BON VIVANT
Sagrada Familia
THE EPIC DESIGN BEHIND BARCELONA’S GREATEST BUILDING
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CONTENTS
8
Welcome
7
Letter From the Editor
Cuisine
8 10
Ocean Wise The Art of Sharing
Liquids
12 14
B.C. Wines vs. The World
12
The Canadian Cocktail: Old Pal Recipe
20
The Arts
16 20
Is Graffiti Art? Andy Warhol
Leisure
24
Spin: NYC vs. Vancouver
Design
26
Designing the Perfect Patio
Technology
30
The Positive Side of Social Media
Literature
40 42
Death of the Postcard Comic Book vs. Graphic Novel
Cars
48
4
Editorial: Maserati Ghibli S Q4
BON VIVANT
30
24
FEATURES 32
Sagrada Familia The Epic Design Behind Barcelona’s Greatest Building
44
Edmonton as Festival City The Tried and Tested International Nickname
BON VIVANT BROUGHT TO YOU BY THE SUTTON PLACE HOTELS EDITOR-IN-CHIEF PUBLISHER
Kayla Joffe The Sutton Place Hotels
ART DIRECTOR
Allison Laing
GRAPHIC DESIGNER
Allison Laing
CONTRIBUTORS
CONTRIBUTING PHOTOGRAPHERS
Boulevard Kitchen & Oyster Bar Crystal Carwin Lee Patrick Lok Salim Kassam Niki Maretta Daniel Meloché Emma Penney Shaw Peters Allison Taylor Elizabeth Turner
40
Artimage Boulevard Kitchen & Oyster Bar Freerange Stock Sunita Geevarughese Kayla Joffe Allison Laing KK Law Pexels Pixabay Unsplash
• Bon Vivant is published by The Sutton Place Hotels 310-1755 West Broadway Vancouver, BC V6J 4S5 Telephone: 604.730.6600 Fax: 604.730.4645 Email: communications@suttonplace.com
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Website: www.suttonplace.com Facebook: www.facebook.com/suttonplacehotels Twitter: @SuttonPlaceHtl Instagram: @suttonplacehotels Advertising Inquiries advertising@suttonplace.com Editorial Inquiries editorial@suttonplace.com Copyright © 2016 The Sutton Place Hotels. No part of this publication may be reprinted without the written consent of the publisher. For permission and reprint requests, please call 604.730.6600 or email editorial@suttonplace.com. Opinions expressed in Bon Vivant are those of the authors and do not reflect the views of the publisher or advertisers. Bon Vivant is printed by C2 Imaging in Canada, using the most environmentally friendly print process available.
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48
LETTER FROM THE EDITOR
I
had a vision — to create a stylish, innovative, authentic, and conscious magazine. No small feat but one made easier by an extraordinary team bringing together a collective of like-minded, passionate writers and photographers from all over Western Canada to deliver inspiration.
So, what’s it all about? In a world full of imitation and replication, we wanted to do something different. Something extraordinary, something that would stand out, be authentic, and original. With the changing of the season and the warming of the air, this issue took shape. With the birds chirping outside and the cool, yet sunny days growing longer, it is not difficult to appreciate the beauty of the springtime. The tulips poke their heads up through the ground, the squirrels and birds return to their business, and the deep snows melt away. Still, spring is even more powerful than its inspiring visions of colourful flowers and running streams. Spring carries with it a very unique energy, burgeoning with the buzz of renewal. Renewal, or to make all things new again, is a sacred energy, one that life could not continue without. The circle of life, so sacred to the belief structures of many cultures, would be an incomplete circle, and, therefore, not a continuous cycle, without the renewal, the rebirth. How many times have we each wished we could start things over again? Wished that we could have fresh energy, undo the mistakes, or simply be young again? Well, spring is your time! With that said, enjoy our collection of stories, created and crafted on behalf of our guests… Thank you for inspiring us every day. Yours truly, Kayla Joffe Editor-in-Chief
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CUISINE
OCEAN WISE The real story behind the sustainable seafood program
AUTHOR PATRICK LOK
T
hink of the last time you tasted a fresh piece of sashimi. Or cooked a perfect salmon steak. In the future, we may look back and remember these culinary delights with regret. Approximately 90 per cent of the world’s large fish population has been exterminated in the last half century.
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A recent study found that global fishing is declining at alarming rates — by 1.2 million tons each year since 1996. Its author, UBC professor Daniel Pauly asserts, “It is due to countries having fished too much and having exhausted one fishery after another.” Along with disappearing species, entire ecosystems have been disrupted as
marine mammals, sea birds, and sharks are often caught in nets and either thrown overboard or left to die. This collateral damage is known as bycatch. A recent TED Talk revealed that shrimp trawlers, for example, dispose of up to 85 per cent of their catch, wreaking environmental havoc as up to 15 pounds of wild fish are killed to
bring just one pound of shrimp to market. The consequences of global overfishing are one of mankind’s more recent, self-inflicted trials. As the fishing and food industries search for a solution to prevent the destruction of one of our most valued food sources, the Vancouver Aquarium’s Ocean Wise program, and other sustainable seafood initiatives, have emerged to lead the movement to save our oceans. Entering its 11th year, Ocean Wise was created to help businesses and their customers identify and purchase sustainable seafood. This refers to seafood either caught or farmed in a way that supports the long-term health of the species and its larger ecosystem — ensuring the longevity of our oceans. Working in over 3,000 locations with restaurants and retailers across Canada, the Ocean Wise grading system is straightforward: an item is either unsustainable or sustainable (as indicated on packaging and menus by their signature fish symbol). To be a recommended species, it must meet strict criteria that ensures limited fishing pressures and minimal consequences to endangered species and aquatic habitats. The effects of global fishing have already been well-documented by scientists and the fishing industry for years. If we fail to turn the metaphorical ship around, our oceans face an ominous future. As Pauly predicts: “The big fish, the big things will be gone. If left unchecked… we'll have a sea full of little horrible things that nobody wants to eat. We might end up with a marine junkyard dominated by plankton.” As consumers, we can do our part to support sustainable seafood programs through each purchasing decision. Ocean Wise partners range from sushi restaurants to supermarkets to catering businesses. One great way to participate is through buying local, a practice that comes with the added benefit of increased freshness and quality. Does anyone really want to taste a crab that has travelled 7,000 kilometres to get to their plate? The next time you find yourself having seafood, take a second to imagine the next generation, unable to enjoy the same meal. We are each empowered to make a difference, by looking out for that little fish and circle logo.
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CUISINE
THE ART OF SHARING
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AUTHOR BOULEVARD KITCHEN & OYSTER BAR PHOTOGRAPHY KK LAW he dinner table. It’s where stories are shared. Where memories are made. Where laughter and good company go hand-in-hand with homespun, hearty meals that nourish the soul as much as the palate.
T
in November 2015 — Boulevard’s new dinner program is a natural extension of the restaurant’s popular and sold-out Summer Seafood Boils and Pig Roast series, held Sunday nights in the summer and fall of 2015.
