The Georgia Straight - Truth to Power - March 7, 2019

MARCH 7 - 14 / 2019 | FREE

Volume 53 | Number 2668

REINVENTING EDUCATION Schools chart new approaches

FEMALE CHEFS What’s on their minds?

DAIRAKUDAKAN Franken-borg dancers transform stage

Truth to Power

Vancouver Granville MP Jody Wilson-Raybould’s historic testimony before the Commons justice committee reveals the perils of political pragmatism for the governing Liberals in a country craving higher ideals

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MARCH 7 – 14 / 2019 THE GEORGIA STR AIGHT 5

CONTENTS

March 7-14 / 2019

10 COVER

Vancouver Granville MP Jody Wilson-Raybould spoke truth to power, creating a political uproar.

By Charlie Smith Cover photo by Sean Kilpatrick/Canadian Press

T H I S M O N T H AT 11

EDUCATION

Postsecondary institutions are shaking up the status quo with new programs offering more options for students.

21 FOOD

Before International Women’s Day, we contacted several female chefs and bartenders to hear their perspectives about working in male-dominated fields.

3 RD FLOOR

By Gail Johnson

25 ARTS

THURSDAY 8:00PM – 12:00AM FRIDAY & SATURDAY 9:30PM – 1:30AM

Tokyo’s Dairakudakan returns to the Vancouver International Dance Festival with another darkly inspired spectacle.

By Janet Smith

34 MUSIC

Cherry Glazerr frontwoman Clementine Creevy finds strength in darkness on the new record Stuffed & Ready.

By Mike Usinger

ONE AND A HALF EVERY THURSDAY MARCH 7, 14, 21, 28

LEE NICHOLS BAND MARCH 8, 22

DOUBLE DOWN KEYS

e Start Here 23 THE BOTTLE 20 CANNABIS 35 CONFESSIONS 29 DANCE 19 HOROSCOPES 36 I SAW YOU 36 LOCAL DISCS 33 MOVIE REVIEWS 8 NEWS 36 POP EYE 8 REAL ESTATE 39 SAVAGE LOVE 18 TECHNOLOGY 28 THEATRE 30 VISUAL ARTS

e Online TOP 5

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EVERY SATURDAY MARCH 9, 16, 23, 30

Vancouver’s News and Entertainment Weekly Volume 53 | Number 2668 1635 West Broadway, Vancouver, B.C. V6J 1W9 T: 604.730.7000 F: 604.730.7010 E: gs.info@straight.com straight.com

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1 2 3 4 5

Moderate-income renters will have room at Kits development.

Wendy Holm: The Site C Dam, SNC-Lavalin, and water-sharing.

Lawrence Sharpe convicted in one-punch death in Burnaby.

Serena Ryder and Dear Rouge to play Constellation fest.

CMHC CEO defends management of Granville Island.

GeorgiaStraight @GeorgiaStraight @GeorgiaStraight

The Georgia Straight is published every Thursday by the Vancouver Free Press Publishing Corp. Copies are distributed free every week throughout Vancouver, Burnaby, North and West Vancouver, New Westminster, and Richmond. International Standard Serial Number ISSN 0709-8995. Subscription rates in Canada $182.00/52 issues (includes GST), $92.00/26 issues (includes GST); United States $379.00/52 issues, $205.00/26 issues; foreign $715.00/52 issues, $365.00/26 issues. Contact 604-730-7087 if you wish to distribute free copies of the Georgia Straight at your place of business. Entire contents copyright © 2019 Vancouver Free Press, Best Of Vancouver, Bov And Golden Plates Are Trade-Marks Of Vancouver Free Press Publishing Corp. SUBMISSIONS The Straight accepts no responsibility for, and will not necessarily respond to, any submitted materials. All submissions should be addressed to contact@straight.com.

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MARCH 7 – 14 / 2019 THE GEORGIA STR AIGHT 7

HOUSING

City’s homless count looms

E

by Travis Lupick

arlier this week (March 3), Vancouver mayor Kennedy Stewart stood alongside NDP MLAs to announce that the city and province had fulfilled a promise to construct 600 units of temporary modular housing for people who were previously homeless or at a high risk of becoming homeless.

Spread across 11 sites, the buildings—constructed with units similar to construction-site trailers but outfitted with additional amenities—advanced from planning to construction to habitation in barely more than a year.

Completion comes just in time for an assessment of the project’s effectiveness: on March 12 and 13, Vancouver will conduct its annual homeless count.

The city’s 2018 homeless count revealed that there were 1,522 people sleeping in shelters and another 659 on the streets. Stakeholders will be watching the 2019 count for any impact the temporary modular housing sites might have on homelessness in Vancouver.

In a telephone interview, NPA city councillor Melissa De Genova said that it is now time for the city to turn its attention to permanent affordable housing.

“These are called temporary modular housing units,” she told the Georgia Straight. “We need to be looking at a long-term plan.”

De Genova said she considers the project a success and “wouldn’t say no” to similar developments in the future. But she added that she also has concerns and would prefer to see social-housing projects with a more mixed character, “to not necessarily continue building 100-percent social housing in a building. I argue with some of my council colleagues on that, because I feel that that really ghettoizes people.”

De Genova noted it was just last week that council voted in favour of a large project that could serve as a model for the sort of “integrated housing” she has in mind. On February 21, councillors approved the construction of an addictions-treatment facility at the intersection of Clark Drive and East 1st Avenue. It will include 90 housing units, half of which are planned to rent at Housing Income Limits and

Mayor Kennedy Stewart is pleased that the city and province kept a pledge to build 600 units of temporary modular housing.

half of which will rent at Canada Mortgage and Housing Corporation market rates for private rentals in the area.

“Individuals really want their door to be no different than anyone else’s,” De Genova said. “They want dignity in housing.”

Jens von Bergmann is a mathematician and analyst who creates interactive visuals of Vancouver housing and demographic data at his website, censusmapper.ca. He told the Straight that numbers alone can’t tell Vancouver exactly where to focus next, but they can provide suggestions.

“One metric that is important is the vacancy rate,” von Bergmann said. Vancouver’s rental-vacancy rate has remained below two percent for more than a decade; in recent years, it has fallen below one percent.

“Every kind of housing is good, but rental housing has some added advantages,” von Bergmann continued. “We know it is going to get utilized. Ninety-nine percent of those units are going to be filled.

“We have to keep going with these modular homes,” he added. “But asking what is next, I think a focus on rental would be very useful.” g

City manager cautions council

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ancouver councillors have been told by the city manager that they’re “causing a lot of problems”.

That’s because councillors, or at least a few of them, have been pushing for more affordability in new rental developments.

These projects are known as “for-profit affordable rental housing”, where starting rents are up to $3,702 for a three-bedroom unit, based on last year’s guidelines.

So far, the current council has approved four of these developments, and more are coming its way.

Coun. Jean Swanson has consistently voted against these market-rate rentals.

Coun. Pete Fry has been vocal against the city’s policy of providing taxpayer-funded subsidies for these projects.

Last month, Fry joined Swanson in opposing the two latest rental developments brought before council.

In a subsequent council meeting on February 27, Fry noted that these projects are “increasingly disconnected” from what is typically considered affordable housing. Swanson, for her part, asked staff when the city is going to stop supporting these developments.

Council was informed that staff will be reporting back toward the end of the year about possible policy changes.

In the same meeting, city manager Sadhu Johnston reminded council that the city is “reliant” on private developers for the delivery of new rental homes.

Johnston cautioned against calling for more affordable rents in projects that are currently being considered until the city finishes its review of its rentaldevelopment policy.

“Until we do that review, I really encourage council to not try to put—we’re having a policy conversation now, not a specific rezoning conversation—that trying to jam the affordability into the very last minute has been causing a lot of problems,” Johnston told council.

According to Johnston, he and staff are concerned that developers may get spooked by calls from councillors to make rentals more affordable.

Johnston said that potential proponents may either “slow down” or “wait” until the city finishes its policy review if there are continuing calls for affordability in pending projects.

The city started to provide incentives for developers of “for-profit affordable rental housing” during the term of the previous Vision Vancouver–led council. Incentives under the Rental 100 program include exemptions from paying development-cost levies (DCLs).

To cite an example, council on February 26 this year approved such a project at 1906–1918 West 4th Avenue.

The developer will not pay about $795,683 in DCLs for the residential portion of the project.

The rents that will start to apply at the development this year are: $1,646 per month for a studio unit; $1,903 for a one-bedroom; $2,756 for two bedrooms; and $3,702 for three bedrooms.

Voting in favour of the Kitsilano project were Mayor Kennedy Stewart and councillors Rebecca Bligh, Christine Boyle, Adriane Carr, Melissa De Genova, Lisa Dominato, Colleen Hardwick, Sarah Kirby-Yung, and Michael Wiebe. g

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FEATURE

Trudeau’s meddling triggers backlash

W

by Charlie Smith

hen Jane Philpott suddenly announced her resignation as a member of Justin Trudeau’s cabinet on March 4, it set off a media frenzy unlike anything seen in Ottawa since a former prime minister, Jean Chrétien, fired Paul Martin as finance minister in 2003.

“It is a fundamental doctrine of the rule of law that our Attorney General should not be subjected to political pressure or interference regarding the exercise of her prosecutorial discretion in criminal cases,” Philpott wrote in a public letter to the prime minister.

“Sadly, I have lost confidence in how the government has dealt with this matter and in how it has responded to the issues raised.”

It was yet another sign that Jody Wilson-Raybould, the Liberal MP for Vancouver Granville, remains a powerful force more than three weeks after resigning from cabinet.

As International Women’s Day (March 8) approaches, the selfdescribed feminist prime minister, Trudeau, finds himself in the unexpected and uncomfortable position of being under siege from two highly regarded women who served in cabinet. A third Liberal MP, Celina Caesar-Chavannes, has announced that she will not be seeking reelection this October in her Whitby, Ontario, riding. In a tart tweet, she declared: “When you add women, please do not expect the status quo. Expect us to make correct decisions, stand for what is right and exit when values are compromised.”

The issue has been framed in the media as Wilson-Raybould “speaking truth to power”. That’s because that phrase appeared in an open letter she released on January 14 after losing her position as justice minister and attorney general. She repeated it in her opening statement to the Commons justice committee late last month when she spoke of the importance of the rule of law and prosecutorial independence.

UBC law professor Mary Ellen Turpel-Lafond knows what it’s like to be out on her own speaking truth to power. As B.C.’s former advocate for children and youth, she often issued public reports about the mistreatment of young people in the care of the provincial government. At times, the backlash was very intense.

Turpel-Lafond told the Georgia Straight by phone that when she watched Wilson-Raybould testify, she

power without having an influential position in government. Moreover, Turpel-Lafond said, the MP didn’t portray herself as a victim. Instead, the former justice minister focused on how the principle of prosecutorial independence was being undermined when 10 people approached her or her chief of staff over four months to lobby for a deferred prosecution agreement for SNC-Lavalin.

Turpel-Lafond also saw WilsonRaybould living up to the example set by matriarchs in traditional Indigenous societies. In fact, Wilson-Raybould referred to herself as coming from a long line of matriarchs, saying she’s a “truth teller in accordance with the laws and traditions of our Big House”.

Turpel-Lafond revealed that in her own Cree culture, the importance of matriarchs is reflected when people say things like “Grandma makes the law; Grandpa enforces it.”

Turpel-Lafond added that there’s an element of fearlessness in matriarchs. “You have to stand up to Jody Wilson-Raybould and Jane Philpott shocked Canadians by quitting the cabinet. people that are bigger than you physfelt that this was a historic moment, logical, rational, focused approach ically. They may have a bigger title paralleling the time when an Indigen- despite a lot of the political distrac- than you. You have to find a way to ous Manitoba MP, Elijah Harper, held tions,” Turpel-Lafond said. be effective in that role. She has an up the approval of the Meech Lake She added that Wilson-Raybould’s amazing reputation on that front.” constitutional accord 29 years ago. testimony actually elevated the justice “I was extremely impressed by committee’s hearings in the eyes of SOMEONE ELSE who has watched her courage and her ability to handle the public. Part of Wilson-Raybould’s this story unfold with great interest a very intense, pressured situation public appeal, according to Turpel- is Mark Wexler, a professor of busiwith…a thoroughness and a very Lafond, is that she can demonstrate ness ethics and management at SFU’s Beedie School of Business. Wexler told the Straight by phone that Wilson-Raybould’s “ j’accuse position” enables her to be seen as the one to be trusted. But he also said that framing THE WORLD NEEDS more geek Corinne Alberti of the Robert the issue as speaking truth to power girls. Despite advances in many Debré Pediatric Teaching Hospiis clearly grounded in a “regulatory professions, women are under- tal in Paris; Robin Bennett, Unior legal argument” concerning the represented in the sciences. In versity of Washington Medical separation of powers in government.

Canada, women accounted for Center; Ineke Klinge, Maastricht “Where I think she gets a lot of only 33 percent of university University; Mona Nemer, chief points is from the image of herself as graduates in science, technol- science adviser, Government of a small underdog fighting the great ogy, engineering, and math- Canada; Simone Schürle-Finke, commercial barons and their lackematics in the 2011 National Swiss Federal Institute of Techeys, the Liberals,” Wexler said.

Household Survey. nology in Zurich; Lesley ShanHe added that her “virtue signalTo address the issue of gender non, SFU; Ilina Singh, Univerling is clearly that of somebody who balance, women scientists from sity of Oxford; and Christiane says the law is sacrosanct”. And he North America and Europe are described that as a “good position”. speaking at a Vancouver con- Woopen, University of Cologne.

But it also contradicts the fact that B.C. Lt.-Gov. Janet Austin will ference on Thursday (March the law sometimes requires modifideliver the opening remarks.

A 7). Dubbed “Women in Science, cations and it might even contradict Health and Innovation: Leader- panel discussion will follow the the position the government takes in talks, and it will be moderated ship Looking to the Future”, the the potential extradition of Huawei event is a collaboration among by UBC president Santa Ono and Technologies’ chief financial officer, the Consulates-General of France, Judy Illes of Neuroethics Canada.

Meng Wanzhou.

The conference will be held Germany, the Netherlands, Swit“Part of the problem is because zerland, the U.K., and the U.S., and at the Morris J. Wosk Centre for we place the attorney general and Dialogue (580 West Hastings Neuroethics Canada at UBC. the [justice] minister in the same ofThe featured speakers are Street), starting at 6:30 p.m. g fice,” Wexler said. “And, of course, the

F orum OF THE WEEK

minister, like all ministers, is exposed to friendship ties and other ministers—and the attorney general, with the prosecutorial function, is supposed to be quite aloof from that.”

In Wexler’s view, if the situation is viewed through a “structural” lens, this gives more weight to Trudeau’s argument that nonlegal variables, including employment impacts of a criminal conviction, should be part of the discussion around SNC-Lavalin. The “big business signal” coming from the “pragmatists”, according to Wexler, is over the future existence of SNC-Lavalin, its 9,000 Canadian employees, and its ability to bid on future contracts if it’s saddled with criminal convictions. He contrasted that with the idealistic position of Wilson-Raybould, which is rooted in rules.

Further complicating the issue are deferred prosecution agreements, which have never been implemented in Canada for corporate wrongdoing.

Wexler said that anytime a new law is introduced, it can get messy until thorny legal issues are clarified. “Yet the legalists [are] introducing the notion that it’s all very clear and it’s a done deal,” he said.

According to Wexler, Trudeau’s troubles are linked to appointing Wilson-Raybould as justice minister and attorney general with an idealistic perspective when he took office in 2015. But as he continued to govern the country—like his father, Pierre— he has found himself making more and more pragmatic decisions that don’t sit well with those who preferred his former approach.

“I’m not against idealists,” Wexler emphasized. “But I do recognize that idealism is a great, great position in jockeying when you’re in opposition.”

If Turpel-Lafond had a magic wand, she said, she would appoint WilsonRaybould as a Supreme Court of Canada judge. That’s because she believes that Wilson-Raybould has a solid understanding of the three pillars of Canada’s legal system: the English common law, the French civil code, and Indigenous-justice approaches.

Turpel-Lafond also said that WilsonRaybould will be considered in the future to be one of the best attorneys general in Canadian history.

“I think Canadians are going to be angry for some time about the fact that because she was so good at it she got fired,” Turpel-Lafond stated. “Because everyone has been in a workplace or a relationship where you’re punished for being good.” g

PRESIDENT’S FACULTY LECTURE SERIES

ANN TRAVERS Thursday March 14 7:00 pm Segal Graduate School of Business 500 Granville Street Vancouver RSVP This event is free but registration is required i.sfu.ca/xhhsjR

Transgender Kids at the Crossroads

Impacts of Colonialism, Racism and Poverty Dr. Ann Travers draws on critical theory from trans scholars of colour and allies to outline the importance of an integrated anti-oppression approach for understanding and supporting more precarious transgender kids.

CANADA’S ENGAGED UNIVERSITY sfu.ca

10 THE GEORGIA STR AIGHT MARCH 7 – 14 / 2019

education

It’s never too late to plan for the future Thanks to innovative thinking, there are more educational options for students of all ages

by Charlie Smith

go sailing and skiing on the same day.

“The island atmosphere is unique, I think, compared to anywhere else,” she declared. “The university creates a culture where young people feel that they can come here and get a job afterwards, especially in filmmaking and video.”

Vancouver Island University has 120 programs, including trades training, and also offers graduate education. When asked if she’s planning on returning to school, Doerksen said that for now, she’s just trying to get as much experience as she can in the workplace. “I think if I wanted to go get a master’s degree, I would be intending to teach.”

VANCOUVER ISLAND UNIVERSITY DIGITAL MEDIA STUDIES d ELISSA DOERKSEN knows there’s no shortage of options when it comes to obtaining a certificate or diploma in digital-media studies. But the former Quesnel resident wanted a degree, which led her to enroll at Vancouver Island University and move to Nanaimo.

“It had the four-year digital-media program, which covered everything— video, audio, and web design—rather than just specializing in one thing, which was exactly what I was looking for,” Doerksen told the Straight by phone. “I wanted to try it all out and see where I could take my career after going through the program.”

She also found Nanaimo appealing because it wasn’t as “overwhelming” or as expensive as Vancouver.

And because she had one year of general studies at another institution, she was allowed into second year and graduated in February of last year.

“I found the entire experience in my program so supportive,” Doerksen recalled, noting that the small class sizes meant students didn’t feel lost in a large institution. “The teachers were an inspiration to me—all of them.”

She explained that there are two pathways in the program: digital media and media studies and communications.

NYIT-VANCOUVER STUDENT SHOWCASE

Vancouver Island University grad Elissa Doerksen says the school’s digital media studies program transformed her life.

“I ended up focusing my projects on video,” she said. “Even if it was a media class, usually you would have to create something. I would always create video. Other people would create websites. It allowed for unique ways to specialize in that way.”

She is now employed by her local church to create videos, do graphic design, run its social-media accounts, and upload material to its website. On

the side, she’s developing her own videography business in Nanaimo.

If Doerksen has one piece of advice for students, it’s to make the most out of their education at Vancouver Island University. She was president of the digital-media studies club, took fitness classes at school, and joined the model United Nations and the Christian clubs. She also worked for the student newspaper and made videos for

the university, including one called “5 Things You’ll Love About VIU”.

“Those are the things that created a well-rounded portfolio for me,” Doerksen said. “Those connections are what got me multiple job offers once I graduated.”

She also made the most of the Vancouver Island vibe, hiking in local parks, surfing in Tofino, and going snowshoeing. It’s also possible to

d SINCE 2015, NYIT-Vancouver has been hosting well-attended student showcases to let prospective employers know about projects from its programs. The graduate school’s associate director of student affairs and career services, Logan Lorenz, told the Straight that at this year’s event, there will be up to 16 projects at the showcase completed by one or more students in the following disciplines: management; information, network, and computer security; energy management; and instructional technology.

“It’s mainly aimed at connecting

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MARCH 7 – 14 / 2019 THE GEORGIA STR AIGHT 11

from previous page

graduating students or students close to completion of their programs with professionals in industry,” Lorenz explained. “There will also be staff, faculty, and some of our recent alumni at the event as well.”

The student showcase will take place in the evening on April 9 at the Morris J. Wosk Centre for Dialogue (580 West Hastings Street). According to Lorenz, each group of students will create an academic poster summarizing the work that students performed on each project. The networking segment will include some food and beverages.

“Another large objective is helping students learn how to articulate the skills and knowledge that they’ve learned throughout their program,” Lorenz added. “Part of that is done through the academic posters in terms of limiting and concisely representing knowledge.”

NYIT-Vancouver is the Vancouver campus of the New York Institute of Technology, which also has campuses in New York, Arkansas, United Arab Emirates, and China. Accredited by the Middle States Commission on Higher Education, the institute offers two MBA programs with concentrations in management and finance at its Vancouver campus at 701 West Georgia Street. That’s also where it offers graduate degrees in energy management and instructional technology.

Its cybersecurity programs, which have 300 students, are at the Broadway Tech Centre near Renfrew Station. Lorenz noted that cybersecurity students often come into NYIT-Vancouver with undergraduate degrees in computer science or related fields.

“The full name of the program really does lay out the three big areas: one is around information security, one is around network security, and one is around computer security,” he said. “Cybersecurity is a really rapidly growing and ever-important field.”

Lorenz pointed out that cybersecurity is also relevant in instructional technology because people working in this area must consider security.

He said that this graduate program has a heavy focus on K-12 learning and it offers educators a chance to gain a master’s degree and work in instructional technology. The program also attracts students who want to become trainers with large companies.

Energy-management grads have a wide range of career options, including conducting energy audits, reducing the carbon footprint of buildings, and working in the resource-extraction industry. The program received a grant from B.C. Housing to create a lab with stations focusing on different

Design thinking is one of the key elements of the Digital Media Academy’s summer camps, which boost self-confidence and enhance students’ technological literacy.

energy technologies.

The MBA programs are accredited by the Association to Advance Collegiate Schools of Business. “So many of our students graduating from that program are interested in working in an office environment,” Lorenz said.

“I’ve recently seen a lot of students going into banking.”

NYIT-Vancouver attracts a significant number of international students. Lorenz said they undergo a great deal of personal and professional development during their time in Vancouver.

“I work really closely with them to make sure we’re getting relevant and up-to-date information about the jobs and industries that our students will be entering once they graduate,” he stated.

VANCOUVER COMMUNITY COLLEGE CONTINUING STUDIES COUNSELLING PROGRAMS d VANCOUVER COMMUNITY College makes it relatively easy for prospective students to determine if they’re well suited for a career in counselling. A 12-week introductory course called Basic Counselling Skills is offered to anyone interested in the field, providing insights into clientcentred counselling and offering foundational skills for most models of counselling and practice under the supervision of someone experienced in the field.

According to program coordinator Matt Stevenson, this course is a prerequisite for anyone who wants to enroll in a counselling certificate program. It’s offered on a part-time basis during days and evenings starting in April, September, and January.

“We market it as an opportunity for anyone who wants to do any sort of personal development or anyone

who is working in a people-facing role,” he told the Straight by phone.

