The Georgia Straight - The Drum is Calling - July 20, 2017

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2 THE GEORGIA STRAIGHT JULY 20 – 27 / 2017


JULY 22 – 30, 2017 688 CAMBIE AND GEORGIA

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Buddha Barn, Canada’s first dispensary to disburse patient ready, lab tested cannabis

Dear ear Friends, After 3 years operating on West 4th Avenue in the City of Vancouver, Buddha Barn received a Business License in 2016 to operate as a marijuana dispensary. One of the reasons we have been successful in attracting thousands of Members over the years is because their health and well-being is our top priority. That is one of the reasons why Buddha Barn started lab testing our products last fall. Since then, Health Canada has started random testing, the Canadian Association of Medical Cannabis Dispensaries is setting up a testing system and the Cannabis Canada Association of federally licensed marijuana producers is implementing new safety standards.

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www.buddhabarn.ca #insistontesting 4 THE GEORGIA STRAIGHT JULY 20 – 27 / 2017


CONTENTS

Northern lights from Spanish Banks. Andrew Jason Jimenez photo.

7

COVER

Joleen Mitton wanted to be a cop but at age 15 was discovered by a modelling agent while at the PNE. Now, after a successful 20-year runway career, she is helping First Nations talent get recognized. > BY LUCY L AU

15

ARTS

Métis theatre artist Tai Amy Grauman finds her Indigenous theatrical voice in Th’owxiya and other works, including a Fringe debut. > BY JANE T SMITH

19

MOVIES

From the Land of the Moon is crazy good; the ineffable dons a sheet in A Ghost Story; The Black Prince is on a serious mission; history thaws in Dawson City: Frozen Time

25

DJ Shub took a big chance by leaving a well-paying job for music, and it’s paid off as he takes powwow-step to the world. > BY HOLLY M C KENZIE-SUT TER

COVER PHOTO

13 23 18 28 24 9 21 12 31 10 17

Books The Bottle Comedy Confessions Food Green Living I Saw You Real Estate Savage Love Straight Stars Theatre

r

TIME OUT 18 Arts 29 Music

MUSIC

29

START HERE

CLASSIFIEDS

Automotive | Education | Services | Travel Marketplace | Employment | Real Estate Property Rentals | Music | Announcements Callboard | And more...

SERVICES 29 Careers 12 Real Estate GeorgiaStraight @GeorgiaStraight @GeorgiaStraight

AMANDA SIEBERT

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Exciting Work Opportunities! Competitive salary and benefits package including: extended health and dental plan, payment of MSP, transportation costs, fitness subsidy, education assistance program and a signing bonus. Simpson, Thomas and Associates is one of the leading personal injury law firms in BC – restricting its practice to helping the victims of car accidents. We are expanding and have the following vacancies: • Intermediate/Senior Legal Administrative Assistant – the ideal candidate should have 3 – 5 years previous experience in personal injury law. • Junior/Senior Paralegal – the ideal candidate will have a minimum of 2 years’ experience in personal injury law. • Junior Assistants – no experience? Don’t worry! ST&A will provide the training, including for the appropriate candidate, payment of taking a legal assistant course. Full and Part-time positions available. We offer flexible working hours. Please email your résumé, along with a covering letter stating the position you are applying for to Bernie Simpson, C.M., Senior Partner: bsimpson@simpsonthomas.com or call 604.697.3955

Joleen Mitton (flanked by Candace Gribben and Ellena Neel) champions Aboriginal designers. Amanda Siebert photo.

Inspiring Indigenous style The Drum Is Calling Festival puts First Nations fashion on the catwalk

S

> BY L UC Y LA U

panning almost two decades, Joleen Mitton’s modelling career has landed her spots in campaigns for the likes of Kenzo, Lancôme, and Vivienne Westwood, on countless runways in Asia, and in print ads for everything from high-tech air conditioners to Hello Kitty paraphernalia. But growing up, the East Vancouver native had slightly different aspirations. “I actually wanted to be a cop,” Mitton, founder of the upcom-

ing Vancouver Indigenous Fashion Week, admits with a laugh, “but my parents would’ve disowned me.” Indeed, even as a teen, Mitton recognized that her family’s experience with the law, and law-enforcement officials, was different from that of many of her peers. A woman of Plains Cree, French, and Scottish descent, the now 33-year-old community support worker shares that both her mother and father have had run-ins with police largely due to the colour of their skin. Reflecting during an interview with the Straight at Vancouver’s

Skwachàys Lodge, she dismisses her bluecoat dreams as “naive”, though it was a trip to the city’s annual fair that ultimately set her on a separate trail. “I was 15, walking through the PNE, and in line for a free juice,” she remembers. “And I ended up being scouted by a [modelling] agent.” Mitton was quickly signed to local agency Charles Stuart, and later, Elite Model Management. Relocating to Taipei shortly after, she spent her formative years in Asia, where her racially ambiguous features allowed see next page

The Georgia Straight | Vancouver’s News and Entertainment Weekly | Volume 51 Number 2585 1635 West Broadway, Vancouver, B.C. V6J 1W9 www.straight.com Phone: 604-730-7000 / Fax: 604-730-7010 / e-mail: gs.info@straight.com Display Advertising: 604-730-7020 / Fax: 604-730-7012 / e-mail: sales@straight.com Classifieds: 604-730-7060 / e-mail: classads@straight.com Subscriptions: 604-730-7000 Distribution: 604-730-7087 EDITOR + PUBLISHER Dan McLeod ASSOCIATE PUBLISHER Yolanda Stepien GENERAL MANAGER Matt McLeod EDITOR Charlie Smith SECTION EDITORS

Janet Smith (Arts/Fashion) Mike Usinger (Music) Steve Newton (Time Out) Adrian Mack (Movies) Brian Lynch (Books) EDITORIAL ADMINISTRATOR Doug Sarti ASSOCIATE EDITORS

Gail Johnson, John Lucas, Alexander Varty STAFF WRITERS

Tammy Kwan, Lucy Lau, Travis Lupick, Carlito Pablo, Amanda Siebert, Craig Takeuchi, Kate Wilson SENIOR EDITOR Martin Dunphy EDITORIAL ASSISTANT Jennie Ramstad PROOFREADER Pat Ryffranck CONTRIBUTING WRITERS

Gregory Adams, Nathan Caddell, David Chau, Jack Christie, Jennifer Croll, Ken Eisner (Movies), George Fetherling, Tara Henley, Michael Hingston, Ng Weng Hoong, Alex Hudson, Kurtis Kolt,

Robin Laurence (Visual Arts), Mark Leiren-Young, John Lekich, Amy Lu, Bob Mackin, Michael Mann, Rose Marcus, Beth McArthur, Verne McDonald, Allan MacInnis, Guy MacPherson, Tony Montague, Kathleen Oliver, Ben Parfitt, Vivian Pencz, Bill Richardson, Gurpreet Singh, Jacqueline Turner, Andrea Warner, Jessica Werb, Stephen Wong, Alan Woo ART DEPARTMENT MANAGER

Janet McDonald SENIOR DESIGNER David Ko CONTRIBUTING ARTISTS

Alfonso Arnold, Rebecca Blissett, Trevor Brady, Louise Christie, Emily Cooper, Randall Cosco, Krystian Guevara, Evaan Kheraj, Kris Krug, Tracey Kusiewicz, Kevin Langdale, Shayne Letain, Matt Mignanelli, Mark “Atomos” Pilon, Carlo Ricci, William Ting, Alex Waterhouse-Hayward DIGITAL PRODUCT MANAGER

Chet Woodside LEAD WEB DEVELOPER Jeffrey Li WEB DEVELOPER Tina Luu (On Leave) JUNIOR WEB DEVELOPER Riva Ridley WEB ADMINISTRATOR Miles Keir

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Stay Connected @GeorgiaStraight JULY 20 – 27 / 2017 THE GEORGIA STRAIGHT 7


Indigenous style

from previous page

her to pass as Taiwanese, Chinese, and Thai on catwalks and in fashion catalogues and commercials. Following eight years of strenuous shoots, however, Mitton was in the midst of an identity crisis. “It disconnected me [from my background] for a long time,” she says of the work. “You’re living in a place with another culture… and you’re also being put in boxes by people who want you to look a certain way. So you end up taking away whatever you are and replacing it with what they want.” She caught a red-eye flight home from Thailand after a particularly rough episode (“I was just feeling really vacant and empty,” she recalls) and soon found herself back in Vancouver, where, at age 24, she was faced with forging a new path. In an effort to reconnect with her roots, Mitton began working at Vancouver’s Pacific Association of First Nations Women, where she counselled foster youth in

the Urban Butterflies and Mentor Me Aboriginal Day Camp programs. There, she saw herself in the participants: young women who were struggling to recognize, embrace, and celebrate their heritage, and instead, were turning to Eurocentric icons and ideals. When the programs’ career-building exercises failed to keep the attention of the 14-to-25 age cohort—all of whom were aging out of the fostercare system—Mitton revealed her modelling past, which immediately struck a chord with the girls. Within weeks, the frontline worker, who also coaches a First Nations basketball team, was organizing her first Indigenous fashion show. “I didn’t know exactly what I was doing,” she reveals, “but I was like, ‘Okay, this means we have to practise and you have to come and show up on time. And you have to be able to walk with pride and all that kind of stuff.’ ” Presented at Trout Lake as part of the city’s National Aborig-

inal Day festivities in 2004, the showcase featured the Indigenous women sporting garb by First Nations designers such as Pam Baker, Alano Edzerza, and Lorraine Guss. Attracting a crowd of over 4,000 people, the spectacle also allowed Mitton to champion Aboriginal artists while combating the cultural appropriation she witnessed in the modelling industry. The shows became a semiregular affair, with Mitton establishing her own event-production firm, All My Relations Entertainment, to help organize them. This Wednesday (July 26), however, marks the start of the model turned community worker’s largest display yet: the inaugural Vancouver Indigenous Fashion Week, which will spotlight clothing, jewellery, and accessories by nearly 30 designers from around Turtle Island. Like the original show at Trout Lake, the four-day fete will see the young ladies from the Pacific Association of First Nations Women’s day camp walk the

runway alongside other Indigenous youths from B.C. First Nations musicians, storytellers, and art installations will also be present, while the third evening’s Red Dress event—hosted by Indigenous activist Lorelei Williams—will ask attendees to sport a red article of clothing to honour Canada’s missing and murdered Indigenous women. (“It’s a super sensitive matter, but at the same time, we still need to talk about it,” says Mitton.) All shows are free and are part of the Canada 150+ Drum Is Calling Festival. Mitton is especially excited to see the New York City–based Korina Emmerich, who placed third in Project Runway’s 13th season; Section 35, a pair of Coast Salish designers known for their political pieces that play on commercialized symbols and products; and Tyler-Alan Jacobs, another Coast Salish artist whom the coordinator touts for his bright, intricately beaded powwow wear. Other participating designers include Dorothy Grant, Evan

Ducharme, and the internationally recognized Sho Sho Esquiro. Although Mitton still models occasionally—these days exclusively for First Nations artists—she truly feels that she has found her calling with the Pacific Association of First Nations Women and Vancouver Indigenous Fashion Week. She hopes that the event will offer locals a chance to engage with the city’s Aboriginal roots, while putting First Nations talent on the map. More importantly, however, she wants to present the young women she mentors daily with a lineup of First Nations role models that can inspire confidence and open up doors in their own lives. “I hope that they can walk away with a sense of pride,” she says, “and knowing that they matter.” Vancouver Indigenous Fashion Week takes place from Wednesday to Saturday (July 26 to 29) at the Queen Elizabeth Theatre atrium as part of the Drum Is Calling Festival.

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Vegetables perfect for summertime planting Think it’s too late to start plotting a produce garden? Think again, with these suggestions for the season mature quickly, which means you can enjoy the fruits of your labour hink it’s too late in the season sooner. “You want to look for crops to get your green thumb on? with a shorter period to maturation,” Lisa Giroday, cofounder of the gardening pro advises. These local urban-farming project numbers can typically be found on Victory Gardens, has some words for seed packets or in various garden you. “There really is a misconcep- resources, either online or in print. tion that, once May long weekend Leafy greens are usually ready for has passed, you’ve harvest after 30 to missed the boat 40 days. They can Green Living with gardenbe picked even Presented by ing,” she tells earlier, too, if the Straight by you want to inphone. “But in corporate baby Vancouver, that greens or micro is totally not the case. We typically greens into your culinary repertoire. have pretty mild winters, so you can “I know most of our customers really have food in the ground all year long. like to have salad greens in their garAnd planting dates can go as late for den because they’re expensive and exsome things as September.” pire quickly when you buy them at the Growing your own food not only grocery store,” Giroday adds. “They encourages you to eat more fruits and can also be used in a lot of recipes.” veggies but it also saves you money and reduces your environmental RADISHES, BEETS, CARROTS In footprint by lessening your reliance terms of turnaround, radishes have on produce that may be grown with one of the shortest periods to maturapesticides and herbicides and trans- tion. The plant can be harvested after ported via gas-guzzling trucks. In as little as 35 days, though that’s not other words, it’s never too late to con- the only reason you should be considering growing them at home. They sider plotting your own garden. But what foods, exactly, are best also offer fresh crunch and vibrancy to for planting at this time of year? summer salads. Beets and carrots are also apt While Giroday stresses that there’s a diversity of edible plants that can choices: the veggies mature in flourish into late summer and fall— just 50 to 60 days. If you’re startin both new and established gar- ing from scratch, Giroday recomdens—there are a few that are among mends installing a raised garden bed, which is best for drainage her favourites. and helps mitigate pest challenges. LEAFY GREENS Whether you opt For root veggies, you want wellfor arugula, kale, or chard, leafy drained soil and a little bit of depth greens are great for growing no mat- to allow the plants room to grow, ter the time of year. The plants are she adds. “You don’t want a really low-maintenance, Giroday says, and dense or clay-based soil.” Offers valid until July 31, 2017. See toyota.ca for complete details. In the event of any discrepancy or inconsistency between Toyota prices, rates and/or other information contained on www.getyourtoyota.ca and that contained on toyota.ca, the latter shall prevail. Errors and omissions excepted. Lease example: 2017 Prius c CVT KDTA3P, MSRP is $23,815 and includes $1,840 freight/PDI and fees leased at 0.99% over 60 months with $1,555 down payment, equals 260 weekly payments of $55 with a total lease obligation of $15,705. Applicable taxes are extra. Lease 60 mos. based on 100,000 km, excess km charge is $.07. $1,000 in incentives to cash customers is available on 2017 Prius c models and cannot be combined with advertised lease offer. Customer incentives on 2017 Prius c models are valid until July 31, 2017. Incentives for cash customers on 2017 Prius c models are valid until July 31, 2017 and may not be combined with Toyota Financial Services (TFS) lease or finance rates. If you would like to lease or finance at standard TFS rates (not the above special rates), then you may be able to take advantage of cash incentive offers by July 31, 2017. Cash incentives include taxes and are applied after taxes have been charged on the full amount of the negotiated price. See toyota.ca for complete details on all cash incentive offers. Weekly lease offers available through Toyota Financial Services (TFS) on approved credit to qualified retail lease customers of new and demonstrator Toyota vehicles. Down payment and first weekly payment due at lease inception and next weekly payment due approximately 7 days later and weekly thereafter throughout the term. Visit your Toyota Dealer or www.getyourtoyota.ca for more details. Some conditions apply; offers are time limited and may change without notice. Dealer may lease/sell for less. Each specific model may not be available at each dealer at all times; factory order or dealer trade may be necessary.

T

> BY L UC Y LA U

Victory Gardens cofounder Lisa Giroday says Vancouver’s mild winters mean longer planting periods. Brittany Gill photo. BROCCOLI AND CAULIFLOWER

Giroday is a big fan of planting broccoli and cauliflower at home. “They like a soil that’s a little more alkalinerich,” she explains. “So look at that when you add your fertilizer.” If you’re working in an existing garden area, be sure to maintain your

soil quality. “If crops are coming out of the garden and you want to plant a few more things before the end of the season, it’s really important to account for integrating more nutrients back into the soil,” Giroday explains, “since it may be a little depleted after being previously planted.”

