THE
INAUGURAL ISSUE featuring ben stevenson
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contents 04 Intro 06 History Repeating
A look into Vinyl Culture
10 Artist Profile
Erin Greenough
16 Spotlight
Ben Stevenson
22 The Sign of Change
Looking at the Fair Trade Movement in Strathcona
26 The Find
Feminin Masculin
28 Open Letter VFX Industry
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Original cover photo by Zach Hertzman
INTRO Welcome to issue one of Marker. everyone who has contributed, big or small, in bringing it to life. progressive minds in the worlds of art, culture and of current events. Marker strives to shed light on stories and individuals that inspire and challenge entertainers, local and abroad, we highlight those who are on the brink of something special. We have a lot of cool things planned, and I hope This is just the beginning.
Brnesh Berhe Founder
Headon and Kervin Brown. They were early supporters of Marker and signed on as writers when the magazine was just an idea. They were two of the most brilliant minds I have ever known, and I’m so grateful I was lucky enough to call them my friends. I miss you boys dearly and I hope I made ya proud.
Editor-in-Chief/Publisher/Art Director Brnesh Berhe Contributing Writers
Copy Editor Jessica Bateman Contributing Photographers
Rebecca Hagan-Egyir and Tineke de Jong Marker is independently published 4 times a year in Edmonton, Alberta.
info@markermagazine.com
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The idea of, ‘The journey is the destination’ is put into action by browsing in an indie record store. Besides, a human being is a much better guide than a ‘More Like This’ link on the internet.” --Patton Oswalt
SUPPORT INDEPENDENT
RECORD STORES
Check out recordstoreday.com to see which stores are participating near you!
HISTORY REPEATING A look into Vinyl Culture By Brnesh Berhe
My introduction to vinyl came when I was about seven. I walked over to a turntable and in my sad attempt to be DJ Jazzy Jeff, scratched the absolute shit out of the soundtrack to Saturday Night Fever. Adults yelled at me. It was terrible. But if there is any light to that dark, dark story, it’s that I have a very clear memory of the first time I played a record: looking at the cover art, thinking the people on it looked weird, and taking the vinyl out of its sleeve, preparing for something awesome. That experience (no matter how stupid) is something that is collectively shared by audiophiles alike, and the demographic buying vinyl is growing wider; something that comes as unexpected to those who thought the medium had died out decades ago.
There’s no question that the creation of torrents and mp3s has shifted the landscape of the music industry forever. There was a time when engaging in an album was a multi-faceted experience going beyond the sound that came out of your stereo. Don’t get me wrong, I have an iPod and am plugged into my music for a good chunk of the day, be it at work or on my commute home. The accessibility of digital music is great in certain situations, but it has also left a void in those who miss the human interaction of going to a record store.
Whether it’s played or displayed, it conjures up different memories and feelings for everyone.
It’s been widely reported that sales of vinyl have been going up steadily for the past six years, with 4.6 million LPs sold last year according to Nielsen Soundscan. Meanwhile, CD sales have taken a pretty big hit since the early 2000s, falling another 4.4% last year. However, critics say that the steady rise in vinyl sales is nothing but a fad; that the current state of our “digital world” won’t allow for these large, tangible, expensive devices to continue selling. Why spend $15 when you can go online and buy a single for 99 cents (or free, for that matter)?
“When I hold a record in my hand,” says Edmonton based DJ, Remo de Janeiro, “I can remember the
An example of what people would be missing out on can be seen in Treehouse Records, a
It’s hard to pinpoint where the interest lies for everyone. For some, there’s preferring the analog sound over digital (a debate that gets rather heated depending on who you ask). For others, it’s just another item to add to this generation’s fascination with nostalgia; Instagramming their newly framed copy of Purple Rain that they never played. “Look ma, VINTAGE!”
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smiling faces and dance floor antics from events passed, and I can imagine how the current crowd is going to react.”
