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MARCH 16 – 23 / 2017 THE GEORGIA STRAIGHT 5


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6 THE GEORGIA STRAIGHT MARCH 16 – 23 / 2017


CONTENTS

IMPROVES Fine lines

Hydrates

Pigmentation

Tightens

Acne scars

Glows

Dull, dehydrated skin? Humpback whale off the B.C. coast. Jessica Relkoff photo.

8

STYLE

Ahead of Eco Fashion Week, designer Bianca Bellantoni brings ethically and sustainably produced clothing to the masses. > BY LUCY L AU

17

ARTS

Contemporary dance troupe Company 605 is teaming up with Ballet BC to celebrate Canada’s 150th anniversary at the Queen E. > BY JANE T SMITH

26

START HERE 16 32 23 14 14 31 12 35 13 20

The Bottle Confessions Dance Food I Saw You Local Motion Real Estate Savage Love Straight Stars Theatre

TIME OUT 24 Arts 32 Music

MOVIES

The Sense of an Ending overcomes flaws; Polish mermaids get freaky in The Lure; Weirdos conjures the picture-perfect ’70s; there’s no sympathy for a Skyjacker’s Tale.

29

MICRONEEDLING

COVER

In an effort to divert waste from landfills, local forestry student Felix Böck taps into the potential of bamboo chopsticks by recycling the city’s supply into sleek furnishings and décor. > BY LUCY L AU

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Startup turns chopsticks into décor Local forestry student gives bamboo utensils new life as modern housewares > B Y LU C Y LA U

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ive in Vancouver long enough and you’ll soon find your kitchen drawers littered with packets and packets of single-use chopsticks. It’s not the worst problem to have, given the amount of grade-A sushi, pho, and Chinese takeout you’re probably eating, but for local forestry student Felix Böck, the excess and throwaway rate of these bamboo utensils proved extremely wasteful. “If you look at the chopstick, it’s actually the purest [bamboo] fibre you can get because it ends up in our food industry,” he tells the Straight by phone. “So it’s just ironic that we throw it away after half an hour of use.” Born in Germany, Böck discovered the potential of bamboo while working for a wood and bio-energy business in Ethiopia four years ago. After graduating from Rosenheim University of Applied Sciences, he moved to Vancouver in 2014 to continue his studies in wood science and engineering at UBC. It was then, when he was consuming copious amounts of sushi (“It’s a student- and budget-friendly food,” he says), that a light went off in his head. Aided by a small team of co-op students and interns he had hired to assist in his PhD research, Böck began approaching various sushi, noodle, and ramen joints last summer with the goal of establishing a citywide chopstick-recycling program. The idea was to collect used bamboo chopsticks from local restaurants and transform them into sleek, sustainably produced furnishings and home décor objects. Fittingly, the startup was dubbed ChopValue. “I thought we could capture that waste and…hopefully, tell an inspiring story,” explains Böck, who estimates that over 100,000 disposable chopsticks are sent to landfills by Vancouverites every day. “We’re turning something that we usually throw into the garbage into a new design product.” In July, the engineer and carpenter by trade crafted his first items: wall tiles ($15 each) and drink coasters ($29 for a set of four) made from hundreds of expendable chopsticks that have been cleaned, covered in resin, oven-dried, and then hot-pressed

In an effort to minimize waste, Felix Böck founded ChopValue to transform used chopsticks into furnishings and home objects. Amanda Siebert photo.

into hexagonal and square shapes. Playful shelving units ($34), tabletops (from $200), and side tables that use reclaimed-wood or stainless-steel bases (from $642) followed shortly afterward—each showcasing a caramelized-brown hue and the natural grain of the bamboo. After earning the top prize in IDS Vancouver’s Prototype—a design competition between next-gen designers—last fall, ChopValue quickly outgrew its modest production space in False Creek Flats. Now based in South Vancouver, Böck and his team are preparing to unveil a recycledbamboo yoga block this month. Crafted in response to public demand, the distinctly West Coast bolsters are made of 800 to 1,000 chopsticks each. A line of office products and planters is also in the works and the company has expanded its operations to offer custom serving trays to its eatery partners. “It kind of tells the story of the full cycle back to the market,” Böck says of the platters, “so the restaurants can design and customize their serving boards and tell their customers that they are made out of recycled chopsticks.” According to Böck, ChopValue gathers up to 250,000 chopsticks a

week from almost 100 participating food establishments in Metro Vancouver, including Benkei Ramen, Sushi California, and Pacific Poké. He admits that, at first, many restaurant owners respond to the concept with skepticism, but they tend to come around once they see how the startup helps reduce trash and garbage-tipping fees. Patrons are welcome to drop off their own used chopsticks at each spot. “We explain to them [the restaurant owners] the process, we involve them in the design, we collaborate with them on…new products,” says Böck. “And that makes it exciting, because that’s when they understand the value.” For the wood-science pro, the exhilaration comes in the form of giving a natural and underutilized resource new life. Not only is bamboo a sustainable material because of its organic growth, says Böck, but it lends itself well to home furnishings and décor due to its flexibility and high mechanical performance. It’s not so bad on the eyes, either. “We are consuming so much material and so many products, so if we have the chance to reuse something that’s already around us, we don’t have to just dump it,” he says. “We really see the potential of using it for another life.” -

The Georgia Straight | Vancouver’s News and Entertainment Weekly | Volume 51 Number 2567 1635 West Broadway, Vancouver, B.C. V6J 1W9 www.straight.com Phone: 604-730-7000 / Fax: 604-730-7010 / e-mail: gs.info@straight.com Display Advertising: 604-730-7020 / Fax: 604-730-7012 / e-mail: sales@straight.com Classifieds: 604-730-7060 / e-mail: classads@straight.com Subscriptions: 604-730-7000 Distribution: 604-730-7087 EDITOR + PUBLISHER Dan McLeod ASSOCIATE PUBLISHER Yolanda Stepien GENERAL MANAGER Matt McLeod EDITOR Charlie Smith SECTION EDITORS

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

Gail Johnson, John Lucas, Alexander Varty STAFF WRITERS

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

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

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

Janet McDonald SENIOR DESIGNER David Ko CONTRIBUTING ARTISTS

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

Chet Woodside LEAD WEB DEVELOPER Jeffrey Li WEB DEVELOPER Tina Luu WEB ADMINISTRATOR Miles Keir

PRODUCTION SUPERVISOR Mike Correia PRODUCTION

K.T. Dean, Sandra Oswald

AD SERVICES ASSOCIATE

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DIRECTOR OF ARTS & MARKETING

Laura Moore SALES DIRECTOR

Tara Lalanne

SALES MANAGER Sharon Smith (On Leave) ADVERTISING REPRESENTATIVES

Steve Barmash, Glenn Cohen, Lauren Ellis, Robyn Marsh, David Pearlman, Patrick Ruel

PROMOTIONS + SPECIAL PROJECTS

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DIGITAL SALES COORDINATOR

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Dexter Vosper

INFORMATION TECHNOLOGY DIRECTOR

Dennis Jangula

CREDIT MANAGER Shannon Li ACCOUNTING SUPERVISOR

Tamara Robinson

ACCOUNTING

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RECEPTION/PROMOTIONS ASSISTANT

Teagan Dobson

The Georgia Straight is published every Thursday by the Vancouver Free Press Publishing SUBMISSIONS The Straight accepts no responsibility for, and will not Corp. Copies are distributed free every week throughout Vancouver, Burnaby, North necessarily respond to, any submitted materials. All submissions should be and West Vancouver, New Westminster, and Richmond. International Standard Serial addressed to contact@straight.com. Number ISSN 0709-8995. Subscription rates in Canada $182.00/52 issues (includes GST), $92.00/26 issues (includes GST); United States $379.00/52 issues, $205.00/ 26 issues; foreign $715.00/52 issues, $365.00/26 issues. Contact 604-730-7087 if you wish to distribute free copies of the Georgia Straight at your place of business. Entire contents copyright © 2017 Vancouver Free Press, Best Of Vancouver, BOV And Golden Plates Are Trade-Marks Of Vancouver Free Press Publishing Corp.

8 THE GEORGIA STRAIGHT MARCH 16 – 23 / 2017


STYLE

70% SOLD

On Sale For a Limited Time at Y2PLAY.CA Bellantoni’s debut collection features plant-based Tencel and bamboo-rayon materials and a palette of pink, black, and blue. See Together Media photo.

Eco ethics give rise to local fashion line Designer Bianca Bellantoni’s eponymous label uses sustainable fabrics in everyday threads > BY L UC Y LA U

W

hen Bianca Bellantoni arrived in Toronto for her first year of fashion-design school in 2012, she was faced with an ethical dilemma. Born and raised in Vancouver, the 20-something designer made the decision to transfer to Ryerson University from SFU to pursue her creative passion but had barely completed her first semester before she was exposed to the dark side of the textile industry. Speaking to the Straight by phone, she recalls a presentation in which an instructor detailed the havoc that the garment-production process can wreak on Earth’s natural resources— particularly in Asia, where chemicalladen dyes and bleaches have been seen to alter the colours of bodies of water. Although documentary films such as RiverBlue have helped shed light on these unsustainable practices in recent years, the lecture gave Bellantoni serious pause during a time when “slow fashion” was a relatively foreign concept. “I remember, in my first year, I was contemplating not doing my fashion degree,” she says. “I was like, ‘How do we fix this?’ I wasn’t sure if there was a solution. But I decided that if I wanted to make a difference, I had to stay in it.” The amiable maker reveals that crafting an eco-friendly clothing collection initially proved difficult. Sustainably produced fabrics were hard to find, she says, and often had to be ordered online months in advance. In addition, there was little emphasis on the use of environmentally friendly manufacturing processes and materials among her peers. However, Bellantoni soon found other ways to forward her belief in stylish, eco-conscious garb. She drafted her patterns on recycled craft paper, for example, and planned her pattern pieces with care to minimize waste. By the end of her fourth year, she had produced apparel using dead-stock fabric she purchased from other designers, as well as Crystallise, a spring/summer line of asymmetrical women’s apparel embroidered with scrap cloth. Shortly after earning her degree, Bellantoni created a psychedelic ’60s-inspired collection of edgy crop tops, vests, and peephole rompers constructed from organic cotton and a vintage floral print

that once belonged to her mother. Since returning to Vancouver last year, she’s been hard at work developing the first line under her locally made, sustainable, and cruelty-free Bellantoni brand. Although the spring/summer 2017 collection, Rise, is admittedly more wearable than Bellantoni’s past garments, it still embodies the designer’s minimal, “between trendy and classic” style. Think Tencel (a silklike material made from wood cellulose) chambray skirts equipped with oversized pockets, comfy bamboo-rayon jumpsuits, and Tencel-twill slip dresses that transition effortlessly from day to night (starting at $60). All materials are certified by the Global Organic Textile Standard or Oeko-Tex, both of which verify that all stages of fabric production forgo environmentally harmful toxins and practices. By favouring versatile silhouettes and painting the collection in a muted palette of soft pink, blue, and black, Bellantoni is hoping to maximize the wearer’s mileage with each item. She’s also chosen to stay clear of zippers, instead opting for inventive tie and button closures. “I tried to steer away from that because a lot of the metals and plastics aren’t sustainable,” she says. Off the runway, the designer combines her fabric scraps to make pet beds for local shelters. With Rise, she’ll be producing the pieces by order to create as little waste as possible, too. Garments will be shipped in 100-percent recycled-poly packages beginning March 21, when the line hits Bellantoni.ca. Vancouverites who wish to see Bellantoni’s threads in person can visit the Fairmont Waterfront (900 Canada Place) on April 1, when Rise will be showcased as part of Eco Fashion Week’s 12th edition. There, the young designer hopes to highlight the possibilities of an environmentally minded wardrobe while encouraging other entrepreneurs to adhere to their own principles. “I want to raise more awareness [of responsibly produced fashions] and kind of show people that you can make clothing that is sustainable, made locally, and cruelty-free. And it can be at competitive prices with other brands that you shop at,” she says. “And hopefully, I can inspire other designers who are passionate about their values to stick to them.” -

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MARCH 16 – 23 / 2017 THE GEORGIA STRAIGHT 9


STYLE

Clockwise from left, Thirsty Whale Elixirs’ cranberry-ginger shrub; Kabirski Jewellery’s hand-hammered rings; and Riding the Pine’s screen-printed T.

Spring markets offer handmade fashions > B Y JAN ET SMITH

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10 THE GEORGIA STRAIGHT MARCH 16 – 23 / 2017

EDGEWATERCASINO.CA

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tyle lovers have an unprecedented array of spring sales, fairs, and events to get their fix. Here are a few of the calendar’s highlights that bring fashion out of the mall.

VANCOUVER GEM AND MINERAL SHOW (At the PNE Forum from

March 24 to 26) Prepare to be dazzled as more than 80 mineral, gem, and jewellery specialists from Canada and around the world display their bling. Make sure to search out special guest German Kabirski, a Thai-based, Caucasus-born artist who crafts stunning rings that have a raw, outrageously creative beauty; think rough, uncut sapphires, tourmalines, and spinels bursting out of wildly textured, organic mounds of silver or gold, or elements like reptile skeletons and wood integrated with the precious metals and stones. Labrador artist Billy Gauthier also joins the event, showing how Inuit tradition can meet modern forms in jewellery.

funky home accents to artful jewellery. Highlights include Riding the Pine’s design-savvy screen-printed Ts, courier bags, and pillows, a mix of cool text and Canadiana; Thirsty Whale Elixirs’ East Van–made cocktail concoctions (think cranberryginger or apple spice); and Komboh Creative’s cool retro-pop art prints. Bonus: a beer garden, a DJ spinning tunes, food trucks, and a silent auction raising funds for the Union Gospel Mission. FALL FOR LOCAL SPRING POP-UP

(At the Pipe Shop Building in North Vancouver on April 29 and 30) Beautiful B.C. design is showcased in a hip industrial setting by Lonsdale Quay. Fall for Local, which also hosts speaker series throughout the year for makers and other indie entrepreneurs, has curated a high-quality crew of offerings, including rich, water-resistant leather bucket and flip bags by Tofino’s Market Canvas; Korinne Vader’s serene linen kimonos, jumpsuits, blouses, and more; and Hunt of Hounds’ dramatically delicate, NIFTY FOR FIFTY (At Heritage Hall heirloom-feel jewellery. Watch for on April 9) The grassroots style event the complimentary braid and curl is celebrating a decade of discount bar plus outdoor food trucks. action, and for its 10th annual sale, 30 of the city’s hottest indie designers GOT CRAFT (At the Maritime Labour and artists price their stuff at under Centre on May 6 and 7) A cleverly 50 bucks, with popular names like curated assortment of makers, Adhesif Clothing, Daub + Design, representing some of the coolest and Allison Wonderland. The event indie artisans in town. Worth happens only once a year; make sure checking out: Cabin + Cub’s folkyCanadian wood earrings and cuffto bring cash. links; LittleMod Clothing’s adorably MAKE IT (At the PNE Forum from hip organic baby clothing, printed April 21 to 23) More than 200 “Mak- with everything from raucous racies” from around Western Canada coons to lumberjacks; and Pit on dish up a wild spectrum of handcraft- Pottery’s warmly nostalgic ceramic ed wares, from gourmet goodies to mugs and dishes. -


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Architect extols tall wood-frame buildings > B Y C HA RL IE SM I TH

W

hen the Empire State Building was completed in New York City in 1931, it was the tallest building in the world. The 443.2-metre, 102-storey tower has 2.2 million square feet of office space and its construction materials included 57,000 tons of steel and 47,492 cubic metres of concrete. Nowadays, it’s well known that the production of concrete and steel, particularly if it’s done with coal, generates enormous greenhouse gases and is a major contributor to the climate crisis. But could a structure the size of the Empire State Building be built of wood, which is a far more sustainable and renewable material? Vancouver-based Michael Green Architecture and a Finnish company, Metsä Wood, tried to answer that question in 2015. “We did the analysis and the engineering with our partners with Equilibrium [Consulting] here in Vancouver and determined you could,” Michael Green told the Georgia Straight during an interview in his Cordova Street office. “It’s not so much that you should build 102 storeys in wood. But when people start to get used to the idea that you could, it means they get a lot more comfortable with 16 storeys and lower buildings in wood.” For 12 years, Green has been advocating far greater use of wood in construction of large buildings to reduce society’s environmental footprint and to promote value-added jobs in B.C. In Minneapolis, his firm designed a seven-storey building occupied by Amazon. He said his firm has been invited to design buildings of 12, 18, and even 34 storeys in other cities, mostly made of wood. “We have a brand-new project in New York City,” he said. “We have a brand-new project in Chicago, and three or four projects in Paris.” Buildings are responsible for a majority of greenhouse-gas emissions in Vancouver, mostly through the use of natural gas and electricity. Across B.C., buildings were responsible for 11 percent in 2015. Yet according to Green, Vancouver has been slow to adopt the idea of tall wood-frame buildings even as it pursues the title of the world’s greenest city. “This is an idea that we started,” Green noted. “I authored the original concepts on tall wood. It’s a Vancouver-born idea that now is being implemented in New York, Chicago, and Minneapolis. But we don’t have it here. It’s time.” He pointed out that Paris held an innovation competition last year to develop environmentally responsible buildings on 21 sites. According to Green, 17 of the winning bids were for heavy timber wood structures. He credited the mayor, Anne Hidalgo, for making sustainable

buildings a central priority in the wake of the COP21 United Nations climate conference held in her city in 2015. “Paris said ‘We’re going to put our money where our mouth is,’ ” the architect said. “Right now, Vancouver is not doing that.” Green is also offering advice to the office of Oregon governor Kate Brown on promoting more tall wood buildings in her state. He and architect Jim Taggart have coauthored a soon-to-be-released new book, Tall Wood Buildings, which will provide 13 case studies of wood buildings around the world. Green emphasized the importance of not thinking of wood skyscrapers as being built with two-by-fours. “It’s really all engineered wood, so it’s glued together in different ways,” he said. Then he knocked on a huge wooden table in his office, which was created from jumbo plywood engineered in Golden, B.C., made into a stunningly sturdy and thick surface. “It’s very strong,” he noted. He added that any 102-storey wood building would still have a concrete base, as well as concrete below the earth. But above the surface, it would be almost all wood, including hollow vertical wood columns. Running up the middle of these columns would be steel cables that would be tied into the concrete base to provide the appropriate level of tension and maintain stability. “All of the weight is carried by the wood,” Green stated. He said the key to greener buildings is cutting back on the use of toxic materials. “You want to reduce the bad stuff and increase the good stuff. The good stuff should be natural. It should be renewable. It should be lowenergy. It should be low-carbon.” Green’s interest in environmental issues goes back a long way. He was born in the Nunavut community of Baker Lake, where his father served as a senior federal administrator for what was then called the Department of Indian and Northern Affairs. An avid outdoorsman, Green has witnessed glaciers recede over time and even travelled to the Antarctic on a kayaking expedition with his son. “We paddled next to glaciers that are falling into the ocean,” he recalled. He cited several reasons why tall wood buildings aren’t being constructed in Vancouver. Part of the reason is the building code. Another is the higher cost of constructing environmentally sustainable, woodframe skyscrapers when B.C. has relatively low energy prices. “If you can measure through a lifecycle analysis that says this is truly a better-performing building, you should get a tax break or a density bonus,” Green said. “There are different levers that the city could actually use to promote these kinds of ideas. I think it’s high time they did.” -

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Renters of Vancouver: “landlord said her aim was to kick me out” > B Y K ATE WILS O N

Renters of Vancouver takes an intimate look at how the city’s residents are dealing with the housing crisis. Tenants choose to remain nameless when they share their stories.

