The Georgia Straight - Urban Living - Sept 20, 2018

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SEPTEMBER 20 – 27 / 2018 THE GEORGIA STRAIGHT 5

CONTENTS

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BOOKS

In honour of the upcoming Word Vancouver festival, we asked several of the writers on the program to name the books that have lit up their imaginations and changed their lives. > BY BRIAN LYNCH

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START HERE 24 23 36 23 9 39 18 30

The Bottle Food I Saw You Movie Reviews Real Estate Savage Love Straight Stars Theatre

TIME OUT 32 Arts 37 Music

SERVICES

MUSIC

No longer stuck in a windowless basement in Brooklyn, Bob Moses takes a look at the bigger picture with its new Battle Lines.

37 Careers 9 Real Estate

> BY MIKE USINGER

GeorgiaStraight

37

CLASSIFIEDS

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

@ GeorgiaStraight @ GeorgiaStraight

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straight talk ONLY ONE HOPEFUL GETS CHINESE NAME ON BALLOT

Brandon Yan’s name is going to stand out on the Vancouver ballot for this year’s municipal elections.

It’s the only one that will have Chinese characters representing his Chinese name, in addition to his legal name.

Although there are other candidates in the October 20 election who, like Yan, are of Chinese heritage, they were not able to or unaware that they could include Chinese characters in their nomination forms.

Yan, who is running for a council seat with the OneCity party, said his decision to include his Chinese name on the ballot wasn’t motivated by a desire to gain advantage with voters of Chinese origin.

“It wasn’t a huge thing in my mind,” Yan told the Straight in a phone interview.

He explained that for most people his legal name, Brandon Yan, is “already a Chinese name”.

Yan said he simply wanted to honour his Chinese father, who gave him the name Yan Nim Bun, which translates to “Yan Remember Where You Come From” or “Yan Remember Your Origins”.

According to the candidate, his father, who married a Caucasian woman, was driven by one thing when he gave the eldest of his five children a Chinese name. “His intention was to ensure that, you know, as a young mixed-race person growing up in Canada that I always remember my heritage and where I come from,” he said. “I’ve been trying to learn more about my Chinese culture, and so I wanted to have that and also for him to see the name that he gave me on the ballot also represented.”

According to Yan, having City of Vancouver staff include his Chinese name in Chinese characters on the ballot was easy. “I asked if I could and they said, ‘Write it down,’ so I did,” he said.

Yan noted that outside of the Chinese side of his family, no one calls him by his Chinese name. He also said that he doesn’t use that name either.

“Only within family,” Yan said.

“So it’s one of those things where it’s not super useful in a predominantly English-speaking country.”

He also said he doesn’t speak Chinese and that he practised scribbling the Chinese characters. “It was very difficult, but I did do it,” he said.

CANDIDATE WANTS AIRBNB FUNDS GOING TO TENANTS

Candidate Brandon Yan says he wants to honour his Chinese father.

Without revealing names, Yan indicated that others are not happy that his name is the only one that will have additional Chinese characters on the ballot.

“People were getting mad at me because they’re like…they’re [city staff] treating me special, but…I just asked the question if I could use it, and they [city staff] said, ‘Go ahead.’ ” In a separate interview, Rosemary Hagiwara, the city’s chief election officer, recalled that other candidates had inquired about whether they could include Chinese characters with their names.

According to Hagiwara, these candidates were advised that the Vancouver Charter allows them to do so if the additional name is the “usual name that they go by”.

“It’s a name that they use other than their legal name,” Hagiwara told the Straight by phone about what “usual name” means. “They’re also known by that name.”

In other words, a “usual name” is the “name that the person goes by as well”, she explained.

Asked about Yan, Hagiwara said she asked him to confirm that he is known by his Chinese name. “That is what he said. He has confirmed that to me,” she said.

If other candidates are thinking that they can still add Chinese names or characters, it’s already too late.

As Hagiwara noted, the filing deadline was September 14. > CARLITO PABLO

A ProVancouver candidate for Vancouver city council is calling for a crackdown on people who illegally list properties on Airbnb.

Rohana Rezel has reported on his website that there was an increase of 578 listings on Airbnb in Vancouver from September 5 to 15, bringing the total to 4,320. The tech entrepreneur maintained that “at least 400 appear to be listings claiming dubious exemptions, or listings with obviously fake, incorrect or duplicate addresses”.

“The easiest solution is to have an automated process whereby when someone enters a listing on Airbnb, you can validate it against the city’s database,” he explained during an interview with the Straight at the Hellenic Centre.

Rezel said the city refused his offer to build this system for free. He claimed that this would “stop cheating in the bud” by weeding out those with fake licence numbers that they supply to Airbnb.

A City of Vancouver bylaw enables offenders to be fined up to $1,000 if they don’t include their accurate business-licence number in all online listings and advertising.

Rezel said the city could impose fines of hundreds of millions of dollars annually if these penalties were assessed every day. He drew this conclusion based on the number of fraudulent listings that he’s observed.

According to Rezel, when units are rented on a short-term basis, it reduces the amount of housing available for long-term tenancy. Therefore, he would like any money raised through fines for illegal Vancouver listings to be given to tenants.

Not only would this help them deal with a looming annual rent increase of up to 4.5 percent in 2019, it would also free up thousands of units into the long-term-rental market, driving up the vacancy rate.

But he acknowledged one problem with his proposal: anyone who is fined might simply refuse to pay— and the city is not allowed to slap a lien on their property.

To address this, he’s promising that if elected, he’ll reach out to the provincial government to try to get legislation changed to permit liens on homes for unpaid fines.

“Obviously, when we get serious about enforcement, in the first year that’s going to make a lot of money,” Rezel said. > CHARLIE SMITH

The Georgia Straight | Vancouver’s News and Entertainment Weekly | Volume 52 Number 2645 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 PRODUCT DIRECTOR

Chet Woodside

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

Piper Courtenay, Tammy Kwan, Lucy Lau, Travis Lupick, Carlito Pablo, Craig Takeuchi, Kate Wilson SENIOR EDITOR Martin Dunphy 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,

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Purdys Chocolatier purdys.com 8 THE GEORGIA STRAIGHT SEPTEMBER 20 – 27 / 2018

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 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 LEAD WEB DEVELOPER Jeffrey Li WEB ADMINISTRATOR Miles Keir

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HOUSING

Wai Young rejects supply-siders’ arguments

A

former Conservative MP Earlier this month, Young said someseeking the mayoralty of thing similar in a short interview with Vancouver has unveiled her the Straight following a mayoral candiparty’s housing plan. And dates’ debate at the Hellenic Centre.

“There are 40,000 units that were Wai Young claims that the city’s affordable-housing crisis is not linked to started in 2017 and are coming on in 2018,” Young claimed. “There are no a lack of supply.

To support this contention, her millionaires running around VancouCoalition Vancouver party declares ver that can’t afford to buy a house.”

In fact, the federthat for every new al housing agency household in the stated in April past 15 years, an that there were additional 1.19 net Charlie Smith units of housing only 26,204 housing have been added. starts in the region in 2017. In the City “The problem is the type of of Vancouver and Electoral Area A, housing being built,” Coalition there were only 6,077 housing starts in Vancouver states on its website. 2017, according to the Canada Mort“Vancouver has built far too many gage and Housing Corp. ‘luxurious’ condos and far too few A City of Vancouver staff report affordable housing units. No mil- stated that there will be 65,000 new lionaire has a problem finding a residents coming to Metro Vancouhome—this is about affordability.” ver annually until 2021.

Real Estate

Mayoral hopeful Wai Young wants new rental units near transportation hubs.

Citing Metro Vancouver Regional Growth Strategy 2017, the city report noted that this is double the annual regional growth rate during the five years from 2011 to 2016. B.C. Stats reported that the entire provincial population rose by 65,981 in 2017.

Meanwhile, Coalition Vancouver supports zoning one additional rental unit per stand-alone home and laneway house “in neighbourhoods that support it”.

Young’s party also promises to create committees in each neighbourhood “to determine what pre1940 houses should be preserved”.

This raises the possibility that if Coalition Vancouver wins a majority, it could eventually revoke the council’s decision to turn First Shaughnessy into a heritage conservation district. Under this designation, virtually all pre-1940 homes must be preserved.

Coalition Vancouver says its focus will be on purpose-built rental housing. It states that this can be achieved through “a combination of zoning and tax policy” in and around major transportation hubs.

Surface and

In addition, Young’s party intends to promote “smaller, non-luxury affordable housing units for Vancouverites”.

Meanwhile, Coalition Vancouver council candidate Ken Charko wants UBC to build more homes for students. The Point Grey campus has housing for 12,000 students in 13 residence areas. There were 55,887 UBC students in Vancouver last year, according to its website.

“Stop offloading those people that are coming up to UBC,” Charko told the Straight outside the Hellenic Centre. “What’s happening is those people are coming here to take up spaces… which is raising the price. UBC has the land and has the capacity to house at least 50 percent of their people.”

Charko added that the city must talk to the province about its land-use planning and reach out to other cities in the region to address housing. -

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SEPTEMBER 20 – 27 / 2018 THE GEORGIA STRAIGHT 9

NEWS

Legendary broadcaster brings America to life > B Y C HARLIE SMITH

Notice of Special General Meeting of The Britannia Community Services Centre Society TAKE NOTICE THAT a Special General Meeting of this Society will be held as follows:

Wednesday, Oct. 10, 2018 at 5:30 pm Britannia Centre, Rink Mezzanine / 1661 Napier St, Vancouver, BC (A light meal will be served at 5:00 pm) Membership in the Society must be purchased at least 14 days in advance (Sept. 26)

AGENDA: 1. Call to order 2. Approve Agenda 3. Adoption of Minutes of the May 2018 AGM 4. Extraordinary Resolution (Special Resolution under the B.C. Societies Act) 5. Voting 6. Announcement of voting results 7. Closing remarks and adjournment Extraordinary Resolution (Special Resolution under the B.C. Societies Act): TAKE NOTICE THAT the following amendments to the Society’s Constitution and Bylaws will be moved as one (1) Motion as an extraordinary resolution, and concurrently as a Special Resolution as defined under the B.C. Societies Act, at the Society’s Special General Meeting scheduled for Oct. 10, 2018 and that that Motion will be dealt with by discussion and a vote of all voting members of the Society then present: MOVED, as an extraordinary resolution to be passed by a three-fourths majority of the Members present at this meeting of the Society, which shall also constitute a Special Resolution as defined under the B.C. Societies Act, THAT the Society’s current Constitution and Bylaws (except for any part thereof which was expressly stated to be unalterable) be and they are hereby ALL REPEALED, and that the form of Constitution and Bylaws enclosed with this Notice be substituted in their place (together with any said part thereof which was expressly stated to be unalterable, which is now restated in the same place or places in the said enclosed document) as the whole of the Constitution and Bylaws of the Society from that date forward.

MOVED, THAT this extraordinary resolution, which shall also be a Special Resolution as defined under the B.C. Societies Act, be registered with the Registrar of Corporations under the B.C. Societies Act as part of the process of filing Society’s Transition Application to the Registrar, as provided for in the Registry’s online filing system for all such Transition Applications.

The enclosed form of revised Constitution and Bylaws (including the said restated unalterable provisions) described above can be found at https://www.britanniacentre.org/specialmeetingoct2018.

C

anadians can sometimes be a little smug about their public-radio programs in comparison to what’s available on the airwaves south of the border. Whereas we have thoughtful hosts like Michael Enright or Eleanor Wachtel with the Canadian Broadcasting Corporation, Americans must endure right-wing bobbleheads like Rush Limbaugh and Glenn Beck when they’re driving around their cities.

But all is not so bleak in America, as any fan of Ira Glass will tell you.

He’s host and executive producer of This American Life, which is heard by 2.2 million listeners each week on more than 500 public-radio stations.

In this age of podcasts, which Glass pioneered, he has a growing number of fans north of the 49th parallel.

Imagine the folksy and often lighthearted tone of long-time CBC Radio morning host Peter Gzowski (who died in 2002) combined with the deep, meaning-based journalism of CBC producer Ira Basen. Sprinkle in the polished production techniques of Terry O’Reilly’s Under the Influence and the intellectual depth of Ideas, which are also on CBC. Throw in a dash of the type of zany humour that crops up in As It Happens and the investigative chops of the CBC’s Fifth Estate—well, you get the picture.

Glass, second cousin of composer Philip Glass, will be in Vancouver this weekend telling tales of what he’s learned during his illustrious radio career. Born in Baltimore, he began as an intern at National Public Radio in Washington, D.C., while still in his teens. As the years wore on, he assumed greater responsibilities, hosting programs before launching This American Life in 1995 in collaboration with WBEZ in Chicago.

U.S. public-radio host Ira Glass loves telling stories. Brighterorange photo.

Radio hosts come and go, but those who endure, like Glass, become familiar touchstones in their listeners’ lives.

It requires a high level of comfort for someone to invite a radio host into their car, their kitchen, and even their bathroom and bedroom, week in, week out, year in, year out.

In a 2013 interview on YouTube, Glass confessed that for every three or four stories that go to air, his staff will explore 15 to 25 ideas beforehand.

“We’ll go into production on seven or eight different stories,” he explained.

“And then we just have to start making them, commissioning writers, flying people around the country and interviewing people. Then we kill a tremendous amount of material.”

Central to This American Life’s success is having one or more relatable characters around which a story can be anchored. “You can’t tell if it’s going to work until you start to make the thing,” Glass said. “It’s like you want lightning to strike as an industrial product—like, every week. And to do that, you just have to wander around in the rain a lot.” Seven Things I Have Learned: An Evening With Ira Glass will be at the Queen Elizabeth Theatre on Saturday (September 22).

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BOOKS

Word Vancouver writers recall essential reads > B Y B RIA N LYNC H

T

he Word Vancouver festival is preparing its 2018 edition with another genre-hopping and inclusive roster of authors, set to appear at venues around the city from September 24 to 30.

So we asked some of these writers to describe their most memorable and momentous reading experiences.

Which books lit up their imaginations? Which ones struck a chord at a crucial time? Here are excerpts of what they told us. See Straight. com for their full responses, and wordvancouver.ca/ for the complete festival program.

ROGER R. BLENMAN (Dead’er)

CARYS CRAGG (Dead Reckoning)

“In middle school, a girl from class recommended a book, Runaway: Diary of a Street Kid. She too was struggling with a sudden traumatic loss, so I knew I could trust her opinion. Beyond opinion, I somehow knew she was also passing along a survival tool. In Runaway, Evelyn Lau invites us into her innermost reflections and daily accounting of surviving the effects of a restrictive family and living on the streets of Vancouver after she leaves home.

“While my love of reading emerged after I finished school, Runaway planted the seed for my love of memoir.…Like Lau, I too found myself writing, taking notebooks wherever I went. While our daily realities differed, Lau taught me that adolescent girls’ lives—our concerns, observations, and dreams—were worthy of being recorded. Here, I thought, in these notebooks, we make space for our voices, in a world that, for the most part, wishes us to be silent.”

Classic novel The Diviners inspired Darrel J. McLeod. Ilja Herb photo.

“The winters were cold where I grew up. Often I was the only Black kid in breakfast containers, newspapers, the class. My senior English teacher, and advertisements. By the time I a brilliant educator by the name of turned eight I learned the wonders of Fred Anderson, suggested that I read world travel through pages. It was at Invisible Man by Ralph Ellison. My this time that historical-fiction author teacher, uncharacteristically tentaJames A. Michener, with his sweeping tive when making the recommendagenealogical, anthropological offertion, knew that I’d read little of the !KONA “When I was a child I was an ings, impressed my mind. I loved that Black literary tradition. It took no early and precocious reader. Words he seemed unable to write a story in prophet, however, to divine that a everywhere were read aloud. Signs, less than 800 pages. university-bound, minority youth would eventually have to deal with challenges specific to his race. He > BY BRIAN LYNCH LITERASIAN LAUNCHES discussed the book with me, parsing his literary observations with respect The annual Word Vancouver festival is set to fan out across the city for my lived experience. from September 24 to 30, with a packed program of readings, work“Should public-school teachers enshops, salons, and panel events, all culminating in its time-honoured, mascourage activism? Phrase the question sive Sunday-long bookapalooza in and around Library Square downtown. this way: should public schools foster (See the story on this page for more.) docility or complacency? Should pubBut that’s not the only game in town for lovers of the literary in the coming lic schools produce students afraid or days. As you’re waiting for Word to roll, you can take in this year’s edition of the unwilling to suggest improvements multifaceted, three-day LiterASIAN festival of Asian-Canadian writing, running to the status quo? Should not public from Friday to Sunday (September 21 to 23) at the Sun Wah Centre, Dr. Sun Yatschools produce leaders, as well as Sen Classical Chinese Garden, and the Vancouver Public Library’s Strathcona dreamers, and innovators, and entrebranch. The theme this time is Journey to the West: Writing Across the Pacific, preneurs, and yes followers too, but and the acclaimed wordsmiths on the roster include novelists Madeleine Thien never followers of the uncritical or the and Kevin Chong, playwright Jovanni Sy, and screenwriter Vincent Ternida, to unquestioning kind? name just a few. You can find complete details at literasian.com/. “I’ve since become a writer and a teacher myself.”

2

Vegas: A Savage Journey to the Heart of the American Dream as an eight-yearold who’d travelled through more than 40 states and watched nearly every minute of the Watergate hearings.

“My interest grew from a year in the early ’70s living in the United States.

Twentieth-century American writers such as James Baldwin, Pat Conroy, F. Scott Fitzgerald, Ernest Hemingway, John Irving, and Tom Robbins drew me into their web of family and societal dysfunction, leading me to focus on American literature in university.

“Thompson dizzyingly wove truth into quasi-fiction; themes of counterculture hippie regret, drug- and alcohol-fuelled marathons, figurative and literal impotence all exploded into DARREL J. MCLEOD (Mamaskatch) fantastical tales hugely significant to “The opening line of The Diviners, by me, a wannabe journalist and outlier.”

Margaret Laurence—‘The river flowed both ways’—captured my imagination WILLIAM THAM (Kings of Petaling as a young university student. With Street) “I grew up in an uninteresting that one phrase, Laurence instilled a suburb outside Kuala Lumpur, and it dream in me—of being a writer one was there that I first read Tash Aw’s day, composing beautiful prose while The Harmony Silk Factory. The Longazing out over a dynamic river. Her don-based writer was back in his old raw and vivid description of life in stomping grounds to talk about his Canada made me realize that a novel literary work, where I obtained a copy about Canadians could be worth tell- of his book (as well as an autograph on a hastily procured notepad). His debut ing, and be artistically conveyed.

“A year later, Marie-Clair Blais’s novel about the rise and fall of Johnny Une saison dans la vie d’Emmanuel Lim, a former Communist revolutionenhanced this dream and helped it to ary turned collaborator during Mamorph into a vision. Blais’s depiction laysia’s colonial period, was a breath of life in Quebec was vivid and edgy. of fresh air. Aw navigated multiple While Laurence skillfully depicted perspectives and the murky lens of the life of working-class Canadians history to weave a story that brought in the ’60s, Blais recounted beautiful- to life places that seemed so rural and ly the historic French-Canadian ex- lifeless, awakening me to the fact that perience of a slightly earlier era, but the potential for stories could be found stories about the Indigenous experi- anywhere.

“When I moved abroad I began to ence were still missing. Somehow, I knew that it was incumbent on me, experience the strange solitude and and others like me, to recount the ex- separation from a distant homeland that he wrote eloquently about, and as perience of Indigenous Canadians.” such, my writing style was and still is LORIMER SHENHER (That Lonely heavily influenced by his. A few tribSection of Hell) “I devoured Hunter S. utes to his work can be found sprinThompson’s Fear and Loathing in Las kled through a few of my stories.” “By age 12 I had read three or four tomes and was reading Poland. There was a heroic-seeming damsel named Krystyna as I recall, a castle prison on a mountain where she was placed by a mean father, and a young man who yearned to rescue her. I was disgusted.

WHY was she waiting for a man?

Why was another man preventing her from coupling with her heart’s desire?

I loved her name spelled with Ks and Ys. I made a vow, and altered the spelling of my birth name. No man would rescue me! And the spelling would remind me. Not a thing my immigrant parents appreciated. And yet, to this day, I continue to carry the spelling everywhere a ‘legal’ name is required.”

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SEPTEMBER 20 – 27 / 2018 THE GEORGIA STRAIGHT 11

Clockwise from bottom left: Riley McFerrin, founder of the Railtown-based Hinterland Design; Hinterland’s Pillowy Bench; Vancouver-based artist and designer Ben Barber; Barber’s Pluto Table.

From L.A. to B.C., design show leans local

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> BY L UC Y LAU

ancouver and Los Angeles have their differences: one city is known for its sprawling green spaces, laid-back lifestyle, and unrelenting rain, while the other boasts gorgeous beaches, an art-andculture scene marked by glitz and glam, and, yes, almost 365 days of sunny skies. Designwise, however, the two West Coast regions have a lot more in common than you’d think.

“In Los Angeles, there’s a real movement of people designing and making things locally,” Riley McFerrin, founder of the Railtown-based Hinterland Design, says by phone. “And we definitely have that in Vancouver, too.”

This emphasis on locally crafted, handmade objects will be spotlighted in The Mix: West Coast Best Coast, a feature at this year’s IDS Vancouver presented in partnership with the L.A. Design Festival and online magazine Design Milk that will see two Vancouver-based designers teaming up with a pair of L.A. makers for a series of one-of-a-kind installations and off-site talks. For the occasion, McFerrin is working with Bari Ziperstein, a multidisciplinary artist whose functional-ceramics line, BZippy & Co., is recognized in L.A. design circles and beyond for its space-age and architecturally inspired shapes, stunning details, and unexpected hues.

McFerrin admits that he’s been a fan of Ziperstein’s work since meeting her at a trade show in New York City years ago. He jumped

at the opportunity to collaborate with the artist. “Her shapes and colour palette and the handmade quality of her stuff—which is both supermodern and a little bit hippie and a little bit of this ‘looking back’—is part of this whole handmade-modern resurgence that I feel like we fit into at Hinterland as well,” he explains.