In keeping with those time-honoured traditions, Boulevard Kitchen & Oyster Bar is inviting guests to pull up a seat at their dinner table for a new series of gourmet, family-style Large Format Dinners available for private group bookings.
“More and more, we hear from our guests how much they love to gather with a group of friends and family around the table and share in a communal, familiar sense of warmth and togetherness over a delicious meal. Our large format dinners are a direct response to this,” says Chen.
Blending Boulevard’s trademark flair for spotlighting the best fresh and sustainable ingredients sourced from local farms, ranches, and fisheries with exceptional tableside service and the warm and intimate ambiance of its luxurious, European-inspired dining room, the restaurant’s Large Format Dinners serve up a true family affair in every sense of the word.
Boulevard’s large format, family-style offerings include an array of sumptuous selections such as:
Designed and curated by award-winning Executive Chef Alex Chen — who struck gold at the 10th annual Gold Medal Plates culinary competition in Victoria
• Porchetta | served with a selection of seasonal sides, mashed potatoes, mustard relish, and cornbread presented tableside then plated in the kitchen and served family style. • Salmon Coulibiac | stuffed with rice, spinach, mushrooms, and eggs baked in brioche pastry, served with roasted wild mushrooms and celeriac purée.
• Rib Eye | slow-roasted with a horseradish mustard crust and served with winter root vegetables, pomme gratin with gruyère cheese, creamed spinach, and red wine sauce. • Seafood Boil | featuring a fresh-caught bounty of crawfish, jumbo prawns, clams, mussels, and Dungeness crab with potatoes and corn, a choice of drawn garlic butter, spicy remoulade, or green goddess sauce and crumbled chorizo sofrito with bacon and jalapeño jack cheese cornbread skillet. Chen also offers an exclusive Chef’s Tasting Menu of either seven courses or 10 courses with optional wine pairings available. Offered during dinner service only (5 – 11pm), a minimum of 72 hours notice and participation by at least four people is required. For more information or to make a reservation for one of Boulevard’s Large Format Dinners, call 604.642.2900 or e-mail info@boulevardvancouver.ca.
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AUTHOR ALLISON TAYLOR
B
LIQUIDS
ritish Columbia has been proclaiming they produce worldclass wines for years. But it comes to a point where you need to put your money where your mouth is. Does B.C. need an appellation system to be comparable to international wine regions? Wine makers and enthusiasts around the world are increasingly interested in the soil and climate conditions where the wine is grown. An appellation system could strengthen B.C.’s grape reputation because a growing concern expressed by the industry is that wineries are using names of regions that are not legally controlled. The B.C. Wine Institute finally laid its cards on the table when it invited British wine expert and journalist Steven Spurrier to give his renowned opinion of our local offerings.
OKANAGAN WINE How Okanagan wine fares against international wineries
A little background: this is the same Steven Spurrier who was responsible for the Judgement of Paris in 1976 — the premise for the 2008 feature film Bottle Shock. This significant moment pitted California Chardonnay and Cabernet Sauvignon against examples from wine revered regions such as Burgundy and Bordeaux. The result of this blind tasting shocked everyone when California claimed the top spot in both categories. In 2015, Spurrier agreed to participate in the Judgement of B.C., a tasting modelled after the historic 1976 event. The tasting consisted of two blind flights: one featuring Chardonnay, the other Syrah. Each flight included six wines from B.C. and six wines from benchmark regions around the world. The purpose was to measure B.C. wines against its international peers with all wines retailing between $25 and $70. The primary task for participants was to rate them in order of which were “the best” in their subjective view. The results from all judges were tabulated to determine a collective ordering of the wines. The result of the Syrah flight garnered cheers from the audience as C.C. Jentsch 2013 Syrah from the Okanagan Valley took the number one spot, triumphing over
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well-known producers from the Northern Rhône, Barossa, and Hunter Valley. What’s more, B.C. also took the fourth and fifth positions with a 2012 Nichol and 2013 Le Vieux Pin Cuvée Classique respectively. B.C. Chardonnay didn’t quite take the cake, which disappointed Spurrier as he, “really loved the Chardonnay; lovely acidity and not too much oak.” He also noted, “they were all homogenous in the sense that they are all high-class international Chardonnays.” The competition was tough, and the highest spot claimed by
a B.C. Chardonnay was the 2013 Blue Mountain Reserve Chardonnay (6th place). The others participating in the tasting agreed with Spurrier, and called it a “reality check”. This meant there was still room for improvement. There is no defeat in that, just a potential for even better Chardonnays and B.C. wines in general. As with most things British Columbia, we are always up for new challenges. Pinot Noir and Riesling will be the challenge in 2016. Will B.C. come out on top? There
is definite reason to believe so. These are both cool climate grapes — well suited for the growing conditions of the Okanagan Valley. This is a significant step forward. B.C. needs to keep looking outward, tasting, comparing, benchmarking, and feeling confident this youthful industry can properly compete on the global scale with quality wines.
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LIQUIDS
THE CANADIAN COCKTAIL: OLD PAL
AUTHOR ALLISON TAYLOR
L
ike most cocktails, the origin of the Old Pal is somewhat confused as quite a few have claimed to have invented this slightly bitter yet floral drink. Did it start with William “Sparrow” Robinson, Sports Editor for The New York Herald-Tribune’s Paris office, or did it fall out of Harry McElhone’s Barflies and Cocktails? My theory… A Canadian went to make a Negroni, only to realize he did not have any gin. He turned to find his ‘Old Pal’, Canadian rye whisky, sitting sweetly beside his cocktail shaker — and the rest is history. However it came to be, here it is, in all its Canadian glory!
OLD PAL 2 oz. Canadian rye whisky 1 oz. Campari 1 oz. dry vermouth Lemon twist, for garnish Combine rye whisky, Campari, and vermouth in a cocktail shaker. Add ice. Stir to chill. Strain into a coupe glass. Garnish with a twist of lemon. Sip & enjoy!
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Y
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Please savour responsibly. | www.themacallan.com
ARTS
IS GRAFFITI ART? The politics behind Banksy and the art movement
W
hen is graffiti considered vandalism, and when is it art? The creator of today’s most recognizable graffiti is, ironically, a mystery. Known only as Banksy, the anonymous painter is renowned for his humorous, subversive works which often attack mass media and popular culture. Utilizing memorable characters in unexpected ways — a teddy bear throwing a Molotov cocktail at riot police, a zebra hanging its stripes to dry — his stencil-based techniques echo those initially popularized by Blek Le Rat, one of the genre’s originators in 1980s Paris. By legal definition, all street art — as a subset of graffiti — is vandalism. Yet, significantly, Banksy’s commercial
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AUTHOR PATRICK LOK success, where his works auction for millions of dollars, is a symptom of how the form has become accepted in contemporary society. With its aim to provoke dialogue, street art walks the slippery line between navel-gazing and conversation, between mindless ‘tagging’ and engaging its audience. Early instances of modern graffiti began to appear in the 1920s on train cars in major urban centres such as New York. Two decades later, World War II would leave one of graffiti’s first iconic images and taglines in “Kilroy was here”. The origin of the unmistakably cartoonish man peering over a wall is debatable, yet Kilroy quickly captured the imagination
of American soldiers who began copying the image in their travels as an inside joke. As the image’s popularity grew, so did the shared challenge of marking places that were difficult to access — it is said to appear atop Mount Everest, the underside of the Arc de Triomphe, and on the torch at the Statue of Liberty. Even Stalin, emerging from an exclusive presidential outhouse at the 1945 Potsdam Conference, was overheard to have demanded to know the identity of Kilroy. The evolution of contemporary graffiti took place in 1960s Philadelphia, led by two adventurous writers (the accepted term ‘taggers’ being its derogatory
Opposite page: a) New York City graffiti. b) Kilroy Was Here is an American popular culture expression that became popular during World War II. Top left: Banksy’s Sweeping It Under The Carpet is a commissioned piece about the democratisation of subjects in works of art. Middle left: Mr. Spock, played by the late Leonard Nimoy, has been represented in street art and graffiti for decades. Top right: Classic photo of a sailor kissing a nurse in Times Square, New York City, on VJ Day in 1945, with a colourful, modern twist. Bottom: Vancouver underpass covered in graffiti.