“We feel that it’s very beneficial for anyone who wants to upgrade their communications skills.”

In September, VCC will launch its revised counselling-skills foundational certificate. It incorporates core aspects of certificate programs in addiction counselling and community counselling, which are being wound down.

“One of our mandates is to evaluate programs on a regular basis and update them as necessary,” Stevenson explained.

He said that the decision to bring them together came in response to discussions with people in the industry, who felt that it was important for graduates to be familiar with both components, in part because substance use and addiction are very prevalent.

The counselling-skills foundational certificate is offered on a part-time and full-time basis at VCC’s downtown location at 250 West Pender Street.

Courses are offered in the evenings.

Depending on how quickly students want to finish, they can take between one and four courses per week, Stevenson said. “The full-time option enables students to complete our program in one year to get them in the field right away.”

Stevenson said that all the instructors are practising counsellors who are up-to-date with the latest developments in the field. And he noted that they bring real-life examples from their practice into the classroom.

VCC has made certain that the new program includes courses ensuring that students become familiar with traditional and contemporary Indigenous practices, as well as diversity, different cultures, and inclusion. Stevenson also said that VCC is looking at developing an advanced certificate with a focus on addiction.

The average age of VCC counselling

students is about 40.

“They have this desire, ultimately, to help people,” Stevenson said. “That’s what brings people into our program.”

He said some mature students were previously involved in manual labour but are looking for a new career that won’t take such a toll on their body as they get older. He said the school is aware that making the transition back to school after many years in the workforce can be challenging—and it tries to ensure that this takes place smoothly.

Some students are eligible for full funding through Work B.C., provided they meet its requirements for completion of the program within a certain time frame.

“It’s a great option for those students that qualify,” Stevenson stated.

VCC Continuing Studies also offers professional-development courses in counselling for professionals working in a wide range of fields, including youth work, settlement services, social work, and health care.

“We’ve had nurses who work with clients facing substance-use challenges,” Stevenson revealed. “They have contacted us in the past to see if they could take those select courses from our program to get that knowledge so that they can better serve their clients in their professional life.”

He added that some of these courses are prerequisites for those who are planning to enroll in a university master’s program in counselling psychology.

DIGITAL MEDIA ACADEMY TECH CAMPS d BY NOW, the digital revolution has permeated the economy. It’s a reality in banking, architecture, media, retail, health care, and most other occupations. And since being founded at Stanford University in 2002, Digital Media Academy summer tech camps have given more than 150,000 North American children and youths an introduction to this area to boost their understanding of digital tools and computational literacy.

The camps, including one- and two-week sessions at UBC’s Point Grey campus, focus on six broad areas: 3-D modelling and design, coding and artificial intelligence, film and photography, game design, music production, and robotics and engineering.

“We attract the geeks, and we’re proud to be geeks at the camps,” Marcus Duvoisin, director of curriculum and instruction, told the Straight by phone. “The kind of kids who come to the classes are usually the outsiders in the school.”

He noted that they sometimes

start the week lacking in self-confidence. “Then by the time Friday hits, it’s like they’ve found their tribe,” Duvoisin added. “The amount of social confidence that they get from that experience is something I get really passionate and fired up about.”

At many locations, Digital Media Academy camps accept students from age seven to 17; at UBC, there are two age groups, nine to 12 and 12 to 17, starting on July 8. It’s projectbased learning, and staff are certified in first aid and CPR. Sari Van Otegham, national camp operations director, told the Straight by phone that the Digital Media Academy blends the learning of technology skills with soft skills—such as collaboration and problem-solving—that young people are going to need to succeed in the 21st-century workforce.

“We’re able to do that in a blended way that really creates a holistic experience that makes a difference for children in their lives,” Otegham said. “So it becomes not only a powerful experience but an excellent investment in their child’s future.”

She pointed out that the collegecampus experience sets the Digital Media Academy apart from many other programs, helping students experience what it’s like to be at topnotch universities.

Duvoisin takes pride in the Digital Media Academy’s strong focus on design thinking. He explained that this is a reframing of the engineering design process to extend far beyond this discipline.

“Who are you designing for?

What’s the problem you’re trying to solve?” he asked. “Let’s come up with as many solutions to that problem as possible. Let’s prototype one of our ideas. Show the prototype to the user. Get feedback and redesign. You might go through that loop over and over again until you get the solution or creation that you’re happy with.”

As an example, he said that students are encouraged to think of the end user of a video game. It needs to be challenging enough to retain the user’s attention but not so difficult that the person gives up and walks away.

This approach came directly from former curriculum designer Seamus Yu Harte, a lecturer at the Hasso Plattner Institute of Design at Stanford.

Students are given positive encouragement and urged to follow their curiosity on projects. The goal is to turn them into “fearless” creators. “We try to get kids to prevent giving up, to learn from their failure, to see that it’s part of the process to see next page

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persevere,” Duvoisin said.

The first three days are focused on smaller projects with “easy wins” to build confidence.

Then students tackle more ambitious projects, which will be showcased on the final day to parents in an open house in the classroom.

“Usually, we encourage opportunities for the students to have a public-speaking experience,” he stated. “They get up in front of the room, in front of all the other parents, and present what they worked on.”

It may be a photography project for a pretend client, game design, filmmaking, or something else. Instructors work in the fields in which they teach, according to Duvoisin, and teaching assistants, often postsecondary computer-science students, are hired to ensure that there is at least a 1:10 instructor-to-student ratio in the camps.

Students matter here.

My VIU experience “I came to VIU with no idea what I wanted to do with my life. I found my calling in biology and science. The people I have gotten to know, work with and learn from have helped me become who I am. The love, effort and passion that the people at this school demonstrate day in and day out are infectious.”

– Eric Friesen Eric graduated at VIU with a Bachelor of Science, Major in Biology, and is now pursuing his MSc in Biological Sciences at the University of Alberta.

LANGARA COLLEGE BACHELOR OF BUSINESS ADMINISTRATION IN ACCOUNTING d CHRISTINE WOODINGTON has fond memories of her business education at Langara College. And she credits the school for helping her find a rewarding and fulfilling career as a chartered professional accountant—even though she had no idea at the start of her program that that was where it would lead.

“I definitely stumbled upon it,” Woodington told the Straight by phone with a laugh. “Growing up, I always wanted to be a teacher.”

But her interest in business developed when she was working in a managerial position at McDonald’s, supervising staff and dealing with lots of cash. While there, she took an accounting course at BCIT and discovered she had an aptitude for it.

She enrolled in Langara College in 2002 with a goal of obtaining a diploma in financial management. When she took a year off, the school announced that it was offering a four-year bachelor degree in business administration so she decided to carry on with her education at Langara. That’s because she liked the smaller, friendly feel of the campus. Plus, the school allowed her to apply the credits for her diploma toward the degree.

“None of my classes were in any of those huge lecture halls that someone would picture at UBC or SFU,” Woodington said. “So there was always a lot of personal attention.”

Instructors knew her by name, not just by her student identification number. According to

Christine Woodington became a chartered professional accountant thanks to Langara.

Woodington, they were very welcoming when she would pop by their offices to ask for guidance.

One of the highlights was the school’s fourmonth co-op programs. Her first placement was in the purchasing department at General Paint. When she completed this term, the company offered her a job and she stuck around for eight months.

But she was eager to return to Langara. Her second co-op placement with SCI/Alderwoods Group at the end of her diploma program led to another job offer, where she remained for three years. Her employer paid for her schooling to obtain a degree.

“I was surrounded by accountants,” Woodington recalled. “It was all as a result of the coop program at Langara. I’m forever grateful.”

She recently won the Distinguished Service Award from Chartered Professional Accountants of B.C. and is vice-chair of the organization’s Vancouver chapter. It came as a result of her extensive volunteering on behalf of the profession. She’s been a mentor at Langara College and with Simon Fraser University, and she’s also

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part of the mentor advisory board of CPABC. Woodington pointed out that CPA students are required to have a mentor in order to graduate and obtain their professional credential.

“We wanted to make sure they’re getting value for their time and getting a mentor—not just a member to sign off on them,” she stated.

As a CPABC ambassador, she also visits schools to talk about “all the amazing things an accountant does”. Echoing a CPA marketing campaign, she insisted that the work is anything but boring.

Nowadays, Woodington is a corporate accountant at Coal Island Ltd and even hired a Langara student whom she met through a mentorship program.

“I’m continuing to carry on supporting Langara the way they supported me,” she said.

LANGARA COLLEGE YOGA THERAPY AND YOGA TEACHER TRAINING d AS A PERSON with a chronic medical condition, Naseem Gulamhusein has long appreciated the therapeutic value of yoga. A former student of Baba Hari Dass, a yoga master who died last year, she has studied the Hindu spiritual and ascetic discipline in northern India, California, and New Mexico.

Gulamhusein, the program coordinator for Langara College’s yoga teacher training program, has also accompanied students to India. In recent years, there has been a plethora of peer-reviewed research papers published highlighting yoga’s positive effects as a complementary therapy for anxiety, depression, cardiovascular health, and pain management, among other conditions.

She told the Straight by phone that this has been the impetus for Langara College to launch a new yoga therapy for integrative health certificate program. It will focus on postures, breathing practices, meditation, and lifestyle choices that promote physical and mental well-being.

“It’s looking at the integrative approach,” Gulamhusein explained.

“We look at the allopathic western model for both physiology and psychology, but we also balance it with the eastern and holistic models of well-being, which is looking at the whole individual.”

The new certificate program begins in September and includes a wide range of required courses, including foundations in yoga therapy, Ayurveda foundations in yoga ther-

Studio 58 acting students Alina Wong (left) and Gaia Chernushenko do double duty as members of the lighting crew, preparing for the school’s next production.

apy, and anatomy and physiology for yoga therapists. Other courses cover chronic pain and trauma, mindfulness-based stress reduction for chronic pain, and understanding modern pain science.

It’s offered through Langara’s continuing-studies programs, which means students can take up to two years to complete it if they choose to do it on a part-time basis.

“I don’t think health anymore can just be looked at from strictly an allopathic model, because people are so diverse in their bodies,” Gulamhusein said. “What might work for one person might not work for another person.”

The yoga therapy for integrative health certificate program delivers 800 hours of instruction. One of the members of the advisory board is Dr. Arun Garg, a yoga enthusiast and former president of Doctors of B.C. Langara also offers a 250-hour yoga teacher training course in a summer intensive from May to August.

Together, these two programs are enough to obtain the 1,000 hours of training that’s required for accreditation by the International Association of Yoga Therapists, according to Gulamhusein.

“Once people become yoga teachers, the next step, if they’re interested, is to go into the field of yoga therapy,” she said.

Gulamhusein added that the yoga teacher training program provides the necessary background for someone to start a career.

“It’s an entrepreneurial endeavour,” she stated. “You have to put yourself out there and really work on getting students to attend your classes to make a viable living as a yoga teacher. But it’s so rewarding to work in the field of health care and health and wellness.”

aspect of this art form. According to the school’s associate director, David Hudgins, actors learn about production, and those who aspire to careers in production learn about acting.

It means that no matter which career focus they choose, they’ll have a bigger view of what theatre is. “One of the signatures of our program is the integration of the technical production side with the acting side,” he said.

Students create their own work, even from the beginning. “As they exit the program, all the students, including the production students, do a 20-minute solo show,” he said. “It’s the last thing they do.”

That involves writing and developing the concept and figuring out the technical requirements. Hudgins said that this cements the notion that they’re working as theatre artists, not just learning technically how to be an actor or a lighting designer.

“It’s how to be part of the community that’s out there,” Hudgins added.

Studio 58 began in 1965 and since then has grown to become a premier training ground for theatre artists in Western Canada. It conducts auditions in several Canadian cities in late April and early May and then the school chooses two intakes of about 16 students each. In September, according to Hudgins, they’re all acting students. The January intake also includes production students. Actors study for three years with two summers off, whereas production students attend for two years with two summers off. There’s no differentiation in the course work in the first term. And in the first three terms of the six-term acting program, students are still doing crew work after their classes.

“In doing that, they get a good sense of backstage; they get a good sense of the different departments LANGARA COLLEGE STUDIO 58 and what that is like,” Hudgins said.

“So you don’t get that separation that d STUDIO 58 is in the business of is common: ‘Oh, you’re an actor; creating theatre artists—in every you’re a techie.’ ”

In the fourth, fifth, and sixth terms, the acting students are on-stage. Hudgins explained that the first project in the fourth term is “kind of risky and more experimental”, coming from the students, but it’s overseen by a professional director.

“All of the projects in the upper terms involve working professionals who come in from outside the school to direct,” he revealed.

Professional designers and technical personnel also serve as mentors to the students. Studio 58 presents two indie-style and four full-length productions a year, and there’s a wide range of performances, including musical theatre.

“We just did Cabaret, which was a big hit here,” Hudgins said.

Another production, Mortified, received rave reviews. And there’s a daring new initiative, Hot House, launched this year, in which all the students collaborate on original productions. Hudgins said that they enjoy it because they’re getting a range of experience by taking on different tasks, including writing and directing, at a higher level than is the norm for students.

Studio 58 provides instruction not only in physical theatre but also in other forms of movement, including dance. In addition, there are instructors who specialize in playwriting, voice, costume design, set design, street theatre, choir, technical direction, and lighting design. There is also a weekly class with a film and TV actor to help students gain insights into both big and small screens.

“We’ve had a lot of agents who say, ‘I love Studio 58 actors. They’re so well trained,’ ” Hudgins said.

The school has also been a leader in advancing women in theatre and in countering sexual harassment, thanks in part to artistic director Kathryn Shaw. In a statement issued last year, Shaw said students, faculty, staff, and visiting professionals must speak up and stand together if problems arise.

“Since Studio 58 is a training program that mirrors the profession, we are choosing to adopt the professional standards set out in Equity’s antiharassment campaign, developed to stop harassment before it starts,” she said.

The most famous graduate is probably Colin Mochrie, Hudgins said, but there are many other well-known alumni, including set and costume designer Drew Facey, Electric Company Theatre cofounder Jonathon Young, and actors Luke Camilleri, Jane Perry, Byron Noble, Lara Gilchrist, Scott Bellis, and many more.

VANCOUVER COMMUNITY COLLEGE RED SEAL IN HAIRSTYLING d MANY BRITISH COLUMBIANS don’t realize that in 2003, the B.C. government deregulated hairdressing.

This meant anyone could pick up a pair of scissors and work in this field.

But according to Emma Rasmussen, instructional assistant in the hairstylist certificate program at Vancouver Community College, this is expected to change now that hairdressing is recognized as a Red Seal trade.

“The Red Seal is recognized as the interprovincial standard of excellence in skilled trades,” Rasmussen told the Straight by phone.

She pointed out that this designation is a requirement for being a hairstylist in other provinces. And Vancouver Community College will begin offering a two-level Red Seal training program this year. This means graduates will be able to work anywhere in Canada.

Level 1 involves 10 weeks of training, with intakes starting in May and September. Level 2 lasts five weeks, with intakes in April and July.

Rasmussen explained that a person needs to spend 3,600 hours of workplace training in the hairstyling apprenticeship program before obtaining the Red Seal designation.

She added that anyone who has already completed VCC’s hairstylist certificate program can use this as the equivalent of doing the Level 1 apprenticeship.

“You actually accumulate 900 hours in the hairstylist foundation program,” she pointed out. “Then you can go on to complete the hairstylist apprenticeship Level 2.”

The first thing a prospective student must do is register with the Industry Training Authority as an apprentice and obtain an ITA identification number.

About 80 percent of the time in a Red Seal hairstyling apprenticeship is spent in on-the-job training and about 20 percent involves classroom instruction. This enables students to earn money while pursuing their trade certification.

Level 1 involves 300 hours of classroom instruction at VCC’s downtown campus and covers the foundations of hairstyling, including basic hygiene, sanitation, and disinfection practices, as well as the use and maintenance of tools.

In addition, Rasmussen said, Level 1 students receive an education in client services, hair and scalp care, basic cutting, hairstyling, colouring, chemical see next page

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14 THE GEORGIA STR AIGHT MARCH 7 – 14 / 2019

waving, and business management. At the end of Level 1, students take an ITA standardized written exam, and if they pass, VCC instructors recommend that they find a job.

This starts them toward accumulating the necessary training hours before returning for Level 2. “It’s building on the foundations taught in Level 1 but with more advanced technique and more advanced mastery of those skills that you learned,” Rasmussen stated.

These include learning about customized haircutting using specific tools and techniques, designing updos, performing more in-depth colour corrections, and resolving client concerns and complaints.

“One general misconception is that it’s an easy job and that hairstylists don’t require a lot of skill,” Rasmussen said. “There’s actually a lot of science and biology behind what we learn.”

She said that VCC hairstyling instructors all have been in the industry for at least 10 years and love what they do. The college provides them with professional-development training, which enables them to attend trade shows and take courses to stay on top of what’s happening in their field.

When asked what types of people thrive as hairstylists, Rasmussen replied that it’s ideal for those who are artistic, creative, and interested in fashion or visual arts.

“It’s an ever-evolving industry,” she said. “Like how fashion changes, so do hairstyles.”

She encouraged anyone interested in pursuing a Red Seal hairstyling certification to go to www.vcc.com/ for more information.

LANGARA COLLEGE APPLIED SOCIAL SCIENCES AND HUMANITIES d A COMMON CRITICISM of education in social sciences and the humanities is that it doesn’t provide the practical skills necessary to thrive in a technologically advanced economy. But what if a social sciences and

Vancouver Community College has launched a Red Seal program in hairdressing, which will enable graduates to work with clients in other Canadian provinces.

humanities diploma also included training in microeconomics and macroeconomics, entrepreneurship, business computer applications, accounting for managers, and an introduction to programming and web programming?

Then consider if this diploma also offers education in research methods in psychology, sociology, criminology, and anthropology, a basic understanding of statistics, and an introduction to psychology. Top that off with an introduction to government and politics, philosophy, and essaywriting and short-prose selections.

That’s what’s now being offered at Langara College in a unique twoyear diploma program in applied social sciences and humanities— a.k.a. the DASSH. At the conclusion, students must complete a capstone project that more closely resembles a consultant’s report than a final essay.

“They will work with a partner in business or a nongovernmental organization where they’ll have a project or a role where we hope they will be able to make use of all the skills that they have acquired in the courses in the program,” Langara philosophy instructor John Russell explained by phone.

Credits are transferable to university programs, which means students have the option of using this diploma

as a ladder to a degree.

“One of the fallacies is you can just simply teach critical thinking,” Russell stated. “Critical thinking depends on having a background of knowledge that is reliable and useful. If you don’t have an awareness—a basic knowledge—then your assumptions are going to be faulty and any reasoning you use with those assumptions is going to be problematic.”

DASSH department chair Colin Mills told the Straight that the curriculum was developed in response to recommendations from the Conference Board of Canada that workers have a rounded set of skills in the future. As part of the program, students are required to create an electronic portfolio on the Internet.

“There is a real skills focus rather than just a knowledge focus in the program,” Mills stated.

He added that students will also be able to add citations to their DASSH credential based on electives that they take. For instance, they could graduate with a DASSH and a citation in environmental studies or a citation in American studies, which could be beneficial for their career development or for advancing into a university degree program.

Russell said the program was designed with learning outcomes in mind. He pointed out that people

working in business and the nonprofit sector, particularly in management, need to know how laws are developed and how to read financial statements.

In addition, anyone in marketing must understand how to assess populations and think about geography.

The DASSH diploma provides students with these insights.

“I think social-sciences humanities has gotten extremely bad press, but one of the reasons is that they haven’t been able to defend themselves as well as they could because they have not been able to package and present what it is they provide in any systematic way,” Russell said. “But we do think the programs like the one we’ve developed will do a better job of preparing social-sciences and humanities students for the workforce.”

Part of the reason, he added, is because academic departments in universities are research-oriented and often function as silos, separated from one another. Langara, on the other hand, is a smaller institution with a mandate to provide students with employment skills.

At this point, Mills jumped into the conversation to say that Langara is ideally positioned to provide this because it has vibrant liberal-arts programs as part of its universitytransfer offerings, as well as vocational and career training.

“This adding of these very practical skills is a way in which this knowledge can be actualized in the world,” he said. “It can be turned into something.”

HARRIS INSTITUTE d WHEN JOHN HARRIS founded the Harris Institute in Toronto 30 years ago, he had two straightforward goals. He wanted to strengthen the Canadian music industry and give students the tools, knowledge, and skills to have lifelong careers in this sector.

“I had been in the music industry for 25 years,” Harris told the Straight by phone from the school. “I was very fortunate to do quite well and do a lot

of things. I managed artists that toured the world and sold millions of records.

I started a record company.”

He also built the world’s largest sound system as a consultant for Pope John Paul II when he visited Canada in 1984. Plus, he’s taken a Canadianwritten musical to Broadway. But he observed many others having relatively short careers in the music industry because they had trouble adapting.

“I wanted to do something different, something significant,” Harris said.

“So I went out and found 22 awardwinning leaders in every area of the music industry and started a school.”

In the past two years, he noted, graduates of the Harris Institute have won or been nominated for 247 awards, including Grammys, Emmys, Oscars, Junos, and Canadian Screen Awards.

That, he said, is worth celebrating on the school’s 30th anniversary.

“We’re also celebrating the fact that in the recent statistics released by the Ministry of Training, Colleges and Universities in Ontario, Harris Institute became the first school, I think, anywhere ever to achieve a 100-percent graduate employment rate and a 100-percent graduate satisfaction rate,” Harris said. “There may be another school but I’m not aware of it.”

He also said that the Harris Institute is the only postsecondary school in North America to have recorded zero-percent student-loan-default rates on four occasions.

It’s had two one-year programs since its inception: audio production and arts management. It’s possible to obtain a double diploma by taking both programs over a 20-month period.

Harris said that the audio-production program includes music recording, audio for games, broadcast audio, audio post for film and television, and all the major digital workstations, to give students a broad-based education.

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MARCH 7 – 14 / 2019 THE GEORGIA STR AIGHT 15

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marketing, international marketing, and concert promotion.

According to Harris, graduates are working at record and film companies, booking agencies, production houses, advertising agencies, and studios, among other areas.

When asked why the Harris Institute has been so successful, the founder didn’t hesitate before responding. “The faculty,” he said. “Over 60 percent of our faculty have won awards for what they teach.”

The chair of the arts-management program and vice president of the school, Bob Roper, is a Juno Award winner and a former executive director of the Juno Awards. Another vice president and the chair of the audioproduction program, Doug McClement, is a Gemini Award winner and, according to Harris, arguably Canada’s leading audio engineer.

“Terry Brown, who teaches production, is Canada’s most awarded record producer,” Harris continued. “He did, among many others, 10 Rush albums.”

He said that Martin Pilchner, who teaches studio design, is arguably the world’s leading studio designer.

The Harris Institute is also celebrating the 15th anniversary of a partnership with the University of West Scotland, which is among the top 500 universities in the world, according to Times Higher Education.

Graduates of the Toronto school can go to Scotland and earn a degree for free in eight months. It’s free because students from the Scottish university come to Toronto during their summer break between their third and fourth years, and the Harris Institute helps them find work placements in their fields of study.

