demand within airlines across the world. Yet, restrictions on air travel could be the answer to a more sustainable future. Often, business travel entails attending a quick conference or meeting. Due to this immediacy factor, business trips are often short. But many of these trips can be avoided by restricting travel and using technology as an alternative. Instead of attending conferences and meetings in person, people could easily connect through Skype virtually instead.

While it may not be in the airlines best interest, the government should consider whether restrictions on travel are a viable option until more sustainable alternatives can be found. Finding an alternative to kerosene—which is the substance used as a fuel or fuel component for jet engines—is crucial. Current research shows there are few alternatives, although biofuels made from algae are a possible solution. That said, opinions differ on the efficiency these alternatives. Until a more sustainable fuel replaces kerosene or regulations are in place we should all consider the necessity of air travel—flight or fancy? Individualistic views today have shaped people to be dismissive of the world’s problems if the impact is not immediate or direct. In order to achieve a greener and more sustainable future, people must think outside themselves and break the divide between nature and their daily lives. Dialing down high consumption could create prosperity as consumer debt has risen to 35 percent of household income since 2016. If money was spent consciously, this could be reduced. But this rule should not only apply to air travel. Reducing consumption is a key element in the fight to eliminate climate change. Similarly, by applying a wealth tax or limiting how rich someone can be, the pollution created by private air travel could be reduced significantly. It is natural to feel small when facing a global problem that affects everyone differently, yet, to make a difference people must take responsibility and spend conscientiously. At this point, it is the least people can do.

OPI NIONS

The Cost of

Therapy

Knock-knock. Who’s there? The hordes of people who want more public ownership of mental health FREYA WASTENEYS Managing Editor CYNTHIA TRAN VO Illustrator

The other day, I heard a bad, convoluted riddle masqueraded as a joke. A student, let’s call her Mary, can’t afford therapy, but she can’t afford not to go either. Since all the publicly funded options for therapy are booked months in advance, she decides to pay out of pocket and visits one of the few clinics with a counsellor available. She walks into a sleek private counselling clinic in Vancouver’s hospital district, greeted by the standard sounds of chime music and the muffled tones of a phone ringing. After checking in with the receptionist, she seats herself in the waiting room and flips through a magazine or two. They all promise the same seemingly unattainable thing—inner peace, bliss and meditative enlightenment. Every week for the past month, she has gone back to the same counsellor, hoping to find relief from the panic attacks plaguing her, seeking to avoid a fiasco like the last time she ignored the signs. But instead of help, she is bombarded with the same information she learned in Psychology 100. Her therapist doesn’t seem qualified. Four sessions and $600 later, she feels no better than when she first came in. In fact, she feels more and more anxious after each exorbitant session, and each lecture about sleep hygiene and the fight or flight response. She finds herself in an awkward position—should she dump her therapist? Can she afford to? Unfortunately, this riddle is one which many students face on their quest for mental health support. In fact, Science

Daily reports that between 2005 and 2017 alone, there was a 52 percent increase in young individuals exhibiting symptoms of major depression and a 71 percent increase in reports of psychological distress, while suicidal ideations rose by 47 percent. Mental health awareness in Canada has progressed in leaps and bounds in just the past ten years, but the stigma still exists. Many are still reluctant to speak candidly about their struggles with mental health beyond even their closest circles. Evidence is seen as anecdotal, and the support for policy changes and government regulations still isn’t there to the extent that it needs to be. It turns out that finding timely and affordable, let alone credible, mental health support in Vancouver is akin to getting that elusive letter to Hogwarts—highly improbable (although not impossible?). Sadly, for many it’s not simply a bad joke they can laugh off. While the intentions of therapists are rarely malicious, those seeking therapy are often in a vulnerable position. In the precarious balancing act students often find themselves in, seeing a qualified counsellor can make the difference between getting a passing grade or flunking out of school. In other more serious instances, the consequences are more sinister. Yet, since there is no overriding provincial licensing body in BC as things currently stand, almost anyone can claim they are a “certified” or “registered” therapist, counsellor or mental health expert without belonging to a professional

group or a government-regulated college. And that’s a huge problem when these are people giving advice to at-risk groups. According to an article in the Vancouver Sun on the dangers of therapy, “codes of ethical conduct are either non-existent, self-created or difficult to enforce.” For those who entrust counsellors with their mental care, this is an issue that cannot be simply glossed over, especially when it’s the difference between getting help in a moment of need or… well—not. The system favours those who have the money to pay for it and discriminates against those who do not—and unfortunately the ones at risk are often the ones who can’t pay for it. “Ultimately the work is on the patient to navigate the system, which adds to the complexity of the whole thing,” says Dr. Sylvain Roy, President of the Ontario Psychological Association in an interview with the Toronto Star. “It’s a mess for everybody.” Roy believes there is an urgent need to have public ownership of mental health and believes that the Ministry of Health in “every Canadian jurisdiction” needs to own up to the fact that mental health issues are, in fact, a health condition. While universities do make an attempt to provide students with services, the backlog of patients is a clear sign that it’s not enough. Let’s face it, meditation workshops and free puppies at exam time are only surface-level quick fixes—they are not a solution.

Oh, Trudeau Yes, he’s made mistakes. So have you ALISHA SAMNAMI Contributor

When I saw the image, my heart sank. The photograph radiates bliss, unawareness. A man, our prime minister, dressed up in some kind of “Arabian Nights” costume, with a smile that is the same today as it was in that old photograph. Oh yeah, and much, much darker skin than his own to accompany it. Dressing up in Brownface was unquestionably stupid, even for the early 2000s. But I don’t believe that Justin Trudeau is racist. This instance reflected an extreme lack of judgement. Yes, he should have had this self-awareness much sooner than 2019. Many minority groups viewed Trudeau as someone on their side. He has done incredible things for pluralism here at home, and around the globe. As gutwrenching as this incident is, however, it should have been the sole action that influenced your vote. He should be judged based on everything he has accomplished, and whether we, as citizens of this country, believe that he is capable of doing better in the future. “What I did hurt them, hurt people who shouldn’t have to face intolerance and discrimination because of their identity,” said Trudeau in a statement to the press. “This is something I deeply, deeply regret.” Beyond the swing of constituents votes, this image also raises another question about the history of racism in Canada. We have been trained to see this as a problem residing in our neighbours’ to the south. We have shielded the Canadian variant under politeness and good intentions. We shove it aside, pretend it doesn’t exist. But even in Canada, people of colour often have to work a little harder to prove ourselves. It’s something we deal with, in an attempt to have better lives than our parents and our grandparents had. Even people seen as allies can make mistakes. We don’t always know who truly understands and who doesn’t quite get it, even when they try their hardest. Here in Canada, although we have a multiracial cabinet and our political parties were in favour of taking in more people during the refugee crisis, we aren’t quite there as a nation.

We’ve become more careless and less inhibited with our remarks, both on the internet and in person. It’s no longer individual, seemingly innocent questions about where we really came from. It has moved from small scale rhetoric into real policy. In Quebec, a law prevents people with clearly visible religious attire from holding public sector positions, such as teachers and police officers. As unconstitutional as it seems, this law is protected by the “notwithstanding clause”—an ironic gift from the same Prime Minister Trudeau who brought us our official policy of multiculturalism. This clause prevents any legal challenges to Quebec’s new law. True irony, however, is that while our national leaders offer empty remarks about their dislike of this law, they have yet to commit to any action over it. This includes Jagmeet Singh, the candidate whom this law would directly impact if he lived in Quebec. Conservative Party leader Andrew Scheer uses the concept of “provincial jurisdiction” as a crutch, similar to the way the notion of “states’ rights” are used in the United States. We as Canadians cannot raise arms over offensive things done years ago if we are unable to stand up to the discrimination and racism that is more blatant than ever. Racism is the tragic story of our lives. We cannot pick and choose when to stand against racism. It must be a constant. Canada is not black and white. We are a diverse spectrum of colour. Embrace it. While we are a welcoming mosaic of nationalities, we are not without our own faults. Incidents from the past should not have coloured your vote. Let policy and action speak for itself. Use Justin Trudeau’s episode, and our own past missteps, to address the connection between individual action and justice for all.