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Left: Graffiti on the Berlin Wall showcases a Trabant car (a symbol of Eastern Germany) bursting through the concrete. Right: The East Side Gallery - the largest outdoor art gallery in the world on a segment of the Berlin Wall.
counterpart): Cornbread and Kool Earl. Street gangs began tagging main thoroughfares as markers of territorial ownership — warnings to any who would dare enter. As the movement began to garner more media attention, nearby New Yorkers took note and began to form their own visual style. The end of the decade saw graffiti begin to embrace more political messages that resonated with inner city residents — for example, supporting black militancy “Off the pigs” or patriotic values “Viva Puerto Rico Libre”. The 1970s saw writers mimic their predecessors as they began to explore dangerous, illegal, and exotic spaces to express themselves. Airplanes, police cars, and even animals were not off limits; Cornbread was arrested for tagging “Cornbread Lives” on an elephant at the Philadelphia Zoo. The resulting crackdown from law enforcement drove
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writers to the subways, and from there to train yards, where one could tag many cars in a short amount of time with a lower chance of being caught. This, in turn, began the concept of ‘bombing’ or marking as many surfaces as possible. Meanwhile, across the pond, the arrival of punk rock and the rejection of hippie culture created a perfect storm for a movement in the UK. Bands such as Crass began to stencil anti-war and anticonsumerist messages along with their logos in the London Underground. This went hand-in-hand with the anti-fashion movement led by the mother of punk, fashion designer Vivienne Westwood (her boyfriend Malcolm McLaren would later become an early adopter of rap music, graffiti’s cultural twin), who emphasized subversion, sex, and violence. The indelibility of these emotionally charged protest slogans began to enter mainstream consciousness. For example, Pink Floyd
claimed to have drawn inspiration from graffiti for their song Time. In North America, as the proliferation of more artists resulted in the formation of crews, the development of more complex and unique styles became necessary as they competed to outdo each other. Aerosol cans became an essential tool, with their wide spray radius. The mid-to-late 1970s saw writers shift their focus away from simple text to incorporate imagery, utilizing outlines and calligraphy. When executed on a large scale, this was called a piece, short for masterpiece. The advent of recognizable forms, such as Wild Style — with its indecipherable bubble lettering, abstract Cubist influences, and ties to the burgeoning hip hop movement — anchored this new direction. In 1976, cryptic messages attributed to a faceless tagger began to appear on buildings in Lower Manhattan; SAMO
was born, and Jean-Michel Basquiat and Al Diaz were its parents. SAMO’s hypercritical social commentary and corporate tone targeted everyone from consumer society to the art world. As SAMO’s notoriety and influence mushroomed, the pair went their separate ways. In 1981, Basquiat met and befriended Andy Warhol, a key moment for the movement as Basquiat had long hoped to make the transition from New York streets to its esteemed art galleries. Warhol’s endorsement sealed the young painter’s fate to meteoric stardom. Meanwhile, his friend Keith Haring would make a similar leap from subway to gallery prominence through his mural graffiti, which focused on issues such as apartheid, AIDS, and the crack cocaine epidemic. Today, the two are regarded as seminal figures integral to legitimizing their craft as postmodern art. Since then, street art has crossed over to the mainstream; as images now have the potential to go viral overnight, popular opinion has shifted and many cities now even provide designated spaces for artists to work. One of Banksy’s peers, the American, Shepard Fairey, created the unforgettable Hope poster for Barack Obama’s first presidential run. Closer to home, Vancouver artist iHeart gained media attention in 2015 after Banksy shared his work. The image of a boy screaming into the void, complete with a fake Instagram counter depicting zero likes or comments, represents the genre’s growth in an era where technology runs our lives. At the heart of these instances of social commentary is the keystone of the movement which has taken the better part of a century to take shape. The question of intent, the message, and the conversation still stands. In this lies the difference between a simply callous, vandalistic public act and something much deeper and more valuable to our societies today — the notion of art.
Jean-Michel Basquiat honed his signature painting style of obsessive scribbling, elusive symbols and diagrams, and mask-and-skull imagery by the time he was 20.
iHeart, who chooses to keep his identity a secret, depicts a child crying because no one likes his Instagram post.
The stunning visuals on the Berlin Wall are odes to freedom expressed in various artistic modes — playful, bizarre, spiritual, political, and philosophical.
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ARTS
ANDY
WAR “
The idea is not to live forever,
it is to create something that will.
