The Georgia Straight - Craft Beer Week - May 30, 2019

FREE | MAY 30 - JUNE 6 / 2019

Volume 53 | Number 2680

WOMEN DELIVER

Wendy Grant-John peels back history

MAGNETIC NORTH FEST Staging a new vision

ROLLING BLACKOUTS

Vancouver

From the bedroom to Coachella

Craft Beer Week Four Winds Brewing cofounder Brent Mills and the Alibi Room’s Nigel Springthorpe are just two of the many getting set for the beloved Vancouver event’s 10th anniversary

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MAY 30 – JUNE 6 / 2019 THE GEORGIA STR AIGHT 3

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CONTENTS

May 30 - June 6 / 2019

11

Coal Harbour Liquor Store

COVER

The 10th annual Craft Beer Week promises a slate of accessible, fun events for all, not just beer nerds.

coalharbourliquorstore.com

By Mike Usinger Cover photo by Shimon Karmel

La Casa Gelato lacasagelato.com

Spa Dog Organic www.spadog.ca

7

FEATURE

Musqueam councillor Wendy Grant-John discusses colonialism’s legacy on Indigenous relationships.

By Charlie Smith

15 ARTS

The revived Magnetic North Festival pulls back the curtain on the creative process, for both audiences and artists.

By Janet Smith

21 MUSIC

The Rolling Blackouts Coastal Fever started out expecting nothing more than house-party gigs. That has changed, thanks to Sub Pop and Coachella.

By Mike Usinger

24 MOVIES

Booksmart is a smart, fun fantasia for nerds and Barbies alike; intriguing Photograph crosses cultural lines; Nîpawistamâsowin is a heartbreaking tale.

e Start Here 19 ARTS HOT TICKET 23 CONFESSIONS 12 DRINK OF WEEK 9 HOROSCOPES 10 I SAW YOU 21 MUSIC TIP SHEET 27 SAVAGE LOVE 18 THEATRE 16 VSO

e Online TOP 5

e Listings 19 ARTS 22 MUSIC

e Services 25 CLASSIFIEDS

Vancouver’s News and Entertainment Weekly Volume 53 | Number 2680 1635 West Broadway, Vancouver, B.C. V6J 1W9 T: 604.730.7000 F: 604.730.7010 E: gs.info@straight.com straight.com DISPLAY ADVERTISING: T: 604.730.7020 F: 604.730.7012 E: sales@straight.com

CLASSIFIEDS: T: 604.730.7060 E: classads@straight.com SUBSCRIPTIONS: 604.730.7000 DISTRIBUTION: 604.730.7087

Here’s what people are reading this week on Straight.com

1 2 3 4 5

TransLink asks Burnaby council to support gondola to SFU. Man arrested for violent sexual assault in East Vancouver.

Why the Greens are better off without two ex-Liberal ministers.

Metro Vancouver will burn Canadian garbage sent to Philippines.

New North Shore eateries serve ramen and Vietnamese food.

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.

Canadian Publications Mail Agreement #40009178, return undeliverable Canadian addresses to The Georgia Straight, 1635 West Broadway, Vancouver, B.C, V6J 1W9

4 THE GEORGIA STR AIGHT MAY 30 – JUNE 6 / 2019

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FEATURE

Relationships scarred by colonialism

T

by Charlie Smith

he devastating effect of Indian residential schools is well known. Approximately 150,000 Aboriginal children were taken from their families and sent to these church-run institutions, where many faced horrific abuse and endured cultural genocide. Up to 6,000 died, according to the Truth and Reconciliation Commission of Canada.

But that wasn’t the only appalling outcome of colonialism. Wendy Grant-John, a former regional chief of the Assembly of First Nations, discovered another legacy while studying at the University of Northern British Columbia. Grant-John, also a former chief of the Musqueam Indian Band, was curious to know about the history of Indigenous women, and she came across an astonishing document from the distant past.

“A senior government official and a priest were talking about the difficulty they were having in our communities to get people to a place of acceptance,” Grant-John told the Georgia Straight during an interview on her home deck on the Musqueam Reserve near the Fraser River. “The quote that I put in my paper said—this is the government person talking to the priest in writing—‘You need to teach Indian men how to treat their women. Their women have too much power.’

“I’m not kidding you,” GrantJohn continued. “What they said is, ‘You need to teach them how to beat their wives and make sure, as we do, that the stick you use is no bigger than your little finger.’ ” Grant-John explained that this was how many European men dealt with women in the 18th and 19th centuries.

“If we look at the history of Indigenous women—probably throughout the world but, more importantly, in those countries that were colonized by the Europeans—you can see the idea that the European concept of relationships between men and women was very much about power of men over women,” she said.

That colonial attitude of men’s superiority, according to Grant-John, led to a decline in respect for women in First Nations communities in Canada.

This, in turn, led to the “destruction of the relationship between men and women” on many Indigenous reserves.

“When you look at how they took the children away, that was terrible enough,” she said. “It’s horrific. But the other part of that is they broke the relationship that was of an equal place of men and women.”

She pointed out that in many instances during colonial times, European men in North America would take Indigenous women into their homes because there was a shortage European women.

“Those [Indigenous] women would become much like wives,” Grant-John noted. “But once they brought the European women over, they would send the Indian women to the backyard, so they were much like slaves. They would have had children with those European men.”

She then pondered how many generations have passed with this patriarchal European concept of men and women in place. And she reflected on the long-term impact in communities already scarred by the residential-school experience, poverty, alcoholism, drug addiction, and discrimination.

These are some of the ideas that Grant-John hopes to discuss when she shares the stage with Sophie Grégoire Trudeau at Women Deliver 2019 in Vancouver. It’s the world’s largest conference on gender equality and the health, rights, and wellbeing of girls and women. Over four days, it will include a culture night, film festival, youth zone, workshops, and high-profile and influential speakers from many countries.

That will include several Indigenous delegates and people from trans communities, as well as Prime Minister Justin Trudeau. It begins on June 3, the same day that the Nation-

Ex-Musqueam chief Wendy Grant-John says the Women Deliver 2019 Conference offers a chance to learn about lesser-known impacts of European imperialism.

al Inquiry Into Missing and Murdered Indigenous Women and Girls will release its final report.

“There’s 9,000 women coming with a number of leaders from around the world who think it’s important to ensure that the voices of women come out,” Grant-John said.

She has thought a great deal about the role of women in First Nations

communities, emphasizing that there are still misconceptions. For example, when men sat at the front of a longhouse and women were at the back, this reflected a time when the Musqueam were a warring people.

She insisted that it did not represent sexism. “The men were at the front to protect the women,” she stated.

see next page

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from previous page

Similarly, if Indigenous men were walking in front of women in deep snow, it was not because they were trying to be overpowering. They were merely breaking the snow to make it easier for women to follow, according to Grant-John.

She’s proud of the fact that the Musqueam elected one of the first female chiefs in the country, Gertrude Guerin, after the Indian Act was changed to allow women to run for the top position. Grant-John herself is one of six women on the Musqueam’s 11-member legislative body. She was also chief when it won the first landmark Indigenous-rights case in the

Supreme Court of Canada following repatriation of the Constitution.

Grant-John described herself as a “nosy girl� growing up on the reserve. Children weren’t allowed to attend political gatherings, so she would stand outside the door and listen. “The women always had the strongest voice in the meetings,� she recalled. “They always had the greatest respect in the meetings. And I really kind of went to these strong women that were in the community.

But they were always gentle, too.�

Even though European patriarchal attitudes permeated society and filtered into Indigenous communities, Grant-John believes that “the ancestral

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knowledge of who we are as women in our community has stayed strong�. “The teaching to me was that we are at an equal place,� she said. “We are the ones who give life in collaboration with the men.�

Grant-John went on to describe another unfortunate outcome of colonialism: the undermining of relations between local Coast Salish First Nations as a result of them being “compartmentalized� on reserves. Her grandfather’s mother, whom she referred to as “Grandma Cole�, was part of one of the last families living in Stanley Park.

She married a man from Capilano and she had relatives in the TsleilWaututh First Nation.

But in the 20th century, the Musqueam, Squamish, and TsleilWaututh were separated as a result of being forced onto reserves. According to Grant-John, this undermined bonds between these peoples as they were categorized by different legal descriptions under the Indian Act. She saw obvious parallels between the colonial fomenting of divisions between men and women and the distancing of local First Nations.

Only in recent years, most notably through the 2010 Vancouver Olympics and the creation of a jointly owned real-estate corporation, have they renewed these historic connections. “We had a number of meetings in the longhouse‌and we just talked about who we are as the people at the mouth of the river, and how we related to one another.â€? Grant-John said.

This is also occurring on a global scale, as shown by the UN Declaration on the Rights of Indigenous Peoples.

Grant-John expects that Women Deliver 2019 will continue that trend. “To me, what is the message to the world as the keepers of the river? It’s the coming-together of values that we all have.� g Women Deliver 2019 takes place from Monday (June 3) to next Thursday (June 6) in Vancouver. For more information, visit wd2019.org.

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D

by Rose Marcus

o not underestimate the potency of the spoken or written word, an impression, or your intuition.

Hitting a fresh-wind-activation trigger, Mercury in Gemini overtakes Jupiter retrograde by opposition aspect on Thursday/Friday. This transit sets the next phase or wave into play. It could dish up a second chance to get it right.

A revitalizing, trendsetting transit, Mercury/Jupiter puts more people, news, and information on the go. It also sets up an appropriate backdrop for considering an alternate option— such as Jody Wilson-Raybould and Jane Philpott have now done—or for passing the baton to another relay runner, as we see demonstrated by English politics and the end of Theresa May’s tenure as prime minister.

While there are times when Mercury/Jupiter can run with the wrong ball (i.e., to act upon hearsay or secondhand info; to go with an assumption or opinion without fact-checking first), Friday’s Venus/Saturn trine is helpful for keeping a grip on reality.

Venus at full strength for the weekend loans more legitimacy/validity to the word, more value and potential reward to the action-taking.

Saturday should prove to be a straightforward, smooth-running go.

The weekend finishes with a Venus/ Pluto trine making the most of it.

A Gemini new moon begins the new week on a transition/changeover track. Monday is best used for clearing it away, modifications, exploring options, or a creative think tank. As of Tuesday, Mercury enters Cancer. Home base, family, or a key someone claims more attention. Use this Mercury transit to go by feel, replenish, and increase comfort and safety margins. Past Wednesday, the stars will pick up the agenda-setting pace in preparation for next month’s eclipses and Mercury retrograde.

A

ARIES

March 20–April 20

The time is ripe, perhaps even long overdue. Whether material or emotional in nature, at a fruition and reward phase, or just getting started, you are on the brink of so much more to come. The long-term play has begun the cementing phase, but even so there’s plenty of sorting out to do yet.

Take it one day and one step at a time.

B

TAURUS

April 20–May 21

Aiming to get it under better control? The timing is optimal.

Venus in Taurus, in good shape with Saturn on Friday and with Pluto on Sunday, helps you to do just that.

Continue to go by feel. Whatever you do or take on will prove to hold greater impact, to be more effective.

Tuesday/Wednesday, go gentle on yourself. Extra caretaking is in order.

C

GEMINI

May 21–June 21

Moving? Finishing off a training program, a trial run, or considering a big step? Thursday/Friday sets you onto a next phase or stage.

Intuition or a first impression speaks volumes, but it is up to you to listen and to heed the message. The end of the week delivers results or news.

Sunday/Monday are also good for setting wheels in motion.

D

CANCER

June 21–July 22

Thursday/Friday, Mercury/ Jupiter can put you on the upswing in a productive and/or healing way.

Venus/Saturn gives you a better sense of where you stand or how to play it next. Your application or bid may be accepted; you may hear back from someone, or you can see more tangible and visible results. Sunday/ Monday, the flow is good. Tuesday/ Wednesday, emotions run the show.

E

LEO

July 22–August 23

Although it can be easy to get carried away or to expect too

MAY 30 TO JUNE 5, 2019 much when Mercury and Jupiter oppose, Venus/Saturn keep the reasonable and realistic in play on Thursday/Friday. Even so, know you can do more, take it further, and gain more, too. Venus/Pluto finishes the weekend on a feel-good track. Monday’s new moon in Gemini launches the new week on an action upswing.

F

VIRGO

August 23–September 23

One way or another, Mercury/Jupiter puts you on the move Thursday/Friday. The getting is good through the weekend. Venus/ Saturn and Venus/Pluto in excellent shape help you to make the most of the time and money you spend.

Monday through Wednesday, renew it or sign up for it; start a new conversation or project; take a fresh stab at it. Go by feel.

G

LIBRA

September 23–October 23

The end of the week could bring news or a visitor. Whether you stick around or head out of town this weekend, Mercury/Jupiter keeps good ideas and entertainment on the ready dial-up. Friday to Sunday, Venus/Saturn and Venus/Pluto make it all worthwhile. When it comes to spending time or money, quality over quantity is where it’s at. Monday, stay open-ended; take it as it comes.

H

SCORPIO

October 23–November 22

The more, the merrier Thursday/Friday. Something extra or added to the mix can be quite worthwhile. Friday can bring news or papers to sign. Talks, studies, plans, and projects go well. Take your time; enjoy your Saturday. Sunday, something you read, hear, see, or do is of significant impact. Tuesday/Wednesday provides a better feel for how it is shaping up.

I

SAGITTARIUS

December 21–January 20

AQUARIUS

January 20–February 18

By mind, conversation, road, or otherwise, you’ll cover more than the average distance Thursday/Friday. Your charge card could get a good workout too, but whether it is a necessity or a treat, you’ll feel it is justifiable. The weekend is built for comfort, not for speed. Aim for quality over quantity. Monday, a gentle touch or nudge is called for.

L

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You can multitask and gain on Thursday/Friday. Mercury/Jupiter sets you onto a productive track regarding a learning curve, information intake, or a two-way talk. Venus is at optimum through the weekend.

Go by feel; reward yourself; get your sexy on. Monday through Wednesday sets you to task on something more or next. Take it one step at a time.

K

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November 22–December 21

A repeat or revisit will hit it right Thursday/Friday. Prioritize health; tend to the task; or aim for your much-deserved reward. Venus in Taurus makes the time you spend worthwhile through the weekend.