OPI NIONS

The Plastic Compromise

Squamish council takes a step backwards with recent decision not to ban plastic bags KAILEIGH BUNTING Contributor

With millions protesting in the streets for climate action it seems that, now more than ever, cities should be aiming to reduce the impact they have on the environment. It therefore came as a shock to hear that the District of Squamish, an idyllic outdoor mecca known for forward-thinking, recently voted against the outright ban of plastic bags. Instead, the council chose to impose a fee on each plastic bag (10 cents per bag) in hopes of reducing the number used overall. The Squamish Council argued that “banning plastic bags would have created a larger carbon footprint” as the number of paper bags used would likely increase—each of which has three times the carbon cost of each plastic bag. Despite the numbers lining up for the Squamish council, this decision seems to set the city behind the curve when it comes to proactive climate action. It is important to understand the impact reducing plastic waste has in comparison to that of reducing the all-encompassing carbon footprint. While it is important to reduce the overall carbon footprint of urban areas, it is also paramount to reduce the direct environmental impact constituents’ choices have on the surrounding environment. Paper bags are considered to have a higher carbon cost than plastic because it takes more energy and resources overall to produce one paper bag than a plastic one. According to the English Environmental Agency, a paper bag must be used at least three times to outweigh its plastic counterpart. This is the logic the city of Squamish has followed, as it now plans to charge 30 cents per paper bag and only 10 cents for a plastic bag. Does this cover the numerical cost of each bag on the environment? Yes, but it neglects to address the effects that single-use plastics such as plastic bags can have directly in the surrounding environment.

Squamish is situated along the west coast, which means it is in close proximity to many water systems (the pacific ocean, rivers, lakes) which connecting ecosystems depend on. The chances of plastic entering those water systems increases, and can have detrimental effects on the ecosystems. According to the National Oceanic and Atmospheric Association’s (NOAA) Office of Response and Restoration of Environmental Disasters, as plastic enters the ocean, they are carried by currents to central dynamic regions of the oceans (‘gyres’) where the plastic is then left to sit. Unlike a paper bag that only takes one month to decompose, a plastic bag will break into microplastics which can take over 500 years to breakdown. Not only is this microplastic accumulating in massive garbage islands in oceans around the globe, but it is also washing ashore on international lands and impacting ecosystems worldwide. From one plastic bag from the Walmart in Squamish to impacting the marine life of ecosystems internationally, this issue is much more complex than the Squamish Council has made it seem. It is because of this unseen impact of the plastic bag— which reaches far past its carbon footprint—that the Squamish Council's decision against the ban of plastic bags may not have been the most proactive approach to lowering the city’s environmental impact. While the chosen option to charge for each bag is a step in the right direction, it’s not enough of an incentive to discourage the overall use of single-use products. After all, every single piece of plastic ever manufactured since 1907 still exists today. What will the planet look like in another 100 years if not a planet consumed by plastic? It is the responsibility of governing municipalities to take ownership of this plastic crisis and find more sustainable options for the future.

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evelyn ch ua

@ev_chua FEATURED ART

FemDom:

Mastering Life How BDSM is reshaping power relations for women in the office and the bedroom, and within themselves SARAH ROSE Features Editor TEANNA JAGDATT Contributor VALERIYA KIM Illustrator

In the words of 16 century Marquis de Sade: “It is always by way of pain, that one arrives at pleasure.” Difficult to imagine for a man who spent 32 years of his life in prison, and for whom the word sadism is derived. Boss Lady Sessla also lives in a literal and figurative bubble. She’s the owner of the Fanchix performance group and director of the 18+ nerd culture show Not Safe For Con. Although she’s hung her up whip for the time being in the professional dominatrix sphere due to her battle with a life-threatening mast cell condition, Sessla’s work in the transformative power of BDSM has allowed her to create healing spaces for herself and others in the community. Although it couldn’t be further from the truth, the typical reaction to the acronym “BDSM” sparks negative connotations. Demure, submissive women chained literally within the throes of passion by masochistic men. Maybe even distorted media representations like Fifty-Shades of Grey. Some see it as one dimensional, not considering that it’s another world that lives on a spectrum — it’s not just black and white. Unlike the aforementioned Fifty Shades — there’s an unfathomable, proverbial grey area that is unknown, mainly because its not seen as a normative way of portraying power dynamics. “I don’t teach anything related to BDSM or sex, just the application of power dynamics,” former professional dominatrix Kasia Urbaniak said. It’s been over a decade since Urbaniak traded her whip for a career as a female empowerment coach. She’s inspired by the effects of Donald Trump and Harvey Weinstein on the #MeToo movement, “women carry communications that either make

them go speechless, or be afraid of coming across too bossy, or needy,” Urbaniak explained. For Urbaniak and her students, watching Hilary Clinton in the 2016 presidential election was like a window into the act of “compression.” Women shutdown and are taught to comply, to minimize in the presence of male bullies. “They don’t know why they’re doing it,” she said. Apologizing for speaking up at work, and in relationships is a learned behaviour that research at the University of Waterloo shows is much more prevalent in women. “One of the first things I teach women is how to stop apologizing,” explained Mistress Tara Indiana, a professional dominatrix and BDSM instructor since 1993. Last May, she presented a lecture on the science of S&M at DomCon in Los Angeles. She explains that across cultural boundaries, many rites of passage involve pain, “S&M and a similar initiation rite. It’s a way of taking ownership of your body.” Boss Lady Sessla is one such BDSM enthusiast who incorporates dominance in her interpersonal life to take ownership of her body. As a mast cell patient, she is constantly under attack. Anything from food to inhaled smoke could shut down her airways without warning. Being someone on the spectrum of disability and chronic illness, one main practice she focuses on is consensual and functional devoteeism, which she describes as: “the worship or attraction to people who are disabled. In response to their adoration, I’ve felt admired and loved even on my darkest days,” Sessla wrote, “they inspire me.” BDSM, short for Bondage Discipline Sadism and Masochism, is on a broad scale. An important yet constantly overlooked aspect of BDSM is the practice

of active consent. Once again, mainstream media plays a role in hiding this idea very well with movies, music and TV obscuring or just outright fabricating the definition. Because of this we’re cautioned to think that BDSM all just whips and chains, not taking in mind the overall effect this has on women within their everyday lives outside the bedroom. “One of my favourite Dedicated (personal) Submissives told me that I changed her life, simply by teaching her how to set boundaries for herself, and how to pause in order to check in with herself before saying ‘yes’,” said Sessla. The BDSM community isn’t just barking orders at someone to feel dominance, it’s seen as an openly non-judgmental band of people with all levels of gender, race, sexuality, ability and more. They are people who do it for work, lifestyle or incorporate it into their personal lives. As Boss Lady Sessla interprets her own personal experience with BDSM, she states: “the increased capacity to customize and personalize relationship dynamics opens up a lot of potential for authentic self-expression, otherwise not possible.” A typical routine performed by most dominatrix’ involve what they call ‘impact’ play. This regards to anything including bondage, discipline, or the acts of dominance/ submission depending on what medium they choose to practice. The list of acts or scenes that they perform are endless, and typically accustomed to their needs and values. The acts created by Doms usually vary anywhere from mild humiliation to inflicting pain, all occurring in what Sessla describes as a subspace. As the Sub’s level of adrenaline and endorphins spike during a BDSM scene, they enter an altered state of consciousness similar to mindfulness meditation. “Subspace is a state of consciousness where a person can be extremely subject to suggestions. Therein lies the potential to affect mentality and emotions,” Sessla said. Research from the Northern Illinois University shows how BDSM can alter the blood flow pattern in the brain. Those in the role of Submissive experience “transient hypofrontality,” an almost dreamlike state similar to runner’s high. But the real impact of BDSM is the one it leaves on those associated with it: specifically, women. Sessla is one of many examples of how women have reformed their role through power relationships. Urbaniak and her partner founded a small, elite training program for women in 2012 called The Academy. “Come to a class of 200 women and witness the moment when I ask them to start voicing all the things they haven’t said,” she said. Some misrepresentations are more obvious