McFerrin and Ziperstein are assembling two installations for IDS Vancouver: both will display the latter’s eccentric ceramics among the former’s contemporary solid-wood furnishings in a way that accentuates the diverse range of materials, patterns, and colours at play. Attendees will see tall sculptural vases—each inspired by the rugged brickwork of Brutalist architecture and drenched in intense ultramarine—from Ziperstein’s Klein Blue collection, while McFerrin will exhibit sheepskin-upholstered seats, copperaccented oak tables, and plush marshmallowlike benches from Hinterland that have been customized with a monochromatic palette.

By saturating many of his pieces in a single hue, McFerrin hopes to highlight the contrast in materials and textures while drawing attention to the organic nature of Ziperstein’s wares.

“That’s what really drew me to her work,” he explains. “That stuff can be modern and feel contemporary and feel forward, while also being handmade and sustainable. And feeling like it’s got healthy vibes to it, instead of being shiny and plastic and made overseas.”

That homemade, one-of-a-kind element will also be evident in Vancouver-based designer Ben Barber’s collab with Leah Ring, founder of

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L.A. studio Another Human. The two furniture makers are known for their cheeky, almost childlike aesthetics and generous use of loud, punchy shades. Both draw inspiration from the Memphis Group, and employ unconventional materials like aluminum, acrylic, and metallic crinkle paper, too. “There are definitely similar languages being spoken,” Barber notes by phone, “and they come from a similar sort of playfulness.”

Expect Ring’s tubular bookshelves, chubby magazine racks, and see-through stools to look right at home alongside Barber’s spherical side tables, streamlined chairs, and signature copperand-brass bullet bowls—many of them powdercoated in dreamy hues like bubblegum pink and teal. For Barber, the decision to incorporate such vivid tints is a personal—and emotional—one.

“A colour can make you feel a certain kind of way because of an experience you had as a child or just in day-to-day life,” he says. “Maybe your mom always wore pink, or you had a pink room or a blue wall.”

The Deep Cove–raised designer has built a neat niche for himself in the industry, thanks to sleek, minimalist objects that stand in stark contrast to the earthy, wood-heavy furnishings and décor items that many tend to associate with British Columbian design. It’s that distinct style that makes his work approachable, he says, and complementary to Ring’s. “I like things really clean and straight to the point. I’d rather avoid as much decorative elements as possible, so the buyer—the person who purchases the

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piece—gets to put more of themselves into it.”

In addition to unveiling collaborative installations both on the IDS Vancouver show floor and at their respective workshops, McFerrin and Barber will participate in talks conducted as part of the design fete’s Offsite program.

McFerrin will welcome Ziperstein to his studio at 503 Railtown Street on Saturday (September 22), where the duo will discuss the influence of their surrounding environments on their material selections and creative processes, while Barber and Ring will meet at Parker Street Studios (114–1000 Parker Street) on September 23 to chat about the significance of colour and shape in their practices. Both talks will be moderated by Haily Zaki, founder of the L.A. Design Festival, and are open to IDS Vancouver attendees who purchase a wristband that allows them access to events, parties, and exhibitions happening outside IDS’s main hub.

McFerrin hopes that the Mix—and IDS Vancouver, as a whole—can help bring muchdeserved recognition to the community of creative minds who are hard at work at home.

“It pains me to see how much modern design is being purchased from far-off places, instead of more people seeking out cool, local work,” states McFerrin. “And not just local work that’s smalltown local, but local work that’s successful and well-known internationally.” -

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Start your evening with an ‘80s-inspired menu of culinary creations.

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14 THE GEORGIA STRAIGHT SEPTEMBER 20 – 27 / 2018

Can’t-miss highlights from IDS Vancouver > B Y L UCY LAU

W

ith more than 200 exhibitors, a slew of high-wattage guests and installations, and more cutting-edge furnishings, home objects, and prototypes than we can count, IDS Vancouver—taking place until Sunday (September 23) at the Vancouver Convention Centre’s West building and various Vancouver venues—is the place to get up to speed on the West Coast’s ever-evolving design landscape.

In addition to the Mix, which will see two local designers team up with a pair of L.A. makers to present a number of exhibitions and talks (see story on page 12), here are six can’tmiss features at this year’s edition of the largest design show this side of the 49th parallel.

KEYNOTE SPEAKERS Get to know some of the design world’s most ingenious figures at the Caesarstone Stage, which will play host to nine industry leaders discussing everything from trends and creative processes to the challenges and opportunities facing women in the male-dominated field of architecture. A series of trade talks will welcome names like Michael Ford, a Detroit-born designer who is renowned for his research illuminating the links between hip-hop and urban architecture, while interior designers Brian Gluckstein and Aly Velji will also make appearances. Canadianraised design legend Karim Rashid, who has produced goods for brands like Alessi, Umbra, and Christofle, wraps up the schedule with a conversation presented by BoConcept.

ALTERED STATES The all-purpose kitchen island gets a futuristic makeover in this collaboration between New York City–based firm Snarkitecture and quartz-surface manufacturer Caesarstone. Cut in the shape of an enormous disc—with a shallow, receding centre that acts as a drain—the structure celebrates the kitchen island as a social and gathering space, while exploring H2O in its various states, both at home and in nature. Two spherical blocks of ice reference water’s presence in glaciers, for example, while two free-flowing taps emit the element in its liquid form.

CANADIAN BY NATURE IDS Van-

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Featured at this year’s IDS Vancouver are lights by Finnish designer Hanna Anonen (top) and an appearance by Canadian-born Karim Rashid (bottom).

thanks to

couver is greeting guests with an entrance exhibition that celebrates the Great White North in all its imaginative, multifaceted glory. Assembled

with visual direction by Glasfurd & Walker—the local practice responsible for the branding of restaurants like Botanist and St. Lawrence—the showcase spotlights Canadian-designed and -built objects that, together, paint a promising picture of our nation’s contemporary-design scene. Expect pieces like a living plant-and-light installation by Toronto’s Luvere Studio and sustainable recycled-paper tables from the Montreal-based Dear Humans, plus projects from esteemed Vancouver names such as Benson, molo, Lukas Peet, and Bocci.

You can always count on IDS Vancouver’s on-site bar to serve up a sight worth photographing—and this year’s edition is no exception. Designed by local architecture firm Leckie Studio with assistance from machining facility Origins CNC, the installation comprises a whopping 392 sheets of regionally sourced plywood that have been interlocked to form a walled fortress that draws curious visitors in, while creating a cozy, intimate space for those enjoying a tipple inside. The linear, pared-down design casts shapes and shadows across the furnishings and floor that should make great fodder for the ’gram, too.

CENTRAL BAR

WHAT THE HEL More than 20 Finnish designers are featured in this cheekily titled trend exhibition—Hel being short for Helsinki. It explores the impact of digitization on local and global design through quirky and innovative works from some of the Nordic country’s brightest talents. Curated by Finnish trend analyst Susanna Björklund, the installation will feature goods such as delicate, cagelike sideboards by master cabinetmaker Antrei Hartikainen; hemp textiles by Saana ja Olli; and pretty, candy-hued pendant lights by designer Hanna Anonen—each exuding that distinct northern quality that the world has grown to love.

THE DISTRICT Part cash-and-carry marketplace and part gift shop, the District stocks new and beloved design objects for the kitchen, home office, closet, and beyond from nearly 20 homegrown designers and labels.

Look for East Van Light’s vintage-industrial lamps, Konzuk’s and Grey by Becki Chan’s architecturally inspired jewellery, and Urbanwalls’ removable wall decals in chic abstract and botanical-print patterns. New vendors, meanwhile, include French-linen line Flax Sleep and sustainable eyewear label Seymour + Smith. -

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Clockwise from top left, Gus* Modern’s handsome Myles End Table; the new Marimekko duvet from EQ3; and the customizable Lugano bed from BoConcept.

Fall bedroom looks to help you rest easy Tufted headboards, nontoxic mattresses, and crisp real-linen sheets help make sleep time serene BoConcept’s contemporary Lugano (from $1,530) combines the West Coast vibe—and warm feel—of a walnut-veneer frame with the even warmer look of a tufted, upholstered headboard, resulting in an ultra-inviting bed that you can’t help but fall into after a long day. Every part of the bed is customizable—in case you’d prefer a leather or very fallappropriate corduroy-velvet back, for example—and there’s even the option of converting a portion of it into storage space, thanks to the addition of a hydraulic lifter. Nab a matching nightstand and consider yourself bedtime-ready. Find it at BoConcept (1275 West 6th Avenue).

style, with mod lines and rich, unembellished grains. We like the Boneta collection, crafted out of solid pine that almost seems to mimic an old cabin f loor; iron legs give it a 2018 feel, while slats mean no box spring is necessary ($1,495 for a queen). The pine Elena is a little more streamlined and sculptured ($2,199 for a queen), while the Teigen ($1,625 for a queen) mixes new and reclaimed pine in a cool herringbone pattern. Be careful what else you put in the room: mix these statement urban-cottage pieces with fuzzy faux-fur ottomans and pillows, polished metal accents, and other textures. And maybe stay away from more wood > LUCY LAU in the room: it might make it feel more ski lodge than city loft. > JANET SMITH PAINT IT BLACK It’s all in the details with Gus* Modern’s handsome Myles End Table ($675): luxe SLEEP EASY The idea that their rose-gold handles contrast the mattress might be toxic is making shiny ebony exterior; a streamlined more and more people lose sleep. steel base—powder-coated in jet But you don’t have to look far for black—helps create the illusion of eco-friendly mattresses. Dream space by exposing the floor below; Designs’ (2749 Main Street) Vanand a subtle chevron pattern on couver-made La Luna models are the dark-stained oak drawer adds crafted from natural Dunlop latex visual interest and a touch of encased in a fabric that’s 80 percent oomph. An open shelf in the table’s recycled wool and 20 percent visbottom compartment allows you to cose . The material is biodegradable, show off your fave books and trin- and the feel of sleeping on them is kets, too. Find it at OMG It’s Small often compared to that of memory (1400 Marine Drive, North Van- foam—without the chemical cocktail. The product carries the top couver). > LL GOLS (Global Organic Latex StanSLEEP ON IT The creative minds dard) and Oeko Tex 100 ratings for at Finnish design house Marimek- its latex core and GOTS (Global Orko may be known for their splashy ganic Textile Standard) and Oeko Unikko (poppy) pattern—one Tex 100 ratings for its cover. It’ll set that’s adorned everything from you back about $1,148 for a twin, but wallpaper to dinnerware to throw La Lunas have a more than 20-year pillows since its inception in 1964— life expectancy. > JS but the brand’s high-contrast Kaivo print is a moodier alternative for LUXE LINEN Linen sheets are fall. The bold, slightly psychedelic a timeworn tradition in Europe, design mimics the rings that form where the classic fabric—breathable, on the surface of water when an thermoregulating, hypoallergenic, object is dropped in—and, when and did we forget to say chic?— incorporated into a comfy duvet trumps cotton and other materials set ($179.99), offers a playful place in many people’s bedrooms. Now to knock out and chillax. Find it at a Vancouver company called Last Light is bringing in a stonewashed EQ3 (2536 Granville Street). > LL 100-percent-linen line that’s spun BACK TO THE WOODS Rustic in Italy and woven in Portugal. Go modern seems to be the buzz term for crisp white for that straightof the moment, but actually man- outta-Provence-villa vibe, but we aging to mix sleek contemporary also love the of-the-moment grey lines with raw natural materials and elegant deep navy (about $82 can be challenging. Enter Moe’s for a set of two pillowcases to $383 Home (1728 Glen Drive), whose for a king duvet cover, at Provide wood beds practically define the [1805 Fir Street]). > JS BED REST

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SEPTEMBER 20 – 27 / 2018 THE GEORGIA STRAIGHT 15

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#BestOfVan 16 THE GEORGIA STRAIGHT SEPTEMBER 20 – 27 / 2018

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nne McMullin believes that it’s taken many years for Vancouver to develop a shortage of affordable housing. And the president and CEO of the Urban Development Institute, which represents real-estate developers, says that it will take a great deal of time and work to address this issue.

“There aren’t easy answers,” McMullin emphasizes in an interview in the Georgia Straight boardroom, as she enumerates her concerns.

A major issue is the amount of time needed to obtain approval for rezoning for a multifamily housing project in Vancouver. She says it can take five to seven years, whereas a project in the city of Langley gets a green light within seven months.

“There are 25 steps that you have to go through in the city of Vancouver to get approval,” McMullin says.

According to McMullin, delays in Vancouver not only add significantly to the cost of housing, they can also affect the building forms. That’s because a developer might start with a proposed eight-storey building, but the city might ask for something larger in return for more community amenity contributions.

The negotiations are often complicated and time-consuming as different city departments put forward their wish lists. Engineering might want certain setbacks or parking requirements, heritage may seek preservation of historically significant aspects, and city sustainability experts sometimes seek more electric-vehicle recharging stations and better bicycle storage. And on it goes.

“You’re at the fifth and sixth and seventh change—and you come all the way back to the beginning again—and your building no longer meets the requirements of that first department,” she says. “You’re constantly changing, to the point that sometimes, you get these very basic buildings.”

McMullin says the city’s flat organizational structure reflects a lack of leadership. And she maintains that it’s driving up the cost of housing for two reasons. First, fees, charges, and taxes account for 30 to 40 percent of the cost of the average unit in Vancouver. Secondly, delays mean there’s less inventory on the market, resulting in less choice, less competition, and higher prices for buyers.

“I don’t want to be critical of the people who work at city hall, but the bureaucracy is paralyzed,” she insists.

McMullin also regrets how reliant the city is on community amenity contributions, which cover about 55 percent of the capital budget. This money from developers funds everything from childcare spaces to parks to separated bike lanes.

“I’m not saying that amount of money shouldn’t necessarily be collected,” she states. “It’s how it’s collected and how it’s driven planning. We need to step back and completely rethink how we plan our cities and how we develop.”

McMullin favours a more predictable, citywide approach. And she worries that too many areas have become off-limits to developments because of moratoriums, such as along Broadway from Clark Drive to Vine Street and in the Downtown Eastside and Chinatown.

“In the city of Vancouver, we’re still going six-storey, eight-storey, one by one, rezoning by rezoning along the Cambie corridor,” she points out.

“We should have planned that and prezoned that a long time ago.”

In addition, McMullin has concerns about some of the neighbourhood area plans approved by city council. While she’s satisfied with the West End plan, she worries that the documents for the Downtown Eastside and Marpole do not allow for enough new housing of different types to be built.

“In Grandview-Woodland, they’re

UDI’s Anne McMullin says prices rise because of delays. Ryan Broda photo.

saying six-storey new buildings are too high—in the busiest transportation hub on the West Coast?” she says. “That’s where there’s a lack of leadership.”

Metro Vancouver’s regional growth strategy forecasts the Lower Mainland population to increase by 65,000 in each year until 2021. That’s double the annual growth rate over the five years from 2011 to 2016.

She thinks communities should be asked how they can accommodate their share of this growth, and what they would like in return, whether that’s schools, community centres, libraries, or other benefits. She also says the city and province are major landowners, but they’re moving too slowly to help house this growing population.

“You could double or triple the number of rentals being built.” -

KNOW THE ADVERTISING RULES 2018 GENERAL LOCAL ELECTIONS THIRD PARTY ADVERTISING General local elections in B.C. are on October 20, and there are rules that third party advertisers must follow.

Third party advertising is any election advertising not sponsored by a candidate or elector organization.

If you advertise as a third party between September 22 and October 20, you must:

■ ■ ■ ■ ■

Register with Elections BC before conducting any advertising Include your name and contact information on all advertising Not sponsor advertising on behalf of, or together with, a candidate or elector organization Not spend more than the expense limit File a disclosure statement

There are expense limits for directed advertising in each election area. Find the limits at elections.bc.ca/limits.

There is also a cumulative advertising expense limit of $150,000. The total value of advertising sponsored must not exceed this limit.

Find registration forms and the Guide for Local Elections Third Party Sponsors in B.C. at elections.bc.ca/sponsors.

If you have questions about the rules or how to register, call Elections BC at 1-855-952-0280.

Media outlets must not publish or transmit election advertising on General Voting Day, Saturday, October 20, 2018. elections.bc.ca/lecf 1 - 8 5 5 - 9 5 2 - 0 2 8 0 ∙ lecf@elections.bc.ca

SEPTEMBER 20 – 27 / 2018 THE GEORGIA STRAIGHT 17

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September 20 to 26, 2018

t is time to get it fixed, get it corrected, get it healed, or top it up. In superior conjunction on Thursday, Mercury and the sun are great for putting the finishing touches on it and for reaping the reward of a job well done. On the other hand, Mercury/sun can highlight whatever is missing or incorrect, or has not met the grade well enough. The transit is illuminating, useful, advantageous, and exposing. It paves the way for the job to be done better, for significant progress to be made.

Friday evening, Mercury leaves Virgo for a three-week stint in Libra. The autumn equinox, which marks the sun’s entrance into Libra, happens on Saturday at 6:55 p.m.

Mercury and the sun shift their priority focus from the minus, the underutilized, or the undervalued to the cash-in, plus, or surplus side.

Personal relationships, money, and social matters begin a next trend.

While love, harmony, equality, partnership, cocreation, diplomacy, and win-win are Libra’s forte, the scales can swing. The f lip side features relationship imbalances, the one-sidedness of give and take, codependency and enmeshment issues—this at the personal, social, and political levels. To stay on the best side of the evaluation track, check your projected expectations at the door and practise the art of observing and listening.

In dynamic tension (square aspect) to Saturn in Capricorn, Monday delivers a full moon in Aries (7:52 p.m. PST). If it’s well built, it’s harvest time. Otherwise, it’s a stress test, reality-check time.

Either way, Monday to Wednesday sets a backdrop for breaking and/or cementing important new ground.

Take your best shot.

ARIES

TAURUS

GEMINI

March 20–April 19

On a building trajectory over the weekend, you will feel the maximum strength of Monday’s time-has-come full moon if you are born on March 20 or near it. Whether the trigger is instinct, desire, circumstance, or someone key, expect to hit a boil-over or a breakthrough point through the first half of next week. A block, delay, or struggle is surpassed.

April 20–May 20

Thursday is a good day to upgrade, improve it, clean it up, fix it, or problem-solve. Friday through Sunday, play it social, relaxed, or romantic. Monday’s full moon could initially test your patience, stamina, or self-control.

Don’t react, but don’t hold back, either; take a stab at it instead. A new job or health regimen could be the start of something good.

May 21–June 21

How you say it, see it, do it, or convey it—it’s an evolution, to be sure, especially so through mid–next week. Thursday through Saturday, Mercury and the sun are reading from the same page. Sunday gets off to a slow start, but as the day advances, Mercury and Mars pick up the pace. Monday/Tuesday, the full moon is in steamroller mode.

CANCER

June 21–July 22

LEO

July 22–August 22

Socialize Thursday/Friday.

Go with your first impression or pick.

Follow through on a good idea or invitation; let spontaneity steer the conversation or activity. A first try or date could strike it hot. Ease up for the weekend. Full-moon Monday through Wednesday removes a block, speeds up the process or time line, puts it/you to the test. Make it official; set it straight.

VIRGO

LIBRA

SCORPIO

SAGITTARIUS

CAPRICORN

AQUARIUS

PISCES

August 22–September 22

Thursday’s sun/Mercury conjunction heightens your sensitivity, intuition, and creativity. Head and heart operate as one through the weekend. Whether it is a plan, a process, a purchase or relationship, you feel what you feel: own it; open up to it. Sunday is easy going. Monday/Tuesday gets you over the hump or hurdle. Get to work; push through; see quick results.

September 22–October 23

Mercury enters Libra on Friday night and the sun enters Libra on Saturday. You are likely to feel these transits as a boost of energy, confidence, inspiration, social action, or creativity. Whether it is your birthday or not, you could get singled out for special attention. Monday to Wednesday are action-packed. The pressure is on. Go for it; just do it. Reward is in the making.

October 23–November 21

Thursday is good for talking it out, getting a better handle on it, and getting it fixed or finished off. Get your relaxation fill and make the most of your one-on-one time, especially through Sunday. While full-moon Monday can produce a new round of pressure, for the most part you can coast or cozy up through the weekend. As of Monday, the big push is on.

November 21–December 21

Thursday through Saturday, your people connections are especially good. The heart and mind stay well occupied. Someone or something special can claim your attention. An introduction or look-see could be the start of something significant. It’s a good few days for making money, too.

Monday/Tuesday, it can’t wait. The full moon delivers a mix of strain, frustration, added effort, and positive gains.

December 21–January 19

Thursday marks the day for correction, improvement, a meeting, decision-making, paperwork, taking a test, and connecting the dots. Mercury (Friday night) and the sun (Saturday) into Libra set you onto a next phase and a new line of thinking. Monday through Wednesday, the big push is on. The full moon prompts or forces full steam ahead.

January 20–February 18

Thursday/Friday, the Aquarius moon keeps you calling the shots and going strong. Mercury and the sun into fresh sign changes keep that good trend going strong through the weekend. Monday to Wednesday speeds up the action and shortens the time line. You can do no better than to take it on and give it your best shot.

February 18–March 20

Mercury/sun put you into a much better know as of Thursday.

As of Friday/Saturday, both planets are on the move. You’ll see this reflected in finances, social trends, conversations, and one-on-one relating. The weekend keeps you going strong. Go by feel and you’ll hit it right. Same goes for full-moon Monday through Wednesday. -

You’ll feel Monday’s full moon more strongly if your birthday falls on or close to June 21.

Whether it’s push come to shove, cut to the chase, or turn up the heat, it’s springboard time. Don’t waste a moment. Get on with the here, now, new, and next. Take your best shot. Despite pressure or frustration, Monday to Wednesday, Book a reading or sign up for Rose’s free newsletter at rosemarcus.com/. faster gains can be made.

18 THE GEORGIA STRAIGHT SEPTEMBER 20 – 27 / 2018

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VIFFsters, start your riffing

W

ith a gala screening on September 27, Kim Nguyen’s The Hummingbird Project opens a Vancouver International Film Festival heavy this year on themes of refugees and immigration, ecological degradation, and the unceasing conflicts of sex and gender.