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"
HOL AUTHOR ELIZABETH TURNER
I
t can be said that Andy Warhol was and continues to be one of the most influential artists of the last 100 years. Despite his death in 1987, his work still permeates modern life, and as one of the founding fathers of the Pop Art movement, he was able to bring art down from its previously lofty heights and make it appealing and accessible to the masses. Working in a variety of mediums in a career that spanned almost five decades, Warhol, possibly more than any other artist of the late twentieth century, presented the public with a new way to look at art. Instead of viewing it as self-exploration or a symbol of a wider meaning, he felt art could be created for the sole purpose of garnering fame, making money, and could also mean ‘nothing’ like his iconic Campbell’s Soup Cans. This type of art, produced for these reasons, was as legitimate a pursuit as any. Working out of his headquarters, The Factory, he hired a team to assist him on his art production line, and in doing so, turned the Warhol name into a brand selling everything from clothes to champagne to skateboards. Decades before Kardashian
became a household name, Warhol, with his savvy media instincts, turned the spotlight on his Factory Staff, and by doing so, showed the world how everyday people could be celebrities too. He was a true social media strategist well before the term had even entered the zeitgeist. On August 6, 1928, Andrew Warhola was born, the youngest of four, to European immigrant parents in a working class neighbourhood of Pittsburgh. As a young boy, Warhol was afflicted by Sydenham's chorea, a neurological condition commonly known as St Vitus's dance and is often characterized by rapid, jerking movements affecting the face, hands, and feet. As this condition kept him from school for long periods of time, Warhol, often alone, would fill his days listening to the radio and flipping through comic books and celebrity magazines. In later years, he explained this early exposure to movie stars shaped his interest in celebrities and popular culture. Ondrej Warhola, Andy’s father, passed away from a jaundiced liver when Warhol was only 14 years old. Recognizing his son’s artistic ability, Ondrej left his
youngest son his life savings in support of higher education, and in 1945, Andy entered Carnegie Institute of Technology, now known as Carnegie Mellon University, studying pictorial design. Four years later, he moved to New York City and found work as a commercial illustrator working for employers such as Glamour, Vogue, Harper’s Bazaar, Columbia Records, NBC, and Tiffany & Co. Warhol was then commissioned to breathe new life into Bonwit Teller and I. Miller and Sons — which he did — with pop art illustrations, foreshadowing the styles that would make him famous. With the advent of the 1950s, Warhol shifted his focus to working as a serious artist, and it was around this time he dropped the ‘a’ from his name and began to be known simply as Warhol. In 1952, the artist had his first solo exhibition showcasing Fifteen Drawings Based on the Writings of Truman Capote at the Hugo Gallery. It was in 1960 that Warhol began creating early examples of Pop Art by incorporating comic strips and advertisements in his
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work, and in 1961, he started on his now iconic Campbell’s Soup Can paintings. As the decade progressed, he branched out working as a painter, printmaker, illustrator, filmmaker, and writer. Leaving the role of solo artist behind, Warhol opened The Factory on the fifth floor at 231 East 47th Street in New York City and hired assistants to mass produce his work. He infused his creations with everyday life and major events of the time, featuring everything from Brillo Boxes to mushroom clouds, from Elvis to Chairman Mao, and in doing so, created works that immediately resonated with the general public. Through the popularization of Zen Buddhism and the philosophy of existentialism, the idea of ‘nothingness’ had been circulating for some time in the United States. The beat movement of the 1950s and the hippie movement of the 1960s both were influenced by existentialism. JeanPaul Sartre's existential book, Being and Nothingness, was first published in the U.S. in 1956, but the author had done a highly publicized lecture tour of the U.S. during the 1940s when Warhol was still a student. As well as producing the alternative rock band the Velvet Underground and shaping New Wave pop bands such as Devo, Warhol heavily influenced the late-rocker David Bowie. In 1971, Bowie recorded a song called Andy Warhol and played him in the 1996 movie Basquiat. Bowie once described Warhol as, “very superficial. And seemingly emotionless, indifferent, just like a dead fish. Lou Reed described him most profoundly when he once told me they should bring a doll of Andy on the market: a doll that you wind up and doesn't do anything.”
Like Bowie’s comments and despite his public success, many of Warhol’s friends and associates would openly discuss his fixation on the idea of ‘nothingness’ and how he often portrayed himself as unfeeling and unintelligent. According to Warhol enthusiast Gary Comenas, who runs the website warholstars.org, in September 1962, Aaron Fine, a friend of Warhol’s who lay dying of cancer, asked the artist why he had chosen to depict the Campbell's soup can, and Andy answered, “I wanted to paint nothing. I was looking for something that was the essence of nothing, and that was it." The ordinariness of the soup cans emphasized the 'nothingness' of the subject matter. On June 3, 1968, Valerie Solanas, a radical feminist and Factory acquaintance, angered with Warhol for misplacing her script, shot him three times in the chest. Between the first and second shot, both of which missed, Warhol screamed, "No! No! Valerie, don't do it." Her third shot sent a bullet through Warhol's left lung, spleen, stomach, liver, esophagus, and right lung, and he nearly lost his life. The shooting had a deep impact on his life and art, and there is a general consensus that post-shooting Warhol’s work went into decline. After his attempted murder, Warhol stated: “Before I was shot, I always thought that I was more half there than all there – I always suspected that I was watching TV instead of living life… Right when I was being shot and ever since, I knew that I was watching television. The channel’s switch, but it’s all television.”
harkened back to his bouts of illness when he was young and may have driven his prolific artistic output up until the time of the shooting. This harrowing event, along with increased pressure from the Internal Revenue Service (stemming from his critiques against President Richard Nixon), may have pushed Warhol to obsessively document his life. As well as creating roughly 600 time capsules, he dictated every activity, right down to the smallest detail, and employed interns and assistants to transcribe the content of what would amount to over 3,400 audio tapes. Clearly, Warhol was aware that the art would outlive the artist. Despite his passing at age 59 on February 22, 1987, Warhol produced a massive body of work that continues to impact society today. The original soup cans he created back in 1962, as an attempt to portray 'nothingness', were sold in 1996 to the Museum of Modern Art for $15 million. Warhol’s rebellious blend of art, fashion, and celebrity coupled with his astute business sense enabled him to attain both superstardom and great wealth; the end result being an empire that is all but guaranteed to live forever.
“
The idea is not to live
forever, it is to create " something that will. -
A ndy Warhol
Warhol seemed to have a strong sense of his own mortality which probably
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LEISURE
SPIN: NYC VANCOUVER
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AUTHOR EMMA PENNEY
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he lights are off. The instructor’s bike is on a platform, facing the class. She is illuminated by the soft flicker coming off a dozen large candles surrounding her. The music starts. A rush of adrenaline hits immediately. Body and mind alike prepare for the next 45 minutes of an intense cardio workout intertwined with upper body toning. This is Spin. The origins of Indoor Cycling, now commonly referred to as Spin, date back to the late 1980s. But Spin, as we now experience it, is much more than just an exercise class: it’s a way of life. In 2006, SoulCycle opened its first studio on New York’s Upper East Side, offering customers an experience beyond the mundane day-to-day gym routine. They offered a trendy space with contemporary music and motivating instructors, where one could “let loose, clear their heads, and empower themselves with strength....” It was an overnight success. As of 2014, SoulCycle had opened 30 locations across the United States amassing over 440,000 active riders. It is now considered a tourist attraction in NYC, with visitors from all over the world adding a SoulCycle class to their To-Do List whilst in the Big Apple. This exercise/cultural phenomenon didn’t take long to spread to the rest of North America. Head west, to the coastal city of Vancouver. It’s 2008 and a young athlete and entrepreneur sets up a half dozen indoor bikes in his living room. He begins teaching spin classes during the day. Word catches on, more and more people want to participate… more than his living room will allow. It is there the first spinning-only facility opens in Vancouver: Cadence Cycling Studio. It doesn’t take long for word to spread, and it soon becomes the place for exercise buffs, outdoor cyclists, young and old athletes
alike, and people just interested in trying something new. Fast-forward to 2016: Vancouver is home to six spinning-only studios, not to mention a plethora of gyms and studios who have added spin classes to their regular schedules. Each spin-only studio offers something a little different from the next, making each class a fresh, new experience. Eastwood Cycle Sanctuary, located in the heart of downtown Vancouver, boasts a bright, spacious, high-ceilinged, glass fronted studio. Stocked to the brim with their own branded spin and exercise apparel, food, and juices from local vendors, and accessories for both spinners and their furry friends, Eastwood offers its clients more than just a place to work out. It’s a community where hanging out is encouraged, both before and after the 45-minute ride. Eastwood opened their doors in the fall of 2014 and quickly became one of the most popular studios in the city. Offering a 45-minute class with 60-minute childcare once a week, aptly named the Mamacita,
new mothers flocked to the studio to take advantage of great exercise that comes with child minding. Regular classes offer fresh and exciting ideas to keep riders coming back: live DJs looping beats, Beyoncé themed class, East vs. West Coast Hip Hop, and more. In the summer of 2015, Eastwood teamed up with The Four Seasons Vancouver to offer the Summer Series: Vancouver’s first ever outdoor Spin class. Other studios in the downtown Vancouver area include Ride Cycle Club, Spin Society Cycling Studio, Cyklus, and Pulse Spin Studio, each keeping a competitive edge by offering top of the line spin equipment, inviting studio space, change room facilities, first-class instructors, and a great sound system. There’s a spin studio in Vancouver for everyone. But be sure to sign up for some classes up to a week in advance; Vancouverites have jumped on this saddle enthusiastically.