Most importantly, she encourages both experienced and novice gardeners to avoid setting time limits. “There’s still a ton of time left in the season to grow a garden, to build a garden,” she says. “We recommend everyone with a little bit of space to take advantage of what they have.” -

ECO FIND ON THE UP With an increasing number of Lower Mainlanders turning to condos, multifamily dwellings, and townhomes, space is at a premium. But just because you’re working with a tight outdoor area doesn’t mean you have to give up gardening. This two-tier cedar planter ($239) maximizes precious square footage by extending upward, allowing you to harvest herbs, flowers, and edibles of all types. Crafted in Canada using rot-proof cedar offcuts, the container also features a drainage hole to prevent extra water from drowning the roots. Plus, the planter locks together—and comes apart—with zero tools, making it a good investment for city dwellers on the move. Find it at Lee Valley Tools (1180 Southeast Marine Drive). > LUCY LAU

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July 20 to 26, 2017

ave you felt gifted, uplifted, or better on track over the past few days? The stars have offered something of a reprieve from an emotional (and for many, challenging) Mars in Cancer transit. If you’ve recently taken a hit in your vulnerable spot, you’ll be happy to know that the Leo archetype will now overtake the lead. Desire and confidence levels get a fresh face-lift. Thursday is mobilizing and trendsetting. It’s a great day to connect, meet, talk, explore, or get going. Sun/Uranus can spark something unexpected and synchronistic. Watch for a social opportunity, a revelation, fresh insight, or for good ideas worth putting into action. Also on Thursday, Mars leaves Cancer for a seven-week stint in Leo, preceding the sun’s entrance into its home sign, which happens on Saturday. When the sun shines in Leo, it’s a time to power up your light; to be the best you can be; to create more; to play, love, enjoy, and reward yourself more. Mars supplies ample fuel and an action top-up. Sunday’s new moon in Leo infuses the potential with fresh life and promise. Monday’s Venus/ Saturn is shaping, defining, or solidifying. The day can see a goal reached or goal set. Mercury/ Uranus, a springboard inf luence, sets an ideal backdrop for getting something new off the ground. Mercury’s advance into Virgo on Tuesday sets up a productive couple of days to get onto task. Wednesday’s sun/Mars lights a fresh fuse. Know the stars are already on an active setup for next month’s eclipses and Mercury’s retrograde cycle.

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Looking for more attention and action? Look to Mars, the sun, and the new moon in Leo to put it into play. These put an added spotlight on success ratios, the heart, love, fun, and the best the season has to offer. Thursday, Monday, and Wednesday rev up something fresh. Mercury into Virgo, starting Tuesday, favours cleanup and fix-it projects.

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April 20–May 21

A brainstorm, a conversation, or something more can strike it hot Thursday. One way or another, Thursday’s sun/Uranus gets it/you going. In fact, every day through next Wednesday dishes up something fresh. The new moon shines on the home and family front. Mercury into Virgo, starting Tuesday, helps you to make the most of what you have to work with.

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March 20–April 20

GEMINI

May 21–June 21

Thursday could start with the need for extra effort or patience, but it isn’t likely to finish that way. Sun/Uranus stirs it up; one thing leads to another. Friday comes and it goes. Saturday onward, you’ll pick up a stronger signal and a better momentum. Monday, you’re quick on the uptake. Tuesday/Wednesday, there’s catch-up to do, stuff to fix or to work out.

CANCER

June 21–July 22

LEO

July 22–August 23

Birthday month can be an outstanding one, especially so if your birthday falls on one of the two eclipses in August. Mars in Leo, starting Thursday, and the sun in Leo, starting Saturday, don’t plan to waste any time. They’ll tee up by next Wednesday, but there are many strike-ithot moments from now until then. Go while the getting is good!

VIRGO

LIBRA

SCORPIO

SAGITTARIUS

CAPRICORN

AQUARIUS

PISCES

August 23–September 23

This next week is ideal for taking a break and/or for a switchit-up. While Mars, the sun, and the new moon crave more quality time to simply enjoy, a restless edge prevents you from sitting still for long. As of Tuesday/Wednesday, you’ll gain a major battery recharge. Watch for the Virgo moon, Mercury into Virgo, and sun/Mars to light a fresh fuse. September 23–October 23

Thursday/Friday, the flow, the connecting, and the getting are good. Starting Thursday, Mars into Leo infuses more life into ambitions and prospects. The sun and the new moon in Leo put an added spotlight on desire, reward, and getting the most out of it. Tuesday/Wednesday, Mercury into Virgo sets you onto task. There’s something to fix, upgrade, top up, or work through. October 23–November 22

A new career and/or personal life chapter is well in the works. Whether there’s an actual event to mark it or it is a feel, an attitude, or a shift of consciousness, Mars on the move, the sun’s trek into Leo, and Sunday’s new moon now set the reality into its next play. Monday through Wednesday, one thing quickly leads to the next. November 22–December 21

Something social and spur-of-the-moment suits you quite well Thursday. Through the start of September, Mars in Leo keeps you well on your game. The sun and new moon in Leo also set the dial to taking it up a great big notch and making the most of it. Enjoy yourself or set yourself to task—either way, it’s all to the plus. December 21–January 20

If you can take care of two things at once on Thursday/Friday, all the better. Want more? Go for it. Mars, the sun, and the new moon in Leo put a much bigger spotlight on self-interest, personal satisfaction, money, and love. Tuesday/Wednesday, you’ll cut to the chase or hone in on it with better precision. January 20–February 18

Thursday/Friday, your timing is good. Now through mid– next week, Mars, the sun, and the new moon top you up with fresh fuel. Make the most of the moment. Tuesday/Wednesday can drum up something more. Mercury into Virgo helps you to make an improvement, fill in a missing blank, or score a better deal. Wednesday calls for assertiveness. February 18–March 20

Play host, enjoy time with friends, company, or loved ones Thursday/Friday. As of this weekend and into next week, you are likely to feel the switch as Mars, the sun, and the new moon light up in Leo. While the season’s best continues to call, there’s work to be done. Sunday through Wednesday, get on it. -

Mars leaves your sign on Thursday and the sun does so on Saturday. They aren’t deserting you, though, quite the contrary. Along with Sunday’s new moon in Leo, watch for this next week to keep you/it going strong. Spur of the moment can deliver some of the best ideas or opportunities. Leo B o o k a re a d i n g o r s i g n u p f o r month sets optimum conditions Rose’s free monthly newsletter at www.rosemarcus.com/astrolink/. for making the most of it.


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inning the lottery had always been a fond dream for Mikal Jones and his mom. They’ve always rented, and they want to buy their first home. They would often see new residential construction going on in Vancouver during their walks together near the basement suite where they live. Tonette Mira and Mikal Jones haven’t “Whenever we’d look at these degiven up, despite rising lending rates. velopments, we’d always talk: ‘Oh, wouldn’t it be nice to, one day, like if always working very hard,” Jones said. Originally from the Philippines, we won the lottery, to buy this or, you know, have a place over there?’ ” Jones Mira is a long-time member of the related with a chuckle in a phone inter- Committee for Domestic Workers’ and Caregivers’ Rights (CDWCR), a view with the Georgia Straight. It’s different now, according to the Vancouver-based nonprofit. Jones credits the financial-literacy 19-year-old. “Eventually, it went from, you know, workshops being delivered at CDWCR by Lorina Serafico ‘if we win the lotfor putting him tery’ to ‘buying and his mom on it’ to ‘You know a path to homewhat? Maybe we Carlito Pablo ownership. should just try our “Tita [Tagalog for ‘aunt’] Lorina best to kind of muster up a down payhelped us. She kind of…put it into perment,’ ” Jones said. They’ve been working on it, and spective where we were able to think, Jones said that it will take them a few ‘Okay, maybe this is possible. Maybe years. “Ideally, a townhouse, but real- we don’t need a hundred million dolistically, probably a condo because it lars to buy a house by the river or would be more affordable,” he said something,’ ” he said, laughing. about what they’re looking to buy. Serafico is a CDWCR leader cur“Yeah, probably just a two-bedroom rently working as a home-financing condo around East Burnaby, East adviser with Scotiabank. She has been Vancouver, somewhere like that. Just conducting her basic finance worksomething affordable, just to get our shops with the group and its supportfoot in the door.” ers since 2007. Their strategy is simple: work and A December 2016 report by indussave. “I work a lot of jobs,” said Jones, try association Mortgage Professionals who does shifts in a fast-food chain Canada (MPC) noted how high home and cleanups at construction sites. prices have made it challenging to He is also taking business admin- scrape together a down payment. “For new homebuyers, monthly istration at Langara College. He will earn his degree in the next two years mortgage costs have been relatively and likely get a better-paying job. He stable compared to incomes, as interest rates have fallen. But, the rapid dabbles in stocks as well. His mother, Tonette Mira, does rise in house prices means that rebabysitting and cleaning jobs. “She’s quired down payments have increased

Real Estate

RICHMOND

relative to incomes,” according to the document Annual State of the Residential Mortgage Market in Canada. The MPC report stated that a 20-percent down payment for an average house is equivalent to 102 weeks of the average wage in Canada. Today’s initial payment is double that 15 years ago. “This is not to say that it takes 102 weeks to save a down payment—the actual period depends on individual circumstances, including what percentage of income can be saved,” the report explained. “Actual periods for saving down payments will generally be considerably longer, which causes most first-time buyers to resort to other sources of funds in addition to their savings.” Since the report’s release, prices of condos in East Vancouver have increased by 16.7 percent. A typical apartment in that part of the city, where Jones and his mom would like to buy, was going at $507,700 as of June this year, based on figures by the Real Estate Board of Greater Vancouver. At current prices, they would have to raise at least $25,000 for the minimum required down payment of five percent for a home purchase. Jones was interviewed on July 13, a day after the Bank of Canada raised its key interest rates for the first time in seven years. This means that mortgages are going to increase, and it may just be the beginning. The central bank is anticipating it will hike interest rates again toward the end of this year. Jones said he knew about the interest-rate increase and that this will make it more expensive for people to buy a home. He’s not too concerned. He and his mom are sticking to their plan to keep on saving. As Jones said: “When we’re ready, we’ll do it.” -

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reader into the throes of her protagonist Edith’s comedic disaster of a life. She is a tenured professor of English lit at the University of Inivea (Inivea is a small township near Calgary), in therapy, and also selfmedicating through wine, shopping, and the occasional pot brownie. She is about to publish her PhD thesis on African-Canadian pioneer Beulah Crump-Withers, a fictional housewife whom academia touts as “a Canadian gem”. Edith scrambles to make time for swimming on campus, attends faculty lunches where she receives little encouragement about her book, and is more or less an obstacle rather than a conversational destination. Perhaps not so much a satire but more of a tribute to the (sometimes) piteous administrative bureaucracy that goes on at universities, Dr.

Suzette Mayr sets her barbed new novel in a bureaucratic shambles.

Edith Vane and the Hares of Crawley Hall transcends the campus novel. The university itself is in shambles, falling apart slowly while those within are exposed to its poisons and vermin, asbestos, pool-sized sinkholes, falling debris, and mordant infestation—or let’s say the staff. There are the chance encounters with other tenured professors

FACTORY DISCONTINUED STYLES OFF

By Suzette Mayr. Coach House, 224 pp, softcover

FACTORY OUTLET UP T %

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DR. EDITH VANE AND THE HARES OF CRAWLEY HALL

and their “vodka-and-vegemite breath”, the vainglorious dean, Phil Vermeulen, a.k.a. “Phil the Pill”, her truculent colleague Coral, who appears on TV condemning the renovation policies and work safety on campus, and the evil PhD adviser and co-author Lesley, whose cruel words in the margins urge Edith to quit, adding things in person such as “Supervising you is like turning the Titanic.” It’s not all total hell: Edith’s washing machine isn’t broken and she has new clothes, but her girlfriend Bev is more wayward than she’d like. (All Edith craves is everlasting matrimonial stability.) She finally launches her book, whereupon she cracks under pressure, hides in the washroom, and declares “this toilet of a day, this toilet of a life”. The author sustains our interest by unravelling a fall semester’s worth of turmoil, tragedy, and romance, with a generous pinch of schadenfreude, without reminding us about the endless gnaw of reality in the nonfiction clutter of our own lives, which is what good fiction is supposed to do.

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ARTS

“My people will sleep BY JANET SM IT H

for one hundred years, but when they awake, it will be the artists who give them their spirit back.” Those Louis Riel words hit home hard for Vancouver theatre artist Tai Amy Grauman when she heard playwright and actor Kevin Loring quote them last month. B.C.’s Loring was giving a speech after being named the first artistic director of the National Arts Centre of its new Indigenous theatre department. Grauman, who stars in a new mask-and-music theatre work called Th’owxiya at the upcoming Drum Is Calling Festival, was deeply inspired. The quote captures all that she sees happening in Indigenous theatre this year—a beginning, an awakening, a reclaiming, and an expression like never before. “I’m so thankful that I was born when I was and I’m able to tell the stories my grandmothers couldn’t,” Grauman says, speaking to the Straight during a break from UnSettled: A Journey of Our Homes on Native Land, at the Cultch. “But I carry that as a huge responsibility.” Th’owxiya: The Hungry Feast Dish, produced by Axis Theatre, is a perfect example of what Grauman wants to be doing. A recent grad of UBC’s theatre program, the Métis artist says it’s the first theatre-for-young-audiences work she’s seen with only Indigenous actors on-stage.