But it’s not all fun and games! We can also look to VIFF for its usual raft of premieres and special presentations, acclaimed international works (including those in its newly minted Spotlight on Italy), the best in Canadian and local filmmaking, wild animated features, midnight cult extravaganzas, destined-to-beclassics, and much, much more— almost all of which we cover in the Straight’s first round of reviews below. Be sure to come back for our extensive coverage in the coming weeks. The Vancouver International Film Festival takes place from September 27 to October 12.

BERGMAN: A YEAR IN A LIFE

(Sweden) 1957 was indeed a watershed for Ingmar Bergman, with his profound yield marking him as the ultimate art-house auteur. And that’s a rather scattershot framing device for director Jane Magnusson, who reads her own slightly repetitive narration.

This hardly matters since the two-hour doc is so packed with great scenes, set footage, and testimony from those who worked on both sides of his relentlessly probing camera. This, plus Bergman’s own words, taken from all phases of an almost seven-decade career. Direct criticism of the man isn’t avoided; he was a Nazi sympathizer during the war, and his abandonment of multiple wives and children was of a piece with his abuse of colleagues in later phases. But his plays, films, and Swedish-TV productions rarely failed viewers in his obsessive effort to “cast a new light on the landscape of their souls”. Cinematheque, September 27 (8:45 p.m.); International Village, September 29 (11 a.m.) > KEN EISNER CLARA (Canada)

In the last three years or so, astronomers have tentatively proposed that the anomalous dimming of Tabby’s Star in the Cygnus constellation might be caused by an “unnatural” structure. This grandlooking Canadian feature runs with the idea to fairly absorbing effect, with maverick university professor Isaac Bruno chasing signs of extraterrestrial life in cahoots with the free-spirited student of the title—even if her view of a magical universe chafes at his doggedly materialist convictions. In both cases their behaviour is driven by the kind of tragic back story that wins Telefilm grants while supplying narrative thrust, and Patrick J. Adams is a little on the pouty-handsome side. But there’s lots to admire here, not least of all the film’s satisfying commitment to both sides of the argument—he could also have been named Giordano Newton, hint hint—and it all ends rather movingly in realms both pan-cosmic and very human. Clara is also a much more likable movie than Contact, its nearest neighbouring gas giant. SFU, September 30 (6:30 p.m.); International Village, October 4 (4:30 p.m.) > ADRIAN

MACK

DIANE (USA)

Aging isn’t something most filmgoers want to watch, regardless of their own places on the humanoid calendar. But it’s the main thing here to Mary Kay Place and other mostly female faces superfamiliar from North American film and TV (we’re also talking Andrea Martin and Estelle Parsons) as members of a tight-knit circle in rural Massachusetts. Our Mary Hartman veteran’s titular Diane ceaselessly drives around, helping every homeless person and sick cousin in town. But she’s wracked by her inability to save her own son (nice guy Jake Lacy, playing against type) from opioid addiction.

The film’s humanistic and sometimes alarmingly funny flow is doubly surprising coming from documentary

The underground music scene of pre-Glasnost Leningrad is remembered in the innovative biopic Leto, coming to the Vancouver International Film Festival.

veteran Kent Jones, who previously made cinematic studies of filmmakers like Martin Scorsese, Elia Kazan, and Val Lewton, with Hitchcock/Truffaut the best-known. International Village, September 28 (3:30 p.m.); Cinematheque, September 29 (9:15 p.m.); Vancity, October 4 (1:30 p.m.) > KE

willing to sacrifice for pretty things?

And how much is she a byproduct of a world that worships wealth? A little like the films of Austrian provocateur Michael Haneke, Holiday forces you to consider ugly questions—in this case, under the disarmingly beautiful Turkish Riviera sunshine. International Village, September 28 (6:45 p.m.) and DOLPHIN MAN: THE STORY OF 29 (4:30 p.m.) > JANET SMITH JACQUES MAYOL (Greece/Canada/ France) Will we see anything more LETO (Russia) You have to commit to heartwarming at this year’s VIFF than an intense two hours of ’80s sounds archival footage of Jacques Mayol in this breathlessly innovative biopic, teaching a baby otter to swim? The which takes on a pair of key singeranimal itself seems mostly interested songwriters of the late Soviet era. Both in chittering affectionately into his Viktor Tsoi and Mayk Naumenko friend’s ear. Acquaintances recall how died young, but the handsome film, dolphins were also reliably fascinated mostly shot in wide-screen blackby this extraordinary human, who and-white—with startling jolts of colset multiple free-diving records in a our, animation, and graphic flight of life that included as much roguish- fancy—shows how hard they worked ness as it did spiritual seeking. The (and smoke and drank) to navigate mustachioed Frenchman would even- Leningrad’s pre-glasnost youth cultually reject the competitive side of ture. The story centres on a tentative the sport, retiring at one point to a triangle involving the rockers with monastery and achieving, we’re told, Mayk’s beautiful wife (up-and-coming a state of Zen. But he also took time Irina Starshenbaum), but it’s more out in the ’70s to make the world’s about their love affair with the music first and only underwater hard-core of Talking Heads, David Bowie, and, porno, set off the coast of Bermuda especially, Lou Reed, whose songs are and titled, naturally, The Lure of the performed with anarchic gusto. InterTriangle. This massively entertaining national Village, September 28 (1 p.m.); doc—which has something important Playhouse, October 4 (9:15 p.m.) > KE to imply about western thinking and What the trashing of our oceans—is nar- M/M (Canada/Germany) rated by Jean-Marc Barr, who played marks same-sex relationships apart Mayol in Luc Besson’s The Big Blue. from different-sex ones is the emThe man himself apparently didn’t phasis here, with shades of Narcissus care too much for the finished movie. recast within an austerely stylized, International Village, October 2 (9:30 hypermodern urban environment. In Berlin, Québécois Matthew (Antonine p.m.) and October 3 (2 p.m.) > AM Lahaie) gets messaged on a hookup HOLIDAY (Denmark/Sweden/Nether- app by the sultry Matthias (Nicolas lands/Turkey) On the surface, Holi- Maxim Endlicher). Stalking ensues. day is about a shallow world with even As Matthew’s obsession with Matthias shallower people—vacuous young deepens and darkens, the line between bottle blond Sascha (Victoria Carmen their two lives blurs, enters confusion, Sonne), who’s staying in a nouveau- distorts. With a sparse but taut narrariche seaside Turkish villa with her tive artfully crafted through a shrewd older, abusive drug-lord boyfriend, focus on detail, minimal dialogue, exMichael, and his dimwitted cron- perimental techniques, clinical erotiies. She spends her days lolling by cism, and observation of movement the infinity pool and staring blankly that verges on dance, the self-absorpat the turquoise Aegean, and her tion that the drama depicts comments nights partying. But writer-director on the concerning nature of our techIsabella Eklöf’s stunningly shot first insulated lives. This is true queer artfeature is deceptively complex, and house cinema. International Village, deeply disturbing in the questions it September 29 (9:15 p.m.); Rio, October asks—most of them surrounding our 7 (9 p.m.) > CRAIG TAKEUCHI vapid heroine’s real motivations. Early scenes hint at the price her life of lei- NO ONE WILL EVER KNOW (Mexsure will demand: a henchman hitting ico) Mexican writer-director Jesús her—hard—for dipping into Michael’s Torres Torres doubled as a still phofunds; the vulpine Michael (Lai Yde) tographer while prepping for his repositioning her long legs to his satis- first feature, which marries his love faction, like a broken doll, after drug- of spectacular imagery with deep ging her into unconsciousness. But knowledge of spaghetti westerns and a distressing, explicit scene of sexual telenovelas to come up with an unviolation, carried out in broad daylight forgettable fable about maternal love and lensed in unwavering long shot, and thwarted ambitions. It’s also suddenly jolts the film to a new intensi- tremendous good fun, since it sees ty. With the same brutal entitlement he everything from the POV of a precouses to commandeer everything else, cious little boy who turns the tribuMichael has taken a piece of Sascha’s lations of his ill-matched parents soul. And as she starts to toy with the and their dusty nowhere town into affections of an innocent young yacht soapy westerns resembling the old owner, you grow increasingly scared black-and-white movies he watches about what might happen. But where on a tiny TV at the local store. It’s see page 22 do Sascha’s allegiances lie? What is she

BC Spotlight Gala: Awards Ceremony & Screening of Anthem of a Teenage Prophet Sat. Oct 6

6:00 pm

Playhouse

This special event commences with the presentation of special awards to creators from BC and the rest of Canada and then culminates with a screening of: Anthem of a Teenage Prophet. Shameless star Cameron Monaghan (Luke) and Bunk'd actress Peyton List star in this coming-of-age tale based on Joanne Proulx’s award-winning novel. Director Robin Hays cranks the 90s-era soundtrack and amplifies all of the angst, elation and uncertainty rattling around in Luke’s head.

Tickets: goviff.org/anthem-of-a-teenage-prophet Media Sponsor

WIN Tickets to the BC Spotlight Gala at VIFF Enter at www.straight.com Premier Partner

Premier Supporters Supported by the Province of British Columbia

SEPTEMBER 20 – 27 / 2018 THE GEORGIA STRAIGHT 19

DGC Master Class Series

Creator Talks Be inspired by some of the world’s leading creators.

From intimate one-on-one conversations to dynamic panel discussions to live music, engage with the world's leading creators.

Totally Indie Day

Patricia Rozema, Director/Writer, Mouthpiece | OCT. 1 Michael Schur, Creator/Executiver Producer, The Good Place | SEPT. 30

VIFF Immersed Exhibition Paris Barclay, Director, Scandal | OCT. 6 Meet The Show Runners OCT. 3

VIFF Immersed Conference

Paul Austerberry, Production designer, The Shape of Water | OCT. 4

Edge of the Knife

Gwaai Edenshaw, Helen Haig-Brown, Canada, 100 min.

WED. OCT 3 THU. OCT 4 FRI. OCT 5

6:15 PM 9:30 PM 10:30 AM

PLAYHOUSE CENTRE FOR ARTS SFU-GCA

Shot on stunning Haida Gwaii and scripted in two Haida dialects, Gwaai Edenshaw and Helen HaigBrown’s 19th-century epic is both a landmark work of cinema and a nod to the grand storytelling traditions that lure us to the big screen.

Guilt-ridden after a tragic accident, Adiits’ii (Tyler York) retreats into the wilderness where he’s plagued by spirits and transformed into Gaagiixid, the Haida Wildman. As his loved ones set out to capture and cure him, a riveting tale of survival and forgiveness unfolds.

Maria by Callas Tom Volf, France, 113 min.

SUN. SEP 30 THU. OCT 11

3:45 PM 1:15 PM

PLAYHOUSE SFU-GCA

A spellbinding amalgam of previously unseen photographs and performances, personal Super 8 films, private recordings, letters and behind-thescenes archival footage, Tom Volf’s portrait of the world’s most popular opera singer confines itself solely to the words and thoughts of the divine Maria Callas. “An immense celebration… A great gift to music lovers all over the world… Offers the viewer almost two hours in the company of a talented, fascinating, passionate and tragic woman.”

—Cineuropa

ANTHROPOCENE: The Human Epoch

Jennifer Baichwal, Nicholas de Pencier, Edward Burtynsky, Canada, 87 min.

FRI. SEP 28 SUN. SEP 30

1:45 PM 6:30 PM

SFU-GCA CENTRE FOR ARTS

The latest masterful collaboration between Jennifer Baichwal, Nicholas de Pencier and Edward Burtynsky isn’t so much eye-opening as mindblowing as it essays our unprecedented impact on the Earth to stunning effect. The staggering tableaux captured here are at once surreal and sobering, including monolithic machines hell-bent on terraforming their surroundings and potash mines that evoke a bad drug trip. This is filmmaking of the highest order that unfolds on a dizzying, almost inconceivable scale.

Sharkwater Extinction Rob Stewart, Canada, 88 min.

FRI. SEP 28 SUN. SEP 30

6:30 PM 2:00 PM

CENTRE FOR ARTS INTL VILLAGE 10

Racing across the globe to document the corruption that’s pushed sharks to the brink of extinction, documentarian/conservationist Rob Stewart demonstrates that activism is always a rush against the clock—if your objective is saving the world, there’s never a moment to waste.

Tragically, this marks Stewart’s final film but it ensures that he leaves a legacy of inspiration in his wake. So much more than a call-to-arms, this film encourages all of us to look at the world with a newfound sense of wonder.

Sept. 29 Totally Indie Day, presented by STORYHIVE, is an opportunity for independent content creators to learn more about the art and business of motion pictures. The event will feature experienced industry professionals and rising new talents alike; they’ll be sharing stories, offering insights, passing on tips and more.

Day Pass Only $96 | $70 Student

Sept. 30 - 0ct. 2 Come experience some of the best in immersive storytelling. Presented by Samsung VR Video, this 3 day event provides participants with exclusive, original and cutting edge VR experiences from across North America.

90 minute session only $15 Info & registration: goviff.org/immersedexhibition

Day Pass Only $96 Full Conference Pass Only $149 Info & Registration: goviff.org/immersed

The Old Man & the Gun Vox Lux David Lowery. USA, 93 min.

SAT. SEP 29

Colette

Wash Westmoreland, UK, 112 min.

SAT. SEP 29 WED. OCT 3

3:00 PM 6:00 PM

CENTRE FOR ARTS CENTRE FOR ARTS

Keira Knightley gives the performance of her professional career in Wash Westmoreland’s sparkling look at the early life of Collette, the French writer and feminist icon who turned fin de siècle Paris upside down with her liberal life and work. Co-starring a perfectly cast Dominic West as Colette’s libertine first husband, the critic known as “Willy” who took credit for Colette’s first four novels, this is “a fun, frothy, feminist biopic about the relationship between sex and freedom.”—IndieWire

Shoplifters

Kore-eda Hirokazu, Japan, 121 min.

SUN. SEP 30 MON. OCT 1

3:30 PM 6:00 PM

CENTRE FOR ARTS CENTRE FOR ARTS

VIFF favourite Kore-eda Hirokazu is back with the top prizewinner from Cannes 2018. Also a smash hit in his native Japan, Shoplifters is a bittersweet story of love and crime—tear-jerking and provocative in equal measure. When an abused child (Sasaki Miyu) is rescued by Osamu (Lily Franky), she’s glad to join his family. The Shibatas are poor, but they seem content—though they have some risky ways of getting by… “[T]hrilling, beautiful… a film that steals in and snatches your heart.”

—Daily Telegraph

Premier Sponsor

Cold War

Burning

Pawel Pawlikowski, Poland/UK/France, 88 min.

TUE. OCT 2 TUE. OCT 9

6:30 PM 8:45 PM

Lee Changdong, South Korea, 148 min.

CENTRE FOR ARTS CENTRE FOR ARTS

Shot in exquisite black and white, Pawel Pawlikowski’s (Ida) searing love story begins in the late 1940s when pianist Wiktor (Tomasz Kot), recording folk music in the Polish countryside, meets singer Zula (a riveting Joanna Kulig). What follows is an intense location- and time-jumping tale, based on the director’s parents’ story, fuelled by the music that both brings the couple together and drives them apart. “Visually stunning, passionate, wistful and thoughtful in equal measure.”

—New York Magazine

SUN. OCT 7 FRI. OCT 12

8:30 PM 3:00 PM

CENTRE FOR ARTS PLAYHOUSE

Riffing nimbly on a Murakami Haruki short story, Lee Changdong’s masterful thriller flickers with mystery. Jongsoo (Yoo Ahin, Veteran) reunites with classmate Haemi (Jun Jongseo), who seduces him and then scoots off to Africa. She returns with suave, moneyed Ben (Okja’s Steve Yeun), who makes Jongsoo roil with envy and self-pity; a creepy confession plunges him into tormenting despair. The critics’ favorite at Cannes, Burning imbues South Korea’s simmering social unrest with universal resonance.

Becoming Astrid

Brady Corbet, USA, 112 min.

CENTRE FOR ARTS

SUN. OCT 7

5:30 PM

CENTRE FOR ARTS

Robert Redford has announced that this will be his final film as an actor, and, as such, David Lowery’s (the great A Ghost Story) charming, comedic caper—the real-life story of Forrest Tucker, an amiable septuagenarian who just happens to be an inveterate bank robber and prison escapologist—serves as a fitting capper to a legendary career. The cast includes Sissy Spacek, Casey Affleck, Elisabeth Moss, Danny Glover and Tom Waits, all doing fine work here, but the screen belongs to Mr. Redford...

A star is born in Brady Corbet’s incandescent feature which follows the rise of Celeste (Natalie Portman), an indomitable, foul-mouthed pop saviour, from the ashes of a major national tragedy to superstardom. Spanning 18 years and featuring original songs by Sia and an original score by Scott Walker, this is an origin story about the forces that shape us, as individuals, nations and gods. “A deliciously rich treatise on toxic fame and weapons of mass seduction.”-- Hollywood Reporter

The Grizzlies

Transit

Leto

Pernille Fischer Christensen, Denmark, 123 min.

SUN. SEP 30 TUE. OCT 9

9:00 PM 3:30 PM

RZA, Composer, Writer, Director, Leader of Wu-Tang Clan OCT. 9

Kirill Serebrennikov, Russia, 126 min.

CENTRE FOR ARTS PLAYHOUSE

Astrid Lindgren is famous the world over for creating the indefatigable Pippi Longstocking, and Pernille Fischer Christensen’s vibrant biopic chronicling Lindgren’s (Alba August) difficult years between the ages of 16 and 21 in 1920s Sweden— when the ever-questioning young woman did the unthinkable and had a child out of wedlock— shows that Pippi’s moxie was not created out of whole cloth… “Gorgeous… Christensen takes to period filmmaking like a duck to water, and brings to it an uncommon energy.”—Variety

FRI. SEP 28 THU. OCT 4

1:00 PM 9:15 PM

INTL VILLAGE 9 PLAYHOUSE

Leningrad rocks! This biopic, set in the early 80s, surveys the Russian rock scene of the time through the experiences of rock legend Viktor Tsoi (Teo Yoo). Great cinematography and an eclectic soundtrack push the movie to tour de force level as it depicts a subculture that serves as a form of rebellion. And speaking of rebellion: director Kirill Serebrennikov, a truly subversive artist, is now under house arrest on dubious charges. May he be freed to make more superb movies like this one.

Festival Partners

Information /

Premier Supporters

Public Supporters

Signature Partners Media Partners

20 THE GEORGIA STRAIGHT SEPTEMBER 20 – 27 / 2018

6:00 PM

Sept. 29 - 30 Dedicated to exceptional narrative storytelling in Virtual Reality, Augmented Reality and Mixed Reality, this two-day conference is where art, technology and business intersect.

VIFF.org Film Infoline: 604-683-FILM

Box Office • ONLINE at viff.org • IN-PERSON Vancity Theatre 1181 Seymour Street, at Davie (Mon – Sat, Noon – 7 pm, Sun 2 -7pm)

Miranda de Pencier, Canada/USA, 104 min.

MON. OCT 1 MON. OCT 8

6:30 PM 1:00 PM

PLAYHOUSE PLAYHOUSE

With sub-zero temperatures and staggering suicide rates, Kugluktuk, Nunavut, isn’t conducive to dreaming big. After introducing his students to lacrosse in a bid to boost morale, a teacher (Ben Schnetzer) learns that a restoration of pride can only come from within the community. With a cast composed of both established Indigenous performers and remarkable new discoveries (including Nunavut’s own Paul Nutarariaq and Emerald MacDonald), Miranda de Pencier’s film is a stirring tale of collective rebirth.

Christian Petzold, Germany/France, 101 min.

SAT. SEP 29 MON. OCT 8

9:30 PM 3:45 PM

PLAYHOUSE PLAYHOUSE

With occupying forces closing in, a haunted refugee (Franz Rogowski, Germany’s Joaquin Phoenix) assumes a dead writer’s identity—and transit papers—and flees to Marseille in hopes of sailing to safety. However, he soon becomes entangled in the lives of those who’ve been left behind, including the widow (Paula Beer) of the man he’s posing as. Christian Petzold (Phoenix) masterfully conjures a fever dream-fuelled, noir-tinged romantic thriller that’s equally indebted to Casablanca and current affairs.

Birds of Passage

Cristina Gallego, Ciro Guerra, Colombia/Denmark/Mexico, 125 min.

SUN. OCT 7 THU. OCT 11

6:30 PM 4:00 PM

PLAYHOUSE SFU-GCA

Beginning in 1968 and spanning 12 years, Ciro Guerra and Cristina Gallego’s terrific drama focuses on one desert-dwelling indigenous Waayu family and its rise and fall in the early days of the Colombian drug trade. Structured around five chapters and replete with Waayu traditions and costumes, this is a crime story like you’ve never seen before. “A textured and utterly unique re-imagining of the family crime saga [that] offers… a fascinating glimpse into a little-understood community.”—Sight & Sound

Non-Fiction

Olivier Assayas, France, 106 min.

SAT. OCT 6 THU. OCT 11

3:00 PM 6:15 PM

CENTRE FOR ARTS CENTRE FOR ARTS

VIFF fave Olivier Assayas (12 of his films have played the festival, ranging from A New Life, VIFF 93, to Personal Shopper, VIFF 16) turns his eye to the publishing world and the disruption caused by the digital age with this relationship drama starring Juliette Binoche and Guillaume Canet.

He’s a besieged book exec confronted by “the death of print” and she’s an actress tired of her job—and perhaps her relationship. Assayas’ intelligent film for thinking adults says a lot about the way we live now.

SEPTEMBER 20 – 27 / 2018 THE GEORGIA STRAIGHT 21

DGC Master Class Series

Creator Talks Be inspired by some of the world’s leading creators.

From intimate one-on-one conversations to dynamic panel discussions to live music, engage with the world's leading creators.

Totally Indie Day

Patricia Rozema, Director/Writer, Mouthpiece | OCT. 1 Michael Schur, Creator/Executiver Producer, The Good Place | SEPT. 30

VIFF Immersed Exhibition Paris Barclay, Director, Scandal | OCT. 6 Meet The Show Runners OCT. 3

VIFF Immersed Conference

Paul Austerberry, Production designer, The Shape of Water | OCT. 4

Edge of the Knife

Gwaai Edenshaw, Helen Haig-Brown, Canada, 100 min.