Harris Institute graduates who do a double diploma can enroll in a graduate program at the Scottish university.

This can provide a student with two college diplomas and a master’s degree in 32 months. Harris pointed out that students have to pay for that degree.

It’s another way of accelerating the postsecondary-education experience,

Capilano University, Vancouver Film School, LaSalle College Vancouver, and Trinity Western University.

“We do see 12,000 attendees across all five fairs,” Phifer noted. “If anyone wants to get in front of a large audience, we’re the event to be at because we see such high traffic.”

Phifer herself wishes that she’d known about these events when she was young. “I was 26 when I went back to university because when I graduated from high school I had no idea what I wanted to do,” she revealed.

Sponsorship opportunities are available on the Education & Career Education & Career Fairs are offered every year in five cities in British Columbia, Fairs website at www.educationenabling sponsors to be able to get their messages across to 12,000 students. careerfairs.com/. Title sponsors will which was another one of Harris’s included B.C. Emergency Services, be able to give information presentaoriginal goals. the Vancouver Police Department, tions in the Learning Lounge in front the City of Vancouver, the City of Sur- of audiences of 60 to 100 attendees.

EDUCATION & CAREER FAIRS rey, and Metro Vancouver from the public sector. Phifer said that the B.C. CAPILANO UNIVERSITY d B.C. POSTED a 4.7-percent un- Agriculture Council was also an ex- ARTS AND ENTERTAINMENT employment rate in January, which hibitor last year because there are so MANAGEMENT is close to a 40-year low. According many opportunities in this industry. to a September report by the Busi“We’ve worked in the past with d ARTS, CULTURE, and heritage is ness Development Bank of Canada, the B.C. Manufacturing Council and a $53.8-billion industry in Canada, 45 percent of B.C. businesses had the B.C. Landscape Association,” she and this sector has more than 650,000 trouble hiring new workers over the added. “It’s interesting because you’ll jobs, according to the Ministry of previous 12 months. hear students walk away saying, ‘I Canadian Heritage. But many people Entire industries are feeling the didn’t even know I could get a career aren’t aware where they can get trainpinch of B.C.’s labour shortage, but in landscaping.’ We really want to ing to work in arts-and-entertainment they will have a chance to address bring in more exhibitors and show- management, according to Jennifer the problem if they participate in the case different types of opportunities.” Nesselroad, chair of Capilano Univernext round of Education & Career One company that has partici- sity’s school of performing arts.

Fairs, which are put on in late Nov- pated, Brinkman & Associates ReShe’s also program coordinator of ember and early December by Inter- forestation, has brought trees to fairs the school’s arts-and-entertainment national Conference Services. These so students can actually touch and management program, which offers fairs, which connect job seekers and interact with things. “That’s another a two-year diploma and a one-year employers, have been offered for more really strong focus for us,” Phifer said. advanced certificate. than two decades as a one-stop shop The diploma students are often Exhibitors are encouraged to for local employers, industry associa- focus on careers rather than simply younger students who attend fulltions, governments, private training promote themselves. To that end, she time, learning about production and institutions, colleges, and universi- said that the University of British design, record-label and festival manties. They gather at these trade shows Columbia focused its presentations agement, and a broad overview of to offer career advice to secondary- on the field of engineering rather the arts-and-entertainment industry. school students and others who are than simply promoting its own en- There are also courses focusing on considering different career options. gineering school. This enabled young computer applications in arts-andLast year, they took place in five cit- people to learn about different types entertainment management, techies: Vancouver, Surrey, Abbotsford, of opportunities in this profession. nical theatre fundamentals, writing Nanaimo, and Kelowna.

Other educational institutions strategies, and venue management.

That’s in addition to doing front-of“Our main goal is to give a holistic that have been involved include Lanview of a career,” trade-show manager gara College, the Centre for Arts and house shifts in their first year at CapiKate Phifer told the Straight by phone. Technology, the University of Victoria, lano University’s BlueShore Financial Participants in the past have Kwantlen Polytechnic University, Centre for the Performing Arts.

In their second year, in addition to course work, diploma students go on practicums to gain hands-on experience with professional organizations. They can be placed at music-oriented companies like the Feldman Agency, Nettwerk Music Group, and 604 Records or arts organizations involved in everything from theatre to dance to festivals.

“We’ve got two sides,” Nesselroad told the Straight by phone.

“We cover commercial music and the nonprofit side.”

An instructor in the arts-andentertainment management program, Christy Goerzen, told the Straight by phone that some are also interested in film and TV production.

“So we have students going to talent agencies, casting agencies, and that sort of thing, too,” she said.

Nesselroad and Goerzen explained that the one-year advancedcertificate program is geared more toward people who either have volunteered in the area or have some arts-related industry experience. It offers 300-level courses in advanced financial management in arts and entertainment as well as advanced media relations, marketing, and promotions.

There are other courses focusing on fundraising and sponsorships, artist development, production and tour management, and organizational structures in the industry.

“With the academic portion, they’re in the classroom for two days a week, from May to August,” Nesselroad said. “Then they go straight into the practicum in September, so they’re working 28 hours a week.

There is some academic work online that goes with it, but they don’t actually come to campus after that except for a few short seminars.”

Goerzen said the certificate program attracts more mature students and they come from a wide variety of backgrounds. “We had one who has a doctorate in astrophysics,” she said. “She has been volunteering in the arts and she wanted to work in the arts, so she made a big see next page

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career change. We have interesting stories like that which come out of the certificate program.”

FEDERATION OF POSTSECONDARY EDUCATORS OF B.C. d THE CONCEPT of equal pay for equal work has been a principle of labour relations for decades. It’s included in the International Covenant on Economic, Social and Cultural Rights. It’s recognized in the European Social Charter and the African Charter on Human and People’s Rights.

But according to the president of the Federation of Post-Secondary Educators of B.C., it’s far from universally recognized on B.C. postsecondary campuses. In a phone interview with the Straight, George Davison estimated that 3,000 of the 10,000 members of his organization are being paid less than their peers because they’re hired on contracts.

“Some of them are being paid 80 percent less than their regular colleagues,” Davison said.

The FPSE’s members include educators, researchers, artists, librarians, archivists, support staff, and IT technicians at 18 public-sector institutions. He said that 16 of these schools “have one form or another of problems” concerning contracted academics. The only two exceptions, according to Davison, are Langara College and Vancouver Community College.

“We’re not in bargaining right now,” Davison stated. “We’re just trying to raise awareness generally that this is unfair.”

He added that some FPSE locals have members who are paid on the provincial salary scale while under contract. Others, he insisted, are paid an hourly rate or a per-course rate that is significantly less.

“We would like pro-rata pay for these folks,” he said. “At this point, we’re not talking specifics about how to do it.”

The FPSE makes annual submissions to the legislature’s standing committee on finance, and it did

FPSE president George Davison says too many faculty aren’t being treated fairly.

some lobbying about this during Fair Employment Week last October.

Davison said this isn’t something that can be brought up at the Labour Relations Board because it’s not a violation of the collective agreement.

But he pointed out that if a regular faculty member making $70,000 or $80,000 receives a two-percent raise, that’s a lot more money than the same percentage going to somebody earning $25 or $30 per hour. He said that instructors spend at least two hours of time outside the classroom on marking and lesson preparation for every hour they spend in front of the class making an hourly wage.

“A general observation is that women, people of colour, Indigenous instructors, and people with disabilities are disproportionately impacted negatively by the contracts,” Davison said.

Davison taught Canadian history at the College of New Caledonia in Prince George before becoming the FPSE president.

He said that anyone who is interested in learning more about this issue can visit www.precar iousprofsbc.ca/, which includes stories of current and former sessional instructors who’ve lived with the uncertainty of working on contract.

The stories only include the instructors’ first names. “People who stick their head up often get necks cut,” Davison noted. g

Congratulations to Vancouver Community College’s Outstanding Alumni winners of 2018.

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HIGH TECH

Tech event spotlights female leaders

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lthough the tech industry in British Columbia is expanding rapidly, the representation of women in the sector is not keeping pace.

According to a Women in Tech World and Discovery Foundation gender-equality road-map report— a study that determines how many women are currently in tech-related jobs—men continue to significantly outnumber their female counterparts. That’s not due, however, to women’s lack of interest in the sector. Data from the report shows that women represent 54 percent of B.C.’s postsecondary graduates in science and technology—but most never make it to a job in their area of study.

Of B.C.’s STEM workforce, women make up only 15 to 20 percent: a number that, strikingly, is well below the Canadian average of 25 percent.

Now, cities and municipalities are stepping up to close that gap.

This year, New Westminster is leading the charge with its third annual Innovation Week. The seven-day event brings leaders together to discuss the issues facing Canadian cities and will culminate on Friday (March 8)— International Women’s Day—with a daylong summit focusing on promoting and celebrating women in STEAM (science, technology, engineering, arts, and mathematics). Assembling individuals from governments, nonprofits, academia, and private business, the event will break down what’s working and what is still needed to advance female representation in tech fields.

For Denise Williams, CEO of the First Nations Technology Council, offering a forum for female voices is vital to moving the culture forward. “What’s holding women back?� she asks herself on the line from her North Van office, discussing the

First Nations Technology Council CEO Denise Williams will discuss inclusion.

panel she is set to moderate at the Innovation Week event. “I think there are a few things. I think that for midcareer women like me, we haven’t necessarily seen ourselves represented in STEAM. [Of] the women that we do know, I feel they have been outliers in a lot of ways. I think without that kind of encouragement and exemplars of what being a woman in STEAM looks like, it’s hard to imagine yourself in that role. “For anyone who’s looking for a new career, you’d like to talk to someone else who’s in it and who can share what to expect, so that you can determine whether it’s something you’d like to spend time and money and education to go into,� she continues. “I think that’s emerging at the moment. There’s an admirable network of women, especially in British Columbia in STEAM, who have come together to be those champions. They are visible, and they’re trying to make it more accessible. I think that’s probably one of the bigger barriers, and one of the places I’ve seen the biggest movement in a positive way.�

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representation in tech fields is a rise in government-funded programs.

The First Nations Technology Council, for instance, has just launched two new initiatives—foundations in innovation and technology, and futures in innovation and technology—that will introduce young Indigenous people to the sector and boost those with the enthusiasm and aptitude into tech careers. Most applicants are women in their mid20s and -30s.

Leading a panel of executives from similar nonprofit organizations at the event, Williams will discuss how greater collaboration will help get individuals like those into tech. “Most of us are program-funded,� she says. “So our program funding, coming from government, really asks us to work in silos. Everyone’s got their mandates and agendas. There’s something greater in coming together, because at the end of the day, we all want the best for our participants.

There is no one program or organization that can really address all the needs of a person. At the moment, it feels like a lot of responsibility lies with the individual to navigate all the systems...That’s counterproductive for them, but also for us as well, because we don’t have eyes on what really made a difference, where we could better support people, and therefore how we can advocate for that in the future. “I always say that innovation is predicated on diversity of thought,� she continues. “I think it’s really important for cities and municipalities to consider that and how to bring different voices in closer.� g New Westminster Innovation Week’s women in STEAM symposium is at the Anvil Centre (777 Columbia Street) on Friday (March 8).

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by Rose Marcus

ercury retrograde is fresh at it, so make sure to put safety, health, and healthy choices to the forefront. Instinct and intuition can be wisdom tools; impulsiveness and overly high expectations are just the opposite.

Through Saturday, the transiting moon in Aries keeps the action on the upbeat. At work or at play, all it takes is a spark to get a good fire going. Sunday, relax and don’t spend or drain your time; enjoy it instead.

The energy shifts into a somewhat slower and steadier pace, thanks to the transiting moon in Taurus. Monday, there’s good money and good business to be had. Good money can be easily spent, too. Put creativity to good use; take your time and don’t push what isn’t coming naturally. As of Tuesday/Wednesday, the transit moon in Gemini sets a trend, delivers news, and puts more into circulation. Use these days to connect and communicate, to catch up, explore more options, get out of your chair, or get around town. Also keep your schedule flexible. A change of plans or something extra and/or unforeseen could reroute you.

While Mercury retrograde continues, uncertainty also continues.

At the same time, the transit aims to benefit you by revealing what is essential for you to know. It will do that by peeling it back a layer at a time, or all at once. Despite the fluidity of circumstances, Mars in Taurus holds it steady with Saturn through next Thursday. What continues to build is substantial. As has been demonstrated via recent politics, reality is being rapidly, radically, and permanently altered. This is the signature of Uranus, freshly into Taurus.

E

LEO

July 22–August 23

Instinct and intuition are worth heeding, especially Thursday/ Friday. Spontaneity is your best play, but while Mercury is retrograde, know it is far too easy to go too far, promise or spend too much. Make sure you know what you are getting into first. On another note, the transit is a good one for taking quality time out for creativity, romance, or a personal regroup.

F

VIRGO

G

LIBRA

H

SCORPIO

C

Pass

September 23–October 23

Mercury retrograde continues to keep you deeply submerged in a process, job, or task. You can do no better than to allow yourself to do just that, but make sure it is in a healthy way. Thursday through Saturday keeps you on a good cut to the chase. Sunday onward, you’re on the gain.

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While Mercury retrograde continues, don’t push or force. Reserve judgment or expectation; ease up on the rules and the “should” category. The transit can prompt a temporary shift of priorities regarding the way you do business. Trust your instincts, feelings, and first impressions. Sunday/Monday, say less; demonstrate more. Overall, now through next week you’re on a roll.

Soak it in/soak it up!

D

Your 2019/20 Sno w

Peace and quiet can do you plenty good. Take time to feel your way along. Don’t let anyone or anything put you under extra pressure. When the right moment, answer, or opportunity appears, you’ll know it. Now through next Wednesday, your intuitive radar is sharp. Despite whatever Mercury retrograde dishes up, Mars in Taurus keeps you hitting the mark very well.

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Despite Mercury retrograde, for the most part, you should find you are moving along an excellent track, especially regarding creative enterprise. Thursday, quick thinking does the trick. Through Saturday, stick to spontaneous, straightforward, natural, ready, simple, and easy. Sunday/ Monday, give it/give folks extra time.

ARIES Tuesday/Wednesday calls for more March 20–April 20 juggling, running around, back and A fresh download or some- forth, or talking it out. thing read, said, or viewed could SAGITTARIUS kick-start it Thursday. Friday/SaturNovember 22–December 21 day continues the good trend. SunFeel like hiding out or disapday/Monday, take more time; go by feel. Creative projects and choices pearing for a while? Such is the nature are your best bets. Tuesday/Wednes- of the sun, Neptune, and Mercury day there’s more to say, do, review, retrograde in Pisces. Expect to stay or repeat. Mercury retrograde is completely immersed in an emotional best used for introspection, clear- journey. Memories flood in. The stars ing emotional clutter, and spiritual activate your dream cycle, imaginareplenishment. Enjoy the now; soon tion, and creative process and heighten sensation/sensory responses, especially the pace picks up. through Monday. Follow instincts and TAURUS intuition. One way or another, TuesApril 20–May 21 day/Wednesday keeps you on the go.

The next couple of weeks CAPRICORN take you through an important December 21–January 20 sort-it-out process. Place yourWhile Mercury retrograde self in observation mode and allow your intuition to inform you. continues, ask more questions; stay If confusion or uncertainty filters observant; rely on your intuition. in, don’t struggle with it; sit with Thursday’s trigger gets the action, init instead. Work on inner stillness ner dialogue, or conversation going in and watch for answers and clarity the right direction. Friday/Saturday to come naturally. Mars in Taurus are prime for action. Take charge; set keeps you well on track through the it in motion. Sunday, pamper yourself.

Monday can be especially lucrative week ahead. or productive. Tuesday/Wednesday, GEMINI there’s more to deal with.

A

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CANCER

June 21–July 22

Where are you going and how are you going to get there?

With uncertainty looming so large, the future can seem like an overwhelming prospect. Mercury retrograde allows you more time to reflect. Mars holds you steady despite everything else. As you move through the next few weeks, watch for a revelation, a personal breakthrough, or for circumstances to set the play in motion.

K

AQUARIUS

January 20–February 18

Mercury retrograde and the recent new moon are just picking up steam. Progressively, you’ll get a better fix on it or them and how to play it next. In fact, Thursday to Saturday, you’ll zoom right in on it. Sunday for yourself, Monday for work—mark both as cash-in days. Tuesday/Wednesday adds more to the mix.

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If it worked for you previously, it can again, perhaps even better this time.

Mercury retrograde can see you repeat a success or a personal high. Ride the good wave! Tuesday/Wednesday, repeat, revisit, and double-check. g

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MARCH 7 – 14 / 2019 THE GEORGIA STR AIGHT 19

CANNABIS Industry lags woefully on gender parity

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by Piper Courtenay

rom outside the green bubble, the world hails Canada’s cannabis industry as a great equalizer—a former boys’ club primed for gender parity.

Upon closer inspection, the abysmally low number of female directors and board members unveils a less radical corporate infrastructure, worse than that of other traditionally male-dominated industries.

And it’s really no surprise the world is bemused. While chumming the waters with statistics on the purchasing habits of the once-invisible female consumer, PR teams race to mount the stuffed heads of their few female cohorts over the industry’s mantelpiece, feigning proportional representation. They pink their products, boast about purportedly menstruation-friendly ones, and toss out numbers on soccer moms buying pot in droves now the shadow of stigma has been cast aside.

From the consumer perspective, these all look like womancentric strategies.

When the Green Tent, a company advocating for female entrepreneurship in the cannabis industry, did its own digging, however, it became clear to its three founders that men are still making the decisions.

Conducting an independent study, cofounder Emma Baron found that women filled five percent of the directorial positions in publicly traded cannabis companies in 2016. When she ran the numbers again in May of 2017, it had only risen to eight percent.

“The mining industry hovers around 13 percent and gets attention from the government for lacking representation,” Baron tells the Georgia Straight.

She brought this to the attention

Even mining has had a higher percentage of female directors than cannibis does.

of Bardish Chagger, then the federal minister of small business, at a women’s entrepreneurial conference in 2018, but she got no response upon further inquiry. At the same event, she learned that the government had earmarked $1.4 billion over three years for financing women’s enterprises. Unfortunately for the cannabis industry, most is going to businesses with established supply chains ready for export—not ideal for the early startup sector, which is made up mostly of women, Baron says.

According to Green Tent cofounder Tabitha Fritz: “We realized women already involved in the industry need to find a way to support those trying to break into it, from early entrepreneurship all the way up to business leadership and board membership.” She adds that Health Canada’s regulations, which were introduced in October 2018, only exacerbated the divide.

“What it [the legal framework] has done is support the entrepreneurship of the wealthy, well-established, and well-connected, which is a group made up almost entirely of men. As it stands, the framework really ignores small-business entrepreneurship, which we have seen in our research to be the place where a lot of female

entrepreneurship takes place.”

Baron, Fritz, and fellow partner Irie Selkirk founded the company last year, taking its name from Anita Diamant’s 1997 novel The Red Tent.

The three all have already established careers in the cannabis industry and were inspired by their firsthand experience of the stark lack of support for female entrepreneurship. They now use the Green Tent to host workshops and activations, at Canadian and international cannabis conferences, to bolster budding companies.

Using their own network, they arm attendees with skills and mentorship opportunities, facilitating their entry into the highly competitive and rapidly evolving industry.

“Sometimes all you need is that sense of solidarity to be empowered to figure out the next steps,” Fritz says.

“What we’re providing for women is the knowledge that they’re not alone.”

This isn’t to say male-led corporations aren’t slowly bridging the divide.

Canopy Growth Corporation recently announced the promotion of its director of patient education and advocacy, Hilary Black, to chief advocacy officer.

Last year, Canopy also bought the brand Van der Pop through the acquisition of Hiku Brands. With the injection of capital, the Seattle startup has become widely recognized as the most popular female-focused brand in the space.

Selkirk says men have a responsibility too. “We are asking people to look within their organization right now.

You have women who have industry knowledge, corporate backgrounds, experience—there is no reason you can’t scale those women up.

“The question we get the most is ‘Where do we find these women?’ And what we end up telling most people is ‘You most likely already have.’ ” g

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n International Women’s Day, we can celebrate so many fierce, talented women who work in Metro Vancouver’s dining scene. Here, some of the region’s leading female chefs and bartenders share, in their own words, thoughts on working in male-dominated industries and what fuels their professional passion.

allowed to bartend. Common remarks included being told I would not be good enough, I would just get in the way, or that it’s just too hard.

Partly due to my competitive spirit, I think this lit a fire in me to keep pushing and to continue doing what I wanted to do for myself, and I’m so thankful that I did.

The industry still needs to establish the right to work in an environment AMBER BRUCE that is free from any form of harassBar manager, the Keefer Bar ment and discrimination. There’s no I was originally drawn to the restau- grey area: it’s black-and-white. People, rant/bar industry as a way to make not just women, should all be treated some money through university. with respect, always.

I approached bartending with the same spirit to learn and intensity to KRISTA KORTEGAARD do well as I did with school. I enjoyed Bartender and assistant general the social aspect, the novelty of each manager, Joseph Richard Group day, and the culture within the com- I was naturally drawn to the barmunity. From my experience, it is a and-restaurant industry because of its ability to constantly change and very supportive industry.

There are the usual challenges, grow and give you endless opporlike people asking: “Can you have tunity to do the same. I love meeting that guy make my drink?”, pointing new people every day and building at my male counterpart, or “What’s relationships with staff and guests.

Despite continued progress toward your real job?”, although I think that gender equality in the industry, we happens to both genders.

What’s needed is the abolishment continue to face challenges as women. of tolerance of sexual harassment A specific example is the issue of dress or assault. I’ve witnessed many tal- code. The more businesses that allow ented, up-and-coming women leave women to wear pants and flat shoes, the industry after having been ha- the more they will flourish.

The biggest way we can continue rassed. It’s so tragic and limits the future growth of our industry. We to make progress is to encourage have a strict zero-tolerance policy for an ongoing dialogue around gender harassment at my bar, whether it be equality. It’s important that we never from staff or guests. Staff deserve to forget the importance of our most feel at ease and comfortable at work; valued asset: our people. Ensurit should never be something that ing both men and women are given equal opportunity will help them feel they have to fear or anticipate. valued and motivated to continue in KATIE INGRAM the industry.

Bar manager, Elisa Wood-Fired Grill As a child, there was always some- LINDSEY MANN thing magical about going to restau- Chef and co-owner, DownLow rants. I loved the experience, from Chicken Shack watching the servers floating through I had been around food my whole the room to the bartenders dancing life, with my mom being a trained behind the bar. Coming from a large Red Seal chef and my husband and family that took time to celebrate all partner, Doug Stephen, being executhings together, I try to extend the tive chef and owner of Merchant’s same hospitality that I grew up with Workshop. I worked as the general manager there when I made the at the bar.

We all still get the “I’ll wait for move to back-of-house.

It’s insanely tough to own and work the bartender” comment once in a while. However, when I started in a restaurant, but there is something out in the industry, it took a lot of so pure and prideful in preparing perseverance before I was actually food. The thrill is still there: to give

the experience and the food that will make people want to come back, remember, and recommend you.