“I

n the mid-’90s, I had a little son, and he had to go to school. So I found a two-bedroom apartment in Kits, right across from the Henry Hudson elementary. It was a beat-up, run-down building, but it was convenient. “The property was won in a highstakes poker game in Hong Kong a while ago, and it’s still owned by the family. I got along quite well with the son who was looking after the building, and there was an unspoken deal that if something broke, I would fix it, and he would leave us alone if we also didn’t bother him. “That was fine until he had a heart attack, and his sister took over. She had a different management approach. “The problems started when the faucets began to leak. I would phone and tell her about the issue, and she would send over somebody who couldn’t speak English and turned up with just a screwdriver and a hammer. They would take a look, and never come back. Meanwhile, the faucet kept leaking. This went on and on, and it got to the point where the back door started binding because water was running over the frame. “The landlord did nothing until the price of rents started rising. Part of the reason that I don’t really want to slag the original owner is that although I lived there for 17 years, he only raised the rent twice. Sure, he wasn’t fixing or updating the building, but it came to the point that I was paying $975 [per month] for a two-bedroom apartment in Kitsilano, which was a deal. And all of a sudden, the market rate for that kind of place was up to $1,780 [per month].

When this man returned from holidays, he found an eviction notice under the door.

“At the end of October, I got an eviction notice because the landlord wanted to take over the apartment. When I asked why she was doing it, she said that she wanted to raise the rent by hundreds of dollars. I told her, ‘Well, you can’t do that.’ So I went to the Residential Tenancy Branch with my file and pictures. “The landlord said that her aim was to kick me out to do a quick renovation, and bring the property up to market rate. The Residential Tenancy Branch official who was hearing the evidence followed the rules, and told her that she couldn’t throw the two of us out for that. “So my son and I went on holiday, and when we came back at the beginning of February, we found another eviction notice for the same thing. I filed again at the tenancy branch—but this time, she’d hired a ringer. When we went into the meeting, she was sitting next to a really high-profile real-estate developer, who was on her side. “The tone of the meeting was completely different from before. While the first guy at the Residential Tenancy Branch had been really holding her to task, this official was saying ‘Yes sir, no sir, three bags full

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sir’ to the developer. The tone of the conversation was that they knew each other. It became pretty clear early on that the decision was made, regardless of what I had to say. “Even before we got to the end of it, the Residential Tenancy Branch official said, ‘You’d better start packing.’ “They said that I could appeal to the [B.C.] Supreme Court. But we’re talking about a hugely onerous process that would involve taking months to prepare the case, thousands of dollars to hire a representative, and in the meantime I’m trying to pack my stuff up after living there for 17 years, and finding a place to live within three weeks. “I was lucky that it was still early enough in the game that I was able to find a place. But I moved from a twobedroom apartment for $975 a month, to basically a bachelor suite for the same amount of money with my son. Now both of us live in that tiny condo. “When we moved, I figured, well, we can just wait it out until the market drops. But it just keeps going and going.” -

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G

o green on Friday. Why not! Let a drink of your favourite brew pay homage to St. Patrickâ&#x20AC;&#x2122;s Day, the end of the workweek, and the release of a pressure cooker between the sun and Saturn. Theyâ&#x20AC;&#x2122;ve been stirring the undercurrents and the subconscious, and theyâ&#x20AC;&#x2122;ve been weaving a storyboard, too. To the plus, the transit between the sun and Saturn dissolves or surpasses a barrier. Thursday/Friday can open it up for you in some unforeseen way. Sun/Saturn can help you let it go: to surrender, process, or force you to relinquish something of great value and meaning. The combination is also revealing, exposing, unleashing, or unhinging. Sorting fact from fiction, and emotions from reality, can be a confusing process. You may not know where you are headed, but you do know where youâ&#x20AC;&#x2122;ve been. Allow the advance of time, knowledge, and experience youâ&#x20AC;&#x2122;ll gain along the way to be your best go-to adviser. Early Saturday, Mercury and Venus retrograde are on the same page. A talk, breakfast in bed, or a morning workout does good for the heart, body, and soul. Revisit the conversation, plan, or pick up where you left off. The moon in Sagittarius keeps the weekend on a mostly smooth roll. Enjoy a short getaway or plug in right where you are. The sunâ&#x20AC;&#x2122;s entrance into Aries on Monday (3:29 a.m.) marks the vernal equinox and the start of spring. The new season offers rewards for the brave of heart and for those who are willing to do the work upfront. Apply yourself Monday/Tuesday; the Capricorn moon rewards effort.



ARIES

March 20â&#x20AC;&#x201C;April 20

Friday/Saturday could see you make your way to a breakthrough regarding an inner or outer struggle. Something you read, hear, see, sign, or speak could be the spark that sets better and/or bigger wheels in motion. When the opportunity presents itself, broach the conversation and donâ&#x20AC;&#x2122;t hold back. Sunday, indulge and recharge as you enjoy it best. Monday begins a work-it-out, forge-ahead week.



TAURUS

April 20â&#x20AC;&#x201C;May 21

Fridayâ&#x20AC;&#x2122;s sun/Saturn can prompt you to come clean and/or open up to another. While it could be a difficult thing to do, itâ&#x20AC;&#x2122;s better to get it out or to give up on something or someone. Saturdayâ&#x20AC;&#x2122;s Mercury/Venus can see you revisit a conversation or an issue. It marks a karmic-threshold-

crossing peak. The play will unfold for the rest of the month. GEMINI



May 21â&#x20AC;&#x201C;June 21

A realistic price or expectation delivers the goods on Friday. While you may be able to take advantage of an opportunity or anotherâ&#x20AC;&#x2122;s oversight, itâ&#x20AC;&#x2122;s better to come clean rather than go through the motions or try to get away with more for less. Use the weekend to shop, talk, or get the ball rolling. Monday onward, get to work!



CANCER

June 21â&#x20AC;&#x201C;July 22

TGIF! Sign off on the pressure and make full use of your personal time this weekend. If you work, it should be easy to handle. Mercury/ Venus and the Sagittarius moon keep it rolling well. Mondayâ&#x20AC;&#x2122;s fresh start is as good as you make it. Tuesday too. By midweek, itâ&#x20AC;&#x2122;s time to plug into something fresh and/or to surface again socially.



LEO

July 22â&#x20AC;&#x201C;August 23

Get it out of the way on Thursday/Friday, and the weekend is yours for the taking. Saturday morning with a friend or a special someone sets it right for the day. Enjoy a getaway or stick around and enjoy connecting, catch-up, scouting missions, and play time. Monday/Tuesday, get straight to it, follow the rule book. Efficiency, organization, and professionalism net reward.



VIRGO

August 23â&#x20AC;&#x201C;September 23

The next few days prompt deeper study, exploration, questioning, and soul-searching. Put time and effort into it, but donâ&#x20AC;&#x2122;t struggle with it. Allow answers and better clarity to arise naturally. You are working your way through a process. By Monday/Tuesday, you should gain a better handle on it. Wednesday onward, set something new or more into play.



LIBRA

September 23â&#x20AC;&#x201C;October 23

> BY ROSE MARCUS



SCORPIO

October 23â&#x20AC;&#x201C;November 22

Your ambition and tenacity net good rewards as the workweek closes out. Saturday/Sunday, youâ&#x20AC;&#x2122;ll spend your time and your moneyâ&#x20AC;&#x201D;both are likely well justified. You should feel you have made it to someplace good regarding a project, yourself, or another. Monday/Tuesday, stay on top of it, work your way through it. Wednesday can produce a sidetrack, a disconnect, or something fresh or extra.



SAGITTARIUS



CAPRICORN



AQUARIUS

December 21â&#x20AC;&#x201C;January 20

By Friday, whatâ&#x20AC;&#x2122;s on brew will start to show more of itself. If you donâ&#x20AC;&#x2122;t see it hit the full light of day, it will soon enough. The stars continue to keep it on a buildup through the weekend. Saturday/Sunday, talk it out, feel your way along. Monday/Tuesday, set the wheels in motion and/or make it official.

Stay on top of it Thursday/ Friday. A modification, attitude shift, or strategic manoeuvring may be necessary; progress is your net gain. Saturday/Sunday, make it fun for yourself. Monday/Tuesday put you back to work. Saturday through Tuesday set a productive backdrop. Talk it out and do what needs to be done. Wednesday shifts your energy or attention.



PISCES

February 18â&#x20AC;&#x201C;March 20

Despite whatever challenge or obstacle is in your way, the stars help you make the most of what you have to work with, especially Thursday/Friday. Friday evening through Sunday, plans, intentions, recreation, and conversation deliver the goods. Monday/Tuesday, put yourself to work and get yourself better organized. Effort produces results. Itâ&#x20AC;&#x2122;s as simple as that. -

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Fridayâ&#x20AC;&#x2122;s sun/Saturn can bring something into the open that has escaped your awareness. On another note, you may create a deeper impression or impact than you realize. The opposite may also be true. Saturday/Sunday keep you, them, or it on full battery charge. Monday/Tuesday, prioritize. Get down to business, stay focused on the goal. Wednesday can be a betwixt and between day.

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Vegan tween talks health

H

aving been raised as a vegan since day one, Daniel Bissonnette realized early on in life that he wasn’t like all the other kids. Or perhaps more accurately, all the other kids perceived and portrayed him as an oddball, routinely teasing him about what was in his lunch bag. Just 12 years old, the Anmore resident has gone on to become a vegan activist and healthy-eating superhero—but he still remembers how unpleasant it felt to be the odd man out back in Grade 3. “I was always called the weird kid ’cause I ate different food,” Bissonnette says in a phone interview with the Straight, with his mom by his side. “I didn’t eat the foods that other kids thought no one could live without, like candy, you know, pizza… All the foods that other kids craved, I lived without. So I was kinda like an alien to them. They didn’t know Daniel Bissonnette may have been ridiculed by classmates for unusual lunches who I was… So I was called the weird but he’s having the last laugh by becoming a vegan advocate with viral videos. kid. I didn’t like it.” Bissonnette has become a soughtThen a teacher asked if he would “I realized I was on my mission,” do a class presentation on his diet, the Grade 6 student says. “I kept go- after public speaker, touring regularly because classmates were as curious as ing and started speaking at health across the country. He’ll be speakthey were cruel. Sharing information shows.…I keep doing this because ing at the fourth annual Veg Expo about the plant-based foods he grew I want to spread the message.…There in Vancouver (which takes place on up with and still are so many kids May 28) and at the Vancouver Health enjoys became a who don’t want to Show in November. As a digital native, he posts new passion project for switch to healthy Bissonnette, one eating, mainly be- content on various social-media Gail Johnson that he has taken cause their friends platforms regularly, including weekly videos on his YouTube channel, far beyond the classroom. might call them the weird kid. “They’re afraid their friends will bully and has made a three-part video serWhen he was nine, he was invited to speak at the 2014 global March them or turn against them,” he says. ies on how to meditate available for Against Monsanto in Vancouver. “Well, your body is your temple. You free on his website. have to feed it the best food you can.” He says that although his parThe video of his talk went viral. ents started him out on a vegan diet, they gave him choice about what foods he would consume, letting him try various animal foods. He prefers plant-based dishes and doesn’t care to get into the wellestablished ethical and environmental reasons behind veganism. SPECIAL (second entrée of equal or lesser value) up to (s “I did some research and found $1 Valid until Apr. 15, 2017. Not valid with other $17. some crazy stuff—like, I don’t realco coupons or other in-house offers or event nights. Gr Gratuities based on TOTAL bill before discount. ly want to talk about it,” he says. disturbing.” Free Street Parking! “It’sAnd while he himself is vegan, he’s not militant in his views. “If you want to enjoy meats or whatever, you’ve got to make sure it’s #thetipperrestaurant #lovestories #dineindiner clean and organic,” he says. “Ideally, #thetipper 2066 KINGSWAY (at Victoria) Victo | 604.873.1010 | www.thebottletipper.com get it from a farmer who you trust and where you see animals happy. It’s all about sustainability. “There isn’t one perfect diet for everyone. Everyone has their own perfect diet, so find what that is,” he adds. “You eat something, and if the next day you feel good, you When 2 meals are purchased know that food works for you. Eat it INDIAN N RESTAURANT Not valid for delivery or specials. again. If the next day you don’t feel Dine in only. Lunch or Dinner. 8 POWELL ST. (IN GASTOWN) good.…that’s a food that doesn’t Expires: March 30/17 6 0 4 6 87- 0 0 49 work for you.” A cornerstone of healthy eating is 6 0 4 4 8 4 -2236 • One coupon per 2 people having breakfast, says Bissonnette, www.sitarrestaurant.net • Max: 3 coupons per table who’s also the author of a published Open Daily cookbook called Daniel’s Breakfast Ru nne rup 11am-11pm Burst. He doesn’t have a “favourite” Be st I ndi an Across from the Gassy Jack statue in Gastown food but rather believes that variety th is the spice of life; he suggests having blueberries with breakfast one day, blackberries the next, and raspberries the day after that. And by no means is a vegan diet bereft of treats. In his book, BissonRESTAURANT SINCE 1974 nette shares a recipe for chocolate, noting on the phone that cacao is a superfood that will boost brain power AWARD WINNING and “give you a cognitive punch”. AFGHAN Diet’s effect on brain health is a topic CUISINE of great interest for the tween, who discusses nutrition using terms such as flavonoids and neuroplasticity. “I’m determined to help more people,” he says. “I really want to help kids eat healthier but I also want to help people increase their brain power.” For anyone wanting to shift toward a healthy diet but who’s finding it challenging, Bissonnette offers the analogy of a Ferrari. “If you want the peak performance, you need the right fuel,” he says. “People who buy expensive cars, they 1833 Anderson St. (2nd Floor) Vancouver know this. They don’t put cheap fuel BEFORE THE ENTRANCE TO GRANVILLE ISLAND, RIGHT BEHIND THE STARBUCKS in the car; it will damage the car in the long run. 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I SAW A: I AM A: WHEN: MARCH 12, 2017 WHERE: Kits

You’ve been my esthetician twice now, and it feels a bit odd to ask someone out for drinks as they’re tearing hair from your body, but you seem sweet and I think we have some things in common... so here I am. I’m tall and dark haired, and I had gone to a Hot Yoga class that morning. We talked mostly about yoga and working out, and traveling... Croatia, Portugal, and my holiday to St. Martin the next morning. I could be more descript but I think that should be enough to blow my cover? I’d love to see you outside the confines of a waxing room... start slow? A walk along English Bay, or a drink? Have no idea if you'll ever see this, and hopefully I haven’t broken some sort of waxing code of conduct...

ENCOURAGEMENT AT LOAFE CAFE

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I SAW A: I AM A: WHEN: MARCH 13, 2017 WHERE: Loafe Cafe at UBC I was standing in line with my tall lady coworker at Loafe Cafe on UBC Campus. I had a ball-cap and navy coat. Well, that posted sign was obviously wrong, and you resolutely took charge, and encouraged us to remove the sign. You were convincing, and we did. You had a blonde braid, glasses, and pretty great arching eyebrows. Yowza.

PURPLE PANTS AT THE CANADA SEVEN’S RUGBY TOURNAMENT

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I SAW A: I AM A: WHEN: MARCH 12, 2017 WHERE: BC Place Canada Seven’s Rugby We had an empty seat between us. You were with your friends, you had purple pants on and a Hawaiian themed shirt. I offered you peanuts and liquorice. I liked your smile but I have never asked a guy out or given him my number so I didn’t know how, but wish I had tried. If you are interested too?

CUTE GIRL WITH GOOD TASTE IN PUNK BANDS

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I SAW A: I AM A: WHEN: MARCH 12, 2017 WHERE: Platform 7

I was waiting for my coffee on Sunday afternoon when out of the corner of my eye I see a cute girl sitting at the bar, wearing a shirt from a semi-obscure punk band. I interrupted your studying to compliment you on the shirt and we ended up talking for over 5 minutes about our pets, music, life in Vancouver, and that we share the same hometown. After I left I was kicking myself for not giving you my phone number. Maybe you read these things and would be interested in getting a coffee sometime?

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I SAW A: I AM A: WHEN: MARCH 7, 2017 WHERE: Cambie Whole Foods I glanced up to see you looking in my direction, we shared a look and a smile. I like your style! Is what I wanted to say; then I see you wearing your little black Rachel Comey’s in the rain like you DGAF and now I really feel think you’re the kind of woman I’d like to meet, only I didn’t see you after... I just came from the gym I had a tracksuit on and a backwards hat. I have a good brain, and some shoe polish you can borrow.