WED. OCT 3 THU. OCT 4 FRI. OCT 5

6:15 PM 9:30 PM 10:30 AM

PLAYHOUSE CENTRE FOR ARTS SFU-GCA

Shot on stunning Haida Gwaii and scripted in two Haida dialects, Gwaai Edenshaw and Helen HaigBrown’s 19th-century epic is both a landmark work of cinema and a nod to the grand storytelling traditions that lure us to the big screen.

Guilt-ridden after a tragic accident, Adiits’ii (Tyler York) retreats into the wilderness where he’s plagued by spirits and transformed into Gaagiixid, the Haida Wildman. As his loved ones set out to capture and cure him, a riveting tale of survival and forgiveness unfolds.

Maria by Callas Tom Volf, France, 113 min.

SUN. SEP 30 THU. OCT 11

3:45 PM 1:15 PM

PLAYHOUSE SFU-GCA

A spellbinding amalgam of previously unseen photographs and performances, personal Super 8 films, private recordings, letters and behind-thescenes archival footage, Tom Volf’s portrait of the world’s most popular opera singer confines itself solely to the words and thoughts of the divine Maria Callas. “An immense celebration… A great gift to music lovers all over the world… Offers the viewer almost two hours in the company of a talented, fascinating, passionate and tragic woman.”

—Cineuropa

ANTHROPOCENE: The Human Epoch

Jennifer Baichwal, Nicholas de Pencier, Edward Burtynsky, Canada, 87 min.

FRI. SEP 28 SUN. SEP 30

1:45 PM 6:30 PM

SFU-GCA CENTRE FOR ARTS

The latest masterful collaboration between Jennifer Baichwal, Nicholas de Pencier and Edward Burtynsky isn’t so much eye-opening as mindblowing as it essays our unprecedented impact on the Earth to stunning effect. The staggering tableaux captured here are at once surreal and sobering, including monolithic machines hell-bent on terraforming their surroundings and potash mines that evoke a bad drug trip. This is filmmaking of the highest order that unfolds on a dizzying, almost inconceivable scale.

Sharkwater Extinction Rob Stewart, Canada, 88 min.

FRI. SEP 28 SUN. SEP 30

6:30 PM 2:00 PM

CENTRE FOR ARTS INTL VILLAGE 10

Racing across the globe to document the corruption that’s pushed sharks to the brink of extinction, documentarian/conservationist Rob Stewart demonstrates that activism is always a rush against the clock—if your objective is saving the world, there’s never a moment to waste.

Tragically, this marks Stewart’s final film but it ensures that he leaves a legacy of inspiration in his wake. So much more than a call-to-arms, this film encourages all of us to look at the world with a newfound sense of wonder.

Sept. 29 Totally Indie Day, presented by STORYHIVE, is an opportunity for independent content creators to learn more about the art and business of motion pictures. The event will feature experienced industry professionals and rising new talents alike; they’ll be sharing stories, offering insights, passing on tips and more.

Day Pass Only $96 | $70 Student

Sept. 30 - 0ct. 2 Come experience some of the best in immersive storytelling. Presented by Samsung VR Video, this 3 day event provides participants with exclusive, original and cutting edge VR experiences from across North America.

90 minute session only $15 Info & registration: goviff.org/immersedexhibition

Day Pass Only $96 Full Conference Pass Only $149 Info & Registration: goviff.org/immersed

The Old Man & the Gun Vox Lux David Lowery. USA, 93 min.

SAT. SEP 29

Colette

Wash Westmoreland, UK, 112 min.

SAT. SEP 29 WED. OCT 3

3:00 PM 6:00 PM

CENTRE FOR ARTS CENTRE FOR ARTS

Keira Knightley gives the performance of her professional career in Wash Westmoreland’s sparkling look at the early life of Collette, the French writer and feminist icon who turned fin de siècle Paris upside down with her liberal life and work. Co-starring a perfectly cast Dominic West as Colette’s libertine first husband, the critic known as “Willy” who took credit for Colette’s first four novels, this is “a fun, frothy, feminist biopic about the relationship between sex and freedom.”—IndieWire

Shoplifters

Kore-eda Hirokazu, Japan, 121 min.

SUN. SEP 30 MON. OCT 1

3:30 PM 6:00 PM

CENTRE FOR ARTS CENTRE FOR ARTS

VIFF favourite Kore-eda Hirokazu is back with the top prizewinner from Cannes 2018. Also a smash hit in his native Japan, Shoplifters is a bittersweet story of love and crime—tear-jerking and provocative in equal measure. When an abused child (Sasaki Miyu) is rescued by Osamu (Lily Franky), she’s glad to join his family. The Shibatas are poor, but they seem content—though they have some risky ways of getting by… “[T]hrilling, beautiful… a film that steals in and snatches your heart.”

—Daily Telegraph

Premier Sponsor

Cold War

Burning

Pawel Pawlikowski, Poland/UK/France, 88 min.

TUE. OCT 2 TUE. OCT 9

6:30 PM 8:45 PM

Lee Changdong, South Korea, 148 min.

CENTRE FOR ARTS CENTRE FOR ARTS

Shot in exquisite black and white, Pawel Pawlikowski’s (Ida) searing love story begins in the late 1940s when pianist Wiktor (Tomasz Kot), recording folk music in the Polish countryside, meets singer Zula (a riveting Joanna Kulig). What follows is an intense location- and time-jumping tale, based on the director’s parents’ story, fuelled by the music that both brings the couple together and drives them apart. “Visually stunning, passionate, wistful and thoughtful in equal measure.”

—New York Magazine

SUN. OCT 7 FRI. OCT 12

8:30 PM 3:00 PM

CENTRE FOR ARTS PLAYHOUSE

Riffing nimbly on a Murakami Haruki short story, Lee Changdong’s masterful thriller flickers with mystery. Jongsoo (Yoo Ahin, Veteran) reunites with classmate Haemi (Jun Jongseo), who seduces him and then scoots off to Africa. She returns with suave, moneyed Ben (Okja’s Steve Yeun), who makes Jongsoo roil with envy and self-pity; a creepy confession plunges him into tormenting despair. The critics’ favorite at Cannes, Burning imbues South Korea’s simmering social unrest with universal resonance.

Becoming Astrid

Brady Corbet, USA, 112 min.

CENTRE FOR ARTS

SUN. OCT 7

5:30 PM

CENTRE FOR ARTS

Robert Redford has announced that this will be his final film as an actor, and, as such, David Lowery’s (the great A Ghost Story) charming, comedic caper—the real-life story of Forrest Tucker, an amiable septuagenarian who just happens to be an inveterate bank robber and prison escapologist—serves as a fitting capper to a legendary career. The cast includes Sissy Spacek, Casey Affleck, Elisabeth Moss, Danny Glover and Tom Waits, all doing fine work here, but the screen belongs to Mr. Redford...

A star is born in Brady Corbet’s incandescent feature which follows the rise of Celeste (Natalie Portman), an indomitable, foul-mouthed pop saviour, from the ashes of a major national tragedy to superstardom. Spanning 18 years and featuring original songs by Sia and an original score by Scott Walker, this is an origin story about the forces that shape us, as individuals, nations and gods. “A deliciously rich treatise on toxic fame and weapons of mass seduction.”-- Hollywood Reporter

The Grizzlies

Transit

Leto

Pernille Fischer Christensen, Denmark, 123 min.

SUN. SEP 30 TUE. OCT 9

9:00 PM 3:30 PM

RZA, Composer, Writer, Director, Leader of Wu-Tang Clan OCT. 9

Kirill Serebrennikov, Russia, 126 min.

CENTRE FOR ARTS PLAYHOUSE

Astrid Lindgren is famous the world over for creating the indefatigable Pippi Longstocking, and Pernille Fischer Christensen’s vibrant biopic chronicling Lindgren’s (Alba August) difficult years between the ages of 16 and 21 in 1920s Sweden— when the ever-questioning young woman did the unthinkable and had a child out of wedlock— shows that Pippi’s moxie was not created out of whole cloth… “Gorgeous… Christensen takes to period filmmaking like a duck to water, and brings to it an uncommon energy.”—Variety

FRI. SEP 28 THU. OCT 4

1:00 PM 9:15 PM

INTL VILLAGE 9 PLAYHOUSE

Leningrad rocks! This biopic, set in the early 80s, surveys the Russian rock scene of the time through the experiences of rock legend Viktor Tsoi (Teo Yoo). Great cinematography and an eclectic soundtrack push the movie to tour de force level as it depicts a subculture that serves as a form of rebellion. And speaking of rebellion: director Kirill Serebrennikov, a truly subversive artist, is now under house arrest on dubious charges. May he be freed to make more superb movies like this one.

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20 THE GEORGIA STRAIGHT SEPTEMBER 20 – 27 / 2018

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Miranda de Pencier, Canada/USA, 104 min.

MON. OCT 1 MON. OCT 8

6:30 PM 1:00 PM

PLAYHOUSE PLAYHOUSE

With sub-zero temperatures and staggering suicide rates, Kugluktuk, Nunavut, isn’t conducive to dreaming big. After introducing his students to lacrosse in a bid to boost morale, a teacher (Ben Schnetzer) learns that a restoration of pride can only come from within the community. With a cast composed of both established Indigenous performers and remarkable new discoveries (including Nunavut’s own Paul Nutarariaq and Emerald MacDonald), Miranda de Pencier’s film is a stirring tale of collective rebirth.

Christian Petzold, Germany/France, 101 min.

SAT. SEP 29 MON. OCT 8

9:30 PM 3:45 PM

PLAYHOUSE PLAYHOUSE

With occupying forces closing in, a haunted refugee (Franz Rogowski, Germany’s Joaquin Phoenix) assumes a dead writer’s identity—and transit papers—and flees to Marseille in hopes of sailing to safety. However, he soon becomes entangled in the lives of those who’ve been left behind, including the widow (Paula Beer) of the man he’s posing as. Christian Petzold (Phoenix) masterfully conjures a fever dream-fuelled, noir-tinged romantic thriller that’s equally indebted to Casablanca and current affairs.

Birds of Passage

Cristina Gallego, Ciro Guerra, Colombia/Denmark/Mexico, 125 min.

SUN. OCT 7 THU. OCT 11

6:30 PM 4:00 PM

PLAYHOUSE SFU-GCA

Beginning in 1968 and spanning 12 years, Ciro Guerra and Cristina Gallego’s terrific drama focuses on one desert-dwelling indigenous Waayu family and its rise and fall in the early days of the Colombian drug trade. Structured around five chapters and replete with Waayu traditions and costumes, this is a crime story like you’ve never seen before. “A textured and utterly unique re-imagining of the family crime saga [that] offers… a fascinating glimpse into a little-understood community.”—Sight & Sound

Non-Fiction

Olivier Assayas, France, 106 min.

SAT. OCT 6 THU. OCT 11

3:00 PM 6:15 PM

CENTRE FOR ARTS CENTRE FOR ARTS

VIFF fave Olivier Assayas (12 of his films have played the festival, ranging from A New Life, VIFF 93, to Personal Shopper, VIFF 16) turns his eye to the publishing world and the disruption caused by the digital age with this relationship drama starring Juliette Binoche and Guillaume Canet.

He’s a besieged book exec confronted by “the death of print” and she’s an actress tired of her job—and perhaps her relationship. Assayas’ intelligent film for thinking adults says a lot about the way we live now.

SEPTEMBER 20 – 27 / 2018 THE GEORGIA STRAIGHT 21

VIFFsters, start riffing

from page 19

one of the festival’s must-see movies.

International Village, October 1 (1:30 p.m.); Rio, October 3 (6 p.m.) > KE ONE CUT OF THE DEAD (Japan)

To the delight of their bullying megalomaniac director, the cast and crew of a blood-soaked horror find themselves attacked by real zombies.

Or so we think during the uninterrupted 37-minute take that opens Ueda Shinichiro’s superadrenalized zom-com, which then reveals its actual story in flashback. In reality, what we’ve just seen is a live TV broadcast persistently threatened by wild mishaps and behind-the-camera attrition, caused, among other reasons, by the onset of explosive diarrhea in the sound department.

How this hapless band of low-budget hacks manages to keep its jerrybuilt assembly from falling apart provides the film with its second, even more impressive layer of ingenuity. We

millennia of religious wars, plus lots of plagues and pestilence, it also has the highest body count of any film in the festival. Of course, the violence is mostly regulated into shockingly beautiful patterns and repetitive motifs, all set to the music of Louis Armstrong, Led Zeppelin, the Bulgarian Women’s Choir, and 10cc.

(Picture a mass circumcision set to “The Things We Do for Love�, and you get some idea of the rigorous madness here.) Paley, who does almost all her own incredibly detailed design work, mixed ’20s jazz with Hindu cosmology in the wonderful Sita Sings the Blues. No masochism required for this one, which is funThe dead walk once again (or do they?) in the wild, self-reflexive zom-com nier and even more primally human.

One Cut of the Dead, one of the highlights in VIFF’s Altered States series.

SFU, October 3 (7 p.m.); International certainly find ourselves wondering, SEDER-MASOCHISM (USA) The Village, October 4 (11:15 a.m.) > KE on multiple occasions, “How did Venus of Willendorf, Moses, and they do that?� But the whole thing brilliant animator Nina Paley’s late THE SISTERS BROTHERS (France/ is so relentlessly antic that a second father all join hands, Busby Berke- Belgium/Romania/Spain) Jacques viewing might seem more exhaust- ley–style, in a kaleidoscopic take on Audiard’s new western starts dising than illuminating. Rio, October Judaism and the ways it and other orientingly in the dark, with a few 6 (10:45 p.m.); International Village, monotheisms gradually displaced shouts before you make out the orworship of female divinity. Covering ange burst of gunfire in the night.

October 8 (1:30 p.m.) > AM

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2017

SEPTEMBER 20

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After the close-range killing stops, flaming horses start galloping out of a barn that’s been ignited. The scene announces two things: one, we’re clearly in a wilder West than usual. And two, the French director of Rust and Bone will be putting his own surreal touches on the genre.

Two bumbling brother assassins drive the whole journey: Joaquin Phoenix as blood- and booze-thirsty Charlie, and standout John C. Reilly as the gentler gunslinger at his side.

Jake Gyllenhaal and Riz Ahmed are equally strong as the more civilized men they’re pursuing. Together, they ride all the quirks in the script based on Canadian author Patrick deWitt’s picaresque tale, taking us deep into the boarding houses and tent canteens of the Gold Rush in 1850s Oregon and California. Think gory shoot-’em-ups amid historic specificity, wordplay, and character development—for a new, more demanding generation of western fans.

Centre, September 29 (8:30 p.m.) and October 7 (5:30 p.m.) > JS

COPE Presents THE RANKIN FILE: LEGACY OF A RADICAL 2:00 pm Âł7KHUH DUH PDQ\ PRPHQWV GXULQJ 7KH 5DQNLQ )LOH ZKHUH WKH DXGLHQFH LV PDGH WR IHHO JXLOW\ 2Q WKH HYH RI DQ HOHFWLRQ PDQ\ GHFDGHV LQ WKH PDNLQJ D FDUHHU GHILQLQJ PRPHQW IRU Harry Rankin ZH 9DQFRXYHU ZRXOG EHWUD\ KLP $ GRFXPHQWDU\ WKDW VFUDWFKHV DW WKH RSHQ ZRXQG RI 9DQFRXYHUÂśV FROG FDSLWDOLVW KHDUW Discorder Magazine )ROORZLQJ WKH VFUHHQLQJ WKHUH ZLOO EH DQ H[FLWLQJ SDQHO GLVFXVVLRQ DQG PHHW

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SEPTEMBER 23

“GLENN CLOSE DELIVERS WHAT MIGHT BE HER GREATEST BIG-SCREEN PERFORMANCE — A MASTER CLASS IN SCREEN ACTING. JONATHAN PRYCE MATCHES HER EVERY STEP OF THE WAY. A SIMPLY EXTRAORDINARY FILM THAT COMES JUST AT THE RIGHT TIME.�

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THE CRITICAL HIT SHOW A #DNDLive Improvised Epic Fantasy 8:00 pm 0RUH PRQVWHUV 0RUH 0DJLF 0RUH 0D\KHP 0RUH 2II %UDQG VRGD -RLQ 9DQFRXYHU V PRVW LQWUHSLG SHUIRUPHUV DV WKH\ YHQWXUH RQ D QREOH TXHVW IRU FRPHGLF JORU\ DQG VQDFNV LQ WKLV OLYH LPSURYLVHG DGYHQWXUH LQVSLUHG E\ WKH ZRUOG V PRVW SRSXODU UROH SOD\LQJ JDPH

-Peter Travers, ROLLING STONE

Glenn Close

Jonathan Pryce

The Wife

A FILM BY

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SCREENPLAY BY

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Check theatre directories for showtimes

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Where to do Oktoberfest, minus the flight

B

ack in October 1810, when include naturally hardwood-smoked Germany’s Prince Ludwig Oktoberfest sausage and premium (the future king) married cheeses; plus, the Totally Twisted Princess Theresa in Munich, soft-pretzel truck will be on-site. a citywide celebration was in order: (Tickets, $50, include two drink citizens were invited to party in the vouchers, a food voucher, a takefields facing the city gate, and the day home beer stein, and more.) came to a blowout close with horseThe Hastings Racecourse extravaraces and a Bavganza is just one arian feast. On the Oktoberfest takcouple’s first aning place in Vanniversary, an agricouver. Here are a Gail Johnson cultural fair was few more to check introduced, and the horseraces made out in your finest lederhosen or dirndl: a return, the celebration giving rise to CRAFT BEER MARKET (85 West what we know now as Oktoberfest.

Given the autumn fete’s equine 1st Avenue) Running from Septemhistory, it’s only fitting that Hast- ber 24 to October 7, Oktoberfest at ings Racecourse is holding its own the Olympic Village brewery means Oktoberfest this year. A first for the one-litre steins of Erdinger Weiss, local racetrack, it takes place on Sep- Erdinger Dunkel, and Erdinger Oktember 29 from noon to 6 p.m., with toberfest ales as well as German fare such as a Bavarian schnitzel sandraces starting at 1:50 p.m.

Four “hauses” accessible only to wich and pork-and-beer bratwurst.

On September 25, the beer ticketholders will be set up in partnership with Parallel 49 Brewing market hosts a five-course brewCompany, Sawmill Creek Wines, master’s dinner ($60), featuring and Schneiders. The East Side brew- Erdinger and Stiegl craft beers. On ery is bringing in special beers for the menu, following a cheese and the event, such as Craft Pilsner, wurst welcome: weisswurst with Schadenfreude Pumpkin Oktober- sauerkraut and sweet mustard; fest Lager, and Salty Scot: Sea-Salted smoked trout and cucumber with Caramel Scotch Ale. Food offerings dill salad; rouladen (beef rolled

by none other than the DownLow Chicken Shack, which will be onsite that day for a pop-up, alongside a DJ and live polka band.

H2 ROTISSERIE AND BAR (1601

Bayshore Drive, Westin Bayshore Hotel) Red Truck Brewing Company supplies the beer for this September 28 Oktoberfest dinner, which includes live music by the Alpiners Oompapa band. A buffetstyle setup with chef’s stations offers dishes like currywurst, Wiener schnitzel, sautéed red cabbage, spätzle with cheese sauce, rouladen, and whole grilled mackerel with herb marinade, among others.

For dessert, there’s apfelstreusel, Berliners (filled beignets), and lebkuchenherzen (traditional gingerbread hearts).

Best Eats

Oktoberfest means celebrating in true Bavarian fashion, and thanks to a few local spots, you can do it without breaking the bank for airfare.

with onion, pickle, and mustard) on tap here. For the brewery’s with spätzle and red cabbage; and September 29 fall fest, look for Craft Pilsner, Craft Lager, Trash Panda plum torte with whipped cream.

Hazy IPA, and the Schadenfreude PARALLEL 49 BREWING COMPANY Pumpkin Oktoberfest Lager. Any (1950 Triumph Street) If you love of those would go nicely with a beer, you know about the 40 beers spicy chicken-schnitzel sandwich

VANCOUVER

ALPEN

CLUB

(4875 Victoria Drive) Home to the Deutsches Haus Restaurant, the club calls its weeklong celebration “Das Original”. It hits Vancouver on October 5, 6, 12, 13, 19, and 20, with sausages, schnitzel, soft pretzels, and other traditional German fare, as well as live music and beer, beer, and more beer ($35). -

The trophy goes to The Wife Glenn Close brings award-worthy fire to her role as a woman too often cheated RE VIEW S THE WIFE Starring Glenn Close. Rated 14A

A movie about who does and win prizes and what they really mean, The Wife is itself certain to be the subject of awards contention, with its ironies compounded by the likelihood of its so-called supporting player getting most of the Oscar attention. The helpmate in question is Joan Castleman, a retiring type played by decidedly unretired Glenn Close, who burns with restrained fury in all but the final scene of this well-crafted effort, which manages to be both soothingly old-fashioned and oddly of the moment, even if it is set in the 1990s and before.

When we meet long-suffering St. Joan, she’s prepping her husband, Joe, a famous American writer played expertly by Welsh-born Jonathan Pryce, late of Game of Thrones and Wolf Hall (but let’s not forget Brazil, shall we?).

Joe’s waiting for a fateful phone call from Stockholm, telling him that he’s won the Nobel Prize in Literature. It comes, and they go, trailing doubts, memories, and volatile recriminations in their wake.

In keeping with his second-greatestgeneration status—the two-fisted writers who followed Hemingway and Mailer—this scribe has always been a pompous, philandering cad.

As we see in nicely shaped flashbacks, mostly from the buttoned-down ’50s, college-teacher Joe (Harry Lloyd— another Brit, of course) left his first wife for student Joan, played affectingly by Close’s own daughter, Annie Starke. But more than marital fidelity is tested when the elder Castlemans head to snowbound Sweden.

Their marriage is hardly a Garden of Eden, but a snake slithers near anyway, in the Christian Slater–like form of Nathaniel Bone, an ambitious journalist whose attempts to write an authorized biography of the Great Man keep getting rebuffed.

Like Clare Quilty in Lolita, he sidles close to the principals, hissing unnaturally intimate things in their ears. Although Joe has kept his flirting game alive, somewhat pathetically, the more crucial issue is that of talent. Not his, but Joan’s. Stunted by a perfect storm of sexism and selfdoubt, she was a promising writer who gave it all up to raise a family.