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DESIGN
DESIGNING THE PERFECT
PATIO AUTHOR DANIEL MELOCHÉ
T
here is nothing better than a fresh spring morning, or a cool summer night enjoyed from the comforts of your own patio. Patios are our own little slice of heaven that extends from our living rooms. Unfortunately though, many people forget about or neglect the design of this area. With that being said, no matter what
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the size, shape, or even the view, there is a sure combination of design elements that will always make your patio feel perfect. Let’s break these elements down into three simple categories, including: function, materials, and ambiance. Any patio can be beautifully designed, but if it does not meet the functional needs of its purpose, it is doomed to be useless. With homes getting smaller and smaller, especially in urban cities, we are
forced to get creative in designing multifunctional spaces. This is also true for patios as you want to get the most 'bang for your buck'. Using furniture that is not only comfortable but also multi-purpose and used for various functions is key. For example, having a coffee table that pops up and doubles as a dining table, when needed will allow a combination of configurations. Using pieces like this will ensure fewer restrictions as to when you can get outside and enjoy your patio.
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When designing the interior of your home, one spends countless hours humming and hawing over different material choices in order to get the right look and feel. The same should go for your patio as it should always feel like an extension of your home. Combining various materials like woods, stones, metals, and fabrics work well together, depending on your style. Layering these various textures, materials, and even patterns will give life to your space and give an overall feeling of comfort. For example, starting with an Ipe wood flooring, layered with a patterned rattan rug, topped with plush upholstered seating, and playful accents will really give you the feeling of an outside oasis. Colour is also important and should never be shied away from when designing your outdoor space. Whether used boldly or in accents, colour
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always brings a ‘full of life’ feeling to any patio. Most importantly, the overall ambient feeling of the senses is really what makes your patio feel like home. Light is a very powerful entity and with that being said, there are so many different lighting options making it important to layer your lighting from the ground up. This can be done with outdoor floor and table lamps, chandeliers, classic string lights, indirect planter lights, and even lanterns filled with candles. Where space permits, adding an element of fire really warms the soul on a cold summer night and can be done in many ways from a dramatic fireplace, a feature fire pit, multiple accent fire torches, or even a simple small cluster of candles on a table.
For the final touch, you should plant foliage all around your patio in planters and pots. Adding various flowers, plants, and even herbs can really create a natural and calming aroma to your patio. A good example would be planting some mint or lavender, both giving off a beautiful scent and colour. Overall, designing your patio should be fun and feel like home, so you can enjoy it throughout the patio season. Extending the style and design principles used inside should never restrict what you do outside with the products available today. There is nothing more perfect than enjoying a cold cocktail on a hot summer afternoon or warm cocoa on a brisk spring evening than when you do it from your own patio.
TECHNOLOGY
THE POSITIVE SIDE OF SOCIAL MEDIA AUTHOR ELIZABETH TURNER
R
ecently, Vancouver-based Hootsuite released stats indicating that one quarter of the world’s population (1.7 billion) uses social media. Facebook, Twitter, Instagram, Pinterest… communication and social activism have become easier to accomplish. Clearly, the way we interact with each other has been forever altered, but is this change for the better? • Connection | Whether via Snapchat, Skype, or Instagram, we can now reach every corner of the globe. Not only can we connect with ease, but we can also find like-minded individuals and build virtual communities based on common interests. • Power to the People | Today, anyone can become a celebrity. Take for instance PewDiePie, the nickname of 26-year-old Felix Arvid Ulf Kjellberg of Sweden who has amassed 40 million subscribers on his YouTube channel. His ‘Bro Army’ (fans) is
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drawn to his expletive heavy video game commentary. In fact, he was the highest paid YouTube star in 2015, earning $12 million dollars before tax. • #PoliticalInfluence | In 2008, President Obama harnessed the power of Facebook to gain votes. A look at his numbers shortly after that election indicated he had 32 million Facebook fans, 21 million Twitter followers, and 259,685 YouTube views. His opponent, Mitt Romney had 12 million Facebook fans, 1.7 million Twitter followers, and only 29,172 YouTube views. Most pundits feel social media played a big part in Obama’s success, and nowadays, every politician has a wellthought-out social media strategy. • Support During Crisis | With its real time information sharing, social media is now the go-to platform during times of upheaval. In October 2012, during Superstorm Sandy, many people lost power, but some cell networks and WiFi towers still functioned. As such, those caught up in the storm used Facebook to
contact loved ones and describe the extent of the damage. • Marketing & Advertising Magic | Whether your business is small or large, social media is the most effective way of reaching the widest number of people, 24/7, and you can do it for free. For business owners, it's a no-brainer: a striking post on Pinterest or a compelling YouTube video can garner attention and sales without spending a dime. • The Future of Social Media | Experts have predicted that in years to come, social media content will become customized for each individual, that wearables such as the Apple Watch or Google Glass will become part of our everyday wardrobes, and that a fully immersive world is possible. Virtual front row seats at an NBA game? No problem! With the decline of traditional mass media and the increase in social media users climbing daily, the supremacy of this type of platform seems a forgone conclusion.
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AUTHOR SHAW PETERS
I
n 1872, a bookseller named Josep Maria Bocabella travelled to the Vatican City on a pilgrimage. On his homeward journey, he passed through the Italian city of Loreto, home of the Basilica della Santa Casa — a place believed to have been the very home of the Virgin Mary. Inspired, he returned home to Spain resolving to create a similar church in honour of the Holy Family as a rallying point for the Catholic Church. Francisco del Villar, a Spanish architect, volunteered to draft plans, and in 1882, the Expiatory Temple of the Basilica de la Sagrada Familia began construction on an inexpensive plot of land in Barcelona. Leading a project financed solely by private donations quickly proved challenging, and del Villar ran into a disagreement with Bocabella’s advisor Joan Martorell over the costliness of building materials. In 1883, del Villar resigned having only begun the
church’s crypt; Martorell was offered the position. He declined, instead recommending a former pupil: the young Catalan architect Antoni Gaudí. The Catalans are an ethnic group inhabiting the north of Spain and southern France — a region known as Catalonia with its own language. Following Napoleon’s defeat in 1815, the Catalans found their culture suppressed in favour of a unified Spanish identity. By the late 19th century, however, Barcelona had evolved into a modern metropolis within Europe and a gathering place for intellectuals following the secular influences of the Industrial Revolution, embracing contemporary forms of art and print. Gaudí was at the center of this rise, having gained acclaim with a showcase at the Paris World’s Fair of 1878. A Catalan artistic
To achieve greater stability and a slender and more harmonious effect, Gaudí designed all the branching columns as double-twisted columns formed by two helicoidal columns. The base of each column has a cross-section that is a polygon or star which as it twists to the right and the left transforms into a circle higher up.