FIERCE FOCUS AND BEAUTIFUL BALANCE

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I SAW A: I AM A: WHEN: MARCH 10, 2017 WHERE: Hillcrest Fitness Centre You: in a black t-shirt and green plaid shorts, wearing a sweet, disarming smile. Me: the shorthair gal in a pink tank top and grey shorts who commented on your impressive balance after seeing you stand on the exercise ball doing exercises with the heavy basketball. Your eyes exude a beautiful kindness. Care to chat away from the gym crowd?

LENNON-STYLE GLASSES AT PHO GOODNESS SAKE

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I SAW A: I AM A: WHEN: MARCH 11, 2017 WHERE: Pho Goodness Sake, Main and 15th I agree this is odd. I was at Pho Goodness Sake on Saturday, ‘round 1900h. You were with two friends, wearing circular opaqueframe glasses and a grey crewneck sweater; JFK-like. I was wearing a maroon trench coat and leaving. Apologies if I was staring. I thought you were absolutely sexy and regret not finding a reason to submit an application with my phone number on a napkin to your organization. Dinner, perhaps?

GREY 69

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You greyed hair style, 69 on shoulder. Dig the look. No matter, it has to be said. Nice seeing another sign of individualism out there. Me, tall. Time nearly 1530.

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I SAW A: I AM A: WHEN: MARCH 7, 2017 WHERE: EdgeCeptional - Yukon and W 8th I was there with my boss for a quick bite. You were serving us and caught my eye. You winked and smiled at me as we left. Coffee or a drink?

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I SAW A: I AM A: WHEN: MARCH 9, 2017 WHERE: The Lower Dark Side of Mt. Seymour It was raining and I was hiking up one of the lower dark side mtn bike trails with a friend. You came riding towards us on your own. I asked how the trails were running and then we discussed the finer details of the features on the trail you rode including the best corner in the world... you didn’t have to take your full face helmet off for me to see that you’re a total babe. Let’s go for a shred?

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FOOD

Must-try European wines

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e’re grabbing our passports and heading out on a European vacation with this week’s column, featuring a quintet of wines relatively new to the Vancouver market. Get to know these wines well, as they’re some of the most exciting splashes I’ve had of late. LE FAY D’HOMME VINCENT CAILLE MÉTHODE ANCESTRALE X BULLES (Loire Valley, France; $28

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to $32, private liquor stores) The name of this delicious French sparkling wine is quite a mouthful, so let’s break it down. Le Fay d’Homme is the Loire Valley domain the wine hails from, and Vincent Caille is the fifth-generation winemaker now at the helm of the family business. His focus is minimal-intervention, natural wines from grapes he grows organically—and he’s starting to steer things toward bioItaly’s Fontanavecchia 2015 Taburno Falanghina del Sannio is a worthy swap for dynamics, too. Méthode ancestrale rePinot Grigio; Casale del Giglio 2013 Cesanese is from indigenous Italian grapes. fers to the old-school method in which the wine’s made. When traditional- for this wine, is made from Melon de $15, private liquor stores) Bargain method sparkling wines are disgorged Bourgogne, the grape behind Musca- alert! This cheery blend of Sau(removing the lees, or spent yeast) after det wines. Like classic Muscadets, this vignon Blanc, Grenache Blanc, wine sings with cit- and Ugni Blanc charms with pink their second ferrus fruit and crisp grapefruit, lemon peel, and even mentation in the minerality, while summery notes of fresh snap peas. bottle, it’s quite those bubbles de- Vibrant with juicy acidity, it’s the common to top Kurtis Kolt liver extra freshness perfect match for creamy seafood them up with a splash of a “dosage” (sugar and/or and pizzazz. Fun stuff for the next time pastas, Mexican cuisine, or just a base wine) to sweeten them a little bit Thai cuisine hits your table. Recently bag of popcorn on the couch. You can nab yourself a bottle, or a case, before putting them under cork. The spotted at Marquis Wine Cellars. at North Vancouver’s Everything ancestral method involves no disgorging or addition of dosage, resulting LAURENT MIQUEL 2015 VEN- Wine—and if you can’t make it in a wine that’s quite dry, though fea- DANGES NOCTURNES CLASSIC there yourself, it can deliver right to turing great texture and dimension. COLLECTION WHITE (Langue- your door! Caille’s X Bulles, his proprietary name doc-Roussillon, France; $13 to

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pania, Italy; $21.99, B.C. Liquor Stores) Next time you’re wandering the Italian section of the store and about to reach for Pinot Grigio, give this little number a try instead. Full of stone fruit, young almonds, lemongrass, and white floral notes, Falanghina’s a rather unsung indigenous Italian variety that should be cracked open anytime you’re preparing seafood or fish-forward dishes. While it should be served chilled, do pull it from the fridge 10 to 15 minutes before serving, as the character of the wine really develops as it moves a few degrees toward room temperature.

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$25 to $29, private liquor stores) Telmo Rodriguez is Spanish wine royalty, known for elevating awareness and quality of indigenous grape varieties, as well as for harnessing the terroir of lesser-known regions. The Mencia grape here is light on its feet, with cherries and notes of lemon balm lightly flicked by a wisp of smokiness. The granite terraces in this vineyard contribute a crunchy mineral character, while further swirls of the glass unleash notes of roasted hazelnuts and chestnuts amid all that red berry fruit. In fact, there are chestnut trees on the property among the vines. While it could be just the power of suggestion offering those nutty nuances in the aromatics, I’m always happy when a swirl and sip can transport me to the Spanish countryside.

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(Lazio, Italy; $23.99, B.C. Liquor Stores) The Cesanese grape variety is new to me, but after trying this wine for the first time a few weeks back, I’m hell-bent on tracking down more wines made from it. Yep, it’s another one of the zillions of indigenous Italian grapes out there. It was historically made into sweet or sparkling wines, but is now being embraced for its still-table-wine potential. Casale Del Giglio’s take on the grape is immediately quaffable and an absolute treat to drink. With a similar structure to a ripe, fruit-forward Pinot Noir, there’s an abundance of red fruit and purple flowers here, with maybe a pinch each of cinnamon and clove. It’s fresh and vibrant, and would make an easy match for poultry, duck, or game. Do serve with a hint of a chill—it’ll make things even brighter. -


ARTS

Josh Martin and

BY JANET SM IT H

Lisa Gelley have a lot going on in their lives right now, and it only starts with their six-month-old baby, Loa. She was just weeks old when their dance troupe, Company 605, embarked on a commission with Belgian choreographer German Jauregui called Albatross at the Firehall. At four months, she joined them as they toured their hit group work Inheritor Album to the Sydney Festival in January. And now they’re diving into their biggest project yet: choreographing a premiere for Ballet BC as part of Program 2, an all-local bill that salutes Canada’s 150th anniversary. The company has come a long way since a decade ago, when the Straight first wrote about a new, hyperathletic, upstart, urban-dancetinged contemporary troupe called the 605 Collective—one that was launched from, and named for, the couple’s live-work studio. “When we started out, Ballet BC was completely something else and never seemed up our alley,” Martin says, referring to the days before current artistic director Emily Molnar took over in 2009. “Now, the more and more I go to Ballet BC shows, the more I want to be up onstage. I love the atmosphere they have now and I feel like we’re kind of aligned a bit.” Not that it’s always easy to juggle everything they have going on. On this day, during rehearsal at the Scotiabank Dance Centre, Martin is bouncing baby Loa while encouraging the dancers to assert a bit more individuality in their movement. Suddenly, the infant starts grasping his face with her tiny hand. He perseveres for a moment, then stops. “This is ridiculous,” he says,

A truly moving collaboration

Company 605’s Lisa Gelley and Josh Martin (pictured with their daughter, Loa) have collaborated with Ballet BC on an all-local bill. Emily Cooper photo.

dancers, so trained artist’s penchant for theatricality, atmosphere, in extension, are also and complex sculptural forms. having to adapt to In all, Program 2 is a sign of the tremen605’s ground-hugging, dous strength and diversity of the dance scene For Company 605, working with Ballet BC on Program 2 street-inf lected style. here—one that’s garnering the attention of the “There are qualities world. Pite is working everywhere from the provided a striking study in contrasting dance styles that we have inside Paris Opera Ballet to the Royal Ballet; Ballet prompting laughter in the studio, passing the our movement that you don’t realize before you BC celebrated its debut in the U.K. this year; child to Gelley. teach them to someone else. They’re [the dan- and many troupes, like 605, are getting invited Teaming up with Ballet BC, the couple says cers are] so open and long, whereas we come to show their work around the globe. after the rehearsal, offers the chance to work back to be compact a lot,” Martin says. Molnar credits the thriving scene in part to with not just more dancers but also virtuosically What’s most striking, Martin and Gelley say, the training that dance artists receive at places honed ones. It also lets them play with the huge is how quickly these versatile dancers can learn. like Arts Umbrella, SFU’s School for the Conspace of the Queen Elizabeth Theatre stage. It’s just such an opportunity Molnar wanted temporary Arts, and Modus Operandi. “The biggest thing is that it has allowed Josh to offer in Program 2, which will show Com“We have these great dancing environments and I to choreograph from the outside togeth- pany 605’s premiere alongside local star producing dancers who are then staying here, er,” says Gelley. “Typically, at least one of us is Crystal Pite’s Solo Echo and new work making work,” she says. “And we have dancing.” by two other innovative Vancouver the audience here, as well: that’s an im“When we do our own work, it’s full-on,” choreographers: Wen Wei Wang Check out… portant component too. There’s a ton STRAIGHT.COM Martin adds. “It’s just nice to have an artistic and Lesley Telford. of courage in this environment.” Visit our website team already set up here. It takes the weight off “I wanted to focus on Canada’s Martin concurs that Vancouver’s for morning-after so that, really, it’s you and the dancers.” 150th because I thought it would dance world is buzzing right now reviews and local The ideas the pair are exploring with the be a chance to go even deeper and refers to his company’s own traarts news new piece are a continuation of themes they’ve into our community,” she tells the jectory as proof. “It feels like the longpursued at 605, especially with last year’s Vital Straight in a separate interview at the er we’ve been going, the more we’ve felt Few: the role of the individual in a larger group, Dance Centre. community building. And that’s why Vanand concepts of unison and harmony within “Company 605 was built from the ground couver is doing as well as it’s doing. It’s the way that pack. up,” she continues. “I also wanted to show the it is connected,” he says. “There’s a really nice “It’s about ‘How do we show at the beginning different areas of dance here. So it’s about this ecology here and Ballet BC is a part of that.” this pure unison they’re fighting against, and company [Ballet BC] being able to touch on all Collaborations like Program 2 can only help then developing and adding different voices to the bases of contemporary dance today.” dance continue to boom here. As Martin says the room?’ ” Martin explains. Company 605’s work will contrast with other with a smile: “Now that I know what’s possible, Working with the Ballet BC members on the pieces on the program. Wang’s six-dancer piece I want to come back and do it again.” piece they’re calling Anthem has helped the reinterprets “The Dying Swan” from Swan Lake, 605 duo see its own movement more clearly. while Telford’s pas de deux is set to the work of Ballet BC presents Program 2 at the Queen Some things, like lifts, are much easier for the spoken-word artist Barbara Adler. Pite’s Solo Echo, Elizabeth Theatre from Thursday to Saturday troupe than for him, Martin concedes. But the meanwhile, reflects the celebrated Betroffenheit (March 16 to 18).

THINGS TO DO

ARTS High five

Editor’s choice STRING GAME It’s a show that changes every night, and for those who have seen it, it’s like an addiction. Which of his warped and wonderfully wrought characters will puppet genius Ronnie Burkett bring back for the return of the Daisy Theatre? Will it be drag queen Dinah Dooya? Lounge singer Rosemary Focaccia? Fairy child Schnitzel? Or “Canada’s oldest and worst actress”, Miss Lillian Lunkhead? We can’t tell you—the man has more than 40 to pull from—but if you’ve never caught the one-of-a-kind marionette show for adults before, you’re in for a wild mix of cabaret and vaudeville on strings, of course. Over the years, we’ve raved about the show: “These moments surpass anything you get from most evenings at the theatre.” Go see what the fuss is about, or lose yourself in the twisted world for a second or third time. The Daisy Theatre is at the Cultch from March 21 to April 9.

Five events you just can’t miss this week

1

COMPAGNIE VIRGINIE BRUNELLE (March 16 to 18 at the Roundhouse Community Arts and Recreation Centre) Brutal, bitter poetry from one of Montreal’s most exciting choreographers.

2

MAMBO KINGS (March 17 at the Orpheum) Serious Latin heat should have you dancing in your seat at the VSO.

3

SONIC BOOM (March 18 at the Western Front) Featured artist Marina Hasselberg shows the dazzlingly diverse possibilities of cello music.

4

BELFAST GIRLS (March 15 to 17 at the Vancity Culture Lab) A fascinating theatrical history lesson.

5

WATER AGAIN (To April 1 at the Equinox Gallery) Gathie Falk’s oils on canvas mesmerize.

In the news THEATRE SEASON UNVEILING Pacific Theatre has just announced its 2017-18 season, and the lineup includes a fresh-offBroadway musical. Things kick off September 15 with Lucas Hnath’s The Christians, the New York hit about a church’s changing beliefs. That’s followed by productions of Martin McDonagh’s The Lonesome West (a guest presentation by Cave Canem Productions); John Cariani’s Almost, Maine; Lynn Nottage’s Ruined (a guest presentation by Dark Glass Theatre); Heather McDonald’s An Almost Holy Picture; the premiere of Mark Leiren-Young’s Bar Mitzvah Boy; the premiere of Pacific Theatre artistic director Ron Reed’s Tolkien; and David Edgar’s Written on the Heart. Among the plays that will debut, the work by Leiren-Young (the playwright shown here) is about a successful lawyer who suddenly decides he needs to go through the Jewish rite of passage, and Reed’s explores the fraught real-life relationship between The Chronicles of Narnia author C.S. Lewis and The Hobbit writer J.R.R. Tolkien. MARCH 16 – 23 / 2017 THE GEORGIA STRAIGHT 17


ARTS

Uzume Taiko will celebrate its 30th anniversary in a concert that brings together Japanese percussion and Chinese dance. Adam PW Smith photo.

Uzume Taiko combines dance and martial arts > B Y A LE XAN DER VAR TY

O

especially the women,” she says. “I think it really helped many women find their voice and their power.” For Soon, taking up drumming was a natural way to build on the training she’d received in contemporary dance. Overy, in turn, came to the music by way of the martial arts. “The thing that drew me to Uzume Taiko when I first saw them perform was the fact that they weren’t locked into the ground,” he explains. “They used their bodies in a movement style that reminded me of my martial-arts training. It was more than just a drumming thing; it was actually an endeavour to create a spiritual emotion in the room, or create a special space.” Fusing dance, martial arts, and other percussive styles with taiko, Overy adds, is what gives Uzume Taiko its unique West Coast flavour. “It’s the freedom to make something new and present that to people,” he says. And although Uzume Taiko’s 30th-anniversary concert is, in a sense, a return to the troupe’s roots— this year, the focus is on the drums themselves, with less of an emphasis on tuned percussion—it’s also an opportunity to add Chinese contemporary dance to the mix. Dancers from Moving Dragon Contemporary Dance and the Lorita Leung Dance Company will join Uzume’s four core players on-stage, performing two new works that choreographer Chengxin Wei has set to pieces from the taiko group’s repertoire. “I knew that he was a beautiful dancer, so I asked him if he’d like to try playing taiko,” Soon says of their unconventional introduction. “And he had an immediate affection for a couple of the tunes, so that’s how it started. I’ve found in the past that the best collaborations begin that way; they just seem to happen like magic. It’s not like pulling teeth at all, and I’m just thrilled with what we’ve done.” -

n the occasion of her company’s upcoming concert, Uzume Taiko artistic director Bonnie Soon is musing on the origins of the music that has held her attention for much of her adult life. “This was a postwar art form,” she tells the Straight from Uzume’s East Vancouver studio, in a conference call with musical director Jason Overy. “The resurgence of interest in taiko drumming came as a means of allowing people to regain a sense of pride in Japanese heritage and culture. And it started mainly from a jazz drummer in Tokyo, Daihachi Oguchi, who was asked to resurrect a piece of music that was found in an old miso factory. He couldn’t decipher this oldstyle Japanese notation, so once he had that pulled apart into some form that he could read, he wondered what it might sound like played on different taiko drums, the way he would play on his jazz drum set. That was kind of the birth of what we call kumi-daiko, or ensemble drumming.” When the style made its way to North America, in the 1970s, it quickly became a rallying point for young Japanese Canadians and Americans, many of whose parents had been interned and dispossessed during the Second World War. For them, taiko was a source of strength, community, and cultural pride—just as it has been for Soon, although she reveals that she has no Japanese ancestry herself. “Neither Jason nor I do,” she says. “I’m Canadian Chinese, and although I’ve grown up in this art form, I must admit that I still feel like an outsider. I don’t have a Japanese last name, and we don’t profess to pay homage to any sensei. So we’ve always drummed to the beat of our own hearts.” It’s not that playing taiko hasn’t given Soon considerable inner strength. “This was a really cool art form in which you could actually open your mouth and make a sound Uzume Taiko plays the Vancouver and not be this quiet, demure thing— Playhouse on Friday (March 17).

18 THE GEORGIA STRAIGHT MARCH 16 – 23 / 2017


ARTS

PRESENTS

Angela Moore portrays Amleset in the Firehall Arts Centre’s production of Mary Vingoe’s new torn-from-the-headlines play, Refuge. Emily Cooper photo.