than others such as the trend of male dominance that Fifty Shades brought to the foreground; it also portrays a much different topic than what it’s categorized as. The series is originally labeled as being in the Kink/BDSM genre, but the overall scope of these movies actually detail the concept of an abusive relationship, far from what real BDSM is. Even simply the notion that a Submissive is giving up their power to a Dom. “Many people presume that only the Dom would feel empowerment in a D/S relationship,” Sessla writes, “however the role of a Submissive can be a liberating experience.” Sessla explains that the most powerfully transformative moments in her own BDSM journey were with a man, where she herself was the Submissive. “He will give me positive affirmations while I am in Subspace and has helped me overcome a lot of the trauma from a past, abusive relationship,” Sessla shared. Although she believes the healing applications of BDSM can be accessed by everyone, true empowerment for women “causes a shift in our society which benefits and creates more opportunities for freedom for all of humanity.” Unlike Mr. Grey, real Pro Doms like Mr. Shaw strive to work with Subs of all genders, ability and bodies with a technique he calls “positive objectification.” Studies indicate that unwanted body evaluation negatively impacts mental health. In Shaw’s sessions, he seeks to transform how clients view their own self-worth and body image. “Often, when women are seen by men, they’re not really seen at all,” said Shaw. Of the many reasons Shaw sees Submission as empowering, he explains that “BDSM requires negotiation where the sub gets to decide when a scene starts and stops. I teach my Submissives how to take care of themselves and how to ask for what they want without apology.” Shaw believes dropping into subspace allows Submissives to not only get in touch with their bodies, but also begin to correct the mental pathways that condition women to apologize for their own presence. As with the intimate connection of pain and pleasure in rites of passage, the power of submission is paradoxical, and being dominated brings many closer to personal freedom. “BDSM can really be a journey of self-discovery and personal empowerment,” Shaw said. Freed from the chains of a social framework, within the lives of those like Boss Lady Sessla BDSM allows release. The redhead is poised against an equally red couch, dressed in a Batgirl costume and holding the breast of a fully latex clad individual on her lap: “it’s your Subspace, now what do you want to do with it?”

FEATURES

From Frogs To Mobs How politics of the alt-right and beyond infected the meme, and the ideological virus of language SARAH ROSE Features Editor

“Language is a virus from outer space.” That’s beat author William S. Burroughs. In the throes of the 60’s, Burroughs evangelized the idea that language was a means to control us from space, which isn’t necessarily as far from the truth as it possibly could be. For all his demons including a lingering opiate addiction, closeted homosexuality, rabid belief in chaos magic and accidentally murdering his wife with a drunk gunshot, Burroughs had an acute ability to tear away facades and unearth – often haunting – truths. The simple phrase: “language is a virus from outer space,” quietly crumbles decades of cognitive beliefs about reality and the language mediated perception of it; maybe reality is facilitated only by the ambiguity and volatility of language. Incipit Burroughs, Language is a virus. Viruses operate autonomously, without human intervention. It merely attaches to a host and then replicates. Once infected with language, it continues to replicate and graft into other fragments of language in human hosts. This is exactly how online meme propagation works, except memes don’t require linguistic components. Rather, memes operate as their own language. “It’s dangerous to unmask images, since they dissimulate the fact there is nothing behind them,” said Jean Baudrillard in his seminal text Simulacra and Simulation. They can endlessly morph to suit different purposes and now it’s just part of mainstream discourse. “Internet memes may seem new, but memes and the idea of cultural propagation has always existed,” Kenyatta Cheese said in an interview, founder of meme encyclopedia KnowYourMeme. “This type of spread has always happened; what it

makes you recognize it is the architecture. All of a sudden, you see these pathways that exist between an original idea and how it spreads throughout culture in ways that were hard to see before.” One of these emerging patterns Cheese is referring to is the alt-right, where the amorphous nature of the ideological movement is largely encapsulated and distilled by memes. The alt-right distinguishes itself from other radical political movements by not only it’s demographic, but the fact it exists primarily anonymously, online and uses memes to advance its agenda. Specifically, strange, surreal, low-quality renders of Millennial pop culture references like anime and Pepe the Frog; as seen worn by popular alt-right figurehead Richard Spencer when he was assaulted. Arguably, Trump’s presidency began on the altright image board /pol/ on 4chan. In 2009, Time named the father of 4chan Chris Poole aka “moot” the world’s most influential person. The online open poll had been subsequently raided by 4chan’s proverbial Anonymous gaggle of net users, bringing moot beyond the likes of Barack Obama and Vladimir Putin. 4chan and the internet’s influence was no more apparent than during the 2016 election. 4chan’s /pol/ felt like an alternate reality where Trump’s presidency was not only possible but inevitable. “We actually elected a meme as president,” wrote one 4chan user. “The distinction between these media efforts and the Alt-Right is two-fold,” explained political science honours graduate Cole Steele. “The alt-right has succeeded where other movements have failed in terms of reaching a large audience. It follows that the near entirety of the alt-right has access to the internet and engages with politics online,” said Steele. From determining the fate of an online poll to

that of a nation, the agency provided to anonymous users on meme sharing platforms is their strongest – and sometimes only – tool for empowerment. Asking Google: “how memes elected Donald Trump” elicits a reem of responses and explanations from magazines and journals that read kind of like memes themselves. That’s closer to the point. In his work on a thesis exploring the alt-right in contemporary political discourse, Steele explores how things changed when Trump formally announced his candidacy in 2015. Spencer himself described it as a “paradigmatic shift” in American politics. In the intertwined, vacillating helix of Trump and Spencer, Spencer became the defacto official spokesman of the alt-right. From being practically unheard of, to doing media interviews with dozens of outlets, Spencer went on to declare: “Hail Trump” while performing a Nazi salute during a speech, and most notably, “we memed the alt-right into existence.” On Twitter, Trump retweeted a meme depicting himself as the eponymous, unofficial alt-right mascot: Pepe the Frog. Despite Trump’s hotly debated, unclear and loosely defined politics, even on more academic-esque platforms such as Spencer’s: “you don’t have to put in much work to find a reference to a meme, or other aspect of pop culture,” writes Steele. Memes are not dominated by the alt-right, though. In fact, memes are iceberged in a deep structure of ideological discourse. A visit to the subreddits r/blackholedmemes or r/ nukedmemes reveals memes that don’t contain any comprehensible content at all. No text, no translatable image or pattern, just badly damaged, distorted and digital artifact laden images. Yet these are still considered funny, or to have meaning. Broadly speaking, jokes are funny because we have the contextual and occasionally visual knowledge to parse the meaning and create new, additional meanings. Meaning, and actual, physical body language differs between culture as well. Really, many jokes don’t mean anything or even translate