Monday’s new moon in Gemini begins a next phase or next round.

Mercury in Cancer, starting Tuesday, calls for extra caretaking directed toward finances and one you love.

J

HAVE YOU BEEN TO...

PISCES

February 18–March 20

Watch for an opportunity to speak up or to move a conversation, plan, or project forward.

Thursday/Friday, you can make a breakthrough with someone or something. Once it’s said or done, you’re onto a smoother sail. A lease or mortgage renewal, a new address or roommate, or a visit is well-timed.

One you love claims more attention Tuesday/Wednesday. g

Book a reading or sign up for Rose’s free monthly newsletter at rosemarcus.com/.

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CRAFT BEER WEEK

Celebrating a decade of local brews

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by Mike Usinger

ith Vancouver Craft Beer Week about to celebrate a milestone 10-year anniversary, it makes sense to begin where it all started. Before there was an annual sevenday celebration in venues across the city—ranging this year from the marquee giant outdoor festival at the PNE Fairgrounds to small-scale bike tours to a burlesque bacchanalia—there was an informal gathering of like-minded dreamers at Gastown’s Alibi Room.

At that meeting were three of the people who would start what’s become the city’s premier beer bash: Leah Heneghan, Tyler Olson, and Paul Kamon. They would become the core team behind VCBW. Heneghan today serves as Vancouver Craft Beer Week’s festival director, with Olson the technical director, and Kamon in charge of business development.

(Rounding out the team is marketing director Chris Bjerrisgaard.)

Looking back, Heneghan remembers the Alibi Room being chosen for a reason.

“Back then, there wasn’t really a lot of places to get really good craft beer in town,” she says, interviewed on her cellphone while running VCBW errands around the city. “The Alibi was kind of the epicentre for beer in Vancouver for a lot of people. We had our first VCBW meeting upstairs at the Alibi Room during brunch. In many ways that was by design. It made sense for a small flock of people who were trying to start a big beer party to go to the place where you could get good beer in Vancouver.”

That the Alibi Room ended up being the unofficial ground zero for Vancouver Craft Beer Week—running Friday (May 31) to June 9 this year at locations around the region—was fitting, given the history and everyone-is-welcome philosophy of the room. When owner Nigel Springthorpe arrived on the West Coast in the ’90s as a 19-year-old from northern England, the city was anything but the sophisticated beer mecca it’s blossomed into today.

“There were all these great restaurants where you’d have a fantastic chef at the helm, an amazing wine program, and some superstar bartender guy putting together amazing cocktails,” says Springthorpe, interviewed on a sun-drenched spring Sunday in Vancouver. “And then there would be three crappy beers on tap.”

After seven years as a staffer at a then cocktailcentric Alibi Room, Springthorpe bought the spot and transformed it into what it is today, one of Vancouver’s most beloved, grassroots craft-beer shrines.

“Movie guys originally owned the place, and they kind of wanted a place where their friends could hang out for things like script readings,” he recalls. “It kind of had an air of ‘It’s for you, but it’s not for you’—there was kind of an exclusivity thing. I figured it would be a better use of the place if it was for everybody. That’s why the beer thing fits in. Beer is a drink for everybody, unlike a fancy cocktail.”

With that observation, Springthorpe also sums up the appeal of Vancouver Craft Beer Week. What started out as an informal brunch at the Alibi Room has mushroomed into one of the city’s most-loved celebrations. Ten years after the idea of VCBW was officially hatched at the spot, Springthorpe remains continually impressed by the way the nowmassive event promotes the ideas of community and, just as importantly, inclusivity. In the beginning, craft beer was widely seen as something for homebrew nerds and fixie-riding Main Street denizens who looked like they’d just arrived from the set of Portlandia. Today, all of the city is welcome to the party.

“VCBW has taken the beer scene forward from a slightly insular group of a few people who in the beginning were really pushing things,” Springthorpe opines. “That sounds

conversion engine, so the more inclusive we can be with getting craft beer to the masses, the better.”

The term conversion engine is one that surfaces more than once with Heneghan. Asked to elaborate, she says that the goal of VCBW’s founders is to grow a scene first embraced by grassroots beer hipsters. No one today, she says, is looked down upon for not knowing the difference between a dry-hopped hazy IPA and a fruit bomb kettle sour.

“We are all beer nerds—self-proclaimed, with no problems owning that,” Heneghan says. “In the beginning, that’s kind of what all of our events were geared towards. We had really special beers, brewers coming up from the States for all these special events. Then we watched the festival start to grow from 100 people in year one to 1,400 the next year, then 4,000 the year after that. That’s when we Four Winds Brewing’s Brent Mills, VCBW’s Leah Heneghan, and the Alibi Room’s Nigel Springthorpe. Photo by Shimon Karmel started to realize there’s a huge market “What we wanted was to turn for this. A lot of people want to drink like it has negative connotations, but how far VCBW had come.

“Paul, Tyler, and I all have music- VCBW into an actual citywide celebra- good beer. So it was like, ‘Let’s start it shouldn’t—that group was always there to support every early beer event festival backgrounds, and we really tion of the craft-beer scene,” Heneghan getting those Molson Canadians out of see next page in Vancouver, from beer dinners to wanted to build the kind of party that says. “We consider ourselves to be a tap takeovers. But VCBW has really we wanted to go to,” she says. “We had taken the beer scene from an almost this not-so-secret garden area at the under-the-surface, sort of counter- PNE that I referred to as the bovine culture kind of thing to something lounge because there was a little cow that is in the mainstream. They’ve sculpture. I walked up to it and people were laughing, drinking beer, danmade it accessible for everyone.” cing everywhere, and I thought, ‘This THE FIRST EDITION of Vancouver is insane. This has become a totally Craft Beer Week took place back in crazy thing—we’ve built an awesome 2010, culminating in an intimate party which attracts thousands and AT MAIN STREET STATION one-day festival that drew 100 or so thousands of people.’” & DOWNTOWN enthusiasts to Main Street’s Heritage This year’s Vancouver Craft Beer Hall. After outgrowing a succession of Week will include the usual cavalcade sites (including the River Rock Casino of signature events, highlights includFROM JUNE Resort parking lot and a city-owned ing but by no means limited to: a Forspace in False Creek) in the years that bidden Fruit celebration of fruit beers TO OCTOBER followed, the fest component of the at the Devil’s Elbow Ale + Smokeweek finally settled at the PNE. house on June 6; a Sour Beer Session From a decidedly small-scale be- at Strange Fellows Brewing on June 5; ginning, that festival part of VCBW North Van Beer Bike tours from Frinow spans two days with live music, day (May 31) to June 8; and a Beers on a small platoon of food trucks, and Board boat excursion on June 7. (For a of course rivers upon golden-amber full list of festivities, go to vancouver rivers of beer. More than 100 brew- craftbeerweek.com/events/.) eries and cideries from Canada and As always, the goal is to expand the States will be on-site to pour over the audience of Vancouver Craft 300 beer and ciders this June 8 and 9, Beer Week. The team this year made with bands on-stage including Dead a concerted effort to spread things Soft, BB, the Campfire Shitkickers, out across the city, which is why Vinyl Ritchie, DJ Sheldon Knight, you’ll find events everywhere from and the Eleven Twelves.

Whole Foods on Cambie to Timber It was during 2018’s festival at in the West End to the American in FOR MORE INFO VISIT the PNE that Heneghan realized the Downtown Eastside.

MIDWEEK

FARMERS MARKETS

VCBW Events TIP SHEET

c VCBW 10TH-ANNIVERSARY KICKOFF PARTY (May 31 at Beaumont Studios) In addition to a silver-themed canned-beer party with offerings from 45 breweries, expect food from Downlow Chicken Shack and installations from the 40 or so artists who create at Beaumont Studios. c STRANGE AND FANCY FARE (May 31 to June 9 at Pourhouse) Pourhouse and Strange Fellows Brewing team up for a tap takeover where flights are paired with creations (roasted duck pie, B.C. albacore tuna crudo) courtesy of chef Alessandro Vianello. c BACKCOUNTRY BREWING

TWO-YEAR ANNIVERSARY PARTY: VANCOUVER EDITION (June 1 at Open

Studio) Squamish’s Backcountry Brewing makes the trip down the Sea-to-Sky for a tap-takeover party that includes DJ Neighbour as well as a premiere of the short film “Making of Backcountry”. c BEST OF B.C. CHAMPIONSHIP:

SOMMELIER VS. CICERONE

(June 1 at the Sutton Place Hotel) Diners sit down for a four-course dinner, after which they’ll decide

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who paired things better with pan-seared scallops, bison short ribs, and braised rhubarb with elderflower jelly: sommelier Dianne Fisher or cicerone Paul Pyne. c HOPPAPALOOZA 10-YEAR REUNION (June 2 at the Alibi Room) Anticipated enough that it needs two seatings (11 a.m. and 6 p.m.), Hoppapalooza will showcase a ton of specialty collabo beers brewed for the event, as well as Uncle Greg’s World Famous Alibi Chili and live music by Greg Ball. c 6×6 LANGLEY VCBW CASK FESTIVAL (June 6 at Dead Frog Brewery) Five Roads, Foamer’s Folly, Old Abbey, Old Yale, Trading Post, and Dead Frog roll out cask brews. As a bonus, you get to take home a limitededition glass. c VCBW FESTIVAL (June 8 and 9 at the PNE Fairgrounds) The crown jewel in Vancouver Craft Beer Week’s crown, this year’s edition will see over 100 craft breweries and cideries descend on the PNE Fairgrounds, with over 20 food trucks and live bands and DJs on hand to help ramp up an increasingly famous party.

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people’s hands, and put in a craft lager.’

“We’ve also tried to get the word out that craft beer is for everyone to experience and enjoy,” she adds, “and also to understand that craft beers aren’t just IPAs and lagers— but instead there’s a beer for everybody. My mom used to hate beer and would never drink it. Now I have her buying beer all the time.”

VCBW’s efforts to expand the way people think about beer have paid off in things like Vancouver’s decidedly upscale Sutton Place Hotel hosting a Sommelier vs. Cicerone pairing dinner on Saturday (June 1).

“I think the Sutton Place Hotel is a really great example of how far craft beer has come,” Heneghan says.

“They are revamping their beverage program to have a bunch of craft beer on their menu. That’s huge.”

But not as huge as Vancouver Craft Beer Week has grown in its 10 years.

A BIG PART of each VCBW is its collaborative beer, where different brewers from around the province come together to create a one-of-akind offering. This year’s collab had Delta’s Four Winds Brewing Co. spearheading things, with considerable help from Burnaby’s Dageraad Brewing and Vancouver’s Powell Brewery. That team came together to create a dry-hopped table saison loaded with exotic fruit accents.

“Leah came to us with the idea of doing a dry-hopped table beer—something light and easy to drink in the summer,” says Four Winds cofounder Brent Mills. “It has enough flavour that people are interested in it, but low enough alcohol that you can have a few and not get burned out on it.”

Having participated in past collaboration brews, Mills jumped at the chance to work with Dageraad Brewing and Powell, mostly because they are run by people he met through business and who have become friends.

“We’ve been excited to host one of these for a few years now,” he says.

“We’ve been open for six years, and we always thought, ‘One of these years we’ll get to do it because we’ve had such a good time going to other breweries.’”

As someone who’s watched VCBW grow over the past decade, Mills is amazed at the way things have taken off across the region—from the streets of Strathcona to the suburbs of Burnaby and Delta to the city of Surrey.

“The reason why I love it so much is that I don’t like to be exclusive in any sense,” he notes. “That goes right down to the design of our beers—I’m open to talking about how we make our beers to anyone.”

The art on VCBW’s 10th-anniversary-collab cans is almost as important as the beer inside them. Artist Luke Ramsey was commissioned to illustrate and connect standout stories from VCBW’s first decade—something he did Rube Goldberg–style.

“The big focus for the art was what that last 10 years have been, and the defining moments along the way,” Heneghan says. “Like the story of the folks from Parallel 49, when we had our festival out at the River Rock

Casino. At the end of the festival, all the Parallel 49 guys—or so the story goes—pooled their money, went into the casino, and bet on 49 black and it hit. Stuff that’s kind of ridiculous, but also awesome.”

Included in the illustrations is a nod to the Alibi Room, which after serving as the launching pad for Vancouver Craft Beer Week a decade ago, then hosted one of its most legendary events—Hoppapalooza— in the event’s first year. Looking back, Springthorpe remembers that first blowout being glorious pandemonium, a blur of live music, two seatings, and a demand for the day’s specialty beers that was impossible to keep up with.

This year, as it celebrates its 13th birthday and 1,000th beer list, the Alibi will also celebrate VCBW’s

I don’t like to be exclusive…I’m open to talking about how we make our beers to anyone.

– Brent Mills

anniversary by bringing back Hoppapalooza for a second time.

Springthorpe—whose mini empire now includes stakes in the Brassneck Brewery and the new Magnet pub—reveals what he loves most about the business he’s in is the sense of people pulling together.

“None of this has been on my own,” he says. “I have my wife, my brother and sister-in-law, and partners at the Alibi Room and at the brewery and at the Magnet to thank. It’s always my name that pops up, but it’s them and the crew and the staff at the Alibi and the brewery that makes all this work.”

He notes that the Alibi conversion to a craft-beer mainstay wouldn’t have worked without a crew that understands people want to feel welcome when they’re out for a beer.

And the ongoing legacy of Vancouver Craft Beer Week, he says, is 10 years of making everyone feel like they are part of the party.

“They’ve taken craft beer from this bubbling-underground-ish thing to this completely mainstream thing,” Springthorpe says. “They can take a lot of credit for that. It’s something that’s now embedded in our dining and drinking culture in a way that wasn’t before. I didn’t see that coming, but I’m glad we were able to be a part of it on the ground level.” g Vancouver Craft Beer Week celebrates its 10th anniversary at locations around the region from Friday (May 31) to June 9. For a full breakdown of events, go to vancouvercraftbeerweek.com/.

D rink OF THE WEEK

manager Adam Domet created the Good Decade cocktail, with fresh mandarin notes and a sweet nuttiness. Happy anniversary, VCBW.