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movement known as modernisme (similar to art nouveau, which was developing simultaneously in France and Germany) had begun to take shape. Spanning architecture, theatre, literature, painting, and sculpture, one of modernisme’s core traits was its undying patriotism: a rejection of the monarchy and the bourgeoisie, driven by Bohemian creatives who wanted Catalan culture to stand out. To call Gaudí ambitious would be a grave understatement; he planned to fuse religious iconography with the physical form to convey a striking visual narrative. Gaudí’s neo-Gothic design for the Sagrada Familia included three majestic façades (for the birth, death, and resurrection of Christ) and 18 towers symbolizing the 12 Apostles, the four Evangelists, the Virgin Mary, and Christ. For the structure, Gaudí envisioned geometric shapes inspired by the wonders of nature to combine light and colour — the ultimate
blueprint for a building dedicated to the Creator. In his youth, Gaudí had been fascinated by the countryside, and these early influences stayed with him. “Nothing is art if it does not come from nature," he claimed. Recalling the organic architecture of tree trunks, he integrated hyperbolic parabolas (the shape of a saddle) and hyperboloids (a twisted cylinder) to create high arches, branched columns, and warped walls that were lightweight but stable. This unorthodox approach allowed for more light throughout the temple’s interiors as opposed to the giant, obstructive Gothic buttresses typically used in similar projects. Gaudí also integrated the helix (one of nature’s most universal shapes, such as DNA and the shape of galaxies) into the church’s spiral staircases and towers. He refused to use reinforced concrete in favour of stone, which he felt was closer to nature and
Top left: To lessen the load of the roofing and bring light into the building, he designed lucarnes or skylights in between the columns, based on hyperboloids, built using pieces of glass and tiles to reflect daylight inside. Top right: Spiral staircase in the Nativity Tower of Sagrada Familia. Bottom: The east-facing Nativity Façade, which is dedicated to the birth of Christ, was virtually complete by the time Gaudí died in 1926 and is the façade that shows the most direct Gaudí influence.
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Gaudí used mosaics in many of his works as an example of Catalan modernism and are sometimes referred to as trencadís.
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God. Gaudí was well aware that he would not live to see his design’s completion. Referring to his spiritual mandate, he is famously said to have remarked, “My client is not in a hurry.” In 1898, Gaudí set his sights upon the Grand Façade depicting the birth of Christ, or the nativity scene. Including four 350-feet parabolic spirals, it was comprised of three scenes, ornate with symbolic elements of life indicating different religious motifs: Hope, Charity, and Faith. The façade integrated a cacophony of wildlife, vegetation, and spiritual figures including tortoises, doves of peace, baby angels, musicians, and saints under the Star of Bethlehem as the baby Jesus was swaddled by Joseph and Mary. Knowing he would be setting an artistic example for others to follow, Gaudí chose strategically to begin with this more accessible, appealing façade. In 1911, Gaudí began to design the Passion Façade (also known as the Suffering Way), an unorthodox, emotional set of scenes which would depict the betrayal, torment, and crucifixion of Jesus. “If I had begun constructing this building with this façade, people would have distanced from this work,” he remarked. By 1914, however, the Basilica was in dire straits financially, with
only a few dozen workers on site. Gaudí had completed his Barcelona masterpiece Park Güell and become extremely devout, refusing all other projects in favour of the temple. Singularly driven, Gaudí was even known to beg alms from passersbys to finance construction; he eventually took up permanent residence in the little workshop in the Basilica. Misfortune befell Gaudí in 1926; he was struck by a passing tram while on his daily walk. Due to his humble, destitute appearance, he did not receive immediate medical attention — only later in hospital was he recognized. Gaudí would never regain consciousness, succumbing to his injuries three days later at age 74. He was buried in the crypt of the Sagrada Familia in a ceremony attended by thousands, with only 20 per cent of the structure complete. In subsequent years, the Spanish Civil War took a harsh toll on the project, and in 1936, revolutionary groups set fire to the temple’s workshop, destroying the original blueprints and plaster models he had meticulously constructed. Former Gaudí collaborators restored these models, aided by newly discovered notes and drawings. In 1952, construction resumed, beginning with the Passion Façade originally designed by
Gaudí. This undertaking was protested, in vain, by a collective of prominent architects and artists who felt the architect’s work should remain unfinished. Protests notwithstanding, the project continued to gain momentum. In 1980, a New Zealander named Mark Burry became the executive architect, utilizing computer modeling techniques from the aerospace industry to intuit Gaudí’s intentions within the missing designs. The genius of Gaudí would come to light; contrary to popular belief that the Sagrada Familia’s shapes were irregular forms, Burry and the building team gradually deciphered the complex geometrical shapes inherent in Gaudí’s organic design, which perpetually evoked nature’s deliberate architecture. In 1986, another Catalonian figure would emerge within the project: the famous sculptor Josep Maria Subirachs. He accepted the commission on two conditions: that he live on the premises as Gaudí had, and that he would have creative control of his work, independent of his predecessors. Over the next two decades, he would create approximately 100 stone figures to adorn the Passion Façade, depicting the crucifixion of Christ and the sins of mankind. Unlike Gaudí, however, he leaned towards atheism
The Passion Façade, on the theme of Christ’s last days and death, was built between 1954 and 1978 based on surviving drawings by Gaudí, with four towers and a large, sculpture-bedecked portal.