outside of the linguistic community they originated in. Their encoded meanings are embodied by those who speak the language. Take The Philosphers Meme, a meme account on Facebook that morphed into a web based blog, running academic discourse essays broadly on the topic of memetics. Memetics (based on the work of Richard Dawkins in The Selfish Gene) is broadly the information patterns held in individual memory, capable of being transferred to another.  The individual retains the meme, but the transfer is a form of replication in a process of self-reproduction. In this way memes parallel themselves as a language to genes and viruses. Memes would not be memes without the ability to mutate. While Dawkins argued that cultural artifacts are passed on with the all-or-nothing quality of gene transmission, rather: “meme transmission is subject to continuous mutation” Dawkins wrote. The communication form of ideological transfer and representation of memes is such that it lends itself to transcending the political entirely. Hence, memes are not inherently created for the right, they’re just bodies of spreadable ideas. They’re the language developed by, and to engage with political discourse from young people online. That’s how Baudrillard conceives of images as language, of the concept of memetics. As Slavoj Zizek writes in The Sublime Object of Ideology: “Ideology is not a dreamlike illusion that we build to escape insupportable reality; in its basic dimension it is a fantasy construction which serves as a support for our ‘reality’ itself.” The essence of memes distilled is that of simulacra, where the distinction between reality and representation evaporates. Memes are not language, not purely virus either, because they aren’t really anything. Rather they are signs, according to Baudrillard– “a material more malleable than meaning itself.”

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The Emancipation of the Poppy How Peace Poppies are standing up for all victims of war MEGAN AMATO Associate News Editor

There are symbols in our lives that are so familiar to us that we often don’t stop to question the meaning behind them. The red poppy, often sold by Legions worldwide and worn on the lapel of many, is one of these. We are first indoctrinated to wear them in primary school Remembrance Day assemblies, where we are told they are to honour and remember veterans who fought for our freedom during the various wars. But what are we supposed to be remembering, and freedom for whom? Criticizing the red poppy is often labelled as anti-veteran, but initiatives like the Vancouver Peace Poppies, a local organization that advocates for peaceful conflict resolution, are not campaigning against veterans themselves. Instead, it is a nuanced attempt to

challenge the disconnection from war that red poppies have come to represent and focus on remembering all the victims of war. In 1921, the red poppy was introduced. The now iconic symbol was inspired by John McCrae’s poem “In Flanders Fields.” Just 12 years later, the Co-operative Women’s Guild began selling homemade white peace poppies in Britain to promote pacifism in the face of rising nationalism and militarization in Europe. Three years later, the Peace Pledge Union (PPU)— a pacific organization who campaigns against the causes of war— began distributing the peace poppies, and continue to do across the UK and throughout the world. “White poppies were introduced in 1933 by the Co-operative

Women's Guild, although the first known suggestion of them was made in 1926 in discussion within the No More War movement—which grew out of the conscientious objection movement in World War One, and later became part of the PPU,” said Symon Hill, Campaigns and Communications Manager for PPU. “White poppies represent remembrance for all victims of war, a commitment to peace and a rejection of militarism.” It wasn’t until the last decade or so, however, that those white poppies started having a presence both abroad and in Canada. Teresa Gagné, co-founder of Vancouver Peace Poppies, remembers wearing a handmade white poppy sold by the Women’s International League for Peace and Freedom for years before distributing them herself. “People would come up to me and ask about the meaning behind the poppy. They weren't offended, only curious,” Gagné said. This interest in the white poppy inspired Gagné to create the Vancouver Peace Poppies in 2008 with Denis Laplante. Their first year, they began with a small distribution of 50 handmade poppies. The operation has grown since then and today they order from the PPU, although Gagné still calls it a “kitchen-table operation.” Before starting Vancouver Peace Poppies, Gagné contacted a distributor of white poppies in Alberta for advice, only to discover that they had stopped distributing them after the Royal Canadian Legion threatened legal action for breaching their trademark on the poppy. In fact, Gagné’s contact wasn’t the only distributor to receive threats from the Legion. To them, the white poppy was an attack on their brand and an insult to veterans. Gagné, however, disagreed with this verdict. The Royal Canadian Legion may have trademarked the red poppy in Canada, but she didn’t believe that they had legal rights to all poppies. Since Gagné began distributing in 2008, she hasn’t heard a word. She says that it isn’t often veterans themselves that are offended but rather those who feel obliged to be offended on veterans’ behalf. “It’s also important to remember that the Legion doesn’t

speak for all veterans and it’s no longer the largest veteran organization in Canada,” Gagné said. “Many veterans wear the white poppy themselves, either alongside the traditional red one or on its own.” Nor does she believe that wearing the white poppy is an insult to veterans. “We owe it to veterans, as much as anyone, to find an alternative way to conflict resolution,” Gagné said, emphasizing that the white poppy isn’t meant to ostracize veterans but to include all victims of war in its message. “War doesn’t work. It has never worked. It’s estimated that 50 million children have their education disrupted by war and they never get that time back.” Gagné also added that war is not only damaging socially but ecologically and economically, too. “We need to remember the cost of war on the environment, food security and safety. Refugees fleeing war are often leaving their crops and livestock behind, and those fields cannot be safely farmed for years.” Remembrance Day ceremonies in Canada have been traditionally centered around veterans of wars that Canada has participated in, which excludes most newer Canadians. Many immigrants have come to Canada as refugees of war, some from the Vietnam War and the Korean War, and some who may have been on the other side of the conflict. “The focus needs to be broadened,” said Gagné. Peace Poppies holds a ceremony on Remembrance Day for both universal victims of war and those from specific communities. “Our goal is the same as the Legion. We want to keep Remembrance Day relevant, keep it important so we don't forget the costs of war. It’s not just about valour, courage and nation building. The costs and consequences of war need to be remembered.” Profits from the poppies go to funding Peace Poppies’ school campaign, which sees the poppies delivered to classrooms around British Columbia and Canada. The proceeds also helps support donations of the poppies to those in lower socio-economic communities such as the Downtown Eastside. You can find the poppies at many shops and cafés scattered around the Lower

Mainland. The People’s Co-op Bookstore was the very first to carry Vancouver’s Peace Poppies and has continued to order them every year since. Located on Commercial Drive, the bookshop was established in 1945 by a coalition of activists, trade unionists, unitarians and other groups who wanted to create a space where books on progressive and marxist ideas could be found. Rolf Maurer, volunteer and elected board member of the bookstore, agreed that the meaning behind the traditional red poppy has been lost. “It’s been hijacked by people who want to build up our military,” he said. For this reason, Maurer appreciates the message behind the white poppy, as it offers a way of remembering without the sense of “nostalgia” that’s become attached to traditional symbols of Remembrance Day. This militarization of Remembrance Day is the reason Spartacus Books, a non-profit collective bookshop, choose not to carry any poppy in their shop. “We feel Remembrance Day has been twisted into a jingoistic celebration of the military,” said Saskia Cseh, a member of the Spartacus Collective and student at CapU. “Remembrance Day was established after the First World War as a solemn reminder of the horrors of war, in the hopes that such a terrible conflict might never be seen again. But that is not seen in the modern Remembrance Day ceremonies, which instead focus on military tradition and glorifying the Imperialist wars which are waged across the globe to this day, in the name of profit, freedom, or just pure bloodlust.” Whether we choose to wear a white poppy or a red one, or perhaps none at all, we should take a moment of selfreflection to understand the meaning behind the symbolism—or lack thereof—and what we choose to say through that action. For more information on where you can find Peace Poppies and their Remembrance Day ceremony, please visit: www.peacepoppies.ca

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FEL I C I A LAU

@not_fishe FEATURED ART

Mise en place The things we do for fried chicken CARLO JAVIER Columnist SOPHIE YOUNG Illustrator