THE GOOD DECADE

EVERY YEAR, Vancouver Craft Beer Week brings the province’s craft breweries together to brew a beer in the spirit of collaboration. To celebrate its first decade, VCBW partnered with Four Winds Brewing Co., Dageraad Brewing, and Powell Brewery to develop the official 2019 VCBW collaboration beer, Ten, a dryhopped table saison.

Drawing on the summer brew’s exotic fruit flavours, Pourhouse bar 12 THE GEORGIA STR AIGHT MAY 30 – JUNE 6 / 2019

3 oz Ten, VCBW’s 10thanniversary ale 1½ oz Kunizakari Mandarin Orange Mikan sake 2 tsp Luxardo Maraschino liqueur 4 tsp fresh lime juice Rim a long glass with salt and fill it with ice. Mix all ingredients except for beer in a shaker with ice. Shake for 10 seconds or until well chilled.

Pour into glass and top with Ten. Garnish with an orange twist.

by Gail Johnson

@vcbw

/vancouvercraftbeerweek

@vcbw MAY 30 â&#x20AC;&#x201C; JUNE 6 / 2019 THE GEORGIA STR AIGHT 13

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We celebrate Beethoven 250 with BeethovenFest in the spring. The highlight for me will be re-creating the most remarkable night of Beethoven’s career, performed over two days, plus an intriguing exploration of the Fifth Symphony.

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Throughout the year we invite you to hear things familiar but with a new perspective. Gidon Kremer plays the Schumann Cello Concerto on violin, Adrianne Pieczonka sings Schubert’s great lieder in orchestral arrangements, and Evelyn Glennie invites you to listen differently before we place you in the heart of the orchestra for a special immersive experience with Beethoven’s Fifth Symphony. I am also excited to continue our focus on Women’s Voices, including the debut of conductor Elim Chan.

The season opens with the symphony that changed the genre forever — Mahler’s 1st, the Titan. It sets the tone for a season of musical discovery.

See you at the concert hall!

Otto Tausk, Music Director

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arts

Magnetic North points to creative process

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by Janet Smith

hen Heather Redfern and a small, dedicated team set about reviving Canada’s only national theatre festival, they held a series of cross-country town-hall meetings to see what needed to happen.

The Magnetic North Theatre Festival had always alternated between Ottawa and another Canadian city each year, staging works from across the country. But in 2017, it was forced to cancel its event in the capital.

The board of directors was shutting down operations after 15 years due to an accumulated deficit of $224,000.

“The question was, ‘Is this just a board with a financial problem or is there any reason to continue the fest?’” Redfern, executive director of the Cultch and the chair of Magnetic North, tells the Straight over the phone. “Is there still a need for the festival that would evolve to meet the needs of 2019, not 2003?”

When the board took those questions out to the country’s theatre scene, one resounding need came through.

“People said, ‘We want to hear from the audience way sooner,’” Redfern relates. “The audience has evolved for artists into being very much a relationship—and it’s really hard to create a relationship if one party isn’t present. It’s especially hard for artists who are independent and don’t create in an established company. They need and they want that sounding board.”

The result is a Magnetic North Festival that celebrates all the new work being made across Canada, in various states of completion. Based out of the Cultch site, the event will act as a giant test kitchen that lets audiences in on the creative process. There will be fully staged shows but also open studios and showcase readings.

Take local francophone company 2par4’s Straight Jacket Winter, which runs June 6 to 8 at the Historic Theatre.

Esther Duquette and Gilles PoulinDenis’s semiautobiographical story about moving to Vancouver from Montreal has shown across the country and here at Théâtre la Seizième, but Magnetic North will mark a new step: its first bilingual presentation.

Tara Cheyenne Performance, on the other hand, presents a piece much earlier in its evolution. The dance-theatre artist will present a 20-minute work in progress called The Body Project at the intimate Jim Green Studio on June 4, then hosts a small symposium around the theme of female body image. Similarly, on June 8 at CBC Studio 700, Veda Hille and Amiel Gladstone, the creators of the hit touring musical Onegin, will offer audiences a sneak

Clockwise from left, Edzi’u adds to the unexpected mix at Indigenous Vibrations; Heather Redfern works to revive the Magnetic North Festival after a shutdown in 2017; and historic Presentation House Theatre opens its nooks and crannies to HIVE 2019.

Arts TIP SHEET Amid the shows, workshops, and talks that the newly revived Magnetic North Festival is bringing to town from this Saturday to next Sunday (June 1 to 9), here’s a sampling of more events worth checking out.

d OH WHAT A BEAUTIFUL MORNING! (May 29 to June 9 at the Russian Hall) Think waving cornfields, not big show tunes, as Fight With a Stick Productions deconstructs the iconic 1955 movie musical Oklahoma!, complete with projected film imagery, live action, and even a sing-along. d UNDIVIDED COLOURS (June 6 and 7 at the Scotiabank Dance

peek at early experiments on their new Songs for Lifeboats (in a copro with Touchstone Theatre’s In Tune series).

“We’ve been calling it a potluck, where everybody’s bringing something to the table,” Redfern explains.

“This is very much an experiment— a gathering of information and a chance to hang out and talk about it.

“The thing about Magnetic North is everybody’s invited; it’s not an exclusive club,” she stresses, zeroing in on what sets Magnetic North apart from other fests or industry conferences. “It’s not just producing companies, it’s not just students: everybody is welcome and everybody is part of the conversation.

So if you buy a pass, whether you’re a theatre person or an audience person, you’re invited to all those events.”

Centre) In the Off Mag North series, Vancouver-based Filipino-Canadian dance innovator Alvin Erasga Tolentino joins a topnotch culturally diverse group of Ontario artists— William Lau, Hari Krishnan, and Peter Chin—to put their own spins on styles from bharata natyam to Peking opera.

d INHERITANCE: A PICK-

THE-PATH EXPERIENCE

(June 7 at the Shadbolt Centre for the Arts) Alley Theatre lets the audience vote to decide the fates of an urban couple and a land inheritance in this early reading of the work in progress. g

FOR THE MUSIC and interdisciplinary showcase Indigenous Vibrations, Magnetic North means music programmer Rob Thomson can experiment with a new format in a new kind of venue, with artists at various stages of their careers.

The Full Circle First Nations Performance music curator who puts together the Múyuntsut Ta Slúlum Live Concert Series will be able to mix performance styles like never before. The roster of Indigenous talent includes electronic songwriter and sampling artist Edzi’u; hip-hop and spoken-word artist JB the First Lady; slam poet Tawahum; and singersongwriter Tara Laronge. Squamish Nation elder Dennis Joseph hosts what has become a multimedia, inter-

disciplinary affair, which takes place Monday (June 3) at the Cultch Historic Theatre—a contrast to the clubs, cafés, and galleries Thomson is used to programming.

“It’s hip-hop, soundscapes, projections, adult contemporary, traditional songs, spoken word, and how it all blends together,” enthuses Thomson, an electric bassist who’s one half of the Haida-Tsimshian sibling indie-pop duo Sister Says. “We’ve never done a lineup like this in a theatre setting.

Here the audience can get a taste of all the different kinds of music. And we wouldn’t necessarily get the chance to do this without Magnetic North.”

Indigenous Vibrations tries to capture a wave of creativity that’s happening in the community, and see how a wider audience responds to a format that pushes beyond a traditional, genre-specific concert.

“Indigenous music is one of the most exciting things happening in the arts scene right now,” Thomson comments. “It’s amazing when you see what [rap act] Snotty Nose Rez Kids and [Indigenous opera star] Jeremy Dutcher have done, but there’s a whole new group coming up. And this will get them new audiences and new eyes. There’s so much talent waiting to come out and be consumed by music lovers.”

MAGNETIC NORTH WILL also allow for HIVE 2019—a microperformance, site-specific event in which 10 emerging B.C. artists and companies bring alive the nooks and crannies of Presentation House Theatre on June 8.

It’s inspired by the show of the same name launched by Progress

Lab in 2006, with many similarities to the original. The idea is that 10 short performances will run simultaneously, and small audience groups will be able to roam between them.

Each group works with a shared piece of text. The intimate shows include a work inspired by the philosophy of home-organizing maven Marie Kondo; another that cooks up Ukrainian perogies; and one prompted by the recent abortion laws in Alabama.

True to its name, HIVE will feature a central hive or hub where audience members can congregate and socialize before they head to what theatre artist Brian Postalian calls the “different cells or little colonies, performances, or installations and then return back at certain points”.

The spaces available in the morethan-century-old venue, which has served as everything from a school to a police station over its history, have offered ample inspiration. “Presentation House is particularly labyrinthlike,” he says. “It has these incredibly interesting, creepy spaces—it even has three bank vaults.”

Postalian helped oversee the resurrection of HIVE as a way of involving indie artists and companies in Magnetic North: “In particular, I wanted to make sure there was an opportunity for artists who don’t have operating budgets, and who are doing things project to project, to take part.”

The list of participants includes some so new to the scene you may not have heard from them, including Postalian’s own Re:Current Theatre, the Troika Collective, Little Thief Theatre, and Caroline Sniatynski.

In keeping with Magnetic North’s goals, the artists have been encouraged to collaborate and visit each other’s work; many are trying out new ideas they might develop into bigger, longer shows.

In other words, HIVE will offer a full-day microcosm of Magnetic North’s test-kitchen approach—only this time, with many cooks and kitchens.

As to whether that strategy succeeds, and whether Magnetic North moves forward, Redfern’s questions still need to be answered at this fest.

There’s even a symposium hosted by the executive board on Monday afternoon (June 3) at Progress Lab 1422 called What Happened?.

It’s fitting, then, that like so many of the shows it’s hosting, the Magnetic North Festival is still very much a work in progress. g The Magnetic North Festival runs at the Cultch and other venues from this Saturday to next Sunday (June 1 to 9).

Chicken Girl rides surreal mix of styles

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by Janet Smith

ice & beans theatre’s new play Chicken Girl: Intergalactic Mystery takes viewers on a wildly surreal, fantastical journey, but it’s rooted in an intimate, real-life memory of its writer and director, Derek Chan.

When he was a preschooler growing up in Hong Kong, his father would often pick him up from his grandmother’s after work to take him home on the bus. It was usually an uneventful ride with little chat. “He was not someone used to expressing care or emotion to his children,” Chan relates to the Straight over the phone before rehearsals. “But once in a while, for whatever cosmic reason, he would take me to this weird chicken shack under a highway bridge.”

Those were some of Chan’s fondest memories with his father. The youngster was allowed to choose from all the different kinds of fried chicken, and his dad would ask the server to give him the right leg of the bird; because his son ate with his left hand, he believed that would ensure he got the best part of the meat first.

BC Lee and Amanda Sum star in rice & beans’ Chicken Girl. Photo by Emily Cooper

Chan would go on to move here at 12 after living briefly in Norway, but he would bring those memories with him. And so, in the middle of the chaotic, layered magical worlds that he conjures in his newest play, a chicken shack sits at centre stage. “It’s so the characters and the audience have a safe place to go,” he explains.

In the story, Uncle Chan (BC Lee) runs a

fried-chicken shop, and when he disappears one day, the title character (Amanda Sum), who works for him, takes off on a bizarre adventure to find him.

So begins the journey, blending together Chan’s, and rice & beans’, usual genre-jumping, culture-crossing mashup of styles. Chan cites everything from 1970s Hong Kong kung fu flicks to ’90s ghost movies as references.

But Chan not only fuses styles, he mixes languages. “A character will speak in Cantonese and another will answer in English,” he says. “So in terms of style this play really reflects my journey all the way from Hong Kong to two years in Norway and now all my years in Canada. All the sounds and songs and languages are there.

“Because of the linguistic capabilities of the cast,” he adds with a laugh, “sometimes I’d be directing in Cantonese and then in English, and more than once I’d begin talking in Cantonese to a non-Cantonese-speaking person. But definitely this idea of moving places

and trying to find what home is mostly from a young age, that has definitely motivated my obsession with disorientation. And yes, I do often find the world a confusing place, both politically and emotionally and mentally.”

Navigating sometimes hallucinatory terrain but grounded in real emotion, Chicken Girl offers a different kind of theatrical experience— the kind that’s gaining the company founded

by Chan and Pedro Chamale more and more attention. It’s enjoying a residency at the Annex right now and is preparing to become company in residence at the Arts Club Theatre next season. Those same artistic risks won it inclusion in the Magnetic North Festival.

Asked to describe what it will be like to see it, Chan pauses and says: “It’s like watching an adult having a dream as a child.” g Rice & beans theatre’s Chicken Girl: Intergalactic Mystery is at the Annex Theatre until next Friday (June 7) as part of the Magnetic North Festival.

MAY 30 – JUNE 6 / 2019 THE GEORGIA STR AIGHT 15

ARTS Tausk revs up for celebratory 100th finale

AMBLESIDE PARK

FRIDAY, MAY 31 4–9:30 P.M. SATURDAY, JUNE 1 11 A.M.–9:30 P.M. bridgefestival.ca

BRINGING PEOPLE TOGETHER THROUGH FOOD, MUSIC AND CULTURE.

cultural pavilions • live music • beach parade • international lounge • kids culture club

A

by Alexander Varty

fter one year at the helm of the Vancouver Symphony Orchestra, Dutch conductor Otto Tausk is satisfied that he made the right choice in accepting the baton from departing music director Bramwell Tovey. And what’s most convinced him of that is the sheer speed of his new charges. Not speed in the sense of shredding, but in the sense of being quick on the uptake.

“Doing the three Mozart symphonies in one evening was a highlight for me, and also for the orchestra,” he says in a telephone interview from Valencia, Spain, referring to a pair of concerts in March of this year. “I think we got to know each other much better in a very short period—in just a couple of days of very intensive work, we made huge steps together.

“I’ve found that the orchestra can work extremely fast,” Tausk continues.

“They can get a lot of repertoire done in a very short period of time. I also found that I very much enjoy working on details with the orchestra.…The orchestra and I, we are growing very quickly when we do that.”