But did she?

2 doesn’t

Glenn Close and Jonathan Pryce star in the fine drama The Wife.

Swedish director Björn Runge keeps a cool hand on this saturnine take, adapted from Meg Wolitzer’s novel by Jane Anderson—fittingly, a screenwriter for Mad Men and HBO’s Olive Kitteridge. There are a few clunky stretches; most notably, a subplot with Joe’s grown son (Max Irons, actually son of Jeremy) suffering in his shadow is just too obvious to bother with. But as every writer knows, no story is perfect. And the untold bits are what this one’s all about.

> KEN EISNER

DAN SAVAGE’S HUMP! FILM FESTIVAL Rating unavailable

The world’s only road-show fes-

2 tival of amateur porn returns to

the Rio Theatre for four nights of hot action starting Thursday (September 20), bringing a high-res picture of 2018’s politics with it. As the most immediately zeitgeist-y of this year’s efforts, “Pizza Roles” is stocked with gender-fluid folk parodying the production of a professional porno shoot, with the film’s producers hiring and firing until they land on their perfect actor: a “queer interracial trans”.

The zippy short doesn’t quite click, but then again, the HUMP! Film Festival—founded as a sex-positive celebration of homegrown smut by sex advice columnist Dan Savage back in 2005—lives on enthusiasm more than technical chops. The cracks are visible (heh) in a polyamorously-themed country-song parody called “Second Favorite Man”, but the spirit is infectious as hell. Another musical short asks “Is Queefing an Instrument?”

The answer is no, but as a split-screen appreciation of the pussy fart, it makes a thoughtful case all the same.

Among the more cheerful segments this year, “The Code” offers advice on how to get your Lyft driver into a queer threesome; “Oh the Savings” depicts a lone woman’s particularly inventive use of coupons; and the resourcefully shot “Dildrone” graphically recalls Turbonegro’s timeless 1998 classic “Rendezvouz With Anus”. Meanwhile, opening number “Objectify” demonstrates that you can still have fun with your clothes on, with its deadpan and sometimes baffling sexualization of everyday objects. (Still not sure about that adding machine.)

As ever, there’s at least one outstanding animation, this time in the shape of “Hermetic Dating Rituals”, which will appeal to anyone who’s curious about Goetia or wants more background on the film Hereditary. For pure, nasty raunch, nothing really touches the trans-oriented fisting opera “Dark Room”, which adds a vividly prolapsed back door to the catalogue of things projected over the years onto the Rio’s big, inclusive screen.

In a stiff race for the most impressive piece overall, the Vancouvermade collage “Paramnesia” is a genuine thing of beauty, featuring latex she-gimps in huge platform shoes and elven woodland dykes caught in amniotic embrace. “Connection” imagines a gorgeous pas de deux between two strangers in a café, and looks like something that might have gotten a BravoFACT grant if it weren’t for all the genitalia. As for bracing, highend spectacle, the utterly bizarre “Turiya” is a humdinger of nonbinary dinger humming.

A very honourable mention must also go to “Morning Comes”, in which a crisply shot two-man fuck plays beneath a candid account of a dying relationship, with a fascinating detour into the subtle psychological horrors that accompany la petite mort. Still, for all that artfulness, one cannot help but notice that the ridiculous “Boys at the Beach” only needs 45 seconds of slo-mo dick-swinging to make the most efficient impression of all.

As ever, HUMP! isn’t kidding around about protecting the privacy of its participants, so keep those phones firmly in your pockets. Anything else you want to whip out is presumably at the discretion of theatre management. > ADRIAN MACK

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Wine Folly ticks all boxes

I

’m hardly a rarity in the world Well, I’ve recently had a good ganof wine writers in having always der at the new Wine Folly: Magnum wanted to write a book on wine. Edition book by Madeline Puckette Hey, a memoir may be in the and Justin Hammack. Simply put, cards, or some unique inspiration may this guide to wine contains everyhit, but the kind of book I’ve always thing I thought to be integral for the thought to pen is an introduction to imaginary book I no longer feel it newine for those just getting into it and cessary to ponder, because not only looking to expand does it tick all my their knowledge. boxes but it goes “It’s been done above and beyond so many times, those things in its Kurtis Kolt though!” delivery.

Yeah, yeah, I know. With bookThe writing duo behind winefolly. store shelves and websites over- com, the popular online resource f lowing with them, one may think known for handsome wine maps and there’s no need for yet another one. infographics, came out with their Although I tend to agree with this, first book (Wine Folly: The Essential my issue with what’s on shelves has Guide to Wine) in 2015. Although it always been twofold. covered many basics for the novice, There are those who may pick I found that it relied too heavily on up a tome that looks impressive on smart graphics and lacked enough a shelf but is unlikely to provide substance or context to give readers a enough enjoyment to enable one balanced grasp on global wine. There to glean considerable long-term was plenty of focus on grape varieties knowledge. I mean, the Oxford but not as much as I would have liked Companion to Wine is an invalu- to see on the world’s wine regions. Beable resource and all, but when was cause most retail stores are organized the last time anyone sat down to by country—and all of us wine geeks read through an encyclopedia? are always going on about place being On the other side of things, I find important, terroir and such—I wantmany books in this category to be ed to see greater weight in that area. unnecessarily patronizing, hokey, or This new version remedies any lacking in thoroughness. I know so quibbles I had with the first edition. many people who have bought books First off: the book is stunning. The like these only to quickly flip through sturdy black-and-gold hardcover feels it on the way home and then it’s good in the hand, while the graphics, shelved and the dust begins to gather. maps, and charts inside are easy to What would it take, I’ve pondered, read and easy on the eyes, too. The for a book to be coffee-table-worthy opening Wine Basics section covers (making it ripe for regular leaf- everything from how wine is made throughs) and educational yet still and reading international wine unfussy and unpretentious? labels to treatises on sweetness, acid-

The Bottle

ity, sparkling wines, wine faults, and how to properly taste. The graphic tours through these areas are so tight that a good dose of knowledge can be gained without reading a word.

There are also food-pairing road maps and full-page guides to wine grapes that cover flavour profiles, key growing areas, and “If you like that you’ll love this” guides to alternative varieties.

The Wine Regions section is beefy, whether diving deep into French subregions or presenting a four-page glance at Greece that breaks through the noise to give you precisely what you need to know to appreciate everything from Assyrtiko to Xinomavro.

The book can be enjoyed throughout a lazy Sunday afternoon or during a TV commercial break for a quick varietal spotlight. Consider a chunk of your Christmas shopping (for yourself or others) already done.

Of course, it’d be a shame to enjoy flipping through the thing without a glass in hand.

I recently enjoyed a fun bottle of fizz. Autour de l’Anne Wonder Womanne NV (Languedoc, France; $38 to $42, private wine stores) is a charismatic pink sparkling blend of biodynamically grown Cinsault, Syrah, and Grenache, loaded with Rainier cherry, Turkish delight, and white pepper. Brilliant aromatics and a complex layering of flavour make it a perfect match for a cheese board, tucking into a good book, and whiling away a rainy day. Recently spotted at Liberty Wine Merchants on Commercial Drive and Legacy Liquor Store. -

at the Telus Studio Theatre

Kealoha WED OCT 3 2018 / 7:30PM

Hawaii’s first poet laureate gives captivating slam performances that stem from his identity as a modern Indigenous citizen of the world.

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ARTS

The diverse young artists reviving the fla-

BY JANET SM IT H

menco scene in Spain are each bringing their own spice to the traditional form—whether through contemporary-dance infusions, theatrical flourishes, or improvisation.

But no matter how varied their approaches, they have one thing in common, according to one of the leaders of the new movement. “There’s a drive to do things differently and do more personal work,” explains Sara Calero, speaking over the phone from her Madrid home base with the translation help of Rosario Ancer. (The latter helms the Vancouver International Flamenco Festival, where the Spanish sensation will headline in a few days.)

The personal is at the heart of Calero’s Petisa Loca, which she will perform here. It draws on the history of her own family—and that of Spain itself, which experienced massive emigration during the first half of the last century, when it endured economic hardship and a brutal civil war.

“My inspiration was the stories my grandfather told us,” she explains. “He emigrated to Argentina and then, years later, he had to return to Spain. And so we heard all the stories of his immigration and the adventures he went through when he was exiled.”

Flamenco finds new flourish

In Petisa Loca, a retro lamp and vintage dresses heighten the imagery (Fernando Marcos photo); below left, Monique Salez & The Dream Cab (Helen Cyr photo).

story, I was very conscious of how current this was—that it’s happening right now, and it’s relevant right now,” With Petisa Loca, rising Madrid dancer Sara Calero pushes Calero emphasizes. the form, telling the story of Spanish women in exile For flamenco-fest organizer Ancer, it’s an What resonated deeply with Calero was the example of the kind of cutting-edge work she wants experiences her female relatives had in their new, to feature here more. “We have always brought in strange land—and those became the ideas she feature artists who are the best in Spain, with more and cocreator-cantaora (flamenco singer) Gema traditional representations,” she explains. “But for Caballero focused on as they created Petisa Loca. a long time I wanted to show audiences what is pos“I thought, ‘If I’m going to tell the story, it’s going Vancouver flamenco fest to be from women’s point of view.’ So I invented a spotlights a diverse array woman who goes through emigration, and figures out what her place is in the world,” Calero relates. “I created my own script and used that to develop my ideas.

The Vancouver International But I don’t pretend that the public has to underFlamenco Festival is offering stand her story, exactly. I’m more interested in creup its widest array in hisating images to inspire the public’s imagination.” tory this year, with everything from a piece that Calero performs with a live cantaora (Loreto blends Southeast Asian and Spanish styles to Arnaiz) and flamenco guitarist José Almarcha a dreamlike, multimedia dance-theatre work here, and bases her dance on impressive techfrom Victoria, from Friday to next Saturday nique: born in Madrid in 1983, the stunning, (September 21 to 29). dark-haired dancer graduated from the ConIn other news, the event founded by Rosario servatorio de Madrid in 2002 and made her Ancer and Victor Kolstee back in 1990 also marks solo debut at just 17 with flamenco master José the second year of an artistic creative residency Granero at the art form’s epicentre, Spain’s program. This year, Madrid master Mariano Festival de Jerez. She’s also danced with the Cruceta will mentor local dancer Kara Miranda.

Ballet Nacional de España.

“It’s our hope that later on we can help the danBut Petisa Loca feels different from tradcers who take part in this to create a production,” itional flamenco performances. Instead of enthuses Ancer over the phone. “I’m excited classic ruffled skirts, Calero wears costumes about that, to help Canadian dancers to learn how that look more like the midcentury clothes to create work. There are a lot of good dancers worn by the character she’s channelling. The here, but it’s hard to create good work.” simple set has a domestic and retro vibe, with its Flamenco fans can check out the results at an fringed floor lamp and stool. The musical bridgopen-studio session on Sunday (September 23) at es come courtesy of electronic artists the Lab. noon at the Scotiabank Dance Centre’s Zagar Studio.

There is the feel of the cinematic, the theatrical, Meanwhile, here are some of the other mustand visual art to what she does. see shows on the flamenco-fest menu.

The piece’s look and sound help flamenco speak to contemporary times, and so does the subject matter.

KASANDRA FLAMENCO ENSEMBLE (At We live in a world, unfortunately, where displacethe Orpheum Annex next Wednesday [September ment is epidemic these days—with reverberations 26]) Kasandra, known better as “La China”, joins strongly felt not only in Spain, but around the planet. guests artists in a wide-ranging exploration.

“Even though the story came from an old

2

THINGS TO DO

sible with flamenco, and up-and-coming artists.

Sara is becoming a force in Spain and her dancing is impeccable. I saw her in Jerez and was so impressed at her ability to merge these disciplines.”

By rooting everything in her personal passion, Calero is forging a fresh path. “I don’t know if it makes me different,” says Calero, “but this is the way I like to work.” Sara Calero Company presents Petisa Loca at the Vancouver Playhouse on Saturday (September 22) as part of the Vancouver International Flamenco Festival.

Check out Passages & Rhythm, a flurry of fan work that’s a culture-mashing collaboration with Filipino-Canadian dancer Alvin Erasga Tolentino of Co. ERASGA. MONIQUE SALEZ & THE DREAM CAB (At the Orpheum Annex next Thursday [September 27]) In Los Labios de la Loba, the Victoria flamenco veteran’s form-pushing troupe takes a trip into surreal dance-theatre territory.

LA AZULITA FLAMENCO ENSEMBLE (At the Orpheum Annex next Friday [September 28]) The Nova Scotia talents head west to present traditional flamenco in all its fiery glory, with dancer Megan La Azulita, guitarist Daniel MacNeil, singer Lisa Myers, and percussionist Ian MacMillan.

DIALOGUE EXTENDED (At the Orpheum Annex next Saturday [September 29]) Flamenco Rosario’s artistic and musical directors Rosario Ancer and Victor Kolstee know the struggles of being partners in both life and artistic work.

Here, they team up with two other romanticartistic couples—Mariano Cruceta and Gloria Solera from Spain, and Marien Luévano and Ulises Martínez from Mexico—to explore the struggle to balance their domestic and creative lives. “But it will be something any couple can recognize,” Ancer says. Ay, sí! > JANET SMITH

ARTS High five

Editor’s choice KEY KINGS Kicking off his debut season as the new maestro of the Vancouver Symphony Orchestra, not to mention the centenary of the city’s biggest arts organization, music director Otto Tausk has a Dutch treat in store for us. Spectacular Hilversum-raised pianist brothers Lucas and Arthur Jussen tackle Francis Poulenc’s Concerto for Two Pianos in D Minor, turning both instruments into a single, flowing machine. After directing them, conductor Michael Schønwandt once reportedly raved, “It is like driving a pair of BMWs.” Added enticements on the program: a premiere by Edward Top, and Igor Stravinsky’s Firebird, performed in its entirety. Expect aural fireworks. The Vancouver Symphony Orchestra’s 100th Season Opener takes place Friday and Saturday (September 21 and 22) at the Orpheum.

Five events you just can’t miss this week

1

BACK TO SCHOOL THEATRESPORTS (To October 6 at the Improv Centre) There’s no better way to face fall’s harsh reality than to laugh at it.

2

CASTALIAN STRING QUARTET (September 23 at the Vancouver Playhouse) The London chamber ensemble has been called everything from “crisp” to “soaring”.

3

TALES OF AN URBAN INDIAN (To September 30 at Presentation House) Royal Canadian Air Farce’s Craig Lauzon takes you on a literal bus ride you won’t forget.

4

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME (To October 7 at the Stanley Industrial Alliance Stage) A strong central performance and a magical entry into the imagination.

5

CURIOUS IMAGININGS (To December 15 at the Patricia Hotel) Patricia Piccinini’s humananimal hybrids haunt and charm.

In the news POLY QUEER LOVE BALLAD nabbed two prizes at September 16th Fringe Awards Night: the Volunteer Choice Award and the Georgia Straight Critics’ Pick Award. It is also being held over as part of the Public Market Pick of the Fringe series at Performance Works from Wednesday to Sunday (September 19 through 23)—a second chance to see some of the strongest productions. Look for it alongside 5-Step Guide to Being German 2.0 (pictured here), SELF-ish, Squeeze My Cans, Unscriptured, and The Lady Show. Elsewhere on the prize night, the B.C. Touring Council Award went to Awkward Hug and the Joanna Maratta Award and Mollie Bradley Award went to Hysteria. Big Sister won extended life as a Cultchivating the Fringe Award winner, while two shows tied for the artistic-risk prize: Red Bastard and Hip. Bang! Presents Surveil. Elsewhere, Mel Malarkey Gets the Bum’s Rush was recognized with the Spirit of the Fringe award. SEPTEMBER 20 – 27 / 2018 THE GEORGIA STRAIGHT 25

ARTS

Kamloopa tells a new story > B Y A LE X A ND ER VA R TY

H

ATHLETES OF SOUL CO. PRESENT

er first experience of the professional stage nearly left her broken—but now theatre’s making her whole.

There was never any doubt that Kim Senklip Harvey was born to tell stories, on-stage and off-. “What Kevin Loring always says is that you get called to something,” the Syilx, Tsilhqot’in, Ktunaxa, and Dakelh actor, playwright, and director tells the Straight in a telephone interview from Kamloops, citing the Nlaka’pamux author of Where the Blood Mixes. “I think I’ve inherited storytelling as something that is my responsibility to the community, for my people. And it’s my duty, when I’ve been given that knowledge and that ability, to work really hard at making sure that I can be effective and in service of my people.”

Harvey could, it’s true, have gone in other directions. Her propensity for hard work and focus also made her a natural athlete, and in her teens she could have accepted a baseball scholarship from an American college. Instead, she enrolled at UBC, and it was there that her interest in the stage blossomed.

“A couple of teachers—Tom Scholte and Stephen Malloy—asked if I wanted to be in the BFA theatre program, and I didn’t even know what that was,” she recalls, laughing.

“I said, ‘What is that?’ and they said, ‘Well, you get to act, and you get to tell stories all the time.’ And I said, ‘Why aren’t I already there?’ ” On graduating, Harvey was immediately tapped by a variety of professional companies—but soon found the work she was being asked to do problematic. One script required her character to describe how her mother was almost beaten to death. In another, she portrayed a survivor of the ’60s scoop, whose mother had killed herself by jumping from a bridge. In a third, she performed an abortion on herself and then committed suicide.

“It really burned me—and I didn’t expect that to happen,” she says. “Men-

Writer-director Kim Senklip Harvey left the stage because she felt betrayed as an Indigenous woman. Now her new Kamloopa aims to set things right.

tally and spiritually, I broke. The stories I was being asked to tell, the position I was being put in as an Indigenous young woman, severely hurt me.…I felt betrayed by theatre. I felt alone. And I felt abandoned in a world that I had loved so much from such a young age.

“Those roles were my introduction into working in theatre,” she adds.

“Body trauma: to die every day onstage, sometimes twice a day. I did not have the tools or the maturity or the capacity to do that and not feel that pain myself.”

Harvey left the stage to work as a provincial advocate for First Nations children in foster care. But now, renewed, she’s back—and not only with a new production, Kamloopa, but a new, healthier, and protocol-based concept of how Canadian theatre can engage with Indigenous stories. Especially, she stresses, with Indigenous women’s stories.

“Kamloopa came from wanting to be seen in the complexities of what it means to be an Indigenous woman,” she explains of her three-hander, in which she’ll direct Yolanda Bonnell,

Samantha Brown, and Kaitlyn Yott.

“I was being asked to be a victim all the time, and that’s not me. That’s not my friends. That’s not the powerful women I know in my life. The women in my life laugh and joke and have power and agency and sovereignty over everything they do in their life—and that’s what Kamloopa is. It’s three women who have sovereignty over what they do.

“Yes, they have complications and challenges, but they love, they laugh, they fight, they cry, and they find joy.”

Harvey’s characters are also designed to make an impact beyond the theatre. “If you kill us on-stage, if you make us cry all the time, if you portray us as victims, how do you think the rest of society is going to see us?” she asks. “How do you think that will not impact the way that we’re treated? And I think that’s dangerous.” Kamloopa runs at the Cultch’s Historic Theatre from Tuesday (September 25) to October 6.

Never Still dives into set design

T

JOHN PATRICK SHANLEY’S

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26 THE GEORGIA STRAIGHT SEPTEMBER 20 – 27 / 2018

> B Y JA NET S M ITH

yvek is a common sight on the streets of Vancouver—a synthetic house wrap used to protect construction projects from the damaging effects of our pounding rain.

Now the crisp, white material is making a surprising move into the world of the arts. Choreographer Vanessa Goodman has found evocative use for Tyvek in her new multimedia work Never Still—an exploration, it turns out, of water. Or more specifically, of human circulatory systems as they relate to the watersheds in our environment.

“It covers the whole stage—10-foot-wide sheets that are almost 40 feet long,” explains the Action at a Distance artistic director, speaking over the phone before heading into rehearsal at Left of Main studio. She’s referring to the Tyvek sheets. “It becomes structural, and the dancers do interact with it. The artists move the set throughout the piece. And when it moves, it sounds like the ocean; it’s pretty close to an ocean element [heard] in the score.”

What she and her creative team have found is that the fabric is, like water, never still. And the dance artists—Shion Skye Carter, Stéphanie Cyr, Bynh Ho, Alexa Mardon, and Lexi Vajda—are having to go with the flow.

“It has a life of its own, so it’s slightly unpredictable. We need to know how to adapt when it does things slightly differently. So we’re letting the material influence the impulses,” Goodman says. “It’s the same as when you put your foot or an ice cube into water and it moves.”

The white Tyvek also acts as a textured projection screen for the video art of Loscil (Scott Morgan). Goodman says the bumpy mass gives his atmospheric images of clouds and landscapes the feeling of a topographical map. There are also projected shots of the dancers plunging into water.

The dance mirrors and contrasts the ever-moving visuals, Goodman reveals. “Sometimes it’s more luxurious, flowing movement, but that’s juxtaposed with more staccato movements. And then there’s stillness that isn’t actually still,” she says, pausing to explain: “It’s noticing what happens in our body when we try to be still.” What the choreographer is fascinated with is that we, as human beings, can never really be still: our nervous system is always firing, our skeleton is readjusting itself, our blood is circulating through our veins while our heart pumps.

Never Still (with Bynh Ho) uses watery video and a surprise material that’s spread across the stage. Ben Didier photo.

Goodman has researched those circulatory systems for this project, and she’s also delved into the way the health of our environment can affect the body. “Every year we’re experiencing water changes,” she says, referring to global warming and rising oceans, “and you can feel that in the work. That’s underpinning it.”

More than anything, though, Goodman is building an environment of her own—as she’s done with work like the multimedia Wells Hill, integrating her reading, music, videos, and set pieces with her dance to create a new world for viewers to dive into.

“I’ve always been interested in how the room dances around the dancer,” says the artist, who’s previously placed everything from white balloons and fans to a fluorescent inverted pyramid on-stage. “And I like to see how far I can take it, so it’s not overwhelming for those who watch it or are part of it.”