I THINk THAT NO mATTER HOw mUcH TEcHNOLOGY HAS AdvANcEd US, IT’S ALSO TURNEd US INTO A v E RY d I S P O S A b L E c U LT U R E . Dan Izzo - Handsome Dan Records
“
Folks who work here are
PROFESSORS Don't replace all the
KNOWERS GUESSERS keep 'em open with the
THEY'RE THE EARS OF THE TOWN
- Tom Waits 8
small record store located inside Edmontonbased lifestyle store, Foosh. The whole store embodies a culture of collecting: sneakers, toys, records, etc. Treehouse is run by Dan MacDonald, an eclectic DJ who plays regularly at The Common, and he has strong views on the “resurgence” of vinyl. “That idea that it’s a fad is almost a bogus statement”, MacDonald says. “It’s not like it’s new. And yes, sales have gone up for major labels putting out things like the Black Keys or Sigur Ros and what not. But sales of ‘DJ’ singles or maxi singles have gone down. That stat [of rising record sales] comes from a very commercial area of the business. One that is a part of the whole scheme, but only a piece to the vibrant vinyl collecting community out there.” Being part of the community is an investment. Record store owners have to deal with the pressures of a changing industry and mega-chains going out of business; staying true to their love of the medium. As a consumer, you invest your time sifting through the racks and keeping your collection in pristine condition so it will have a long life. This is especially is true for those who manufacture records. The time and cost that go along with the process takes dedication and a strong belief that the end result will always be worth it. Dan Izzo is the owner of Handsome Dan records in Calgary. While the company started as a way to put out CDs for his first band, The Motherfuckers, Izzo decided to go in a different direction. “I always wanted to press vinyl, but wasn’t really prepared for the cost at that point. In all honesty, unless you’re willing to charge $10 for a single, putting out 7” records is a losing proposition. We’re generally lucky if we manage to break even on a 7”, but I really think it’s worth the time and money we put into it to be able to put out a beautiful, well-crafted record and know that people are enjoying it.” That mentality has kept the business going, pressing records for many bands including Edmonton’s own No Problem. Izzo reiterates the importance of actually creating a tangible piece of music, adding, “I think that no matter how much technology has advanced us, it’s also turned us into a very disposable culture. A lot of our history is getting lost this way. When our computers crash or our iPods break, what do we have left? How many bands from this decade will vanish into obscurity because they never bothered to press a real record?” With so many record stores closing over the years, the ones that remain are gems that are vital to introducing newcomers to records. Rich Liukko, who plays with local ska legends, Mad Bomber Society, has owned Freecloud Records
for 28 years. Currently located in downtown Edmonton, the area was once home to many stores just like it. As someone who has seen the ups and downs of a changing industry, he says, “Lots of people who collected records up through the ‘90s are reinvigorated by the new availability of vinyl. Plus, a lot of younger kids are getting into it— especially the classic rock.” And with Record Store Day approaching on April 23, he adds, “It’s a great way to support indie stores, and for the indie stores to support their clientele in-turn. We’re really glad it exists!”
bLUE JAY dJ q&A
The culture is strong with people wanting to go back to the roots of a now digital industry. With vinyl we are forced to slow down and take our time, creating an experience with every selection. Liukko says, “Many people are realizing that vinyl is a significant part of music history, and that collecting it is like collecting stamps, coins and comics. You are owning part of history.”
The contributors to this article had more to say on the subject. Check out extended interviews at markermagazine.com
OLd ScHOOL ANd
NEw ScHOOL TEcHNIqUES
Just like Apple adapted to the growing popularity of mp3s with iTunes, turntable manufacturers have changed with the times as well, allowing vinyl lovers to convert their music to digital files. This has been a huge advantage to guys like Ian Whitham, who, along with Eric Budd, make up the reggae and dancehall DJ duo All Strikes Soundsystem. Both men are avid collectors of vinyl, but take different approaches to the way they play their sets. “I really like the analog connection I get when selecting with vinyl,” says Budd. “It feels very organic when I cue up a sound and I can get a good flow with my selection ripping through my crate in between songs.” While Budd plays all his sets the old fashioned way, his partner takes a different approach. “I still collect tons of records, but I don't really use vinyl when DJing,” says Whitham. “I record my vinyl on to my computer and turn the tracks into mp3s. I'm a Serato/CDJ guy. I choose this method because it sounds better, plus I don't like hauling my records around anymore.” Budd adds, “It isn’t easy to use vinyl when you have the heavy bass sound from reggae. The turntable will feedback easily if you don't have your channel mix and sound system dialed in. Really, if the selection is good and the bass hits hard, does it matter what medium it’s from?”