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and was inspired by abstract, angular forms. His work bordered on the erotic, haunting, and provocative; for example, the centerpiece of the Passion Façade is a crucified, faceless, and starkly naked Jesus sculpture which sparked demonstrations in 1990. Subirachs’ extreme style, incorporating sharp edges and flat faces, is an obvious contrast to the rest of the temple, and has been the subject of much debate — nothing particularly new for the project. Before him, Gaudí’s work had irked both Salvador Dali and George Orwell, who named it “one of the most hideous buildings in the world.” Still, the vitriol aimed at Subirachs was not subtle as his sculptures were called a “barbarity”, “mistake of architecture”, and “Disneylandia” by peers and attracts such commentary to this very day. To his credit, the sculptor did not shy away from explaining his art: “Some might find this façade too extravagant; but I would like it to inspire fear… I am prepared to sacrifice
the construction of the church itself, to break arches and cut columns, to transmit the bloodiness of the Sacrifice.” Inherent in this defense of his work is a notion of efficiency and minimalism (for example, omitting the two men crucified alongside Jesus in the Bible) which achieves a starkly dramatic effect. Additionally, Subirachs would include unique personal touches, such as a magic square: a 4x4 set of numbers adding up to the same number on the vertical, horizontal, and diagonal planes. The sum of this magic square is 33, the supposed age of Jesus at his death, and also a possible reference to the society of Freemasons, which Gaudí was alleged to have belonged to. Jordi Bonet i Armengol, who for almost 30 years directed the construction process until 2012, echoed Subirachs’ belief in the project being truly collaborative. As the son of a former Gaudí disciple, his focus on the altar area (a section of which there is little remaining direction) has necessitated
creative liberties. “Almost every cathedral has been the work of many people and over many centuries,” Bonet reflected in an interview. “All I had from Gaudí for the altar was one drawing and measurements, but I do feel that is sufficient to call this a faithful interpretation.” Over the past decade, the building has continued to run into its challenges, all while drawing over three million visitors annually (entrance fees now fund its construction). The third and final Glory Façade is well underway in spite of the fact that Gaudí’s original model was destroyed 70 years ago. In 2008, a collective of over 400 architects and historians signed a manifesto urging the project be halted, claiming that Gaudí has been forsaken in favour of “building a tourist attraction, for propaganda purposes.” Perhaps more worrisome to the project is the controversial construction of a high-speed train tunnel from Barcelona to Madrid, which will be built perilously close to the building’s foundations. Now over 70 per cent complete, the present chief architect Jordi Fauli i Oller has aimed to complete the majority of construction (including the church’s final towers) by 2026, to mark the 100th anniversary of Gaudí’s passing. The highest tower, the Tower of the Savior, will reach 560 feet tall — a height just short of the peak of Montjuïc, Barcelona’s large hill, as Gaudí thought it disrespectful to surpass God’s natural creations. In 2010, Pope Benedict consecrated the temple, giving a speech that appreciated the nature of Gaudí’s enormous undertaking of overcoming the connection between the human and the spiritual: “Between the beauty of things and God as beauty… Antoni Gaudí did this not with words but with stones, lines, planes, and points.” By its completion, the Sagrada Familia will be amongst the five longest construction projects in the history of mankind, alongside monuments such as Stonehenge and the Great Wall of China. Antoni Gaudí will have been gone for a century by the temple’s expected completion date. The controversial Subirachs has passed. Jordi Bonet i Armengol is now 91 years old. And yet, like a wonder of nature, the project continues on. Shaped by thousands of hands and a singular vision, the Sagrada Familia inches upwards toward its destiny, soaring above the Catalan capital.
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Opposite page: Newly constructed stonework at the Sagrada Familia is clearly visible against the stained and weathered older sections. On the subject of the extremely long construction period, Gaudí is said to have remarked, "My client is not in a hurry." Top: One of Subirachs’ personal touches was a magic square: a 4x4 set of numbers adding up to the same number on the vertical, horizontal, and diagonal planes. The sum of his magic square is 33, the supposed age of Jesus at his death. Bottom: A tentative completion date for the Sagrada Familia has been set for 2026.
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LITERATURE 40
DEATH OF THE POSTCARD
BON VIVANT
AUTHOR NIKI MARETTA
T
here was a time, not so long ago, where when the postman rang, it sparked excitement.
What surprises await in the mailbox? A handwritten letter from a lover, a postcard from a friend, a token of affection from someone far away? The possibilities were endless, and the result was almost always meaningful. The gesture of sending a letter was simple and simply romantic. It was thoughtful and humbling. And sadly, it is no more. Technology has changed the way we communicate with one another, and while it has, without a doubt, bridged the gap between loved ones across the globe, it has killed a certain intimacy that simply cannot be conveyed in a typed email. In a
matter of years, the Internet had killed the handwritten letter. But there was hope left for the postcard. After all, it remained something tangible to send to someone on your travels. A glimpse into the adventures being undertaken by the sender. They say an image speaks a thousand words, and that’s exactly what the postcard did. It put the recipient in a time and place shared by the sender. Whether on an African safari, amid the neon landscape of Times Square, under the romantic glimmer of the Eiffel Tower after sundown… the postcard brought friends and family along on one’s travels. At least, it used to. Social media has been most notable for tracking and logging one’s life on a platform that is easily shared with others. Through images, posts, blogs, status updates, Tweets — our lives have become searchable data.
The posting of a picture immediately connects us with our peers. In an instant, we are transported near and far — to the other side of the world or to a friend’s living room. The downside, however, is the near complete loss of mystery. There remains little wonderment. Every part of everyone’s life is at the tip of one’s fingers and having access to one’s life no longer feels personal or special. Sending a postcard meant more than just sharing images of landmarks or a quick note to say hello; it conveyed that in that time and place, we were in someone’s thoughts. That is the sort of idyllic and romantic sentiment that will never transition from the heart to a computer monitor. And in matters of the heart, perhaps taking shortcuts is why many have declared that chivalry truly is dead — and that’s, unfortunately, nothing to write home about.
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LITERATURE
COMIC BOOK WARS A literary showdown AUTHOR NIKI MARETTA
I
t’s a bird! It’s a plane! It’s the coming of age of illustrated literature!
Yes, the ever-broadening market and age defying appeal for comics and graphic novels is breathing new life into a literary form formerly targeted almost exclusively towards preteen males. But, whereas graphic novels have become embraced by even the most elite literati, comics remain saddled with its pubescent reputation. And that begs the question: is there really a difference between graphic novels and comic books? At its basic core, the distinction between both works is comparative to how material is presented in a film versus in a television series. Graphic novels, as indicated by their name, usually focuses on a standalone plot
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line, introduced and evolved within the span of one or two lengthy works. They adhere to the standard literary structure used by novels: an opening hook, the introduction of characters, an establishment of conflict, and finally, a resolution. In short, graphic novels are generally more complex and heavily plot oriented. Comics, on the other hand, are most rich in character development. They are normally short, serialized stories told over many issues. They take a character on a journey that spans multiple plot lines, allowing its readers to become more emotionally invested in its hero or heroine, rather than a singular plot. Graphic novels have tended to touch upon darker, riskier topics — amongst the most widely cited are Frank Miller’s Sin City and Alan Moore’s Watchmen — and while
traditionally, comics tend to be regarded as lighter fare, buzz amongst an older readership has sparked a surge in adult oriented comics. It has also piqued the interest of more traditional writers, most notably Chuck Palahniuk, who has adapted his most famous work, Fight Club, into a comic series targeted specifically at an adult audience. Joss Whedon, whose initial Buffy the Vampire Slayer viewership is well into their thirties, has successfully transitioned the series into comics, keeping the beloved heroine alive amongst fans. With its unique approach to storytelling, the rare collaborate of writer and artist, graphic novels and comic books have transcended their child-like beginnings and have grown into complex and mature reading material. And that’s all without losing what is their inherent charm: the spark of imagination in even the most wary of readers.