In general, women are still having to rise so far above the bar in so many industries, but in the kitchen you have to clear way above that bar, have a thick skin, and be ready to work 10to 16-hour days.

Like any male-dominated industry, there are roots in gender norms, and there needs to be a cultural shift.

The irony of a woman traditionally being seen as a homemaker in the kitchen but isn’t seen with the same respect or clout as a male in a professional-kitchen setting is silly.

I do think that shift is already being seen; you have a lot of badass women chefs, restaurant owners, and so on killing the game, winning top accolades around the world. That’s a massive step in the right direction, with many steps to go.

MARCELA RAMIREZ

Chef and co-owner, Cacao I grew up in a beautiful and loving Mexican family, full of values, culture, and love for cooking. My childhood was spent between my grandmother, mom, and aunts in the kitchen. Every aroma, every flavour, every sauce reminds me of some beautiful moment of my life. Cacao is the extension of my own family and home.

One of the biggest challenges I faced when I came to Vancouver three years ago was being recently widowed with my four children. It was all new to me, so different, and I didn’t speak good English.

It was a very difficult time, and I had to face my biggest fears. But I lived through it and I’m still smiling, cooking, and dancing salsa in the kitchen.

Even though I had a cooking show in Mexico for 15 years and a radio show about cooking and I wrote two cookbooks, I actually had little experience as a restaurant owner until I moved to Vancouver. I’m still learning. What I have seen is that it is a medium dominated by men, both in culinary art and business.

I believe that we, who dedicate ourselves to this industry, do it for the love and passion that we have in see next page

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MARCH 7 – 14 / 2019 THE GEORGIA STR AIGHT 21

FOOD

Grounds to hit Commercial Drive

The popular West Side business is getting ready to bring its tasty cinnamon buns to Little Italy

by Tammy Kwan

T

hose who live and work on the Drive will be happy to know that a well-loved Vancouver coffee shop will soon call the neighbourhood home.

Grounds for Coffee (2565 Alma Street) has been operating on the city’s West Side for the past 25 years but will open a second location in Little Italy (2088 Commercial Drive) this spring.

Running an establishment best known for its cinnamon buns—which may or may not have reached cult status and are freshly baked each morning—founder and owner Dan Hilton is excited to move into the new space.

“We have been looking [at locations] for a while,” Hilton told the Straight in a phone interview. “This is a great space. You’ve got windows in the front and back, beautiful trees in front of us, and light coming in everywhere.”

Grounds for Coffee’s new spot covers 1,800 square feet and can accommodate 42 guests. Its interior design will be different than its original counterpart but will still evoke a warm and welcoming atmosphere with natural elements.

“There’s going to be a lot of reclaimed fir, steel, galvanized pipes, [and] a lot of white, open spaces,” Hilton explained. “It’s a large area with a polished concrete floor and lots of plug-ins and free wi-fi.”

A community workspace, communal benches, and stand-alone tables will make this coffee shop accessible to those who plan to stay a little longer to work or study. When the weather warms up, its patio seating will probably be consistently full.

As for the menu, guests can expect plenty of cinnamon buns and other items that can be found at the sister location. Savoury breakfast and lunch bites will be served, such as grilled cheeses, calzones, wraps, and salads. But the owner has kept it real by emphasizing that the sweets are usually more popular than the savoury goods. “When it’s salads versus cinnamon buns,” Hilton said, “the salads don’t stand a chance.”

Since Grounds for Coffee’s soonto-open location is so much larger than the original, its team will have more room to explore other offerings.

“We’ll be introducing some nitrogen cold brew, and other cold-brew options,” said Hilton. “We’ll be in a position to do a little more personalized coffee services like French press.”

Hilton recently switched his Alma Street coffee spot to become cashless, and will do the same for the Drive location.

“Cashless is safer for customers, employees, [and] it’s cleaner if you think about how filthy it is,” added

Catherine Stewart, Tableau Bar Bistro’s chef de cuisine, has always loved to cook.

from previous page

our soul; it’s something that comes from our heart. If competition makes us better at what we do, it’s “blessed competition”, but if it divides us, it can make us forget our love and passion for cooking. It’s much better if we embrace each other.

CATHERINE STEWART

D rink OF THE WEEK

“When it’s salad versus cinnamon buns, the salads don’t stand a chance,” Grounds for Coffee’s Dan Hilton says. Photo by Allison Kuhl

There’s going to be a lot of reclaimed fir, steel, galvanized pipes and open spaces.

– Dan Hilton

NIKKI TAM

Hilton. “You don’t want it in your food.

You’re eating with your fingers a lot of the time. If you think about it, it’s a lot more environmentally friendly, too.”

A Grounds for Coffee app is also in the works, and will be ready in a few months. Customers will be able to order and pay ahead of time on their smartphones, and will also be able to join a loyalty program. There’s definitely a lot of emphasis on progressive customer service that creates a seamless coffee-shop experience.

“One of the reasons Grounds for Coffee is excited to be coming to the Drive is because there are so many amazing cafés, and to be a part of that is a real privilege,” said Hilton.

“It’s really nice to be able to complement that existing variety of the Drive, because I think that’s getting harder and harder to do. Grounds is actually in a position to provide something unique and delicious and fun.” g

WHEN BOULEVARD Kitchen and Oyster Bar bar manager Gavin Hobbs set out to put a modern spin on a classic cocktail called a Boulevardier, he looked east—to Vancouver’s East Village, which is home to Resurrection Spirits Distillery and Lounge. “I wanted to use a local product that is new to the market, Resurrection Spirits White Rye, and develop a cocktail that is approachable and easy to replicate at home,” Hobbs says. “Where the Streets Have No Name is

Pasta Feast at “Serving the community since 1999”

{

Chef de cuisine, Tableau Bar Bistro I always loved to cook as a child and have always loved to eat well. My mother was an amazing cook and taught me when I was very young.

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Pastry chef, Minami Restaurant My parents love cooking, baking, and eating, so I grew up in an environment with delicious home-cooked and dine-out meals. I love that I’m able to be creative with my desserts by combining my knowledge of Asian and western flavours and expressing them on a blank canvas.

I am about to go on maternity leave, and being pregnant has to be one of the biggest challenges I’ve faced as a woman in the restaurant industry. It is not easy to grow a human and work in the kitchen for long hours, and it is also definitely not easy to take a break from something that I love so dearly.

I believe the culinary industry evaluates men and women equally in their culinary careers. More often the question of advancement is a choice between prioritizing one’s personal or professional life, as long hours and working throughout weekends dominate our careers. g

DRINK

Quest for Gamay bears fruit

by Kurtis Kolt

A

s of this writing, I have 4,576 unread messages in my email inbox.

This sounds dire, but the majority of these are marketing emails that usually cascade downward throughout the day without much thought. Like many, I receive a daily barrage of communications from PR agencies, importers, wineries, and potential Russian brides, all of them touting the urgency of their queries.

The direct emails are attended to quickly, but it’s the consistent newsletters, sales, and offers that easily slip down my list of priorities and tend to spiral into the abyss of my server.

However, there are consistent marketing emails from certain contacts that do capture my attention, and even if I receive a handful over the course of a week, I’ll likely open the latest without hesitation and pore over its contents.

Trialto, a local wine-import company with a mandate of bringing in premium “wines of people, place, and time�, is an entity I’ll always make time for. For more than 20 years, it has brought wines from some of the best producers around the globe to our market, and I’m always interested in what it’s up to.

There isn’t an abundance of importers with portfolios I’d pretty much wholly recommend, but Trialto’s book is chock-full of gems.

It was a few weeks back that I caught an email from Neil Punshon, part of the company’s management team, sharing news of Domaine Chapel, a Beaujolais producer they’re just beginning to bring into the market.

Now, I’m a big fan of all things Beaujolais, and I often consider Gamay my favourite grape variety; light, charismatic reds are my jam of late. I responded to the email within moments, asking if there was an opportunity for me to try their wine.

It couldn’t have been more than a couple hours later that I was in Trialto’s Yaletown office chatting with Punshon, glass in hand.

The agency had been having an issue: their flagship wine of the region, Mathieu and Camille Lapierre’s Morgon 2017 (Beaujolais, France; $44.99, B.C. Liquor Stores), is so good that keeping it in stock year-round has been a challenge.

Just a few months back in these pages, I referred to that terroir-driven, worthy wine as sound and delicious, with “mineral-laden plums, violets, blackberries, and Bing cher-

!

CELEBRATION

EIRE BORN DANCERS

Saturday, March 16th • noon ~ Centre Court Domaine Chapel JuliĂŠnas “CĂ´te de Bessayâ€? will certainly delight your dinner guests.

I’m a big fan of all things Beaujolais, and I often consider Gamay my favourite grape variety. – Kurtis Kolt

ries, joined by the umami character of sun-dried tomatoes and freshcarved roast beef �.

I was told by Punshon of a rather (literally) fruitless search for another producer to keep that quality level humming year-round here in British Columbia. At the tail end of recent touring and tasting, he was introduced to the proprietors of Domaine Chapel on a whim; they were friends and neighbours of the Lapierres and got connected over a dinner on the last night of his trip. Punshon became a fast fan, and the rest, as they say, is history.

Proprietor David Chapel’s family background is on the culinary side of things (his father is a Michelin-starred restaurateur), and it was after his most recent time spent as a sommelier in Japan and New York that he and his spouse, Michele Smith-Chapel, began this venture in the region, with 2017 being their first official vintage.

Fans of this style of wine can

now saunter into local private wine stores like the West End’s Marquis Wine Cellars or Kitsilano Wine Cellars, pick up an incredibly tasty bottle of Domaine Chapel JuliĂŠnas “CĂ´te de Bessayâ€? 2017 (Beaujolais, France; $57 to $62, private wine stores), and enjoy an exceptional Gamay sourced from a tiny twohectare parcel of 65-year-old vines steeped in granite and schist. Raspberries, violets, and an intriguing note of roasted chestnuts fill the aromatics, leading to more raspberries, cherries, and plenty of charm on the palate. It’s a wine that has resonated top of mind for a few weeks now. I’m glad there was due diligence and patience in the search for a new wine in this category to add to local shelves. We’ll see labels from other crus, like Fleurie and Chiroubles, in coming years.

Find a bottle (or two), allow a hint of a chill, and pour liberally alongside everything from local Ocean Wise salmon or cassoulet to fried chicken or wild-mushroom risotto.

To keep yourself in the loop on gems like these, do visit Trialto’s website (trialto.com/). While you’re there, poke around the site to learn about their wide array of producers. There’s a lot of great information and background on modern legends from Australia, Rioja, Burgundy, and beyond, and you can sign up for their newsletter and keep up-to-date on latest releases. Just like me, you may find a new favourite wine. Of course, you’ll have to actually open those emails to increase those odds. g

This green-tie gala fundraiser showcases creations by Vancouver’s leading culinary artists, and the best of VCC’s fashion, music, and more. œˆ˜ Ă•Ăƒ ˆ˜ Â…iÂ?ÂŤÂˆÂ˜} ĂŒÂ…i ˜iĂ?ĂŒ }i˜iĂ€>ĂŒÂˆÂœÂ˜ Âœv 6

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Is it empowering, exuberant, rousing, fun?

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arts

Dairakudakan conjures high-tech doom

S

by Janet Smith

erpent men with flicking red tongues, antlike insects in silver masks, and ghouls contorting in white body paint: watching Japanese master Akaji Maro’s butoh-inspired dance work is the stuff of nightmares. In 2017, Paradise wielded chains, roller skates, and a mountain of flowers to bring a surreal hell on Earth to the Vancouver International Dance Festival. Two years before that, Mushi no Hoshi—Space Insect conjured bug people, larvae, and giant cocoons.

With its next visit, his Tokyobased Dairakudakan dance company will present an even darker vision at the fest, parading out eerie Franken-borgs bent on taking over the world.

Pseudo human/Super human grew out of Maro’s obsession with technology and the implications of artificial intelligence. But rather than feeling scared, the artist finds a kind of existential humour in the dire subject matter.

“Reflections and my daydreaming brought me to the conclusion that AI and AGI [artificial general intelligence], and especially AGI, was several hundred or even thousand times more powerful than mankind, and that upon the Last Judgment, they would condemn mankind for being the most dangerous species on Earth,” Maro says through a translator from his home in Japan. “Then, eventually, AGI would also self-destroy. So rather than this being frightening, I feel like I am laughing in a huge crucible full of contradictions.”

The resulting work, like the other Dairakudakan mind-blowers that have come to VIDF, should be an all-out carnival for the senses. In Pseudo human, 21 dancers stalk the stage, some suspended and writhing in glass display cases, like lab experiments, along the back of the stage. At the centre of the action sits an ominous, illuminated metal-and-glass structure created by artist Katsuyuki Shinohara, known as KUMA. Maro describes it as a “20-centimetre wide, five-metre-tall glass column that towers at the centre of the stage, emitting various colours. It works in many ways, being alternatively a core nerve, a tree, or at times an energy source for AI.” In butoh, the bald, half-naked dancers often seem to come from a different dimension, suspended between life and death. Here, the contorting

At the Vancouver International Dance Festival, Tokyo’s Dairakudakan creates an eerie AI-driven world. Photo by Hiroyuki Kawashima

half-human, half-machine figures are unearthly messengers from the future. Maro has an uncanny ability to summon the primal, the mechanical, and the alien out of his dedicated army of performers.

“A body in which reality, fantasy, and daydreams are intermingled no longer has the shape of a human body rooted in reality,” says Maro, who makes an appearance in Pseudo human in his signature fright wig,

long gown, and white makeup. “My approach on each dancer is based on such an idea.”

Pseudo human, the septuagenarian says, ties in thematically to other works that have explored our

VIDF TIP SHEET

The Vancouver International Dance Festival’s Barbara Bourget describes her and coproducer Jay Hirabayashi’s role as being like conduits to what is happening in the dance scene.

With that in mind, the fest has a strong contingent of Indigenous work on its roster. You’ll find some of those names below, as well as other highlights of the event that runs until March 30. d

BANG BANG (March 13 to 16 at

the Roundhouse Community Arts and Recreation Centre) ”Kamikaze” and “no-holdsbarred” are just some of the descriptives thrown at Montreal talent Manuel Roque’s physically pummelling ode to resistance. His solo travels wildly from pleasure to pain.

d

ELOISE (March 20 to 23

at the Roundhouse) Rising choreographic voice Jeanette Kotowich (shown here) explores protocol, ancestral territory, and the inner terrain of the body in a wryly funny solo that ventures boldly between contemporary dance, traditional Indigenous styles, and Broadway-style shtick.

d

PATHWAYS (March 20 to 23 at

the Roundhouse) Vision Impure, the new project of Holy Body Tattoo alumnus Noam Gagnon, takes a body-crashing look at relationships in the urban jungle.

Kneepads required.

d

TRUST (March 27 to 30 at the

Roundhouse) Canadian dance icon Ted Robinson’s 10 Gates

Dancing integrates wood, stone, and clay in a piece that feels a bit like a strange and primal ritual. d

VARHUNG—HEART TO HEART (March 29 and 30 at the

Vancouver Playhouse) Taiwan’s Tjimur Dance Theatre draws on the ancient songs and dances of the Indigenous Paiwan people for a very contemporary work. g

impending doom on this planet—but always with touches of his twisted black humour. “My fundamental theme in butoh since my early days consists in constantly questioning what mankind is, from various perspectives,” he says.

“When you consider my work from the last few years, Space Insect explores the relationship between mankind and insects, Virus the relationship between viruses and mankind, and Paradise the relationship between the fruit of wisdom and mankind in Eden. In this context, I was necessarily brought to consider the future of mankind, determined by the products of human desire and wisdom, in the form of contemporary technologies such as AI, genetic engineering, biotechnology, or cyborgs.”

Vancouver audiences are becoming familiar with Maro’s take on the universe thanks to the work VIDF coproducers Barbara Bourget and Jay Hirabayashi have done to hone their relationship with Dairakudakan. The Kokoro Dance founders first saw the troupe on a visit to Japan in 2009, and it made an impression: “We had seen a lot of butoh artists that focused on a lot of virtuosity through slowness and concentrate on the drama of a tiny finger movement or something,” Bourget tells the Straight over the phone. “This had joyful playfulness, where he was also tackling serious issues.”

The couple headed to Tokyo four years later to attend their first summer workshop with the company.

Their connection with Maro’s work, as well as the support Dairakudakan has received from the Japanese government, has helped bring the large company here.

“We’re really, really excited about this new work because it’s questioning artificial intelligence in a really profound way,” Bourget says of Pseudo human, pointing out Dairakudakan’s nightmare visions speak ever more directly to the state of the globe: “The whole world feels destabilized and peculiar. We’re all holding hands and jumping into the abyss. Still, his work also has a quality of surprise and exceptional dancing and wonderful characters.

“There’s even a monster in it,” she adds with excitement. “And you gotta love monsters.” g The Vancouver International Dance Festival presents Dairakudakan’s Pseudo human/ Super human at the Vancouver Playhouse on Friday and Saturday (March 8 and 9).

Riley synthesizes global guitar sounds

by Alexander Varty

A

lthough Gyan Riley has achieved a deeply personal voice on the classical guitar, which is no easy task, it’s still possible to hear many of his influences hovering on the edge of his sound. Some are commonplace; like almost everyone who plays the nylon-strung instrument, he owes a significant debt to its Spanish exponents, from pioneering composer-performers Fernando Sor and Francisco Tárrega to modern innovators such as Paco de Lucía. Riley has listened well and broadly, though, and his lovely new release, Sprig, also carries hints of the West African kora, the South Asian sarod, and the fingerstyle intricacies of his fellow Californian, the late Michael Hedges. Still, it’s almost impossible to deduce his primary influence from Sprig’s blend of adventurous rhythms, lilting melodies, and subtle percussive touches. You’d Classical guitarist Gyan Riley has developed a never guess that he was once a preteen punk.

“The guitar has a lot of different identities deeply personal voice inspired by world influences. throughout the world, and the instrument that I first started playing was a classical guitar—a the line from Brooklyn, New York. “So that Spanish guitar, you know,” Riley explains, on was the first exposure I had to it in terms of

study, but I also, at that time, was most interested in punk rock. That’s the music I was listening to and trying to play on the guitar when I was 11 or 12, but trying to play punk rock on a nylon-strung guitar is not such a natural thing to venture into. So what kinda happened is that I started figuring out solutions to problems in a very strange way. Instead of logically solving the problem by saying ‘Oh, I need to get a different guitar and find some effects and do this and that,’ I was a 12-year-old, and I didn’t know about any of that stuff. So I was like, ‘I’m going to try to emulate these sounds any way I can.’ ” Riley’s questing imagination was no doubt helped by the fact that his father is Terry Riley, one of the great innovators of musical minimalism and the patron saint of loop-based composition. Father and son have very different styles and instruments—the older Riley plays keyboards and soprano sax—but what they have in common is that they respect improvisation, while composing music that is both formally adventurous and sensually alluring.

Sprig, however, is dedicated to the other great influence in the Riley household: Gyan’s late mother, Anne Riley. “In the period leading up to that record a lot of really difficult things happened in my life,” he says. “One of them was divorce, and one of them was losing my mom to cancer. The record’s last piece [“Inner Smile”] is a reflection of that; it’s this meditation that started as an improvisation I played at her memorial service. I hadn’t planned on doing anything with it, but it stayed in my head; it was like this direct communication with her in a way that was also inspiration from her.

“She was the best listener that I ever knew,” the guitarist adds. “And maybe there’s something of that in that piece, too, because more than any other of the pieces it has that quality of listening to the nature of each note—not showering the ears with notes, but just letting each note resound to its full capability. It’s kind of a celebration of the instrument—of the art of music, and the joy of listening.” g Gyan Riley plays the Western Front on Friday (March 8).

MARCH 7 – 14 / 2019 THE GEORGIA STR AIGHT 25

ARTS

Art conveys horror and hope of bride ship

Vancouver Maritime Museum exhibit recalls 60 girls’ harrowing 1862 journey from England to B.C.

“S

by Janet Smith

ixty select bundles of crinoline”: that’s how a ship’s manifest referred to the group of girls shipped from England to Victoria, B.C., in 1862. And if those words make them sound more like fragile cargo than human beings, in many ways that’s how they were seen.

They were held below deck for the terrible journey, and even tracked in an invoice. The Tynemouth brought them here to be married off to the miners and other men settling the West Coast. Many were poor or orphans; some were as young as 12.

Artist Tracy McMenemy has given creative voice to the description in one of her artworks in the new exhibit The Girls Are Coming! A Visual Voyage of Bride Ship Tynemouth opening soon at the Vancouver Maritime Museum. A group of puffy white bundles of tulle lie prettily packaged on an old oak pallet, each tied neatly with a red satin bow.

“I thought they’d probably be wearing ribbons in their hair,” says McMenemy, standing in the gallery by the piece that hangs upright on the wall. “It reflects the invoices and the girls being cargo.”

A multimedia installation with reworked archival photographs, paintings rendered from the smoke of old oil lamps, and even a film that scrolls the 60 girls’ names on antique sailcloth, The Girls Are Coming! is not the typical show you get to see at a maritime museum. And that’s exactly the point.

For this story of forgotten girls, there weren’t traditional artifacts to display. “One of the things we’ve been trying to focus on is the museum as

Because the brides were locked down in the hold...there were thick layers of soot.

– Tracy McMenemy

In The Girls Are Coming!, artist Tracy McMenemy’s Select Bundles of Crinoline in part expresses the way the girls sent from England were treated as cargo.

a meeting place for conversations,” says Vancouver Maritime Museum curator Duncan MacLeod. “This is more abstract, which challenges our traditional patronage to think about maritime stories in a different way.

Also there’s the ephemeral nature of Tracy’s work. A lot of this history is hard to grasp, and representing it in

this way is really powerful.”

The idea started when MacLeod expressed interest in creating a show about women and the sea. That led McMenemy to the local and B.C. archives and the discovery of this dark and little-known part of B.C. history.

Four ships were sent here from Britain, which had an overpopulation

of women and the kind of grinding poverty that fuelled Charles Dickens’s novels.

The Tynemouth’s 99-day journey was gruelling. The young women travelled in the dark, without fresh water or sanitation. A girl died en route, and there were two mutinies, food shortages, several storms, and even a hurricane.

“It was horrific,” says McMenemy.

“Because the brides were locked down in the hold, and this was a steamship, there were thick layers of soot.”

Several of McMenemy’s artworks refer to that soot. She’s come up with a way of painting with the smoke of an 1860s oil lamp, calling it fumage, and creating cameo-style portraits of the women on glass. In one piece called Breaking the Seams, the old white sailcloth takes the form of a weddingdress bodice that’s tarnished with soot.

Painstakingly creating the pieces took an emotional toll on the empathetic artist. “I had my bad days in the studio, especially because I have

a daughter,” says McMenemy. “The first few months were really dark. But then the further I got into it, I started thinking about the hope. Part of them really did want to find a better place.”

A work called LifeSaver channels that hope—but it’s also one of the show’s most unsettling installations.