Jason Morton - Mod Club of Edmonton Why do I use vinyl when DJing? Sometimes it will take years before I find a certain song to add to my set, and when I finally do there is great excitement to finally play it. I feel this keeps my sets fresh and gives people something to look forward to. First record I ever purchased: Culture Club - Colour by Numbers Go to record when playing a set: The Beatles - I Saw Her Standing There Gloria Jones - Tainted Love
mOdEST mIkE
Michal Szczur - Mod Club of Edmonton Why do I use vinyl when DJing? I enjoy the ritual surrounding the use of vinyl. Flipping through a case of records you’ve spent an ungodly amount of time and money collecting. Searching for the perfect one, removing it from that iconic sleeve, placing it on the platter, gently setting the needle in place, and listening to the first pops while awaiting the next dance floor anthem to blare over the soundsystem. First record I ever purchased: Pink Floyd - The Dark Side of the Moon Go to record when playing a set: Lulu & the Luvvers - Shout
LAdY ZAPATOO
Andrea Martineau - Tighten Up! Club Why do I use vinyl when DJing? I use vinyl because it’s got heart. Clicking a button and downloading a song not only requires no effort, but it takes the fun out of DJing. Searching for 45s, having a limited selection to work with, physically holding a record in your hand - that’s what does it for me. First record I ever purchased: Vice Squad - The BBC Sessions Go to record when playing a set: Carl Carlton - So What
Artist Profile
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“Village” 2012, pen & ink
So, how long have you been drawing? Pretty much forever. My mom is an artist, so I take a lot of inspiration from her, and all my life her and my grandma always did crafts. My mom was a folk artist, she’d sell her art at markets. Right now I’m in my 4th year doing my Bachelor of Design; I study Visual Communication Design. How do you find the time to balance school with your freelancing? Well I guess when most people have a hobby they’ll find time to do it, like go play hockey or something like that. It just so happens for me that what I love to do is draw, so even when I’m working it’s like my free time. A lot of your pieces incorporate stipling (dot work), which obviously takes a lot of patience. Why did you choose that technique? Well it’s actually kinda funny, because a few months ago I found I wasn’t spending enough time on my pieces, and I wanted to slow myself down. I decided to use stipling as a means to test my patience and make it take longer so I’d spend more time with my drawings. I found it really interesting. I’ve only been doing stipling for a few months. How big of a role does music play in your creative process? Music isn’t a huge part of my creative process. I usually watch TV or movies while I draw. But in terms of an overall influence on my life it plays a huge role, especially since a lot of the people who are interested in my work are friends that are in bands, or are bands from other cities that want me to do work for them. One of my first clients was a band called Trustfall from Virginian Beach. I find that I am commissioned by a lot of bands, and it’s starting to open up to other things. I had a couple of record labels that wanted me to do little logos for them. I feel like it’s always the bands that wanna do something, they’re usually the ones that want me to create really fun things, so I like doing that. I originally came across your stuff on Instagram of all places. How big of a role has social media played in getting your work out there? Social media has helped a lot. I love Instagram. I’m the same way; I follow hundreds of artists and I love seeing their process. It’s great because I follow an artist I like, then they follow me.
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“Bugs” 2013, pen & ink
“Sarte (Nausea)” 2013, pen & ink
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“Kafka (The Metamorphosis)” 2013, pen & ink
I feel like Instagram, at least for artists and illustrators, seems like a better way to connect than Facebook or LinkedIn because you always come across random stuff that catches your eye. I agree. I feel like the Facebook page can be a little sterile, like it will just have drawings, where as Instagram can have a picture of the artist’s dog or something. It’s a little more personal. Who are your artistic influences? Everyday artists like me have influenced me so much more than any of the famous guys that have been around for hundreds of years. Seeing the creative process from people who are doing the same thing as me is really inspiring. Actually, I find a lot of tattoo artists actually, I find really inspiring. Like some of the UK artists like Maxim Boucher or Scott Mood are really big influences. Where do you see yourself going with your work? My plan after I graduated was to go to an agency or a firm, but I never expected to have so many people interested in my work. Now that I’ve had more people interested, I figure I’ll graduate and go straight to freelancing. I definitely don’t want to limit myself, I kinda just like to go with the flow. Things are happening for me, so I figure just go with it and do what you love.