The VSO’s work ethic and attention to detail will be fully on display during its final concerts of the 201819 season, which will encompass a 100th-anniversary gala celebration and two wide-ranging programs focusing on French and German repertoire. (With Nordic and Russian pieces featured in the gala, the concerts will also supply an overview of the European concert repertoire as a whole—which Tausk says is an accident, but a fortuitous one.)

First up, at the Orpheum this weekend, is Debussy & Ravel: Colour & Image, an expansive program built around the former’s Images and the latter’s Tzigane, but also including two rarely heard pieces by Lili Boulanger, sister of the acclaimed composition teacher Nadia.

“Every orchestra should have French repertoire, first of all because it’s just gorgeous instrumentation and beautiful music, but also because it’s something you need to work on as an orchestra,” Tausk notes. “You need to find the special colours in French music. It’s a really different way of playing.”

Vancouver Symphony Orchestra maestro Otto Tausk is pleased with his first year.

Ramping up the celebratory quotient, the official season finale—at the Orpheum the following weekend—is designed to show off the “past, present, and future” of the orchestra, Tausk says. The future is represented by the North American premiere of akin for solo violin, solo cello, and orchestra by Dutch composer Michel van der Aa, a friend and contemporary of Tausk’s whom we’ll likely hear more from in the near future. The past will be referenced by Franz Schubert’s Rosamunde overture, which was played frequently during the VSO’s early years. And the present will be illustrated by Richard Strauss’s Also Sprach Zarathustra, which famously provided the dramatic opening theme for the movie 2001: A Space Odyssey.

“It’s a piece to show what the orchestra is capable of right now,” Tausk explains. “It’s a piece where they can show how virtuosic they are, and how good they are at the really big, romantic symphony repertoire.

“And of course everybody knows the beginning, but hardly anybody knows the rest of the piece,” he adds, laughing. “It’s really fantastic work.”

All this will culminate in the VSO100 Centennial Celebration on June 11, which again ties together

past, present, and future but with a lighter, more festive focus.

Violinist James Ehnes, who won a 2007 Grammy Award for a recording with Tovey and the VSO, will be one of several guest soloists. Music by Johann Sebastian Bach and Peter Ilich Tchaikovsky will be performed, but so will pieces by Jean Coulthard and VSO composer in residence Jocelyn Morlock, representing the orchestra’s long-standing commitment to Canadian music and especially music by Canadian women. Young virtuosos Tate Zawadiuk on cello and Lucy Wang on violin will also find themselves in the spotlight, in a nod to classical music’s future—and to the VSO’s own increasingly important role in music education.

With young people like these, Tausk says, “we have the musicians, we have the audience, and we have the future. Classical music is an art form that you need to fight for, but if you do it well it’s very rewarding.” g The Vancouver Symphony Orchestra presents Debussy & Ravel: Colour & Image from Friday to Sunday (May 31 to June 2).

Season Finale: Zarathustra! takes place next Friday and Saturday (June 7 and 8). The VSO100 Centennial Celebration takes place next Tuesday (June 11). All concerts are at the Orpheum.

Sound of Dragon blends East and West

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by Alexander Varty

Please recycle this newspaper.

16 THE GEORGIA STR AIGHT MAY 30 – JUNE 6 / 2019

aving brought his Taipei-based Little Giant Chinese Chamber Orchestra to Vancouver, produced Taiwanese concerts for local erhu virtuoso Lan Tung’s Sound of Dragon Ensemble, and led the all-star musicians of Turning Point Ensemble through a tour of mainland China, conductor Chih-Sheng Chen knows a thing or two about cultural exchange. And he’s eager to expand his knowledge, starting with a concert this week that marks the first meeting between Sound of Dragon’s intercultural players and the mostly Asian-born performers in San Francisco’s Melody of China ensemble.

It’s not only the sonic possibilities that have Chen excited.

“This year, I am working even harder to have Chinese and western instruments combine and to have international collaboration,” he explains in a telephone interview from a Vancouver friend’s home. “The market in China is very good.”

“There are many opportunities,” adds Tung, who’s listening in on speakerphone. Sound of Dragon’s leader adds that she and Chen will take her local players to mainland China later this year. This Thursday’s concert at the Western Front will feature some of the repertoire they’ll play on that tour, with the local show including world premieres of works by Dorothy Chang, Itamar Erez, and Yuan-Chen Li. Chang’s Timekeepers might well be the most challenging, switching as it does between several complex time signatures—a rarity in Chinese music, although not in contemporary composition.

Erez, an Israeli-born multi-instrumentalist based in Vancouver, will contribute Migrant Voices, which touches on his own Mediterranean heritage as well as the westernmost extensions of the fabled Silk Road.

“Itamar’s music is more groove-based,” Tung notes.

“So we have to internalize the pulse in a different way, and make it pretty, like, groovy! It has a more Middle Eastern f lavour in the melody as well, so it’s quite a different style for us.”

Sound of Dragon leader Lan Tung gives local audiences a taste of what her players will take to mainland China this year.

From Chen’s description it sounds like Reminiscences 2, by Taiwan-born, Portland, Oregon–based Li, might provide the show’s emotional heart. “She wrote this piece for her grandmother,” the conductor explains.

“Maybe it’s about how her grandmother went to Taiwan from China because of the political situation, the war.

I think it was in 1949. And you can hear many sounds, like knocking on the soundboard of the plucked instruments so that it sounds very similar to machine guns.

You can hear the war atmosphere.”

“But in contrast to that,” Tung adds, “there’s a kind of humming vocal in the beginning and end sections. I think it’s from a melody that her grandmother would hum when she was in her old age, suffering from dementia. It’s a very emotional piece, with the composer trying to make sense of what her grandmother remembered.” g Sound of Dragon Ensemble and Melody of China perform at the Western Front on Thursday (May 30).

ARTS

Integrated dance evolves at All Bodies

O

by Janet Smith

ne able-bodied dancer rolls around on a platform with wheels while the other, who has a disability, uses her manual wheelchair. They interact, pushing, pulling, and circling each other around the space, eventually ending up on each other’s devices.

The expressive movement conversation between Peggy Leung and Harmanie Taylor, called Inflect, is one of several new works debuting at All Bodies Dance Project’s full evening of live pieces and short films, Magic & Remembering. And it shows how integrated dance is evolving for the pioneering company.

By nature, choreography featuring people of differing abilities is about relationships. The company is constantly trying to challenge expectations, rarely showing a standing body alongside sitting dancers.

For Inflect, All Bodies cofounder Naomi Brand explains: “They started from a question or curiosity about placing both dancers on wheels and how that would impact their way of moving. It’s sort of an exploration around power and how we impact each other.

“It’s not that the pieces are about accessibility,” she adds. “It’s always, ‘What is that body’s ability to express itself in these spaces?’”

Adds Taylor, who’s joined Brand at a café in Yaletown: “What kind of relationship establishes between the two, rather than a standing and sitting relationship? And how does that change the conversation?”

Elsewhere on the program, Martin Borden’s short film “Sanctuary” focuses on two dancers navigating a public space, the Roundhouse Turntable Plaza. Alice Sheppard and Danielle Peers’s film “Inclinations” finds four manual wheelchair users swinging under and around the rails of a

All Bodies Dance Project enjoys turning expectations upside-down.

long, sleek ramp. Cheyenne Seary’s Clove Hitch explores belonging by having its five performers knot together in myriad ways.

Whether on camera or on-stage, these and other works have an intimacy and raw emotion you might not associate with integrated dance of the past, which, Brand explains, “has a tendency to emphasize the tricks and athletics and not get to vulnerability”.

ALTOGETHER, MAGIC & Remembering is a snapshot of the rising level of integrated dance—a field that, not so long ago, was out of reach for people like Taylor.

She remembers being back in Grade 1, when one of her classmates would come to school in a tutu. Taylor, who did not use a wheelchair then but walked with a limp, begged her mother to enroll her in dance class. At the time, her mother told her she couldn’t because it was too expensive. It wasn’t until many years later that her mom revealed the truth: “The teacher said, ‘No, she’ll hold up the class,’ ” says Taylor, who grew up with spina bifida.

“It was because the instructor didn’t

want to teach me to adapt.”

Many years later, at the University of Alberta while she was using a wheelchair, she decided to take an integrated dance class, and her world changed. “The instructor said, ‘Move in a way that makes you feel comfortable,’ ” says Taylor, who had previously seen movement in her chair as only something she did out of necessity. “The idea that I could move in a chair in a way that felt good to me was a major ‘Aha!’ moment.”

Taylor, now based in Vancouver, today ranks as one of only a handful of professional dancers with disabilities in the country, regularly training in the U.S. and the U.K. She features in almost all the works on the Magic & Remembering program.

“It’s pretty incredible to say, ‘This is my job,’” she says with a smile.

Taylor’s trajectory mirrors the increasing credibility of an art form in the contemporary-dance world.

“We’re in a time where accessibility is at the forefront,” Brand says. “But with that also comes responsibility—to present work but also to present work that is high-quality. In the years I’ve worked in integrated arts, you could rest on ‘Isn’t that nice’ before—a patronizing presenting of the work rather than saying, ‘This is contemporary dance.’”

That shift in attitude is also reflected by the fact this is All Bodies Dance Project’s first official show at the Scotiabank Dance Centre, the professional hub for the city and Western Canada.

“There’s something very significant about putting us in the Dance Centre,” says Brand, who adds it’s her troupe’s first foray into film work, as well. “It is a risky show for us, and it feels fresh.” g Magic & Remembering: Dances and Films Featuring Dancers With and Without Disabilities is at the Scotiabank Dance Centre from Saturday to Monday (June 1 to 3).

Canada’s Theatre.

Elevated.

June 1-9, 2019

Shows, Open Studios, and Conversations for Artists and Audiences.

Passes and tickets at

MAY 30 – JUNE 6 / 2019 THE GEORGIA STR AIGHT 17

ARTS

Puppet artistry meets surf story at rEvolver

by Andrea Warner

THEATRE MY DEAR LEWIS

Created, directed, and performed by Kyle Loven. Presented by Upintheair Theatre and Theatre Replacement as part of the rEvolver Festival. At the Vancity Culture Lab on Thursday, May 23. Continues until June 2

AMJAD ALI KHAN & SONS WITH SHARON ISBIN: STRINGS FOR PEACE WORLD PREMIERE UŖěű ̔̕ ϛ Ƌä ĂÁĢ äĢőŅä ùĩŅ őĂä äŅùĩŅġĆĢú Ņőʼn

5X15 UŖěű ̘ ϛ ĩŖĢàĂĩŖʼnä

The only Canadian edition of this ever-popular international speakers series.

This year’s all-star lineup includes literary ‘Global Soul’ Pico Iyer, Trickster trilogy titan Eden Robinson, and literary bluesman Arthur Flowers.

PICO IYER UŖěű ̚ ϛ `ŖʼnäŖġ ĩù ¨ÁĢÚĩŖŪäŅ

Writer, world-traveller and TED sensation Pico Iyer has spent his life answering the great questions of humankind. Whether in three decades of conversations with the Dalai Lama, or his sleeve notes for Leonard Cohen, Pico Iyer’s voice has always been a place of stillness in the whirlwind of the world. He asks how do we hold onto the beings we love, even though we know we and they must come to an end one day?’

FOUNDING PARTNER

The undisputed living master of the sarod, and one of India’s most celebrated classical musicians, Amjad Ali Khan takes the Chan Centre stage alongside his sons with three-time Grammy Award-winning classical guitarist Sharon Isbin. These outstanding musicians make an eloquent and impassioned call for harmony – in music, in religion, in cultures, and in the world.

HARI KONDABOLU UŖěű ̖̔ ϛ ¨ÁĢÚĩŖŪäŅ ěÁűĂĩŖʼnä

Named one of Variety's ‘Top 10 Comics to Watch,’ Hari Kondabalu is a comedian, writer and podcasted based in Brooklyn, NY. He has performed on The Late Show with David Letterman, Conan, Jimmy Kimmel Live and John Oliver's NY Stand-Up Show. Hari returns to Vancouver after a history of sold-out shows in the city, with his trademark skillful blending of the personal and the political.

TICKETS AVAILABLE AT INDIANSUMMERFEST.CA

MAJOR PARTNERS

PREMIER MEDIA PARTNERS

FUNDERS

MaY 27 — JuNe 2, 2019 oN GrAnViLlE IsLaNd, vAnCoUvEr

cHiLdReNsFeStIvAl.cA We acknowledge the support of the Canada Council for the Arts.

Nous remercions le Conseil des arts du Canada de son soutien.

Premier Sponsor

18 THE GEORGIA STR AIGHT MAY 30 – JUNE 6 / 2019

d “TO SIT through the past is all that is asked.” This small line of dialogue comes at the beginning of my dear Lewis. It’s simple and thoughtful, playful and mysterious, and a little ominous, and not just because the line is uttered in an exchange between two small puppets, an angel and a devil. Short rhymes are portentous, and this oneact play is a mood from start to finish.

This is creator-director-performer Kyle Loven’s Vancouver debut (he recently moved here), but he’s been touring this show for many years.

He won the innovation-in-puppetry award for my dear Lewis at the 2013 National Puppetry Festival, and it’s easy to understand why. Loven’s creativity is breathtaking, as are his precision and the intimacy of his craft.

Everything happening on-stage is physically small—mostly hand-sized puppets, a marionette that is maybe the length of Loven’s forearm, a small shadow-puppet scene on rectangles of paper—but the emotional scope aims to fill up the room.

My dear Lewis follows a man, Lewis, looking back on his life, into all the shadows and forests of his mind.

There’s nothing clear-cut about Lewis’s memories. They don’t unfold with a clear narrative, but rather in snippets and bursts, in letters and metaphors and seemingly unknowable code. We see Lewis as a boy with his dog Buster, a great dog who couldn’t figure out hideand-seek but could rescue Lewis from drowning. There’s an epic fire that may or may not have been arson, that Lewis may or may not have set. There are letters from someone named B. who promises to always love him. There are several minutes of a video installation wherein we see a woman looking for Lewis, always missing him by mere seconds. Someone, maybe B., says, “We helped make a boy,” and Lewis is pacified. “We did good, Lewis, real good.”