It rained in Vancouver on the night I first went to Juke Fried Chicken. I remember this inconsequential detail because all the times I’ve been to Juke occupy a space in my brain where memories are clear sequences rather than fragments. Memory is funny like that sometimes. It was the summer of 2016 and I was an intern at Western Living Magazine. My days were often spent doing the “grunt-work” of journalism and I remember coming across a number of articles mentioning Juke as the hottest, trendiest place for fried chicken in Vancouver. After dinner, I blitzed my way from the gentrified side of Keefer Street towards Main Street-Science World Station. I remember not having an umbrella and being in utter disbelief about the torrential downpour coming down on my sorry self. I remember taking pit stops at available awnings as shelter against the rain, until I managed to catch a timely bus to the station that was only a stop away. I had a to-go box in my backpack containing two thigh-pieces that weren’t finished during my mini-feast, exuding an aroma that was being increasingly overcome by the untimely summer rain. The things we do for fried chicken. Like many of the finer things, good fried chicken does not happen overnight. It in fact happens over two or three, depending on how long you choose to marinate your chicken. The first step should always be soaking the meat in a cold water brine. I can get away with imparting lasting moisture with a simple mix of salt and water, but I always like to take the extra step by adding herbs like rosemary, bay and thyme. I also like to throw in some garlic, black pepper, sugar and lemon for maximum flavour. The second night is spent moving the chicken to a buttermilk mixture. Buttermilk is only marginally acidic, allowing the

chicken to tenderize without toughening. Later, the buttermilk will also double as a binding agent with the flour coating. Plain buttermilk can do wonders, but again, I like to go the extra mile by adding hot sauce and a healthy mix of spices. It seems tedious, it seems like overkill, but some things are worth doing the hard way. The single most important thing about cooking good fried chicken has nothing to do with the ingredients in the recipe. Cooking good fried chicken involves a number of internal and external factors like time, tools and how much space is available, because I swear, I’ve never managed to keep a kitchen clean whenever I decide to double dredge. This is to say that commitment is the single most important factor to cooking good fried chicken. This is to say that cooking good fried chicken is much like romance. For years, I wanted to go to Juke with someone I loved, but we never could quite make it work. There always seemed to be something that influenced our schedules or decision-making. When we did finally go, one late winter night, it felt like one of those storybook moments where all the things you envisioned finally came true. This may sound like a bit much for eating higherend fried chicken, but we bonded over that stuff. It’s a weird thing to have a shared passion for spicy fried chicken, but some things either can’t be explained, or don’t have to be. In my early attempts to cook fried chicken, I struggled with finding the balance of a perfectly crunchy coating and a perfectly cooked-through meat. So she suggested I finish the chicken in the oven. Foolishly, I placed the pieces on a flat surface, making the rookie mistake of leaving the chicken to swim in its own pool of oil—thereby ruining a side of its

coating. The next time, she helped me find the right wire racks to fit my roasting sheets, so that each drum or thigh could have space to blossom on its own. Then came the actual most important part, which was to take photos of the finished product and send them over to her for validation. Much like memory, the notion of space is a funny thing too, because that same winter evening at Juke would also wind up being the last dinner we shared with each other. After that, all we had left was space to blossom on our own. The most tedious thing when cooking fried chicken happens during the coating process. This is when you might feel brave and elect to dredge the chicken twice to improve texture. During this phase, batter tends to build up on your hands, making the process all the more difficult. Rookies often make the mistake of washing their batter-infused hands with warm water— completely unaware that warm water activates gluten, thus only making a worse mess than before. But you still do it anyway, because again, some things are worth doing the hard way. This is what I mean when I say that cooking good fried chicken is much like romance. I still cook fried chicken a little too often. I haven’t been to Juke since that winter, but I will probably be back eventually. I still use the same wire racks. I still have the same appetite for a spicy fried chicken and I still take photos of the meals I cook in the kitchen I can’t keep clean. I never send them anymore. They just rest in my gallery, taking up the spaces that didn’t use to feel so empty.

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QUEER AND NOW King. Princess.

ASHLEIGH BRINK Columnist

Who better to talk about in this next instalment of Queer and Now than King Princess? The shining beacon of gayness in our modern age of Twitter shitposting and Internet stardom. She is truly the icon the LGBTQ+ community deserves. I first heard King Princess last December on a Spotify playlist a girl made for me, which is quite fitting, considering the subject matter of most of her music. I was immediately hooked. On the playlist, I was introduced to her first single,1950. I’m calling it now—it is a timeless pop classic. And that’s coming from someone who doesn’t even like pop music. Simply put, it is a gay anthem. It captures lightning in a bottle in the way that all pop songs try to, but few ever do. King Princess initially skyrocketed to acclaim in March of 2018 after its release; the hype only amplifying after Harry Styles shared a lyric from it with his 33+ million Twitter followers. She followed this with the release of her second single, Talia. By mid 2018, she released her debut EP, Make My Bed which by that point came highly anticipated. The audience surrounding the artist has been growing ever since. Her songwriting prowess is no coincidence either. She grew up around her father’s recording studio in Brooklyn, and in fact, was even offered a record contract at the age of 11. Thankfully for the rest of us, she turned it down, and continued to grow into the amazing queer artist she is today. With songs like “Pussy is God” and “Holy,” King Princess unabashedly proclaims her love for women. Her queerness is unmistakable. She is one of the few writing queer music for queer women, and that is powerful. Bringing representation to the forefront, she is a force for the LGBTQ+ community. That being said, however, King Princess is perhaps at her best in songs that are not quite as explicit as the aforementioned. Songs like “Talia” and “1950” are unmistakably queer, but their stripped back delivery brings the core focus back to the emotions. “1950” is the quintessential pop song. It’s fairly simple, she’s not flexing musical complexity with technical progressions, but it captures something. Something raw and unique and powerful in a way that many songs, regardless of genre, try and fail to do. Its lyrical complexity

and vulnerability is remarkable, with the song paying homage to Patricia Highsmith’s 1952 novel, The Price of Salt. Like the work it was inspired by, “1950” makes a strong case for itself to become a new classic. “Talia,” on the other hand, is a bit more subtle. It is not a queer anthem in the way that “1950” is. Instead, it’s a song of longing for a lost love. Obviously, that theme is timeless and universal in and of itself—we always have and always will deal with the pain of relationships and breakups. But to hear a woman singing about those things, and about another woman? It means a lot. For many of her younger fans, it may be some of the first music they’ve ever heard by someone like them. And beyond that, having a pop song like this helps give young queer people, women especially, a space to be themselves. If a 20-year-old can go up on stage and sing about girls, write albums about girls, then why can’t I just be me, and not care what anybody says? With just one EP and a handful of singles, King Princess is already a modern-day trailblazer for LGBTQ+ rights and representation. She is one of the few truly worthy of the title “lesbian icon.” King Princess is leading the way for this new generation of proud, visible LGBTQ+ women in the public eye. Having only really been in the spotlight for just shy of two years, she’s already made a big impact on many young gay people struggling to find themselves, and provided a masterclass on being yourself, no matter what. King Princess’ first feature length album, Cheap Queen, is due to be released on Oct. 25.