Firehall tackles timely political topic in Refuge

I

> BY JA NET SM IT H

to take him in when he begins isolating himself. “It was really about, ‘How would I feel if this person came into my family and they started to do something odd?’” Spencer explains. “I get it; people are fearful for their jobs and security and the pushback comes from that.” Making the discussion even more timely in recent weeks, she points out, are new studies that have shown we’re more racist in Canada than we admit to, and that we’re not as welcoming to refugees as we like to pretend. The show has sent Spencer delving deep into the little-known history of Eritrea and Ethiopia, researching online and in the old encyclopedias willed to her by her parents. It’s taken her right back, inevitably, to the colonization of the region by Italy, and how that set a chain of events into action. She’s sought out firsthand information, too: on the day the Straight visits, the East African Society is going to visit rehearsal to give input. As far as the set design (by Lauchlin Johnston) goes, Spencer wanted to show the way the situation in Africa hangs over all that is going on in the play in Canada: “The set is constructed out of things you would find in a refugee camp, with lots of tarps and fibreboard, and on top of that we’re layering the contemporary Canadian world.” It was her solution, she says, to a challenge she felt: “How do we talk about this place that we don’t know anything about?” The play should prompt discussion about issues that are top of mind as Canadians face the latest wave of refugees The Firehall invites audiences to confront the issues and consider them, and is even running an Indiegogo campaign to raise funds to provide free and deeply subsidized tickets to secondary and postsecondary students. “We decided to do this as young people can lead positive change, and we are hopeful that by attending this piece they will want to gain a greater awareness of those who are coming into their classrooms that may be refugees to Canada,” Spencer explains. Just don’t expect Refuge to set out easy answers; amid our global refugee crisis, it seems there are no such things. “The play sets up a debate,” Spencer says. “Do we assume that refugees are coming here to do terrorist acts? But some are deported for the wrong reasons. How do you as a government set guidelines? “That’s another reason the play appeals to me: there are no pat answers.” -

n the Firehall Arts Centre rehearsal hall, two actors and a director are negotiating the loaded, precarious terrain of Canada’s refugee system. They’re staging a central scene from the new play Refuge. In it, an English-speaking friend of a man who’s fled Eritrea is trying to explain to an immigration lawyer why his friend should be allowed in the country. The attorney, Saul, played by Robert Moloney, is concerned the man’s refugee application will be turned down because he served as a captain in the army. “No. No,” says Aadin Church’s Mebrahtu. “No choice. In our country they have no choice.” At another point he tries to explain, “He doesn’t like what he sees. He does what he has to do.” The pair replay the scene multiple times to show the slow route to trust. Director Donna Spencer tries to provide Eritrean historical context to her actors as they work through the scene: “When you do the research, you find that people enlisted for many reasons, but once they were there there was no way out.” Then she offers to Moloney: “You need to ask how well do you know this man and how much do you trust him?” Trust, suspicion, and the shadow of violence from faraway lands: these are the themes that haunt Mary Vingoe’s new work Refuge, and that dominate today’s headlines about the refugee crisis. Who can we trust to let into the country and how can we provide sanctuary while protecting our families? Firehall artistic director Spencer’s choice of the play could not be more timely, with proposed travel bans sending people over our southern border and Prime Minister Justin Trudeau opening Canada’s doors to Syrians. But none of this was happening when she was first struck by a reading of the work at the Playwrights Theatre Centre. “What compelled me at the time was that the more we look to the globe, the more we don’t know who to trust,” Spencer says. “I’ve always felt that theatre is a political tool and believed we needed to talk about this. “None of us thought we’d get to a point where we’d be seeing people come across the border in winter without proper shoes.” The piece was inspired by a real CBC Radio documentary about what happened to a young Eritrean man who fled through the desert of Sudan to get here, only to get hung up in the refugee process. In the play, a half-Indian Haligonian woman named Pamela takes him in to live with her family, but Refuge is at the Firehall Arts Centre starts questioning their decision from Saturday (March 18) to April 1.

COMPAGNIE HERVE KOUBI (FRANCE) WHAT THE DAY OWES TO THE NIGHT

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SPEAKING OF DANCE CONVERSATIONS Absent and Present: Muslim culture in today’s society Kaija Pepper (moderator) in conversation with Adel Iskandar & Arash Khakpour

Tuesday, April 4, 2017 • 7pm • FREE Djavad Mowafaghian World Art Centre Goldcorp Centre for the Arts, SFU Woodward’s MARCH 16 – 23 / 2017 THE GEORGIA STRAIGHT 19


ARTS

Anda Union

“Stirring, sophisticated Mongolian folk”

> B Y A LE XAN DER VAR TY

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Plumes gives Grimes a classical makeover

April 8 & 9 VanDusen Botanical Garden Family friendly event to experience the culture and tastes of Japan

20 THE GEORGIA STRAIGHT MARCH 16 – 23 / 2017

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doing this album, Visions, because we thought it would be interesting to take something that was more squarely in the pop world—although, you know, it’s certainly not straight-ahead pop. And they loved that. They loved that she was Canadian, and was based in the same city that we’re from. So that’s how that happened.” Don’t expect note-for-note recreations of Visions’ songs. For “Circumambient”, for instance, Vancouver New Music artistic director Giorgio Magnanensi “has an electronic part, which sounds like it’s a drone created from samples of the record, and then this graphic score—a free score that acts as a kind of guide,” Holbrook says. “It’s quite an intense piece, quite noisy, with a lot of activity.” Less agitated is Emilie LeBel’s take on “Symphonia IX”, in which she’s “sort of stretched the melody, so the voice has these very, very long notes, and also there are long, singing notes in the viola and the clarinet. And then the harp and the piano play this very intricate material.…It’s almost like she’s zoomed in on the track and discovered or invented these details in between the notes.” It remains to be seen what the woman otherwise known as Claire Elise Boucher will make of it all. “Once we came up with the project, we tried to get in touch with her to see if she would give us her blessing, or see if she wanted to be involved somehow,” Holbrook says. “We didn’t manage to get a response from her, but a few days ago, she gave us a positive tweet. She said, ‘It seems to be as legit as fuck.’ ” -

o far, Plumes and Plumes Ensemble have led very different lives. Although both bands are based in Montreal and share essentially the same personnel, the first is a chamber-pop band, focusing on atmospheric songs, while the second puts its emphasis on contemporary composition. Now, though, the two groups are well on their way to becoming one. “The two sides are starting to blur,” says multi-instrumentalist Geof Holbrook, in a telephone interview from Guelph, Ontario. “I mean, we have a new record coming out under the name Plumes, and it has drums and electric guitar and keyboards and all that stuff, but it also has a lot of viola, a lot of bass clarinet, and there’s harp in there, too. So they sort of cross-fertilize.” Further indication of this new fusion can be found in the touring program that Holbrook and company are bringing across the country this spring. Nominally a Plumes Ensemble project, it finds a drummerless, fivepiece version of the group exploring the music of 13 Canadian composers, most of them young, who in turn have each been commissioned to arrange a song from cyber-pop star Grimes’s 2012 breakthrough release, Visions. “Why Grimes? There’s a story there,” Holbrook explains. “So, this festival in Winnipeg, the Cluster New Music and Integrated Arts Festival, they were the ones that came up with this idea. They suggested to have classical composers write interpretations of some pop album, and they were thinking of people like Joanna Newsom or Feist—people who have some sort of Music on Main presents the Plumes classical influence or instrumenta- Ensemble at the Fox Cabaret on tion. We suggested doing Grimes, and Tuesday (March 21).

Pipeline bursts with words on dazzling set T HEAT RE THE PIPELINE PROJECT By Sebastien Archibald, Kevin Loring, and Quelemia Sparrow. Directed by Chelsea Haberlin, with John Cooper. Produced by ITSAZOO Productions and Savage Society, in association with Gateway Theatre and Neworld Theatre. At Gateway Theatre Saturday, March 11. Continues until March 18

Oil is in everything. Even our

2 toothbrushes and pens, which

troubles Quelemia Sparrow. In the opening minutes of The Pipeline Project, she laments, “What do I do with all my pens?” Sparrow is one of three writerperformers—the other two are Sebastien Archibald and Kevin Loring— who guide us through this peculiar work. It’s not a play in the classical sense, as there’s no plot and very little drama, and the actors play themselves. Instead, it’s a collage of theatrical forms and mixed media: monologues, dialogues, found-video projections, news segments, witness statements, and even puppetry. I came to think of it as a theatrical documentary. Part of the 75-minute first act is a table play. It begins with the three performers discussing ideas for a new play called The Pipeline Project. This is very “meta”, in a just-out-of-theatreschool way that felt stale when I first encountered it 20 years ago. That line of inquiry is mercifully abandoned, as their conversation meanders through an ecosystem of progressive hot-button topics—the unceded territory of First Nations, residential schools, carbon footprints, SUVs versus bikes. Much of their dialogue revolves around the two First Nations performers (Loring and Sparrow) educating a pre-woke Archibald about their

experiences. These were the show’s most lively bits, as a 95-percent-white, baby-boomer audience bore witness to the weary patience of Sparrow and Loring. Those discourses are interwoven with an array of multimedia set pieces. For a small production—the theatre seats just 100 people—Conor Moore’s lighting and projection work and Troy Slocum’s sound design were dazzling. The show’s racing, oratorical style was a challenge for the performers, as they each stumbled over their lines at least once. I can’t blame them, given the density of the script and that there’s often no fellow actor to play off of. The show is also unapologetically, polemically one-sided. While I sympathize with the creators’ politics, I’d have welcomed the conflict that might arise from a thoughtful rebuttal about globalism and economic development. The show’s second act features a guest speaker, different every night, and a talk-back session with the audience. Paul Kariya, executive director of Clean Energy B.C., spoke eloquently on the show’s interconnected themes, and asked the audience to take “radical individual action” for the good of our planet. The production is inspired by Extract: The Pipeline Wars, a 2012 book by contributors to the Vancouver Observer. It felt, at times, like the show’s creators wanted to capture something from all 36 chapters. Why not simply pick the most compelling story in the book and write a play around that? I admire any show that takes on heavyweight topics as The Pipeline Project does, but it was difficult to connect with the show’s documentary form. Its sum was less than its parts. > DARREN BAREFOOT


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MARCH 16 – 23 / 2017 THE GEORGIA STRAIGHT 21


MARCH 1 – 2 5

2017VANCOUVER INTERNATIONAL DANCEFESTIVAL

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Death and Flying ROB KITSOS / JANE OSBORNE / KIM STEVENSON March 16-18, 7PM FREE at Roundhouse Exhibition Hall with $3 Membership

To the Pain that Lingers

COMPAGNIE VIRGINIE BRUNELLE March 16-18, 8PM $25-$30 Roundhouse Performance Centre

Dancers Playing Basketball

DEANNA PETERS / MUTABLE SUBJECT & KTL COMPANY March 19, 2pm & 3pm FREE Woodwards Atrium

Alonzo King LINES Ballet photo of Michael Montgomery by RJ Muna

22 THE GEORGIA STRAIGHT MARCH 16 – 23 / 2017


ARTS

Dairakudakan conjures astonishing Paradise D ANC E PARADISE A Dairakudakan production. A Vancouver International Dance Festival presentation. At the Vancouver Playhouse on Friday, March 10. No remaining performances

A mind-blowing carnival of undelights, Paradise is a formidable contender for Vancouver’s dance event of the year. This was a rare chance to see one of the most outlandish shows to hit town… well, since Dairakudakan first came here in 2015. The production—from Japanese butoh legend Akaji Maro—was exotically terrifying, with ghostlike forms, echoing screams, and possessed laughter. But just as the epic, stage-filling visions of life, death, ecstasy, and torment reached their zenith, the sparklysuited roller skaters arrived. The maestro himself appeared at the beginning, rising dramatically from a convulsing, huddled mass of bald, white-caked, near-naked forms. Maro wore a long green gown and a green-streaked white fright wig, anchoring the other dancers by long chains clamped to their necks, heads, arms, and legs. They pull out and circle him like lost, trapped souls, spokes on a wheel of hell. Maro is deeply, cynically interested in how we define paradise these days as the earth teeters on the brink of an apocalypse. The visions he conjured sometimes suggested different religious and historic notions of utopia. Recurring images of flower petals and projections of Henri Rousseau’s lush, leafy paintings were nods to ancient Persian ideas of paradise as a garden. There was also a scene where neon-red, -blue, and -yellow-maned Eves and their Adams are tempted by fruit— and by two nightmare-inducing serpent-dancers with flicking red tongues and undulating arms. But Maro is also interested in the fictional paradises we try to construct: note the grinning, satin-clothed roller skaters with the John Travolta moves. Still, you didn’t have to overanalyze everything to enjoy Paradise. This was a show that was entirely entertaining on a purely visual level. Scenario after scenario unfolded on a stage where tall boxes cleverly shape-shifted to create absurd new worlds. At one point, limbs jutted and bent out of the tops of those rectangles. At another moment, two eerily smiling heads poked out of small holes. A synthesized score that sounded like a John Carpenter ’80s horror movie added to the atmosphere. Amid the spectacle, the skill and commitment of Maro’s 18 honed dancers made it all work, each mastering the crouched, primal, zombielike moves of butoh, but bringing individual demons to their personas. An early scene found the ghoulish figures throwing off their chains and lurching around Maro, each one twisting his or her face and body up into a different, detailed kind of pain. The show built to a frenzy of colour, then circled in on itself. Paradise’s giddy, chaotic roller-skating party gave way, again, to the chains. The smiles were a ruse; we delude ourselves by chasing paradise. This was dark stuff from a darkly funny genius. Maro and his dedicated group received a standing ovation; he met the applause and whooping with a bow, pleasing everyone with his deadpan killer death stare—the kind that can chill your blood.

2 earthly

in answer to all that sound and fury, Abraham.In.Motion made its Vancouver debut. And the choreographer was ready to show how you can create a different kind of magic with just a few bodies on-stage—in at least a couple of instances, with no music and no props. The opening number, a duet from his yet-to-debut work Dearest Home, took place entirely in silence. And it was a little taste of what really sets Abraham’s swift, light-as-oxygen contemporary movement apart: soul, with a dash of swagger. You can sense that the man and woman here, danced gorgeously and charismatically by Tamisha Guy and Jeremy Jae Neal, have a history. And in this piece we see them come together, push apart, and play the game of love. You can feel a lot going on between these two, and it’s not easy to create that kind of chemistry. The fittingly named Quiet Dance

Catherine Ellis Kirk enraptured the Chutzpah fest. Sharon Bradford photo.

also started soundlessly, the magnetic Catherine Ellis Kirk moving in isolation from four others. This was beautiful dance, with arms arcing and slicing

through air, but what made it special was that it seemed to emanate from deep within her—that sense of soul. It became a perfect embodiment of the subtle sounds of jazz pianist Bill Evans, riffing on Leonard Bernstein’s “Some Other Time”. These hushed works were precursors of the more ambitious and energized The Gettin’, Abraham’s answer to the 150th anniversary of the Emancipation Proclamation and the end of apartheid in South Africa. Dressed in ’50s outfits, the dancers show their stuff, finding the rhythms of Robert Glasper’s version of the seminal 1960 jazz piece We Insist! Max Roach’s Freedom Now Suite, which captured the mood of the civil-rights movement. The Gettin’ is an exhilarating ode to how far we’ve come, and a call to reflect on where we have to go. Dan Scully’s atmospheric video projections capture

black-and-white protest violence from the era, and imagery of the struggles of South Africans during apartheid (including “Whites Only” signs). The piece is rich and multilayered in its dance as well, with Abraham’s stopstart rhythms playing off the percussive score. There are slight touches of top rocks, jump-and-jive, and jazz in Abraham’s vocabulary, but they’re so seamlessly integrated into the modern flow that they feel organic. The complex emotions here shift between elation, defiance, and reflection. Abraham has found a multiracial team of dancers who bring an extra something to every nuanced move, and they’re riveting to watch. Rallying cry? Celebration? Yes, but so much more, too; Abraham, if anything, captures the human complexity of history—and its soul. > JANET SMITH

> JANET SMITH

ABRAHAM.IN.MOTION A Chutzpah Festival presentation. At the Norman and Annette Rothstein Theatre on Saturday, March 11. No remaining performances

On March 10, at the Vancou-

2 ver International Dance Centre

downtown, the buzz was all about the warped spectacle of Japan’s Dairakudakan (see above). Across town at the Chutzpah Festival the next night, as if MARCH 16 – 23 / 2017 THE GEORGIA STRAIGHT 23


(1412 Cartwright St., Granville Island). Tix $35/29/18, info www.carouseltheatre.ca/ production/dr-seuss-the-cat-in-the-hat/.

AMBROSE AKINMUSIRE • MAR. 31 @ 8 PM WITH “A” BAND & NITECAP

One of the most exciting young jazz musicians in the world today

GERMÁN LÓPEZ • APR. 2 @ 8 PM

Stunning music from the Canary Islands featuring the timple and guitar

VENUE: PRESENTATION HOUSE THEATRE

GORD GRDINA’S NYC QUARTET APR. 8 @ 8 PM • WESTERN FRONT

JUNO-winning oud & guitar player blending jazz & Arabic classical.

Tickets: 604.990.7810 • Online: capilanou.ca/centre

GUILTY CONSCIENCE Metro Theatre presents a play by Richard Levinson and William Link about a cheating husband who decides to get out of an unwanted marriage by murdering his wife. To Mar 25, 8 pm, Metro Theatre (1370 SW Marine). Tix $24/21, info www.metrotheatre.com/.

LOOK FOR OUR

SPRING TRAVEL

ISSUE COMING

MARCH 23 ➤TO ADVERTISE CALL 604-730-7000

ar ts/ timeout THEATRE DANCE MUSIC COMEDY LITERARY EVENTS ET CETERA GALLERIES MUSEUMS OUT OF TOWN

OUT OF THE GARDEN Play tells the story of Eve in four different eras, tracking the journey out of the Garden of Eden and the evolution of sexuality in western civilization. To Mar 17, Douglas College Studio Theatre (700 Royal Ave., New West). Tix $10-20, info www.douglascollege.ca/about-douglas/ groups-and-organizations/theatre/.