Honestly, it’s hard to say what Lewis’s life really was, and maybe that is the point. Lewis, in retrospect, doesn’t have a lot of stable stretches of time he can access, but he does have these ultraspecific moments and loosely formed memories, all shadows and light living inside him. This is the ominous undercurrent of the show: is the Lewis looking back experiencing dementia or something like that? Has Lewis been mentally ill all his life and that’s why he can’t quite grasp his past?

What is certain is Loven’s fascinating skill with puppetry and mixedmedia storytelling, and the DIY aesthetic he adheres to so charmingly and responsibly. There aren’t a lot of fancy materials at work here, and this kind of accessibility is thrilling to witness. He paints the inside of his cardboard boxes gold so they gleam when he opens them to reveal the new settings for his shadow-puppet shows, which are mostly just simple streams of paper. One forest scene is just thick, black felt drawings on a long piece of cardboard. The largest prop, a white stork with a wide wingspan, appears to be just a cloth, but it then morphs into the house setting that shows where Lewis began his life.

There’s so much to marvel at in Loven’s creation, but I wanted my dear Lewis’s narrative to resonate more deeply: it’s visually compelling, but we’re not connected enough to Lewis himself as a character. It’s a wonder of a show, a small, beautiful spectacle, but never a fully emotionally engaging one because we don’t have a stronger relationship with our protagonist.

Bana Biltaji in Other Inland Empires at the rEvolver Festival. Photo by Tim Matheson

OTHER INLAND EMPIRES

Written and directed by Julie Hammond. Presented by Upintheair Theatre as part of the rEvolver Festival. At the Cultch Historic Theatre on Thursday, May 23. No remaining performances

d THERE’S A LOT to appreciate about Julie Hammond’s Other Inland Empires. It’s an ambitious but ultimately confounding mix of surf and SoCal historical pop culture, semiautobiographical travelogue, and first-person audio testimonial from Hammond’s own grandmother recounting her experience as a little girl in a concentration camp. Interspersed throughout its 65-minute run-time are covers of classic California songs by bands like the Beach Boys and the Mamas and the Papas.

If that sounds like a lot, it is. The one-act play was initially inspired by Hammond’s discovery that Gidget, the fictional teenage surfer and titular subject of the 1957 book (and all of the corresponding movies and pop culture it spawned), was actually just like her: an American-born Jew in California. Gidget author Frederick Kohner was an Austrian-born Jew who made his way to America in the mid-1930s.

His daughter Kathy was the inspiration for Gidget, the iconic California surfer girl, who’s actually Jewish.

Hammond, who is the main character in Other Inland Empires (performed by Stephanie Wong, who shows a real gift for comedy and singing), sees elements of herself in Gidget, except for the fact that she doesn’t know how to surf, so she heads to Slovakia, where her grandmother grew up. It will be part research, part adventure, and part ethnocultural study, because Hammond says she’s conscious of not wanting to be “a tourist in someone else’s trauma”.

Hearing Grandma recount the harrowing details of her youth is something I’m never going to forget, and I’ll be grateful to Hammond and her grandmother forever for sharing her story. It’s just Grandma’s voice coming through the loudspeaker, and the laid-back bustle on-stage (there are a lot of moving props and scenes, like inflatable palm trees and beach chairs and blankets, that are set up and struck within minutes) fades away, and we just listen. It’s perfect. But the significance of this component makes the rest of the play feel trivial, and it doesn’t help when some of the through lines are so shaky.

For example, Hammond has written a scene recounting a pretty funny and horrifying dental experience in Slovakia, and then attempts to draw parallels to Nazis taking teeth from Jewish people in concentration camps. The cast even breaks the fourth wall when Hammond emerges from the audience to hand one of the actors the dental implant from her mouth, which feels unnecessary. The music is great, in that the small cast performing the songs are good vocalists and musicians, but this also never feels seamlessly integrated. see next page

The play feels like a work in progress rather than a cohesive piece of theatre. Other Inland Empires has a lot of potential, but Hammond never quite realizes her vision.

CE QU’ON ATTEND DE MOI

Created by Philippe Cyr and Gilles Poulin-Denis. A 2PAR4 and L’Homme Allumette coproduction, presented by Théâtre la Seizième.

At Performance Works on Tuesday, May 21. No remaining performances

d CE QU’ON ATTEND de moi (What Is Asked of Me) wastes no time in blurring the line between art and social experiment.

At the beginning of the show, the French-language touring production, which features live English translations, demands its entire audience stand up and then self-eliminate based on a series of specific qualifiers. These include: if you’re a therapist, sit down; if you’re a journalist; not fluent in French; emotionally fragile; and if you’re 100 percent satisfied with your life, sit down. The creators, Philippe Cyr and Gilles Poulin-Denis, bring up five audience members from those who remain standing. They ask each of the five a question that requires a one-word answer, instruct them to close their eyes, and have the audience vote by a show of hands for the person they like the best.

The social experiment is fully under

ONGOING SINGERS WANTED AT SONGRISE! Join an uplifting singing experience inspired

by Bobby McFerrin’s Circle Songs. Sing vocal grooves, heavenly harmonies, and body-shakin’ rhythms, all composed in the moment! For anyone who can sing in tune and has a basic sense of rhythm. 11 am most Sundays until June 16. Info and preregistration: www.songrise.ca. To Jun 16, 11 am–12:45 pm, Kitsilano Neighbourhood House. $15.

REVOLVER FESTIVAL 2019 Upintheair Theatre’s festival of independent theatre and performing arts. To Jun 2, The Cultch. Various ticket prices.

VANCOUVER INTERNATIONAL CHILDREN’S FESTIVAL Performances from around the world for kids of all ages, including acrobatics, puppetry, theatre, and music. To Jun 2, Granville Island.

MY DEAR LEWIS Solo puppet show originally developed with support from the Jim Henson Foundation. May 28, 8:15-9:15 pm; Jun 1, 7-8 pm; Jun 2, 5:30-6:30 pm, The Cultch. $22/15.

MATILDA THE MUSICAL The Arts Club Theatre Company presents an adaptation of Roald Dahl’s children’s novel. To Jul 14, Stanley Industrial Alliance Stage. From $39.

THE DIXIE SWIM CLUB Comedy about five Southern U.S. women who set aside a long weekend every August to recharge their relationships. To Jun 8, 8-10:30 pm, In the Theatre at Hendry Hall. $20/18.

CHICKEN GIRL The titular character embarks on a surreal adventure to uncover the mystery surrounding the disappearance of her Uncle Chan. To Jun 7, 8-9 pm, The ANNEX. $20-30.

THRONE AND GAMES—THE LAST LAUGH Improvised Game of Thrones parody. To Jun 15, The Improv Centre. From $10.75.

VANCOUVER ART GALLERY aDISPLACEMENT to Jun 9 aMOWRY BADEN to Jun 9 aMOVING STILL: PERFORMATIVE PHOTOGRAPHY IN INDIA to Sep 2 aVIEWS OF THE COLLECTION: THE STREET to Nov 17 THE POLYGON aTHE LIND PRIZE 2019 to Jun 9 MUSEUM OF ANTHROPOLOGY AT UBC aIN A DIFFERENT LIGHT: REFLECTING ON NORTHWEST COAST ART to summer 2020 aSHAKEUP: PRESERVING WHAT WE VALUE to Sep 1 aSHADOWS, STRINGS AND OTHER THINGS: THE ENCHANTING THEATRE OF PUPPETS to Oct 14 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 aTHERE IS TRUTH HERE to Dec 31

WEDNESDAY, MAY 29 BARE Eternal Theatre Collective presents a contemporary pop opera about coming out and growing up. May 29–Jun 8, Unitarian Church of Vancouver. $17-25.

OH WHAT A BEAUTIFUL MORNING! A surreal reimagining of the musical Oklahoma!

May 29–Jun 9, 8 pm, Russian Hall. $10-30.

THURSDAY, MAY 30 COSMIC DISPERSAL: THREE POETS ON RUPTURE Readings by poets Shankar Narayan, Doyali Islam, and Hasan Namir. May 30, 7 pm, Massy Books. Free.

CHEDDAH BOYS IMPROV COMEDY A night of lewd, crude, and absurd improv comedy.

May 30, 10 pm, Havana Theatre. $10.

FRIDAY, MAY 31 BRIDGE FESTIVAL WEST VANCOUVER New festival features interactive cultural pavilions, performances, a parade on the beach, and food. May 31–Jun 1, Ambleside Park. Free.

way and we’re all somewhat complicit in what happens to the “winner”, on this night a lovely 56-year-old teacher from Tsawwassen, over Ce qu’on attend de moi’s 75-minute run time.

This is an interactive, live video piece, not a traditional stage play.

There is no physical stage, and in fact the audience isn’t even inside the venue, Performance Works, but rather in a tent outside. At the front of the tent is a massive screen under which four men, including creators Cyr and Poulin-Denis, wear headsets and stand behind laptops, like a DJ set without much music. The volunteer is taken into a separate room, miked, and given earpieces, and a live video feed of her is projected onto the screen above the men’s heads. One of the creators speaks to her through a microphone, explaining, “We’re going to be creating a show together.

You can trust me… Just remain yourself. That’s most interesting.”

As the subject answers his increasingly personal questions, she’s likable and charming, and grows increasingly comfortable sitting alone in the room just talking to the camera. It’s fascinating to hear a stranger talk about her life so candidly, steered deeper into vulnerability by the creator’s gently probing inquiries.

After about 30 minutes, the show shifts, and the audience member is asked to choose a costume and

imagine a different identity for herself.

She gravitates to a tutu (she wanted to be a ballerina as a child) and large glasses, and decides her new identity is a 36-year-old saleswoman in Saskatoon who dreams of a cycling vacation in the French countryside, talking to strangers. Eventually, as the details of her real life begin to bleed into her alter ego’s, she’s instructed to think about the people she loves, the people she loved, and she’s in tears. This sets the woman up for the play’s sudden tonal shift into the sinister and surreal.

There’s a particularly degrading moment that involves getting into a cage. It’s deeply disturbing, especially when one considers that the show essentially maps out how manipulative and abusive behaviour works. It makes its subject its sole focus, isolates her, asks her increasingly personal questions to gain her trust and lower her guard, seems to break her emotionally (when she begins to cry openly), and then demands she engage in her own debasement.

There’s real magic in the first 45 minutes, in the emotional terrain the creators explore with the subject and her imagined alternative identity.

But as Ce qu’on attend de moi devolves into shock theatre, it seems like the creators think they’ve crafted something with a higher purpose, when in reality their endeavour feels exploitative and cruel. g

ARTS LISTINGS

GLOBAL SOUNDSCAPES FESTIVAL A celebration of Japanese and Canadian music.

May 31–Jun 13, Waterfront Theatre. $20-35.

THE LONGHOUSE DIALOGUES: UPLIFTING GENDER EQUALITY AND INDIGENOUS ISSUES Using an intersectional lens, four non-permanent Indigenous Longhouses raised in honour of women in all their diversity will support dialogue on pressing issues facing women and girls in Canada. Following the opening ceremony, sessions and workshops will focus on missing and murdered Indigenous women, gender and climate change, the UN Sustainable Development Goals, women and girls’ mental health, the opioid crisis, and much more. May 31–Jun 5, 8 am–9 pm, Harbour Green Park.

ADANU HABOBO Caravan World Rhythms presents a celebration of African music and dance from Ghana. May 31, 6:30 pm, Ukrainian Cultural Centre. $10-20.

12 MINUTES MAX Six eclectic dance works May 31, 7 pm, Scotiabank Dance Centre. $28/22.

TOTALLY TUBULAR TEASE April O’Peel Productions presents a night of ‘80s burlesque.

May 31, 7 pm, Rio Theatre. $20/25.

SAM WALKER Canadian comedian performs two nights of standup. May 31-Jun 1, 8 pm, Yuk Yuk’s Comedy Club. $20.

CAP SINGERS FAREWELL CONCERT A cappella and organ-accompanied music. May 31, 8 pm, Pacific Spirit United Church. $10.

ALBERTA VS BC ROAST BATTLE Brett Forte leads Team Alberta against Kody Audette’s Team B.C. May 31, 10:30 pm, Yuk Yuk’s Comedy Club. $20.

SATURDAY, JUNE 1 SONGS OF CELEBRATION 35 Vancouver Children’s Choir’s 35th-anniversary performance.

Jun 1, 3 pm, Christ Church Cathedral. $20/15.

CELEBRATE! The Richmond Delta Youth Orchestra presents an end-of-season awards concert. Jun 1, 3 pm, Bethany Baptist Church. $10/13.

JOURNEY HOME Brock House/Kerrisdale Choir performs gospel, jazz, folk, and early music. Jun 1, 7 pm, Knox United Church. $10.

STARTED FROM THE BOTTOM VARIETY SHOW Interactive variety show in support of Project Limelight. Jun 1, 8-11 pm, Rio Theatre. $40.

MAGIC & REMEMBERING Dance works featuring artists with and without disabilities. Jun 1-3, 8 pm, Scotiabank Dance Centre. $10-25.

MICHEL TREMBLAY’S HOSANNA Classic Canadian play presented by the UBC Dept. of Theatre and Film to celebrate its 60th anniversary. Jun 1-7, 8 pm, Dorothy Somerset Studios.

COMEDYPANTS Standup comedy showcase hosted by Alistair Ogden. Jun 1, 8:30 pm, The Avant Garden. $10.

THE COMIC STRIP Standup comedy by Harris Anderson, Ryan Gunther, and headliner Byron Bertram. Jun 1, 9 pm, Tyrant Studios. $18.

Arts

HOT TICKET

COLIN MOCHRIE (May 30 and

31 at the Improv Centre, June 1 at the Vogue Theatre) The reigning improv master is back in town for benefit performances to support the Vancouver TheatreSports League (where the Whose Line Is It Anyway? star cut his teeth) and the Colin Mochrie Scholarship Fund to train more stars at the Improv Comedy Institute. The shows find the funnyman flying by the seat of his pants with the VTSL crew, first at the intimate Improv Centre digs, then building to the big final show at the Vogue.