To contact Erin or to see more of her amazing work, check out: eringreenough.com | erinthecreative@gmail.com facebook.com/eringreenoughillustrations erinthecreative.tumblr.com @erinthecreative @erinthecreative
From top to bottom: “Camus (The Plague)” 2013, pen & ink
“Stresscase (For Stresscase)” 2013, pen & ink
“Mosh Rat” 2012, pen & ink
BEN STE VEN 16
Writer: Robin Schroffel | Photographer: Zach Hertzman | Stylist: Robert Bowen | Producer: Johnny Nghiem | Agency: Light & Hevvy
N E N
Ben Stevenson may have deep roots in Edmonton’s music scene, but that hasn’t stopped the Toronto-based artist from making waves in the world of hip hop. In fact, his humble punk rock past has proven a valuable asset for the singer, songwriter and guitarist: a year or two back, Stevenson’s raw, emotive voice, his organic approach to songwriting and his hardworking DIY ethic caught the attention of award-winning producer and Stevenson’s new collaborator Boi-1da. This year, 1da took home the Grammy Award for Best Rap Album for his work on Toronto rapper Drake’s “Take Care” – his third Grammy in all – and with 1da’s signature hard-hitting beats now solidly behind Stevenson’s classic soul sound, the future is looking good: in 1da’s words, Stevenson is “the epitome of a star.”
Stevenson has been working towards this moment since childhood. As a kid, he annoyed his teachers by drumming on desks in school and found an outlet – jamming with a group of friends – while still an elementary student. By Grade 8 – around 1995 – he’d formed a punk band, Misdemeanor, and played his first show across the street from his school at record shop Punk n’ Junk; the band went on to become a fixture in Edmonton’s punk scene. In 2001, Misdemeanor evolved into genre-bending band Our Mercury, which released three albums, briefly relocated to Montreal, came home and left behind a legacy that can still be heard in Edmonton bands today. Our Mercury broke all kinds of rules, incorporating atypical elements like a percussionist and rolling up to shows with dancehall songs blasting from the van, before finally dissolving in 2007. Soon after, Stevenson made his way to Toronto, where he put together a throwback soul band, Ben Stevenson and the Wondertones. Much in the same way that he outgrew the genre boundaries of punk when playing with Misdemeanor, Stevenson began to feel restricted by the lines surrounding the Wondertones’ old-school soul sound. Eventually, he asked himself some tough questions – like whether or not he’d even go and see
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his own band – and quickly realized something had to change. “I don’t want to trash what I did, but it felt like we were becoming a cover band. It almost felt insincere,” he recalls. Luckily, it was around that time that he first hooked up with 1da, through a Ryerson University broadcasting student who’d asked Stevenson to work together on some music. The student was also working with 1da and soon after meeting the producer, Stevenson found himself part of a team creating beats and hooks in the Scarborough, Ontario, studio where Drake got his start. (Hear some of their work on Joe Budden track “Runaway.”) Eventually, 1da expressed an interest in focusing on Stevenson’s solo work. For Stevenson, the decision was a no-brainer. “When I was doing my soul stuff, I really got this feeling that I wasn’t doing that crazy thing I wanted to hear. In that way, [working with 1da] just made sense. Okay, I’ll have some of the heaviest beat makers in the game working on these records of mine – that’ll be cool.” “Falling Off,” released in early February, is one of about 15 tracks recorded to date. Its launch kickstarted a noteworthy buzz around Stevenson in the blogosphere, still going strong in the lead-up to Stevenson’s newest 1da-produced EP, out in April.
Much like forming Our Mercury was the solution to escaping the restrictions of punk rock, this new project – and collaborating with a new group of talented artists including producers Megaman and The Maven Boys – freed Stevenson to make music in a way he simply couldn’t before. “I feel totally unshackled from the idea that it has to be this certain aes-
with. But Stevenson is still very particular about the way he’s presented, and his stubborn nature means that he’ll always hold tightly to his creative control. “I’m just this punk rock dude from Edmonton. I’m not trying to be this glitzy, glamorous, whatever bullshit. I’ll always have this say over things and if it strikes me wrong in my gut, I’ll know,” he explains.