In other words, she wants viewers to be enjoyably immersed, but not quite fully submerged. Never Still is at the Firehall Arts Centre from next Wednesday to Saturday (September 26 to 29).

Sept 19 â&#x20AC;&#x201C; 23

Performance Works 1218 Cartwright Street on Granville Island The Festivalâ&#x20AC;&#x2122;s most popular shows are held over for your enjoyment! Missed them during the Festival?

Sold out the night you tried to go? This is your last chance to catch these shows! All Pick and Pick Plus shows will be held at Performance Works.

Buy your tickets now at:

vancouverfringe.com/pick

$25

5-Step Guide to Being German 2.0 Paco Erhard

SELF-ish

Poly Queer Love Ballad

Classy Little Bitch Productions

AnaĂŻs West and Sara Vickruck

Funny / Tear-Jerker / Intimate / 0XOWLFXOWXUDO Ä­ 14+ Ä­ Coarse Language

Funny / Multicultural Ä­ &RDUVH /DQJXDJH Wanna be German? Of course you do. And now you can, as awardwinning German comedian Paco Erhard teaches you how. Sold out at Vancouver Fringe 2017 and a Fringe World Best Comedy Nominee, itâ&#x20AC;&#x2122;s the first ever stand-up show to hold a mirror up to real modern Germany, Canada, and the rest of the world.

You will laugh. If you want. Zis is not an order.

A 35-year-old Korean-Canadian woman examines herself in the face of a recent tragedy, waking up to the familiar tremor of existential angst ripple over her body like a pee shiver. â&#x20AC;&#x153;The heart of the show is a killerâ&#x20AC;&#x201D; thanks largely to Bangâ&#x20AC;&#x2122;s witty and transparent performance. Emotions pass over her like weather. Sheâ&#x20AC;&#x2122;s a star.â&#x20AC;? â&#x20AC;&#x201D;Colin Thomasâ&#x20AC;&#x2122;s Fresh Sheet

Naughty / Musical / Poetic / LGBTQ+ Ä­ Coarse Language / Sexual Content

Sept. 19

8:45pm

50 Shades of Vinyl â&#x20AC;&#x201C; Habitats

By Isabelle Kirouac & Nayana Fielkov A Canadian Parody Happysad Theatre

Thursday

Sept. 20

8:45pm

Saturday

Sept. 22

Unscriptured

The Lady Show

Squeeze My Cans

Travis Bernhardt

The Lady Show

This one woman show takes you on a roller coaster ride down the â&#x20AC;&#x153;rabbit holeâ&#x20AC;? that is Scientology. Just under two decades and a million dollars, Schenkelberg takes you on her journey looking for her place and purpose. â&#x20AC;&#x153;Schenkelberg is a dynamo of a storyteller, and her bravery is admirable given that this canâ&#x20AC;&#x2122;t be an easy story to tell.â&#x20AC;? â&#x20AC;&#x201D;Winnipeg Free Press

Saturday

Sept. 22

8:45pm

vancouverfringe.com/pickplus

â&#x20AC;&#x153;The tenderness and rapture of this story made me weep big, nostalgic tears.â&#x20AC;? â&#x20AC;&#x201D;Colin Thomasâ&#x20AC;&#x2122;s Fresh Sheet

Squeeze My Cans Funny / Intimate / Shocking / Multicultural Ä­ Sexual Content

$25

Nina, a polyamorous bisexual poet, meets Gabbie, a monogamous lesbian songwriter. With two microphones, a loop pedal, and array of instruments, they struggle to reconcile their fierce mutual attraction with their opposing perspectives on love.

â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s crowd-pleasing entertainment that has been packing houses for years.â&#x20AC;? â&#x20AC;&#x201D;the Georgia Straight

Wednesday

Canâ&#x20AC;&#x2122;t get enough Fringe Theatre?

Enter Pick Plus: a series of Fringe hits handpicked for your enjoyment.

Funny / Silly / Weird All Ages

A joyous new comedy from Travis Bernhardt, creator of the award winning Charlatan!, Unpossible!, and Chris & Travis. â&#x20AC;&#x153;[Bernhardt is] charismatic enough to get the entire audience to participate.â&#x20AC;? â&#x20AC;&#x201D;Vancouver Presents

Sept. 23

Kink has never been so polite!

This trio of original stories spoofs a beloved Canadian radio program (youâ&#x20AC;&#x2122;ll know it when you hear it) with warmth, humour, and more than a little spice.

Accompanied by a mysterious white hare, a woman travels through time in search of home. Reminiscent of Fellini and Lewis Carroll, Habitats enchants audiences of all ages, combining physical comedy, dance, circus, and shadow puppetry.

Wednesday

Thursday

Sept. 19

7:00pm

Sept. 20

7:00pm

Funny / In Your Face / Intellectual / Multicultural / LGBTQ+ Ä­

The completely improvised church service for a religion made up on the spot!

Sunday

6:45pm

6:00pm

We put the JOY in feminist killjoy!

Sketch, stand-up, monologue, satirical news, and more starring Diana Bang (The Interview), Morgan Brayton (CBCâ&#x20AC;&#x2122;s The Debaters), Fatima Dhowre (Winnipeg Comedy Fest), and Katie-Ellen Humphries (The Debaters). â&#x20AC;&#x153;I was in such high spirits leaving this performance and the positivity and hilarity has stuck with me.â&#x20AC;? â&#x20AC;&#x201D;Theatre Addicts

Sunday

Sept. 23

7:45pm

Basic Training

Written, created, and performed by Kahlil Ashanti Kahlil Ashanti joins the US Air Force to escape an abusive childhood. Before departing for boot camp, Kahlilâ&#x20AC;&#x2122;s mother reveals a family secret that forces him to question everything he has become, and everything he is running away from.

Friday

Sept. 21

7:00pm

The Birdmann FINALE Downunderground Be wowed by incredible acts like plastic bag juggling, interpretive high heel dancing, interactive origami extravaganzas, and climbing inside a giant balloonâ&#x20AC;&#x201D; with original music from Egg of Japan.

Friday

Sept. 21

8:45pm

SEPTEMBER 20 â&#x20AC;&#x201C; 27 / 2018 THE GEORGIA STRAIGHT 27

THE HILARIOUS MISFORTUNES OF ONE WOMAN’S FORTUNE

THE “DON’T MISS EVENT” THIS FALL!

CANADIAN COMEDY

g/ª /gg/ªВ SOEURS Sept. 27 – Oct. 6, 2018 MainStage

By Michel Tremblay Translated by John Van Burek & Bill Glassco Directed by Diane Brown Produced by Ruby Slippers Theatre

THUR & FRI NOV 22 & 23 7:30PM

Tickets from $29!

GatewayTheatre.com , H GatewayThtr

TICKETS: TICKETMASTER.CA • 855.985.5000

© Photo : Thierry du Bois - Cosmos Image | Artistes/Artists : Mark Sampson, Yosmell 28 THE GEORGIA STRAIGHT SEPTEMBER 20 – 27 / 2018

Melissa Oei, France Perras & Agnes Tong.

Photo: David Cooper.

ARTS

Despite her Canadian roots, Lara St. John has always sought to work the Jewish. Slavic, and Romani into her music.

Violinist drawn east of Hungary

L

ara St. John was born in Ontario and now lives in New York City, but in her heart she’s an eastern European— a fact that was brought home to the violinist during her first visit to Budapest, when she was still a preteen.

“I was 12, I think, maybe 11, and I was just amazed,” she recalls in a telephone interview from her home. “There was music pouring out of every window and every restaurant, and I almost thought to myself, ‘Jeez, have I been kidnapped by some white-bread Canadian family, or something?’ Like, ‘Was I born here?’ ” As far as we know, St. John has not had her DNA tested for traces of Jewish, Slavic, or Romani ancestry. But she’s certainly made good on her fascination with the music of Hungary and points east, first with her 1997 release, Gypsy, and now with her even more thrilling Shiksa, from 2015. Shiksa, like her upcoming Music on Main recital, benefits from the presence of jazz pianist and Bach scholar Matt Herskowitz, who does have an ancestral connection to the region and whose background in improvised music adds yet another dimension to St. John’s eclectic approach.

“I’ve learned a lot,” she says happily, citing Herskowitz’s “ungodly technique” and willingness to indulge her passion for speed. And she points to her 2018 touring program as indicative of the range of idioms they can tackle convincingly. On the bill will be four pieces from Shiksa, including Nagilara, Herskowitz’s extroverted arrangement of the Jewish standard “Hava Nagila”, and Armenian-Canadian composer Serouj Kradjian’s gorgeous Sari Siroun Yar. But the two will also tackle Béla Bartók’s early-modernist Sonata No. 2, and Ludwig van Beethoven’s immortal Violin Sonata No. 9, the socalled “Kreutzer Sonata”. (“So called” because Rodolphe Kreutzer, its dedicatee, disliked it intensely and refused to play it.)

“It’s very interesting to come to these sonatas with somebody who’s coming at them for the first time,” St. John says. “I’ve known the Bartók 2 and the ‘Kreutzer’ for a very long time, and I’ve never been very happy with any partners I’ve done them with. And that’s why I was sort of excited to go, ‘Hey, Matt: come on, let’s do this. There are some great Shiksa shows coming up, and that’s fine, but let’s make sure we’ve got some bread and butter here. Some meat and potatoes.’ ”

She laughs, and says that their unfettered interpretation of the Beethoven piece, at least, might ruff le some purists’ feathers—but only, to her way of thinking, because they’re being truer to Ludwig van’s intent than those who stick purely to the score.

“Matt’s into trying everything,” she explains, “and every once in a while he’ll just be like, ‘You know what? He probably would have done this.’ Obviously, Beethoven deserves to be on a pedestal, but not to do things the way he would have done doesn’t make any sense. And we think that sometimes people do exactly what is written because improvisation, classical improvisation, is a lost art.”

Beethoven, she points out, was famous in his lifetime for his extemporaneous variations. And Franz Liszt, who often played the Violin Sonata No. 9 after its composer’s death, “just made up half of it”.

“But it’s not like we’re going to go into Dave Brubeck, or something like that,” St. John adds, laughing again. “It’s going to be stylistically of the time.” Music on Main presents Lara St. John and Matt Herskowitz at the Orpheum Annex on Tuesday (September 25).

Doubling back to Deep Blue Sea > B Y A L EX A ND E R VAR TY

W

ill lightning strike twice? That’s the question the theatre pros behind Athletes of Soul must be asking themselves, as their production of Danny and the Deep Blue Sea gets ready to hit the local stage. Starring in John Patrick Shanley’s modern classic are Johnny Ghorbani and Stefania Indelicato, two rising stars. And directing is Jay Brazeau, who brings more than just experience to the position: he credits playing Danny, in a low-budget Vancouver Fringe production just over 30 years ago, with sparking his own sparkling theatrical career.

“It changed my life,” he says, on speakerphone with Ghorbani while taking a break from rehearsing a fight scene at Studio 16. “Before that, I was always known as the sort of funny, fat-ish guy who did improv down at TheatreSports.

“I couldn’t find anybody who wanted to direct me in it, ’cause they didn’t think I was strong enough as an actor,” he continues. “Finally, we ended up finding somebody who would direct it, and that was Kathryn Shaw, of Studio 58. And this thing came to life. It was a Fringe show in a 65-seat theatre, right? So we did it the first night, and the next night we came to do the show and the crowd was lined up around the block—at least 200 people to see a 65seat show. And it was like that the whole time after that, I think. It sort of struck a chord in Vancouver; no one had seen that kind of theatre before, that in-your-face sort of acting and play. And it’s such a well-written play.”

It’s not only Brazeau who’s completing some kind of circle in coming back to Danny and the Deep Blue Sea. His wife, Suzanne Ristic, who was his costar in that Fringe production, is contributing costume design to the new mounting, while Ghorbani credits his Studio 58 mentor Shaw with helping him make the transition into acting after an unusual, but appropriate, first career.

“I was a fighter, a boxer, for many years,” he says. “And Danny, he’s kind of like a lone soul. Without romanticizing the concept too much, he walks his own path, and he

Onetime boxer Johnny Ghorbani (with Stefania Indelicato) plays the title character in Danny and the Deep Blue Sea.

keeps to himself. He’s not a social guy, and as a fighter, I understand that. It’s often lonely on the road, and you’re fighting strangers, and sometimes you don’t know why you’re fighting.…So I understand the rage, but it’s not even the rage: the rage is actually stemming from the hurt.”

Danny, in the play, finds redemption through love.

Ghorbani, in real life, seems to be finding redemption in art—and in the community of friends and mentors he’s pulled together to help him stage Shanley’s script.

Athletes of Soul, he explains, is a riff on playwright and theorist Antonin Artaud’s description of actors as “athletes of the heart”. But hearts, he adds, can stop beating, while “souls, they continue on.” It’s his ambition that the Danny and the Deep Blue Sea collective will grow to be a full-time company, letting him become a real contributor to Vancouver’s theatre ecosystem. And, hey, it worked for Brazeau and his friends 30-plus years ago, so why not now? -

“Without question he is a phenomenal pianist, a deeply intuitive and sensitive musician” — The New York Times

Choral Loft now open!

EVGENY KISSIN

PIANO

TUE OCT 9 at 7:30pm CHAN CENTRE FOR THE PERFORMING ARTS Don’t miss the opportunity to hear one of the true ‘Greats’ of the piano on one of his very rare visits to the West Coast.

BEETHOVEN I RACHMANINOFF TICKETS: 604 602 0363 I VANRECITAL.COM

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A FIREHALL ARTS CENTRE PRESENTATION

> BY A LEX A NDER VA R TY

ACTION AT A DISTANCE

VANESSA GOODMAN

NEVER STILL

MUSIC BY

LOSCIL

SEP 26-29 2018

WED-SAT 8PM

2 8 0 E C o r d o v a S t re e t

604.689.0926

firehallartscentre.ca Never Still Vanessa Goodman

Ben Didier photograph

Athletes of Soul presents Danny and the Deep Blue Sea at Studio 16 from Tuesday (September 25) to October 7.

SEPTEMBER 20 – 27 / 2018 THE GEORGIA STRAIGHT 29

ARTS

Incident has knockout performance, design T HEAT RE THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME

By Simon Stephens. Adapted from the novel by Mark Haddon. Directed

by Ashlie Corcoran. At the Stanley Industrial Alliance Stage on Wednesday, September 12. Continues until October 6

There’s a lot that works in The

2 Curious Incident of the Dog in

the Night-time, though it takes a bit of time for the story to take flight.

The play is based on Mark Haddon’s best-selling novel, narrated by 15-year-old Christopher, a mathematical genius with a never-identified autism spectrum disorder.

When he discovers the body of the neighbour’s dog, who has been killed with a pitchfork, he decides to investigate the murder and keep notes, despite his father’s warnings not to get involved in other people’s business.

Other people’s business is often perplexing to Christopher, who can’t lie, hates being touched, and doesn’t understand emotions. The novel’s chief pleasure is its first-person narration, which lets us in on Christopher’s unique way of seeing the world and his frequent obliviousness to the meaning of the events he’s recounting. It’s also the aspect of the novel that’s hardest to translate to the stage.

Playwright Simon Stephens replicates some of this perspective with a combination of direct address to the audience by Christopher and readings from his notebook by his teacher, Siobhan. But conveying Christopher’s sensibility falls largely to the director and designers. In her Arts Club debut, director Ashlie Corcoran and set designer Drew Facey make a bold departure from the busy grids and boxes of the London/Broadway production, creating a spacious playing area

Curious Incident ’s Ghazal Azarbad and Daniel Doheny. David Cooper photo.

dominated by round shapes: circles, semicircles, and arches, covered with patterns of flickering light.

The script is faithful to the novel’s plot and chronology, which means that the long first act is mostly exposition. But when Christopher embarks on a train journey to London in the second act, all the elements coalesce into an electrifying sequence, as Christopher navigates unfamiliar settings and crowds (choreographed by Kayla Dunbar), accompanied by Itai Erdal’s expressive lighting and Patrick Pennefather’s propulsive score.

Daniel Doheny is a knockout as Christopher. His slightly ducked head, averted gaze, dangling arms, and nervous pats on his leg are all convincing expressions of Christopher’s social discomfort: “I don’t do chatting,” he tells a neighbour. Doheny’s matter-of-fact delivery often elicits laughs, but it is never mocking. As his main supports, Ghazal Azarbad, Todd Thomson, and Jennifer Copping are all strong.

The rest of the cast play smaller parts and function as a physical chorus, sometimes echoing Christopher’s gestures and sometimes becoming the world he inhabits. Watching him open up to and learn to trust that world—and its people—is a moving experience. > KATHLEEN OLIVER

8pm Friday September 28, 2018 Pacific Spirit United Church (formerly Ryerson United Church) 2205 West 45th Avenue at Yew Street

Vancouver Chamber Choir | Kari Turunen, conductor

Tickets start at

$25

JERUSALEM QUARTET WITH PINCHAS ZUKERMAN VIOLA & AMANDA FORSYTH

CELLO

SUN OCT 14 at 3pm I CHAN CENTRE FOR THE PERFORMING ARTS 3 great string sextets plus 6 incredible musicians equals a wondrous afternoon of music and music making. A rare treat for Vancouver music lovers!

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SUPPORTED BY:

30 THE GEORGIA STRAIGHT SEPTEMBER 20 – 27 / 2018

Our opening concert will introduce Artistic Director candidate Kari Turunen from Finland. His repertoire is rich in music from Northern Europe and North America.

Featured are Jaakko Mäntyjärvi’s evocative Canticum calamitatis maritimae about the sinking of the Estonia, and Canadian/Finnish composer Matthew Whittall’s E. E. Cummings setting love is a place. Other works in this eclectic programme are by Josquin, Lassus, Schutz, Finzi, Kreek, Chatman, Elder, Rautavaara, Runestad and Makaroff.

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ARTS

Singer Aida Cuevas has become a national icon in Mexico, specializing in the romantic, emotive music that’s long been identified with her homeland.

“Queen of Ranchera” follows lifelong passion > B Y TONY M ONTAG U E

M

exico’s Aida Cuevas wasn’t yet a teenager when she made her first recording, backed by a mariachi band. Since that time, the singer and actress has become a national icon, notching up 39 albums in a career that includes winning both a Grammy and a Latin Grammy award.

In the media she’s often referred to as “the Queen of Ranchera”—the strongly emotive, romantic, and patriotic popular music that’s long been identified with her homeland.

“Ranchera music is my life,” says Cuevas, reached in Mexico City where she lives, and speaking in Spanish.

“It’s my passion. I loved ranchera from the very first time I heard it and I’ve been singing it since I was a child.

Ranchera comes originally from the state of Jalisco and dates from the late 1800s, when it was sung by country people—farmworkers and ranch hands. They started to form mariachi groups. At first the singers were accompanied by guitar and bass, joined before long by violins and trumpets.”

The music is typically heard in movies from the golden age of Mexican cinema (which flourished from 1933 to 1964), and has a central place in the repertoire of many Mexican pop artists from older generations— including Juan Gabriel, who died two years ago and remains the greatest influence on Cuevas.

“I first met Juan Gabriel in 1982, when I was 19,” she says. “I really liked him, and he gave me 10 unrecorded songs he’d written. That was the start of a friendship that lasted 34 years. He was my mentor, and the first major artist who believed in me. Juan Gabriel invited me to work with him many times. He gave advice on things like how to move on-stage, how to hold myself, how to perform—everything about being an artist. We toured together a lot in Mexico and the U.S. Juan Gabriel was very versatile, and in addition to ranchera he sang cha-cha, danzón, and a number of other styles

and genres. But I only sing ranchera.”

Gabriel proved one of the most successful Latin singers and prolific songwriters of all time. Although he never married, he proposed to Cuevas on several occasions. “Yes, I had the honour to be asked,” she says, laughing. “But I always refused, because I wanted us to stay as friends.

He was the godfather of Rodrigo, my first child, and that’s also why I didn’t accept. Rodrigo is now my manager and producer, and we’ve been working together for the past seven years.”

When Cuevas makes her Vancouver debut at the Chan Centre she’ll be performing a tribute to Gabriel, in the main comprising songs he gave exclusively to her not long before his demise. “And after his death his family designated me the only artist to record and present his music, and to sing whatever I choose to. I don’t really know why that was, perhaps because of our long and close friendship. He left me 63 unrecorded songs in all, to put on four albums. I’d already made one album of his songs while he was alive. My latest release is Totalmente Juan Gabriel Vol. II and includes a duet with him, ‘Gracias por Todo’, recorded just five months before he died—the last duet that he sang.”

On Cuevas’s current tour her powerful, supple voice is enhanced by the music of 16-member Mariachi Juveníl Tecalitlán—her band since 2011—with eight folkloric dancers.

“Among others, we’ll do ‘El Pastór’, ‘Mexico Latin’, ‘El Setimo Amor’, and one that I love and many people will know, ‘Cucurrucucú Paloma’.

Juan Gabriel’s songs are very varied in music and lyrics, and I believe he was the last great writer of ranchera.

There are three further records for me to make, which will take at least three more years. It’s definitely my largest project to date, and a personal responsibility. I feel an obligation of love.” Aida Cuevas performs at the Chan Centre for the Performing Arts on S a t u rd a y ( S e p t e m b e r 2 2 ) , w i t h Mariachi Juveníl Tecalitlán.

Media Sponsor

Closes September 30

ARTS OF RESISTANCE Politics and the Past in Latin America

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SEPTEMBER 20 – 27 / 2018 THE GEORGIA STRAIGHT 31

MARION BRIDGE Nicola Cavendish, Lynda Boyd, and Beatrice Zeilinger star in Daniel MacIvor’s play about three estranged sisters who make the trip home to Cape Breton to care for their dying mother. To Sep 20, Kay Meek Arts Centre (1700 Mathers Ave., West Van). Tix $45/42.75/15 , info www.kaymeek.com/.

ar ts

+ events/

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME The Arts Club Theatre Company presents a play about a 15-yearold who, when his neighbour’s dog is killed, challenges his own barriers to uncover the truth about the dog, his family, and himself.