McMenemy has wrapped a bunch of mannequin heads in worn sailcloth, a symbol of their lack of voice and their inability to see in the dark belly of the ship. But she has placed them under a glass case in a circle—a sign, she says, of the strength they had as a group, with one disembodied hand reaching up from the middle in aspiration.

The installation that McMenemy is perhaps most proud of is the one with video projections of the girls’ names—Jane, Janet, Mary, Emily, and other monikers familiar from the era. McMenemy had longed to put names to the women, but was unable to find them on any documents. And then, on her last day of research at the B.C. archives, she struck gold. Found on the bottom of a box, the scrolling passenger list, now set to the wedding march over video of a crashing sea, gives, if not faces, at least some memorial to those bundles of crinoline.

And now that the multimedia artist has gotten to know the forgotten girls, she’s not eager to leave them.

“There are 15 pieces here and 25 more at my studio,” she says. “I would love it to tour. I feel like I’ve just started.” g The Girls Are Coming! A Visual Voyage of Bride Ship Tynemouth is at the Vancouver Maritime Museum from Saturday (March 9) to June 16.

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MARCH 7 – 14 / 2019 THE GEORGIA STR AIGHT 27

ARTS

Hitchcock parody builds big bilingual laughs THEATRE THE 39 STEPS

By Patrick Barlow. Directed by Sarah Rodgers. A Circle Bright production. At the Norman and Annette Rothstein Theatre on Friday, March 1. Continues until March 10

d A PARODY of Hitchcock’s spythriller film of the same name, Circle Bright’s production of The 39 Steps aims to delight both English- and Chinese-speaking audiences with the addition of Mandarin surtitles.

Director Sarah Rodgers’s take on the play delivers on the promise of farcical nonsense that makes for a solid performance for both first-time and veteran theatregoers of either language. Barlow’s smash-hit adaptation follows the story of the dashing Richard Hannay (Jay Hindle), who becomes involved in a convoluted plot of murder and mystery when he meets a German spy named Annabella (Ella Simon). She is investigating something called the 39 Steps. And when Annabella is murdered in his apartment, Hannay is accused of being the killer, and must avoid being apprehended while also uncovering the secret of the 39 Steps.

The show derives much of its humour from Clowns #1 and #2 having to play over 100 different characters over the course of the play, often swapping roles at the drop of (or change of, in this case) a hat. Unfortunately, clowns David Marr and Kazz Leskard aren’t always able to keep up with the breakneck pace of the script when rapidly switching between personas, particularly during a train-station sequence. Yet, their talent is clear when they’re given the breathing room to play out quirky side characters over the course of a scene. This is the case in the interplay between the Scottish innkeepers, a giddy wife who speaks too fast to comprehend and her stoic husband, who is a man of very few, but very loud, words.

Hindle brings exactly what is needed to the role of Hannay: dynamic physicality, impeccable timing, and a magnetic charisma. Ella Simon leaves an impression with each of the multiple characters she takes on, especially the melodramatic Annabella Schmidt. The chemistry between the two lead actors is compelling enough to anchor the play amongst all the antics, and provides for a number of memorable moments. Hilarity ensues

Jay Hindle and Ella Simon have chemistry to burn as the leads in The 39 Steps, a farcical take on the famous Alfred Hitchcock mystery. Photo by Javier Sotres

when Annabella and Richard share a bedroom while handcuffed to each other, and Richard’s hand is guided down Annabella’s legs as she removes her soaked stockings.

While the acting is praiseworthy, Murray Price’s music and sound design truly steals the show. Pianist Matt Grinke inserts a great deal of personality by adding his own sound effects to accentuate his physicality. Whenever a performer mentions the name of the show, Grinke is sure to add a little jingle, giving the show an endearing sense of playfulness. Combining this with Tanya Schwaerzle’s superb choreography, especially during the train escape sequence, elevates even the smallest snicker into uproarious laughter.

Finally, the Mandarin surtitles are a welcome addition, providing a bilingual theatregoing experience without seeming forced or tacked on. The surtitles are well-integrated to keep pace with the action, but are not obtrusive or otherwise distracting from what is happening on-stage.

All in all, whether you experience the play in Chinese or English, Circle Bright’s The 39 Steps is a feel-good farce that has laughs at every turn.

by Samuel Jing

LE SOULIER

By David Paquet. Directed by Esther Duquette and Gilles Poulin-Denis. A Théâtre la Seizième production. At Studio 16 on Wednesday, February 27. Continues until March 9

d AS HE WRITHES in agony, suspended in a cerulean limbo, a young boy’s suffering seems inexplicable and intensely personal—until his movements give way to the mania of a waiting-room tantrum, and the

perspective change jolts audiences to consider the divide between our psyche and what’s perceivable.

Le Soulier’s opening image is one of many that perfectly embody the play’s exploration of unseen emotional landscapes, which gingerly uncoil through humour, candid admissions, and surreal set pieces.

Eight-year-old Benoit (Félix Beauchamp) has had a toothache for three days, and his mother, Mélanie (Annie Lefebvre), has taken him to the dentist to investigate. Hélène (France Perras), a chatty receptionist with a penchant for drink, strikes up a conversation while dentist Siméon (Joey Lespérance), timorous but adept, examines Benoit for cavities. At this point, David Paquet’s script takes an expressionist turn and nothing is what it seems. To start, a full claw hammer is extracted orally.

Paquet’s play is one of psychological likeness and contrast, and both physical tics and personal histories evoke his characters’ affinity for one another. Benoit’s frenetic fits, comically classed in stages that range from “neo–Francis Bacon” to “epileptic King Kong”, find a close cousin in Siméon’s outbursts of social anxiety. Conversely, Mélanie’s dissatisfaction from raising a child with a behavioural disorder begets a severe disclosure by Hélène that recontextualizes her frustration, and explains the latter’s love of a disadvantaged animal. Honouring subjective experience while still acknowledging its varying magnitudes, the writing feels sophisticated and balanced.

Esther Duquette and Gilles PoulinDenis tightly direct stagecraft to create a seamless show, amalgamating their collaborators’ disparate designs to maximize mood and transitions.

Noam Gagnon’s movement work dazzles, highlighted by Benoit’s idiosyncratic breakdown and Siméon’s zany dance moves, while the whole ensemble convincingly mimics rewinding when actions comically reverse to repeat scenes through different eyes.

Malcolm Dow’s sound and Itai Erdal’s lighting bathe the intimate auditorium in splashes of expressive colour and ominous aural foreboding, which modulate Drew Facey’s patterned costumes and trio of curtained white rooms.

Last but not least, the acting quartet is wonderful to witness, robust and physical.

For a play that dares to broach the delicate matter of mental health, Le Soulier is remarkably funny, and consistently elicits laughter in every scene. From movement-based comedy, like Siméon’s attempts at Zumba, to the unabashed candour of Hélène, who goads Mélanie to explore a repressed sensuality, there is a lightness that stays faithful to the work. Nonetheless, to borrow from Siméon’s sobriquet for Benoit, it is also a kind of “Kinder Surprise”: you may come for the comedy, but stay for its lucid observations.

by Danny Kai Mak

THE GOOD BRIDE

By Rosemary Rowe. Directed

by Donna Spencer. A Firehall Arts Centre and Alley Theatre production. At the Firehall Arts Centre on Friday, March 1.

Continues until March 9

d WHEN WAS THE last time you saw a play inspired by a reality-TV show? 19 Kids and Counting was the impetus for the one-woman play The Good Bride, a good indication of the way Vancouver playwright Rosemary Rowe playfully uses pop culture to explore deeper and scarier themes.

In this case, she became fascinated by the Quiverfull evangelical Christian movement after seeing the show about America’s Duggar family. In it, the infamously fertile Duggars live by the edict that a woman’s place is to produce babies to fill her husband’s quiver full of “arrows” for God. Rowe delved into researching the movement, and found a thriving online community of American girls eagerly awaiting the chance to leave the patriarchal rule of their father’s home for total obedience in their husband’s.

In The Good Bride, 15-year-old Maranatha (Marisa Emma Smith) sits in a gingham-clad bedroom,

wearing her homemade wedding gown. Carolyn Rapanos’s inspired set features beams rising up like a cathedral’s, with walls covered in delicate pink… Paper flowers? Tickets? Whatever they are, they create a cosy pastel prison, awash in a heavenly coral light.

Maranatha waits, night after night, for her 29-year-old groom to arrive and whisk her away. Till now, they’ve only “side-hugged”.

Her pastor father has imposed an extra prewedding waiting period to mimic St. Matthew’s parable of the 10 virgins. The trick for Maranatha is to stay pure in mind and body till he arrives. In one of The Good Bride’s slightly surreal touches, the family she’s staying with serves her only white foods like tapioca, vanilla milkshakes, and yogurt to protect her wedding gown.

But she starts to unravel in her confinement, not just because she keeps hearing the parents in the next room doing it. Her estranged mother has written her a letter for the first time since she left the family. And though she knows her father would disapprove, it becomes harder and harder for Maranatha to resist the urge to open it.

Smith embodies the girl’s mix of childlike naiveté and a budding sexuality. Her sentences end in that classic teen upward intonation. Smith addresses us directly, pulling scrapbooks out of her suitcase, eating the “white sustenance” that’s been delivered to her room, and babbling about everything from proverbs to the Duggar sisters’ marriage-advice blog. At 100 nonstop minutes, her performance is a feat.

The script feels a bit long, and it takes a while for transformation to happen. But Rowe has a savvy and unpretentiously quirky way with words. Maranatha’s chatter is a mix of Snapchat kid and medieval nun, interweaving talk of Pinterest with quotes from the scriptures. “Isn’t God so good?” she says at one point, and then later: “My down-there feels like Pop Rocks!”

After a prolonged dry spell for stage stories about teen girls, we have two smart offerings this season—the last one being Amy Rutherford’s equally funny-dark Mortified. Rowe is a sharply comical, fresh feminist voice with an unexpected point of view—apparently as well-versed in the Gospel of Matthew as in the TLC network.

by Janet Smith

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Ballet BC builds dazzling worlds

by Janet Smith

DANCE PROGRAM 2

A Ballet BC production. At the Queen Elizabeth Theatre on Thursday, February 28. No remaining performances

d BALLET BC’S PROGRAM 2 took you into three distinct worlds of dance—a testament to the company’s ability to carve space in different ways, and also to the simple magic of lighting and set pieces.

The mixed bill opened with a remount of Finnish master Jorma Elo’s technically challenging 1st Flash, a dizzying play on classical ballet. Legs scissored and arms arced at the speed of sound, all set to fellow Finn Jean Sibelius’s sobbing and angular Violin Concerto in D Minor. The dancers were at their virtuosic best here: Emily Chessa and Brandon Alley opened things with a beautifully flickering pas de deux, and then Alley joined Scott Fowler in a truly punishing sequence of jetÊs, turns, and kicks. But what took the piece to an atmospheric new dimension was the way it was lit—with a row of sepia spotlights, and a strange, illuminated rectangular block that rises and lowers ominously over the dancers.

For Adi Salant’s new WHICH/ ONE, the entire corps of 17 dancers appeared on a stage enveloped in a twinkling galaxy of little lights—a mix of show biz and the cosmic, befitting the Batsheva Dance Company alumna’s sly piece.

The soundtrack was the semicheesy opening number of the musical A Chorus Line—the one in which a director auditions dancers, yelling choreographic directions (“five, six, seven, eight!�). Salant played on the selection process, dividing the performers into different groups, but she wasn’t interested in reenacting the Broadway moves. She built humour out of contrasting the soundtrack with what was going on on-stage: at one point, when the musical’s director called on the guys to step up, the men here froze into satirical poses.

Elsewhere, the dancers found their way into unison, then dropped to convulse on the floor, clamp their hands over their mouths in horror, or shake each other like human maracas.

You didn’t have to make much of a stretch to see yourself, fighting to keep your head above the racket of our superwired everyday lives.

The overriding image was of hands reaching and shaking toward the ceiling, an inspired Salant gesture that captures everything about what it is to be alive today.

The piece kicks into a slower, more earnest gear in its second half, though it’s helped by Moritz Bard’s now haunting soundtrack, which warps the score into a dreamscape that seems to stretch time.

Crystal Pite’s always stunning Solo Echo closed the program, offering a balletic contrast to the dance-theatre creation Revisor that she recently premiered with her own Kidd Pivot company. Gorgeously rendered under delicately falling snow, the piece is a meditation on mortality, our earthly bonds to loved ones, and the need, at the end, to depart alone into that wintry night The choreography is a study in balance, push, and pull; at one point, the group, moving as one sculptural organism, pulled a dancer back across the stage; at another, it folded like a giant, interclasped caterpillar as one of its members fell to the ground. It’s a piece the company’s honed on tour, and displays the expressivity and technical chops of some of the veterans of the company. While the rest of the night showcased the many new members of Ballet BC, Gilbert Small, Alexis Fletcher, Racheal Prince, Peter Smida, and Kirsten Wicklund nailed a piece whose physical poetry and timing are as demanding as the profound emotions being conveyed. g

A FIREHALL ARTS CENTRE ALLEY THEATRE PRODUCTION

GOOD BRIDE

THE

ARTS

BY ROSEMARY ROWE

8pm Friday, March 15, 2019

“sharply comical�

Shaughnessy Heights United Church

– Janet Smith, Georgia Straight

1550 West 33rd Avenue at Connaught Drive

“Overflowing with humour, humanity, insights and empathy... should not be missed.�

Vancouver Chamber Choir Jon Washburn, conductor

– Calgary Sun

FEB 27MAR 9

604.689.0926

firehallartscentre.ca 280 E Cordova St

The Farewell Tour will be performed across Canada and features our all-time Top Ten List (by number of performances over the last 48 years) including Bach’s Lobet den Herrn, Debussy’s Trois chansons, and Britten’s Hymn to St Cecilia.

There’s also music by Kodåly, Raminsh, Schafer, Foster, and McKennitt. This concert marks Jon Washburn’s 92nd domestic or foreign tour with the Vancouver Chamber Choir!

1.855.985.ARTS (2787) vancouverchamberchoir.com

WHEN JUSTICE AND MORALS COLLIDE, WHERE IS THE LINE?

PROVOCATIVE DRAMA

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By Meghan Gardiner

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MARCH 7 – 14 / 2019 THE GEORGIA STR AIGHT 29

ARTS VAG’s French Moderns tracks era of change

2019VA NCOU V E R INTERNATIONAL DA NCEFE S T IVA L MARCH 4-30

by Robin Laurence

INFO & BOX OFFICE: VIDF.CA 604.662.4966

VISUAL ARTS FRENCH MODERNS: MONET TO MATISSE, 1850–1950

JAPAN’S DAIRAKUDAKAN Vancouver Playhouse 8pm, March 8 & 9

VANCOUVER’S

VANCOUVER’S

VANCOUVER’S

VANCOUVER’S

V’NI DANSI

H A RBOUR DA NCE I T P & PL AT FORM

RAVEN SPIRIT DANCE

OLIVIA C. DAVIES / O.DELA ARTS

5pm, March 13-16 KW Production Studio

7pm, March 14-16 Roundhouse Exhibition Hall

Free

$15-$20

Free with VIDF Membership

VANCOUVER’S

VANCOUVER’S

VANCOUVER’S

MANUEL ROQUE

KELLY MCINNES

JEANETTE KOTOWICH

VISION IMPURE

8pm, March 13-16 Roundhouse Perf. Centre

5pm, March 20-23 KW Production Studio

7pm, March 20-23 Roundhouse Exhibition Hall

8pm, March 20-23 Roundhouse Perf. Centre

$30-$35

$15-$20

Free with VIDF Membership

$30-$35

2pm, March 10 & 17 and 2pm & 3pm, March 24 Woodwards Atrium Free

MONTREAL’S

MONTREAL’S

DAINA ASHBEE 5pm, March 27-30 KW Production Studio $15-$20

3pm, March 10 & 17 Woodwards Atrium

VANCOUVER’S

LESLEY TELFORD / INVERSO PRODUCTIONS 7pm, March 27-30 Roundhouse Exhibition Hall

OTTAWA’S

10 GATES DANCING

TJIMUR DANCE THEATRE

8pm, March 27-30 Roundhouse Perf. Centre

8pm, March 29 & 30 Vancouver Playhouse

$30-$35

$60-$70

Free w/ VIDF Membership

Dairakudakan photo by Hiroyuki Kawashima

30 THE GEORGIA STR AIGHT MARCH 7 – 14 / 2019

TAIWAN’S

At the Vancouver Art Gallery until May 20

d PLACE THE NAME Monet or Matisse in the title of an exhibition et voilà, instant audience. Insert both names and attendance is doubly guaranteed. The only surprising element at the Vancouver Art Gallery, where French Moderns: Monet to Matisse, 1850–1950 recently opened, is that this touring show originated at the Brooklyn Museum. It turns out that, as early as 1900, that relatively modest institution focused its collecting on French modernism, and in 1921, it produced a groundbreaking show of postimpressionists and their predecessors.

No longer groundbreaking but still visually engaging, the reduced version of French Moderns that has landed here includes 60 works of art, mostly paintings but also a few sculptures and drawings. Works range from the academic to the surreal, from Jean-Léon Gérôme’s highly detailed and slickly executed genre painting The Carpet Merchant of Cairo and Jehan-Georges Vibert’s equally facile interior scene An Embarrassment of Choices, to Yves Tanguy’s spooky imaginary landscape Dress of the Morning and Fernand Léger’s chaotic yet somehow hopeful Les Plongeurs Polychromes. Painted in New York in 1941-42, the Léger work was inspired by a swimming scene he encountered in Marseille in 1940, shortly before he fled Nazi-occupied France.

As VAG senior curator Bruce Grenville remarked during a media tour, the show represents an era of intense experimentation in France, between the revolutions of 1848 and the end of the Second World War, when Paris was the centre of the western art world. It features works by a flotilla of celebrated artists, including Pierre Bonnard, Paul Cézanne, Marc Chagall, Gustave Courbet, Edgar Degas, André Derain, Odilon Redon, Auguste Rodin, and Chaim Soutine.

Installed chronologically, French Moderns demonstrates the gradual retreat of the academy in the face of progressive art movements. Among the more conspicuous changes that occurred was the shift away from idealized or classicized landscape subjects and toward the realistic and the local, as artists became more and more concerned with what Grenville described as “specificity of place”. As curators Richard Aste and Jai Imbrey observe in the show’s catalogue, the plein air origins, looser brushwork, and “close attention to atmosphere and light” in Jean-Baptiste-Camille Corot’s 1865 Ville-d’Avray beautifully anticipate the impressionists. Corot’s mature art

Berthe Morisot’s Madame Boursier and Her Daughter. Photo by Sarah DeSantis

apparently inspired Claude Monet, whose 1882 painting Rising Tide at Pourville depicts an old cottage perched on a windy cliff in Normandy.

This work is striking for its sense of stormy immediacy, energetic brushwork, expanse of turbulent sea, elevated viewpoint, and high horizon line.

As is often the case with the touring shows of historic art that somehow land in Vancouver, major artists are mostly represented by minor works.

In French Moderns, the names cited in the subtitle are a tad deceiving: a single Monet and three small Matisse paintings are on display. The Matisse works are especially disappointing, consisting of a drab and uncharacteristic landscape, an inconsequential still life, and a smeary little portrait.

They’re unrepresentative of either his fauvist or mature style.

Still, Cézanne’s The Village of Gardanne, painted in 1885-86, is an attractive exercise in that artist’s compositional strategies. The geometric forms of the red-roofed, ochre-walled houses, climbing a steep hill toward the village church, play against the organic interludes of rich green foliage, and both elements are stacked and flattened against the picture plane.

The fact that this work is incomplete, that we are faced with bare canvas and sketchy conté lines in the lower right quadrant, adds to its intrigue.

Sadly but not surprisingly, only three of the 47 artists represented in the show are women: Berthe Morisot, Mariette Lydis, and Gabriele Münter.

Morisot’s charming portrait Madame Boursier and Her Daughter is the image the VAG has chosen to advertise the exhibition. As the curators tell us, Morisot, as an upper-middle-class woman, was constrained by social convention to seek out images of modern life in mostly domestic settings. Although she could skillfully employ impressionist painting techniques, she could not knock about Paris as her male colleagues did. She had to make the most of what she was allowed to observe and experience— and she did. g

ONGOING VANCOUVER INTERNATIONAL DANCE FESTIVAL Highlights of the monthlong festival include Japan’s Dairakudakan and Taiwan’s Tjimur Dance Theatre. To Mar 30, various Vancouver venues.

CHILDREN OF GOD Musical about the children of an Oji-Cree family who are sent to a residential school in northern Ontario. To Mar 10, 8 pm, York Theatre. $10-51.

THE SHOPLIFTERS The Arts Club Theatre Company presents Morris Panych's play about a career shoplifter whose life of petty crime is halted by an overzealous security guard and his affable mentor. To Mar 9, Granville Island Stage. From $29.

THE GOOD BRIDE Rosemary Rowe’s onewoman comedy about Christian faith and feminism. To Mar 9, Firehall Arts Centre.

From $17.

CHURCH BASEMENT LADIES Comical celebration of the church-basement kitchen and the women who work there. To Mar 9, 8-10 pm, Deep Cove Shaw Theatre. $25/23.

CHANGED UTTERLY Constance Markievicz fights for Ireland’s freedom in a theatre verbatim play with songs and poems. To Mar 16, 8 pm, Jericho Arts Centre. $24/28.

LE SOULIER Théâtre la Seizième presents David Paquet's dark comedy. To Mar 9, Studio 16. From $26.

BETTER THAN THIS: A MUSICAL REVUE Fabulist Theatre presents a musical written and directed by Mary Littlejohn. To Mar 9, Havana Theatre. $14-28.

UP AND COMING Metro Theatre presents a political farce. To Mar 9, 8 pm, Metro Theatre. $25/22.

THE 39 STEPS A cheeky Hitchcock parody.

To Mar 10, Norman Rothstein Theatre.

From $29.

JESUS FREAK A story of family, faith, and the in-between space. To Mar 23, 8-10 pm, Pacific Theatre. $20-36.50.

ELEPHANT AND PIGGIE’S “WE ARE IN A PLAY!” Carousel Theatre for Young People presents a new musical about two best friends. To Mar 31, Waterfront Theatre. $18/29/35.

ARTS CLUB ON TOUR: CIRCLE GAME Musical play reinterprets Joni Mitchell’s iconic songs. Mar 5-9, 8 pm, Evergreen Cultural Centre. $45/37/15.

COME FROM AWAY The true story of 7,000 stranded passengers and the Newfoundland town that welcomed them. Mar 5-10, 8 pm, Queen Elizabeth Theatre. From $45.

BETTER THAN THIS Musical revue chronicles the evolution of women’s roles in musical theatre. Mar 5-9, Havana Theatre. $24.

JNT COMEDY Cannabis comedy show hosted by Andrew Packer. Mar 10, 17, 24, 31, 8 pm, Cannabis Culture Headquarters. $10.