Following her own beat

The Th’owxiya: The Hungry Feast Dish cast is all Indigenous. Jayda Novak photo; Margo Kane (below left) mentored Tai Amy Grauman (above, second from left).

she was struggling with the European, colonial model of the curriculum, and was immersed Local Métis actor Tai Amy Grauman finally finds her theatrical in First Nations studies as part of her degree. home in Th’owxiya at the Drum Is Calling Festival But Margo Kane—artis“We all know how to dance and drum, and there’s tic managing director of Full Circle Productions and a lot of beautiful music where we’re in a line sing- the Talking Stick Festival, who is also artistic director ing,” she says of the production, which has already of the Drum Is Calling Festival (see story below)— had performances at the UBC Botanical Garden and persuaded Grauman to see her studies through. “I really struggled at theatre school when I had will hit Larwill Park on Tuesday (July 25), during the Drum Is Calling Festival, part of the city’s Canada to step into stories I didn’t understand,” explains Grauman, to whom Kane went on to give a Mayor’s 150+ celebrations. The show, based on six storytellers from the Arts Award in theatre, in 2015. “Margo said, ‘Tai, Kwantlen First Nation village of Squa’lets Squa’lets, is filled you’re getting an incomparable education. It’s just with animals and spirit creatures, with Grauman a mountain you have to climb and to see over, and playing Baby Bear. “There’s this amazing part maybe there’s another mountain after this one.’ ” where Raven says, ‘Come fly with me to the Grauman couldn’t be happier she took her moon,’ and myself and the other bear join him and we have all these children running around Drum Is Calling spans art with us. So it’s creating those positive relationforms and generations ships of the young with our culture. I think that’s something this play does very well.” Spanning storytelling, spokenWritten by Kwantlen playwright Joseph A. word poetry, dance, theatre, Dandurand, Th’owxiya: The Hungry Feast Dish drumming, and big concerts, the feels a bit like Hansel and Gretel mixed with the nine-day Drum Is Calling Festival is set to be the larNorthwest Coast story of the wild woman of gest outdoor celebration of Indigenous arts ever held the woods. In it, Th’owxiya’s giant mouth holds in the city of Vancouver. It runs at Larwill Park, the the most delicious foods, but if you steal from Vancouver Public Library, the Vancouver Playhouse, her, she’ll eat you and your family. A young and the nearby Queen Elizabeth Theatre Plaza from mouse makes that mistake, but with the help of two this Saturday to next Sunday (July 22 to 30). young bears, Raven, and Sasquatch, she might earn Part of the city’s Canada 150+ programming, it’s forgiveness. It’s directed by Axis’s Chris McGregor, a massive undertaking. It’s also a task that carone of Grauman’s past instructors at UBC. ries with it huge responsibilities—not just to the The play mixes drumming, storytelling, acting, and three local host nations (Musqueam, Squamish, mask work. For Grauman, the most rewarding experiand Tsleil-Waututh), but to the wide variety of ence was crafting her own elk-skin drum with Hautraditional and contemporary Indigenous artists denosaunee Mohawk artist Jay Havens for the show. working today. This is not lost on artistic director “There’s something about building your own Margo Kane, the veteran theatre artist behind Full drum—it gives us a huge sense of responsibility and Circle First Nations Performance and the Talking ownership,” Grauman says. “You come to love the Stick Festival, who worked with a team of curators drum—it’s not just an instrument.” to program the diverse fest. The positive experience finds Grauman in a dif“We decided to theme the days,” she tells the ferent place than she was in midway through the Straight by phone during a brief break, referring theatre program at UBC. At that time, she says,

2

THINGS TO DO

mentor’s advice. She’s scheduled to debut the play she’s written and is directing, Her Name Was Mary…, a coming-of-age story based on a real friendship with someone who had anorexia nervosa, at September’s Vancouver Fringe Festival. And she’s landed a part in a new play, Thanks for Giving, at the Arts Club Theatre in October—written by none other than Kevin Loring. These are signs that things are happening for both Grauman and Indigenous voices in Canadian theatre, on the eve of Canada 150+ festivities. “I think it’s great that we have an Indigenousrun Canada 150 festival, where we can say, ‘It’s been 150 of not-great years, but we’re still standing strong together,’ ” Grauman says. Axis Theatre presents Th’owxiya: The Hungry Feast Dish at the Drum Is Calling Festival on Tuesday (July 25) at 1:30 and 3:45 p.m. in Larwill Park.

to everything from Matriarch Day to Intertribal in Action Day. “That was very helpful.” A lot of those themes are grouped by generation, but interestingly, Kane and her team faced some challenges: “There’s still lots of room to grow, I would say, to ensure we have more elder voices.” There are huge advantages to the site, too, though. “Because it’s also right in the middle of downtown there’s a potential larger audience of people who are interested in First Nations culture, but maybe not aware of the Talking Stick Festival,” she says, referring to her midwinter event. “This will open a dialogue about who the First Nations people are in this territory.” And perhaps nothing will open that dialogue more directly than one of the fest’s more unexpected events: While Having Soup at 4 p.m. on July 28, where Montreal-based ATSA (When Art Takes Action) invites Aboriginal and non-Aboriginal people to take part in a dialogue about some politically and socially charged topics—face to face over a bowl of soup. “We’re not just celebrating 150 years. We’re contemplating and interrogating: what does this mean and what are these issues moving forward?” Kane says. > JANET SMITH

ARTS

Editor’s choice ROCK SHOTS The Clash, Debbie Harry, David Bowie, the Who, Prince, Patti Smith, KISS, and Led Zeppelin: over four decades, rock photographer Bob Gruen has shot them all. He’s lensed John Lennon on his apartment rooftop; Debbie Harry in an old midway; the Ramones on a subway; and Sid Vicious eating a nauseatingly messy hot dog. And now his iconic images are set to go on view in Vancouver. Music fans will want to catch the exhibit, Rockers, Gruen’s first on Canada’s West Coast, and relive the magic of some bygone legends shot long before everyone in the audience wielded a smartphone. And the guy’s still shooting: check out shots of acts like Green Day and Lady Gaga. Still rockin’. The Liss Gallery presents Bob Gruen’s photographs at the Pendulum Gallery from Monday (July 24) to August 25.

High five

Five events you just can’t miss this week

1

THIS IS OUR YOUTH (To July 23 at the Red Gate Revue Stage) Kenneth Lonergan paints a portrait of disaffected youth in 1980s-Trump-era New York City.

2

IAN WALLACE: COLLECTED WORKS (To September 30 at the Rennie Collection at Wing Sang) Rarely seen work by one of our city’s contemporary-art giants.

3

MASTER CLASS (To August 16 at the Jericho Arts Centre) Brainy stuff as Stalin confronts two gutsy composers.

4

THE TWO GENTLEMEN OF VERONA (At Bard on the Beach’s Howard Family Stage to September 17) Two of Shakespeare’s funniest clowns and a very cute dog.

5

PATRICK MALIHA (July 20 to 22 at the Comedy MIX) The Vancouver comedy veteran still kills, and he does a wicked Homer, Bane, and Stewie.

In the news

GALLERY BUILDING THREATENED Two respected Vancouver art galleries in the cultural district on the old Finning Lands are worried their industrial building will be demolished for a new Millennium Line Broadway extension. The Equinox Gallery and Monte Clarke Gallery are located in the renovated orange structure on Great Northern Way, in an old Finning tractor paint shop by the new Emily Carr University of Art + Design home. They’ve been joined by other galleries in the ’hood, like Chernoff Fine Art, Gallery Jones, Catriona Jeffries Gallery, and grunt gallery, as well as artist live-work spaces. The galleries’ big concern is that a “cut-and-cover” construction of the SkyTrain extension would mean the building has to disappear as early as 2019. Andy Sylvester and Monte Clark, directors of the galleries, say they’re eager to work with the City of Vancouver and TransLink to find a solution that protects the “industrial integrity of the site” while expanding SkyTrain service to the neighbourhood. See the full story at Straight.com. JULY 20 – 27 / 2017 THE GEORGIA STRAIGHT 15


ARTS

Big Nazo’s giant puppets and masks are among the acts that will liven up the Granville Island site for the francophone-flavoured Canada Goes Pacific festival.

Canada Goes Pacific promises a big party > B Y JAN ET SMITH

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16 THE GEORGIA STRAIGHT JULY 20 – 27 / 2017

H

ow do you say “party time” in French? One way is “l’heure de la fête”. Another, it appears, is “Cap sur le Pacifique”—or Canada Goes Pacific, a giant, free celebration of Canada 150 set to take over Granville Island. Presented by the Centre Culturel Francophone de Vancouver, the three-day fete aims to put its own multicultural spin on Canada 150. Not only will musicians, dancers, and other acts hit the outdoor and indoor stages, there’ll be a terrace bar, food trucks, and grand-scale street performers animating the public spaces, with lawn chairs and umbrellas for relaxing throughout the site. “You can come to the site at 12 noon and stay till 1 in the morning,” enthuses executive producer and programmer Isabelle Longnus, speaking to the Straight over the phone, adding that DJs spin tunes every afternoon on La Terrasse 150 and then cap off Friday and Saturday night at Studio 1398. The other programming is a wildly diverse array of acts that draws on the Asia-Pacific francophone connection. Coming from farthest afield are dancers from New Caledonia, many of whom mix traditional South Pacific Kanak styles with influences like slamming and hip-hop. Elsewhere, look for Sonido Pesao’s urban Latin rap, care of members from Guatemala, El Salvador, Haiti, and Quebec; the Afro-Colombian percussion of Gypsy Kumbia Orchestra; and the Asian-inflected music of Vietnamese-Canadian Montrealer Huu Bac Quach and his quintet. The linking factor? Longnus says it’s definitely a sense of celebration, and of

course the use of French. “It’s just to show the diversity of the francophone language and how it goes all over the place,” she says of her programming. “I went with my heart. ‘Let’s do something fun,’ and the freedom in that! “Language is not just words; it’s a culture and it’s a sensitivity,” adds Longnus, who is herself a francophone rock singer. “Artists have no frontiers.” With that in mind, the third night wraps with a unique collaboration called Arbre de Vie, or Tree of Life, in which Indigenous singers, musicians, and dancers from Canada and New Caledonia work on a “hymn to the future”, under the direction of Quebec Innu singer Florent Vollant and his band. The idea, Longnus stresses, is to bring artists together to create, not just to perform. Visitors will be able to look in on the process during daytime sessions before the piece debuts the final night of the fest. But perhaps Canada Goes Pacific’s most defining feature will be its giant-puppet street performers. The roster includes Montreal’s Chasseurs de Rêves, whose Oiseaux (Birds) finds the circus artists (many of whom have worked for Cirque du Soleil) operating big, long-necked metal creatures. The U.S.’s Big Nazo, meanwhile, takes puppetry to even greater extremes, bringing to life huge monsters, aliens, and other crazy beasts in its three-dimensional foam-and-fabric creations. “Street art is as important as the art on the stage,” Longnus says. In other words, it’s a key ingredient in parfait party time. Canada Goes Pacific runs from Friday to Sunday (July 21 to 23) at Granville Island and the Centre Culturel Francophone de Vancouver.


ARTS

Mary Poppins soars on its outdoor stage TH E AT RE MARY POPPINS: THE BROADWAY MUSICAL Original music and lyrics by Richard M. Sherman and Robert B. Sherman. Book by Julian Fellowes. Additional music and lyrics by George Stiles and Anthony Drew. Cocreated by Cameron Mackintosh. Directed by Shel Piercy. Musical direction by Wendy Bross Stuart. A Theatre Under the Stars production. At Malkin Bowl on Tuesday, July 11. Continues until August 18

Thank you, TUTS, for the first

2 must-see show of the summer.

And it’s a good thing Mary Poppins is being presented outdoors: no walls could contain the exuberance of this terrific production. This 2004 adaptation, overseen by British superproducer Cameron Mackintosh, draws on both the 1964 Disney movie and the series of novels by P.L. Travers that inspired it. Devotees of the film will notice that songs have been rearranged, fitted out with new lyrics, or cut altogether—but there is no shortage here of fantastic numbers. The plot has also been updated to highlight the dysfunctional dynamics of the Banks family, who live in Edwardian London. Patriarch George is a workaholic financier who values “precision and order” and has no time for his family; his wife, Winifred, is a former actress (but not a suffragette) who can’t accommodate herself to the regimented social expectations of her class; and their children, Jane and Michael, long for more fun in their lives. That fun shows up in the form of Mary Poppins, a firm but loving nanny whose spoonfuls of sugar can turn the most mundane activity into a truly magical experience. Along with her friend Bert, a jack-of-alltrades, she ends up having a profound effect on the family. And yes, she flies with her umbrella.

Director Shel Piercy’s production is a visual feast: throughout the evening, he arranges the cast of 34 into indelible stage pictures, sometimes frozen in stillness (as in the gorgeous life-size diorama of black-umbrella-toting city dwellers behind “Feed the Birds”), often wildly kinetic. Nicol Spinola’s inventive choreography makes the show’s big numbers utterly thrilling: check out the semaphore spelling in “Supercalifragilisticexpialidocious” or the acrobatic tap sequences of “Step in Time”. And “Jolly Holiday” pays loving homage to the film’s fantasy sequence by attaching a pair of penguins to Bert’s shoes. The performances in this production are uniformly excellent. Victor Hunter’s creamy-voiced Bert is all charm and heart, and Ranae Miller is a terrific Mary: her unapologetic selfassurance and powerful, clear voice make her practically perfect indeed. As George, Russell Roberts has a stodgy irritability that gradually gives way to genuine vulnerability, while Lalainia Lindbjerg-Strelau gradually finds the steel at the core of Winifred’s warmth. Lola Marshall and Nolen Dubuc bring lovely voices and sharp comic timing to Jane and Michael. Sheryl Anne Wheaton and Andrea Pizarro create deliciously eccentric characters in Mrs. Brill, the cook, and Mrs. Corry, a shopkeeper. As the Bird Woman, Cecilia Smith has a physical frailty that belies her powerful voice in one of the production’s most tender moments. Jaime Piercy also gets to show off her impressive vocal range as the villainous Miss Andrew, George’s terrifying childhood nanny. The designers also deserve huge credit for the success of this production, which is often an explosion of colour. Set designer Brian Ball creates visual magic in the transformations of the Banks’s home and its rooftop chimneys, and there are simple but breathtaking effects—like a wash of

Ranae Miller (left) is “practically perfect” as Mary Poppins. Tim Matheson photo.

starry sky or the sudden appearance of kites—throughout the evening. Costume designer Chris Sinosich makes use of exquisite period details in the hundred or so costumes she’s designed, from the muted greys and browns of the bankers to the pastels of “Jolly Holiday” and the psychedelically saturated hues of “Supercalifragilisticexpialidocious”. Everything about this production works. Don’t miss it.

> KATHLEEN OLIVER

THE TWO GENTLEMEN OF VERONA By William Shakespeare. Directed by Scott Bellis. A Bard on the Beach production. At the Howard Family Stage on Wednesday, July 12. Continues until September 17

Be patient. The first half of The Gentlemen of Verona is slow going. But the play takes off after intermission, and its many pleasures are worth the wait. The featherweight plot follows Valentine, a bachelor who goes off to Milan to seek career opportunities,

2 Two

and Proteus, who stays behind to be with his love, Julia. But soon after, Proteus’s parents decide to send him to Milan as well, where he finds Valentine in the throes of his own romantic attraction to the Duke’s daughter. Silvia reciprocates Valentine’s feelings, but has been promised to the buffoonish Turio. Smitten, Proteus disclaims his former love and pursues Silvia himself—until Julia shows up disguised as a page, Sebastian. The plot is further complicated by the presence of some memorable servants, a dog, and a roving band of outlaws. Two Gentlemen is one of Shakespeare’s early efforts, and the script contains a number of rookie-playwright flaws, like lots of talk that doesn’t advance the action—including a good deal of wordplay that hasn’t stood the test of time. There are other reasons why it isn’t produced very often: conflicts are resolved on a dime, the sexual politics are troglodytic, and did I mention the dog? Director Scott Bellis confronts all these problems head-on. Some of his solutions work better than others. In the first half, the tactic seems to be to have everyone ham it up and add lots of comic business; most of the actors are goofing around at full throttle. Early on, Julia receives a letter from Proteus, tears it up, and then reads the little scraps. Kate Besworth makes great comic hay of this scene, kissing the scraps, smacking the one with her name on it to punish herself—it’s inventive and fun, but it goes on forever and nothing is really happening. In the next scene, Proteus’s father is doing taxidermy on a pheasant when its head pops off. It’s funny for a few seconds, but it has nothing to do with the scene. Bellis has also interpolated some contemporary puns into the dialogue, but few of these redeem the effort. But then, after intermission, we meet the outlaws, who capture

Valentine and his servant, Speed, in the woods. I don’t want to give anything away, because the surprises here are so delicious. Let’s just say that the presence of the outlaws lifts the entire production to a new level of complexity, hilarity, and contemporary resonance—all the way to Bellis’s ingenious ending. Even when the story isn’t cooking, it’s hard not to appreciate the physical energy and infectious good humour of the cast, who are clearly having a ball. Nadeem Phillip’s Valentine is sensually grounded, while Chirag Naik’s Speed maniacally bounces off him. Proteus’s character is as changeable as the name suggests, but Charlie Gallant always makes sense of his feelings, and he accompanies himself on the mandolin for a sweet-voiced serenade to Silvia. As the servant Launce, Andrew Cownden has the unenviable task of sharing the stage with Gertie the basset hound, who plays Launce’s dog, Crab. Gertie, already a local media sensation, steals every scene she’s in with her impenetrable stare, but Cownden is such a resourceful clown that he’s never entirely upstaged. Paul Moniz de Sà brings depth and dignity to the role of Silvia’s friend Eglamour, and Luisa Jojic, Carmela Sison, and Olivia Hutt shine as a pivotal trio of supporting characters. Choreographer Tara Cheyenne Friedenberg creates a number of athletic pas de deux as lovers consummate their feelings, and Adrian Muir’s dramatic lighting often bathes the stage in a rosy glow. Mara Gottler’s costumes range from the elaborately layered garb of the servants to the simple barefoot-and-breeches look of the gentlemen. For pure silliness, Two Gentlemen is unmatched among this year’s Bard offerings. Thankfully, the silliness eventually accumulates into a satisfying whole. > KATHLEEN OLIVER