< < < < < < < < <

THEATRE

Capilano University • 2055 Purcell Way • North Vancouver

2OPENINGS WHAT A YOUNG WIFE OUGHT TO KNOW Play tells the story of a young working-class wife who has a lot to learn about love, sex, and birth control. Mar 15-18, 8 pm, Shadbolt Centre for the Arts (6450 Deer Lake Ave., Burnaby). Tix $15-38, info tickets.shadboltcentre.com/. BELFAST GIRLS Canadian premiere of the award-winning Irish play that tells the story of five young women who escape the famine in 1850 aboard a ship bound for Australia. Mar 15-18, 8-10 pm, The Cultch (1895 Venables). Tix $25, info www.peninsulaproductions.org/. LES BELLES-SOEURS Michel Tremblay’s play tells the story of an unexpected windfall that ends up breeding resentment between a woman and her friends. Presented by UBC Theatre. Mar 16–Apr 1, Frederic Wood Theatre (6354 Crescent Rd., UBC). Info www.theatrefilm.ubc.ca/ events/main-stage-season/. A MIDSUMMER NIGHT’S DREAM Adaptation of William Shakespeare’s comedy of errors pits lover against lover, lost in the darkest of woods. Mar 17-24, 7-9 pm, Laura C. Muir Performing Arts Theatre (Douglas College. 700 Royal Ave., New West). Tix $10-20, info www.douglas college.ca/about-douglas/groups-andorganizations/theatre/. REFUGE Mary Vingoe’s provocative story of the pitfalls of seeking sanctuary in today’s suspicious world, directed by Donna Spencer. Mar 18–Apr 1, Firehall Arts Centre (280 E. Cordova). Tix from $23, info www.firehallartscentre.ca/onstage/refuge/. LUCKY IN LOVE Alchemy Theatre presents a variety show that sees Cupid attempt to take over St. Patrick’s Day. Mar 19, 7-9 pm, The Backstage Lounge (1585 Johnston, Granville Island). Tix $15/10, info www.alchemytheatre.ca/. THE MOST HONEST MAN IN THE WORLD Way Off-Broadway Wednesday presents Andrew Wade’s story about the pursuit of honesty over happiness. Mar 22, 7:30 pm, Heritage Grill (447 Columbia St., New West). Admission by donation, info www.facebook.com/wayoffwed/.

2ONGOING DR. SEUSS’ THE CAT IN THE HAT Carousel Theatre for Young People presents a kid-friendly stage version of the Dr. Seuss book about two bored children who have their lives turned upside down by a talking cat. To Mar 26, Waterfront Theatre

A MONTH OF

TUESDAYS

TWELFTH NIGHT Western Gold Theatre presents an all-senior production of Shakespeare’s romantic comedy, directed by Anna Hagan. To Mar 19, PAL Theatre (8th floor, 581 Cardero). Tix $27, info www.westerngoldtheatre.org/. ALMOST A STEPMOM A darkly comic tale about the ups and downs of becoming a stepmother, created and performed by Keara Barnes. To Mar 18, 8-9 p.m., Havana Theatre (1212 Commercial). Tix $15-18, info www.standingroomonlytheatre.org/.

2UPCOMING HIGHLIGHTS THEATRE UNDER THE STARS Annual outdoor-theatre event features productions of Mary Poppins and The Drowsy Chaperone on alternating evenings. Jul 7–Aug 19, 8 pm, Malkin Bowl (610 Pipeline Road, Stanley Park). Tix $70/50, info www.tuts.ca/.

DANCE 2THIS WEEK VANCOUVER INTERNATIONAL DANCE FESTIVAL Annual celebration of dance features performances by Alonzo King LINES Ballet, Kitt Johnson, Kaeja d’Dance, Compagnie Virginie Brunelle, Kinesis Dance, Karen Jamieson, Margaret Grenier, Jane Osborne, Kim Stevenson, and Dairakudakan. To Mar 25, various Vancouver venues. Info www.vidf.ca/. BALLET BC, PROGRAM 2 Under the leadership of Ballet BC artistic director Emily Molnar, Program 2 features world premieres by choreographers Wen Wei Wang, Company 605, Lesley Telford, and the return of critically acclaimed Solo Echo by Crystal Pite. Mar 16-18, 8 pm, Queen Elizabeth Theatre (650 Hamilton). Tix $21.25-91.25 (plus applicable charges), info www.balletbc. com/performance/program-2-2017/. DANCELAB STUDIO SHOWING: EURY CHANG AND NATALIE TIN YIN GAN This collaboration features directorwriter Eury Chang working with dancerperformer Natalie Tin Yin Gan to explore the nature of spectacle, daily gesture, and the art of preparation. Mar 20, 4 pm, Scotiabank Dance Centre (677 Davie). Free admission, info www.thedancecentre. ca/events/talks_workshops_showings/.

MUSIC 2JUST ANNOUNCED THE IDEA OF NORTH William Rowson leads the VSO in a program of Ana Sokolovic’s Jeu des portraits, Kaija Saariaho’s Lichtbogen, Anna Thorvaldsdottir’s Aequilibria, and Harry Stafylakis’s Arc of Horizon. Mar 25, 7:30 pm, Orpheum Annex (823 Seymour). Info www.vancouversymphony.ca/. CHOIR OF KING’S COLLEGE, CAMBRIDGE Early Music Vancouver presents the English choral ensemble, known for singing A Festival of Nine Lessons and Carols, the Christmas Eve service that the BBC has broadcast since 1928. Mar 26, 2

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We acknowledge the financial assistance of the Province of British Columbia

24 THE GEORGIA STRAIGHT MARCH 16 – 23 / 2017

2837 Cambie (at 12th)


pm, Chan Centre for the Performing Arts (6265 Crescent Rd., UBC). SOLD OUT, info www.earlymusic.bc.ca/.

THE MUSIC OF MOZART AND BRUCKNER James Gaffigan conducts violinist Henning Kraggerud and the VSO in a program of Brucker’s Symphony No. 7 in E Major and Mozart’s Adagio and Fugue in C Minor and Violin Concerto No. 4 in D Major. Apr 1, 8 pm; Apr 2, 2 pm; Apr 3, 8 pm, Orpheum Theatre (601 Smithe). Info www.vancouversymphony.ca/. AETERNA: PERGOLESI STABAT MATER AND DURUFLÉ REQUIEM Jon Washburn conducts the Vancouver Chamber Choir and Orchestra in a performance of Pergolesi’s Stabat Mater and Duruflé’s Requiem. Apr 14, 8-10 pm, Orpheum Theatre (601 Smithe). Tix $10-55, info www.vancouverchamberchoir.com/.

2THIS WEEK RISING STARS: CAP U AT THE SILK PURSE Concert series features music by students from the Capilano University Music Diploma and Jazz Studies programs. To Mar 25, Silk Purse Arts Centre (1570 Argyle Ave., West Van). Tix $25/20/15, info www.silkpurse.ca/.

on the web!

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

www.straight.com

MIRIAM FRIED Music in the Morning presents the Romanian-born Israeli classical violinist. Mar 15-17, 10:30-11:30 am, Vancouver Academy of Music (1270 Chestnut). Tix $38/35/17, info www.music inthemorning.org/. CHRIS BOTTI IN CONCERT WITH THE VSO William Rowson conducts trumpeter Chris Botti and the VSO in a program of pop classics and jazz standards such as “When I Fall in Love”, “Emmanuel”, and “The Very Thought of You”. Mar 15, 8 pm, Orpheum Theatre (601 Smithe). Info www.vancouversymphony.ca/. FLORIAN BOESCH The Vancouver Recital Society presents the Austrian baritone Florian Boesch, soprano Miah Persson, and pianist Malcolm Martineau in a program of music by Schumann. Mar 16, 7:30 pm, Vancouver Playhouse (600 Hamilton). Info www.vanrecital.com/. SONIC BOOM FESTIVAL 2017 Four-night showcase of B.C.’s contemporary and classical music scene features composer Dorothy Chang, the Erato Ensemble, and musician Marina Hasselberg. Mar 16-19, 7:308:55 pm, Orpheum Annex (823 Seymour). Tix $20, info www.vancouverpromusica.ca/. UZUME TAIKO: (A)LIVE IN VANCOUVER Canadian taiko group Uzume Taiko

presents Japanese taiko drums, dancing, music, and martial arts movement with Moving Dragon Contemporary Dance and Lorita Leung Dance Company. Mar 17, 8 pm, Vancouver Playhouse (600 Hamilton). Tix $23.95-36.65 (plus service charges and fees) at www.ticketstonight.ca/.

SINGERS’ CHOICE: A CHORAL HIT PARADE Jon Washburn leads the Vancouver Chamber Choir in a performance of choral-music hits. Mar 17, 8-10 pm, Ryerson United Church (2195 W. 45th). Tix $10-33, info www.vancouverchamberchoir.com/. THE MAMBO KINGS, IN HOT LATIN NIGHTS Jeff Tyzik conducts the Mambo Kings and the VSO in a program of music by Piazzolla, Ginastera, Gershwin, Santana, and Dave Brubeck. Mar 17-18, 8 pm, Orpheum Theatre (601 Smithe). Info www.vancouversymphony.ca/. RECITAL BY FABIANA KATZ Argentinaborn mezzo-soprano performs a program of British, Yiddish, and Latin music, including works by Vaughan Williams, Gustavino, Britten, Bernstein, and Bulcon. Accompanied on piano by Stephen Smith. Mar 19, 2 pm, Peretz Centre for Secular Jewish Culture (6184 Ash). Tix $5 at the door, info www.peretz-centre.org/. PAUL LEWIS The Vancouver Recital Society presents the English classical pianist in a program of works by Bach, Beethoven, Chopin, and Weber. Mar 19, 3 pm, Chan Centre for the Performing Arts (6265 Crescent Rd., UBC). Info www.vanrecital.com/. PARISIAN ELEGANCE CMS PIANO AND STRINGS Vancouver Friends of Chamber Music presents a concert by violinists Kristin Lee, Yura Lee, and Arnaud Sussman, violist Richard O’Neill, pianist Wu Han, and cellist Nicholas Canellakis. Mar 19, 3-5 pm, Vancouver Playhouse (600 Hamilton). Tix $50, info www.friends ofchambermusic.ca/concert/parisianelegance-cms-piano-strings/.

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. 2GRAHAM CLARK Mar 16-18 2DAVE NYSTROM Mar 23-25 2SARAH TIANA Mar 30-Apr 1 2DAN SODER Apr 6-8 2IVAN DECKER Apr 13-15 2CHARLIE DEMERS Apr 20-22 2DINO ARCHIE Apr 27-29 2BRYAN CALLEN May 4-6 YUK YUK’S COMEDY CLUB 2837 Cambie, 604-696-9857, www.yukyuks.com/vancouver/. Comedy club with Top Talent Tue at 8 pm, amateur night Wed at 8 pm, and professional headliners Thu-Fri at 8 pm and Sat at 7 and 9:30 pm. Cover Tue $10,

Wed $7, Thu $10, and Fri-Sat $20. 2EMAN EL-HUSSEINI Mar 16-18 2CHRIS QUIGLEY Mar 23-25 2JASON ROUSE Mar 30-Apr 1

VANCOUVER THEATRESPORTS LEAGUE Some of the world’s most daring and innovative improv. Firecracker! (Wed, 9:15 pm); #NoFilter (Thu, 9:15 pm); Ok Tinder (Fri and Sat, 11:15 pm); Rookie Night (Sun, 7:30 pm); TheatreSports (Wed, Thu, Fri, and Sat, 7:30 pm; Fri and Sat, 9:30 pm). Mar 15-22, The Improv Centre (1502 Duranleau, Granville Island). Info www.vtsl.com/.

2THIS WEEK #NOFILTER Interactive improv-comedy show uses live-stream social-media feeds and audience suggestions to drive the action. To Jun 30, 9:15 pm, The Improv Centre (1502 Duranleau, Granville Island). Tix $7.50, info www.vtsl.com/show/nofilter/. LADIES AGAINST HUMANITY Funny Vancouver women perform comedy based on the cult-hit card game Cards Against Humanity. Mar 15, 8-10 pm, Rio Theatre (1660 E. Broadway). Tix $10, info www.thefictionals.com/. EMAN EL-HUSSEINI PalestinianCanadian standup comedian performs a solo show. Mar 16-18, Yuk Yuk’s Comedy Club (2837 Cambie). Tix $19.05/9.53, info www.yukyuks.com/vancouver/. GRAHAM CLARK Vancouver standup comedian known for his regular appearances on CBC’s The Debaters. Mar 16-18, The Comedy MIX (1015 Burrard). Tix $20/18/15, info www.thecomedymix.com/. SHAMROCKS AND SHENANIGANS Vancouver TheatreSports League presents three St. Patrick’s Day–themed improv-comedy shows. Mar 17, 7:30 am, The Improv Centre (1502 Duranleau, Granville Island). Tix $13-29, info www.vtsl. com/show/st-paddy/. BRIAN AYLWARD’S ST. PADDY’S DAY HANGOVER SHOW Canadian-born standup comedian Brian Aylward performs with opening comic Michael Lynch and guests Simon King and Jane Stanton. Mar 18-19, 9 pm–1 am, Pat’s Pub & Brewhouse (403 E. Hastings). Tix $15, info www.face book.com/events/1895502830727332/. COMEDY AT BIG ROCK Comedy by headliner Kathleen McGee, with support by Kwasi Thomas, Gabey Lucas, Luc Rivard, Devin Alexander, and Katrina Bennett. Mar 19, 8-10 pm, Big Rock Urban Brewery (310 W. 4th). Tix $10, info www. facebook.com/events/363677360685434/.

LITERARY EVENTS 2THIS WEEK MODES OF ABORIGINAL STORYTELLING Aboriginal storyteller in residence Jules Koostachin shares highlights from recent multimodal storytelling projects and walks you through her work in the areas of writing, documentary film, media installation, monuments, and TV. Mar 18,

straight choices

PIANO PERFECTION Is there a more challenging body of work than Ludwig van Beethoven’s piano sonatas? We don’t think so: the 32 compositions encompass a huge array of emotional shadings, and require impeccable technique to master. One of the best recent recordings of the complete cycle was made by Paul Lewis, and he’ll give audiences a small taste of that achievement at his upcoming Vancouver Recital Society concert, with a performance of the Piano Sonata No. 4 in E flat major. Also on the bill at the Chan Centre for the Performing Arts on Sunday (March 19) are works by Johann Sebastian Bach, Frédéric Chopin, and Carl Maria von Weber; consider it a master class in the classics. 11 am–12:30 pm, Vancouver Public Library Central Branch (350 W. Georgia). Free admission, info www.vpl.ca/.

INCITE: ELAN MASTAI Award-winning screenwriter Elan Mastai presents his first novel All Our Wrong Todays. Mar 20, 7:309 pm, Alice MacKay Room (Vancouver Public Library, 350 W. Georgia). Free admission, info www.vpl.ca/events/.

ET CETERA 2THIS WEEK THIRD THURSDAY CABARET Showcase of local clowning, music, spoken word, dance, burlesque, and puppetry. Mar 16, 8-10 pm, Dusty Flower Shop (141-2050 Scotia). Tix $15, info www.dustyflowerpot cabaret.com/. REVOLVER FESTIVAL LAUNCH PARTY Join Langara’s special events class and Upintheair Theatre on St. Patricks Day to enjoy a night of entertainment, art, and refreshments to introduce this year’s artists and performances. Mar 17, 7 pm, Beaumont Studios (316 W. 5th). Tix $20, info www.upintheairtheatre.com/festival-about/. PHOTOGRAPHY IN THE TROPICS Learn how to take great photos in the lower-light conditions found in a rainforest. Mar 18, 10:30 am–3:30 pm, Bloedel Conservatory (4600 Cambie, Queen Elizabeth Park). Tix $72/60, info www.vandusengarden.org/. CONVERGE: LITERATURE + ART + MUSIC + VIDEOGAME Evening of literature, art, and video games features readings

by Jane Shi, Danielle LaFrance, Raoul Fernandes, Adrienne Gruber, Hasan Namir, Mohamad, Kebbewar, Aidan Chafe, Christopher Evans, Shazia Hafiz Ramji, and Curtis LeBlanc. Mar 18, 7-11 pm, Lipont Art Centre (4211 No.3 Rd., Richmond). Tix $5, info www.lipont.com/.

THE ORCHID CLU: BUNNY HOP BURLESQUE BABIES Celebrate spring with burlesque by Sandilicious, Susie Sweetcheeks, Lilac Lust, and Donna Boss Rogers. Mar 21, 8:15 pm, Fox Cabaret (2321 Main). Tix $10, info www.facebook. com/events/684862835049751/.

GALLERIES VANCOUVER ART GALLERY 750 Hornby, 604-662-4719, www.vanartgallery.bc.ca/. 2WE COME TO WITNESS: SONNY ASSU IN DIALOGUE WITH EMILY CARR (Sonny Assu creates a new series of digital tags on a body of Emily Carr paintings) to Apr 23 2SUSAN POINT: SPINDLE WHORL (exhibition surveys Point’s entire career through more than a hundred artworks that take the spindle whorl as their starting point) to May 28 2PACIFIC CROSSINGS: HONG KONG ARTISTS IN VANCOUVER (exhibition presents works from wellknown Hong Kong artists created after their relocation to Vancouver throughout the 1960-90s) to May 28 2HOWIE TSUI: RETAINERS OF ANARCHY (solo exhibition featuring new work from Howie Tsui that considers wuxia as a narrative tool for dissidence and resistance) to May 28

MUSEUMS THE MUSEUM OF ANTHROPOLOGY AT UBC 6393 NW Marine Drive, 604-8225087, www.moa.ubc.ca/. 2AMAZONIA: THE RIGHTS OF NATURE (Amazonian basketry, textiles, carvings, feather works, and ceramics representing indigenous, Maroon, and white settler communities) to Jan 28, 2018 2LAYERS OF INFLUENCE: UNFOLDING CLOTH ACROSS CULTURES (exhibition features more than 130 diverse cultural garments, from Japanese kimonos, to colourful Indian saris, to the elaborate feather cloaks of the Maori people of Aotearoa/New Zealand) to Apr 9

OUT OF TOWN 2THIS WEEK SHADOWLANDS See works by Fred Herzog, the Canadian pioneer of colour street photography. To May 22, Audain Art Museum (4350 Blackcomb Way, Whistler). Info www.audainartmuseum.com/.