I thInk that’s where the real InterestIng musIc grows out of; It’s the kIds who chose It because they dIdn’t have anywhere else thetic,” he says. “We’re realizing something with my music which is exhilarating and exciting for me. I have a sort of old school sound in my voice and background, but we’re doing it in a contemporary way.” These days, things have changed for Stevenson in a few key ways. For one, he’s got a team of people working with him for the first time, allowing him to focus on being an artist rather than on the business end of things, not his strong suit to begin
For another, Stevenson is finally able to focus on music fulltime. Giving up the day job – typically nine-hour days of painting houses bookended by an hour in traffic each way – was a recent milestone, one Stevenson is hopeful he can hold onto. “It feels like my time isn’t ill-spent now. When I worked, I used to feel some days this overwhelming sense that this wasn’t what I should be doing, almost to the level of anxiety,” he says. “I’ve had more money in life, but you have to do that. You have to go all in.” Being on the periphery of the major leagues has proven in-
credibly inspiring to Stevenson, who more than anything is blown away by the work ethic of the people he’s surrounding himself with. And in many ways, he’s not finding the world of hip hop all that different from the punk scene he came up in. Both, he says, are built by the passion of wayward kids who, for whatever reason, found solace in music. “I think that’s where the real interesting music grows out of; it’s the kids who chose it because they didn’t have anywhere else. There’s differences, don’t get me wrong, but underneath, it’s really the same thing.” Next up for Stevenson is to get out on the road. He played his first show with this project in February, and in mid-April, will open for music legend Shuggie Otis in Toronto. Touring, Stevenson hopes, will be a reality by summer. After all, playing live is what drew him to music in the first place. “It’s still my first love,” he says of performing. “We hope things can get to the point where it’s just necessary.”
SELEcTEd dIScOGRAPHY Falling Off
Ben Stevenson 2013
Ben Stevenson & the Wondertones EP Ben Stevenson & the Wondertones 2010
From Below
Our Mercury 2005
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facebook.com/dauphinebakery @DauphineBakery
SI GN OF CHANGE
Looking at the Fair Trade Movement in Strathcona By Becky Hagan - Egyir
Welcome to Old Strathcona. The blue sign welcomes us as if we’ve arshines on the sidewalk. Moving forward, all the bars, stores and restaurants show people that they’re in the land of entertain“Welcome to Old Strathcona” now stands behind rush-hour cars on 99th street— the road that led the Town of Strathcona to the line was built in 1908. Historic buildings line the streets, showing that since 1891 big dreams have been welcome here. Today, Fair Trade is the movement making history in Strathcona.
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A chalkboard in front of Ten Thousand Villages on Whyte Avenue tells people to “buy Fair Trade” because “it will improve the world.” Here comes the stubborn feeling I get when someone tells me what to do. But give a good reason as to why I should listen, and I’ll reasonably consider it. It is here where I begin my search for reason. Fair Trade is defined by Fair Trade Canada as a way for all of us to identify products that meet our values. In the late 1940s, an American named Edna Ruth Byler, the founder of Ten Thousand Villages, felt that values worldwide were suffering. After travelling to Puerto Rico, Edna returned home with a vision of how business can be used to weaken injustice and poverty. In the process, people would be equals sharing in a common goal to improve the world. Due to the effects of World War II and colonialism, differences between people were emphasized more than their similarities. Edna began a business in her basement selling the crafts of artisans from around the world, and large profits were sent back to the original creators. I walk past the chalkboard with its short Fair Trade story, moving deeper into crowds that grow along Whyte Avenue. The people slowly disappear as I walk down 109th street towards 86th avenue. “CHANA MASALA!” An employee yells out into Remedy. “Chana Masala!” We can’t mispronounce this dish now, as Remedy is an informal language school. And it’s a place where the world comes together through food. “My chai is made from thirty-five spices,” Zee, the owner of Remedy, runs samples of spices through his fingers. It doesn’t fall like sand between his fingers, as these spices are coarse. Clearly not store bought. Chewing on a bead of cardamom, Zee encourages me to follow his lead. It tastes unexpectedly like mint as it dissolves in my mouth. “All of the herbs are organic—no preservatives,” Zee begins. “The teas come from Kenya, India and Bangladesh. I always make sure it’s Fair Trade and organic,” he continues with a list of countries that supply Remedy with Fair Trade spices, coffee and tea. Zee values Fair Trade because, being a world traveller, he’s learned that it’s important to share. He believes that without sharing, you can’t learn to love the world or to love yourself. With Fair Trade, profits from tea plantations are shared equally amongst farmers who cultivate tea in countries like Kenya, the world’s largest tea exporter. Farmers’ wages have to be equal to or higher than the regional standard. It’s hoped that the regional standards will be influenced by the Fair Trade model which continues to strengthen as years pass.