I CAN CODE YOU THE WORLD Join the Federation NIMA BOSCARINO Columnist

In the tech world, there's this idea of the "walled garden". This is a term given to platforms that have plenty of cool features, but severely restrict the ways in which a user can interact with the actual system. A classic example of this is the iPhone: a fantastic (and expensive) combination of software and hardware that could be used for a mind-boggling variety of tasks, but users are only allowed to install applications that have been vetted and admitted to the App Store. In some ways, the walled garden has the benefit of providing end-users with a high-quality, curated experience. When someone installs an app on their iPhone, they can rest assured that the app has been tested by the Apple team to ensure that no malicious software will be installed alongside it. However, this introduces the problem of censorship and control. If a company decides that some particular content does not belong on its platform, there is little that end-users can do about it. Walled gardens, and the baggage they carry, can be spotted on most of the social networking platforms that we typically frequent online. Facebook, Twitter, Instagram and YouTube, to name a few, are websites that offer useful services to a massive amount of users. The deeper you look at the functionality, however, the more it becomes apparent how little control we have when we use these services. Content creators on YouTube, for example, have had an ongoing struggle with demonetization decided by an ever-changing black box algorithm which functions in a way totally unknown to them. Instagram and Tumblr both famously banned the posting of female-presenting nipples. It's also interesting to note that it's difficult to stop websites from using us. These platforms

also harvest our data, which can be used for nefarious purposes without our informed consent. One of the issues with these platforms is that the ultimate control is in the hands of one large organization. This is called centralization. With all this power vested in a central entity, users are left with little to no say in how their communities are run. Even when features or changes are demanded by large numbers of users, it's easy for companies like Facebook to ignore the calls. Point in case: it's downright silly how slow Facebook was to add Reactions to their platform. And somehow, it's still not possible to post on Twitter with spoiler tags or content warnings. It's also worrying to think about what will happen when a social media shuts down for good. What will happen to our Instagram posts? One answer to the problems that centralized social networks pose is federation. Mastodon is a Twitter clone which operates as a so-called "federated" social network service. Being federated means that any community can start its own Mastodon server, and users on a particular server can communicate with users on any other public server. This is very similar to the way that email works: users with Gmail accounts can send emails to users with Outlook accounts, and tech-savvy users can even set up their own mail servers. By splitting the mass of Mastodon users into small, autonomous communities we encounter some interesting side effects. The first thing I noticed was that these small communities tend to be made up of folks with similar interests who now have the opportunity to engage in more "genuine" interactions with online peers. I've always felt like Twitter is geared

towards more extroverted people, so it's nice to have a venue which is less public. Mastodon servers (called instances) usually have their own codes of conduct and discussion themes. For example, the instance at tech.lgbt is for "tech workers, academics, students, and others interested in tech who are LGBTQIA+ or allies." Mastodon is an open source project built by a community of developers. Anyone is able to suggest contributions to the codebase, or start their own version of Mastodon with whatever modifications they choose. Open source development allows for stakeholders to influence software to fit their needs, and Mastodon has seen plenty of new features included over time such as content warnings for posts and interoperability with other federated platforms like PeerTube, a federated YouTube clone. To learn more about Mastodon, I started running my own instance. I've called it YVR.Social, and it's a place for techies in Vancouver to discuss coding, local events and ethical technology. While it's not a bustling social hub just yet, my friends and students have gotten a kick out of it. I caught myself feeling very empowered in a cyberpunk way once I had my server up and running. There are no advertisements, my feed is chronological and no large company is harvesting my usage data! As an added bonus, since I'm paying a dollar or two for hosting every month, I feel a sense of pride and ownership for my little plot of internet land.

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DEVIANT BEAUTY: Un-packaging the Beauty Industry’s Waste Problem

ANA MARIA CAICEDO Arts & Culture Editor

When the global climate strike reached Vancouver, I was there. I saw hordes of people, a sea of bodies pushing and squeezing past one another, trying to follow the direction of drowned-out megaphone voices. I observed the people that composed the crowds. There were many mothers with unhinged, excited children, some Indigenous middle-aged women held ant-pipeline signs, a group of vegans held up a giant go-vegan sign, a smiling elderly couple walked along with their bikes—but mostly, I noticed a lot of really stylish teenagers. I recognized some of the clothing: Brandy Melville striped pants, Aritzia puffer jackets, white Nike Air Force sneakers, washed out Levi boyfriend jeans. There were thousands of signs. One read “Stop Trying to Make Coal Happen” with a picture of Regina George pasted on it. I saw at least three that read “Hot Girl Summer NOT Season.” One toddler had a sign as big as his body draped around his neck that read “Earth Needs More Likes” with a giant Facebook thumbs up. It all felt a bit weird to me. That night, I had dinner with my cousins. “So what were your demands,” one of them asked me earnestly. Taken aback, I paused to think. “That’s actually a good question,” I replied with a sad halfchuckle. What the fuck were our demands? To urge our government to take action on global warming? Is that all? I wondered, was this strike just a performance, a single day where we show up and act like we care and post pictures with our cute, witty signs, and forget about it the next day? Am I that hypocrite, that person who shows up to the climate strike, takes photos, and continues with my buying and consuming patterns the next day without a second thought? I really, really don’t want to be that person. At home, I emptied out my beauty products onto my bed, separating the products I use every day—my essentials. I was curious: how many of my everyday beauty products are recyclable, and how many will end up in landfills?

I started researching and learned some pretty basic things that totally challenged my outlook on waste. For one thing, recycling is an industry. Everything you put into your blue bin that gets recycled is being sold to buyers who repurpose the recycled materials for their products. The materials you can and cannot recycle depends on what your municipality accepts. In British Columbia, Recycle BC is in charge of blue bin recycling, so I called their hotline in search of answers to my beauty-related recycling questions. The rep answered almost immediately. You know the so-called recycling symbol of the three chasing arrows? It doesn’t actually mean an item is recyclable at all. It’s actually a symbol that indicates the type of plastic a manufacturer uses, with the number within the sign indicating the resin (the type) of the plastic. There’s no regulation or control over the use of the symbol, and manufacturers can stick that symbol wherever they want. I continued to parse through my scattered list of questions with the ever-patient stranger on the other side of the phone. I asked her what resin numbers BC accepts, and she said that BC doesn’t go by resin number. Instead, the Recycle BC blue bin program accepts materials that are rigid plastic packaging. This means you can’t recycle your soft plastic beauty products, like toothpaste tubes. It also means that your plastic recycling has to be packaging, not a product (for example, you can recycle a tub of lotion, but not your tupperware). Another important thing: you really do need to clean out those empties. If you don’t, they will be deemed contaminated and end up in landfills or damage the materials being sold to buyers. With beauty products, wipe off the excess product from the container and put it in a sealed container to prevent the chemicals from being washed down the drain and further contaminating the ocean. Out of the ten beauty products I use every day, only three are recyclable: my shampoo/body wash, conditioner and

moisturizer. The base of my chemical exfoliant is recyclable, but the pump is not. The tube of sunscreen I use every day is not recyclable (at least in BC), despite the brand telling me it was in a cheerful Instagram reply complete with a raising hands emoji and a “recycle” (three chasing arrows) emoji. The rest of my products — my eyeliner, lipstick, blush and brow gel— are all destined for some landfill where they will take upwards of 400 years to decompose, turning into microplastics that enter and contaminate our ecosystems. Most of us, I assume, are totally disconnected from our trash; we have no relationship to it. The second it falls from our hands and into the garbage, recycling or compost bin, it falls out of our consciousness too. For so long I’ve been a broken record in thinking and repeating that when it comes to waste and climate change, power is held only by the conglomerates and corporations that systemically dominate our lives, and the majority of us are powerless in our individual efforts. Although there’s some truth in that, it’s really just a convenient lie I tell myself so that I can continue consuming with ease-of-mind, not thinking about my own responsibility in relation to the things I buy, use and discard. If our world is driven by profit, then we have profound power as consumers in choosing what we do and don’t buy. If enough people in Canada, or even BC, stopped purchasing single-use plastic beauty products, I’m sure the change would be significant enough for the beauty industry to seriously reconsider their approach to manufacturing products. Many of us already refuse to purchase products that have been tested on animals. Considering how beauty products are wiping out marine life, how can we continue to purchase them without thinking twice?