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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SUNDAY MARCH 19 at 3pm CHAN CENTRE FOR THE PERFORMING ARTS Royal Philharmonic Society’s Instrumentalist of the Year, winner of two Edison Awards and three Gramophone Awards in a new and completely different program which includes the VRS debut of the WEBER Sonata No. 2-plus BACH | BEETHOVEN | CHOPIN

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MARCH 16 – 23 / 2017 THE GEORGIA STRAIGHT 25


MOVIES REVIEWS THE SENSE OF AN ENDING Starring Jim Broadbent. Rated PG

The Sense of an Ending offers the kind of lit-

2 erary pleasures that low-budget, actor-driven

movies do so well these days. Adapted by playwright Nick Payne from Julian Barnes’s recent novel of the same name, this Ending was directed by Mumbaiborn Ritesh Batra, who had an international hit with The Lunchbox. His first English-language effort is similarly scaled, in that it stays intimate with a few middle-class citizens attempting to reconcile their own self-absorption with the needs of others. The tale is anchored by that Mike Leigh veteran Jim Broadbent, bringing gentle humanity to Tony Webster, a prickly bugger who might have proved insufferable in less relatable hands. Semiretired Tony runs a small camera shop in London, and still seems strongly tied to his ex-wife (Harriet Walter) and grown—in fact, hugely pregnant—daughter (Downton Abbey’s Michelle Dockery). As in the recent 45 Years, a placid Englishman’s

Broadbent books it

A toast to the tireless popularity of British literary adaptations! Jim Broadbent and Harriet Walter star in the film version of Julian Barnes’s The Sense of an Ending.

The Lure opens with a pop trio—middle-aged singer Krysia (Kinga Preis), drummer Perkusista (Andrzej Konopka), and younger bassist Mietek The Sense of an Ending makes its classy leap to the screen; (Jakub Gierszal)—cavorting Nude Polish mermaids get what they deserve with The Lure on a beach, when mermaid sisters Silver and Golden (Marta notion of order is upset by a sudden blast from the Mazurek and Michalina Olszanska) pop their heads past. Here, it’s the legal notice that Tony is due to out of the water and sing, “Help us come ashore, no receive something by way of his first love, Veronica. need to fear; we won’t eat you, my dear.” Cut to a sordid Warsaw discotheque/restaurant She’s played, in flashbacks set during their Cambridge days, by Sunshine on Leith’s Freya Mavor, where the trio Polish up Donna Summer’s “I Feel with handsome Billy Howle as the timid young Love” while upscale-looking women dance weirdTony. Emily Mortimer shows up briefly as Veron- ly by themselves, waiters strut delivering salads ica’s much, um, livelier mother, and Joe Alwyn plays and the kitchen’s run by a busty, gyrating floozy named Mrs. Rockets. The club’s lecherous owner a key cohort and eventual romantic rival. Barnes’s book was divided into two first-person (Zygmunt Malanowicz) follows a fishy odour to a sections, with the first written during callow school backroom where the mermaids have transformed days and the second, larger part set in modern days, into underaged partiers in human form, sans rewith the assumptions of youth now called into productive organs. We soon find out that, when question. The title itself was borrowed from Frank sprinkled with water, they sprout mermaid tails Kermode’s 1967 book of essays about the strategies like Daryl Hannah in Splash, only longer and of fiction. In fact, some interrogatory sensibility is slimier. “They can do backing vocals and strip,” lost in the filmmakers’ structural decision to inte- declares the club owner, as a club owner would. The rest of the movie is mostly a string of popgrate past and present. They also yield to the purely cinematic temptation to mix actors from both time lite song-and-dance sequences featuring ace cineperiods, occasionally resulting in more work for matographer Jakub Kijowski’s gaudy hues and the nubile sirens with their tops off. Maybe it’s because viewers, rather than character illumination. Still, the cast is so fine, with 45 Years’ chilly their tops are off, but they soon take the WarCharlotte Rampling showing up in the final saw discotheque/restaurant scene by storm, even act, and the offbeat London settings so damply though their songwriting doesn’t improve much. soothing, you end up not caring if the movie “Holy moly, bitter tastes can be delicious,” they croon, “so you’re lonely, I know that love is vicious.” seems imperfectly finished. > KEN EISNER It all leads up to a Little Mermaid–style predicament and one of the freakiest half-body transplant THE LURE scenes ever, but unless you’re an alternative-film buff with a fierce attraction to the offbeat, the allure of Starring Marta Mazurek. Rating unavailable The Lure may be lost. The last horror-musical I remember see> STEVE NEWTON ing was 2008’s Repo! The Genetic Opera, in which director Darren Lynn Bousman of A NEW MOON OVER TOHOKU Saw II, III, and IV fame brought the worlds of A documentary by Linda Ohama. In English and nonconsensual organ transplants and operatic Japanese, with English subtitles. Rating unavailable pseudometal together. Long-time Vancouverite Linda Ohama’s In The Lure, Polish director Agnieszka Smocbreakthrough film, 2001’s Obaachan’s Garzynska guides the exploits of a pair of cannibalistic vampire-mermaids to a cheesy ’80s den, connected her to the Japanese roots she didn’t really know she had, as she researched and Europop soundtrack. The latter is definitely the kookier of the two retold her grandmother’s story. Ohama later startf licks, but the jury’s still out on which one has ed spending more time in Japan, and understood that she had to return after witnessing from afar the crappier music.

2

2

the devastating aftereffects of the 2011 tsunami and nuclear meltdown in the northeast region of Japan’s main island, known as Tōhoku. The Alberta-born writer-director spent over two years interviewing survivors of the Fukushima disaster, recording their frightful stories and travelling with them to where the worst happened, and to the places they ended up. She took about the same amount of time to assemble the partially crowdfunded film, which not only looks at the specifics of what these people and places went through but also explores which strains of Japanese culture proved the most implacable, or vulnerable. On this 90-plus-minute tour, Ohama talks to—among many others—a brave woman who got separated from her husband, a fishing family fighting to keep its coastal way of life, and an oldtimer upholding the samurai tradition and its threatened artifacts. This New Moon shines a light on individuals who have worked hard to fix their own place on the planet. But it also suggests, indirectly, how governments should not respond to crises at least partially of their own making. Forced to live in rough encampments since the tsunami, many of these people have had to move to other parts of Japan or, worse, are being told to return to their still-radioactive ghost towns or lose the stingy subsidies they’ve lived on until now. For some, the waves never fully recede.

> KEN EISNER

ANTARCTICA: ICE AND SKY A documentary by Luc Jacquet. Rating unavailable

Imagine living in a snowcat for 28 days, the temperature hovering around –52° Celsius, rolling across the bleak, wind-torn plateau of Antarctica. That’s how French explorer and scientist Claude Lorius travelled on his first polar expedition. The comforts that awaited him after such a long journey? An underground research hovel, accessed through a door he and his team had to dig several metres down through the snow to access. They would spend the next year in this “termite hole” before heading back. It was 1956 and Lorius was just 23 years old, and luckily for us and director Luc Jacquet, much of the incredible journey was captured on film. As we’re told at the start of this lyrical new documentary, the trip would set the course of Lorius’s life’s

2 cabin

MOLLY PARKER AT HOME W ITH THE W E IRDO S >>>

M

olly Parker was barely four when the United States turned 200, so the details might be a bit fuzzy. “I have a few memories of 1976,” the Pitt Meadows–raised actor tells the Straight. “But I have an affinity for that era, I have to say. I’m still a huge Fleetwood Mac fan. I can’t help that, and I really love Christine McVie. I remember my mom was young and beautiful and a hippie and had long hair, and we knew crazy people that lived in wacky houses full of artists and freaks, and it was good, you know? It was a good time.” Calling from the Vancouver set of Lost in Space—Parker takes June Lockhart’s old role in the Netflix makeover of the classic ’60s sci-fi series—she’s lost in an altogether different realm in Weirdos, a bittersweet slice of nostalgia from Canadian renegade and sometime collaborator Bruce McDonald, opening Friday

Pitt Meadows–raised star Molly Parker got to channel her affinity for the mid-1970s in director Bruce McDonald’s nostalgic-with-an-edge Weirdos.

(March 17). Shot in gorgeous black and white, Weirdos follows teenage runaways Kit (Dylan Authors) and his (sort of) girlfriend Alice (Vancouver’s Julia Sarah Stone) as they hitch from Antigonish to Sydney, Nova Scotia, during the U.S. bicentennial weekend. At the end of the

26 THE GEORGIA STRAIGHT MARCH 16 – 23 / 2017

road is Kit’s estranged mom, Laura, a bohemian sylph who once partied with Andy Warhol, now buckling under the strain of mental illness. The role—and it’s a showstopper— was written for Parker by another old friend, Daniel MacIvor. “I was able to find her fairly easily,”

says Parker, who showed up to the set with her own wardrobe after a day of thrifting in Halifax. “What I’ve learned over the years with small indie films, it’s good to bring as much of your own stuff as you think you might want. But that’s also the work of an actor and it’s fun, and I wanted her to have a costume that was really romantic and also incredibly fragile and falling apart—and inappropriate. She’s nude under that thing, and it’s see-through, and to be kind of half dressed with your teenage son just seemed really right.” With a chuckle, Parker adds: “I mean, it’s wrong, but in her mind it would make so much sense.” To McDonald and MacIvor’s credit, Weirdos is sentimental without being mindless about the era it depicts. Kit is marginalized by his sexuality, Laura by her illness, while a minor (and pissed-off) Cambodian character subtly reminds us that refugees and wars of empire aren’t

see next page > BY ADRIAN MACK

exactly a new thing. While we’re asked to ponder how little or how much has changed since then, Parker—who landed an Emmy nomination last year for her work on House of Cards—can at least point to the advances she’s seen in her profession, some 20 years after her breakthrough in 1996’s Kissed. “There’s something really great about getting older, about being in my 40s and seeing these young women coming up who are so smart and talented,” she says about her 19-year-old costar, Stone. “When I started I had a couple opportunities that put me in the realm of the kind of work I was interested in, but that was just luck. I just happened to meet those people here. These young women have opportunities that were there for me, but just barely, and they weren’t there for many other people my age. So maybe there’s a map now, a little bit, you know?” -


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Sense of an Ending

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In Weirdos, famed Canadidirector Bruce McDonald (Hard Core Logo, Highway 61) brings an appropriately light roadmovie touch to theatre great Daniel MacIvorâ&#x20AC;&#x2122;s presumably autobiographical tale of teens preparing to leave rural Nova Scotia in 1976. Young TV veteran Dylan Authors is good as ambitious Kit, starting to question his own sexuality, with Wet Bumâ&#x20AC;&#x2122;s Julia Sarah Stone even better as his ostensible girlfriend, who has ambitions of her own, as well as a sensible head on her shoulders. Still, the filmâ&#x20AC;&#x2122;s real star, making her feature debut here, is cinematographer Becky Parsons, who captures so much melancholy beauty in her low-contrast black-and-white images of the rural Maritimes. Thereâ&#x20AC;&#x2122;s also a raft of Canadian songs from the â&#x20AC;&#x2122;70s, set against celebrations of the U.S. bicentennial, droning on TV and radio news in the background. The music helps compensate for the screenplayâ&#x20AC;&#x2122;s odd collapse, less than an hour in, when Kit catches up with his unstable estranged mother, too frantically presented by Molly Parker, playing the part as Tennessee Williams might remember a neurotic parent, not as a believably damaged human being. The Republic of Doyleâ&#x20AC;&#x2122;s Allan Hawko, on the other hand, is allowed to give Kitâ&#x20AC;&#x2122;s confused dad a few more dimensions. Having the spectre of Andy Warhol (Rhys Bevan-John) follow the boy from Antigonish to Sydney was a cute notion that probably should have stayed on paper. Although its last half-hour battles with dramatic inertia, the 90-minute tale ends on a positive note, and veteran Canada watchers will enjoy its echoes of NFB highway odes like Goinâ&#x20AC;&#x2122; Down the Road and Nobody Waved Goodbye.

2 ana

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THE SALESMANSP,UDQLDQGLUHFWRUAsghar Farhadi $6HSDUDWLRQ ZDVDZDUGHGKLVVHFRQG2VFDU IRUWKHSROLWLFDOO\VXEYHUVLYH7KH6DOHVPDQDTXLHWO\PRYLQJWHQVLRQILOOHGUHYHQJHILOPFHQWHUHGRQD\RXQJ FRXSOHLQ7HKUDQZKRVHUHODWLRQVKLSEHJLQVWRWXUQVRXUGXULQJWKHLUSHUIRUPDQFHRIArthur Miller's'HDWKRI D6DOHVPDQ Canadian Pacific Blues Society Presents THE STEVE KOZAK BANDSP

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Starring Dylan Authors. Rated PG

â&#x20AC;&#x153;A BRILLIANT ADAPTATION OF JULIAN BARNESâ&#x20AC;&#x2122; NOVELâ&#x20AC;?

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> JANET SMITH

From the acclaimed director of â&#x20AC;&#x2DC;The Lunchboxâ&#x20AC;&#x2122;

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MARCH 24

work to track global warming, with many returns to the inhospitable but â&#x20AC;&#x153;intoxicatingâ&#x20AC;? continent. The film manages to be both an urgent plea for our planet and a passionate ode to the last age of exploration. How much you enjoy it will have a lot to do with how much you liked the narrative embellishments of Jacquetâ&#x20AC;&#x2122;s 2005 feature March of the Penguins. The words here are philosophical and poetic; the scenes of the elder Lorius trudging through the ruined landscapes he predicted decades agoâ&#x20AC;&#x201D; burned-out forests, sinking islands, and, of course, melting glaciersâ&#x20AC;&#x201D;meld with artful shots of ice and closeup crystalline snowflakes. About the only big misstep here is taking away Loriusâ&#x20AC;&#x2122;s voice. Near the beginning, over a scene of the now 83-year-old man standing against a snowdrift, the voice-over tells us, in English, â&#x20AC;&#x153;I am Claude Lorius.â&#x20AC;? Except that he isnâ&#x20AC;&#x2122;t: actor Michel Papineschi provides the first-person narration, and itâ&#x20AC;&#x2122;s jarring. Still, the filmâ&#x20AC;&#x2122;s main magic has nothing to do with its style, and everything to do with the way it reveals what itâ&#x20AC;&#x2122;s like for scientists literally risking their lives for their work at the end of the world. More than anything, it is an ode to human enduranceâ&#x20AC;&#x201D;and the kind of tenacity and passion that we can only hope may save humankind.

THE SHAWSHANK REDEMPTIONSPTim RobbinsDQGMorgan FreemanWXUQLQFDUHHUKLJK SHUIRUPDQFHVDVWZRPHQZKRIRUJHDSURIRXQGOLIHORQJERQGZKLOHVHDUFKLQJIRUKXPDQLW\DQGPRUDOGHFHQF\ DJDLQVWWKHEDFNGURSRIDQ$PHULFDQSULVRQLQWKLVDGDSWDWLRQRIStephen Kingâ&#x20AC;&#x2DC;VQRYHOOD5LWD+D\ZRUWKDQG WKH6KDZVKDQN5HGHPSWLRQ THE ROCKY HORROR PICTURE SHOW SP/HW VGRWKH7LPH:DUS$JDLQ7KHPRVWQRWRULRXV FXOWPRYLHH[SHULHQFH\RXFDQSRVVLEO\KDYHLQDGDUNHQHGWKHDWUH:LWKOLYHVKDGRZFDVWLQJFRXUWHV\RIWKH Geekenders$XGLHQFHFRVWXPHVZHOFRPHDQGHQFRXUDJHG 6ZHHW7UDQVYHVWLWHVRIDOODJHV2.LQWKHEDOFRQ\

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THE SKYJACKERâ&#x20AC;&#x2122;S TALE

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27

In 1972, 16 people were shot on grounds of the Fountain Valley Golf Club in St. Croix, part of the Virgin Islandsâ&#x20AC;&#x201D;then and now an American â&#x20AC;&#x153;protectorateâ&#x20AC;?. Eight died, and after a massive roundup of black militants, petty criminals, and whoever happened to be around, a selfstyled revolutionary called Ishmael Muslim Ali was given multiple life sentences for the massacre. Offering nifty blaxploitation graphics and music, The Skyjackerâ&#x20AC;&#x2122;s Tale mixes archival footage with well-detailed re-creations

2 the

MARCH 25

A documentary by Jamie Kastner. Rating unavailable

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MARCH 16 â&#x20AC;&#x201C; 23 / 2017 THE GEORGIA STRAIGHT 27


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Canadian director Jamie Kastner found a U.S. skyjacker living in Cuba.