JULY 20 – 27 / 2017 THE GEORGIA STRAIGHT 17


ARTS

21

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On the Howard Family Stage

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July 29 • August 2 • August 5 bardonthebeach.org • 604-739-0559 Production Sponsors

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Kevin MacDonald & Amber Lewis – Much Ado About Nothing (2017)

On the

OH, CANADA: THE TRUE NORTH STRONG AND FUNNY Produced by Vancouver TheatreSports League. At the Improv Centre on Granville Island on Friday, July 7. Continues Thursday to Saturday until September 2

In this summer of our nation’s ses-

2 quicentennial, there are all sorts of

one-off festivities, but an ongoing one is perhaps the most enjoyable. Vancouver TheatreSports League’s Oh, Canada: The True North Strong and Funny is really the best way to celebrate. Not only does it touch on many of our collective accomplishments (some of them real) and stereotypes, but it highlights perhaps our greatest trait: our sense of humour. The show on this night started with host Brad Rossington canoeing onto the rustic set dressed as a scout leader, setting the stage perfectly for what was to come. Rossington’s fully defined character was a soft-spoken golly-geeshucks Mr. Rogers type. “Welcome to Canada, everybody!” he opened with. Every game along the way, no matter how established it was in the improv world, was tweaked toward a Canadian angle. We were instructed not to yell out suggestions because that’s not too Canadian; rather, we should just say them loudly. And polite host that he was, every suggestion thrown his way, no matter how inane or inappropriate, was greeted encouragingly. The cast, all dressed in plaid and known as “the Canadians” (on this night Dan Dumsha, Jeff Gladstone, Ken Lawson, Lauren McGibbon, Margret Nyfors, and Pearce Visser), improvised their introductions based on the rousingly patriotic Molson beer ad “I Am Canadian”. They moved on to perform one scene set in three distinct Canadian

ar ts/ timeout

locales: Sarnia, Montreal, and Surrey. The last one felt like a “magician’s choice”, i.e., a seemingly free choice, but you know that when asked for a Lower Mainland city or community, 10 times out of 10 the crowd will pick Surrey. The troupe did a tag-out scene, an old, reliable game in improv, but with a Canadian twist that was hilarious in THEATRE < its execution. In the two-person scene, DANCE < the other actors tap one of the actors MUSIC < on the shoulder to replace them at any COMEDY < time to take the scene in a new direcGALLERIES < tion. But rudely interrupting a scene is MUSEUMS < so very un-Canadian, so instead of a tap, the performers would politely and THEATRE deferentially say “I’m sorry but…” with their explanation of how they’d do it 2ONGOING differently, then wait for the invitation MUCH ADO ABOUT NOTHING Bard on from Rossington. the Beach Shakespeare Festival presents My favourite adaptation was three William Shakespeare’s comedy set in 1959 “hockey parents” sitting in the crowd, Italy, where a group of actors and filmalternately joyfully helpful to, and oc- makers celebrates the wrap of their latest movie. To Sep 23, Bard on the Beach casionally critical of, their three actor (1000 Chestnut). Tix from $21, info www. “kids” on-stage in a made-up Can- bardonthebeach.org/2017/much-adoadian play, Dude, Where’s My Pou- about-nothing/. tine?. The game is usually played with THE WINTER’S TALE Bard on the Beach heckling improvisers rather than con- Shakespeare Festival presents William structive cheerleaders. Shakespeare’s drama in which the love of The Improv Centre made use of the two young people becomes the catalyst reunion, redemption, and a family’s big screen, too. We saw the real Herit- for healing. To Sep 22, Bard on the Beach age Minute featuring the Canadian (1000 Chestnut). Tix from $21, info www.bard invention of basketball, and a real Hin- onthebeach.org/2017/the-winters-tale/. terland Who’s Who on the beaver, as BITTERGIRL: THE MUSICAL The introductions to improvised versions. Arts Club Theatre Company presents Who knew, for example, that the sani- Annabel Fitzsimmons, Alison Lawrence, tary napkin was a Canadian invention and Mary Francis Moore’s musical that charts the romantic breakups of three inspired by mummy attack? The show closed with the Can- women and the lively antics that ensue. To Jul 29, Granville Island Stage (1585 adians singing songs by the campfire. Johnston, Granville Island). Tix from $29, Visser sang an ode to maple syrup, info www.artsclub.com/. McGibbon managed to make musical MERCHANT OF VENICE Bard on hay with a ditty about mechanical en- THE the Beach Shakespeare Festival presents gineers, and Dumsha extemporized William Shakespeare’s drama, set in on the Terry Fox monument, to which modern-day Venice, that exposes the conLawson on guitar added the refrain, sequences of how we treat outsiders in our “Let’s get hoppin’!” Too soon? Maybe, midst. To Sep 16, Bard on the Beach (1000 Chestnut). Tix from $21, info www.bardon but it was funny. thebeach.org/2017/the-merchant-of-venice/. > GUY M AC PHERSON

VANCOUVER CIVIC THEATRES

Community Events

Upcoming free and low-cost events brought to you by Vancouver Civic Theatres. Part of our mission to provide access to VCT spaces in unconventional ways. Self-guided Historic Orpheum Tours Various Dates Orpheum, Granville Street orpheumtours.com

Unceded Traditions. Unceded Territories. Gallery Opening Reception July 26, 6pm - 9pm Queen Elizabeth Theatre Lobby

Canada 150+ Events July 22 -29 Queen Elizabeth Theatre Plaza

Sunset Cinema Film Series August 9, 16, 23, 30 Queen Elizabeth Theatre Plaza

Indigenous Fashion Week July 27 - 29 Queen Elizabeth Theatre Lobby canada150plus.ca

Watch & Learn Weekend August 19 - 20 Queen Elizabeth Theatre Plaza watchandlearnyvr.ca Follow these events and more: vancouvercivictheatres.com @vancivictheatre

Watch this space.

THE TWO GENTLEMEN OF VERONA Bard on the Beach Shakespeare Festival presents William Shakespeare’s tale of two best friends who are in love with the same woman. To Sep 17, Bard on the Beach (1000 Chestnut). Tix from $21, info www.bardonthebeach.org/2017/the-twogentlemen-of-verona/. THEATRE UNDER THE STARS Annual outdoor-theatre event features productions of Mary Poppins and The Drowsy Chaperone on alternating evenings. To Aug 19, 8 pm, Malkin Bowl (610 Pipeline Road, Stanley Park). Tix $30-49, info www.tuts.ca/.

on the web!

For up-to-the-minute, searchable Arts listings on your phone, visit

www.straight.com

ENSEMBLE THEATRE COMPANY’S SUMMER FESTIVAL The Ensemble Theatre Company presents productions of Sarah Ruhl’s In the Next Room (or, The Vibrator Play), John Irving’s A Prayer for Owen Meany, and David Pownall’s Master Class. To Aug 18, Jericho Arts Centre (1675 Discovery). Info www. ensembletheatrecompany.ca/. THIS IS OUR YOUTH Midtwenties Theatre Society presents Kenneth Lonergan’s bittersweet portrait of youth poised on the cusp of adulthood. To Jul 23, The Red Gate Revue Stage (1601 Johnston Street, Granville Island). Tix $20, info www.mtstheatre.com/.

DANCE 2THIS WEEK KOKORO DANCE WRECK BEACH BUTOH Kokoro Dance presents its annual butoh performance on the shores of Wreck Beach. Jul 22, 11 am; Jul 23, 11:45 am, Wreck Beach (foot of the #4 Trail just west of the UBC Museum of Anthropology). Free admission, info www.kokoro.ca/.

MUSIC 2THIS WEEK ET AMOR: SONGS TO CELEBRATE QUEER LOVE Cor Flammae presents music by Hussein Janmohamed, Shane Raman, Jeffrey Ryan, Stephen Smith, Zachary Wadsworth, Caroline Shaw, David Conte, Gian Carlo Menotti, Mari Esabel Valverde, and Francis Poulenc. Jul 21, 7:30 pm, Orpheum Annex (823 Seymour). Tix $30/18, info www.corflammae.com/.

see page 20

18 THE GEORGIA STRAIGHT JULY 20 – 27 / 2017


MOVIES REVIEWS FROM THE LAND OF THE MOON Starring Marion Cotillard. In French, German, and Spanish, with English subtitles. Rated 18A

To some, Marion Cotillard’s latest de-

2 piction of a damaged, sexually charged woman in From the Land of the Moon will seem overwrought, melodramatic, and maybe, by the end, a little silly. To others, this will be the film equivalent of their favourite summer beach read, a sensual, all-consuming tale of amour fou, set in impossibly gorgeous ’50s French locations. In case you haven’t guessed, we’re in the latter camp. Guilty as charged. Don’t judge, s’il vous plaît. It’s hard not to get swept away by the early setting, with Cotillard’s Gabrielle growing up in rural Provence, the Spanish workers on her family

The moon and nonsense

Marion Cotillard is at her unhinged and fearless best as a Catholic girl drunk on romance and forced into a loveless marriage in conservative 1950s Provence.

A GHOST STORY

DAWSON CITY: FROZEN TIME

Starring Casey Affleck. Rated PG

A documentary by Bill Morrison. Rating unavailable

Superficially, A Ghost Story can be said to reWe fall hard for director Nicole Garcia’s melodramatic tale of semble the prototypes laid out amour fou in the French Alps, From the Land of the Moon by Ghost and Truly, Madly, farm harvesting fields of purple lavender under Deeply, in that one half of the love equation leaves hazy heat to a buzzing chorus of grasshoppers the story early, but then spends the rest of the time, and bees. At night, they eat at long tables outside, if not eternity, hanging around the other. Casey Affleck and Rooney Mara play the nameless couple under strings of lights that sway in the mistral. But Gabrielle is too hot to handle for this con- occupying a small ranch-style home in a similarly servative Catholic setting—so fired up over her unnamed rural place (actually Texas). An off-screen event quickly leaves Mara’s charteacher at one point that she has to wade in the local creek, her full ’50s skirt floating up at her acter to do the moping, pretty much like she did waist. This is Cotillard at her fearless best (in in Terrence Malick’s Song to Song. Malick’s ponwhat may be her best offering since Rust and derously poetic whateverism informs the pacing Bone), an enigmatic mix of stubbornness and here, although writer-director David Lowery’s petulance, with a dangerously romantic heart. 90-minute mood piece is certainly a bit tighter. After Gabrielle expresses her unhinged passion Which doesn’t mean it aims for streamlined ena little too publicly, her mother gives two options tertainment. The only thing seamless here is the for saving the family’s reputation: Gabrielle goes sheet, complete with Halloween eyeholes, worn by to the insane asylum or she gets married off to Affleck once he returns to the couple’s abode. Better known for Disney’s big-budget Pete’s Draga stranger, the even-tempered Catalan farmhand José (Àlex Brendemühl). Gabrielle goes with the on, Lowery has a fetish for holding shots too long latter, but tells José she’ll never love him. She’ll and repeating images that sufficed the first time. But never sleep with him, either, but her parents will when scared sheetless, in flashbacks, the mumbling set him up in his own business; till now, he’s had Affleck is no Patrick Swayze. Mostly, his presence is unobtrusive, even if our gloomy spirit is able to internothing, so he agrees. Years later, the sickly Gabrielle is sent to a act with the physical world on occasion. Flickering picturesque old spa in the French Alps to find lights and thumped piano strings—that sort of thing. So it’s weird when his first full-blown actinga cure. There, she finds her ideal lover: the poetic, darkly handsome, and tragically ill young out consists of scaring away the Mexican family soldier André Sauvage (Louis Garrel), sparking that replaces his ex in the house. Later, in the film’s a relationship that will send her into another most bravura sequence, our ghostly protagonist flies forward, briefly, into the future and then back spiral of obsession. There’s more, including a plot turn that to the home’s 19th-century past, in time to see setstretches all believability. But depending on tlers wiped out (off-screen) by pesky “savages”. Lowery appears tone-deaf on race and hishow susceptible you are to your own amour fou, you’ll submit to it willingly by the time it rolls tory. And although his film doesn’t lack humour around. Cotillard casts a spell here, even when of a subtle kind, he misses opportunities for fun Gabrielle is being cruel. But watch Brendemühl, and tonal variety, as when ol’ Ghosty wanders too, stoic and enigmatic, a man who has learned through a big stoner party without spooking the guests. Instead, we’re treated to a numbing to bury his past, his pain, and his identity. It isn’t all as tawdry as it sounds: in her exquis- lecture from cult musician Will Oldham on the itely shot film, director Nicole Garcia poses some themes of the movie itself. Cut! Most impressively, this Story—shot in the bluntcompelling questions about class and war—both Franco’s in Spain and the Indochinese battle that’s ed aspect ratio of old home movies—is good at capturing that sense of ineffable connection with ravaged Sauvage. But now it sounds like we’re making excuses, what has come before us and what persists when we are gone. The living part’s a little weak, though. doesn’t it?

2

> JANET SMITH

> KEN EISNER

Despite the misleading title, Dawson City:

2 Frozen Time is not simply a parochial tale of a

faraway place in another era. Veteran filmmaker Bill Morrison has made a career of turning found footage into evocative poetry. So it makes sense that he would go the extra mile with a truckload of ancient stuff found in a frozen swimming pool beneath the former community centre of what was once the most bustling place in the Yukon. In 1978, an excavation behind Diamond Tooth Gertie’s Gambling Hall in Dawson City unearthed 533 reels of very early cinema. Much was badly damaged, but since roughly 75 percent of all silent films have been lost, any restoration was welcome. In earlier films (most notably 2002’s Decasia), Morrison exploited the hypnotic beauty of corroded celluloid. So he obviously wasn’t put off by accidentally distorted effects on footage from the early 20th century. Wear and tear actually helps tell a story stacked with meta-implications—some inspiring, in terms of human enterprise, and others more disturbing for the patterns of destruction so evident today. On another level, these black-and-white newsreels and features—offering glimpses of the First World War, the U.S. National Guard shooting striking miners, the 1919 World Series, Charlie Chaplin in The Gold Rush—also map out changes in a place like Dawson. To carve out remote places for movies to be seen, whole Indigenous populations were forcibly moved, and the natural environment contaminated by industry. The Yukon’s icy redoubt gave rise to future exploiters of captive money, from Greek-born theatre impresario Al Pantages to German draftdodger Fred Trump, who made a fortune with— what else?—brothels and casinos. While it’s risky to forget history, it was also dangerous, until the 1940s, to record and store it. Cinema itself was literally volatile, with the nitratebased stuff an inadvertent offshoot of dynamite. Dawson City, in fact, burned down every year of its first decade as the boomtown centre of the Klondike Gold Rush, with nitrate film repeatedly the cause. (A constant threat here, fire also consumed warehouses belonging to Thomas Edison and the NFB, among many others.) An obvious must-see for students of film history and history in general, the two-hour movie is somewhat overcrowded by Morrison’s clearly passionate ambitions. Talking heads appear only see next page

T H E K ING W HO FELL TO E AR TH >>>

I

n a darkly fanciful scene close to the end of The Black Prince, an ailing Maharajah Duleep Singh is visited by the spectral figure of the Spanish colonel who saved his life as a child. Here, we get to see the phenomenally successful Punjabi musician Satinder Sartaaj acting with David Essex, who achieved teen-idol status in his native U.K. in the early ’70s with the hit “Rock On” and who made the risky transition from pop star to actor with his starring role in the 1973 film That’ll Be the Day. Neatly mirroring that journey, Sartaaj was asked to carry The Black Prince, a two-hour period epic opening in Vancouver on Friday (July 21), despite having precisely no prior experience on a film set. “Honestly, I wasn’t confident about myself,” admits the first-time actor, joining writer-director Kavi Raz for a conversation with the Georgia Straight at the Sutton Place Hotel. “But I was confident about

Musician Satinder Sartaaj makes the transition to film in grand style as Maharajah Duleep Singh, the last king of Punjab, in The Black Prince.

my focused personality. Whatever I do, I do a thousand percent. I’m a very single-track-minded kind of person. We shot the film a year and a half ago, and still I remember the entire script, so you can imagine

what kind of effort I put into it.” “I saw his sensitivity, his mind, his intelligence, his passion for his music and for the main role in the film, and I was convinced I could work with him,” adds Raz, who

> BY ADRIAN MACK

opted to cast Sartaaj after “a number” of well-known actors were considered. (“I won’t name them,” he teases.) A Method-trained actor himself, the L.A.–based filmmaker quickly realized he could refer to his leading man’s music in order to help guide Sartaaj’s performance. “I’d say, ‘Remember what’s happening in this song, what you’re saying here, and how you relate to that? That’s exactly what’s happening in this scene here,’ ” he explains. Besides “vanishing myself from myself ”, the most perplexing part of the job for Sartaaj was shooting out of sequence. “In the morning, sometimes, I’m 55,” he says with a chuckle, “and in the evening I’m 16.” Indeed, Raz was asking a lot of the rookie film star, given the scope of The Black Prince, which covers in sumptuous detail the entire life story of the last king of Punjab, who was spirited out of the country as a teenager and

raised as a Christian nobleman in Victorian Britain. Eventually, the deeply conflicted Maharajah Duleep Singh reverted back to Sikhism and mounted an unsuccessful bid to regain the throne. Faithfully depicting the Black Prince, as Queen Victoria herself affectionately dubbed him, was a task that both men understood as both sensitive and vital to themselves and to a community whose own history has been presented for over a century through the prism of colonialism. “It’s the most satisfying thing I’ve ever done in my life, in the field,” says Raz, solemnly. “I learned a lot about myself. Like our central protagonist, Maharajah Duleep Singh—he was a very hardened sort of a person, what he went through throughout his life, but he stood his ground. I learned that that’s a very noble thing to embrace in life, and it will get you through. It taught me a lot.” -

JULY 20 – 27 / 2017 THE GEORGIA STRAIGHT 19


Dawson City

from previous page

early and late, leaving snippets and titles to speak for themselves, with Alex Somers’s lush but relentlessly funereal score overemphasizing the film’s requiemlike nature. Bring an iPod and hit Shuffle to get the most out of this mesmerizing plunge down the chilly rabbit hole of time.