MUSEUM OF ANTHROPOLOGY AT UBC aIN A DIFFERENT LIGHT: REFLECTING ON NORTHWEST COAST ART to spring 2019 aMARKING THE INFINITE: CONTEMPORARY WOMEN ARTISTS FROM ABORIGINAL AUSTRALIA to Mar 31 aSHAKEUP: PRESERVING WHAT WE VALUE to Sep 1 MUSEUM OF VANCOUVER aWILD THINGS: THE POWER OF NATURE IN OUR LIVES to Sep 30 aHAIDA NOW: A VISUAL FEAST OF INNOVATION AND TRADITION to Dec 1, 2019 VANCOUVER ART GALLERY aA CURATOR’S VIEW: IAN THOM SELECTS to Mar 17 aTHE METAMORPHOSIS to Mar 7 aFRENCH MODERNS: MONET TO MATISSE, 1850–1950 to May 20 aAFFINITIES: CANADIAN ARTISTS AND FRANCE to May 20 VANCOUVER ART GALLERY’S OFFSITE aPOLIT-SHEER-FORM OFFICE to Mar 31 THE POLYGON aKEVIN SCHMIDT: RECKLESS to Mar 10 a10,000 SHIPS to Mar 17

WEDNESDAY, MARCH 6 INCITE: SUSAN ORLEAN ON THE LIBRARY BOOK Interview with author Susan Orlean and author-journalist Carol Shaben. Mar 6, 7:30 pm, Vancouver Public Library. Free.

THURSDAY, MARCH 7 REVERBERATIONS Sound installation/ memoir play based on the memories of writer and sound-designer Brian Linds. Mar 7-17, Presentation House Theatre. $15-28.

REDPATCH The Arts Club Theatre Company presents Raes Calvert and Sean Harris Oliver's story of an Indigenous soldier from the Nuu-chah-nulth Nation of Vancouver Island.

Mar 7-31, Goldcorp Stage at the BMO Theatre Centre. From $29.

TURN IT UP + DISRUPT Three days of feminist discussions, performances, workshops, and art exhibits. Mar 7-9, 9 am–5 pm, University of British Columbia. $10-25.

VETTA PRESENTS HORN OF PLENTY Pianist Jane Coop, violinist Joan Blackman, and horn player Oto Carrillo perform works by Harbison, Beethoven, and Brahms. Mar 7, 2 pm; Mar 8, 7:30 pm, West Point Grey United Church. $25/20/10.

I AM WOMAN HEAR ME LAFF WITH MARTHA CHAVES Martha Chaves headlines a night of standup comedy. Mar 7, 7:30 pm, Centennial Theatre. $29/24.

IAN BAGG Canadian comedian performs three nights of standup. Mar 7-9, The Comedy MIX. $15/20/22.

INTERNATIONAL WOMEN'S DAY CELEBRATION Cocktails, dinner, speeches, silent auction, and entertainment. Mar 8, 7 pm, Vancouver Art Gallery. $40.

CUBA VIBRA! Lizt Alfonso Dance Cuba Company performs a tribute to Cuban musical heritage. Mar 8, 7:30 pm, Massey Theatre. $50/60.

OH MAN! Jo Dworschak's one-woman show about men. Mar 8-3, 8-9 pm, The Drive Coffee Bar. $12/15.

SHE CAN BLOOM Five local artists celebrate International Women's Day with collaborative and solo works. Mar 8, 8 pm, Hood 29. $25.

FORMOSA QUARTET Classical music concert with harpist Vivian Chen. Mar 8, 8 pm, Chan Centre for the Performing Arts. $30.

WOULD YOU RATHER? Comedy panel/ game show. Mar 8, 10-11:30 pm, Little Mountain Studios. $10/12.

SATURDAY, MARCH 9 WORDS & MUSIC Turning Point Ensemble combines old and new music in a theatrical presentation and concert. Mar 9-10, Orpheum Annex. $33/20.

SHOWOFF: LIVE PAINTING EVENT AND FUNDRAISER Four artists come together to create one-of-a-kind pieces. Mar 9, 6-9:05 pm, Federation of Canadian Artists Gallery. $25.

VIVALDI CHAMBER CHOIR: WATERCOLOURS—FROM SKY TO SEA IN SONG The music of Canadian composers & arrangers, including the premiere of the beautiful Vancouver Lullaby, composed

by Nicholas Kelly, with artistic direction

by Edette Gagne. Doors and silent auction at 7 pm. Tix at watercolourshelens. brownpapertickets.com and at the door.

Mar 9, 7:30 pm, St. Helen's Anglican Church. $25/20.

VANCOUVER CHAMBER CHOIR: MUSIC SEA TO SEA—THE FAREWELL TOUR Program includes works by Bach, Debussy, Britten, Kodaly, Raminsh, and Schafer. Mar 14, 8 pm. $29-33.

ARTS LISTINGS

Arts HOT TICKET

it “ambitious”, “artful”, and a “fullon sensory feast”. If you missed it, here’s your second chance: the Arts Club is presenting this littleknown piece of our past again.

Shifting between Vancouver Island and the battlefields of France, it tells the story of the First World War through the eyes of a young soldier from the Nuu-chah-nulth Nation.

FRIDAY, MARCH 15 MUSIC IN THE MORNING Cellist Johannes Moser performs with pianist Chiharu Iinuma.

Mar 15, 11:15 am, Christ Church Cathedral. $20/38/42.

COMEDY CLUB HOUSE Fundraiser for Boys and Girls Clubs of South Coast B.C features comedian Steve Patterson. Mar 15, 7:30 pm, Rocky Mountaineer Station. $125.

UBC SYMPHONY ORCHESTRA Performing works by Françaix, Debussy, and Adams.

Mar 15, 7:30-9:30 pm, Chan Centre for the Performing Arts. $8.

HIERONYMUS BOSCH: THE GARDEN OF EARTHLY DELIGHTS Choreographer Marie Chouinard creates a living canvas embodying Bosch’s masterpiece. Mar 15-16, 8-9:30 pm, Vancouver Playhouse. From $35.

MARINE LIFE Ruby Slippers Theatre presents the Western Canadian premiere of a romantic comedy by Rosa Labordé. Mar 15-23, 8 pm, Firehall Arts Centre. $33.

HOT BROWN HONEY Packing a punch of hip-hop politics, the Honeys smash stereotypes and remix the system Mar 15-30, 8-9:15 pm, York Theatre. Tix $10-51.

ARTS LISTINGS are a public service provided free of charge. Submit events online using the event-submission form at straight. com/AddEvent. Events that don't make it into the paper due to space constraints will appear on the website.

CUBA VIBRA! (March 8 at the

Massey Theatre) Sure, it would be fantastic to be in Havana sipping a mojito right now, but here’s the next best thing: Havana coming to you. Straight from Cuba, the show’s 17 dancers and eight musicians will take you on a rhythmic tour of the island nation, fusing flamenco, ballet, popular dances, and more styles along the way. Don’t forget your Havana shirt.

REDPATCH (March 7 to 31 at the Goldcorp Stage at the BMO Theatre Centre) When Hardline Productions’ moving, meticulously researched play Redpatch debuted two years ago, we called

TURN IT UP + DISRUPT

(March 7 to 9 at the UBC Arts District and the UBC Life Building) UBC is launching its new International Women’s Day festival, with a focus on how art is being used to advance gender equity. We’re talking hands-on workshops with yarn-bomber Leanne Prain; Trans Scripts, Part 1: The Women, a verbatim play about the lives of seven trans women; and a party night at the Museum of Anthropology called Sound House: International Women’s Day Edition, featuring Feven Kidane, Old Soul Rebel, Missy D, Kimmortal, JB the First Lady, and more. Look for details via www.arts.ubc.ca/ artsandculture/. g

WHEN THE SPRING IS BORN Elektra Women's Choir performs music by Abbie Betinis, Maija Einfelde, Joni Mitchell, and Marie-Claire Saindon. Mar 9, 7:30 pm, Shaughnessy Heights United Church. Tix $15-35.

COMEDY NIGHT TRIPLE BILL Standup comedy by Erica Sigurdson, Charlie Demers, and Ivan Decker. Mar 9, 8 pm, The ACT Arts Centre. $45/39/30.

THE DIRTY BETTY SHOW! WOMYN'S DAY EDITION Vancouver comedians, improvisers, dancers, and drag performers. Mar 9, 8-10:30 pm, Fox Cabaret. $15.

THE COMIC STRIP Standup comedy by Byron Bertram, Ryan Williams, and Sam Tonning. Mar 9, 9 pm, Tyrant Studios. $18.

SODA FOUNTAIN Comedy night hosted by Graeme Achurch and Nathan Hare. Mar 9, 10 pm, Little Mountain Gallery. $8/10.

SUNDAY, MARCH 10 PEROGIES & POLITICS Author Rhonda Hinther launches her book. Mar 10, 1 pm, Ukrainian Hall. Free.

6TH ANNUAL CHOCOLATE AND BEER TASTING The Original Chocolate and Beer Tasting Mar 10, 4 pm, Moody Ale. $50/60.

EAST VAN IMPROV LEAGUE Instant Theatre presents competitive improv comedy. Mar 10, 7:30-8:30 pm, Havana Theatre. $12.

MONDAY, MARCH 11 FACES OF HUMANITY: THE STORIES BEHIND THE NUMBERS Multimedia exhibit on humanitarian emergencies. Mar 11-12, 10 am–9 pm, Vancouver Public Library Central Branch. Free.

TUESDAY, MARCH 12 BRAVE NEW PLAY RITES FESTIVAL New work by both undergraduate and graduate creative-writing students. Mar 12-17, Studio 1398.

WEDNESDAY, MARCH 13 MUSIC IN THE MORNING Cellist Johannes Moser performs with pianist Chiharu Iinuma.

Mar 13-14, 10:15-11:30 am, Vancouver Academy of Music. $20/38/42.

STORY STORY LIE: YOU’RE FIRED! Embarrassing stories told by TJ Dawe, Corinne Lea, Ian Boothby, David C Jones, Andrew Lynch, and Toben Spencer-Lang. Mar 13, 7-8:30 pm, Rio Theatre. $10/12.

SALISH SEA EARLY MUSIC CONCERT Performance of Bach's sonatas for flute and harpsichord. Mar 13, 7:30-9 pm, Knox United Church. $15-25.

PRESENTED BY

THURSDAY, MARCH 14 GROSS MISCONDUCT Two inmates at Millhaven Prison debate the nature of their crimes. Mar 14-23, Gateway Theatre. $29.

GOLDRAUSCH Comedy about the man who started the Gold Rush Fever of 1848. Mar 1430, Frederic Wood Theatre. $24.50.

SOUTH ASIAN ARTS The Dance Centre's Discover Dance! series presents a bhangra showcase. Mar 14, Scotiabank Dance Centre. $22-13.

FRIDAY, MARCH 8

BRYAN HATT Canadian comedian performs three nights of standup. Mar 14-16,, Yuk Yuk's Comedy Club. $10/20.

CINDERELLA WALTZ Douglas College presents a twisted retelling of the popular fairy tale. Mar 8-15, Laura C. Muir Performing Arts Theatre. $10-20.

GROWING ROOM: A FEMINIST LITERARY FESTIVAL Room magazine’s annual celebration of diverse Canadian writers and artists. Mar 8-17, various Vancouver venues.

By donation.

9 TO 5 THE MUSICAL Based on the 1980 hit movie. Three female coworkers concoct a plan to get even with their sexist, egotistical, lying, and hypocritical boss. Mar 14, 8 pm; Mar 21, 8 pm; Mar 15, 8 pm; Mar 16, 8 pm; Mar 20, 8 pm; Mar 22, 8 pm; Mar 23, 8 pm; Mar 17, 2 pm; Mar 23, 2 pm, BlueShore Financial Centre for the Performing Arts. $24/15/10.

MARCH 7 – 14 / 2019 THE GEORGIA STR AIGHT 31

Vancouver International Women in Film Festival March 5-10 at the VIFF Vancity Theatre

International Features

MOVIES

His greatness etched in stone

A tribute to the genius of Buster Keaton can’t explain what made him tick

by Ken Eisner

SWORDS AND SCEPTRES: THE RANI OF JHANSI

Set in India in 1850, the ruler of Jhansi province becomes a powerful symbol of resistance as she leads her people into battle against the British.

March 10th, 2:30pm

MIRACLE

Capitalism and religion move into Lithuania after the fall of communism in this comedy about the manager of a swine farm and her relationship to an American business man with orange hair.

March 8th, 6pm Pictured on the set of his masterpiece, The General, Buster Keaton pushed his comedic vision (and his budget) to the limit.

THE DAY I LOST MY SHADOW

Despite the surrounding chaos of war, a Syrian mother tries to provide normalcy for her son.

March 9th, 3:30pm

Tickets at goviff.org/viwff

Details at womeninfilm.ca

REVIEWS THE GREAT BUSTER

A documentary by Peter Bogdanovich. Rated PG

expense for the era. (One shot in The General, of a railroad-bridge collapse, cost $50,000 in 1926 dollars.)

In this fast-moving tribute, director Peter Bogdanovich—whose own inventive years are long behind him—excavates Keaton’s early work, presenting a truly dazzling buildup to edgy mid-’20s masterworks like The Navigator and Sherlock Jr., the last of which combined his exquisite timing with still-striking special effects that allowed his character, a

d JUST AS NO one will ever fully settle the old Beatles-vs.-Stones argument as to who better defined the ’60s (it really was the Beatles, obviously), there are still silent-film fans who will almost go to slapstick blows when it comes to Chaplin vs. Keaton.

Sure, Le Grand Charlot won international hearts in the 1920s and managed to keep that crown for the rest of his life. The Great Buster makes a hell of a case, however, for the unique art of the Kansas man born Joseph Frank c A PERFECT 14 The Vancouver Keaton in 1895, mere months before International Women in Film the Lumière brothers showed motion Festival presents this doc, featuring plus-size model Elly pictures to a paying audience for the Mayday (who died on March first time, in Paris. The future star was 1), at the Vancity Theatre on hatched into a family of vaudevillians Thursday (March 7). and got his stage name as an infant, putatively from family pal Harry c GOSPEL ACCORDING TO AL GREEN Here he is, baby, come Houdini, after garnering ever-bigger and take him. One of soul’s laughs from his father’s propensity for all-time greats gets intimate at hurling the tyke into every possible the Vancity Theatre on Monday corner of the music hall.

(March 11).

Buster’s bruisingly interactive view of entertainment served him c THE OWL’S LEGACY Newly restored, Chris Marker’s epic well when, under the tutelage of Fatty rumination on ancient Greece Arbuckle and other innovators, he and western civilization arrives began designing highly elaborate at the Cinematheque, starting sight gags for other people’s films, and Wednesday (March 13). then for his own, over which he exercised complete control at considerable

Movies

TIP SHEET

dreamy projectionist, to enter and exit movie screens in very meta ways, long before that term was coined.

Buster’s harried relationship with the modern world, not with other people, was what truly set him apart from other nonspeaking comics.

Chaplin may have (later) captured the dehumanizing effects of industry in Modern Times, but for Keaton, the war was always personal. Houses, cars, machines of all kinds, and cinema itself were simply out to get him.

And nature wasn’t much kinder, as that avalanche of boulders in Seven Chances proved. His problems were existential, not moral.

Even while aided by a battalion of talking heads—including people who knew the man, like Dick Van Dyke and Mel Brooks, and others who just like him, such as Bill Hader and Johnny Knoxville—the director doesn’t really attempt to pry off the Great Stone Face to see how he came up with his best work, or what he thought it might have meant. If the talkies rendered him permanently nostalgic, the film at least argues that a serious revival reversed his long decline in the final decades of his life.

Again, it’s hard to read how happy that made the man. Jazz-age humanity might have been trapped beating its boats against the current, as F. Scott Fitzgerald famously put it.

But Buster Keaton’s ship was forever sinking before it even left the shore.

by Ken Eisner

A Feminist takes the initiative

Sweden’s gender revolution is captured in real time in Helene Granqvist’s doc

by Janet Smith

F VIFF‘18

32 THE GEORGIA STR AIGHT MARCH 7 – 14 / 2019

VIFF‘18

ilm producer Helene Granqvist and her team had their cameras rolling when Sweden went through its “Feminist Spring” in 2014.

That year, the Feminist Initiative party won 5.3 percent of the national vote for the European Parliament, and thanks to a coalition of left-leaning parties, Sweden proclaimed the world’s first “feminist government”. All the while, the documentary cameras were focused tightly on long-time advocate and FI leader Gudrun Schyman.

“When we started this project, surveys showed us that 11 percent of Swedish people said ‘I’m a feminist,’ ” says Granqvist, speaking over the phone from a gala in Stockholm, where, fittingly, the nation’s culture minister is handing out awards for female filmmaking. “Then, after the Politician Gudrun Schyman won real change through “reasoned, calm advocacy”. election, 46 percent said they were feminists. So something happened; A big reason for the change was Granqvist’s film The Feminist, camyou had this tipping point. Before decades of reasoned, calm advocacy paigning everywhere from “home see next page that, the word feminist had a stigma.” by Schyman, whom we follow in

parties” in people’s gardens and kitchens to FI’s pink-balloon-andbanner-filled rallies. Throughout, the youthful 70-year-old pushes a simple message of feminism as human rights.

As Granqvist puts it, “Nationalism is a bad thing going on in society right now. But Gudrun always works with an open hand, not a fist.”

In the documentary, which will show locally at the Vancouver International Women in Film Festival, Schyman is often treated like a rock star by her young Swedish fans out in public, though her detractors—usually older guys—aren’t afraid to confront her on the street.

Still, the movie goes far beyond politics and theory. The Feminist follows Granqvist’s remarkable personal journey, from growing up poor with an alcoholic father to struggling with her own drinking and the ensuing political fallout in the 1990s, as well as dealing with abuse in her own family. In some of the film’s most touching scenes, she reflects with her

Nationalism is a bad thing going on in society right now.

But Gudrun always works with an open hand, not a fist.

– Helene Granqvist

adult daughter on the toll it all took.

“Gudrun has never been ashamed,” explains Granqvist. “She really believes that as complex humans, we have to allow for faults for change— and the same is so for political change. And this tells us something about how difficult it is to change.”

As the president of the global advocacy network Women in Film &

Television International, Granqvist, who will attend the screening here, recognizes many parallels between her own work and that of Schyman.

“I see the similarities with what Gudrun is dealing with and what I’m dealing with, and that’s organizing people,” she says. “For a big change, we need to go together and we have to define the goals and aims.”

In her film, the metaphor for that slow building of a movement is shots of the ever hard-working Schyman painstakingly reconstructing a stone fence on her windswept property in rural Sweden.

Amid #MeToo and women’s marches (late in the film, Schyman dons her first pussy hat), the feminist movement is surging on this side of the Atlantic too. But Granqvist has watched the long struggle, in film and politics, and she is as realistic about progress as her film’s practical heroine is. “I have a Norwegian colleague, and she has a snowman theory: to work with gender equality you have to build the snowman and it will melt, and you will have to be there all the time to rebuild it again,” she says. “You can’t sit back; you have to be always active.” g The Vancouver International Women in Film Festival presents The Feminist at the Vancity Theatre on Friday (March 8) at 3:30 p.m.

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MARCH 7 – 14 / 2019 THE GEORGIA STR AIGHT 33

MUSIC

Cherry Glazerr makes sense of things

by Mike Usinger

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Cherry Glazerr’s Clementine Creevy has been hailed as a culture-shifting feminist renegade in the vein of Kathleen Hanna.

F

or all that Clementine Creevy has accomplished at the age of 22, there’s plenty on the new Cherry Glazerr record Stuffed & Ready to suggest that she’s sometimes every bit as confused as the rest of us.

Reached in a tour van that’s headed to Denver, the thoughtful frontwoman suggests that is indeed the case. Consider, she suggests, the mantra “Don’t be nervous, don’t be nervous” that serves as the backbone of the dream-hazed shoegazing diamond “Juicy Socks”. On the surface, Creevy is addressing her fellow Americans, specifically the disenfranchised who are stressed about their place in Donald Trump’s increasingly intolerant United States.

But Creevy admits that she was also sending a specific person a message when writing “Juicy Socks”.

“When I say, ‘Don’t be nervous,’ I’m really talking to myself,” she reveals. “When Trump was elected, I had a physiological reaction to it.

My first thought was ‘What if I need an abortion and can’t get access to one?’ That’s just physically threatening to me and so many others who have to deal with even worse things.

It’s a joke and it feels like a dream, and I can’t normalize it.”

Give her credit, then, for doing her best to make sense of things in a chaotic time. And also for continuing to push forward and challenge herself not only as a songwriter, but also as a person who’s able to accept that flaws come with the package, even if they aren’t always visible.

“I see my music as a place where I am able to be honest with myself,” Creevy says. “Or at least I try to be honest. My music is sometimes the only place where I’m able to do that— where I’m able to put the thoughts and feelings that I normally can’t articulate with words into song.”

As critically lauded as Cherry Glazerr has been over its half-decade run, Stuffed & Ready is a record that shows a really good band setting its sights on greatness. Noticeably less polished than Apocalipstick, the record doesn’t lack for dream-candy guitars and challenge-everything vocals, both there in full force on tracks like “Isolation” and “Stupid Fish”.

But Creevy also shows herself as an artist who’s not afraid to let her vulnerabilities show, both musically and lyrically. Backed by pillowy synths and watery guitar, “Daddi” has her questioning her own complicity in relationships where she’s been nowhere as strong as she is in real life. The downtempo meditation “Self Explained”, meanwhile, has her admitting “I don’t want people to know how much time I spend alone.”

“I think what I was trying to prove on past records,” Creevy says, “is that I was a capable songwriter and musician who tended to sort of maximize things and use a lot of metaphors and overcomplicate

things as far as lyrics and arrangements go. With this album, I really tried to practise trusting myself.

I think that resulted in it being a more straightforward and simplified album where I’m really just talking about my self-reflective tendencies.”

Logic would suggest that the singer has few reasons to question her place on the planet. Cherry Glazerr pretty much took off right from the point when a 15-year-old Creevy began posting her work on SoundCloud. Following the release of a debut EP, Papa Cremp, on indie heavyweight Burger Records, the group promptly established itself as a dark-horse fave at its first South By Southwest appearance.

on songs like “Told You I’d Be With the Guys” and “Sip O’ Poison”.

Relentless touring for that record left her with lots of downtime in hotels, tour vehicles, and green rooms, not always the best thing for one’s mental health.

“I do struggle with loneliness even when I’m not alone,” Creevy acknowledges. “I wasn’t realistically alone, but I think I was struggling to grasp meaning in my life. Then I came to the conclusion in ‘Stupid Fish’ where I talk about how we’re all just talking monkeys hurtling through space trying to survive, with none of us really knowing what’s going to happen tomorrow. We’re all in the dark hoping for the best.”

I want to think that I’m larger than life, but I’m actually just a nervous person. I can really overthink stuff.

– Clementine Creevy

Subsequent full-lengths Haxel Princess (2014) and Apocalipstick (2017) positioned Creevy as one of the most ferocious and uncompromising young talents in underground alt-pop. Not content with planting her flag in a single discipline, she worked tirelessly to establish herself as a multiple threat, dabbling in the fashion industry as a model for Yves Saint Laurent and landing on the small screen with a recurring role on the award-winning Amazon Prime series Transparent. Recognizing her as a force cut from the same fabric as culture-shifting renegades like Kathleen Hanna and Courtney Love, arbiters of all things cool VICE turned the camera on her for the 2017 short doc “Clementine Creevy: The Millennial Punk Feminist Icon”.