Movie reviews

from previous page

present-day interviews to explore a little-known chapter in U.S. colonial politics. Born Ronald LaBeet to a local mother and a German father, he grew up poor and frustrated at the island’s colour-based caste system. Technically an American citizen, LaBeet ended up in the U.S. army, was quickly shipped to Vietnam, and came back, like many others, radicalized by the experience. He got involved with the Black Panther movement and converted to Islam. Canadian filmmaker Jamie Kastner (The Secret Disco Revolution) makes it clear that police used torture to get confessions from Ali and his codefendants (unnamed here), and that the trial itself was a pure sham. The judge was a corporate hack appointed by Richard Nixon, and the lead lawyer, famed activist William Kunstler, may have muddied the waters by overpoliticizing their defence. Anyway, Ali spent more than a dozen years in American prisons before returning to St. Croix on appeal. When that was denied, he managed to smuggle a gun onboard the return flight (or so he says); he then overpowered his guards and forced the American Airlines pilot to head for Cuba, where Kastner recently found him. The filmmaker doesn’t seem terribly interested in establishing Ali’s role in the first crime, although the victims of the hijacking (which happened without bloodshed) are less forgiving. Aside from needing a bigger dose of moral curiosity, the generally engaging movie has a curiously jumbled time frame that takes its cues from Ali himself— a notably unlikable figure whose profanity-laden self-mythologizing lacks wisdom or even insight. > KEN EISNER


MUSIC

You’d never know BY JOHN LUCAS

it from his on-stage swagger—he looks as comfortable in the spotlight as the natural-born rock star his voice and sixstring chops suggest he is—but Ryan Guldemond considers himself an introvert. His apparent bravado masks a long-standing lack of confidence, one that the Mother Mother frontman admits he once tried to obliterate with drugs and booze. “The people that I look up to and idolize are ones who come in like a juggernaut, and I wasn’t ever able to achieve that by myself, so when I introduced substances, there was this access point to become what I idolized,” Guldemond says when the Straight reaches him by phone at a coffee shop in Ottawa. “And then that persisted for quite a long time, until the jig’s up. And now I realize that there is power in a wider spectrum of personality traits. I’m starting to discover the strength in shyness and introspection, whereas before I admonished it completely.” Guldemond’s newly found appreciation for his essential nature, and his ability to balance it with the demands of being the face of a successful rock band, didn’t come easily. It required him to take an unflinching look at his life and assess what was making him happy and what was holding him back. His conclusion? The drugs and alcohol had to go. “I was and had been a very debaucherous person for a long time, which was not working for me, so I decided to make a shift towards cleaner living,” he says. “Not just cleaner, but truer living,

Indie rocker comes clean

We suspect that Mother Mother’s current look is intended to be a visual representation of Vancouver’s winter of 2016-17. Raina+Wilson photo.

this Starbucks, and we just got back from the YMCA. That was something that wouldn’t have happened Mother Mother’s Ryan Guldemond found a more before—us in our respective honest songwriting voice by getting healthy corners of the gym, striving towards betterment. So, which is where the hard part of the transition lies. yeah, we have a whole new lease on our relationship, Because gettin’ healthier, that’s fun. That feels and the band has a new lease on its vitality.” In fact, the band—which also includes drumgood. But then having to wrassle the truisms that bubble up as a byproduct is a more daunting task.” mer Ali Siadat, keyboardist-vocalist Jasmin One of the hard truths that sobriety dragged Parkin, and new bassist Mike Young—virtually into the cold light of day was the impact that crackles with life on No Culture, which opens Guldemond’s lifestyle had been having on his with the riff-driven stomper “Free” and closes relationship with his sister Molly, with whom with the mostly acoustic fist-in-the-air sing-along he founded Mother Mother on Quadra Island in “Family”. In between, the quintet makes stops 2005. Guldemond notes that their sibling bond for the alt-R&B-tinted “Mouth of the Devil”, the was “disintegrating”, which was as damaging to dreamily yearning power ballad “Letter”, and the their musical project as it was to them personally. insanely infectious modern rocker “The Drugs”. That last number finds Guldemond addressing “She was my greatest critic,” he notes. “Those wily ways really affected her, and it affected us, so an unspecified “you” whose love is both “better than the drugs I used to love” and “deadly like a it affected the band.” Guldemond details his descent into dissolu- gun”. The singer seems to be suggesting that the tion on “Baby Boy”, a standout track from the things with which we replace our vices can someVancouver-based act’s new album, No Culture. times deliver dangers of their own. “It’s painted as a romance, but it’s not specific in “Baby Boy” is one of the most honest songs he has ever written, and perhaps the most emotionally my mind,” Guldemond says when he’s asked who wrenching entry in the Mother Mother catalogue or what the “you” in question might be. “It could to date. “There’s a red light up ahead,” he sings. be anything. It could be love on a more universal “I drive my car into it/I’m a little kid with a big and interconnected scale. It could be a lover. Ultimately, I think one needs to find liberation in the death wish/I bite the lips, the lips that kiss.” His sister then counters his embrace of self- self, and that’s how I spin that song when I need to destruction with a heartbreaking word of cau- relate to it. Even a romance could be its own form tion: “Baby boy/Baby brother/We’re losing you of addiction and dependence.” Lest you think that the once-debauched rock to the gutter.” Guldemond wrote the lyrics, but he says they star is now spreading the gospel of total abstinare an accurate reflection of his sibling’s concerns. ence, know that Guldemond is no monk. It’s just “I took the words right out of her mouth, and put that these days, he sees the value of moderation them back in,” he says with a trace of wry amuse- and self-control. “I did my year, and then I began reintegrating on a more cautious, and almost ment. “And now she has to sing it every night.” With that decadent daze now in the rear-view mir- sacramental, level,” he says of his relationship ror, Guldemond says things between him and his with alcohol and drugs. “Before, I was just oversister have never been better. “We’re really good right using and indulging and skewing reality with now,” he notes. “She’s waiting for me at the other end of surreality. But now, moving forward, should I

choose to augment my experience with a guiding external force, I would like to do so with some honour of the substance, whatever it may be, and reflection, and learn something from these experiences. But right now I’m clean. I want this tour to be clear-headed.” If No Culture exemplifies what a clear-headed Guldemond can achieve, then it seems he’s found the right balance. Mother Mother plays the Commodore Ballroom for five nights starting on March 25.

in + out

On sobriety not being an end in itself: “I’ve come out the other side realizing that there is a high out there that can sustain itself and that doesn’t take me down. It’s not easy to find. Or maybe it’s easy to find, but it’s not easy to understand, especially in the grip of sobriety, or the faulty psyche that most people possess. I often like to describe sobriety as a drug of inhibitions and fear. Just because you’re not imbibing or ingesting mindaltering poisons doesn’t mean you’re liberated or free and performing life to your ideals.” On his evolving songwriting voice: “It’s true that the writing was more sardonic, and that’s because it’s a lot easier to smirk at the troubles within the world than it is at your own personal troubles. We get a little more weepy when we’re dealing with our own crises. So, yeah, the writing naturally took on a more honest and vulnerable flair.” On revealing more of himself in his lyrics: “I haven’t found comfort in it completely, but I realize that it’s where the good stuff lies.”

COATHANGERS BREAK OUT O F THE G ARAG E >>> The Coathangers didn’t light for California because they’d always dreamed of stepping through the doors of Valentine Recording Studio, but the Atlanta trio ended up being floored when they arrived for the first day of tracking. “Our manager got us in touch with Nic Jodoin, who was the producer on Nosebleed Weekend, and that was the first time we’d ever worked with anyone like that,” drummer Stephanie Luke says, speaking on her cell from the home of the Braves. “He was amazing—he reopened Valentine Studios for us. It was just sitting there empty. He couldn’t believe it and we couldn’t believe it. They were basically using it as a storage unit.” To understand the significance of that, one has to consider the kind of talent the space played host to back in the day. A short list includes Frank Sinatra, Count Basie, and the Beach Boys.

2 out

“Nic just kind of stumbled upon it, gussied up the place, and then we were the first band to go in there,” Luke says. “It was frickin’ amazing. With a place like that, you can just feel the history. He restored it to be just like it was back in the ’70s, so there was shag carpet everywhere and lots of mustards and olive green. It had such a cool vibe to it and we felt very blessed to be part of it.” Perhaps more importantly, the Coathangers also found themselves inspired. The group—which includes singer-bassist Meredith Franco and singer-guitarist Julia Kugel—has built a well-deserved reputation as one of Atlanta’s best good-time garage-punk bands, thanks to songs like “Nestle in My Boobies” and “Shut the Fuck Up”. For Nosebleed Weekend, Luke and her bandmates aimed to be something more than the best thing this side of the Black Lips. So they decided to step

entirely out of their comfort zone by decamping to L.A. and writing with no outside distractions. “We’d always recorded in Atlanta and we love the Living Room guys who we’ve always worked with,” Luke says. “But we wanted to take a step further and get out of the box that we’ve been seen as being in. We wanted to maintain our sound, but also to try things we’d never done before. Because this album was coming out for our 10-year anniversary, we were like, ‘Just really frickin’ go for it.’ ” And go for it the Coathangers did, not only recording on the West Coast but also holing up and writing in the Golden State. The band meshes gutter blues with steel-eyed posthardcore on “Down Down” and dips its toes in classic Seattle grunge for “Nosebleed Weekend”. “Watch Your Back” is the circa-’79 Slits mainlining white noise, while “Make

Ryan Guldemond sounds off on the things that enquiring minds want to know.

It Right” sets up in the garage and stomps on the distortion pedals. All of it leaves one wondering where the Coathangers might go next. Take the fact the band initially came together on the way back from an anti–George W. Bush rally, and add the reality that Donald Trump is currently making America hate again in the White House, and one might wonder if the Coathangers’ days of mixing things up are only starting. “The best thing that comes out of bad things happening is that’s when music and art and activism really shine,” Luke says. “That’s when people write amazing songs. It’s hard to write a song when you’re happy, unless you’re in a band that always sounds happy. So as awful as everything is with the political climate in America right now, in some ways it’s really great. We’ve already been writing new songs because

we’ve got so much to say. We’ve never tried to be an overtly political band, because we want people to think for themselves. But at the same time it’s almost impossible not to say something.” > MIKE USINGER

The Coathangers play Fortune Sound Club on Saturday (March 18).

Tei Shi keeps childhood musical dreams alive Ever since her childhood in Van-

2 couver, alternative R&B singer

Tei Shi—born Valerie Teicher—has worked to conquer her demons. “I moved around a lot as a kid,” the singer tells the Straight on the line from her New York City home. “Shortly after I landed in Vancouver see next page

MARCH 16 – 23 / 2017 THE GEORGIA STRAIGHT 29


Tei Shi

from previous page

from Colombia, I had these really intense fears at night, and I just couldn’t sleep. So I used to force myself to sit in the crawlspace for a minute every evening to try and confront those anxieties, and show myself that being in the dark was fine. After a few months, it worked.” It’s no coincidence that Teicher decided to name her eagerly anticipated debut album Crawl Space. The followup to two well-received EPs, Saudade and Verde, the singer’s first full-length offering takes listeners on a journey from her childhood to the present. Beginning with a simple piano melody and a sample of Teicher’s own 10-yearold voice discussing the best way to record onto a cassette, the album displays the knowledge that the artist has accumulated since her earliest days with a microphone. “My older sister gave me her boombox, and showed me how I could tape myself,” she says. “I’d sit in my room

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and sing little song ideas, and just talk. I would spill out my guts. I totally forgot about those cassettes for a really long time, and then about three years ago, I came across one that my sister had kept. I decided right then that whenever I wanted to make a full-length album, I would include it somehow.” Although Teicher’s childhood songs might have been humble, her album is anything but. Crawl Space’s 15 sprawling tracks are united by the artist’s acrobatic and ethereal vocals, layered with backing instruments ranging from electronic drums and warm synth pads to jazzy guitar and trumpet samples. Bringing her voice to the forefront and meshing it with sparse musical accompaniment, Teicher reveals a new confidence in her abilities. “I wanted to spend a lot of time on this record, and explore myself and my musical goals,” she recalls. “After the last EP, I realized that I’d outgrown some of the decisions I’d made, and was being held down by some of the relationships around me. This album was a process of redefin-

ing myself, and of connecting myself to the best parts of my past. “When I was really little, I wanted to make music so badly,” she continues. “And then I lost that dream. I think for a lot of us, after a certain age, you forget those passions that you had as a kid. It was weird for me to come full circle and finish my first album. It was a really powerful moment to celebrate how much I wanted to do this when I was a child.”

> KATE WILSON

Tei Shi plays the Vogue in support of MØ on Friday (March 17).

We Hunt Buffalo plays rock, heavy on the fuzz While Fraser Valley–based group

2 We Hunt Buffalo is well aware

of the general shift in popular music towards electronics, the trio remains dedicated to its sound. “The name of our band is a metaphor for rock music,” Ryan Forsythe, the group’s singer and guitarist, tells the Straight over a lunchtime coffee. “Right now on the radio, the DJ is king, and heavier guitar music seems to be dying—like the buffalo, which is becoming extinct. The phrase ‘We Hunt Buffalo’ is a play on that. We’re still choosing to play rock and roll on real instruments and write our own tunes, which is becoming rarer.” Since the band’s inception, the need to carve its own creative path has been an important tenet for the trio. Although We Hunt Buffalo was formed in 2010, its members had been jamming together for over a decade as part of a previous band that, after just one album, was inspired to rebrand as the new project. “When we were in our last group, we were young,” Forsythe remembers. “Other people’s opinions really influenced us. We hooked up with a producer who told us that the band should sound a certain way and, being a little naive, we went with it. The record we made just wasn’t what we were looking for. It was very commercial, and very polished. That experience taught us a lot about needing to keep creative control, and to make music in the way that we wanted to. That was a big reason for us to start fresh with a new name and direction.” Along with bandmates Brendan Simpson on bass and vocals and Brandon Carter on drums, Forsythe has spent the intervening seven years releasing an EP and LP, and getting We Hunt Buffalo’s self-described “fuzz rock” signed to Toronto-based heavymusic imprint New Damage and, fittingly, to Sweden’s eminent Fuzzarama Records. Despite these hard-earned successes, however, it was after working with Vancouver producer Jesse Gander on its latest record, 2015’s sophomore album Living Ghosts, that the trio felt it had turned a corner with its music. “Jesse’s ideas worked together seamlessly with our vision,” Forsythe says. “We knew his discography, of course—he’s worked with people like the Pack A.D., Japandroids, Bison, and Anciients—and we were really excited to get into the studio with him. He was great at teasing out the dynamic contrasts or honing a particular guitar part and melody. It was a game-changer for us.” Watching its status shift from a local group to a touring band, the threepiece has spent the past year playing in over 15 countries, including a twomonth stint in Europe. Now gearing up for a rare hometown performance in Vancouver, the trio is ready to blitz a five-date tour across Western Canada. “We love playing in Vancouver,” Forsythe says, “but since we’ve been touring regularly, we’ve had to be much more strategic about it. While previously we’ve been doing shows in the city twice a month, now we’re pulling back to about twice a year. It makes it really meaningful for us to be in a place that we love, and it’s hopefully more special for our fans when we play local dates.”

> KATE WILSON

We Hunt Buffalo plays the Rickshaw Theatre in support of Truckfighters on Tuesday (March 21).


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KARAOKE RULES The Dreadnoughts have raucous arguments before shows about which member will be set on fire on-stage that night. Savonna Spracklin photo.

Dreadnoughts bring punk attitude to folk

ome punks come to roots music by a circuitous route, after years on a steady diet of hardcore, spent growling things like “Country music sucks.” memoir, like the time the band set their But not Nick “the Fang” Smyth, mandolin player, Drew “the Dread a.k.a. Uncle Touchy, guitarist and Pirate Druzil” Sexsmith on fire. “There vocalist of Vancouver’s “world-core was a gig in Poland—a pretty big club clusterfolk” champions the Dread- show—and Polish TV wanted to internoughts. He was raised on “Stompin’ view us beforehand. The woman asked Tom Connors and Stan Rogers and the us, ‘So what crazy things can we expect real heroes of Canadian folk music”, of you tonight?’ And I just jokingly he tells the Straight, on a Gmail phone said, ‘Oh, we’re gonna light Druzil call from Rhode Island, where he is on fire.’ And we laughed. But she neck-deep in docsort of looked at us toral studies. “The straightforwardstuff my parents ly—‘Good, good, listened to when I that will be fun,’— Allan MacInnis was a kid was realand they shut the ly awesome. There was never a time camera off. And it was live!” when I thought, ‘I gotta go off and lisThey felt compelled to live up to ten to something else now.’ ” their promise. “We had to figure When he heard the Pogues, Smyth out a way how to do it. It was in the “realized you could sort of ‘punk up’ middle of the song, we had his leg all that traditional sound. And ever since wrapped up in newspaper. It was not then, it’s just been a really long, crazy the safest thing; we didn’t have a way journey through the genre. You dis- of extinguishing it, we just hoped it cover new folk styles and think, ‘Man, would go out. And the crowd went what could we do with that?’ It’s really absolutely apeshit.” liberating. It can help you break out of Smyth laughs. “Later on, you’re rethe standard mode you get stuck in if flecting on it, and—we thought, ‘Man, you play punk rock all the time.” you shouldn’t light someone on fire Early Dreadnoughts albums, like just because you said you would.’ ” 2007’s Legends Never Die and 2009’s As the Dreadnoughts’ 10th anniVictory Square, are steeped in Pogues- versary approaches, Smyth and his style Celtic punk. colleagues (mandolinist Sexsmith, “But then you realize, as you get fiddler Tegan “Wormley Wangerolder, even a band like the Pogues snitsh” Ceschi-Smith, accordion playhad a lot more going on than just er Kyle “Seamus O’Flanahan” Taylor, ‘Let’s drink whisky, fiddle-dee- drummer Marco “the Stupid Swedish diddle-dee-dee.’ ” bastard” Bieri, and bassist Andrew By the time you get to the Dread- “Squid Vicious” Hay) are preparing noughts’ third full-length, 2010’s to record a new album, a concept alPolka’s Not Dead, you see a real bum that will see them broaden their broadening of their musical spec- musical spectrum in even more surtrum: there is still a Celtic edge, but prising ways. also generous helpings of eastern “We’ve been listening to a lot of European folk, from Roma (“Gypsy”) Queen, for example, and how they music to klezmer to, indeed, polka. would work four different songs into “The funny thing is, polka is really one song, how they would layer vocals just a beat, a one-two beat, as a dance on top of each other and sing about style. So anytime you’re playing really deep stuff and get really poetic. punk music, you really are just play- We kinda thought we would move a ing the polka beat; you’re just doing bit in that direction. It’s ambitious, it really fast. So it’s easy to take that because it’s not usually what we’ve style and merge it with punk.” done—it’s a little more thoughtful, As for the band’s fondness for what maybe, than our other stuff, which was he calls “dorky old-man polka”, “We mostly about travelling and drinking did a lot of touring in Poland and the gin, eating poutine.…But you’ve gotta Ukraine, and we’d go to old houses push the envelope, I guess!” where they’d been having dances for Meanwhile, Smyth will continue hundreds of years. Once you hear that with his studies. He’s pursuing a PhD sound, with three or four accordions in philosophy—because, as he puts going, at full speed, with this incred- it, “they’re opening a philosophy facible traditional music, you just can’t tory down the road in Abbotsford, so help it, you think ‘Man, I gotta get this I’ll have a job as soon as I get home.” into punk music somehow.’ ” For those curious, he’s focusing on The Dreadnoughts’ epic tours of Friedrich Nietzsche, the 19th-cenEurope are in part documented in the tury German philosopher, one of book This Place Is Awesome, by local whose preoccupations was Dionysian photographer Adam PW Smith; it is intoxication in music and the arts. a funny, caustic, warts and all memoir “He was all about chaos and deof a week on the road with the band in struction and creation and all this 2009, during the U.K. leg of a nonstop crazy stuff he wrote. You see a little three-month tour. “He sort of wanted bit of it, I hope, in the Dreadnoughts’ to portray the downside of touring,” live show. That’s my intellectual justiSmyth recalls, “but he and I had a fication for what is really just getting wonderful drinking day in Newcastle drunk and shouting at people!” that never made the book. It was one of the most enjoyable days of my life.” The Dreadnoughts play 10th-anniverSmyth and Smith argue to this sary shows at the Rickshaw on Friday day about his not including stories and Saturday (March 17 and 18).