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AS FESTIVAL CITY
E
dmonton, formerly known as the City of Champions, has been debating its self-chosen moniker for quite some time. Rewinding back to 2003, public documents note the meeting of the Economic Development Edmonton committee to discuss a branding initiative for the city. Should the City of Champions nickname continue to be used? Or, perhaps, would one of Edmonton's previously employed slogans be more appropriate? While a cut and dry decision was never made, last year, the City of Champions sign that welcomed visitors to Edmonton was removed. This action by city councillors brought on renewed consideration as to what Edmonton's true designation should be. Edmonton has been called many things: the Oil Capital of Canada, Gateway to the North, Crossroads of the World, and River City to name a few. Although a couple of them remain fitting, others may not, especially in the current economic climate. One name that is still relevant is Canada's Festival City. An unofficial designation,
AUTHOR CRYSTAL CARWIN LEE this is one that has stuck for well over a decade. Home to an anticipated 90+ festivals within the calendar year, Edmonton has put itself on the map when it comes to first-class celebrations. Running the gamut from music to art, food to culture, and lifestyle to nature, this city, literally, has a festival for everything. On a global level, one can count the Street Performers Festival, the Folk Music Festival, and the Fringe Theatre Festival as the backbone of support for Edmonton's adoption of the Festival City name. The Edmonton International Street Performers Festival, founded in 1980, and the Fringe Theatre Festival, created in 1982, were the first of its kind within Canada. Over the years, these festivals have received renowned recognition in music, art, and theatre on a worldwide scale. Reliant on thousands of volunteers to ensure everything runs smoothly, the Street Performers Festival is considered a premier showcase for street talent, the Folk Music Festival sells out of passes in a matter of minutes every year, and the
Fringe Theatre Festival is the second largest internationally, just behind the Edinburgh Festival Fringe. Festivals, big and small, pepper each month of the year. As North America's most northerly city with a population of over one million people, Edmonton strives to make the most of things, no matter the season. New to the roster in February 2015 was the Resilience Festival that branched out into different territory by moving towards the educational. With an emphasis on skill-sharing workshops that build a more sustainable, creative, and promising future, the festival aims to restore a sense of community that is often misplaced in rapidly developing cities with high population growth. As the weather thaws, inhabitants make the most of their short spring and summer. Across the city, in numerous neighbourhoods, non-profit charitable organizations, associations, community leagues, and societies work to organize the very festivals that Edmonton has chosen to base its legacy.
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On the streets of Old Strathcona, a historic district south of the North Saskatchewan River, the Edmonton Pride Festival and Whyte Avenue Art Walk take over the area in June and July. Churchill Square, in the heart of downtown, becomes the stage for A Taste of Edmonton ‒ a 10-day food extravaganza with free nightly musical entertainment attended by more than half a million people ‒ and the Works Art &
Design Festival as well as the Edmonton Latin Festival. William Hawrelak Park, a green oasis in the middle of the city, hosts a variety of festivals, including: Freewill Shakespeare Festival, Heritage Festival, Edmonton Blues Festival, and Symphony Under the Sky. In fact, Hawrelak Park's amphitheatre is the backdrop to one of Edmonton's most
successful festivals of late. Interstellar Rodeo, a weekend music festival, was founded by Shauna de Cartier of Six Shooter Records. With her company based in Toronto but her origins in Edmonton, de Cartier decided to throw the inaugural Interstellar Rodeo in her hometown back in 2012. Within a few short years, Interstellar Rodeo has brought eclectic, global talents like Alabama Shakes, Elle King, St. Vincent, Father John Misty, M. Ward, and The Lone Bellow to the stage while simultaneously showcasing Canadian artists such as Bahamas, Whitehorse, Tanya Tagaq, Elliott BROOD, and Buffy Sainte-Marie. In between the more well-known acts, local singers and groups get a chance to share their music with the crowd. The surprising and the unpredictable is also what drove Events Edmonton to tackle its very own rendition of Nuit Blanche, an all-night arts festival that has taken place in many cities internationally. In late September, from the early evening until a couple of hours before dawn, downtown Edmonton is transformed into a living art gallery. In one night, 31 contemporary art projects are presented by over 140 artists, filmmakers, actors, dancers, and creatives. Every piece is located within minutes from another, allowing the 52,000 visitors to easily transition between each offering. Last year, the final estimated attendee count was higher than anticipated, showing the organizers just how supportive Edmontonians are. These festivals are a reflection of the people of Edmonton: who they are and who they want to be. Others may argue that Edmonton is not deserving of the Festival City name, but the evidence is clear. Had another city felt it could lay stake to the claim, it would have done so long before Edmonton. The truth is, no other Canadian city has been able to live up to the moniker. Those who reside in Edmonton know better. They understand it is these festivals and the organizations that produce them that make Edmonton stand out from the rest.
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CARS
EDITORIAL: MASERATI GHIBLI S Q4
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M
aserati. It’s a sexy word. The 'R' rolls off your lips when you say it.
Often I hear people say “Maser” and that annoys me. Maserati has earned the right to have their name fully annunciated, especially with the new cars they’re making, namely the Quattroporte and the Ghibli. I was given the gift of a test drive of the shapely Ghibli S Q4. It had been raining all day, and when we turned up at Ferrari Maserati of Vancouver to pick up the car, the clouds parted, and we suddenly had the sun beaming down on us, enough so the sunroof was opened. In our attempt to drive al fresco, we also availed ourselves of the sport button on the console, and we found our way down to Vancouver’s old water street down-ramp and tunnel. The soundtrack from the exhaust was good. Actually, it was very good. It seems like everyone is using a baffle in the
AUTHOR SALIM KASSAM exhaust chambers nowadays to accentuate the tone from the exhaust, and, frankly, I think everyone should. Let’s face it. We are burning a fossil fuel with a combustion engine. One day, this is not going to be the m.o. for how we get around. Electric cars are efficient, economical, and even desirable now, but they sound like, well, they sound like nothing. They are silent. The Maserati barks; it does not howl. The 'whap' from the changes using the flappy paddle gearbox are frenetic enough that you smile but soft enough to not require a trip to the chiropractor. This 8-speed ZF sourced transmission is very good and mated to the twin turbo V6. It really does everything you need it to. We cracked 0-60 in less than 5.0 seconds, and this was on wet roads. This car comes equipped with all-wheel drive, and I could feel the wheels pulling when needed. I was able to find oversteer in places that I did not expect. Not a concern, but something to get accustomed to, and then ultimately, master. I was able to achieve mild understeer after a bit of practice. This
AWD system is rear bias which is exactly what you want out of a sporty sedan. The brakes were excellent. Thank you Brembo. I respect the front styling of the car; the rear styling, however, is less memorable. The interior feels special, and I would categorize this as a fun commuter car that not everyone will have. It’s a nice place to spend time: the seats were comfortable, easily adjustable, and the fit and finish were of high quality on the car we tested. It drives nicely, barks when you want it to, and is really easy to live with every day. It does not feel as planted as an Audi A4 or A6, but it does not feel as heavy either. Maserati has really moved a step forward with this car, and all of their cars for that matter. The only qualm I have is that the navigation system is not really a leader in its class. But it works and is accurate. Drive a first generation Quattroporte and tell me that it is not a huge improvement.
SPRING/SUMMER 2016
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