> KEN EISNER

THE BLACK PRINCE Starring Satinder Sartaaj. In Punjabi and English, with English subtitles. Rated PG

To be the “last king” of anything

2 means you left this world either

a legend or a tragic figure. Maharajah Duleep Singh, the final monarch of the Punjab kingdom, who was forcibly separated from his family as a child, converted to Christianity as a teenager, died a penniless, broken man in Paris, and is today buried in England, clearly falls into the latter

category. Sikhs living in the U.K. and Canada, however, are striving to rehabilitate his victim legacy. Veteran U.K. actor and filmmaker Kavi Raz is one of these reformers. The Black Prince is about the life of the deposed monarch, who as an 11-yearold was removed from the throne and by 15 was exiled to England after his kingdom was annexed by the British in 1849. Singh would live out his life cut off from his homeland, remaining forever hidden away, if not lost, from his people. For Raz and his fellow producers, The Black Prince is clearly a passion project; the period piece is scripted in a mix of English and Punjabi, showcases an international cast, and features detail-oriented sets of Victorian England. Raz has crafted a story to win the hearts and minds of Sikh audiences. Unfortunately, this comes at an artistic cost, as The Black Prince seems more like a mission than a movie at times. Raz presses hard to recast Duleep Singh as a freedom fighter and a devotee of the Sikh faith, selectively

omitting facts to make this case. The Arts time out oversimplification of Duleep Singh’s from page 18 re-initiation into the Sikh faith is one example of the film’s rolling-pin ap- COMEDY proach to storytelling. This heavyhanded treatment of the script flattens 2ONGOING characters throughout the movie. THE COMEDY MIX 1015 Burrard, Century Raz’s Duleep Singh is a stripped- Plaza Hotel & Spa, 604-684-5050, www. down, joyless version of the ex- thecomedymix.com/. Comedy club with pro-am night Tue at 8:30 pm, showcase sovereign, who was known to have Wed at 8:30 pm, and featured headliners thoroughly appreciated the velvet Thu at 8:30 pm and Fri-Sat at 8 and 10:30 trappings of aristocratic life. This pm. Cover $8 Tue, $10 Wed, $15 Thu, $18 “Black Prince” is constantly in a Fri, $20 Sat. 2PATRICK MALIHA Jul 20-22 KEVIN FOXX Jul 27-29 2EFTHIMIOS black mood. Played by Punjabi musi- 2 NASIOPOULOS Aug 3-5 2DJ DEMERS cian Satinder Sartaaj, the maharajah Aug 10-12 2ERICA SIGURDSON Aug 17-19 broods through his lines and lengthy YUK YUK’S COMEDY CLUB 2837 awkward silences that ask too much Cambie, 604-696-9857, www.yukyuks. of his acting skills. com/vancouver/. Comedy club with Top While The Black Prince pays trib- Talent Tue at 8 pm, amateur night Wed at ute to the maharajah by rescuing him 8 pm, and professional headliners Thu-Fri at 8 pm and Sat at 7 and 9:30 pm. Cover from the shadow of history, it does not Tue $10, Wed $7, Thu $10, and Fri-Sat set him free. Well over a century since $20. 2DAMONDE TSCHRITTER Jul 21-22 his death, Duleep Singh remains a 2BRETT MARTIN Jul 28-29 pawn—now seemingly of modern-day VANCOUVER THEATRESPORTS LEAGUE Punjabi and Sikh identity politics—as #NoFilter (Thu, 9:15 pm); Oh, Canada: he once was during the Great Game of The True North Strong and Funny (Thu, Fri, and Sat, 7:30 pm); Ok Tinder (Fri and Sat, colonialism in the 19th century. 11:15 pm); Rookie Night (Sun, 7:30 pm); > JAGDEESH MANN

“ONE OF THE MOST

MOVING, PROFOUND MOVIES OF THE YEAR.” BRING TISSUES AND A BEATING HEART. DAVID FEAR,

THE BEST FILM OF

THE YEAR SO FAR

A THOUGHT-PROVOKING, SINGULARLY SPECIAL MASTERPIECE ABOUT LOVE, MORTALITY AND HOW OUR HEART KEEPS BEATING EVEN AFTER IT STOPS.” BRIAN TRUITT,

INGENIOUS AND

PIERCINGLY EMOTIONAL ”. A. O. SCOTT,

EXCLUSIVE ENGAGEMENT STARTS FRIDAY 20 THE GEORGIA STRAIGHT JULY 20 – 27 / 2017

88 WEST PENDER • 604-806-0799

TheatreSports (Tue and Wed, 7:30 pm; Wed, 9:15 pm; Fri and Sat, 9:30 pm). Jul 19-26, The Improv Centre (1502 Duranleau, Granville Island). Info www.vtsl.com/.

GALLERIES VANCOUVER ART GALLERY 750 Hornby, 604-662-4719, www.vanartgallery.bc.ca/. 2PICTURES FROM HERE (photographs and video works by Vancouver-based artists Roy Arden, Karin Bubaš, Christos Dikeakos, Stan Douglas, Greg Girard, Rodney Graham, Mike Grill, Arni Haraldsson, Fred Herzog, Barrie Jones, Evan Lee, N.E. Thing Co., Marian Penner Bancroft, Henri Robideau, Sandra Semchuk and James Nicholas, Althea Thauberger, Jeff Wall, Ian Wallace, Paul Wong, and Andrea Fatona) to Sep 4 2PERSISTENCE (exhibition draws together three recent contemporary installations by Canadian artists Julia Feyrer, Tamara Henderson, Shelagh Keeley, and Germaine Koh) to Oct 1 2CLAUDE MONET’S SECRET GARDEN (exhibit showcases 38 paintings that span the career of the French artist who is regarded as a master of the impressionist movement) to Oct 1

MUSEUMS THE MUSEUM OF ANTHROPOLOGY AT UBC 6393 NW Marine Drive, 604-8225087, www.moa.ubc.ca/. 2AMAZONIA: THE RIGHTS OF NATURE (exhibition

straight choices

RUBBER STRINGS Normally used to craving sun, Vancouverites have started seeking shade—and should conditions hold through the weekend, consider taking shelter in the Woodward’s Atrium on Sunday (July 23). Not only is the Downtown Eastside space cool and airy and close to a source of refrigerated beverages, it’ll also be home to the second installment of Hard Rubber New Music’s Spacious Music at the Atrium series. This time around, the focus is on strings, with an all-star chamber ensemble playing music by local composers Peggy Lee, Bradshaw Pack, and Josh Zubot. (The performance starts at 5 p.m., but you can also hear open rehearsals from 2 to 4.) And, yes, that’s Josh (shown here), not Jesse: the fiddle wizard’s equally gifted brother has recently left Montreal for the sunnier climes of the West Coast. Let’s hope that a warm welcome helps him weather the inevitable wet winter. features Amazonian basketry, textiles, carvings, feather works, and ceramics both of everyday and of ceremonial use, representing Indigenous, Maroon, and white-settler communities) to Jan 28 2TRACES OF WORDS: ART AND CALLIGRAPHY FROM ASIA (multimedia exhibition examines the physical traces of words, both spoken and recorded, that are unique to humans) to Oct 9

TIME OUT ARTS LISTINGS are a public service provided free of charge, based on available space and editorial discretion. Submit listings 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.


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“SEDUCTIVE”

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“CHILLY, ELEGANT AND GRIMLY FUNNY.” -TIME MAGAZINE

++++ -EMPIRE

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IN THEATRES JULY 28 SUBJECT TO CLASSIFICATION

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> Go on-line to read hundreds of I Saw You posts or to respond to a message < MONDAY 10:45PM SEABUS LEAVING WATERFRONT.

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CHAPTERS - DOWNTOWN

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I SAW A: I AM A: WHEN: JULY 17, 2017 WHERE: Seabus to Quay We exchanged glances when I boarded and sat down across from you. However, I was in total blank iPod stare mode and not too quick on the uptake. Would love to connect and maybe meet up for coffee, should you be interested. You were a stunning brunette wearing a black dress, with glasses and several tattoos. Please describe your headphones and hairstyle to confirm ID.

BELGIUM FRIES

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I SAW A: I AM A: WHEN: JULY 17, 2017 WHERE: Belgium Fries

I don’t know if you’ll read this, if by chance you do, I just want to saying that your beautiful and I find your style mesmerizing. You: side-cut wavy hair, yellow boots. Me: short hair, tie-dye shirt.

MONIQUE’S CLOGS AND HALLELUIAH

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I SAW A: I AM A: WHEN: JULY 16, 2017 WHERE: Vancouver Folk Festival Met in the coffee line. Was looking forward to seeing you at the blues gig at Stage 4 but alas we did not cross paths again.

CORNER OF MARINE AND BOUNDARY WHEN: Everyday WHERE: EverythingWine.ca Sorry for staring, but you were dreamier than I imagined. I was in awe of how well-traveled you are, offering so much more than I was used to. Your fresh vibe and wine knowledge was intoxicating, and made me want to come back for more. Meet me at 8570 River District Crossing. I will be at the Tasting bar, and it'll be my treat. In the meantime, add me on FB @everythingwineinc. Can't wait to see you.

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I SAW A: I AM A: WHEN: JULY 17, 2017 WHERE: Chapters - Robson This is a log shot. You work at Chapters (Robson location). I was there during my lunch break and bought a book (science) while you were on cash. My name's not too common but you seemed to pronounce it perfectly. You’re terribly cute and I’m terribly scared to do anything about it. I wonder if you’ll see this.

TALL, LONG BLONDE HAIR MAN I’LL PROBABLY NEVER SEE AGAIN...

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I SAW A: I AM A: WHEN: JULY 13, 2017 WHERE: Real Canadian Superstore on Grandview Highway So I’m super shy and I can’t believe I’m making this post but I saw a unforgettable guy at the Superstore on Grandview Highway. We both entered the store about the same time and you instantly caught my eye, we made eye contact and I never ever make eye contact with anyone when I’m out shopping but I did and you did and well, we kept running into each other inside the store and every time, our eyes would meet haha. Gosh I sound so cheesy but wow, you’re freakin beautiful and have a strong resemblance to the actor Alexander Skarsgard. I’ve had the biggest, dumbest little girl crush on him ever since watching True Blood back in high school. So when I saw you, I so taken aback and so so wanted to say something. But what the hell was I gonna say? Hi? You’re hot? You’re so hot? lol ME: I had my hair tied in a puffy ponytail, blue hair, buzzed sides and super skinny, wearing a beige striped long sleeve shirt. YOU: Long blonde hair in a pony tail, all dressed in black, blue eyes I think. I don’t expect you to ever read this and if you did and wanted to reach out, I’m sure I wouldn’t have the guts to actually meet you in person. Regardless, needed to send this out to the internet. Just had to let it out, be told.

SUNDAY ON THE 12:15 FERRY FROM DEPARTURE BAY

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I SAW A: I AM A: WHEN: JULY 16, 2017 WHERE: Departure Bay to Tsawwassen Ferry You were wearing a white T-shirt with blue trim on the sleeves, jean shorts and orange shoes. I was in a orange T-shirt, gray shorts, gray shoes, black ball cap and sun glasses. I was admiring you leaning on the rail and you gave me couple nice smiles. When I finely got up the nerve to say hi you disappeared, I looked for you but ran out of time as the boat was docking. If your interested in getting to know me get back to me.

MOTIF HOTEL SEATTLE

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I SAW A: I AM A: WHEN: JULY 9, 2017 WHERE: Lobby of Motif Hotel, Seattle You were sitting with a group of guys in the hotel lobby. You were the one on the far left, closest to the elevators. I rode down in the elevator with a friend of yours, who said you were all from Vancouver and in Seattle for a bachelor party. I said I was from Vancouver too. I’m tall and slim and was wearing a navy blue dress and heels. You captured my attention, and I think I might’ve captured yours too. I was with a couple of family members, which made it awkward for me to approach you.

A F I L M BY K AV I R A Z

T H E T R U E STO RY O F Q U E E N V I C TO R I A A N D T H E L AST K I N G O F P U N JA B

HARRY POTTER MOVIE; YOU SHARED YOUR WERTHER'S WITH US

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I SAW A: I AM A: WHEN: JULY 13, 2017 WHERE: The Orpheum

r

You were seated next to me, I was there with my cousin’s daughter. You commented that your own kid was at home (17 year old daughter), you were with friends. You were really good looking and had a white business shirt on. I felt like I should have talked to you and gotten your info; it felt like I was watching the movie next to someone I knew well...