VITALY: AN EVENING OF WONDERS (June 5 at the

River Rock Show Theatre) Vitaly Beckman’s illusions are so convincing he’s famously duped magic men Penn & Teller on their hit TV series Fool Us. See for yourself: some of his more famous tricks find him making drawings and paintings come to life and teleporting playing cards from one audience member to another. Can he fool you?

HELLO (To June 1 at the Firehall

Arts Centre) Playwright Arthur Miller was famous as an artist who stood up for social justice.

But he hid a dark secret: with photographer wife Inge Morathe, he had a son with Down syndrome whom they hid and locked away in an institution. Theatre Terrific’s new play imagines Daniel Miller stepping back in time, before he was born, and watching the family story unfold, with music, moving furniture, and more. g

TUESDAY, JUNE 4 POETRY FROM SIGNATURE EDITIONS Book launch for Adrienne Drobnies and Elaine Woo Jun 4, 7 pm, Book Warehouse on Main. Free.

SUNDAY, JUNE 2

WEDNESDAY, JUNE 5

THE VANCOUVER WRITERS FEST’S BOOK SALE SPECTACULAR Sale of thousands of books from the Vancouver Writers Fest’s archives. Jun 2, 11 am–4 pm, Heritage Hall.

THE GALATEA PROJECT John Lyly’s play about two girls who fall in love--and about climate change. Jun 2, 4-5 pm, Indian Residential School History and Dialogue Centre.

JNT COMEDY SHOW Andrew Packer hosts a cannabis-based comedy show. Jun 2, 8 pm, Cannabis Culture Headquarters. $10.

THE TAMING OF THE SHREW Spaghettiwestern version of Shakespeare’s work is the inspiration behind this Wild West love story.

Jun 5–Sep 21, Bard on the Beach. From $26.

MONDAY, JUNE 3

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.

SEX O’CLOCK NEWS LIVE! Storytellers from around the world share monologues related to sexual and reproductive health and rights. Jun 3, 8 pm, Uber Lounge at Steamworks. Free.

THURSDAY, JUNE 6 MOM’S THE WORD: NEST 1/2 EMPTY A new generation of laughs from the creative team behind the Mom’s the Word series. Jun 6–Jul 20, Granville Island Stage. From $29.

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MAY 30 – JUNE 6 / 2019 THE GEORGIA STR AIGHT 19

20 THE GEORGIA STR AIGHT MAY 30 â&#x20AC;&#x201C; JUNE 6 / 2019

music

Persistence paid off for Aussie Fever

by Mike Usinger

S

uccess didn’t exactly come lightning quick for Melbourne’s Rolling Blackouts Coastal Fever, which explains why members of the group are firmly established in professional careers—lawyer, landscaper, marketer—away from the band. That’s helped keep everything in valuable perspective through the highs and the lows that have come since the release of last year’s dreamy Sub Pop full-length, Hope Downs.

“We all still work,” says singerguitarist Fran Keaney, on the line from a New York City tour stop. “So much of us enjoying all this is that we don’t hang our lives, hopes, and dreams on the band in a financial sense. It’s quite a healthy way to approach art—to not expect to make any real money from it. It’s not that we’re skint or anything—we’re fortunate enough now to be able to say ‘yes’ to things like overseas tours. But there hasn’t been any point where we’ve decided that our lives are going to change forever. And that’s a good thing, because we still see the band the same way as when we were writing songs in our bedrooms.”

Offering the latest proof that Australia is in a truly golden age of guitar-based rock, Hope Downs is a record that suggests Australian life consists of waking and baking around 11 a.m., spending the afternoon surfing, and then kicking back with beers around the barbecue at night. From the sunbaked “Sister’s Jeans” to the paisley-stamped “The Hammer”, Rolling Blackouts Coastal Fever comes off as a band that never met a lazily winding six-string hook it didn’t love.

Along with the previous EPs Talk Tight (2016) and The French Press (2017), Hope Downs solidifies Rolling Blackouts Coastal Fever’s place in a crazily fertile Aussie scene that has given us Tame Impala, Courtney Barnett, King Gizzard & the Lizard Wizard, and the unstoppable Amyl & the Sniffers.

The response to the full-length after its release last year was almost universally glowing, the record scoring an impressive 84-percent rating on the aggregate site Metacritic. Add the respected Sub Pop name to the equation, and the Rolling Blackouts

That Rolling Blackouts Coastal Fever sounds so laid-back and easygoing might be a reflection of its history. Keaney and White are cousins, and they’ve played in bands with Tom Russo since the early ’00s. For the longest time the group figured it would never get beyond house parties—that leading to an extended hiatus at the beginning of this decade. Things began to change quickly when Sub Pop discovered the band through the magic of the Internet.

To understand how grateful Keaney is for the band’s break, check out the driving “An Air Conditioned Man”, where he sings “I kept my head down, two eyes on the paving/ Caught in a necktie, a lifestyle in single file” before going on to pine for the one that got away after taking the safe path. (“Does she still think about it now and then?/In her airconditioned home/On her air-conditioned street.”)

“More so than what we’ve done It took years of work for Rolling Blackouts Coastal Fever to get its big break, namely a slot in the 2018 edition of Coachella. in the past, we wanted to make our first album something that had a fair bit of us in it,” he says. “A lot of the songs are about as close to autobiographical as any of our songs have ever been. The more c CHER (May 30 at Rogers Arena) c C.J. RAMONE (June 1 at distance I have to ‘An Air CondiWISE Hall) C.J. Ramone Cher comes out of retirement the We don’t hang tioned Man’, the more I realize that knows full well that he yet again for the aptly titled it’s closer to reality than I might our lives, hopes, stands on the shoulders of Here We Go Again Tour. That’s have believed back then. I was trygiants—he even honours actually an ABBA reference, and dreams on ing to paint a picture of something his forebears by playing a and if you already knew that like a Japanese salaryman. What I the band in a Dee Dee Ramone signature without having to be told, was really doing was capturing my model Fender Precision Bass. you’re likely to love a set that financial sense. own experience at the time.”

We’re never going to see a includes covers of “Waterloo”, – Fran Keaney Ramones reunion (fuck you, “S.O.S.”, and “Fernando”.

With that, Keaney serves notice cancer!), but this is as close that, maybe, there are days when c BILLIE EILISH (June 1 at the PNE as we’ll get. he dares to think Rolling Blackouts Amphitheatre) If you were like Coastal Fever might blow up to us at 17, you were failing high- c AVATAR (June 3 at the where he never has to worry about Commodore) This Swedish school math and pumping showing up for a straight job again. hard-rock act has a taste for gas for minimum wage on the On the day that Keaney speaks with suddenly became more than a hobby marching-band uniforms, weekend. At 17, Billie Eilish the Straight, for example, the band’s for Keaney, fellow singer-guitarists King Arthur–style crowns, already has a No. 1 album, an just returned from doing a live sesand frontmen Joe White and Tom and King Diamond–esque opening slot on a Florence sion at heavyweight American music Russo, bassist Joe Russo, and drumgreasepaint, which should + the Machine tour, and a blog Stereogum. mer Marcel Tussie. guarantee that if the metallic major modelling contract And if that’s not proof enough of Indeed, after years of playing in grooves don’t get you, the under her belt. Yes, we suck how things are going, consider this: bands, dating right back to the early theatricality will. and she rules.

“For this current tour, we won’t be ’00s, Keaney suddenly found himself staying at Motel 6s,” Keaney says touring North America. That was with a laugh. “And, hopefully, we admittedly on a shoestring budget, staying in rundown Motel 6s and eat- grateful he never gave up on playing of guitar rock made for driving won’t be eating roadside chicken, ing gas-station food during long-haul music, the biggest one being included desert highways at dusk with all either.” g drives across the States. But for all in the 2018 edition of Coachella. the windows rolled down and your that character-building, there were What got festival bookers excited bestie riding shotgun with a pack Rolling Blackouts Coastal Fever play the Rickshaw next Friday (June 7). countless moments that made him was a magically incandescent strain of Marlboros.

Music TIP SHEET

Doomsquad lets its freak flag fly

T

by Mike Usinger

o be a true part of the resistance means being willing to battle on multiple fronts, a reality not lost on Doomsquad.

The Toronto darkwave trio’s third and newest album, Let Yourself Be Seen, leaves little doubt as to which side of the culture war siblings Trevor, Jaclyn, and Allie Blumas find themselves on.

Start with the album’s title, which suggests the three not only have aligned themselves with outsiders of all stripes, but are of the opinion that those in the shadows need to stand up and take action. From there, the title track delivers a powerful rallying cry with “It’s about that time for all freaks to come out/Find your safety in numbers and your power in pain.” The band also pays tribute to real-life heroes who’ve changed the world from the fringes, with the jungle-waver “Dorian’s Closet” inspired by drag queen Dorian Corey and the exotically downbeat “Emma” powered by the spirit of anarchist and activist Emma Goldman.

Reached before a record-release show in London, England, Jaclyn says that even though Let Yourself Be Seen sounds like midnight in ’80s Berlin, the record was conceived in a remote cabin in northern Ontario. But

“There’s a collective spirit in a lot of people that we talk to,” Jaclyn offers. “That’s something that we couldn’t ignore on this record— we felt like we had to speak up more. Some of that was in the literal sense, making the vocals more clear than in the past. But also with the fact that there are a lot more lyrics on the record. We couldn’t deny the duality that we were in—there’s a spirit of real optimism for change in the communities that we reach, but every day it seems like there’s another bombing on the news.”

All the more reason to stick together and rally. At times on Let Yourself Be Seen, Doomsquad seems like its main mission is to get people moving as one on the dance floor.

Sounding like the Talking Heads if they’d recorded for 4AD, “Aimless” is five minutes of hypnotic bliss built around a subterranean bass hook, hypnotherapy percussion, and diamond-sparkle synths.

Toronto Darkwave trio Doomsquad wrote its latest But Jaclyn opines we’ve reached a point album in a remote cabin in northern Ontario. where music isn’t enough, which explains why Doomsquad has built a reputation for live despite being cut off, the Blumas siblings shows that suggest the band puts almost as never lost sight of the fact that progressives much work into its on-stage attire and presenaround the planet are fighting for a better, tation as it does its songs. more tolerant world.

“Everyone wants to make a mark, and just

being a colourful person is enough sometimes,” she says. “People are inspired by that. When people come to our shows, we just want them to be comfortable in their own skin, so we sort of go over the top. We tend to dress freaky to send a message that ‘Hey, we’re up here doing this so that you also feel safe doing it.’ It’s like, ‘We’re trying to make a safe space for you by acting this way.’”

And what message does Jaclyn hope people walk away from a Doomsquad record or live show with? That would be that, even when things look grim and the Trumps and the Kardashians of the world seem to be winning, there’s still a place for unapologetically outthere individuality.

“Right now it does definitely feel like all the freaky alternative people are still in a really underground scene,” she acknowledges. “The mainstream is indeed people like the Kardashians. Part of that is because the music industry is largely run by corporations now, and those corporations pay the bills, so no one wants to jeopardize that. That’s why it’s important to try and have a different message.” g Doomsquad opens for Operators at Fortune Sound Club next Saturday (June 8).

MAY 30 – JUNE 6 / 2019 THE GEORGIA STR AIGHT 21

MUSIC LISTINGS CONCERTS JUST ANNOUNCED HUNTER Local rockers, with guests the Break and the Pierce Kingans. Jun 6, 7-11:30 pm, Railway Stage and Beer Café. $8.

SWING INTO SUMMER Swing dance featuring the Impressions Big Band. Jun 7, 7-11 pm, Vancouver Alpen Club. $15/20.

TAYLOR-RAE Backseat Driver release party.

Jun 8, 7:30-11:30 pm, WISE Hall. $20.

THE PARTY TIMERS AND JACK GARTON Night paying homage to Wanda Jackson and Elvis Presley. Jun 11, 8 pm, WISE Hall. $10.

TRUTH BE TOLD: SONGWRITERS SING & TELL Singer-songwriters Angela Harris, Taylor James, and Leslie Alexander sing and tell. Jun 11, 8:30-10 pm, The Heatley. $20.

OUVERTURE FESTIVAL D’ÉTÉ FRANCOPHONE Performances by Gabriel Dubreuil & Early Spirit, Cassandra Dubuc, and Agathe Riopel. Jun 13, 8-10:30 pm, Studio 16. $10-20.

JUSTIN LACROIX & ARNAUD GRANOUX Performances as part of Festival d’été francophone. Jun 14, 8-10 pm, Studio 16. $10-20.

GRÉGORY CHARLES & MARC HERVIEUX, ALPHA YAYA DIALLO Performances as part of Festival d’été francophone. Jun 15, 7-11 pm, Le Centre Culturel Francophone de Vancouver. $30-40.

SHARI ULRICH Local singer, songwriter, and multi-instrumentalist celebrates the release of her ninth solo album, Back to Shore. Jun 18, 7:30 pm, Centennial Theatre. $35/30.

EADSÉ Eadsé will perform for National Indigenous People’s Day as part of Festival d’été francophone. Jun 21, 5-7 pm, Alliance Française. Free.

BLACKSTICK Seven-piece jazz band featuring 91-year-old Lloyd Arntzen. Jun 22, 8 pm, Peretz Centre for Secular Jewish Culture. $20/25.

DIANE TELL Closing concert of Festival d’été francophone. Jun 23, 8-10 pm, Goldcorp Stage at the BMO Theatre Centre. $30-40.

YES WE MYSTIC Winnipeg indie band plays tunes from new album Ten Seated Figures.

Jul 5, 8 pm, WISE Hall. $12.

IDENTITY Music festival meant to create a safe space for all identities in Metro Vancouver. Jul 6, 12 pm, Red Gate Arts Society. $10.

QUINN BACHAND & BRISHEN Gypsy jazz meets traditional Quebecois. Jul 6, 8 pm, St. James Hall. $24 ($20 members).

CATHY FINK & MARCY MARXER Eclectic folk music. Jul 8, 8 pm, St. James Hall. $24 ($20 members).

CHAOS AB Alberta rock festival with Rob Zombie and Marilyn Manson. Jul 26, 27, 3 pm, Kinsmen Park. $119.95.

TRI-CONTINENTAL Blues/folk/world music. Aug 1, 8 pm, St. James Hall. $30 ($26 members).