NO COVER

S

MAR 16 HARPDOG BROWN MAR 17 FRONT PAGE BAND like that—“but we’re still friends,” MAR 18 68 LIPS Smyth says. MAR 19 SONS OF THE HOE And there are plenty of crazy stories from the road besides those in Smith’s ST PATTY'S DAY PARTY MAR. 17

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MARCH 16 – 23 / 2017 THE GEORGIA STRAIGHT 31


Mar 17, 10 am, $45 (plus service charges and fees) at www.livenation.com/.

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

music/ timeout

Scan to confess

CONCERTS < CLUBS & VENUES <

Just Stop.. To all Vancouver men and some women. Stop spitting everywhere . I’ve seen you spit on SkyTrain platforms and it is constantly flying and is always evident on the ground wherever we fear to tread in our great city. It is vile, disgusting and makes you seem like the most entitled type of problem.

Sorry I’m writing this at almost 3am after drinking a bottle of wine mais what the fuck is my life?’! Wake up, work, get drunk, repeat. Let’s forget about him and focus on le vin rouge oui?! I have a confession, I’m sorry to all the men who try to be a part of my life but I’m an awful person with awfully high walls.

Those crazy eyebrows Ladies, try not to go all crazy with your eyebrows. There seems to be some new trend going around where women draw on these big, fake eyebrows that look really unnatural. They’re usually kind of wonky too and it looks weird, please stop.

11:11 I see it everywhere and have for years. Why? My first full name and last name are 11 letters each. I’m open minded... what does this mean?

What sexy is to me Her hair is going grey at a pretty young age, but she doesn’t dye it and doesn’t seem bothered by it. Being comfortable in her own skin shines through the greys.

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CONCERTS 2JUST ANNOUNCED FLOGGING MOLLY Irish-American sevenpiece Celtic-punk band tours in support of latest release Speed of Darkness, with guests the White Buffalo. May 7, doors 8 pm, show 9 pm, Commodore Ballroom (868 Granville). Tix on sale Mar 17, 10 am, $37.75 (plus service charges and fees) at www.livenation.com/. THE SHINS American indie-rock band tours in support of latest studio album Heartworms. May 27, doors 7 pm, show 8 pm, Queen Elizabeth Theatre (650 Hamilton). Tix on sale Mar 17, 10 am, $56.50/46.50/36.50 (plus service charges and fees) at www.livenation.com/. BLACKBEAR Los Angeles rapper performs on his Digital DrugTour. May 29, doors 8 pm, show 9 pm, Commodore Ballroom (868 Granville). Tix on sale Mar 17, 10 am, $27.75 (plus service charges and fees) at www.livenation.com/. ED SHEERAN English pop-rock singersongwriter tours in support of his latest studio album ÷ (pronounced “divide”). Jul 28, 7:30 pm, Rogers Arena (800 Griffiths Way). Tix on sale Mar 17, 10 am, at www.livenation.com/. RODRIGUEZ American folk-rock vocalistguitarist performs with a full band. Aug 5, doors 7 pm, show 8 pm, Orpheum Theatre (601 Smithe). Tix on sale Mar 17, 10 am, $115/85/65 (plus service charges and fees) at www.livenation.com/. JOHN BUTLER TRIO Australian roots-jam band composed of John Butler, Byron Luiters, and Grant Gerathy. Sep 9, doors 5:30 pm, show 7 pm, Malkin Bowl (610 Pipeline Road, Stanley Park). Tix on sale

HANSON American pop-rock band (composed of brothers Isaac, Taylor, and Zac Hanson) performs on its Middle of Everywhere 25th Anniversary World Tour. Oct 18, doors 7 pm, show 8 pm, Vogue Theatre (918 Granville). Tix on sale Mar 18, 10 am, $40 (plus service charges and fees) at www.livenation.com/.

2THIS WEEK A MONTH OF TUESDAYS Music on Main presents music by Moravian-folk duo Dálava (Mar 14), and Montreal’s Plumes Ensemble (Mar 21). To Mar 21, Fox Cabaret (2321 Main). Info www.musiconmain.ca/. CELTICFEST VANCOUVER Celebration of all things Celtic features live music and dance, family activities, artisan vendors, food trucks, and beer gardens. Performers include Delhi 2 Dublin, the Paperboys, Tiller’s Folly, Wheat in the Barley, Pat Chessell Band, Simon Fraser University Pipe Band, North Shore Celtic Ensemble, Jocelyn Pettit Band, and Sharon Shannon. To Mar 18, various Vancouver venues. Tix and info www.celticfestvancouver.com/.

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STEVE KOZAK BAND The Canadian Pacific Blues Society presents local blues guitarist-vocalist, with guests Matt Rogers, Shawn Hall, Jerry Cook, and Dave Vidal. Mar 19, doors 6 pm, show 7 pm, Rio Theatre (1660 E. Broadway). Tix $20 at Highlife, Zulu, Beat Merchant, Red Cat Records, and www.riotheatretickets.ca/.

2UPCOMING HIGHLIGHTS CONNOR STEWART & THE BON TEMPS Direct from New Orleans, Connor Stewart & the Bon Temps bring the raw energy, boisterous harmonies, and feel-good excitement of the Crescent City’s traditional jazz scene. Mar 24, 8 pm, Frankie’s Jazz Club (765 Beatty). Info www.coastaljazz.ca/ connor_stewart_the_bon_temps.

CLUBS & VENUES BACKSTAGE LOUNGE Arts Club Theatre, 1585 Johnston, Granville Island, 604-687-1354. 2PHAZERS ON STUN Mar 15 2WORLDBEAT SESSIONS Mar 18 2BRIGHT RED KITE Mar 25 BLUE MARTINI JAZZ CAFE 1516 Yew, 604428-2691. 2JOHN GILLIAT Mar 15 2JAYNE TRIMBLE Mar 16 2A-TRAIN Mar 17 2BIG

IVANHOE PUB 1038 Main, 604-608-1444. Pub with live bands on weekends and open jam night Sun from 4 to 8 pm. 2ST. PATRICK’S DAY BASH Mar 17 RICKSHAW THEATRE 254 E. Hastings, 604-681-8915. Live bands some nights. 2DIRTWIRE Mar 15 2THE DREADNOUGHTS Mar 17 2TRUCKFIGHTERS Mar 21 2TEENAGE FANCLUB Mar 25 2KREATOR Mar 29 RIVER ROCK SHOW THEATRE River Rock Casino Resort, 8811 River Rd., 604-2478900. 2ABBAMANIA Mar 18 2MELISSA ETHERIDGE May 5 ROGERS ARENA 800 Griffiths Way, 604899-7400. 2RED HOT CHILI PEPPERS Mar 18 2ARIANA GRANDE Mar 24 2CHRIS STAPLETON Mar 27 2SNOOP DOGG Apr 14 2JOHN MAYER Apr 19 2THE WEEKND Apr 25 2JOHN LEGEND Jun 1 2DEF LEPPARD Jun 6 2FUTURE Jun 9 2QUEEN + ADAM LAMBERT Jul 2 2J. COLE Jul 18 2NEIL DIAMOND Jul 24 2BRUNO MARS Jul 26 2ED SHEERAN Jul 28 2LADY GAGA Aug 1 2TOM PETTY AND THE HEARTBREAKERS Aug 17 2ONEREPUBLIC Aug 21 2LIONEL RICHIE Sep 3 2NICKELBACK Oct 1 2DEPECHE MODE Oct 25 2ROGER WATERS Oct 28 THE ROXY 932 Granville, 604-331-7999. 2WIELER AND COMPANY, BUFFALO JONES Mar 18 2THE HEELS Mar 19 2ADAM GILES LEVY Mar 21 2ROYAL OAK Mar 25 2CHEAP THRILLS VOLUME SEVEN: SHAUN VERREAULT Mar 30

TIME OUT MUSIC LISTINGS are a public service provided free of charge, based on available space and editorial discretion. We can’t guarantee inclusion, and we give priority to events taking place within one week of publication. 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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Helmcken St. 778.886.3675 www.leelawadeethaispa.com WORKSHOPS & EVENTS A Soldier's Guide To Survival Post Trauma Stress Recovery solutions4stress@shaw.ca

HOME & GARDEN SERVICES

MOVING & STORAGE TwoGuysWithATruck.com

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

NAHANEE MOVING

Professional Movers 604-782-3973

Glaziers (All Levels)

ANNOUNCEMENTS

MBS

WITNESS NEEDED If you witnessed or have any information about an accident that happened on the #4 UBC bus at or near the Victory Square stop on W. Hastings St, Sept 18, 2015. Could you please call six oh four 314-7154. Thanks for your help.

Install window and door systems for commercial projects. Must have transportation to job site and must be fit as some heavy lifting required. Send resume to: admin@glastech.ca Fax 604-941-3113 www.glastech.ca

warnetthallen.com

GEORGIA STRAIGHT STRAIGHT MARCH MARCH 16 16 –– 23 23//2017 2017 32 THE GEORGIA

FUNKY WINKER BEANS 37 W. Hastings. Evil Bastard Karaoke Experience Sun-Thurs.

Hiring one full-time Cook

KEY ACTIVITIES AND DUTIES • ADP payroll administration • Billing • Collections • Accounts payable • Cash outs & daily bank deposits • Bank reconciliations • Credit reference checks • General journal entries • Customer inquires • Government remittances • Other duties as assigned • Benefit plan maintenance

No phone calls, please. We thank all applicants for their interest; however, only those candidates selected for an interview will be contacted.

FRANKIE’S JAZZ CLUB 765 Beatty, 778-727-0337. 2PETER BERNSTEIN Mar 17-18 2BLOSSOM TIME Mar 19 2CONNOR STEWART & THE BON TEMPS Mar 24 2HEATHER KEIZUR & STEVE CHRISTOFFERSON Mar 26

HOSPITALITY/FOOD SERVICE

Th e Georgia Straight is currently accepting applications for the position of Accounting Clerk. Th is role is responsible for payroll, accounts payable and accounts receivable.

If you meet the above requirements and are interested in joining our team, please submit your resume and cover letter to careers@straight.com, quoting Competition #AC_GS0317 in the subject line.

COMMODORE BALLROOM 868 Granville, 604-739-4550. 2CHRONIXX Mar 18 2JAPANDROIDS Mar 20 2THE AGE OF ELECTRIC Mar 24 2MOTHER MOTHER Mar 25 2THE TEA PARTY Mar 31

EMPLOYMENT

ACCOUNTING CLERK

KNOWLEDGE & SKILL REQUIREMENTS • 2-3 years’ experience in a similar position preferred • Experience with ADP payroll administration • Knowledge of credit and collection policies and procedures • Some post-secondary accounting training • High level of attention to detail • High level of discretion and professionalism in dealing with confidential information • Ability to multi-task and prioritize effectively in a deadlineoriented environment • Strong work ethic and positive attitude essential

DADDY FUNK PARTY Mar 18 2JAZZ JAM WITH GABRIEL AND BRUNO Mar 19 2ROB ELLER Mar 21 2DINO DINICOLO Mar 22 2BLUE VOODOO BAND Mar 23

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MARCH 16 – 23 / 2017 THE GEORGIA STRAIGHT 33


CLASSIFIEDS ................................................................................................................................................................ BEAUTIFUL OLDER WOMAN 36D - 26 - 36. 36th@ Victoria

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redhotdateline.com 18+ 34 THE GEORGIA STRAIGHT MARCH 16 – 23 / 2017

FOOD section

CONFESSIONS MUSIC section

P.13 P.14 P.32


savage love I went to

Dark Odyssey Winter Fire, the big kink hotel takeover event in Washington, D.C., in February. There was one thing I saw there that is messing with my head, and I hope you can set me straight. There was this lovely little six-person orgy going on with two cute-as-could-be hippie girls and four older dudes. Then these four people came along. They sat and watched—a guy and three women in hijabs and dresses that went wrist to ankle, fully covered. After a while, one of the hippie girls turned to them and said, “I’d be happy to flog you later if you’d like.” The three women in hijabs giggled. The whole scene was really sweet, but I just couldn’t get over these three women. I saw them walking around all night, taking it all in. Intellectually, I know there is no reason to think that conservative Islam is incompatible with kink. But my cultural biases make me feel that it is. Or is it possible that covering is their kink? What would you make of that? > WASHINGTON KINKSTER WONDERING

“With all the hateful anti-Muslim rhetoric out there these days, it is tempting to romanticize Islam,” said Eiynah, a Pakistani-Canadian children’s book author who also hosts a podcast that focuses on sex, Islam, and apostasy. “The impulse is understandable, but Islam is another one of the blatantly sex-negative Abrahamic faiths.” The other blatantly sex-negative Abrahamic faiths, for those of you

keeping score out there, are Judaism and Christianity. “Nothing outside of ultra-vanilla plain ol’ two-person hetero sex within the confines of marriage is permissible,” said Eiynah. “So as much as I’d love to agree with WKW that conservative Islam isn’t incompatible with kink, there’s every reason to say that it is. It’s even incompatible with a woman being slightly ‘immodest’ in front of men. Modesty codes are pretty rigid in Islam, and in non-Muslim-majority countries, modesty garments tend to stick out rather than blend in. Which achieves the exact opposite purpose—attracting more attention, not less.” And when sex-negativity, modesty, and religion mix it up, WKW, the part of our brain that grinds out kinks—precise location yet to be determined—kicks into high gear. That’s why there is Mormonundergarment porn out there and nun porn and hot-priest calendars for sale on sidewalks just outside Vatican City. “Islamic modesty has become fetishized for some—quite literally,” said Eiynah. “There’s hijabi porn and hijabi Lolitas. So the people WKW saw could be into some form of hijab kink.” I’ve seen a few people dressed up as Catholic nuns at fetish parties, WKW, and I didn’t think, “Hey, what are nuns doing here?!?” I thought, “That person has a nun kink.” (Related point: The nuns you see at queer pride parades? Not really nuns. #TheMoreYouKnow)

> BY DAN SAVAGE “Finally, it’s possible they could be a more ‘open-minded’ polygynous Muslim family that ventured into the hotel in a moment of adventurousness,” said Eiynah. “We are all human, after all, with urges, kinks, curiosities, and desires that surface, no matter what ancient morality code we try to follow.” Amen. Eiynah tweets @NiceMangos, her terrific podcast—Polite Conversations—is available on all the usual podcast platforms, and her children’s book, My Chacha Is Gay, can be ordered at chachaisgay.com.

I’m a 30-year-old woman in

a long-term polyamorous relationship with a stellar guy. Our relationship began as extremely Dom/ sub, with me being the sub. My boyfriend and I began super casually but quickly became serious partners. Now, six years later, I fi nd having kinky sex with him challenging. We have a very deep, loving relationship, so my feelings get hurt when we engage in bondage and kink play. Th is is especially problematic because I still enjoy BDSM with folks I’m not dating. Basically, if I’m not in love with someone, it doesn’t hurt my feelings when they beat me and humiliate me. My boyfriend feels slighted, but I just don’t know what to do. Every time we play rough—the same way we had played for years—my feelings get hurt. Any thoughts?

It’s not uncommon to meet people in BDSM spaces/circles who have passionate, intimate, solid, and regular vanilla sex with their long-term partner(s) and intense BDSM play and/or sex with more casual partners. For some submissives, intimacy and a long-term connection can interfere with their ability to enter into and enjoy their roles, and the same is true for some Doms. If this is just how you’re wired, SHHH, you may need to write a new erotic script for your primary relationship—or make a conscious decision to have new and different and satisfying sexual adventures with your boyfriend.

always told me how small and soft and feminine my hands were. He drank a lot and then would pass out in our bed. I would put on one of my sexy pink nighties and sleep next to him. Now I have a wife, and I am so jealous that Roberto might find a girlfriend. I have begged my wife to cuckold me with Roberto. She said, “Roberto is a very sexy man, but I don’t know.” How can I tell her that I am totally feminine and turned off by women and totally turned on by men? How do I tell her that she is married to a sissy man lover? I want her to have a boyfriend. Then when she is out with her boyfriend, I would get dressed up like a sissy and be locked out of the I cannot find a woman who will house dressed as a woman and have accept my panty fetish. Please advise. to wait for her to let me back in after > TREMBLING MAN INQUIRES her boyfriend left. Please help. > LUST IN SOUTH AMERICA

Keep looking, TMI. There are women out there who think men can be sexy in panties—and anyone who thinks men can’t be sexy in panties needs to check out all the hunky panty-wearing models at xdress.com.

I am a sissy husband. My prob-

lem is I am not attracted to women at all. I have asked my wife to cuckold me. My penis is less than two inches long, and the only way for me to have sex with her is by using my strapon on her. When I do that, all I can think of is my best friend Roberto who I am very attracted to. I shared a queen-size bed with him for two years. While we lived together, I did > SHE’S HURTING HIS HEART all of the “women’s work”. Roberto

Thanks for sharing. Not sure I believe a word you wrote, LISA, but it was an entertaining read. (Okay, okay, some advice: Tell your wife the truth, i.e., you are not and have never been attracted to women, suggest redefining your marriage as a loving but companionate one, propose cuckolding as a way for you two to maintain a sexual connection, albeit one mediated through a third party. Good luck.) On the Lovecast, “The Epidemic of Gay Loneliness” and a takedown of Beauty and the Beast: savagelovecast. com. Email: mail@savagelove.net. Follow Dan on Twitter @fakedansavage.

, E L I M S , P U E K A “W , F L E S R U O Y L L E T AND ” ! Y A D Y M S I Y A TOD

LET’S GET MOVING, VANCOUVER! 1807 West 1st @ Burrard, Kitsilano | www.ronzalko.com | 604.737.4355 MARCH 16 – 23 / 2017 THE GEORGIA STRAIGHT 35


G N I L

L E -S

W O N

E R P

ON THE PARK BY THE WATER IN THE VILLAGE

36 THE GEORGIA STRAIGHT MARCH 16 â&#x20AC;&#x201C; 23 / 2017

The Georgia Straight - Green Living - March 16, 2017  

Issue #2567

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