In Theaters July 21st IN SELECTED THEATERS

Visit straight.com to post your FREE I Saw You _ JULY 20 – 27 / 2017 THE GEORGIA STRAIGHT 21


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Filmmaker never gave up the Ghost

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pening Friday (July 21), A Ghost Story gives us almost 90 minutes of Casey Affleck draped in a white sheet. In the media notes to his own film, writer-director David Lowery refers to the “inherent goofiness� of the film’s central image, which keeps the Oscar-winning Affleck concealed, save for two crudely fashioned eyeholes, for almost the entire movie. Calling the Georgia Straight from Montreal, Lowery admits that by the second day of principal photography, his confidence in such an audacious gamble had evaporated. “I lost my nerve entirely. It was only because I had everybody there already and because we were in too deep that I persevered and kept digging myself in deeper,� he says with a laugh. “At night, I would call my producer Toby Halbrooks and vent to him and ask him to pull the plug and just basically air all my grievances with my own ideas, and he would just nod and talk me through it. And he, bless his heart, maintained complete faith in the concept. He talked me off many a cliff. That was helpful to have, even though the next morning I’d get back to set and feel terrible again.� After three weeks of this kind of hell, Lowery used his one day off from production to work up a rough cut of A Ghost Story’s first act. Mercifully, he liked what he saw. Now that it’s done, most critics like what they see, too. Reuniting Affleck and Rooney Mara with their Ain’t Them Bodies Saints director, A Ghost Story offers a sort of metaphysical reworking of the Patrick Swayze–Demi Moore blockbuster Ghost but with Affleck’s silent spook becoming unmoored from space-time. This allows Lowery to play with some Philip K. Dick–style time slips—including a visit to a Blade Runner–type future—while keeping us rooted in the film’s melancholic present through a figure that is goofy, yes, but also unaccountably moving. It’s one of the gifts of cinema, the director offers, that we can find such inexplicable emotional power in something so comically banal. “It’s using something very tangible as a vehicle for expressing something 100 percent intangible,� he explains. “And I think another way to talk around it is to comment upon the history of horror films as social and political metaphors, because almost every horror film is about the world we live in at the time it comes out, and it expresses something that we’re unable to express directly, and that’s why horror films are so persistently popular. And while this film isn’t a horror film, it’s doing something similar: it’s taking something that is inexpressibly common to everybody and using a visual metaphor as a vehicle for taking a deep dive right into it. “There’s something alchemical about cinematic language that I feel is uniquely suited to capturing that meta-ness beyond the mere physical,� he continues, bringing up the comparably daring Thai filmmaker Apichatpong Weerasethakul. “There are scenes in Syndromes and a Century that I can’t quite explain, but they work in a truly profound way. There are shots of, I dunno, factory ductwork in the ceilings that truly feel mysterious. And I don’t know why.� -


FOOD

Italy’s Verdicchio yields surprises

T

his week’s column is be- I’ve always enjoyed the flavour profile, ing filed from Barolo, in the but I have to admit that I expected the heart of Piedmont, Italy. I’ve tastings to go from refreshing to borreturned to the region a year ing in a short amount of time. after my last visit, participating in The wines—hailing from the the Collisioni Festival, a “collision” of Marche region of Italy—offer those wine, food, music, and literary arts. flavours and can be easily consumed On the latter fronts, Robbie Wil- without much focus or consideration. liams, Placebo, Dave Eggers, Joyce You can be out on a sailboat in English Carol Oates, and more have graced Bay, basking in the sun, while easily various stages—but, of course, it’s the crushing a couple bottles, for sure. wine side of things that brings me here. What surprised me, however, was There have been many things learn- that the wines can also suit a serious ed and more than a handful of surpris- dinner table and be worthy of dises on this trip. Alcerning palates and though I expected opinions. A posito come away with tive attribute of revelations and reVerdicchio is that Kurtis Kolt commendations it can hang on the on regional icons like Barolo and Bar- vine for a good amount of time withbaresco, there have been numerous ex- out fear of getting overripe; it has a periences that have resonated beyond knack for maintaining natural acidinitial expectations. ity, which is crucial for maintaining its I had been scheduled to participate hallmark freshness. in two seminars on one day, centring As an aside, a Collisioni participant on Verdicchio. Although I’ve enjoyed who is a sommelier colleague from the indigenous variety on plenty of Austria commented that although the occasions, I’ve always thought Verdic- style is something those in her market chios were fairly, I dunno, disposable would appreciate, it would be a tough wines: lively whites meant for im- sell, as the profile is ridiculously simimediate consumption, drenched with lar to her country’s legendary Grüner lemon, lime, and young-almond notes. Veltliners. I’d never thought of this

The Bottle

comparison before, but upon a fresh glance with this new perspective? Totally. In saying this, if you’re a fan of the noble Austrian variety, you may want to glance toward these wines. One of the wines we tasted was Villa Bucci Verdicchio dei Castelli Classico Riserva 2013 ($55.99, B.C. Liquor Stores). Upon first glance, it may seem a little pricey and tired, based on the vintage being a few years back. This was the wine that made me recognize the ageability of Verdicchio. Many international colleagues around the room seemed in step with my surprise at the wine’s dimension and poise. In fact, the words proper Chablis were even tossed around on a couple occasions when we tried to bring context to what was in our glasses. On the nose, the wine had lifted mint, lemon balm, and fresh-squeezed citrus-fruit notes, where on the palate we delved into warmer elements of nutmeg, hazelnut, and marzipan. The acid was lifted; the fruit was precise. The wine could easily go another few years without falling apart. I get that most of us aren’t spending upwards of 60 bucks on a wine on a regular basis; I’m certainly not. On this note, it’s fortunate that we can get

other, accessibly priced Verdicchios in our market. Umani Ronchi Verdicchio dei Castelli Classico Superiore 2015 is a mere $17.99 and available throughout the province at B.C. Liquor Stores. The wine is fresh and lively, with fresh lime and lemonade notes, and on the palate it is rounded out with some hazelnuts and great beeswax character that provides a nice, elegant mouthfeel. Although this style comes from halfway around the world, I can’t help but think of how well it can fit in here. I’m considering things like halibut or salmon on the grill, vegetable-forward dishes, and takeout Thai curry that may harbour a touch of heat. In the coming weeks, I’ll be riffing on various grape varieties, regions, and wines from Italy. Although some aspects I’ll be covering will be things I’m expected to report on, this initial experience proves that nothing is stagnant or worth dismissing in the vast world of wine. I’d never have imagined that the Italian wine style I’d be most excited to share from this experience would be Verdicchio, but here we are. It proves that quality wine can at once be challenging, humbling, surprising, and— most importantly—delicious. -

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Delhi-6 offers comfy vibe, tasty food New restaurant boasts succulent butter chicken > BY CHARLIE SMITH

T

here aren’t many purely Delhi-style restaurants north of the Fraser River, and you can tell the difference by the curries. They’re heavier and taste more homemade than those prepared in other parts of India. The newest in Vancouver is the Delhi-6 Indian Bistro in the former Thai House space at 1766 West 7th Avenue. On two recent visits, the butter chicken was absolutely extraordinary in its succulently spiced bright orange sauce. The caulif lower in the aloo gobi in the first meal was slightly overcooked, but not terribly so. That wasn’t a problem with the biryani served with butter chicken on the second trip. Here’s something to keep in mind with Delhi food: the naan is sometimes topped with a greasy sheen. If that’s not your thing, ask for it without this coating. Unlike in almost every other local Indian restaurant, the naan comes in individual baskets for each person at the table. And the service is exceptional. It also looks like some thought has gone into Delhi-6’s interior. While the layout is very similar to the old Thai House—with the floorto-ceiling windows, booths on the outside, and tables in the middle— the new dark-brown seats and artful hanging lanterns make for a far comfier vibe. But this elegant décor comes at a price: the meals here are more expensive than at less snazzy Indian joints around town. The restaurant’s name will remind Bollywood fans of the 2009 movie Delhi-6, starring Abhishek Bachchan and Sonam Kapoor. The number 6 in the film title— and the bistro—ref lects the postal district of Old Delhi, known as Delhi 6. It’s home to a famous huge bazaar where some of the restaurant’s furnishings were sourced. The market square in this neighbourhood, Chandni Chowk, was designed by the daughter of the Mogul emperor Shah Jahan, who created the Taj Mahal. And, of course, the number 6 also matches the final numbers of the restaurant’s street address in Vancouver. How quaint is that? -

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MUSIC

DJ Shub’s powwow BY H OLLY M C KENZIE-S UT T ER

sounds are still spinning in new directions. At his home studio in Fort Erie, Ontario, Dan General—DJ Shub, as he’s known on-stage—is preparing for a long summer on the road. He’s working on new music and fine-tuning the set he’ll be playing at Vancouver’s Drum Is Calling Festival, one of many shows he’s booked across B.C. this summer. And in a tidbit of personal news, Shub tells the Straight over the phone that he just got verified on Twitter. “It’s this weird thing I didn’t know happened,” Shub says. “Everyone was like, ‘You’re verified, don’t you know what that means?’ I had no idea.” While it may seem trivial, Shub has every right to be proud. The blue checkmark represents another step for the Mohawk musician on his steady climb to mainstream recognition— a journey that includes a Juno Award in 2014 with his former group A Tribe Called Red, the release of his solo EP PowWowStep in 2016, and a MuchMusic video award nomination for his first music video, “Indomitable”. All significant milestones, considering that Shub and his peers had to invent a term, powwowstep, to describe the genre of music they were making. Powwow-step combines elements of traditional powwow sounds, dubstep, electronic dance music, and, of course, the impressive technical skills that Shub’s been honing since he started as a battle DJ in his teenage years. “We really didn’t know what to call it,” says Shub with a laugh. “In the early days we were doing a lot of powwow and dubstep, so we kinda just gave it the name. But now it’s evolved into this thing that spans all genres of music. And I always tell people, powwow-step is still young.

A powwow for our times

While on tour with A Tribe Called Red several years ago, DJ Shub observed that European audiences had some mistaken notions about Canadian history.

not,” says Shub. “My next project that I’m working on is called the Smoke Dance Project, that’s very DJ Shub’s sound blends traditional First Nations particular to where I’m from, Six Nations of Modrumming and singing with electronic dance music hawk. And that is just a And it’s got so much room to grow, so I’m excited perfect example of how unique certain nations are. to see where it’s gonna go.” I love the fact that I get to show people something Shub is doing his part to facilitate that growth that they’ve never seen before, and how beautiful by elevating other Indigenous artists. Every track the culture can be and how cool it can be.” on his album features the names of the drum Exposure to Shub’s music has been eye-opening groups he samples, so fans can check out the for Canadian audiences, but Shub says the culture sounds of Northern Cree or Black Lodge. shock was even stronger when he toured Europe And Shub’s been surprised at how often listen- with A Tribe Called Red a few years back. ers have thanked him for exposing them to pow“They obviously really don’t know the history wow artists. For many, it’s a genre they haven’t of the music, you know?” says Shub. “They’re heard much about, or that they conceptualize as taught how a lot of people are taught, the bare esfirmly rooted in the past—a perception Shub is sentials of Native culture. So they were shocked working hard to change. and surprised when we did Q&As over there and “A lot of people ask me ‘Hey, did you get, like, we had to tell them ‘Yeah, Canada hasn’t really old recordings?’ ” says Shub. “And I’m like, ‘No, treated our people that good.’ They have this porthese powwow drummers and singers, they’re trayal of Canada being this nicest country in the talking about recent stuff and they’re coming out world or whatever, and I said, ‘Well, I mean, it with new things.’ ” can be. But it’s got a bad history.’ ” So far, Shub has mostly worked with traditional People may not have understood the history of Plains drumming, the sound most people associ- the music, but performancewise, Shub says it didn’t ate with powwow. But he’s currently diversifying make a difference—audiences knew what to do. his samples to showcase the unique particularities “We played a lot of gigs and people really of powwow across other First Nations. didn’t understand what was going on. They just “There’s thousands of differences in cultures knew to dance.” around Turtle Island. Every nation has their own Shub says he’s looking forward to bringing his type of singing and dancing ceremonies and what- skills to Vancouver next Saturday (July 29) for

Drum Is Calling. He’s conscious of the sensitivity surrounding a festival that’s scheduled in response to Canada 150, but says he can’t pass up an opportunity to perform for people who are willing to learn about Indigenous culture. “If I get the chance to express my culture and show people the music, and get people to take in some information that they weren’t expecting, I’m gonna take it, instead of just being negative about it,” says Shub. “I look at it as not really celebrating the last 150 years, but I’m looking forward to the next 150 years.” Politics aside, a chance to collaborate with all-stars and friends like Buffy Sainte-Marie, Kinnie Starr, and George Leach is a dream come true for Shub. He’s a bit shocked that he’s making a living as a DJ, after leaving a well-paying job to join A Tribe Called Red. “It was one of those scary moments when it’s like, ‘Do you live your life comfortably, or do you take a risk and chance it?’ ” says Shub. “But I think it worked out good.” That might be an understatement. And even though Shub is exposing many people to powwow for the first time, he’s making music that people instinctively respond to. “It’s a familiar sound for people, kind of—when they hear it, they get it right away,” Shub says. “And it’s good to see people are reacting. They’re going crazy for it.” DJ Shub plays the Drum Is Calling Festival at Larwill Park next Saturday (July 29).

ELEMENT FEST GROWS O RG ANICALLY >>>

> BY MIKE USINGER

I

n more ways than one, Element Music Festival cofounder Keith Duggan is living the dream. On the affordability front, the events-industry veteran has been lucky enough to win the realestate lottery in Vancouver and move up to Princeton. It’s there in the B.C. Interior that Duggan has been able to realize a lifelong goal. Along with three partners (Robert Christy, Bruce Macaulay, and Justin Picard), the hard-core music fan was able to purchase a 160-acre piece of property with a natural amphitheatre that he likens to the famous Gorge Amphitheatre in Washington state. “It’s a little bit smaller, but you can paint that picture,” Duggan says, speaking on his cellphone from Princeton. “There’s a lake on-site and tons of camping. So we did it—we cashed out of Vancouver, we bought this property, and for the last two years we’ve been developing.” A major part of that development has been the building of the Snug Lake Amphitheatre.

The String Cheese Incident is one of the major draws at this year’s Element Music Festival, taking place in Princeton.

“We own the property outright, and because it’s our property we were like, ‘What do we want to do now? Hey, let’s build a venue,’ ” Duggan says. “That way we can pick and choose the events we do.” Determined to do just that, Duggan and his partners bought the old Vancouver Folk Music Festival stage and a SaddleSpan tent, and then

hooked up with an audio and light company (Skaha Sound) in Penticton. Last year saw them do a small dry-run festival at their new venue with acts—including Five Alarm Funk and Brickhouse—that they’ve become friends with over the years. That event, which attracted around 300 fans, has set the table for a festival this summer that Duggan

and his business partners—who’ve incorporated as Element Music and Events Inc.—couldn’t be more excited about. Imagine not only having your own concert venue, but also having the contacts to stage a festival with some of your favourite bands. That’s what will happen from August 3 to 6 at the Snug Lake Amphitheatre, when the Element

Music Festival will feature jamband giants like the String Cheese Incident and Garaj Mahal. Also on the bill will be improv-guitar great Steve Kimock and Friends, Colorado prog-rockers Genetics, Vancouver’s Big Easy Funk Ensemble, and the return of both Five Alarm Funk and Brickhouse. Bands will end up doing multiple sets over the festival. “Element is going to be our flagship, because this is the music that we love,” Duggan says. “That being said, we kind of shot for the moon this year. Getting String Cheese Incident for three days—that happened because they are old buddies of ours from, like, ’99. They are doing huge 50,000- to 60,000-people festivals in the States. And we’re doing, like, 4,000 this year. Getting Garaj Mahal back together after a decade—those guys, again, are friends of ours and they wanted to support the project, plus they wanted to play the venue, which was totally sweet. Same goes with Kimock. see next page

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“In terms of the improvisationalmusic world, we’ve put together some of the heaviest hitters in the world,” he continues. “Our plan was ‘Put them all together in one place, give them multiple days so they aren’t leaving right after their set, and support collaboration.’ We’re giving all these phenomenal musicians a nice palette where they can go paint.” The Element Music Festival is, as noted, hoping to draw 4,000 people this year to the Snug Lake Amphitheatre, where there will be camping on-site as well as food trucks and craft venders. The festival will be bringing in a stage, lighting, and sound system large enough to handle the demands of the event. Plans are to shoot for a crowd of 8,000 once Element gets more established. “We’re two years in, and continue to develop daily,” Duggan says. “We went with a number we were comfortable with this year to make sure that everyone had a lot of space, and also so that we can deal with anything that comes up. You know the production business—you’re constantly having to deal with issues as they arise and problem-solve on the spot. Better to do that with manageable numbers than to go crazy and not be prepared to handle things.” He adds that, like his partners, he’s had years of experience in the music and events business. “I’ve been doing this since I was 15 years old in many different areas,” says Duggan, who is 45. “I was a kid with gloves at the [Vancouver] folk and jazz festivals. I worked at Universal Records and X-FM. Between myself and my three partners, there really isn’t much in this music- and event-production industry that we haven’t done.” While Element will be the flagship event of the venue, plans include staging metal and folkstring-bluegrass festivals at the Snug Lake Amphitheatre. “My roots are in metal,” Duggan says with a laugh. “Bands like

Metallica and Black Sabbath and Slayer. My partner Bruce comes from the punk world—he loves the Clash. We all grew up on heavy music. And then we all went to a Grateful Dead concert and became jam fans.” Duggan and his partners also hope to use the site for individual concerts with big-name acts. It’s not lost on Element Music and Events Inc. that the festival business has had a rough ride over the past couple of years with the highprofile cancellations of both the Squamish Valley Music Festival and the Pemberton Music Festival. Still, he argues that the appetite for live music is stronger than it’s been in years, and the positive thing about the Snug Lake Amphitheatre is that he and his partners control all aspects of the operation, from the festival ticketing to revenue from parking and camping. “Things have kind of taken a full circle because everything has gone digital,” he says. “The model has changed in the record industry. What’s been a silver lining, at least in my line of work, is that people want to have experiences. They want to go and do live stuff.” And what better place to do that, Duggan says, than in an area of the province fabled for both natural beauty and beautiful summer weather? Sometimes you get to live the dream. “After all these years of doing what we’ve been doing, when we finally bite the bullet and say ‘Let’s do something for ourselves,’ we find this piece of property that actually had a concert amphitheatre and a lake and camping. The site planned itself when we first walked onto it. It was like, ‘Well, this will go there, that will go there, and that will go there.’ It was literally the easiest site plan we’d ever done— we did it in two days. It was almost like this piece of property was meant to be what it’s becoming now.” For more info on the Element Music Festival, including ticket prices, camping, and lineup details, see www.elementfestival.info/.