To Oct 7, Stanley Industrial Alliance Stage (2750 Granville). Tix from $29, info www. artsclub.com/shows/2018-2019/the-curiousincident-of-the-dog-in-the-night-time/.

t imeout THEATRE DANCE MUSIC COMEDY LITERARY EVENTS ET CETERA GALLERIES MUSEUMS

THEATRE

< DANCE < < 2THIS WEEK < DISCOVER DANCE! THAI DANCE < COMPANY Artistic director Megara < Solloway teams up with Thai classical dan< cer and choreographer Kai Whitcomb for a of ceremonial dances. Sep 20, 12< 1selection pm, Scotiabank Dance Centre (677 Davie).

2OPENINGS TALES OF AN URBAN INDIAN The Royal Canadian Air Farce’s Craig Lauzon performs a site-specific work, staged entirely on a moving transit bus, which documents the life of an Indigenous man born on a B.C. reserve and raised in 1970s Vancouver.

Sep 19-30, Presentation House Theatre (333 Chesterfield Ave., North Van). Tix $25-35, info www.phtheatre.org/talesurban-indian/.

NIGREDO HOTEL City Opera Vancouver presents the macabre operatic thriller, a one-act chamber opera directed by Alan Corbishley. Sep 20-22, Historic Theatre (the Cultch, 1895 Venables). Tix from $22.25, info www.cityoperavancouver. com/nigredo-hotel#/.

MUSTARD The Arts Club Theatre Company presents Kat Sandler’s darkly comic tale about growing up, moving on, and finding magic where you least expect it. Sep 20–Oct 20, Granville Island Stage (1585 Johnston, Granville Island).

Tix from $29, info www.artsclub.com/ shows/2018-2019/mustard/.

KAMLOOPA Indigenous matriarchal story follows two urban Indigenous sisters and a lawless trickster who face the world headon as they come to terms with what it means to honour who they are and where they come from. Sep 25–Oct 6, 8 pm, Historic Theatre (the Cultch, 1895 Venables).

Tix from $24, info www.thecultch.com/ events/kamloopa/.

NEVER STILL The Firehall Arts Centre kicks off its 2018/19 season with the newest work from Vancouver’s Vanessa Goodman, inspired by the inherent conflicts and dichotomies of water. Sep 26-29, Firehall Arts Centre (280 E. Cordova). Tix from $20, info www.firehallartscentre.ca/ onstage/never-still/.

THE CASCADIA PROJECT Founded by playwright Bryan Wade, The Cascadia Project showcases new works from local Vancouver playwrights. Sep 26–Oct 7, 7:30 pm, Studio 1398 (1398 Cartwright, Granville Island). $15, info thecascadiaproject.com/.

2ONGOING BARD ON THE BEACH Annual Shakespeare theatre festival features performances of As You Like It. To Sep 28, Vanier Park (1000 Chestnut). Tix from $24, info www.bardonthebeach.org/.

Tix $15/13, info www.thedancecentre.ca/.

VANCOUVER INTERNATIONAL FLAMENCO FESTIVAL Flamenco Rosario presents performances by local and international flamenco artists, with free workshops and ticketed performances at various Vancouver venues. Sep 21-29, Vancouver Playhouse (600 Hamilton).

Free to $65 (plus service charge), info www.vancouverflamencofestival.org/.

MUSIC 2THIS WEEK ELEKTRA WOMEN’S CHOIR Under the artistic direction of Morna Edmundson, program includes works by Canadian composers Kathleen Allan, Alexina Louie, Don MacDonald, and Stephen Smith.

Sep 21, 8 pm, Shadbolt Centre for the Arts (6450 Deer Lake Ave., Burnaby). Tix $18, info www.shadboltcentre.com/.

UBC SYMPHONY ORCHESTRA: CONCERT OF WINNERS Conducted

by Jonathan Girard, the winners of the inaugural Robert and Ellen Silverman Piano Concerto Competition perform with the UBC Symphony Orchestra. Sep 23, 7:30 pm, Chan Shun Concert Hall (6265 Crescent Rd., Chan Centre at UBC). Tix $8, info www.music.ubc.ca/calendarindex/2018/9/23/concert-of-winners/.

LARA ST. JOHN & MATT HERSKOWITZ Violinist Lara St. John performs with pianist, composer, and arranger Matt Herskowitz. Sep 25, 8 pm, Orpheum Annex (823 Seymour). Tix $39/15, info www.musiconmain.ca/concerts/lara-stjohn-violin-matt-herskowitz-piano/.

COMEDY 2ONGOING THE COMEDY MIX 1015 Burrard, Century Plaza Hotel & Spa, 604-684-5050, www. thecomedymix.com/. Comedy club with pro-am night Tue at 8:30 pm, showcase Wed at 8:30 pm, and featured headliners Thu at 8:30 pm and Fri-Sat at 8 and 10:30 pm. Cover $8 Tue, $10 Wed, $15 Thu, $18 Fri, $20 Sat. 2KYLE BOTTOM Sep 20-22 2CHARLIE DEMERS Sep 27-29

2THIS WEEK BACK TO SCHOOL THEATRESPORTS Vancouver TheatreSports show dedicated to school days takes short-form improv

see next page

DAVID HAUGHTON

80+ VIEWS OF MOUNT BAKER FINAL HOMAGE TO HOKUSAI VISUAL SPACE GALLERY, 3352 DUNBAR ST, VANCOUVER, BC SEPTEMBER 13–OCTOBER 3, 2018 – NOON TO 5:00 DAILY VIEW PAINTINGS AT WWW.HAUGHTON-ART.CA

32 THE GEORGIA STRAIGHT SEPTEMBER 20 – 27 / 2018

games and adapts them to parody classroom clichés and cliques. To Oct 6, The Improv Centre (1502 Duranleau, Granville Island). Tix from $10.75, info www.vtsl. com/show/back-to-school/.

LITERARY EVENTS 2THIS WEEK BUFFY SAINTE-MARIE: THE AUTHORIZED BIOGRAPHY Join author Andrea Warner to celebrate the launch of her book. Sep 24, 6:30-9:30 pm, The Fox Cabaret (2321 Main). Free, info www.face book.com/events/211230792903183/.

2UPCOMING HIGHLIGHTS FRAN LEBOWITZ A celebrated wit and humourist whose razor-sharp observations target everything about contemporary society with brutal honesty. Presented by the Blueshore Financial Centre for the Performing Arts. Sep 27-28, 8-10 pm, BlueShore Financial Centre for the Performing Arts (2055 Purcell Way). Tix $50, info www.capilanou.ca/centre/.

ET CETERA

CHRIS HEDGES An eloquent speaker who bluntly calls out the corporate coup d’état in American politics. Presented by the BlueShore Financial Centre for the Performing Arts. Oct 10, 8 pm, BlueShore Financial Centre for the Performing Arts (2055 Purcell Way). $12/$10, info www.capilanou.ca/.

2THIS WEEK

GALLERIES

CURIOUS IMAGININGS Vancouver Biennale 2018–2020 is excited to present the groundbreaking immersive sculpture exhibition Curious Imaginings. For the first time ever, renowned Australian artist Patricia Piccinini is taking her hyper-realist, fantastical creatures outside the museum. The intimate setting of a wing of 18 rooms in Strathcona’s historic Patricia Hotel will be transformed for the Curious Imaginings exhibition. To Dec 15, Patricia Hotel (403 East Hastings Street ). Tix $16-40, info www.imcurious.ca/.

VANCOUVER ART GALLERY 750 Hornby, 604-662-4719, www.vanartgallery.bc.ca/.

2CABIN FEVER (exhibition traces the cabin’s evolution through renderings, artworks, and commercial products, as well as architectural models, plans, and full-scale installations) to Sep 30 2KEVIN SCHMIDT: WE ARE THE ROBOTS (B.C.– based artist Kevin Schmidt draws on conceptual and performance art while embodying the do-it-yourself sensibilities of an amateur inventor) to Oct 28

2A CURATOR’S VIEW: IAN THOM SELECTS (discover the VAG’s rich permanent collection through nearly 90 paintings, drawings, photographs, and sculptures) Sep 22, 2018–Mar 17, 2019

MUSEUMS MUSEUM OF VANCOUVER 1100 Chestnut, 604-736-4431, www.museumofvancouver.ca/.

2WILD THINGS: THE POWER OF NATURE IN OUR LIVES (exhibition delves into the life stories of local animals and plants— how they relate to each other and how they connect people to nature in the city) to Sep 30 THE MUSEUM OF ANTHROPOLOGY AT UBC 6393 NW Marine Drive, 604-8225087, www.moa.ubc.ca/. 2ARTS OF RESISTANCE: POLITICS AND THE PAST IN LATIN AMERICA (exhibition illustrates how Latin-American communities use traditional or historical art forms to express contemporary political realities) to Sep 30

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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We are Singers/ We are Song!

SU BS C R I B E TO O U R N E W SE A S O N TO D AY

2018 THE HEART’S REFLECTION Presenting Kari Turunen from Finland 8pm Friday, September 28 | Pacific Spirit United Church*

WE ARE SINGERS / WE ARE SONG Joy in Singing 8pm Friday, October 19 | Pacific Spirit United Church* FOR LOVE IS STRONG Presenting Kathleen Allan from Vancouver 8pm Friday, November 9 | Pacific Spirit United Church*

Immersive Sculpture Exhibition Now Open

Early Bird prices extended to September 28

HANDEL’S MESSIAH Jon Washburn Conducts 8pm Friday, December 7 | The Orpheum

Official Launch Street Party

A JOYFUL CHRISTMAS Presenting Nicol Matt from Germany 8pm Friday, December 14 | Pacific Spirit United Church*

2019

Patricia Hotel, Saturday, Sept 22, 7-10 pm, Ages 12+, $25

LOVE AND MERCY Presenting Erick Lichte from Portland/Vancouver 8pm Friday, January 25 Shaughnessy Heights United Church

Awesome Beats by Interactive Video projection by trilliam gibson

MASTERPIECE Famous Choruses of Great Composers

Food and drinks available from local Food Trucks and your ticket includes a free access pass to the exhibition. Special VIP “artist meet and greet” packages are available!

8pm Saturday, February 16 Shaughnessy Heights United Church

MUSIC SEA TO SEA The Farewell Tour 8pm Friday, March 15 | Shaughnessy Heights United Church

Partial proceeds to St James Music Academy.

Tickets + Information at www.imcurious.ca

MUSIC FOR A VERY GOOD FRIDAY Bach/O’Regan/Vaughan Williams 8pm Friday, April 19 | The Orpheum

YOUTH & MUSIC 2019 Music’s Future 8pm Friday, May 10 | Shaughnessy Heights United Church Subscribe today to our new concert season.

Design your own series or sign up for all 10 wonderful concerts. Call us for a season brochure at 604.738.6822. * Formerly known as Ryerson United Church

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SEPTEMBER 20 – 27 / 2018 THE GEORGIA STRAIGHT 33

VIFF Live Artist Showcase Oct 3 • 8pm • The Annex

Music BC’s SOUNDOFF Oct 4 • 7pm • The Annex Presented by

KID KOALA presents: Satellite Oct 5 – 7 • The Annex Co-presented with

RZA: Live From The 36th Chamber of Shaolin Oct 9 • 8:15pm • The Orpheum Co-presented with

October 3 – 4 Lean more about how music and film come together at VIFF’s summit dedicated to music in film and TV. Join music supervisors, composers, filmmakers and industry leaders from across North America in dynamic workshops and panels.

Full conference pass: $96 • $70 student Includes conference & VIFF LIVE Artist Showcase & Music BC’s SOUNDOFF.

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MUSIC

As much as there are days when they miss

BY MIKE US IN G ER

being on the West Coast, Jimmy Vallance and Tom Howie remain totally in love with New York, a city they’ve now lived in long enough to legitimately call it home.

Part of that is because the Big Apple helped birth the duo’s career as Bob Moses, a band that started in NYC’s electronic-music warehouse scene and then rocketed out of the underground with the critically adored debut Days Gone By. To live in New York is to find oneself constantly inspired by not only art, music, and a melting pot of different cultures, but also the city’s famous kinetic energy.

But when he’s reached by phone in America’s biggest metropolis, Vallance says New York City is also one of the epicentres of America, a country in one of its most turbulent periods in history. The U.S. under Donald Trump has become a place where open racism is not only tolerated but promoted by the commander-in-chief. Where the laws for what a woman can do with her body are in danger of being rewritten by conservative Republicans. And where everyone seems, for lack of a better word, angry at everyone else who doesn’t share their particular world-view.

Breaking down Battle Lines

Bob Moses took the current state of the world—from the presidency of Donald Trump to the #MeToo movement—as inspiration for their latest batch of songs.

“Playing our songs in so many different places while touring made us realize how much we all have in common,” ValTouring the world taught the electronic-pop duo lance says. “And that Bob Moses that people are the same everywhere really inspired the subject All this helps explain why the new Bob Moses matter of the record. It’s funny. This record was album is called Battle Lines. not written by two guys in a windowless basement By relocating to New York after attending high in L.A. We had a different perspective.” school in Vancouver, Vallance and Howie have Howie and Vallance relocated to Los Angeles for found themselves with premium seats from which the recording process, setting up in Laurel Canyon, to witness the insanity. a neighbourhood that has served as a creative hot“One of the reasons that Tom and I both love bed for everyone from the Eagles and Fleetwood being in the States is that it’s sort of this battle- Mac to Timber Timbre and Jenny Lewis. Whethground for change,” a pensive Vallance relates er by design or accident, albums recorded in the from his NYC apartment. “A lot of ideologies are fabled neighbourhood over the decades often have put to the test here because of the polarizing op- a sun-bleached, golden-haired ’70s vibe to them. posites. That sentiment really inspired the record That’s not the case with Battle Lines, though. For and, ultimately, the title Battle Lines.” those looking to kick back and chill, Bob Moses Vallance notes that Days Gone By—which doesn’t disappoint, even when tackling big issues. served up downtempo electronic antipop at its Consider the way fluttering synths and cottonmost organic—featured personal songs writ- candy vocals make “Back Down” seem as breezy ten by “two guys in a windowless basement in as an Ibiza afternoon, despite lyrics like “Caught in Brooklyn”. That album became something of a the tide of our own divide/Our moment to make a surprise hit—leading to everything from raves stand/We’re all in the fight for a future bright.” on Pitchfork to an appearance on The Ellen DeBut overall Battle Lines is a great grey-skies reGeneres Show. (DeGeneres became obsessed with cord, thanks to touches like the nightmare-noir the band after hearing “Tearing Me Up” on the keys in “Listen to Me”, the swamp-squelch perradio.) Touring took the duo not only across the cussion in “Enough to Believe”, and the distorStates and their native Canada, but also to far- tion-dusted vocals in dark-tower prog workout flung locales ranging from the Spanish EDM “The Only Thing We Know”. mecca of Ibiza to Mexico City to China.

“When we were initially going to Los Angeles “We went to places in China that I never even I was like, ‘Okay, I’m from the Pacific Northwest, knew were cities—cities that were 10 times the where it’s rainy all the time, so how am I going size of Vancouver,” Vallance remembers. “That’s to deal with the sun?’ ” Vallance says. “And to be when you start to realize how massive the world honest, I’m not a huge fan of that weather. I love is. We were just in Egypt a couple of weeks ago. seasons. L.A. gets four or five days a year where it’s We showed up having no idea what to expect and a misty morning with a little drizzle and you sit then suddenly we’re playing for 5,000 people at a inside with your tea or coffee and feel cozy.” festival and they all know the words to our songs.

To get the right vibe for Battle Lines, he turned It was so weird—the idea that someone who grew to music. up completely different from where you grew up “I found refuge in one of the darkest records can listen to the things you write, and that things ever—The Downward Spiral by Nine Inch Nails— mean the same thing to them as they do to you.” for both its subject matter and sounds,” Vallance What such experiences made the men of Bob recalls. “He [Trent Reznor] recorded that in the Moses realize, then, is that maybe—despite Hollywood Hills, not that far away from Laurel what Donald Trump’s America suggests—we Canyon. I ended up listening to that record a ton, aren’t as different from each other as some just because I felt like I could really identify with would have us believe. That got Vallance and where it was made. It was almost a counter-clash Howie looking outward on Battle Lines, explor- to the environment that we were in.” ing everything from race-related clashes on the That environment, like America under Trump, nightly news (“Back Down”) to the rise of the had many layers. It makes sense, then, that Battle #MeToo movement and the downfall of titans Lines is anything but a monochromatic record, like Harvey Weinstein (“Eye for an Eye”). going dark and political at times, but then ending

up on a hopeful note with the radiant “Fallen From Your Arms”.

It’s a funny thing to find oneself in paradise, and yet not be totally convinced that everything’s okay. Sometimes the best you can do is pick a side and try to get people talking, something Bob Moses has done with the understated yet quietly brilliant Battle Lines.

“When the whole #MeToo movement hit, we found out that a lot of men that we looked up to weren’t all the great people that we thought they were,” Vallance says. “This is what’s been so amazing about what’s going on politically in the States—it’s been this purge. Because the person in the White House is so crooked, everyone else is being called to task. It’s like, ‘We don’t want any of that in society anymore.’ That very much inspired something like ‘Eye for an Eye’. The conflict down here is palpable. And, as an artist, I feel like you’re sort of obligated to touch on things that affect you.

We talk about these things in the studio, so it was only natural to write about them.” Bob Moses plays the Commodore Ballroom on Tuesday (September 25).

in + out

On the arc of Battle Lines: “We looked at the record sort of as a tunnel with a light at the end. Same with the last record. Making an album is a cathartic process for us. We talk about all these horrible things, but then the ultimate goal is to instill hope.”

On capturing ideas: “If you wake up at 1 in the morning, already hungover, to hum something, and then wake up the next morning thinking ‘That’s pretty good,’ chances are it is pretty good.”

On recording: “We don’t really go in with a plan.

A lot of the ideas for this record were written on the road as demos. Those demos start off very naive, because you don’t have the tools to make something more serious. What you get is an initial spark that’s actually really punk-rock, because things are made with basic tools you’ve assembled in your hotel room. Often those ideas are strong enough to make it to the end of a record, even though they’ve been recorded really shittily.” -

PRASS DROPS THE PERSO NAL F O R THE P O LITICAL >>> One of the strangest things was a short relationship and definitely mutual—I didn’t think they were the as the music industry is the way right fit for me. I’d tried to get them to people who are primarily inter- come down to Richmond to see how ested in commerce are convinced we work, and meet all of my friends they know what’s best for those in that I love working with so much. love with making art.

They didn’t come down. And then Natalie Prass ran up against that when I sent them the finished product reality when working on a full- nobody contacted me for a month. No length follow-up for her stunning one said thank you or anything. I was self-titled debut from 2015. When so upset, so mad.” she submitted the songs that would In some ways, Prass—who comes eventually become her sophomore across as more perplexed than pissed album, The Future and the Past, the off—should have been prepared. reaction was less than enthusiastic. During the writing process her label “Basically, I angered the label that I had also encouraged her to spend was on at the time so much that they time with professional songwriters dropped me,” Prass says with a wry in L.A., the goal presumably to get laugh, on the line from her hometown mainstream airplay. Considering that of Richmond, Virginia. “Whatever. It Natalie Prass was the work of some-

2 about the hell that is known

one drawing on angelic chamber pop, art-school jazz, and springtime-inParis pop, that stint didn’t exactly lead to golden memories.

It did, however, leave an exasperated-by-the-process Prass well aware of what she wanted The Future and the Past to be, namely one of the smartest and most adventurous albums of the year. Prass had initially intended to make a record about exiting a shitty relationship, but then Donald Trump happened.

To focus on herself suddenly seemed pointless, considering that the U.S. was about to become one of the most politically and morally divided countries on the planet.

“We were scheduled to do pretty much a completely different record

Jimmy Vallance sounds off on the things that enquiring minds want to know.

in December of 2016,” Prass says. “I was already feeling a little strange about recording that record because the [presidential] campaign was so horrific. And I was already thinking ‘Maybe I should be talking about different things.’ ” When Clinton lost, Prass curled up in bed for a while too traumatized to function, and then got busy trying to make the world a better place with The Future and the Past.

The record is political right from the opening track, the singer lighting out for Funkytown, USA with the bouncy “Oh My”, where she asks “I can’t believe the things I hear/Oh, what is truth and what is fear?/Oh, what is lying to a cheat?/And what is freedom for the free?”

☞ On the 11 tracks that follow, Prass covers a lot of issues, from the need for women to stick together in a hostile America to the fact that everyone seems to have a #MeToo story.

Just as impressive as her determination to make a difference is her unwillingness to play by anyone’s rules but her own. The Future and the Past is a record where sepia-toned strings rise up out of nowhere, taking “Hot for the Mountain” from avant-pop ballad to retro-flavoured heaven.

And where “Ship Go Down” starts out like Sunday-morning jazz before unleashing acid-king guitar squalls and stuttering drum violence.

For all the chances that it takes, The Future and the Past is certainly see next page

SEPTEMBER 20 – 27 / 2018 THE GEORGIA STRAIGHT 35

Natalie Prass

from previous page

accessible enough for those who swim just outside the mainstream.

But in any event, fuck the bean counters of the world; Prass has made a record for those who live for art.

“I don’t have any education of music beyond the year 2000,” Prass says with a laugh. “I’m such an old soul, and I can’t help but be blatant about where my tastes come from, so I remember being in Los Angeles during that writing session, and then going ‘What am I doing out here?’

Sometimes, it really hurts.” > MIKE USINGER

Natalie Prass plays the Fox Cabaret on Tuesday (September 25).

The Mattson 2 pay tribute to jazz icon John Coltrane They say that you can’t remake a

2 masterpiece, but don’t tell novelist

Jane Smiley, whose A Thousand Acres, loosely based on William Shakespeare’s King Lear, won the 1992 Pulitzer Prize for fiction. Don’t tell Jeff Wall, whose The Destroyed Room—a photo-conceptualist interpretation of Eugène Delacroix’s 1827 painting The Death of Sardanapalus—helped launch his international career (and was used as the cover image

for the Sonic Youth album of the same name). And don’t tell the Mattson 2, whose new duo take on John Coltrane’s magnum opus A Love Supreme makes a good case for the ongoing relevance of a work originally issued in 1965.