“My dad used to say it takes thirty years to grow a tree and only two minutes to cut it down,” Zee says. His father’s metaphor is about making relationships work instead of breaking them apart. Since buying the café, Zee has seen how Strathcona businesses work together more than they work against each other. “Sugar Bowl and Da Capo sell my chai,” he says with a smile. Sharing with others is a lesson well received by people in this room as well as across Strathcona’s streets. I let my conversation with Zee sink in as I take bites of my butter chicken. My idea of Fair Trade shifts from making the world a better place to a practice of living better in the moment. The University of Alberta’s “Make Poverty History” group is pushing to make Edmonton a Fair Trade city, as well to make the school a Fair Trade campus. “I think [Fair Trade] will keep growing. There isn’t a better option,” says Stephanie Wepryk from the campus society. She proudly adds, “It’s easy—you see the Fair Trade symbol and you know it stands for good.” As we stood in the foyer of Blush Lane Organic Market on a Saturday afternoon, her words inspired me to see the faces of Fair Trade for myself—the artisans and the farmers. Turning onto 104th street from Saskatchewan Drive, I walk to the Old Strathcona Farmer’s Market. It’s alive with people, with colourful fruits and veggies, meats, cheeses and baked goods alongside arts and crafts. Appreciating farmers’ efforts overseas is easier as I watch local farmers sell their produce up close. I sample products from vendors: dandelion tea, yogurt cheese and sausage slices. An odd combination, but it somehow works. It is a taste of community. “I feel a strong sense of community here,” says Jan, a veteran market vendor. He continues, “Eventually you get to know names [of vendors]. When you’re staring at the same people all day, you get to know them,” he jokes. He looks across to the opposite stall, smiling, and nods his head at his neighbour. The neighbour to his right, Charlotte, helps me understand the appeal of the market. “It’s [working at the market] that has opened my mind to breaking a mentality.” She speaks of changing old spending and buying habits to—in the words of Ten Thousand Villages— improve the world. “We’re creatures of habit, and it’s easier to follow the same habits than to break outside of them.” While speaking with Charlotte I take note of the infinity scarf wrapped around her head and shoulders. With a smile, she informs me that her scarves are made from fabrics found in second-hand stores. Fair Trade believes clothes should be more than a fashion statement. Cotton is bought by Fair Trade
We’re
creatures of habit,
and it’s easier to follow the
same habits
than to break outside of them.
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to help farmers receive a “Fair Trade premium which allows them to invest in sustainable so- a seat next to Sheniz. They begin to discuss their cial and economic development projects, such plans for a private event in which farmers, chefs as schools, roads or business development,” as and restaurateurs will meet to discuss how to deindicated by Fair Trade Canada. community. taurant, a place where local farmers’ food is The places I visited in Strathcona showed me a used to feed the neighbourhood. I pull open the front door and am greeted by a full house. Dim abroad is only distance. Distance is removed when sit relaxed in a place that promotes balance be- people are educated about equality and sustainability. The lessons are taught worldwide by mentween the mind, body and soul. “You’re remodelling the whole restaurant business in Edmonton!” is just one of many compliments I hear Sheniz, the restaurant’s owner, receive throughout the night. Compliments Sheniz’s opinion of Fair Trade resonates with me as I head home: “The aim is to become aware of what’s the use of compostable napkins in restaurants? happening locally. I love what’s going on in the world. Is it a good idea to recycle scraps of vegetables It’s not just about individual needs anymore.” into soups? Listening to Sheniz respond, it becomes clear that she has a passion for changing the status quo, and that Strathcona is her jump- is taking care of itself. An image from 99th street ing point. She has big ideas about how to give crosses my mind. “Welcome to Old Strathcona” is back to the community. “There are so many encourages people to watch for signs of change. says. “We can support businesses that are putvisitors and the nearly 9,000 residents to always Sheniz sounds like a contemporary Edna Ruth have choices—including “improving the world” Byler as she says these words. while enjoying the pleasures of life.