MUSIC

Dacus sings like an old soul on No Burden For a crash course in how to lose

make up No Burden were recorded in a day with Blizard (who is now in her band), with overdubs and backing harmonies taking a second day. “We kind of stumbled into this,” Dacus says. “I never imagined that the album would affect people the way that it has. I wrote the songs over three years, just writing for myself— like an impulse. I wanted to express something and grow as a person. There was a realization that ‘Other people do this as well, so there should be nothing holding me back.’ ” Except that few people do it as well as Dacus the first time out. If ever. She’s too humble to admit that, but will note that she couldn’t be more excited about what’s coming next. The magic, evidently, is anything but gone, despite the inevitable down days that come with being in the music industry. “We were so limited on time for No Burden that we didn’t get to overthink anything,” she says. “There was no going for the perfect take, or even going for three takes. It was kind of nice because what you’re hearing is our first impulse. But I will admit we’ve just finished the second record, and it was so nice to spend 20 minutes instead of two minutes on a part.”

2 one’s innocence in a hurry, few

institutions are more eye-opening than the music industry. It took Lucy Dacus next to no time to discover this after making No Burden, which was one of the great albums of 2016. Selfrecorded and released on the tiny indie EggHunt imprint, the Richmond, Virginia–based artist’s debut began attracting plenty of attention, the songs wickedly clever, hauntingly melancholy, and beautifully dreamy, sometimes all at the same time. Before Dacus knew it, she was taking meetings with labels across the country, all of which promised things they probably couldn’t deliver. The 21-year-old would eventually sign with megarespected indie heavyweight Matador Records, which is famous for treating its artists with respect. Happy as she is with that decision, she suggests she’s lost some of the innocence that not only first got her writing songs but eventually led her to bail on film school for music. “I haven’t lost all faith,” Dacus says with a laugh, on the line from her home in Richmond, “but it’s true that once you’re in it, a bit of the magic falls away. Maybe that doesn’t happen to everyone, and I really didn’t want it to happen to me, but it’s true that you start to meet people with business mentalities instead of creative mentalities. And so, I dunno, sometimes I don’t feel the same magic that I used to as a showgoer. Playing a show, there’s all this behind-the-scenes stress, like maybe your van breaks down, and you have to deal with it.” While barely of drinking age in most American states, Dacus sounds, quite admirably, like an old soul on No Burden. It’s hard not to fall instantly for “I Don’t Wanna Be Funny Anymore”, where, over a rumble-in-thesurf guitar line, the singer drawls, “Is there room in the band? I don’t need to be the frontman/If not, then I’ll be the Y JJULY

29

> MIKE USINGER

Lucy Dacus says she started writing songs for her own personal growth, never imagining that they would have a powerful effect on other people.

biggest fan.” The metal-heart postblues of “Troublemaker Doppelgänger” has her observing “No child is born knowing there’s an ugly or evil thing/When did my folks stop covering my eyes?” “That lyric comes from a constant question I have,” Dacus says. “Whenever I’m trying to understand people that I don’t understand, or things in people or even in myself, I’ll say, ‘When did this negativity get here?’ I try to think back to how I was raised to deal with things, and then consider how the person that I’m dealing

with grew up. It’s true that no child is born knowing there’s an evil thing. You learn what is ugly.” Despite such existential moments, Dacus comes across as anything but jaded. Funnily, she ended up embarking on a music career almost by accident, picking up the guitar at age 12 after years of writing poetry and journals for herself. Everything would coalesce when a friend, Jacob Blizard, who was studying guitar in university, asked to record her for a school project. The songs that would

Lucy Dacus plays the Cobalt on Monday (July 24).

Hoyles hopes people feel his music, not just hear it In 1996, Noel Gallagher of

2 Oasis took to the U.K.’s Top of

the Pops stage strumming his iconic Union Jack Epiphone. Those four minutes of footage changed multiinstrumentalist Matt Hoyles’s life. Deciding that nothing could be cooler than playing the guitar, he badgered his parents to get him some lessons—and thus began a

lifelong obsession for the New Zealand national. Despite first falling in love with the Gallaghers’ catchy rock ’n’ roll melodies, though, it was the blues that really captured the musician’s imagination. “From the moment I first heard that genre, it was the music that most resonated with me,” Hoyles tells the Straight on the line from a park near his Vancouver home. “I feel it in my soul—there’s something so primal about it. I wasn’t exactly the happiest teenager, so it was a really good way for me to deal with what was going on, and I guess right up until now it’s always been my outlet. There are a fair few people on the circuit doing the classic strum-along 12-bar blues, but I think one of my strengths is that when people see me really living in that music, and completely embodying it, they feel it rather than hear it.” Starting with a formal education in jazz and classical composition in New Zealand, the performer quickly realized that it would be difficult for him to break out as an artist from, in his words, “a lonely island in the middle of the South Pacific”. Packing his bags and loading his guitars into their flight cases, Hoyles jetted off to Canada to launch his career. A fistful of gigs and a live EP later, the musician found himself at Toronto’s Canadian Music Week, talking to feted producer Earl Powell. “Earl was on some of the mentor panels there,” Hoyles recalls. “He’s been nominated for a Grammy and he’s working with the Jacksons right now, so it was an honour to talk to him. He blew my mind. Everything he said was some really sage advice from a place that I’d never tapped into. I met him with Ben Pelchat from Toronto’s Kensington Sound studios, who was a new friend. A couple of weeks later I got a call, and Ben see next page

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Matt Hoyles

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and Earl had been talking together unbeknownst to me, and said that they wanted to record my next album for free. It still blows my mind.” Laying down the entire record in just seven days, with sessions running from 11 a.m. until 3 a.m., Hoyles has crafted a unique mix of tracks, incorporating elements from swing, Delta blues, jazz, and country. A big advocate of working in a number of different genres while still staying true to his style of composition, the artist is excited to reveal the new songs at Merritt’s Rockin’ River festival, and has planned a characteristically explosive performance. “There’s more diversity in the festival’s lineup this year,” he says. “More and more booking agents understand that genres are becoming more plastic. You listen to any really good country artist at the moment, and there are definitely elements of other styles in there, like the blues. I’m really looking forward to getting up on that stage and showing people what I bring to the table.” > KATE WILSON

Matt Hoyles plays at Rockin’ River Musicfest on August 3.

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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 Wizard of light Whomever does the lightning for the Imperial is a genius. I am continuously left in awe at the way you use light to dig deep in to my soul.

Get a diary I wish you would use a diary instead of texting me all your thoughts, actions, confessions.

Sunny day sweeping the clouds away If there’s nothing good on TV and I’m really that bored, I just watch Sesame Street. It’s not for my demographic but I’ll take Muppets counting and adding up letters any day over those mouthy Kardashians or the redundant Trump reality show.

Donating old toys I was going through some old toy figurines in a shoebox and it made me realize that I can’t hang onto this stuff anymore. I’m a grown adult and would feel much better donating my toys to poor kids that are in need. After some serious thinking it’s time for me to let go and carry on. It feels refreshing just to do a good deed for someone that may need something more than you do.

Sarah Jane Scouten shouldn’t

2 be here—not here, catching up

with family and friends and taking lessons on stagecraft from Billy Bragg at the Vancouver Folk Music Festival. She should be on-stage herself at Arts on the Fly—the tiny, perfect festival that happens every year in Horsefly, British Columbia—but raging wildfires have forced that event to cancel. It’s doubly frustrating for the 31-year-old roots musician, because this is the second time she’s failed to make a Horsefly rendezvous, having previously missed a chance to visit her friend and fellow singerguitarist Pharis Romero at the latter’s Cariboo home. That was all GPS’s fault, apparently. “It steered us onto this narrow road covered in bears and deer—and then it got dark, and it became a narrow gravel road, and then it turned into an ATV trail,” Scouten reports, on the line from a friend’s East Vancouver digs. “We lost cellphone reception, and went over a rock and lost the oil pan, and had to sleep in the car overnight—and I think Pharis thought we were dead.” Scouten eventually found help from some rural gun nuts, but not before braving signs that read “If you can read this, you’re in range.” “It was basically Deliverance,” she says, laughing. It’s a good thing, then, that Scouten likes banjo music—although deep Americana is only one of the styles that she explores on her just-released third album, When the Bloom Falls From the Rose. “Acre of Shells”, a Scouten original, sounds like it could have been written by Mother Maybelle Carter circa 1932; it’s the kind of song Dolly Parton ought to cover. But “Bang Bang” is badgirl rockabilly with lyrics inspired by dirty-blues heroine Memphis Minnie, and the title track is summery folk-pop in the vein of Great Lake Swimmers. Just who is Sarah Jane Scouten? “That was a concern of mine before releasing this record,” she admits. AUG

6

“Like ‘Is it too manic?’ Nowadays we’re very concerned with our brand, or maybe your label is concerned with brand. I had this discussion with a producer named Aaron Goldstein, and he just said, ‘Do whatever the hell you want! There are absolutely no rules for albums anymore.’ And I kind of ran with that, trusting that the songs would end up relating to one another in the same way that if two arbitrarily chosen words are placed together, you’ll create a meaning between them. And, to me, that’s kind of important—I hate listening to a record where things sound the same throughout.” Paradoxically, the songs that might offer the biggest clue to Scouten’s identity are the two she didn’t write: Jasper “Joe” Adams’s Alberta travelogue “Where the Ghost River Flows” and Paddy Graber’s labour anthem, “Britannia Mine”. They speak to the whip-smart singer’s inner archivist, reflecting her interest in both Canadian history and musicology. But they also embody the values the Toronto-based performer absorbed growing up in a musical family on Bowen Island. “Playing music was a very natural thing,” she explains. “It wasn’t for performance; it was in order to facilitate community-building—and just kinship, I think. So that’s why I’m still so passionate about playing folk music— because that’s its social function.” Billy Bragg would most definitely approve. > ALEXANDER VARTY

Sarah Jane Scouten plays a recordrelease party for When the Bloom Falls From the Rose at the Fox Cabaret next Thursday (July 27).

LSD and the Search for God trips out at Mad Alchemy As spectacles go, it promises

2 to be one of the most mind-

warping of the year, partly because of the bands involved and mostly because of the man in charge of orchestrating the visuals. “The main guy is Lance Gordon,” says Andy Liszt, singer-guitarist with San Francisco’s LSD and the Search for God. “He’s got to be about 68 years old or something, but he was back on the scene when he was a teenager, learning stuff at Grateful Dead shows and doing stuff with Bill Graham at the Fillmore West. It’s a pretty spectacular thing.” The thing that Liszt refers to is the Mad Alchemy Caravan tour, which > MIKE USINGER brings six of the most fantastically monikered acts in new-millennium psychedelia to Vancouver as part of LSD and the Search for God plays a package tour. In addition to LSD the Mad Alchemy Caravan tour at the and the Search for God, you get the Rickshaw Theatre on Friday (July 21).

FIRST TIME IN CANADA, FROM MEXICO

EL TRI WITH GUESTS

Bathing suit what is it with people when I mention Speedo. They’re great to wear at the beach, very comfortable. European guys with all body types wear them and it’s like so what. But over here people get weird about it.

Visit

Sarah Jane Scouten does whatever the hell she wants

Matt Hoyles decided to take up the guitar after seeing Oasis on TV.

to post a Confession

28 THE GEORGIA STRAIGHT JULY 20 – 27 / 2017

Stevenson Ranch Davidians, Jesus Sons, Dream Phases, Family of Light Band, Creatures Choir, and more, all for 12 bucks. But where things really get trippy is the visual component. Mad Alchemy bills itself as an analogue liquid light show straight out of San Francisco during the psychedelic years. That means multiple overhead projectors pointed at the stage, with a team of alchemists working to recreate a time when Haight-Ashbury was the most magical intersection on the planet. Orchestrating things is Gordon, who was last seen in these parts providing the acid-dipped eye candy for Temples at the Rickshaw in February. Although he formed Mad Alchemy only a half-decade ago, he honed his craft in the ’70s, working with the likes of Big Brother and the Holding Company, Roky Erickson, and It’s a Beautiful Day. When Gordon first stumbled onto LSD and the Search for God, he found himself an instant fan of the band’s mix of paisley-splattered psych and dream-warp shoegaze, a mixture in full effect on last year’s Heaven Is a Place EP. Liszt and his bandmates were equally enamoured. “The first time I met Lance was when we did a show in Salt Lake City, of all places,” Liszt recounts. “He was living in Utah at the time and he did a show that we were doing. He liked what we did, and we loved what he did. We maintained contact and then he relocated to the Bay Area, where he got really involved again with the light-show stuff. He’s done a number of shows with us since then.” It’s no surprise that Gordon fell for LSD and the Search for God. Raised in Minnesota, Liszt moved to the Bay Area after a stint in New York. He met guitarist and now bandmate Chris Fifield and they immediately bonded over music, not just the 13th Floor Elevators and Blossom Toes, but also the Smiths, Slowdive, and Luna. “We’ve definitely got a more broad range of influences than one might think,” Liszt says. “We definitely don’t feel locked into or pigeonholed into one genre. What we’re doing is making music that we really believe in.” The group released an eponymous debut EP in 2006, then took a Chinese Democracy–like length of time to produce its follow-up. In between, there were tours of Europe and appearances at psychedelic happenings across North America, including stands, naturally, at the Levitation festival in Austin. Liszt promises that new music is on the horizon, with the band heading back into the studio in September. As for the immediate future, get ready to have your mind blown in Vancouver by Mad Alchemy’s main visionary. “Lance is in his 60s, but he has the creative DIY spirit of an 18-year-old,” Liszt says. “He’s got a young couple of 20-year-olds who he is passing this on to, and he’s there before the sound check to get everything set up. It takes them longer to break down than the bands. They’re using oil and water to create live paintings on their overhead projectors, spinning plates and adding different colours and moving things around. It’s like what they did for lights before people had access to all these digital things. And it’s every bit as amazing.”