But for all her conquests, Creevy found that perception didn’t always match reality when she was alone.

“I think we all feel to a certain extent that we want outside validation,” she says. “I want to think that I’m larger than life, but I’m actually just a nervous person. I can really overthink stuff. So I try to practise trusting myself and I try to practise not beating myself up.”

With Stuffed & Ready, she also learned to channel her dark periods into something healthy. Looking back, she sees Apocalipstick as an exuberant, if sometimes wide-eyed, call to arms, that borne out by her adrenaline-overdrive performances

That idea of looking into the light coloured much of Stuffed & Ready.

The record is packed with references to those times when everything seems pointless and futile; consider “I wish myself the best, but I’m broken/ The light inside my head went dead, and I turned off” from the distortionglazed kickoff, “Ohio”, and then “I don’t see nobody, anybody for three days/I wanna be alone” from the doomsday outro, “Distressor”.

But what’s equally important to think about is what motivated Creevy when she was writing Stuffed & Ready, namely the conviction that you can’t let the inner demons win, even when the struggle gets real. For all she’s done, that might be her biggest accomplishment of all.

“I’ve created a few practices for myself as I’ve gotten older,” she says.

“One of my practices is not beating myself up, and another is not stressing myself. Another is seeing myself as a capable human being. This has created a lot of meaning in my life. It’s easier said than done, because I have moments and days where I feel shitty and cynical and depressed. But for the most part, these practices have given me a lot of happiness and a lot of trusting in my own art. It helps that I’m of the school that the world is not a bad place, and for the most part people are full of love and are also lovable.” g Cherry Glazerr plays the Rickshaw Theatre on Friday (March 8).

MUSIC Darlingside tempers fear with beauty d HORRIFYING AS THINGS sometimes look on the 11 o’clock news, the reality is that the future of the planet is still unwritten, which is reason enough to hope for a better tomorrow.

It makes sense, then, that for all the creeping dread and palpable angst on Darlingside’s gorgeous third album, Extralife, the Boston-based chamberfolk unit leaves things ambiguous on the big-message front. Are we doomed, as suggested by title-track lyrics like “It’s over now/The flag is sunk/The world has flattened out” and “Mushroom clouds reset the sky”?

Or should we always strive to look into the light, which explains “It’s not ever too late” in the soft-focus cosmic-country-tinted “Futures”.

Reached at a northern California hotel in the middle of a three-week swing across North America, singer-guitarist Don Mitchell politely avoids serving up an easy answer.

“For us, it was a lot about processing some of the stuff going on in the world,” the eloquent Connecticut-raised artist explains. “We were travelling a lot, going to the U.K. and Europe for the first time and seeing Brexit going on, and then coming back here and seeing all these natural disasters out West. They were the kind of things that you could take as signs of the apocalypse if you were so inclined. Then there was the election in 2016 and the fracturing, it felt like, of different societies. We were kind of feeling torn apart about it all, and writing songs has always been a way of processing things for us.”

Still, he wants the hope Darlingside has for a better tomorrow to also shine through. Much of that is conveyed in the music. Past records have established Mitchell and his multiinstrumentalist bandmates—Auyon Mukharji, Harris Paseltiner, and David Senft—as a band that places a premium on double-honeyed vocal

The Georgia Straight Confessions, an outlet for submitting revelations about your private lives—or for the voyeurs among us who want to read what other people have disclosed.

Scan to confess We don’t tip counter I’ve been in restaurants for a number of years and while I will tip when I go to eat (really depends on service, I can tell if you’re busy or lazy) I refuse to tip counter service. Some people are surprised to find this out, and I ... (con’t @straight.com)

Feel sorry for this dude

The Boston-based chamber-folk act Darlingside places a premium on harmonies.

harmonies and gold-leaf arrangements. Continuing down that road, Extralife is uniformly gorgeous, with the band’s thoroughly modern updating of glory-years folk often all about the little touches. Think the break-of-dawn trumpet in the celestial “Singularity” or the funeral-procession violin in the microchip-blipped future-pop diversion “Eschaton”.

That Extralife is as lovely as it is sometimes heavy isn’t lost on Mitchell. Nothing is black-and-white in the world, so it made sense that the record recognize that dichotomy.

“I hope that the album has two sides to it,” he says. “That there’s a real legitimate concern and existential worry about the world and ourselves and all of that, but also the idea of trying to cling to and lean into a sense of hope and interconnectedness even when you feel like everything is kind

of getting tugged apart.”

Extralife ends with the heavensent neofolk number “Orion”, which begins with the lyrics “I wonder if our days are unnumbered” and ends with “We’re a long way, long way/From the best of the best of times.” So where, exactly, does Mitchell see things today, and what might the future hold moving forward? Not surprisingly, he’ll leave that up to you.

“Are we standing at the fulcrum, where anything you do is going to make or break the course of humanity?” he asks. “Or are we just standing at another point in time, where everything always feels momentous to people living in that moment.

I really don’t know.”

by Mike Usinger

Darlingside plays the Biltmore Cabaret on Saturday (March 9).

He’s pleasantly average, on what I hope is a first date, with a woman who I call a “hairflipper”. She’s been on a 10 minute bathroom break to redo her makeup after loooooooong silences between them, where they’ve broken out their phones to disappear into. This man WANTS this woman so much...! And she’s made it abundantly clear that she... (con’t @straight.com)

Insane colleagues Several people at my company (mostly but not all men) seem to be seriously deluded about themselves. They think they’re geniuses. It’s laughable when you consider how ignorant they are about so many subjects, including things they should be aware of at work. I’m sure many others are in a similar situation. Any advice on how to deal with workplace egomaniacs?

Sushi Itoga closing I’m so bummed that Sushi Itoga closed down. They had the best spicy tuna roll I’ve ever eaten. They always said “there’s a 25 minute wait” but I liked the enforced relaxation. We always ate in at the long table. I liked to chat with the other people sitting with us - especially the family from Minnesota where the kids ate two helpings of sashimi. I was really optimistic that Sushi Itoga would stick around for a long time... (con’t @straight.com)

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MARCH 7 – 14 / 2019 THE GEORGIA STR AIGHT 35

MUSIC

Flint helped build musical bridges The late Prodigy wildman made it cool for rock ’n’ rollers to hit the dance floor again

A

by Mike Usinger

s much as suicide is always a stupid, pointless tragedy, it’s easy to see how it might have all started to seem like too much for the Prodigy’s Keith Flint.

“Hellish” doesn’t begin to describe the prospect of turning 50 when you’re famous for Bozo-theClown-gone-bad hair, Rocky Raccoon guyliner, and dance moves that might have been choreographed by an East Hastings tweaker.

It’s too bad Flint—who was found dead at home Monday morning at the age of 49—couldn’t find a reason to keep going. When you look at his place in pop-music history, he was anything but the one-note cartoon he sometimes seemed.

Strange as this might sound to a generation raised on Apple Music, Spotify, and Tidal, there was a time when music consumers didn’t mix and match their genres. For whatever reason, different camps kept to themselves.

Flash back to the late ’90s, and you get a time when postgrunge alternative was officially running on fumes, which didn’t stop every guy with a guitar wanting to be the next Pearl Jam or, entirely more likely, Creed.

Enter the rise of what the major labels dubbed “electronica”, a name that, given the hundreds of subgenres at play in the global underground at the time, made about as much sense as suggesting Rancid, Simple Plan, and the Offspring all belonged at the same punk-rock lunch table.

As your grandparents will attest, what stood out was the hostility between various tribes. To those suddenly enamoured with the Chemical

Raised by what he once described as a “violent cunt” of a father, the Essex, England–spawned dancer turned vocalist was a product of his upbringing. At a time when rave was a shiny, happy blissed-out escape from reality, Flint never forgot how Siouxsie and the Banshees got him through his by all accounts violent and miserable teen years.

That made him a natural bridge between warring camps when the Prodigy blew up big-time in 1996 with the big-beat monster The Fat of the Land.

The group—headed up by studio whiz kid Liam Howlett and singer Maxim Reality—wasn’t the first to suggest that rock ’n’ roll wasn’t

The singer was more hard-core than the boobs in Blink-182 or Amen would ever be.

– Mike Usinger

The Prodigy’s live-wire singer and dancer Keith Flint brought a punk-rock intensity to the English group’s big-beat electronica. Photo by Scott Sanders

Brothers, Underworld, and everyone ever signed to a fledgling-years Ninja Tune, guitar music was as stupidly antiquated as player pianos and 8-track tapes. To those who couldn’t accept the fact that Sub Pop was years away from being cool again, electronica

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I SAW A: I AM A: WHEN: FEBRUARY 24, 2019 WHERE: Waterfront Station Canada Line - MEC We were on the same train from Waterfront station to Broadway-City Hall. We walked in the same direction up to MEC. Along the way you got scared for pigeons. we both entered MEC. Any chance of going in the same direction for a coffee?

TO THE DAVID TENNANT LOOKALIKE ON THE FERRY TO AND FROM VICTORIA

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I SAW A: I AM A: WHEN: MARCH 1, 2019 WHERE: BC Ferries

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I saw you on the ferry to Victoria last Friday. I stood outside near you for a bit and wanted to talk but it was freezing and so I went back inside. We both ended up on the 70 bus downtown and we made eye contact and smiled at each other. Then I saw you again on the ferry coming back to Vancouver on Sunday.

I felt awkward and buried my head in my book when you looked at me. I’m tall and blonde. You were wearing a blue jacket and travelling much lighter than I was :) I’d love to see you again.

CIOFFI’S - UNDER ARMOUR BLACK CAP TAKE AWAY COUNTER TODAY

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I SAW A: I AM A: WHEN: MARCH 4, 2019 WHERE: Cioffi’s Take-Away Counter in Burnaby.

I ordered some take-away from you today. You were very helpful and I really like your smile. If you’d like to have coffee, please reply. I’m up to meeting new friends and I like your vibe. You were wearing a black Under Armour baseball cap. If you wish to reply and happen to remember our conversation, please include what it is that my dad does not like to eat. :D

WHY DIDN'T I GET YOUR NUMBER??

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SERVER WITH A GREAT SMILE AT CHAMBAR

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I SAW A: I AM A: WHEN: MARCH 2, 2019 WHERE: The Metropole

I SAW A: I AM A: WHEN: FEBRUARY 22, 2019 WHERE: Chambar Restaurant

I was out celebrating a friend's birthday the other night when you came up to me at the bar.

I bought you a drink and then things got so fun! New for both of us, if I recall correctly.

Sadly, my memory is a blur for the end of the night, but I'd love to reconnect and kiss you some more! You have amazing eyes

I was there with three friends who had just moved here for a program at UBC. You were taking our drink orders and serving our drinks, and have a great smile. I couldn’t take my eyes off you the entire time we were there. At the end of the meal we all had a nice chat, and we learned you had just finished a graduate program in December.

I had asked for your name early on, though didn’t get a chance to ask for your number. I’m interested in learning more.

Coffee or drinks sometime?

MESSY HAIRED GUY IN PLAID, SEEN AT MARINE GATEWAY CINEMA

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I SAW A: I AM A: WHEN: MARCH 3, 2019 WHERE: Marine Gateway Cinema

EARLS MOST BEAUTIFUL SMILE

I was behind you in the line to get a drink, and our eyes locked, twice. You smiled. You had messy hair and were wearing a plaid shirt with a couple of your friends. We saw the same movie, but you left so quickly before I could say hi.

I SAW A: I AM A: WHEN: FEBRUARY 27, 2019 WHERE: Earls on Robson

READING A BOOK AT MILANO COFFEE

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I SAW A: I AM A: WHEN: MARCH 3, 2019 WHERE: Milano Coffee Roasters on 8th Avenue

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You're a cook at Earls on Robson.

You’re tall, fair skin and had the most amazing smile that I’ve ever seen. I think I just found my favorite restaurant. Wish I knew your name. Hope you see this.

STUNNING PHAT SERVER AT THE CANNIBAL

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I SAW A: I AM A: WHEN: AUGUST 13, 2018 WHERE: Cannibal Cafe

You were reading a book with a red cover around 1 pm on Sunday. I was working on my laptop on the opposite side of the cafe. We made eye contact a few times and I smiled. But I became immersed in my work and when I looked up again, you were gone. Would love to go for coffee with you sometime! Next time without my laptop. :)

We met last summer at the Cannibal Cafe on the Drive and seemed to hit it off. I would’ve asked for your number if I wasn’t married. Which I no longer am and would love to see you again, if you’re still in Van and interested. PHAT is under renovations and I don’t know if you even still work there but...

I WAS THE FIRST CUSTOMER OF THE DAY

I SAW A: I AM A: WHEN: FEBRUARY 23, 2019 WHERE: Vancouver Ferry Swartz Bay Bound

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I SAW A: I AM A: WHEN: MARCH 3, 2019 WHERE: The Haircut Place I was the first customer of the day. You told me that I timed it perfectly. I wanted to hold you and kiss you everywhere.

“TROU-DE-LUKE”

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I think that’s what you said. I regretted not introducing myself, but I also wasn’t sure if you just checked me out because I startled you. You’re tru-de-cute (I’m terrible too).

Visit straight.com to post your FREE I Saw You _ 36 THE GEORGIA STR AIGHT MARCH 7 – 14 / 2019

was for glowstick-waving ecstasy gobblers who’d dance to anything— including ringtones and 4 a.m. car alarms—while sporting the future fashion atrocity known as phat pants.

And that’s where the hurricane that was Keith Flint made his name.

welcome in the chillout room; you might recall the Chemical Brothers teaming up with Oasis’s Noel Gallagher on “Setting Sun”.

But it was the Prodigy, with its breakout electro-bomb “Firestarter”, that suggested maybe, just maybe, the walls separating the club kids

and the rockers weren’t really as unscalable as they seemed.

“Firestarter” sounded crazily alien to a generation raised on Gibsons and Marshalls. But to sit captivated by the video, or to howl along as Flint chewed his way through lines like “I’m the trouble starter, punkin’ instigator,” was to recognize that the singer was more hard-core than the boobs in Blink-182 or Amen would ever be.

When the Prodigy was tapped to headline the previously (and stubbornly) rockcentric Lollapalooza in 1997, it was a giant leap in the concept of cross-pollination.

Flint continued to play live with the Prodigy, which blurred the lines between kerrang metal, industrial goth, and postrave EDM with ’00s records like Always Outnumbered, Never Outgunned and Invaders Must Die. He also bought and ran a pub, popular legend being that he had a swear jar above the spot’s fireplace—and that anyone who started singing “Firestarter” when he touched a match to the kindling was forced to contribute a pound.

In the years that followed Flint’s pioneering bridge-building, rawk revivalists like the Black Keys began talking reverentially about their indebtedness to hip-hop gods like the Wu-Tang Clan. Impossibly country shitkicker Tim McGraw saw nothing totally bizarre about teaming with Nelly, while Snoop Dogg hit the studio with Willie Nelson. And, um, Chad Smith of the Red Hot Chili Peppers inexcusably formed a supergroup with members of Van Hagar.

No one said it’s all been good. But thanks to Keith Flint, things are better than they once were. g

TQ soundtracks night terror

Jupiter-8 explores B-movie Vancouver; Hadden makes being alone seem okay

LOCAL DISCS

and Yee”—incorporate pentatonic melodies, but the album as a whole doesn’t rely too heavily on stereotypically “Oriental” sounds.

What it does do is evoke the rainslicked, neon-lit streets of a B-movie Vancouver that only exists in Joly’s imagination. It’s a nice place to visit, but be careful crossing the street— you never know when a high-speed police chase might break out.

TIGER QUILT In Ruin

d IF YOU’VE EVER experienced an episode of sleep paralysis, you know how terrifying and disorienting it can be. It’s like being asleep and awake at the same time; you perceive your surroundings, but you can’t move or respond to them in any way.

Many sufferers report seeing dark, demonic figures, sometimes at the foot of the bed and sometimes hovering right above them.

Holy shit, right? Now imagine that experience translated into sound. Vancouver’s Tiger Quilt (or TQ) made In Ruin after a bout of sleep paralysis, and if listening to the six-song cassette (also streaming on Bandcamp and SoundCloud) is as close as you ever come to waking up with the fucking Babadook leering at you from across the room, consider yourself lucky.

The distorted bass frequencies of “Holy Grail” and the clattering drum ’n’ bass–derived beat that drives “Burnt Jungle” capture something of the fleeting dread of a bad dream, but “Black Serpent” is perhaps the purest distillation of night terror into audio.

After a slow buildup of synth arpeggios and alien squelches straight out of the Annihilation score, the song takes a sharp left turn into doom-rock territory courtesy of an amplifier-frying guitar riff that TQ had apparently been saving for a metal album.

“I hope this creeps you out,” the artist says on the album’s Bandcamp page, “and at the very least I hope it makes you want to dance.” I can report that at least one of those goals was handily accomplished.

Dante Hadden comes on like a man who’s had his share of heartbreak.

JUPITER-8 Tough Job

d “A CHINESE COP from Vancouver lost his partner during an undercover mission in the local Chinatown and has to go to L.A. to pursue the investigation with a hard-boiled American Nam vet cop.” So reads the plot synopsis of Tough Job, which isn’t a real movie at all. Instead, it’s a conceptual framework on which Thomas Joly has based an album’s worth of synthwave tracks that recall ’80s film scores.

This seems to be Joly’s standard operating procedure. As Jupiter-8, the Vancouver musician has dozens of fake soundtracks in his catalogue, from the jock jams of the basketballthemed Swish to the analogue-synth horrors of Texas Werewolf. (He also has a couple of genuine scores to his name, which suggests that he actually knows what he’s doing.)

Tough Job is a strictly retro affair, to be filed alongside the works of Vangelis, John Carpenter, Harold Faltermeyer, and Jan Hammer. Or, for that matter, like-minded contemporaries such as Michael Stein and Kyle Dixon (Stranger Things) or Disasterpeace (It Follows). A

by John Lucas few tracks—“Chinatown”, “Kwan

by John Lucas

DANTE HADDEN Most Nights

d DANTE HADDEN’S great trick on Most Nights is the way he leaves you thinking that being alone isn’t nearly as bad as it sometimes seems on a Saturday evening.

The acoustic-leaning singersonger starts off this smart and smart-looking (check out the Hipstamatic-styled retro car and Vancouver bungalow on the cover) EP with the driving “Most Nights”, lyrics from which include “Most nights honey you can find me/Walking in the road losing half my head.”

From there “Move” winningly employs stuttering drums and lowkey piano, while “Hate That I Miss You” starts out with plaintive sixstring and piano and then builds to something grandly symphonic.

Whether he’s relying on soaring strings and thundercloud drums for “Lost” or dialling things down for the Sunday-morning comedown “We Don’t Sleep”, Hadden comes on like a man who’s had more than his share of heartbreak.

But in the tradition of Damien Rice and Glen Hansard, he’s always impressively stoic rather than sadly maudlin. We should all be so strong.

by Mike Usinger

CONCERTS JUST ANNOUNCED INDIGENOUS MUSIC FROM HOKKAIDŌ AND BRITISH COLUMBIA Indigenous music with Ainu and Haida musicians. Mar 14, 5:307:30 pm, Museum of Anthropology at UBC. Free with museum admission.

KIMMORTAL Album release show, with guests Tin Lorica and Dakk’one. Mar 14, 7 pm, Fox Cabaret. $12.

FROM TORONTO: CHRIS WALLACE Drummer Chris Wallace and his jazz quartet celebrate their debut release Somewhere Sacred.

Mar 14, 8 pm, Frankie’s Jazz Club. $16.

HIGH STAKES & ELEANOR RISING Local bands play a coheadlining bill, with guests Vice Girl and HDaSS. Mar 15, 7 pm, Bourbon. $10/13.

THE DREADNOUGHTS Punk band plays a St. Patrick’s Day weekend show, with guests BRASS, ATD, the Gung Hos, Campfire Shitkickers, and North by North. Mar 15, 7 pm, Rickshaw Theatre. $20.

GAMELAN GITA ASMARA A night of Balinese gamelan, with guests Basilissa, YEP, and DJ How-To. Mar 15, 8 pm, WISE Hall. $15/$10.

COCAINE MOUSTACHE Album-release party with guests Ham Wailin’ (Van Halen tribute), the Gnar Gnars, and Colossus (Clutch tribute). Mar 15, 8 pm, Astoria Pub. $15.

MICHAEL AGRANOVICH QUARTET Classic guitar jazz. Mar 15, 9 pm, Tyrant Studios. $10.

CELTICFEST VANCOUVER CEILIDH MOR Participatory Celtic music and dance. Mar 16, 7 pm, Scottish Cultural Centre. $25/$20.

DEREK WAYNE & FLAWED HEARTS AND THE WAITING ROOM Local bands play a coheadlining bill, with guests Salmon Friends and James Mitchell. Mar 16, 8 pm, Railway Stage and Beer Café. $10/13.

BLUE LIGHT SESSIONS Dan Moxon’s first solo show performing his new album. Mar 16, 8 pm, Blue Light Studio. $15/20.

MUSIC VIDEOS LIVE Music videos from Vancouver musicians followed by live performances. Mar 16, 8-11 pm, Rio Theatre. $12/15.

ST. PADDY'S DAY POGUES TRIBUTE NIGHT Featuring performances by Shane's Teeth and Staggers and Jaggs. Mar 16, 8-11:30 pm, WISE Hall. $17/20.

FOURTH AVENUE FIVE Swing dancing to live jazz. Mar 16, 8-11:55 pm, Roundhouse Community Arts & Recreation Centre. $15.

TIM READMAN & SHONA LE MOTTEE The Rogue Folk Club presents a St. Paddy's Day celebration, with guests Fionn. Mar 17, St. James Hall. $24/$20.

THE WHISKEYJAYS + PLEASANT TREES Local bands play a St. Patrick’s Day show.

Mar 17, 6:30 pm, Railway Stage and Beer Café. $10/13.

MARC RIVEST Local musician performs Celtic favourites, jazz standards, covers, and originals. Mar 17, 7-9:30 pm, Spade Coffee and Spirits. $6.

LIZZY HOYT: NEW LADY ON THE PRAIRIE Singer-songwriter performs in Celtic and folk traditions. Mar 17, 7:30 pm, Evergreen Cultural Centre. $29/$15.

SUSANNAH ADAMS QUARTET Known for her hip phrasing, keen stylings, and exuberant delivery, Victoria-based jazz vocalist Susannah Adams is poised to set hearts aflutter. Delivering her lyrical verse to exception, Adams glides gracefully over melody and rhythm with a daring finesse.

Whether performing bebop or ballads, Adams is an enchanting storyteller. Mar 17, 8-10 pm, Frankie’s Jazz Club. $16 at the door.

BONFIRE BALLERINA Local dark-swing quartet plays acoustic interpretations from the 1920’s onward and a smattering of moody originals. Mar 21, 8-10:30 pm, Luppolo Brewing Company.