Turning Blue Courtside Feelings

DENVER SPARKS-GUEST Columnist

For the past two years, I have played as a member of the Capilano Blues basketball team. Now, having used all five years of my eligibility of collegiate sports, I am forced to spend my final year at CapU completing my degree in Communication Studies while watching from the sidelines, and reflecting on my experience as a Blues student-athlete. To start off, I need to preface my experiences by providing some background on my journey to becoming a member of the Capilano Blues. I graduated from Gleneagle Secondary in Coquitlam in 2014 and spent my first two seasons of university basketball as a member of the Simon Fraser University Clan. After two seasons with SFU and a third new coach being hired upon my third season, I chose to transfer to the University of the Fraser Valley to play for the Cascades in Abbotsford. While I enjoyed my third season, I still felt as if I hadn’t found the right fit for myself, and I began evaluating what I wanted to get out of the remainder of my collegiate basketball career. I eventually decided to leave the University of the Fraser Valley after that season ended and after getting in contact with one of my under-16 provincial team coaches–Cassidy Kannemeyer. Cassidy had always shown genuine interest in my wellbeing throughout my playing years and was always a huge supporter of mine. So, when the opportunity for me to transfer schools and come play for him at Capilano presented itself, I jumped at the chance to take him up on his offer, and join forces once again on the court. It was an interesting dynamic to be joining the Capilano Blues program as a transfer heading into my fourth year of eligibility when most of the new athletes at the school were 17 and 18 years old, just starting out their first year of university. One of my best friends from high school and former teammates, Brenden Bailey was also a member of the Blues team, so I already had a friend to lean on in my new home before I started. I felt as if it was a smooth transition for me to becoming acclimated as a member of the Blues family. I was new to the

school, but familiar with the way things go in college sports so there wasn’t much unfamiliarity with the transition to CapU other than the people on my team and the home court. I’m grateful for my two years as a member of the Capilano Blues basketball team, where I was instilled with many life-long memories and friendships which are foundational pieces of the person I am today. What many people don’t realize about university sports is the amount of time and focus necessary in order to be successful. Everyone in college basketball is a good player and they are there for a reason. It is the small adjustments and varying levels of commitment that is what separates the competition. I was lucky enough to reach a point in my career where I held a leadership role on my team. As one of the oldest guys there, I had to really hold myself accountable and begin to actively face and conquer the weaknesses in my game. This new perspective on basketball allowed me to play with more confidence and focus which quickly translated to an increase in my performance level, not only on the court, but in other aspects of my life. I found it easier to get up for early morning classes and workouts, and the fifteen hour days at school became a little less tormenting. In my second and final season at Capilano I was fortunate enough to be named one of ten All-Canadian’s for the Canadian Collegiate Athletic Association. While I was not able to help Capilano capture an illustrious provincial or national championship, I was able to finish my career with an accolade that at least acknowledges some of my hard work put in along the way. Capilano gave me an opportunity to be a part of a program where I truly felt appreciated and supported which helped push and motivate me to become the best basketball player I could be. I am extremely happy and grateful for where I am in basketball and life today which continually prompts me to wonder how my basketball career would have panned out if I never transferred to Capilano. I guess we will never know.

Turning Blue is a rotating column, featuring Capilano University athletes.

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Direction unknown Comparison Is No Measurement of Success ELIZABETH SCOTT Columnist

“Comparison is the thief of joy” - Theodore Roosevelt Comparison is also a terrible, selfdefeating habit that we’re all guilty of; one that is undeniably made easier to perpetuate through social media. We’re trapped in a collective “grass is always greener” mindset, which makes it difficult to find contentment–especially in our work. How are we supposed to forge our path with fierceness and tenacity when we’re constantly comparing ourselves to others and consequently questioning every stride we take? Social comparison really fucks with our ability to feel fulfillment and satisfaction in our own lives but for some reason we continue to do it. We compare ourselves in all areas of life: physical appearance, lifestyle, social status, career and so on. We do it to evaluate ourselves and our current situation based on a misguided assessment of others, an assessment often neglecting to account for the intrinsic advantages they might have. Family wealth, for example, is hard to recognize as an advantage from the outside, but its benefits can’t be missed. This toxic comparison makes for an incredibly dangerous illusion of work and “dream jobs”. Social media icons, influencers and anybody else we follow share aspirational social feeds and skewed images of what careers should look like according to popular opinion. We perpetually peek into the extraordinary lives of the jet-set digital nomads, the wildly successful creatives, teenage CEOs and those people we haven’t spoken to since elementary school. But we need to stop using those people as benchmarks for our own success or else we’ll never feel like we’ve made it, no matter how far we’ve advanced. I’m unquestionably guilty of social comparison in every single aspect of my life. I overwhelm myself with thinking of where I should be based entirely and foolishly on 54

the digitally displayed lives of others. Be it professionally, geographically, physically or mentally, I compare it all–especially my career path. It’s the root cause of much of my anxiety and the reason I often catch myself spiraling deeper and deeper into a pit of dissatisfaction. I gawk at the success of the people I went to school with in the same way I gawk at the success of social media icons. I compare their position in life to my own and poison my mind with thoughts like: how does she have a senior role when we graduated at the same time and I’m still a junior in my position? Or: that person gets to travel all over the world for work. Did I choose the wrong path? Or, my most frequent thought: how does that person afford that lifestyle and where did I go wrong? My constant comparison causes me to question all of my decisions, my job, my direction, what I want to do and where I should go next. My lostness is amplified and it feels increasingly difficult to lock down some damn clarity. The thing is though, what’s put forth on social media is a highly-filtered, highlyexaggerated image. By this point, we’re all fully aware of this. But it still creates an illusion of ideal work and “dream jobs” that leave us with a perpetual feeling of neverenoughness and ineptitude. Despite this, it’s still a total paradox. Social media can also be an immensely useful tool in discovering careers we didn’t know existed. By following and engaging with people doing cool things, we have endless opportunities to be inspired by the stories and paths of others. Taking inspiration from others (rather than comparing yourself to them) on social media can be valuable in guiding our often erratic navigation and generally wayward journey through post-graduation life. In an attempt to minimize my constant feelings of disappointment, dissatisfaction and wanting a career and life that I don’t

have, I learned to redirect them. Don’t get me wrong, I’m still stuck in the habit of comparing aspects of my life to others and it would probably be best if I just quit social media forever. But my irrational mind fears that people will forget I exist if I’m not somewhat active online. So instead, I learned to compare myself to... myself. When I catch myself staring into the strategically-presented lives of others and my anxiety starts to rise, I pause. Rather than evaluating my own success and position in life against them, I look back at my own life and evaluate my growth–both professionally and personally. I look at the past year and appreciate my progress. Have I advanced in my career? Check. Is my current position one that will contribute to future advancement? Check. Have I seen an improvement in my own skills? Check. Am I happy in this role? Check. Can I afford to live and save money? Check. Okay, perhaps I’m right where I need to be. I pushed myself to recognize my personal value and unique offering instead of constantly identifying the areas where I lack skill or knowledge. Nobody else, no matter their success, can offer my exact combination of skills and experiences. The same is true for anybody. Social media is fucking terrifying and the constant need to compare ourselves is dangerous. So, here’s a reminder to myself (and to you): Stop doing that! Social comparison will only amplify and prolong your lostness if you continue to tell yourself what your path should look like based on the paths of others. We’re all headed somewhere that’s uniquely ours to arrive at. There is no schedule, no one direct path, no right way. It’s meant to be a messy, wayward journey and that’s the fun part. Embrace the messiness and appreciate where you are right now. Use yourself as your own benchmark for career success. Don’t let distorted displays of career paths fuck with your trajectory.