ZAKK SABBATH Black Sabbath tribute featuring guitarist-vocalist Zakk Wylde. Aug 5, Imperial Vancouver. $39.50.

KALEIDOSCOPE ARTS FESTIVAL Event includes performances by indie acts Current Swell, Royal Canoe, and Terra Lightfoot. Aug 10, 2-9 pm, Town Centre Park. Free.

GAUCHE Groove-filled power punk. Aug 13, Biltmore Cabaret.

SUMMER NIGHT CONCERTS Performances

by Blue Rodeo (Aug 17), ZZ Top (Aug 18), 98 Degrees (Aug 20), Burton Cummings and Band (Aug 21), Vince Neil (Aug 22), Smokey Robinson (Aug 23), Collective Soul and Gin Blossoms (Aug 24), Styx (Aug 25), UB40 (Aug 27), Colin James (Aug 28), I Love the 90’s (Aug 29), Hammer’s House Party (Aug 30), Billy Idol (Aug 31), the Beach Boys (Sep 1), and TLC (Sep 2). Aug 17–Sep 2, PNE Amphitheatre. Free with PNE admission; reserved seats available.

TUXEDO American dance-funk duo featuring Mayer Hawthorne and Jake One. Aug 18, 9 pm, Fortune Sound Club. $20.

GODSPEED YOU! BLACK EMPEROR Canadian experimental-music collective. Aug 24, 9 pm, Commodore Ballroom. $35.

JAK KNIGHT Intersection of visual art, comedy, and hip-hop. Aug 28, Biltmore Cabaret.

CARLY RAE JEPSEN Multiplatinum pop singer-songwriter from Mission plays two nights. Aug 28-29, 8 pm, Commodore Ballroom. Tix on sale May 31, 10 am.

SLEEP Doom-metal power trio from San Jose.

Sep 2, 8 pm, Commodore Ballroom. $39.50.

JOSHUA RADIN American folk singer-songwriter. Sep 19, 8 pm, Rio Theatre. Tix on sale May 31, 10 am, $34.50.

MXMTOON Oakland-based singer-songwriter and ukulele player. Sep 20, 8 pm, Rio Theatre. Tix on sale May 31, 10 am, $20.

POKEY LAFARGE American country-blues singer-songwriter performs a solo show. Sep 20, 9 pm, WISE Hall. $29.50.

CHRISTIAN FRENCH Pop singer-songwriter from Indiana, with guest ASTN. Sep 28, 8 pm, Biltmore Cabaret. Tix on sale May 31, 10 am, $15.

LUCY DACUS Indie-rock singer-songwriter from Virginia. Oct 21, 8 pm, Hollywood Theatre.

Tix on sale May 31, 7 am, $18.

WHITNEY Indie-rock band from Chicago, with guests Lala Lala. Oct 26, 9 pm, Hollywood Theatre. $30.

BRUCE COCKBURN Canadian folk-rock legend. Nov 9, 8 pm, Chan Centre for the Performing Arts. Tix on sale May 31, 10 pm, $65.

MIKAL CRONIN Indie-rock singer-songwriter from California. Nov 9, 8 pm, Fox Cabaret. $15.

JULIA MICHAELS American singer/songwriter. Nov 16, Vogue Theatre.

MAGIC SWORD American electronic trio.

Dec 13, 8 pm, Hollywood Theatre. $25.

MARQUEE SERIES CONCERTS AT THE QUEEN ELIZABETH THEATRE

WU-TANG CLAN

Sunday, June 23 | 8pm

THE ROOTS

Friday, June 28 | 8pm

DIAMOND SPONSOR

22 THE GEORGIA STR AIGHT MAY 30 – JUNE 6 / 2019

HERBIE HANCOCK

PLATINUM SPONSOR

Saturday, June 29 | 8pm

GOLD SPONSORS

SILVER SPONSORS

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Music

HOT TICKET

SEBADOH (June 1 at the Fox

Cabaret) Lou Barlow has the distinction of being a founding member of two massively influential indie-rock bands that formed in the 1980s and are still going strong in 2019. Rather than rest on his elder-statesman laurels, Barlow seems to be of the opinion that the key to happiness is to keep oneself as busy as humanly possible.

Looking at his itinerary for this summer, the dude is likely to be pretty exhausted by the end of July. On the 24th of that month, Barlow’s band Sebadoh headlines New York’s legendary Bowery Ballroom. Then he plays Central Park with Dinosaur Jr. the next day. And the day after that, Sebadoh has a gig in Asbury Park, New Jersey, with Dinosaur Jr. playing in Northampton, Massachussetts, the following night. Vancouverites are fortunate enough to catch Barlow and company early, which means the Sebadoh frontman should be fairly brighteyed and bushy-tailed when he plays the Fox in support of the just-released Act Surprised.

WEDNESDAY, MAY 29 WEDNESDAY NIGHT BLUES & BREWS Local blues group the Steve Kozak Band, with guest keyboardist Mike Kalanj. May 29, 7-11 pm, Pat’s Pub & Brewhouse. Free.

DEATH FROM ABOVE Toronto rock duo composed of bassist Jesse F. Keeler and drummer-vocalist Sebastien Grainger. May 29, 8 pm, Commodore Ballroom. $49.50.

THURSDAY, MAY 30 CHER American singer-actress, with guests Nile Rodgers and Chic. May 30, Rogers Arena.

From $90.95.

MELODY OF CHINA Sound of Dragon and Melody of China joint concert. May 30, 7 pm, Western Front. $20/15 THE BOTTOM SHELF BOURBON TRIO Originals and traditionals that draw from the roots of country blues, bluegrass, and country. May 30, 8 pm, The Heatley. $10 T. NILE B.C. singer-songwriter performs a CD-release concert. May 30, 8 pm, St. James Hall. $20/16.

OCEAN ALLEY Rock band from Sydney, Australia. May 30, 9 pm, Commodore Ballroom.

Note: moved from original venue of Imperial Vancouver. $20.

FRIDAY, MAY 31 THE SKINTS Reggae-fusion band from London, England, with guest Jesse Royal.

May 31, Biltmore Cabaret. $24.99.

THE PLANET SMASHERS Ska revivalists from Montreal, with guests Kman and the 45s.

May 31, Imperial Vancouver.

THE LABYRINTH Live musical accompaniment to walking meditation. May 31, 7-9 pm, The Labyrinth at St. Paul’s Church. Free.

LIVE AT THE MORGUE Performances by FLVRHAUS, Lambsbreath, and Tiny Milkshakes. May 31, 7:30-11 pm, Vancouver Police Museum. $15/12.

SEARSON Fiddling, singing, and step dancing from Ottawa. May 31, 8 pm, St. James Hall. $20/16.

STEVEN PAGE Former frontman of the Barenaked Ladies, with guests Port Cities. May 31, 8:30 pm, Commodore Ballroom. $32.50.

ELISA THORN’S HUE ALBUM RELEASE Rock, pop, and indie record release. May 31, 9 pm, China Cloud. $10/15.

DAVID SIKULA TRIO Local trio performs progressive guitar jazz. May 31, 9 pm, Tyrant Studios. $15.

JUN

1 CJ RAMONE

WITH MEAN JEANS, PHONO PONY

JUN

AT THE WISE HALL

14 THE GATHERING

JUN

1 RIVERSIDE WITH CONTRIVE JUN MICHAEL BERNARD FITZGERALD 6 & JJ SHIPLETT

JUN

- A BELLYDANCE SHOWCASE WITH GUEST 16 YA HELWA VIII VANESSA OF CAIRO

AT THE WISE HALL

“COME AS YOU ARE” TOUR

JUN

20 HAR MAR SUPERSTAR

T LANALOU’S 6 ST.ARNAUD WITH GUEST WILD FRIAR JUN ROLLING BLACKOUTS WITH GUESTS RVG, WAASH 7 COASTAL FEVER JUN FLOTSAM & JETSAM WITH REBEL PRIEST, TOUCH THE SUN 8 & HELLCHAMBER

JUN

JUN

JUN

JUN

A

12 CONNAN MOCKASIN

LOVE SONGS EP LAUNCH PARTY WITH GIRLFRIENDS & BOYFRIENDS AND COMBINE THE VICTORIOUS

WITH GUEST LIA ICES

22 HOCICO

JUN

WITH GUESTS GOD MODULE

25 YEASAYER

JUN

WITH GUESTS

WITH GUESTS OH, ROSE

28 HOWARD JONES

(THE TRANSFORM TOUR) WITH ALL HAIL THE SILENCE

29 ARMY OF SASS DANCE SHOWCASE

Monster Days 2019

SATURDAY, JUNE 1 RIVERSIDE Prog-rock band from Poland.

Jun 1, Rickshaw Theatre. $29.50.

LADNER BANDFEST Amateur community concert bands perform a free concert. Jun 1-2, 11 am–6 pm, Ladner Memorial Park.

WILL’S JAMS CD RELEASE CBC Kids star performs singalong tunes. Jun 1, 1-2 pm; Jun 2, 10:30-11:30 am; Jun 2, 1-2 pm, Revue Stage.

Festival tickets now on sale.

BLUES & ROOTS BBQ BASH Featuring the Steve Kozak Band with guests Paul Pigat (guitar) and Jerry Cook (sax), and the Modelos.

Jun 1, 6:30 pm, Shannon Hall. $25.

BILLIE EILISH Seventeen-year-old pop singer-songwiter from L.A., with guest Finneas. Jun 1, 7 pm, PNE Amphitheatre. $67.05.

see page 25

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 Drunk showers it’s a thing. Well, so I found out (for the first time) a few weeks back. The thing is, I’ve never been that insanely drunk before.

I have to admit, I was always a casual drinker. A few weeks ago, I went out with classmates... (con’t @straight.com)

Indelity I just found out my wife that I have a one and a half year old boy with has been unfaithful to me. We have been married for 5 years and together for 8. I loved her... (con’t @straight.com)

Hi stranger I am going to have to start talking to strangers. I’ve wasted tons of time on dating apps and basically I can’t get a match or a reply to save my life. But I’m not a troll! I’m at least average! I want to meet people so maybe I will have to talk to strangers. But I don’t want to be a creep, I just want to be friendly and if you don’t want to talk that’s cool, just tell me, but please don’t be mean.

Hollywood North When I tell someone I work in the film business, they automatically assume that I do something more exciting than I actually do.

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to post a Confession MAY 30 – JUNE 6 / 2019 THE GEORGIA STR AIGHT 23

MOVIES

Olivia Wilde presents girls gone smart REVIEWS BOOKSMART

Starring Kaitlyn Dever. Rated 14A

d YOU COULD call it Supergood.

Anyway, that’s how best buds Amy (Kaitlyn Dever) and Molly (Lady Bird’s Beanie Feldstein, sister of Jonah Hill) view themselves on the eve of their graduation from a suburban–L.A. high school. They skipped the parties and romantic relationships, and stuck to their studies, studying their way into Kaitlyn Dever and Beanie Feldstein in Booksmart (left); Colten Boushie’s family in Nîpawistamâsowin: We Will Stand Up (right). the best Ivy League schools. But it In other words, this is more a turns out that other kids did just as Booksmart then finds the girls Their plan is to unleash their inner well while allowing time to let off deciding to cram a senior year’s cool at a wingding thrown by the comic fantasia than a dissection adolescent steam. worth of debauchery into one night. jocks and social queens who nor- of teen hierarchies à la Clueless or mally avoid them. Molly is school Mean Girls. It’s helped along by the president (there’s a picture of Elea- occasional presence of Jessica Wilnor Roosevelt by her bed) and has liams as an extra-hip teacher, Jason a secret hankering for her ne’er- Sudeikis (Wilde’s real-life partner) do-well vice, the most popular kid as an Uber-driving principal, and on campus (Mason Gooding, son Billie Lourd (daughter of Carrie of Cuba). Amy’s into girls but has Fisher) as a rich kid who keeps popnever acted on it, even though her ping up in weird places. Her drugs liberal-Christian parents (Lisa Kud- are strong enough, as it happens, row and Will Forte) are sure she’s to literally turn our good girls into more than a friend to Molly. Can a Barbie dolls. I’ve already said too much. single night change everything?

by Ken Eisner This fun, fast-moving film is a directorial debut for Olivia Wilde, who helped polish a script kicking NÎPAWISTAMÂSOWIN: WE around for a decade—one written WILL STAND UP by four women, not to the detri- A documentary by Tasha Hubbard. ment of its general cohesion and In English and French, with English frequent hilarity. To buy into its subtitles. Rating unavailable charms, you have to accept that our heroes are nerds, but not such losers d IN 1995, the last Conservative that they don’t have a foul-mouthed premier of Ontario, Mike Harcomeback in almost any situation. ris, reportedly told police, “I want And you need to believe that the those fucking Indians out of the cool kids—as wealthy as any in park.” The next day one of the unJohn Hughes territory, if a tad more armed Stoney Point Ojibwa occumultiracial—are a lot sharper and pying Ipperwash Provincial Park was shot by officers who said the more generous than they seem.

24 THE GEORGIA STR AIGHT MAY 30 – JUNE 6 / 2019

stick he held in his hand was a weapon. Dudley George’s family was prevented from taking him to a nearby hospital, and he eventually bled to death.

That event, scarcely a quartercentury old, found echoes in the 2016 case of Colten Boushie, shot in the head by a Saskatchewan farmer who apparently viewed rowdy Cree youths—who had been drinking and messing around on other people’s property—as a gang of Trayvon Martins to do with as he pleased. The policeman who killed Dudley George was convicted of negligent homicide, and did community service for his crime. But Boushie’s killer didn’t even face that much reckoning. He was acquitted after his lawyers went with “the magic-gun defence”, claiming it went off accidentally.

Both cases deprived the general public, and the injured parties, of the opportunity to confront some pretty grotesque inequities built into Canadian culture and law. Saskatoon filmmaker Tasha Hubbard certainly has a knack for being in the right place at the right time— with just the right camera placement—and was able to capture both the specifics and the larger issues raised by this horrific incident.

The DOXA award-winning film also features animated segments that lay out the dark history of relations between Prairie First Nations and “settlers”, with the RCMP as frequently brutal enforcers.