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Biltmore Cabaret (2755 Prince Edward). Tix on sale Jul 21, 10 am, $15 (plus service charges and fees) at www.livenation.com/. LEE RANALDO Composer, visual artist, writer, musician, and founding Sonic Youth member tours in support of upcoming solo release Electric Trim. Oct 29, doors 8 pm, show 9 pm, Cobalt (917 Main). Tix on sale Jul 21, 10 am, $15 (plus service charges and fees) at www.ticketweb.ca/.

music/ timeout CONCERTS CLUBS & VENUES EVENTS OUT OF TOWN

BLANCK MASS U.K. electronica artist and Fuck Buttons member tours in support of latest solo release World Eater. Nov 3, doors 7 pm, show 8 pm, Fox Cabaret (2321 Main). Tix on sale Jul 21, 10 am, $13 (plus service charges and fees) at www.ticketweb.ca/.

< < < <

CONCERTS

2THIS WEEK

2JUST ANNOUNCED TENNYSON Canadian electronica duo. Sep 18, doors 8 pm, show 9 pm, Fox Cabaret (2321 Main). Tix on sale Jul 21, 10 am, $15 (plus service charges and fees) at www.ticketweb.ca/. BILLY BRAGG English folk-punk singersongwriter performs songs from his 40-year career. Sep 30, doors 8 pm, show 9 pm, Commodore Ballroom (868 Granville). Tix on sale Jul 21, 10 am, $35 (plus service charges and fees) at www.livenation.com/. SINGLE MOTHERS Canadian punk band tours in support of latest studio album Our Pleasure. Oct 19, doors 8 pm, show 9 pm,

MBS

JULIEN BAKER Memphis indie singersongwriter, with guests Half Waif. Dec 9, doors 8 pm, show 9 pm, Rickshaw Theatre (254 E. Hastings). Tix on sale Jul 21, 10 am, $18 (plus service charges and fees) at www.ticketweb.ca/.

JACK JOHNSON Singer-songwriter, actor, filmmaker, and activist from Hawaii, with guest John Craigie. Jul 23, doors 5 pm, show 6:30 pm, Deer Lake Park (6344 Deer Lake Ave., Burnaby). Tix $59.50 (plus service charges and fees) at www.livenation.com/. NEIL DIAMOND American pop legend performs on his 50 Year Anniversary World Tour. Jul 24, Rogers Arena (800 Griffiths Way). Tix at www.livenation.com/. BOB DYLAN American folk-rock legend (“Blowin’ in the Wind”, “The Times They Are a-Changin’ ”) performs with his band. Jul 25, doors 7 pm, show 8 pm, Rogers Arena (800 Griffiths Way). Tix $112/86.50/56.50/46.50 (plus service charges and fees) at www.livenation.com/.

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BACKSTAGE LOUNGE Arts Club Theatre, 1585 Johnston, Granville Island, 604-6871354. Hot Jazz Jam night on Tue.

VOGUE THEATRE 918 Granville, 604-5691144. 2MICHAEL JACKSON HISTORY TOUR Jul 22 2TY SEGALL Aug 3

on the web!

BILTMORE CABARET 2755 Prince Edward, 604-676-0541. 2RIO BY NIGHT Jul 20 2NASTY WOMEN COMEDY: FIRSTS Jul 24

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BLUE MARTINI JAZZ CAFE 1516 Yew, 604-428-2691. Live jazz, soul, and blues. Closed on Mondays.

WISE HALL 1882 Adanac, 604-254-5858. 2PLANET PINKISH Jul 19 2COLLEEN BROWN, KIMBERLEY MACGREGOR, AND AMY VAN KEEKEN Jul 20 2HANK PINE HIP HOP BAND Jul 24

For up-to-the-minute, searchable Music Time Out listings, visit

PNE SUMMER NIGHT CONCERTS Featuring performances by Mother Mother (Aug 19), Billy Currington (Aug 20), the Pointer Sisters (Aug 22), High Valley (Aug 23), ZZ Top (Aug 24), Chicago (Aug 25), Colin James (Aug 26), Huey Lewis and the News (Aug 27), Tom Cochrane and Red Rider (Aug 29), the B-52s (Aug 30), the Doobie Brothers (Aug 31), Rick Springfield (Sep 1), the Gipsy Kings (Sep 2), and the iHeart Radio Beach Ball (Sep 3 and 4). Aug 19 to Sep 4, PNE Amphitheatre (2901 E. Hastings). Free with PNE admission, info www.pne.ca/.

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EMPLOYMENT

CAREERS

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HIRING ONE FULL-TIME SHEET METAL WORKING $18/hr, Speak basic English, high school or equivalent, Math & Geometry an asset. On-the job-training & extended health insurance DUTIES: Read specifications/follow verbal instructions, lay out, set up & operate one or more light/heavy metalworking machines; power presses, drills, brakes, slitter, punch presses & other hand tools to cut, bend, roll, ream, punch & drill, shape & form metal stock into parts/ products, check products for correct shapes, dimension & other specifications troubleshoot & perform corrective action or minor repairs & document work completed Email: el.mano70@hotmail.com Tel: 604-723-7944 Esther's Sheet Metal 3890 1st Ave Burnaby BC V5C 3W1

RECREATION PROPERTIES

HELP WANTED

Moving & Storage, Free EST. Visa Okay. 604-628-7136

CHILD CARE PROVIDER

Supervision and care required for our son (under 2 years) at our residence in Surrey. Optional accommodation may be available at no charge on live-in basis. Note: This is not a condition of employment. This job posting is open for everyone who qualifies including aboriginal, youth and new immigrants. DUTIES INCLUDE: Bathing, changing, dressing, personal cleanliness. Preparing light vegetarian food, healthy soups and feeding the child. Light housekeeping and laundry.Take care of the sleep and wake up hours of the child. Keep record of the activities of the child on daily basis. QUALIFICATIONS: Completion of Secondary school required. Must have relevant experience or 6 months training or certificate as Caregiver. Fluency in English required. Non-smoker and clean habits. $11.00 Per Hour haylatoffice@gmail.com

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THE IMPERIAL 319 Main, 604-8680494. 2WAXAHATCHEE Jul 25 2SIX60: WESTWARD MUSIC FESTIVAL Music by CANCELLED Jul 26 Gov’t Mule, Vince Staples, A Tribe Called IVANHOE PUB 1038 Main, 604-608-1444. Red, Dear Rouge, Charlotte Day Wilson, Pub with live bands on weekends and Pup, Hannah Georgas, Touché Amoré, Watsky, Too Many Zooz, Busty and the Bass, open jam night Sun from 4 to 8 pm. Open at 9 am with breakfast and daily food Bliss n Eso, Youngblood, Beach Season specials. Pool tourney Thu. No cover. and Neon Dreams, DD Dumbo, Ralph, and

Quoting WALKER2017 in the subject line NO PHONE CALLS PLEASE

AY TOD CALL IL A B L E AVA

RAILWAY STAGE AND BEER CAFÉ 579 Dunsmuir, 604-564-1430. Comedy Tue, darts Wed, live music Wed, Thu, Fri, and all day/night Sat. 2BOOGIE NIGHTS Jul 20 2FLOW ‘N’ MOTION Jul 21 2JP MAURICE Jul 22 2JOKES Jul 25 2MALK Jul 28 RICKSHAW THEATRE 254 E. Hastings, 604-681-8915. 2MAD ALCHEMY CARAVAN Jul 21 2WEDNESDAY 13 Jul 22 2PICKWICK Jul 29 2EVERY TIME I DIE Aug 2 2EVERY TIME I DIE Aug 2

AT THE WALDORF 1489 E. Hastings, 604-253-7141. Punk as F*CK Tuesday, Wiki Wednesday, and TING! Dancehall and Reggae Thurs.

TRUCK STOP CONCERT SERIES Red Truck Brewing presents the annual summertime concert series, featuring performances by Lee Fields and the Expressions, Vince Vaccaro, and Real Ponchos. Aug 12, 4-10 pm, Red Truck Brewery (295 E. 1st). Tix at www.truckstopconcertseries.com/.

The Georgia Straight requires energetic, physically fit, and customer service oriented walkers. Walkers will distribute The Georgia Straight on the West Side (Approx. 3-5 hrs) Vehicle Required. Interested candidates please email your resume to:

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Midnight Sister. Sep 14-17, Vogue Theatre (918 Granville). The event also runs at Biltmore Cabaret, Imperial Theatre, Fox Cabaret, and Red Truck Brewery. Tix $59.50224.50, info www.westwardfest.com/.

BRUNO MARS Grammy-winning, multiplatinum superstar performs as part of his 24K Magic World Tour. Jul 26-27, doors 7 pm, show 8 pm, Rogers Arena (800 Griffiths Way). Tix $175/99.50/79.50/40 (plus service charges and fees) at www.livenation.com/.

$23/hr, high school/equivalent, speak basic English, several years of cooking experience Duties: design and prepare ready-to-be-cooked authentic Italian meals, innovative meat & poultry dishes, create decorative food displays, plan menus, estimate food requirements & costs, maintain inventory, records of food, supplies & equipment & clean work area. Columbus Meat Market Ltd 1310 Nanaimo St, Vancouver, BC V5L 4T6 Email: colmeat@telus.net

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LEGENDS VALLEY MUSIC FESTIVAL Music by Body Count, House of Pain, Magic!, Sloan, Five Alarm Funk, the Harpoonist and the Axe Murderer, Forgotten Rebels, Funkdoobiest, Mat the Alien, Kytami, Bend Sinister, and Dayglo Abortions. Aug 23-27, Laketown Ranch Music and Recreation Park (Lake Cowichan). Tix $30-329, info www.legends valleymusicfestival.com/.

TIME OUT MUSIC LISTINGS are a public service provided free of charge, based on available space and editorial discretion. Submit listings 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.

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savage love I’m a 35-year-old straight woman, recently married, and everything is great. But I have been having problems reaching orgasm. When we first started dating, I had them all the time. It was only after we got engaged that it became an issue. He is not doing anything differently, and he works hard to give me oral pleasure, last longer, and include more foreplay. He’s sexy and attractive and has a great working penis. I am very aroused when we have sex, but I just can’t climax. It is weird because I used to very easily and still can when I masturbate. I have never been so in love before and I have definitely never been with a man who is so good to me. Honestly, all of my previous boyfriends did not treat me that well, but I never had a problem having orgasms. My husband is willing to do whatever it takes, but it’s been almost a year since I came during vaginal intercourse! Is this just a temporary problem that will fix itself? > MY ORGASMS ARE NOW SHY

“This is a temporary problem that will fix itself,” said Dr. Meredith Chivers, an associate professor of psychology at Queen’s University and a worldrenowned sex researcher who has done—and is still doing—groundbreaking work on female sexuality, desire, and arousal. “And here’s why it will fix itself,” said Chivers. “First, MOANS has enjoyed being orgasmic with her partner and previous partners. Second, even though she’s had a hiatus in orgasms through vaginal intercourse, she is able to have orgasms when masturbating. Third, she describes no concerns with becoming sexually aroused phys-

ically and mentally. Fourth, MOANS has a great relationship, has good sexual communication, and is sexually attracted to her partner. Fifth, what she’s experiencing is a completely normal and expected variation in sexual functioning that probably relates to stress.” The orgasms you’re not having right now—orgasms during PIV sex with your husband—the lack of which is causing you stress? Most likely the result of stress, MOANS, so stressing out about the situation will only make the problem worse. “I wonder if the background stress of a big life change—getting married is among the top 10 most stressful life events—might be distracting or anxiety-provoking,” said Chivers. “Absolutely normal if it were.” Anxiety-provoking thoughts can also make it harder to come. “Being able to have an orgasm is about giving yourself over to pleasure in the moment,” said Chivers. “Research on brain activation during orgasm suggests that a key feature is deactivation in parts of the brain associated with emotion and cognitive control. So difficulties reaching orgasm can arise from distracting, anxiety-provoking thoughts that wiggle their way in when you’re really aroused, maybe on the edge, but just can’t seem to make it over. They interfere with that deactivation.” Chivers’s advice will be familiar to anyone with a daughter under the age of 12: let it go. “Let go of working toward vaginal orgasm during sex,” Chivers advised. “Take vaginal orgasm off the table for at least a month—you’re allowed to do other things and come other ways, just not through vaginal-penile inter-

> BY DAN SAVAGE course. Instead of working toward the goal of bringing back your vaginal orgasm, enjoy being with your sexy husband and experiment with other ways of sharing pleasure, and if the vaginal orgasms don’t immediately come back, oh, well. There are, fortunately, many roads to Rome. Enjoy!” My advice? Buy stress-busting pot edibles if you’re lucky enough to live in a state that has legal weed, MOANS, or make your own if you live in a suck-ass state that doesn’t. And tell your husband to stop trying so hard—if his efforts are making you feel guilty, that’s going to be hugely counterproductive. But last word goes to Dr. Chivers: “If your vaginal orgasms don’t return, and you’re unhappy about that, consider connecting with a sex therapist in your area.” Follow Dr. Chivers on Twitter @ DrMLChivers.

(NOT SUBTLE!). She’s normal with me—she doesn’t attempt to order me around—but these “rituals” make me uncomfortable and I worry they’re getting off from my witnessing them. > RITUALS OFTEN OBSERVED MORTIFYING IN EXTREME

His apartment, his rules—or her rules, actually. If you don’t want to witness the shit your rich, submissive friend with the great apartment warned you about before you moved in, ROOMIE, you’ll have to move your ass out.

I know a teenager in a theatre pro-

duction who is receiving inappropriate advances from an older member of the cast. Her refusals are met with aggression and threats that he’ll make a scene, ruining the show for everyone. I believe that fear is causing her to follow through with things she isn’t interested in or comfortable with. What I’m a straight man who recently advice would you have on how she gets moved in with a rich, straight friend. out of this situation? She’s otherwise He sent me an e-mail before I moved enjoying the theatre experience. > THEATRICAL HARASSMENT in letting me know he was in a femREALLY ENRAGES ADULT dom relationship. He was only tellTORONTONIAN ing me this, he said, because I might notice “small, subtle rituals meant to reinforce [their] D/s dynamic”. If The awesome band Whitehorse invitit bothered me, I shouldn’t move in. ed me to Toronto to celebrate their new Finding an affordable place in Central album, Panther in the Dollhouse, which London is hard, so I told him I didn’t features songs inspired by sex-workmind. But I do. Their many “rituals” ers-rights activists and—blushing— run the gamut from the subtle to the the Savage Lovecast. (Luke and Melissa not-so-subtle: he can’t sit on the fur- and the band rehearsed and played niture without her permission, which the Savage Lovecast theme live, which she grants with a little nod (subtle); was magical.) Anyway, THREAT, I anwhen he buzzes her in, he has to wait swered your question during the show by the door on his hands and knees and I kindasorta jumped down your and kiss her feet when she enters and throat. I thought you were a memkeep at it until she tells him to stop ber of the theatre company and an

eyewitness—and passive bystander— to this harassment. (“You ask what this kid can do about this,” I recall saying, “but the better question is why haven’t you done something about it?”) But there was nothing in your question to indicate you were an eyewitness and a passive bystander, THREAT, which I didn’t realize until rereading your question after the show. Sigh. I have more time to digest the questions that appear in the column or on the podcast, and my copy editor (peace be upon her) and the tech-savvy atrisk youth live to point out a detail I may have missed or gotten wrong, prompting me to rewrite or rerecord an answer. But I’m on my own at live shows—no copy editor, no TSARY, no net—upping the odds of a screwup. My apologies, THREAT. But even if you’re not an eyewitness, THREAT, there are still a few things you can do. First, keep listening to your friend. In addition to offering her your moral support, encourage her to speak to the director of the play and the artistic director of the theatre. This fucking creep needs to be fired—and if the people running the show are made aware of the situation and don’t act, they need to be held accountable. A detailed Facebook post brought to the attention of the local media should do the trick. Hopefully it won’t come to that, THREAT, but let me know if it does. Because I’m happy to help make that Facebook post go viral. On the Lovecast, Amanda Marcotte on Game of Thrones: savagelovecast. com. Email: mail@savagelove.net. Follow Dan on Twitter @fakedansavage. ITMFA.org.

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