CALENDAR FRI

(November 1 ñ 30)

fri 5-10 PM, Multiple locations, (Check their website for more info) Free

A three night, outdoor public event featuring over 25 interactive and glowy art installations. Kicking off this month’s calendar without the classic cynicism you’ve come to know and love, this actually does look quite cool. Damn it.

After an eight year hiatus, El Kartel and Drew Young are back with their popular 100+ works exhibition celebrating some of Vancouver’s finest visual artists. Check out the Facebook event page for more information on the event’s history and the participating artists. Don’t worry if your eyes turn into literal hearts when you see Cynthia Tran Vo’s name, it happens to all of us.

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PLUS: Today is our lovely Associate News Editor’s birthday! Happy birthday, Megan! *clinks tea mugs together*

8 PM-12AM, the Westin Bayshore, Tickets starting at $30 Halloween’s over and private yachts are a waste of resources! I’m back, baby! I will give it this though: 400+ people on a boat and multiple DJs does, in fact, sound quite spooky.

sat

sun

11 AM-6 PM, PNE Forum, $12 (free for 13 and under) This event boasts over 200 comic and toy vendors and grand door prizes. But you know who won’t be getting in for free? Our Features Editor, Sarah, who turns absolutely not under 13 today! A very happy birthday to you, Sarah!

7 PM-1 AM, El Kartel, Free

12-5 PM, Brewhall, $40-50 SAXX Underwear and Movember are teaming up for this run with ticket proceeds going towards fighting prostate and testicular cancers and mental health issues. While a great cause, people running in just their underwear through the cold streets of Vancouver? You hate to see it. (Aha ha… unless?)

tues

8 AM-3 PM, Cedar Courtyard, Free First day of CapU Tourism & Outdoor Recreation Student Association’s Stuff the Bus clothing and home goods collection drive for Vancouver Covenant House. The Landsea Tours bus will be parked at school to be loaded with your donations until Friday November 15, so no excuses!

sat

8 PM-2 AM, The Clubhouse $15

This is one of those events with a lot of acts listed on the poster but doesn’t specify what they’re doing. I’m thinking it’s a concert, but I’m also thinking its main purpose is just to remind me I’m too old for whatever it is.

Music performances, DJ sets and Drag. There is something for everyone at this event, except those with respect for their bedtimes.

sun

2 PM, Queen Elizabeth Theatre $30-140 Broadway Across Canada presents Waitress, a first-class event for those who like acclaimed musicals, and a very scary event for anyone who just pretends to like them. This is definitely one you’ll be asked to attend. You’ve brought this upon yourself.

thurs

28 29

10:30 PM-2 AM, The Biltmore Cabaret, Guestlist available Have a great time dancing to hits from the 80s, 90s and early aughts while it sinks in that the end of this decade is just over a month away and you inevitably have a mild-to major spiral about how fast time flies. But hey, Missy Elliott!

11:30 AM-9:30 PM, Canada Place Ticket options starting at $8 The Christmas market is back and starting early this year! If you’re that asshole who loves to talk about how you hate Christmas music, now is probably the time to start putting your guards up and bringing the vibes down.

Our third on-staff November baby celebrates her birthday today! As a tired new hedgehog mother, please respect our Art Director extraordinaire by not sending her any more emails today. Happy Birthday, Cynthia!

fri

8:30 PM, The Astoria $10 presale, $15 at the door

sat

6 PM, Vogue Theatre, $39.50 Do not make a Jonas Brothers joke. Do not make a Jonas Brothers joke. Do not make a Jonas Brothers joke. Do not make a Jonas Brothers joke. Do not make a Jonas Brothers joke. Do not make a Jona

CALE NDAR

Horoscopes

scorpio Oct. 24 - Nov. 22 Getting bangs is not the solution to your problems.

Virgo Aug. 24 - Sept. 23 You’re the “uncool” cousin, aren’t you.

capricorn Dec. 22 - Jan. 20 Try to complain less this week. You’re the equivalent to a crying baby on a plane.

libra Sept. 24 - Oct. 23 For the love of god, stop eating dairy when you’re lactose intolerant.

pisces Feb. 20 - March 20 This month, you’ll once again encounter a zit.

sagittarius Nov. 23 - Dec. 21 It’s finally time to tell your grandma her cooking isn’t all that it’s cracked up to be.

taurus April 21 - May 21 Stop picking up your goddamn cat when they are clearly trying to nap.

aquarius Jan. 21 - Feb. 19 Stop forgetting to load your U-Pass.

cancer June 22 - July 23 The Full Moon energy will dance with Mercury and Jupiter this month, leading to a social gathering. Your friends will hit you with Jägerbomb after Jägerbomb, get you drunk and finally crack you. You’ll break down and admit that “Hey, Soul Sister” really is on your Spotify favorites and you’ll never live it down. You’ll lose all your friends from being so mortified that you never want to leave your house. On a lonely bus ride home from your night class, you’ll hear someone’s earphones buzzing with Train. You’ll befriend them and you’ll find your true friends that support that you want to sing the bridge to “Drops of Jupiter” solo because that’s when you really shine and they respect that.

aries March 21 - April 20 Keep hacking those churro JUULpods.

gemini May 22 - June 21 Not even your mirror wants to see your dance moves.

leo July 24 - Aug. 23 Your oral hygiene has really improved this year! Good job!

Have your say on new service to the North Shore Weâ&#x20AC;&#x2122;re proposing a new express service between Phibbs Exchange and Metrotown. The proposed new route will provide a faster connection with fewer stops between the North Shore and the Expo/Millennium Line network during peak times.

And we want to hear from you! Take the survey between October 28 and November 11, and help us shape the future of transit at translink.ca/networkreview. Hw

Lil lo Rd oet

Proposed Keith Rd

Main

Capilano University

245 28

130

Second Narrows Bridge

Phibbs Exchange

222

Mcgill St

D ce

n za

Eton St

n Pe

Kootenay Loop

Hastings St/ Willingdon Ave

130

E Hastings St

Hastings St

222

Gilmore Rupert

Renfrew

BCIT

28 130 125

Proposed Limited Service

Joyceâ&#x20AC;&#x201C; Collingwood Future Regular Service

# #

Alternative Routes

Discontinued Routing

E 49th Ave

Ex po

Tyne St

Kerr St

SkyTrain Station Bus Exchange

translink.ca/networkreview

Willingdon Ave

Patterson Ave

Smith Ave

245

Canada Way

Burnaby Hospital

Legend 222

Hwy 1

BCIT @ Willingdon Ave/ Goard Way

Royal Oak Ave

E 22nd Ave

Rupert St

29th Avenue

Delta Ave

Brentwood Town Centre

Lin ium

nn Mille

Willingdon Ave

Gilmore Ave

Rupert St

Broadway

Boundary Rd

Hwy 1

Renfrew St

Nanaimo St

1st Ave

Parker St

Dee

r Lak Gilpin St e Pk y

Lin

Patterson

Metrotown

is an autonomous, democratically-run student newspaper. Literary and visual submissions are welcomed. All submissions are subject to editing for brevity, taste and legality. The Capilano Courier will not publish material deemed by the collective to exhibit sexism, racism or homophobia. The views expressed by the contributing writers are not necessarily those of the Capilano Courier Publishing Society.

THE CAPILANO COURIER

e acknowledge that the work we do and the W institution we serve happens on the unceded territory of the Coast Salish peoples, including the territories of Musqueam, Squamish, Stó:lō and Tsleil-Waututh Nations. Maple Building 122 @CAPILANOCOURIER

CAPI LAN O COU RI ER VOLUME 52, ISSUE NO.3