Hubbard’s mellifluous narration helps frame the background and the fallout here, with Boushie advocates and relatives providing both anger and some kind of resolution. In particular, Boushie’s cousin Jade Tootoosis

see next page

emerges, to her own surprise, as a powerful spokesperson for legal redress to transgressions still hanging over the nation. The fact that her family received death threats will be no shock to anyone familiar with online comments about the case. This heartbreaking tale hits a nerve that won’t be unstruck anytime soon.

by Ken Eisner

PHOTOGRAPH

Starring Nawazuddin Siddiqui. In English, Hindi, and Gujarati, with English subtitles. Rated G

d ON THE HEELS of the delightfully offbeat Sir comes another Indianlanguage indie about relationships across class and culture lines. The intriguing Photograph also works as a kind of love letter to Mumbai, seeking out the quietly redemptive spaces that are usually missing from tales of that overstuffed city.

Quiet reflection is the key in which writer-director Ritesh Batra works. He had an international hit with The Lunchbox, likewise exploring gentle, unexpected love.

He probed tentatively connected English-speaking souls in The Sense of an Ending and Our Souls at Night (with Jane Fonda and Robert Redford), before returning to his from page 23

AN EVENING WITH DEE DANIELS An uplifting evening of jazz and gospel music. Jun 1, 7:30 pm, Fraserview MB Church. $30.

REDWOODS Redwoods release their debut album Daybreaker. Jun 1, 8 pm, Railway Stage and Beer Café. $10.

TIM BAKER Hey Rosetta! frontman performs tunes from debut solo album, with guest Charlotte Cornfield. Jun 1, 8 pm, Imperial Vancouver. $28.50.

hometown for this tale centred on a lonely street photographer called Rafi (Nawazuddin Siddiqui, also in Lunchbox).

Spending his days snapping tourists for small change, he has a chance encounter with Miloni (newcomer Sanya Malhotra), a middle-class accounting student with more sensitivity than ambition.

Long bugged about his single status by family and noisy but genial flatmates, Rafi sends a copy of this unknown young woman’s snapshot to his faraway village, claiming he’s finally found a fiancée. Of course, TUESDAY, JUNE 4 SONGS ON THE WATER Performances by Melanie Dekker, Yvonne McSkimming, and Mark James Fortin, with proceeds to Autism Community Training. Jun 4, 6 pm, Vancouver Rowing Club. $50.

ZINNIA Synthpop group. Jun 4, 8-11 pm, WISE Hall. $10 by donation.

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

WEDNESDAY, JUNE 5

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

HIDDEN TREASURES SONGBOOK: MAUREEN KENNEDY Jazz vocalist performs with Sharon Minemoto (piano), Cory Weeds (tenor saxophone), John Lee (bass), and Craig Scott (drums). Jun 1, 8 pm, Frankie’s Jazz Club. $17.50.

CJ RAMONE Former member of the Ramones, with guests Mean Jeans and Phono Pony. Jun 1, 8 pm, WISE Hall. $18.

ALAN MATHESON QUINTET Swing dance to live jazz music. Jun 1, 8-11:55 pm, Roundhouse Community Arts & Recreation Centre. $15.

SUNDAY, JUNE 2 WEST COAST CHICAGO Tribute to legendary rock band Chicago. Jun 2, 4:30-7:30 pm, Fairview Pub. $10.

MONDAY, JUNE 3 AVATAR Metal band from Sweden, with guests Devin Townsend (acoustic), Dance with the Dead, and ‘68. Jun 3, 8 pm, Commodore Ballroom. $35.

RANDY McALLISTER FUNDRAISER FOR MAGNA East Texas blues-roots songwriter, harmonica player, and drummer. Jun 3, 8 pm, Fairview Pub. $20 suggested donation REVERED Album release show Jun 3, 9:3011:50 pm, The Lido. Free.

Sanya Malhotra meets cute with Nawazuddin Siddiqui, in Photograph.

LONG BEACH DUB ALLSTARS Dub/ska/ rock band from California. Jun 5, 7 pm, Imperial Vancouver. $30.

THURSDAY, JUNE 6

his beloved Muslim matriarch takes that as an invitation to come meet the lucky Hindu girl.

Our guy, who’s already in his 40s, somehow manages to talk the 20-something Miloni into following through on the ruse. That’s just one of the many crucial transactions left out of the story, which relies more on mood and texture than on convincing narrative development. Rafi’s ancient grandmother (the wonderful Farrukh Jaffar) helps spark the proceedings.

“I don’t want to be a bone in your kebab,” she says at one point, before pushing him to be more forward.

Full of exquisitely composed geometric patterns and soft, burnished colours, the movie itself remains rather sullen, and we never quite learn what these mismatched like-birds see in each other. Indeed, Miloni barely registers as a character. At one point, her mother, still hoping for an arranged marriage, brags that her eldest daughter “won trophy after trophy” in her highschool drama program. But we see no assertive shape-shifting in her romantic pantomime with Rafi.

There’s a nice closing bit, with the characters riffing on the expectations of a Bollywood finish, but no real sense of an ending.

?

KARAOKE 7 DAYS A WEEK

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OPEN UNTIL 3AM FRIDAY AND SATURDAY

by Ken Eisner

STAND IN THE LIGHT Gospel, world, pop, and foot-stomping soul. Jun 7, 8 pm; Jun 8, 3 pm, Canadian Memorial United Church. $30/25/15.

ROLLING BLACKOUTS COASTAL FEVER Indie-rock band from Australia. Jun 7, 9 pm, Rickshaw Theatre. $17.50.

SATURDAY, JUNE 8 THE CORPS Punk rock lineup. Jun 8, Pat’s Pub & Brewhouse. $10.

THE UNKNOWN SOLDIERS Doors tribute band, with guests the Eleven Twelves. Jun 8, 8 pm, Railway Stage and Beer Café. $10.

NICK MURPHY Singer, producer, and multiinstrumentalist, formerly known as Chet Faker. Jun 8-9, 9 pm, Commodore Ballroom.

June 9 SOLD OUT, June 8 $43.50.

CHROMATICS Electronic music band from Portland. Jun 6, Vogue Theatre. $29.50.

PILE Indie-rock band from Boston. Jun 6, Fox SUNDAY, JUNE 9 Cabaret.

SOUND ECLECTIC PRESENTS...

AMANDA PALMER Alt-rock/dark-cabaret RHAPSODY A night of vocal harmony in varisinger-songwriter from the States. Jun 6, 7:30 ous genres, from jazz to pop and classical to pm, Chan Centre. $49.50/40. rock. Jun 9, 7:30 pm, Orpheum Annex. $30.

MICHAEL BERNARD FITZGERALD & JJ SHIPLETT Canadian singer-songwriters MATTIEL Alt-pop singer-songwriter from share a double bill. Jun 6, 8 pm, WISE Hall. $20. Atlanta. Jun 9, 8 pm, WISE Hall. $15.

ROYAL TRUX: CANCELLED American rock THE CULT British hard-rock band from the band featuring Jennifer Herrema and Neil ‘80s, featuring vocalist Ian Astbury and guitarHagerty. Jun 6, 9 pm, Rickshaw Theatre. ist Billy Duffy. Jun 9, 8 pm, Vogue Theatre.

Refunds are currently available at point of $49.50-127.50. purchase.

MISHA PIATIGORSKY TRIO Jazz pianist FRIDAY, JUNE 7 performs with John Lee (bass) and Jose Loria Triay (drums). Jun 9, 8 pm, Frankie’s Jazz Club.

LITTLE PEOPLE Downtempo electronica $16. artist, with guests arms and sleepers. Jun 7, Biltmore Cabaret. $15.

MUSIC LISTINGSare a public service CHROMEO Electro-funk duo from Montreal. provided free of charge, based on available Jun 7, 7 pm, Malkin Bowl. $42.50. space and editorial discretion. Submit events GREAT GOOD FINE OK Pop duo from Brookonline using the event-submission form lyn. Jun 7, 8 pm, Fox Cabaret. $20. at straight.com/AddEvent. Events that DREAMS Tribute to Fleetwood Mac. Jun 7, don’t make it into the paper due to space 8 pm, Centennial Theatre. $35. constraints will appear on the website.

Employment EMPLOYMENT

Employment EMPLOYMENT

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In order to succeed in this role, you will need: 3-4 years of experience in the trade;Completion of secondary school;Good English.

Company’s business address: 8-1780 McLean Avenue, Port Coquitlam, BC, V3C 4K9. Please apply by e-mail: rapidconstructors@gmail.com

SIBER FACADE GROUP INC

is hiring a DRAFTING TECHNOLOGIST. Permanent, Full time job. Salary: $25.00 /hour.

Experience 2-3 years, Good English. Education: Completion of college program in drafting or in a relatedfield. Main duties: Develop construction drawings, prepare layouts and concept/shop drawings;Operate CAD and drafting workstations; Assist in preparation of design sketches and proposals for different stages of projects; Prepare tender documents, complete documentation packages;Check and verify product meets drafting standards; Ensure proper storage and protocol of files.

Company’s business address and job location: Unit 230, 7270 Market Crossing, Burnaby BC, V5J 0A3 Please apply by e-mail: hr@siberconstruction.com

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

Nar-Anon North Van

12-step program for families and friends of addicts, meets Tuesdays from 7:30 to 9 pm 176 2nd Street East in North Van.

Info: nar-anonbcregion.org 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.

SEXAHOLICS ANONYMOUS - Vancouver, BC For those desiring their own sexual sobriety, please go to www.sa.org for meetings times and places.

We are here to help you from being overwhelmed.

Newcomers are gratefully welcomed.

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Annoucements EMPLOYMENT Coming Events

9th Annual Spring BAZAAR R

Join us this Saturday, June 1st, 2019 10:30AM - 2:00pm at the SGSC!

South Granville Seniors Centre Connecting Seniors to the Community

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by Dan Savage

avage Love Live swooped into Seattle’s Egyptian Theater and Denver’s Oriental Theater over the past two weekends. I couldn’t get to everyone’s questions at these sold-out shows—there were so many great questions and I’m just one lousy advice columnist—so I’m going to power through as many as I can in this week’s column. b WEDDINGS ARE terrible. I attended “Dueling Dallas Lesbian Weddings”, and both couples are pressuring me to tell them whose wedding was better (or better in the eyes of social media). Am I obligated to “rat” these couples out to each other?

Weddings aren’t terrible, people are—some of them, not all of them.

But you certainly aren’t obligated to “rat” these couples out to each other.

You aren’t even obligated to speak to any of these terrible people again.

b WHAT IS THE best relationship advice you’ve ever received?

Cup the balls .

b I HAVE ALWAYS loved anal sex with my partner of more than a decade.

He loves it too. We’ve noticed a trend over the years where he gets melancholy after we have anal sex. He doesn’t know why. Do you have any ideas or theories about why?

Nope.

b

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partner thinks. Presumably, your partner isn’t a houseplant—which means she must have feelings about this and, presumably, she’s capable of communicating those feelings to her mother.

b MY PARTNER discovered—with b HOW DO YOU introduce BDSM into someone else—that she loves BDSM, your sexual relationship? including pain and humiliation.

I’m trying, but she’s not impressed. Suddenly and without warning—trust me, the element of surprise is crucial What do I do? when it comes to kinky sex. Joking!

Presumably your partner doesn’t love For the record: you introduce BDSM BDSM to the exclusion of all the hot into your sexual relationship by first vanilla sex she’d been having with initiating a conversation about your you previous to this discovery. So sexual interests and, if there’s ininstead of trying to be something or terest on both sides, gradually and someone you’re not, let your part- slowly introducing JV BDSM play ner enjoy BDSM with others while into your relationship. making sure you two maintain your sexual connection by continuing to b I RAN INTO a coworker at a fetish explore your shared sexual interests. party and he was wearing a “Urinal” T-shirt. Does that mean what I think b BLAIR SAYS all blowjobs should it means? end with a swallow. Thoughts?

It means you don’t have to leave your Blair is entitled to Blair’s opinion, but workstation when you need to take a Blair isn’t the boss of blowjobs. piss.

b I’M 31; HE’S 44. I know how you feel Say it to him —and if he doesn’t hit It’s okay that you don’t find this at make sure I enjoy my about splitting the rent in proportion you with an “I love you too,” then all okay. But I’m curious what your

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upcoming wedding instead of worry- to income, but my higher-earning ing about how it will go? boyfriend points out that I’ve opted for more leisure time and less stress Elope. with my lower-paying job. How should we split the rent? b I’M A WOMAN and I’ve been in a relationship for two years. My partner Someone making two or three times is not able to make me orgasm. He is as much money as their partner should be willing to pay more of my first lover. HELP. the rent. Splitting the rent 50/50 If you can make yourself come, show wouldn’t be fair, particularly if the your partner how you do it. If you higher earner wants a larger and/or can’t make yourself come—if you’re nicer space, because then the partner one of those people who have never making more money is effectively masturbated—start masturbating, having their lifestyle subsidized by learn how to make yourself come, the one making less. But if someone and then show him how you do it. chooses to make less money because they want more leisure time, they b MY BOYFRIEND is a cuckold and shouldn’t expect to have that choice very into the humiliation aspect of underwritten by a partner makcuckolding. I’ve been hooking up ing more money. I don’t think they with one guy who is so into humili- should pay half the rent—but a highating my boyfriend that it’s kind of er percentage of their income should freaking me out. They message each go toward the rent. other so much, I feel like I’m the one being cheated on! b HOW CAN I nicely convince my girlfriend to have anal sex?

You get the D. Let your boyfriend By using your words—your best nonhave the DMs. coercive, nonthreatening, willingb WE ARE MARRIED 10 years, mon- to-take-no-for-an-answer words. ogamish, pansexual. My friends are And it will help if you tell her you’re opening up their relationship and so willing to take it slow and willing to are we. Any good reason I shouldn’t take turns. have sex with my friends? b MY BOYFRIEND OF 1.5 years doesn’t Only the most obvious one: If some- feel it is “appropriate” to tell me he one gets hurt, these friendships is in love with me. I want so bad to could end. But friendships end all the have our “I love you” moment. What time without anyone getting off, so… should I do?

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