Twin brothers Jared and Jonathan Mattson don’t claim to have eclipsed the original. Drummer Jonathan—reached on the road in the American Midwest, with his guitar- and bass-playing brother at the wheel—notes that while they’re happy to have climbed what he calls “the Mount Everest” of jazz, only musical deities can make musical mountains. It was important to the duo’s development, however, that after creating six albums of their own instrumental music, which fuses surf, filmsoundtrack, and indie-rock elements, they showed the world where they were really coming from.

“Our concept has a jazz background; that’s where we got all our musical technique and training,” Jonathan says, referring to the California-raised brothers’ master’s degrees in music.

“But after all of our education we wanted to utilize what we’d learned and create our own music with it. So we created a type of jazz that is definitely our own brand—and that maybe some people don’t consider jazz. Releasing this Coltrane album was a way to contextualize our past and what brought us to where we are today, techniquewise.

“And A Love Supreme,” he adds, “is by

far our favourite jazz record ever made.”

There’s more going on here than simple idol-worshipping, however.

By replacing Coltrane’s band of saxophone, piano, acoustic bass, and drums with electric instruments, the Mattsons have shown exactly how much impact the jazz pioneer’s music had on rock. In this new, amplified format, the links between Coltrane’s expansive sound and the psychedelic movement are easy to trace—and Jared Mattson’s elegant use of looping, often to play ostinato bass lines extracted from Jimmy Garrison’s original parts, shows the debt that much sample-based music owes to the ecstatic jazz of the 1960s.

Then there’s the intent behind it all.

Coltrane’s masterpiece was about love and unity and exploration; revisiting it in this time of hate and divisiveness and retrenchment must be making some kind of political statement, right?

“Well, I’ve always felt the need to express the message of A Love Supreme even before all the craziness that’s happening in the world,” Jonathan says, “but it wasn’t completely tied to any sociopolitical endeavour, for us. It was more the musical side, but we also can’t ignore the amazing positivity of Coltrane’s work!”

> ALEXANDER VARTY

The Mattson 2 play John Coltrane’s A Love Supreme at the WISE Hall on Sunday (September 23).

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> Go on-line to read hundreds of I Saw You posts or to respond to a message < CHARMING BARTENDER AT ANH AND CHI

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I SAW A: I AM A: WHEN: SEPTEMBER 17, 2018 WHERE: Main and 18th, Mount Pleasant You showed me to my patio seat for one and brought me the best take on a whisky sour I’ve had in a long time. I read and enjoyed the sun, and you stayed on my mind. It was awesome to get to be around your energy for a few moments in my day.

BEST BUY ON CAMBIE

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I SAW A: I AM A: WHEN: SEPTEMBER 3, 2018 WHERE: Best Buy on Cambie Street We crossed paths briefly at the Best Buy on Cambie a few weeks ago, and I find myself wishing I had stopped to chat.

You seemed to be in the process of getting a new cell phone, I was the girl that kept awkwardly getting in the way by digging through the charging pads/screen protectors next to you. We exchanged a few words before I apologized again for getting in the way, and made my exit from the store.

Just wish I’d tried to keep that conversation going instead :)

AFTER THE LAURYN HILL CONCERT NEAR THE CHRISTMAS MOVIE CRAFTY TENT

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I SAW A: I AM A: WHEN: SEPTEMBER 14, 2018 WHERE: Burnaby Village Museum/Crafty Tent You asked me how the Lauryn Hill concert was and mentioned that you got to hear it for free while (I assume) working the Christmas MOW shoot @ Burnaby Village. Hanging at the crafty tent because us film people know that’s where the real magic happens. I wanted to chat more but I’m a giggly goof and your friend... Coworker..?

Told me to have a nice night so I went on my merry way. You’re tall, and blonde and I am short and think you’re a babe. Maybe we can be babes together sometime?

MET YOU AT SKOOKUM YOUR NAME IS ROB YOU'RE ITALIAN

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I SAW A: I AM A: WHEN: SEPTEMBER 8, 2018 WHERE: Skookum Music Festival Your name is Rob we met on the Friday at Skookum in a beer line.

You talked to my friend about her trip to Austin. You thought I was American. We ran into you again the next day near the red chairs at the mountain stage. You left and said you would come back to the exact same spot but then we never saw you again.

DEATH FROM ABOVE 1979

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I SAW A: I AM A: WHEN: SEPTEMBER 13, 2018 WHERE: New WestminsterColumbia & Eighth St Today, crossing the street from New West station to the “Wait for Me, Daddy” square. I wanted to compliment your Death From Above shirt, but you had earphones in and didn’t make eye contact until it was too late and saying anything to you would have interrupted your stride. You were cute and you had a great outfit. I hope you had a great day too!

AT THE METROPOLE COMMUNITY BAR

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I SAW A: I AM A: WHEN: SEPTEMBER 7, 2018 WHERE: Metropole Community Bar Was at the Metropole Bar on Abbott street with some friends celebrating her birthday. You sat down beside me, and got into a conversation about the new Magnum PI starting up in September. You and I started talking about forensics and how you wanted to get into BCIT to take it. You had quite a few rescue courses under your belt as well. When you left you told me your name was Colin, I said “I’m Michelle.” You mentioned that your last 3 exes were named Michelle. I hope you’ll see this and contact me. It might be easier than me sitting in the Metropole in vain hoping you’ll come back in again.

TALL AND HANDSOME BIKER ON #33 UBC

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I SAW A: I AM A: WHEN: SEPTEMBER 13, 2018 WHERE: #33 Bus to UBC Have been crushing on you for months now, Mr. tall, dark and handsome, with dimples and an amazing smile. You get on the #33 UBC bus at Oak street and usually have a messenger bag, ride a vintage yellow-ish bike. I wish I wasn't so tired in the morning or I'd say hi! I'm the shy strawberry blonde girl, usually dressed in all black creeping on you from behind my phone. I think we've shyly exchanged smiles a few times, but I'm not 100% sure. Let's grab coffee?

BLONDE, CRUTCHES, N. TEMPLETON DR

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I SAW A: I AM A: WHEN: SEPTEMBER 13, 2018 WHERE: N Templeton Dr, 20 Block.

You look, from your facial expression, that you have an interesting story. You: Blonde, moving North on Templeton, crutches, young. Me: tall with a dog. I’d be interested in hearing what you have to say.

Somewhere between 10:15 and 11:30 AM. Near Triumph.

OMEGLE

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I SAW A: I AM A: WHEN: SEPTEMBER 11, 2018 WHERE: West Van Me and my sister saw you on Omegle and you said you were from West Van. Didn’t show your face but we had a really amazing conversation. Great abs. Such a good guy!

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MISSED YOUR LAST TRAIN STOP IN NEW WEST

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I SAW A: I AM A: WHEN: SEPTEMBER 12, 2018 WHERE: King George SkyTrain I was biking, helped you find a cab at the station. Hope you got back safe. If you feel like reconnecting, hit me back. I thought you were exceptionally cute. Take care.

Visit straight.com to post your FREE I Saw You _ 36 THE GEORGIA STRAIGHT SEPTEMBER 20 – 27 / 2018

C H A N C E N T R E AT U B C Tickets and info at chancentre.com

doors 7 pm, show 8 pm, Queen Elizabeth Theatre (650 Hamilton). Tix on sale Sep 21, 10 am, $55/39.50/29.50 (plus service charges and fees) at www.livenation.com/.

Diplo and local DJ Felix Cartal. Sep 22, 4:30-11 pm, Brockton Point (Stanley Park).

Tix $45 at www.seawheeze.com/.

RISE AGAINST Melodic hardcore band from Chicago performs on its Mourning in Amerika Tour, with guests AFI and Anti-Flag.

Sep 23, doors 6 pm, show 7 pm, PNE Forum (2901 E. Hastings St.). Tix $62.50 (plus service charges and fees) at www.livenation.com/.

WINTER BREAKOUT 2018 All-ages hiphop festival features performances by headliner Lil Uzi Vert, plus Playboi Cari, Killy, Flipp Dinero, Valee, and Killumantii, along with local artists ILLYMINIACHI and ACDATYOUNGN*GGA. Dec 14, doors 6 pm, Pacific Coliseum (Hastings Park, 100 N. Renfrew). Tix on sale Sep 21, noon, $99/$149 VIP (plus service charges) at www.breakout-festival.com/.

music/ timeout

THE TREWS Guitar-rock band from Antigonish, Nova Scotia. Jan 25, 9:30 pm, Commodore Ballroom. Tix on sale Sep 21, 10 am, $35 (plus service charges and fees) at www.livenation.com/.

CONCERTS 2JUST ANNOUNCED RICHARD REED PARRY'S QUIET RIVER Member of Arcade Fire performs material from his new solo album Quiet River of Dust Vol. 1. Oct 21, doors 7 pm, show 8 pm, WISE Hall (1882 Adanac). Tix $15 (plus service charge) at www.ticketweb.ca/.

BASIA Polish jazz-pop singer-songwriter.

Oct 30, doors 7 pm, show 8 pm, York Theatre (639 Commercial). Tix on sale Sep 21, 10 am, $39.50 (plus service charges and fees) at www.livenation.com/.

TEENAGE FANCLUB Alt-rock band from Scotland. Feb 21, doors 7 pm, show 8 pm, Commodore Ballroom (868 Granville). Tix on sale Sep 21, 10 am, $29.50 (plus service charges and fees) at www.livenation.com/.

JON HOPKINS Electronic musician from England performs tunes from latest album Singularity, with guest Leon Vynehall. Sep 23, doors 8 pm, show 9 pm, The Imperial (319 Main St.). Tix $24.50 (plus service charges and fees) at www.ticketweb.ca/.

JONNY LANG & MAVIS STAPLES American blues greats perform on a double bill. Sep 24, 7:30 pm, Orpheum Theatre (601 Smithe). Tix at www.ticket master.ca/.

2THIS WEEK

PARQUET COURTS American rock band plays tunes from new album Wide Awake! Sep 24, doors 8 pm, show 9 pm, The Imperial (319 Main St.). Tix $25 (plus service charge) at www.ticketweb.ca/.

DROPKICK MURPHYS AND FLOGGING MOLLY American Celtic-punk bands perform a coheadlining show. Sep 20, doors 6 pm, show 7 pm, PNE Forum (2901 E. Hastings St.). Tix $59.50 (plus service charges and fees) at www.livenation.com/.

ANGRA The Invisible Orange presents Brazilian power-metal band, with guests Scarlet Aura. Sep 25, 7 pm, Rickshaw Theatre (254 E. Hastings). Tix $25/60 (plus service charges and fees) at Red Cat, Neptoon, www.rickshawtheatre.com/.

AMY SHARK Australian indie-pop singersongwriter. Sep 25, 9 pm, The Imperial (319 Main St.). Tix $20 (plus service charges and fees) at www.livenation.com/.

JAPANESE BREAKFAST American indie musician, on tour to support her latest release Soft Sounds From Another Planet.

With guests Ought. Sep 26, doors 8 pm, show 9 pm, The Imperial (319 Main St.).

Tix $20 (plus service charges and fees) at www.ticketweb.ca/.

BEDOUIN SOUNDCLASH Canadian skareggae/alt-rock band. Sep 26, doors 8 pm, show 9 pm, Commodore Ballroom (868 Granville). Tix $25 (plus service charges and fees) at www.livenation.com/.

2UPCOMING HIGHLIGHTS DOJA CAT L.A.–based singer, rapper, and producer performs tunes from debut album Amala, with guest Wes Period.

Sep 29, doors 7 pm, show 8 pm, Fortune Sound Club (147 E. Pender). Tix $15 (plus service charge) at www.ticketweb.ca/.

TORD GUSTAVSEN TRIO Tord Gustavsen’s exquisitely crafted, melodic compositions are the work of a master pianist. Presented by the Blueshore Financial Centre for the Performing Arts.

Sep 29, 8 pm, BlueShore Financial Centre for the Performing Arts (2055 Purcell Way). $30/$27, info www.capilanou.ca/centre/.

BEN HOWARD English indie-folk singersongwriter. Sep 20, doors 6 pm, show 7 pm, Deer Lake Park (6344 Deer Lake Ave., Burnaby). Tix $49.50 (plus service charges and fees) at www.livenation.com/.

THE BACARDI BOOHAHA Halloween party featuring DJ Zak Santiago. Oct 21, doors 9 pm, Commodore Ballroom (868 Granville). Tix on sale Sep 21, 10 am, $29.45/19.45/9.45 (plus service charges and fees) at www.livenation.com/.

DEAN BRODY Juno-winning country artist, with guest Tenille Arts. Nov 26, 7:30 pm, Massey Theatre (735 8th Ave., New West).

Tix from $52 to $77 (plus service charges), info www.masseytheatre.com/.

THE WAILERS Melo Productions presents reggae group from Jamaica, with guests Mistah "D" & Friends and DJ Tank Gyal. Sep 21, doors 7 pm, show 8 pm, Commodore Ballroom (868 Granville).

Tix $35 (plus service charges and fees) at www.ticketmaster.ca/.

THE SOFT MOON Experimental electronic musician performs material from his latest album Criminal, with guest Hide and Vive Le Void. Dec 8, doors 7 pm, show 8 pm, Fortune Sound Club (147 E. Pender). Tix on sale Sep 21, 10 am, $20 (plus service charge) at www.ticketweb.ca/.

AIDA CUEVAS: TOTALMENTE JUAN GABRIEL Grammy-winning Mexican superstar performs with her band Mariachi Juvenil Tecalitlán. Sep 22, Chan Shun Concert Hall (6265 Crescent Rd., UBC). Info www.chancentre.com/events/ aida-cuevas-totalmente-juan-gabriel/.

SHAKEY GRAVES Americana artist from Austin, Texas, with guests Kolars. Dec 12,

SEAWHEEZE SUNSET FESTIVAL Featuring American DJ and producer

MAD DOGS & VANCOUVERITES: A RE-IMAGINING OF THE CLASSIC JOE COCKER ALBUM Featuring CR Avery, Steve Dawson, Roy Forbes, Rich Hope, Khari Wendell McClelland, Ndidi Onukwulu, Dawn Pemberton, and Matt Andersen.

Presented by the Blueshore Financial Centre for the Performing Arts. Oct 12-13, 8 pm, Kay Meek Arts Centre (1700 Mathers Ave., West Van). Tix $56/$53 at www.capilanou.ca/ centre/, info www.capilanou.ca/.

COLIN LINDEN Prolific doesn't begin to describe this roots guitarist whose dusky voice and blues-style playing are sought after by everyone. Presented by the BlueShore Financial Centre for the Perforrming Arts. Oct 19, 8 pm, BlueShore Financial Centre for the Performing Arts (2055 Purcell Way). Tix $30/$27, info www.capilanou.ca/centre/.

CONTACT WINTER MUSIC FESTIVAL Two-day electronic-music festival features headliners the Chainsmokers and Skrillex.

Dec 28-29, BC Place Stadium (777 Pacific Blvd). Tix at www.contact-festival.com/.

TIME OUT MUSIC LISTINGS are a public service provided free of charge.

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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Company’s business address: 20448 – 90 Crescent, Langley BC V1M 1A7 Please apply by e-mail: heritagewall@gmail.com

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Main duties: Read and interpret construction blueprints, drawings and specifications; Build foundations, floors, fences, roofs and other wooden structures; Measure, cut, shape, assemble, and join lumber and wood materials; Cut, create, fit and install different trim items as required; Operate measuring, hand and power carpentry tools; Supervise helpers and apprentices.

Company’s business address: #103 - 1647 Broadway Street, Port Coquitlam, BC, V3C 6P8P. Please apply by e-mail: hrsovconstruction@gmail.com

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Company’s business address: #221 – 17 Fawcett Rd, Coquitlam BC V3K 6V2 Please apply by e-mail: hrg.jerzy@gmail.com

Call YouthCO 604-688-1441 www.youthco.org

TECH Audio Visual Systems Installation Technicians Wanted

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Installations of boardroom video/teleconference systems. Minimum 1 – 3 years. Full Time Position – 35 to 50 hours/week. Compensation - $18 to $35/hr Language of Work – English Apply with resume to info@westernav.ca

stay connected @ GeorgiaStraight SEPTEMBER 20 – 27 / 2018 THE GEORGIA STRAIGHT 37 SEPTEMBER 20 – 27 / 2018 THE GEORGIA STRAIGHT 37

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savage love I am newly divorced and have

started a relationship with a man I’ve known and deeply cared about for decades. The sex is amazing—from start to fi nish, I feel better than I ever did even in the best moments with my ex. And in the most intense moments? He makes me see stars. He is a very generous lover—he turns me on like crazy and I regularly come while sexting with him. But I have yet to have an orgasm with him. In the past, I have had an orgasm with a partner only from oral or very occasionally from digital clit stim. My exhusband was not skilled at oral, so I always had to fantasize pretty hard to get there (and regularly chose not to bother). My new partner has amazing moves and amazing oral skills.

And he is willing to keep at it for as long as it takes. But regardless of how amazing I feel when he’s going down on me, every single time I eventually hit a wall where I am just done.

I haven’t had a single session with him where I’m left feeling unfulfi lled, despite the lack of orgasm. In contrast, any sex with my ex that didn’t end in an orgasm left me feeling frustrated or, worse yet, bored. (There were also times when I’d ask my ex to leave the room so I could masturbate after sex.) Do you have any ideas as to why I can’t get over that hump? I wonder if I just need him to be more boring and repetitive so that I can focus.

But if that’s the case, is it even worth it? Why would I want to make the sex worse to make it “better”? Or should I just be satisfied with the mind-blowing sex I am having, even if it means I don’t have an orgasm? Is it okay to

> BY DAN SAVAGE

give myself permission to give up on away from your partner emotionally, erotically, and sometimes even physicpartner-based climaxing? > NO ORGASM POSSIBLY EVER ally—and climaxing.

You aren’t able to pull away from Beware of those self-fulfi lling proph- your current partner in the same way. ecies! If you sit there—or lie there— Nor do you want to. And, hey, wanna telling yourself that being with Mr. know why you come when you sext AmazingMoves means giving up on with him? Because sexting is assisted “partner-based climaxing”, NOPE, fantasizing. You’re alone when you’re you’re increasing the odds that you’ll swapping those dirty messages with never have an orgasm with this guy Mr. AmazingMoves, NOPE, kind of or any other guy ever again. like you were alone when you were Here’s what I think the problem having sex with your ex. is: you had tons of shitty sex with It’s going to take some time to your ex, but you could climax so long carve a new groove, i.e., you’re goas you focused, i.e., so long as you ing to have to create a new associawere able to “fantasize pretty hard”. tion, one that allows you to be fully Your ex provided you with some present (emotionally, erotically, half-assed oral and/or uninspiring physically) during partner-based digital clit stim that didn’t interfere sex and able to climax during it. The with your ability to focus/fantasize. trick is not to rush it and, again, not In other words, NOPE, with your ex to box yourself into negative selfyou were able to—you had no other fulfi lling prophecies like the one you choice but to—retreat into your own ended your letter with. So instead of head and rely on your own erotic im- telling yourself you’re never going to agination to get you there. You may come again during partnered sex, tell have been physically present during yourself that your orgasms will come sex, but you were not emotionally or again. It may take some time, sure, erotically present. but trust that your body and your Because Mr. AmazingMoves’ brain are already hard at work carvmoves are so amazing—because he ing that new groove. turns you on like crazy; because whatOne practical suggestion: the next ever he’s doing feels great; because time you have sex with Mr. Amazsometimes you see stars—you aren’t ingMoves—the next 10 times you able to retreat into your own head. have sex with him—tell him in adFor years, you had to figuratively leave vance that you’re going to ask him to the room so you could focus/concen- stop eating you out long before you trate on whatever it was you needed to hit that wall. Then stimulate yourfocus/concentrate on in order to come; self, either digitally or with a vibrasometimes you even asked your ex to tor, while he holds you. If you need literally leave the room. You created a to lean back and close your eyes, powerful association between going lean back and close your eyes—but to a private, safe, sexy place—pulling do not retreat into your own head.

I’m a 24-year-old woman, and three weeks ago I got out of a longterm relationship with a guy in his mid-30s. Over the last few months of the relationship, I started falling for someone else and began dating the new guy pretty much immediately after the breakup. When should I tell my old boyfriend? We agreed to stay friends, and we still talk and see each other at least once a week. I want I’m a straight man and I re- him to hear it from me, but I’m not cently got out of a relationship with sure how much time is appropriate/ a woman who would monitor my respectful. > DON’T WANNA BE AN ASSHOLE Internet use to make sure I wasn’t “masturbating to the wrong things”.

(My kinks are nothing too outra- Meeting up too soon after a breakgeous: feet and mild FemDom.) I’ve up has a way of keeping emotional been dating a new woman for three wounds open and fresh, DWBAA, months, and it’s time to lay my kink particularly for the person who was cards on the table. But I’m really dumped (I’m assuming you did the afraid to open up, thanks to my kink- dumping here). And once-a-week shaming ex. My new girlfriend and meetings definitely qualifies as too I read your column together—so if much, too soon. That said, if you you publish my letter, I’ll be able to think your ex-boyfriend is likely to gauge her likely response if I decide hear about your new boyfriend from mutual friends, telling him yourself to disclose. > HELP A GUY OUT? (and soon) is obviously the right (and difficult) thing to do. But if your ex My pleasure, HAGO, but be careful: is going to find out about your new sometimes people react negatively to boyfriend from, say, your Instagram any mention of a kink, not because account, encouraging him to unthey’re necessarily turned off or follow you and letting some time grossed out but because they assume pass—enough so you can fudge the their partner is. So don’t panic if start date of your new relationship— your new girlfriend’s first reaction is would be the right (and ego-sparing) negative (“Ew, gross! Feet and Fem- thing to do. Dom!”), because it may not represent her true feelings and/or openness to On the Lovecast : Dan can’t do it your kinks. To learn how she really alone this week! Hola, Papi! savage feels, you’re probably going to have to lovecast.com . Email: mail@savage make the disclosure you’re trying to love.net. Follow Dan on Twitter @fake dansavage. ITMFA.org. sidestep.

Maintain physical contact and ask him to say dirty/sexy things to you while you get yourself the rest of the way there, so you’re always aware of his presence. A couple of dozen selfadministered orgasms with both of you in the room—in the room emotionally, erotically, and physically— will speed that new-groove-carving process along.

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