Employment EMPLOYMENT Hospitality/Food Service

Eurohouse Construction Inc.

is looking for Drywall Installers and Finishers Greater Vancouver, BC. Permanent, Full time Wage - $ 26.00 /hour, extended medical benefits.

MAIN DUTIES: Measure, mark, and cut drywall sheets; Position and secure drywall sheets; Measure, cut and install metal corner beads; Patch, trim, and smooth rough spots and edges; Apply tape and sealing compound; Sand all joints and holes, completely prepare surfaces for priming and painting.

In order to succeed in this role, you will need: 2-3 years of experience in the trade, Good English Completion of secondary school Company’s business address: 2474 Marine Dr, West Vancouver, BC V7V 1L1 Please apply by e-mail: admin@eurohouse.ca

RIO GARAGE DOOR LTD

is looking for Supervisor, Garage Door Installers, Greater Vancouver, BC. Perm, F/Time, Shifts, Weekends.Hours of work: 40 h/week Wage - $ 32.50/hour. Good English, customer service oriented. Several years of experience in garage door installation is required.

Education: high school. Main duties: Supervise the activities of garage door installers; Prepare and control work schedules; Resolve work problems; Prepare work progress reports;Hire and train of new employees; Order garage doors parts and supplies; Maintain records of stock.

Company’s business address: 35 W 49th Ave, Vancouver, BC V5Y 2Z4 Please apply by E-mail: riogaragedoor@gmail.com

BLUETECH Music producer, with guests EMOG & kimmyk. Mar 21, 9 pm, Rickshaw Theatre. $20.

FESTIVAL DU BOIS Festival du Bois celebrates its 30th anniversary with francophone music from across Canada. Mar 22-24, Mackin Park. $20/13/8.

PAUL PIGAT'S BOXCAR CAMPFIRE The Rogue Folk Club presents a CD-release concert. Mar 22, 8 pm, St. James Hall. $24/$20.

SOUTH VAN BIG BAND Seventeen-piece jazz orchestra performs swing, bebop, Latin jazz, rock, and funk. Mar 22, 8 pm, Hood 29. $10.

JEFF GLADSTONE & THE BAD IDEAS Cowboy noir cabaret. Mar 22, 9 pm, Tyrant Studios. $12/$15.

BUSTER BROWN & THE NEW RESOLUTIONS Local instrumental band featuring guitarist Andreas Schuld, with guest Simon Jarrett. Mar 23, 3-7 pm, Pat's Pub & Brewhouse. Free.

CHASE THE BEAR EP-release show, with guests Redwoods, Lucky Monkey, and Robots and Gods. Mar 23, 7 pm, Bourbon. $10/13.

FROM NEW YORK: KATIE THIROUX Jazz singer and bassist from New York. Mar 23, 8 pm, Frankie’s Jazz Club. $25.

FILTHY FRIENDS American rock supergroup fronted by Corin Tucker (of Sleater-Kinney) and guitarist Peter Buck (ex-R.E.M.), with guests Eyelids. May 10, Rickshaw Theatre.

SUPERSUCKERS Rockers from Tucson, Arizona. May 15, 8 pm, Rickshaw Theatre. $20.

SEBADOH American indie-rock band. Jun 1, 8 pm, Fox Cabaret. $25.

FOXWARREN Canadian indie-pop band. Jun 4, 9 pm, Biltmore Cabaret. $20.

PILE Indie-rock band from Boston. Jun 6, Fox Cabaret.

ALY & AJ American pop-rock duo composed of sisters Alyson and Amanda Michalka. Jun 18, 8 pm, Commodore Ballroom. Tix on sale Mar 8, 10 am, $24.50.

JIM JAMES AND THE CLAYPOOL LENNON DELIRIUM American rockers play a coheadlining bill. Jun 25, Commodore Ballroom. Tix on sale Mar 8, 10 am, $50.50.

JAMILA WOODS Jun 27, 9 pm, Biltmore Cabaret. Tix on sale Mar 8, 10 am, $20.

THE NATIONAL Indie-rock band from Cincinnati. Aug 28, 6:30 pm, Deer Lake Park. Tix on sale Mar 8, 10 am, $65.

JUDAH & THE LION Americana/alt band from Nashville. Oct 24, 8 pm, Orpheum Theatre. Tix on sale Mar 8, 10 am, $29.50/39.50/49.50.

DEAN BRODY AND DALLAS SMITH Canadian country artists. Oct 26, Abbotsford Centre. Tix on sale Mar 8, 10 am.

SHE PAST AWAY Postpunk/darkwave group.

Nov 30, 9 pm, Rickshaw Theatre. $22.

TUESDAY, MARCH 5 STRONG WOMEN STRONG MUSIC Women jazz musicians perform in support of Atira Women’s Resource Society on International Women’s Day. Mar 5-7, 7-10 pm. $30.

WEDNESDAY, MARCH 6 ACTION BRONSON American rapper, realityTV star, author, and talk-show host, with guests Meyhem Lauren. Mar 6, 9 pm, Harbour Event Centre. $40/45.

SID SRIRAM R&B singer-songwriter and producer. Mar 6, 9 pm, Fox Cabaret. $20.

THURSDAY, MARCH 7 BEDWETTERS ANONYMOUS Hardcorepunk band, with guests Laverne and Maneater.

Mar 7, 7:30 pm, ANZA Club. $10 at door.

TODDCAST PODCAST CHEAP THRILLS VOL. 14 Intimate and interactive show featuring the Jake Touzel Band. Mar 7, 8 pm, Railway Stage and Beer Café. Win your way in.

CARLOS DEL JUNCO Canadian blues-jazz harmonica ace. Mar 7, 8 pm, St. James Hall. $28/$24.

Domb Enterprises Inc. o/a BASIL PASTA BAR

is looking for Cooks Perm, Full Time, Shifts, Weekends Salary: $19.00/hour Requirements: Experience min. 1-2 years, Good English.

Education: Secondary School Main duties:Prepare and cook complete meals; Portion, arrange, amd garnish foods based on client preference; Operate various kitchen appliances; Oversee kitchen staff; Supervis and co-ordinate kitchen helpers; Assist other cooks during the food assembly process; Keep food preparation areas clean as determind by law and company policy; Maintain inventory and records of food, supplies and equipment.

Job Location and business address: 636 Davie St., Vancouver BC V6B 2G5 Please apply by email: Job@basilpastabar.com

CHEF NEEDED FOR MEAL PREP INVICTA GROUP IS HIRING Job Location: North Vancouver, Capilano Mall Area Job Description and Requirements: Chef with minimum 5 years of experience Permanent F/T, $35/hour Duties: Experience using grill, preparre/cook South American, Mexican, and European dishes Meal prepration knowledge & maintaining inventory and records To apply, please send resume t: Invicta.dev@gmail.com

MUSICIANS

Create a Classified Account & place your FREE Musicians WANTED & AVAILABLE ads on straight.com

MUSIC LISTINGS

MANDOLIN ORANGE Americana-folk duo from Chapel Hill, North Carolina. Mar 7, doors 7 pm, show 8 pm, Imperial Vancouver. $27.50.

Music TIP SHEET

ANA BON BON Chanteuse, accordionist, and songwriter layers blues, country, and cabaret with roots rhythms. Mar 7, 8-10:30 pm, Luppolo Brewing Company.

c POINTED STICKS (March 9 at the Rickshaw) There are a number of reasons that Vancouver’s pop-punk legends are Nardwuar’s all-time favourite band, starting with “Out of Luck” and the “Real Thing”.

FRIDAY, MARCH 8 SUE FOLEY LIVE AT RECOVERY BLUES Live blues featuring Sue Foley and Rita Chiarelli.

Mar 8, 7 pm, The Metro. $40.

c PETUNIA AND THE VIPERS (March 11 at the WISE Hall) Country the way that Hank Williams, Lefty Frizzell, and Bob Wills intended for it to be played, bourbon hangover optional.

EARLY SPIRIT Local folk band performs at a release party for debut album Unrelated. Mar 8, 7 pm, Bluedog Guitars. $25.

BLUE DIRT GIRL East Van-based indie band, with guests Uptight Bass. Mar 8, 7:30 pm, The Cultch Jim Green House (House right next door to the Cultch). $10-15.

c NONAME (March 12 at the Commodore) When your birth certificate reads Fatimah Nyeema Warner, sometimes it’s easier to go the generic route, especially in Donald Trump–era America. Nondescript as her handle might be, the Chicago MC/poet’s debut Room 25 has been hailed as unforgettable.

ELVIS ELVIS ELVIS: THE ULTIMATE TRIBUTE TO THE KING Elvis Presley tribute by Shawn Klush. Mar 8, 8 pm, River Rock Show Theatre. $34.50.

DAVID GRAFF & BAND Album release show for Supposed to Fly. "Indeed, it is David Graff's singing, full of character and experience—a distinctive storyteller’s voice, that is the most notable aspect of this new release. His vocal style is gritty and emotional, with a good range and an ear for a catchy, sometimes unexpected melody." ~ Americana UK Mar 8, 8 pm, Buckerfield's. $25.

COVENANT PRESENTS Death-, doom-, and black-metal bands Gevurah, Diabolic Oath, Reversed, and Harrow. Mar 8, 8-11:30 pm, WISE Hall. $12.

ARDESHIR’S STANDARDS TRIO Saxophone jazz. Mar 8, 9 pm, Tyrant Studios. $10.

SATURDAY, MARCH 9 CÒIG The Rogue Folk Club presents folk and roots quartet. Mar 9, St. James Hall. $30/$26.

SHE HANGS BRIGHTLY Quartet from Vernon, with guests the Break, Quinn Pickering, and Skyline Park. Mar 9, 7 pm, Bourbon. $10/13.

BLACKTHORN Celtic music with a bit of Canadian music thrown. Mar 9, 7-9:30 pm, All Saints Anglican Church. $20/$15.

HEARTBEAT 2019 Multicultural music from diverse cultures and traditions. Mar 9, 7-10:30 pm, Highlands United Church. $10-$20.

ABRA CADABRA Local ABBA tribute band.

Mar 9, 7:30 pm, Massey Theatre. $30-53.

DARLINGSIDE Indie-folk quartet from Boston, with guests River Whyless. Mar 9, 7:45 pm, Biltmore Cabaret. $20.

POINTED STICKS Vancouver power-pop kings, with guests saltspringunderground, the Furniture, and Alex Little & the Suspicious Minds. Mar 9, 8 pm, Rickshaw Theatre. $15.

MAX RAABE AND PALAST ORCHESTER Berlin dance band performs music of the Roaring '20s. Mar 9, 8 pm, The Centre in Vancouver for Performing Arts. $79.50/55/39.50.

PIGPEN Local band performs, with guests Abel Collective, Black Pontiac, and Caustic SodaPop. Mar 9, 8 pm, Railway Stage and Beer Café. $10/13.

JEREMY DUTCHER Classically-trained Canadian Indigenous tenor, composer, musicologist, and activist. Mar 9, 8 pm, Rio Theatre. $20.

EAST VAN MARDI GRAS Mardi Gras party featuring the Big Easy Funk Ensemble, Terminal City Brass Band, and Melody Mangler.

Mar 9, 8 pm, WISE Hall. $15/$20.

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JAMES BLAKE Electronic-music producer and singer-songwriter from London, England.

Mar 9, 9 pm, Harbour Event Centre. $55.

SUNDAY, MARCH 10 ARTIE DEVLIN & LAURA CREMA Local jazz artists. Mar 10, 4-5 pm, Northwood United Church. By donation.

EARTH VESPERS: MUSIC FOR THE LIVING PLANET Folk ballads, sing-alongs, a cappella anthems, and reverential hymns. Mar 10, 7 pm, West Point Grey United Church. By donation.

SONGROOTS BURSARY FUNDRAISER Performances by Jennifer Scott, Dawn Pemberton, Brian Tate, Michael Creber, and Karla Mundy. Mar 10, 7:30-10 pm, WISE Hall. $25-30.

FRANK SOLIVAN & DIRTY KITCHEN/ROB ICKES & TREY HENSLEY The Rogue Folk Club presents a bluegrass double bill. Mar 10, 8 pm, St. James Hall. $32/$28.

LITTLE FIRES Kel Roman, Tissa Rahim, and SOLA play soul and alt-rock. Mar 10, 8 pm, LanaLou’s Restaurant. $10/$15.

MONDAY, MARCH 11 CALL ME KARIZMA Minneapolis singersongwriter and rapper. Mar 11, 7:30 pm, Rio Theatre. $15.

A WINTER ROMANCE IN NO FUN CITY 2019 SNOWMAGEDDON DO-OVER Love songs, winter songs, and sweet forbidden eggnog. Mar 11, 8:30 pm, Heritage Grill Backroom Theatre. Free.

NILS FRAHM Berlin-based composer and producer tours in support his latest release All Melody. Mar 11, 9:30 pm, Orpheum Theatre. $35/40/45.

NICK MASON’S SAUCERFUL OF SECRETS Pink Floyd drummer performs the band's early material with his own group. Mar 12, 7:30 pm, Queen Elizabeth Theatre.

NONAME Rapper from Chicago. Mar 12, 9 pm, Commodore Ballroom. $32.50.

Parkinson Society BC

offers over 50 volunteer-led support groups throughout BC. These provide people with Parkinson's, their carepartners & families an opportunity to meet in a friendly, supportive setting with others who are experiencing similar difficulties.

Some groups may offer exercise support.

For information on locating a support group near you, please contact PSBC at 604 662 3240 or toll free 1 800 668 3330.

Support, Education & Action Group for Women that have experienced male violence.

Call Vancouver Rape Relief 604-872-8212

EMPLOYMENT Callboard

nmassage.wordpress.com

Volunteers

WINTER SPECIAL Bodyscrub $79/70min. Waxing 20% off. Massage $28/half hour 8 - 4287 Kingsway 604-438-8714

seeking healthy men and women aged 50-75y to participate in yoghurt study (4 clinic visits, 30min each). Yoghurts provided free of cost and gift cards as remuneration. Call 604-822-1250 or email yoghurt.study@ubc.ca for more information.

Support Groups AL-ANON FAMILY GROUPS Does someone else's drinking bother you?

Al-Anon can help.

We are a support group for those who have been affected by another's drinking problem.

For more information please call: 604-688-1716 ARTIFICIAL INSEMINATION Looking to start a parent support group in Kitsilano.

Please call Barbara 604 737 8337

WEDNESDAY, MARCH 13 IL DIVO Multi-national classical crossover vocal group. Mar 13, 8 pm, Queen Elizabeth Theatre. $49.

TIFFANY YOUNG K-pop singer and actress from South Korea. Mar 13, 8:30 pm, Venue. $32.50.

FRIDAY, MARCH 15 PORTEAU Album release show for Water’s Gate, with guests Harley Small and ursidae.

Mar 15, 7-10:30 pm, Fox Cabaret. $10.

LYNYRD SKYNYRD Southern rockers perform on their farewell tour, with guest Randy Bachman. Mar 15, 7:30 pm, Abbotsford Centre. $70.50-$151.

REALLY ROD Tribute to rock legend Rod Stewart. Mar 15, 8 pm, Scandinavian Community Centre. $20.

SATURDAY, MARCH 16 AN EVENING WITH EAGLE EYES: CELEBRATING THE MUSIC OF THE EAGLES Tribute to the Eagles. Mar 16, Centennial Theatre. $25-$40.

THE VANRAYS East Van soul-rock band, with guests the Pillocks. Mar 16, 7 pm, Fox Cabaret. $10/$12.

TORI KELLY Pop singer-songwriter from California. Mar 16, 8 pm, Queen Elizabeth Theatre.

Tix $46.50/36.50/26.50.

THE BOOM BOOMS Local indie-soul band draws on funk, soul, and Latin styles. Mar 16, 8 pm, The ACT Arts Centre. $32/$27/$22.

SUNDAY, MARCH 17 THE CAT EMPIRE Australian ska and jazz band performs two shows on its Stolen Diamonds Tour. Mar 17-18, doors 8 pm, show 9:30 pm, Commodore Ballroom. $42.50.

MONDAY, MARCH 18 FOALS Indie-rock band from Oxford, England. Mar 18, 8 pm, Orpheum Theatre. Tix $79.75/69.75/49.75/39.75.

TUESDAY, MARCH 12

Nick's Massage

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c LYNYRD SKYNYRD (March 15 at Abbotsford Centre) This is probably the one and only time you’ll ever get to stand in the middle of a venue yelling “Freebird” without looking like the world’s most unoriginal idiot.

BARNEY BENTALL & THE LEGENDARY HEARTS Local pop-rock band from the '80s. Mar 9, 8:30 pm, Commodore Ballroom. $39.50/four-packs $140.

CHERRY GLAZERR Rockers from L.A., with guests Palehound. Mar 8, 9 pm, Rickshaw Theatre. $16.50.

Fitness & Training

c KIMMORTAL (March 14 at the Fox Cabaret) Soul-tinted, progressive Vancity hip-hop for anyone who’s as in love with K.Flay as they are with Saul Williams.

THE VICIOUS CYCLES Local garage-punks play a record-release show, with guests Victories. Mar 9, 8-11:30 pm, Antisocial Skateboard Shop. $10.

SPEED CONTROL Melodic punk band from the Yukon, with guests Dead End Drive-In and the Highsides. Mar 8, 9 pm, LanaLou's Restaurant. $12.

Mind EMPLOYMENT Body & Soul

c NICK MASON’S SAUCERFUL OF SECRETS (March 12 at the Queen Elizabeth Theatre) Pink Floyd’s timekeeper slides behind the kit for a night geared for diehards who’ll argue that “Mother” isn’t half the song that “Jugband Blues” is on the alltime classics front.

UBC NUTRITION STUDY

Annoucements EMPLOYMENT Notices

WITNESSES NEEDED

Hit and run February 12, 2019

Cambie and 12th Ave. Left turner struck by car that ran red light and fled scene. Please call

604-336-8000

MUSIC LISTINGS are a public service provided free of charge. Submit events online using the event-submission form at straight. com/AddEvent. Events that don't make it into the paper due to space constraints will appear on the website.

WITNESS NEEDED

FOR HIT AND RUN ACCIDENT:

If you saw a multi-car accident caused by a driver that fled the scene on Granville Street and W 68th Avenue in Vancouver on December 13, 2018 please call

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Edging kink hardly carries heavy load

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b LET’S SAY MY kink is edging and I edge myself for a few days leading up to a date. Is it my responsibility to tell my potential partner? There are a few variables here that are important to note. This is a first/Tinder date, and it’s just a coffee date, but she and I have talked about our expectations and there will likely be a physical aspect in whatever potential relationship may ensue. I understand that it’s never cool to involve someone in your kink without their consent, but what are the rules here? On one hand, if I don’t divulge this information, I could see how my production of an unexpectedly large amount of ejaculate could be upsetting, depending on the circumstances/activity. But on the other hand, at least some amount of come is expected, right? If I randomly had massive loads every single time through no effort of my own, would I be responsible for letting a partner know? Perhaps it would be the polite thing to do. I guess I’d feel comfortable saying, “Hey, by the way, I produce very large loads,” if sex was imminent. But when you add the kink factor into the mix, I think something like that should be talked about before sex is “imminent”. So what responsibility do I have to divulge this information? And if I do have a responsibility to divulge this, when would be the appropriate time to bring it up? I feel like it could be sexy to be so open about a taboo, given that we’ve already discussed the desire for a physical aspect to the relationship. But at what point between sex being “not off-limits” and

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that same vulnerable, helpless child I was so many years ago. My boyfriend is being supportive, but I just feel so horrible and I do not know how to cope with this.

- Thief Has Exhumed Family Trauma I’m so sorry

this was done to you, THEFT, and it’s perfectly understandable that this final violation— the theft of your sex toys on top of the theft of your other belongings and your dogs (!!!)—would dredge up painful memories of past sexual violations. I can’t offer you much beyond my acknowledgment of how awful this is and my sympathy. But if you’re having trouble coping, if you’re reeling from this, schedule a few sessions with a good therapist, someone who can help you process those feelings.

I also think you should consider moving to a place that won’t be haunted by this violation, if possible, and your boyfriend should—when you’re ready—take you out and treat you to a few brand-new sex toys. * Not all men have penises; not all penises have men; not all men blow loads; not all loads are blown by men, et cetera. ** Not the only thing men do with their penises; some men don’t do that thing with their penises; some penis havers don’t do that thing as men, et cetera. g

On the Lovecast, we got punked! Listen at savagelovecast.com. Email: mail@ savagelove.net. Follow Dan on Twitter @ fakedansavage. ITMFA.org.

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This person has not only violated me by coming into my home and taking things, but by taking something so personal and intimate. I survived rape and molestation by a family member who is in jail for his actions so, sadly, I know what it feels like to be violated. And this has brought that violation back and makes me feel like

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“my parts are going to be interacting not going to drown her or wash out with your parts as soon as our clothes her IUD. Frankly, WOOD, your letter reads are off ” is the right moment to dislike you got baked out of your mind close my kink?

- What Ought One Do? and sat up half the night trying to come up with an excuse to tell this Let’s say… you blow that load. I can’t woman about your not-that-kinky imagine your new friend will be kink and “I should tell her as a courshocked. Blowing loads, after all, is tesy” was the best you could do. what men do* with their penises**, If you want to tell her, go ahead WOOD, and most people who are at- and tell her. But since there’s no need tracted to men are aware of this fact. to tell her that you sometimes like to And anyone who’s slept with two or stroke for a bit without climaxing, more men is aware that some men there’s a strong chance she’ll react blow bigger loads than others. Vol- negatively to your “courtesy” disume varies. Volumes vary between closure. Even if she’s made it clear men, and the volume of an individ- there could be “a physical aspect in ual man’s loads can vary naturally or whatever potential relationship may as the direct result of an intentional ensue”—even if that’s not just dickful intervention, like edging. thinking on your part—she’s going to Backing up for a second: edg- be scrutinizing you for signs that you ing entails bringing yourself or be- aren’t someone she wants to get naked ing brought to the edge of coming with. She’ll be looking for red flags at over and over again. It’s about getting your first face-to-face meeting, and yourself or someone else as close as if you come across like a creep with you can to the “point of orgasmic in- piss-poor judgment—and a needless evitability” without going over. Draw conversation about how much ejacuout the buildup to a single orgasm for late you produce and why you prohours or days—by edging yourself or duce so much ejaculate will definitely being edged by someone else—and come across as creepy—then she may the resulting load will be larger than decide not to ensue with you. normal for the edged individual. But even so, an edged dude’s load can still I’M A QUEER man who usually tops be smaller than the load of a guy who with men. A bad first try at receiving just naturally produces more ejaculate. anal at age 16 led me to not bottom And in answer to your question, for years. After seeing the looks of deWOOD, no, I don’t think there’s a light on my partners’ faces, I decided pressing need to disclose your kink to to give bottoming another go. I folyour date. If it gets sexual, she’s going lowed your advice—lots of lube and to expect you to produce ejaculate at relaxation, a little weed—and tried some point. And even if the load you lots of different positions and dick wind up blowing is enormous, you’re sizes. But no matter what, I never

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