Original photo credit: Ron Kelly
Check out markermagazine.com for a web exclusive interview with Michael Zelmer from Fair Trade Canada
The
Find
Feminin
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Photographer: Vic Mittal (VSM Photo) | Makeup: Cale Waterhouse | Assistants: Darren Bolz, Sabina Butorac | Model: Sam Marcellin
Masculin From designing belts to a new venture into women’s wear, Nicola Inman is a local designer who adds her own spin on classic pieces. “When designing clothing for women I am largely influenced by the ‘60s, an era known for highwaisted skirts and conservative necklines. I tend to make clothing that’s a little less frumpy with shorter hems, wilder prints and bold collars. I also incorporate elements of masculinity, calling less attention to body shape and figure. I really love this shirt (left) because of the bulky collar and large buttons. The geometric print and dark colors of the fabric balance the inherent femininity of the outfit.”
To see more of Nicola’s line, check out feminin-masculin.ca
If you were paying attention during this year’s Oscars, you may have found yourself wondering how a VFX studio could win an Oscar for its work on Life of Pi yet be filing for bankruptcy. How could Ang Lee recieve the award for Best Picture while the hundreds of people who worked on his film are striking on the streets of LA?
welcome to the current dIsmal state
of the vIsual effects Industry. The VFX industry has been struggling financially for many years now to stay afloat, with studios living one project to the next on fixed bids to Hollywood studios. The current practice of bidding for movies makes it more and more difficult as VFX companies continue to underbid each other just to secure work for their futures. This has caused a “race to the bottom” with no guarantees as to their long term financial wellbeing. Of course, if a movie does the studio gets paid in the end right? If a blockbuster movie like The Avengers goes on to be the third top-grossing movie of all time, some of that money must have found its way to the VFX studios, right? Wrong. Visual effects is viewed as a service to Hollywood studios and VFX companies are not entitled to any of the profits of movies they create. In fact, it’s even possible for a VFX studio to lose money on a movie that goes on to be a huge success for Hollywood. This was the case for Look FX, the company that completed the majority of the work for Black Swan. The budget for that movie was around $13 million, and yet it went on to gross over $300 million worldwide. And what did Look FX get for the movie’s sucess? Nada. The business model is broken and has been for some time. Currently there is no trade association amongst VFX studios, and no single union to protect those who
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work in the industry. The changes needed are going to be challenging to implement, but we don’t give ourselves enough credit. We need to realize our own power when negotiating with movie studios. Just look at the cast and crew breakdown of any tent-pole movie in the last few years and you’ll see that a large majority of the crew belongs to the visual effects department. Visual effects has continued to contribute more to the production of a movie than any other department: creating the worlds, characters and FX shots needed to complete Hollywoods top-grossing films. Instead, the VFX houses bend over backwards to please Hollywood, and seems trapped inside the reality distortion field created by the movie studios, not believing there is any another way to operate the business. Operating in this distortion field means VFX companies have come down hard on their workers, squeezing work while returning few benefits. I’m relatively new to the industry, and feel that a union must be formed. I’ve seen just how easily one can be taken advantage of when starting out in the VFX industry, even here in Canada. In Vancouver alone there are several schools that graduate upwards of ten students every few months. These students are eager to land an entry level job on the cheap, with no guarantee of overtime pay, health benefits or recognition for their work. And if you don’t like your first job, too bad. You can easily be replaced by the next batch of graduates. The attitude seems to be “sit down, shut up, and be glad you’re lucky enough to be working on a Hollywood movie.” This is our core problem, and shedding this attitude is the first step to starting any real change in our industry. J.S. VFX Artist, Vancouver Canada
cale waterhouse make-up artist
info@calemakeup.com 780.686.1469
bridal | daytime | evening | graduation | editorial
Vic Mittal
me@vsmphoto.com | 780.908.5263
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