Home Blog Page 2

Pick a Colour by Souvankham Thammavongsa

By
Peak Web
-
0
IMAGE: Courtesy of Knopf Canada

By: Heidi Kwok, Staff Writer

Pick a Colour is a fictionalized account of the Southeast Asian immigrant experience, written by Souvankham Thammavongsa, a Laotian Canadian author and poet who was born in a refugee camp in Thailand and raised in Toronto. The novel explores themes of power, class, and the invisibilization of migrant labour performed by gendered and racialized diasporas. Taking place over a single summer day, Thammavongsa introduces the reader to “Susan’s,” an unassuming nail salon toiled by workers, all of whom sport the same shoulder-length black hair, black clothing, and name tags embellished with the name “Susan.” Customers who visit Susan’s are told to “pick a colour,” and can expect to be in and out in under twenty minutes. Fussy walk-ins are placated with a two-for-one special — a manicure and pedicure — all for the price of just $10!

Despite kneeling from below to clean, shape, and polish, Thammavongsa expresses that real power lies not with the customer but with the worker

The one who wields the sharp instruments and keeps the secrets that will inevitably slip out of the client’s lips under the intimate setting. The author therefore subverts underlying assumptions about nail salon workers (or those employed in the service industry) as people to be pitied or underestimated. 

Told from a first-person perspective, we are quickly submerged in the lonely but content world of our protagonist, a former boxer who reluctantly trades her corner of the ring for a nail salon. Her name is Ning (but customers know her as Susan because according to her, it’s easier to pronounce). Ning is a closed-off, emotionally-guarded, and no-nonsense girlboss. Blunt and direct, she reads her clients with the same ease and intensity as she did with her boxing opponents, anticipating their every punch and swing. She deduces a person’s entire life story from the instant they inhabit her chair. Subtle shifts in weight or movement during a match; lines in the face, every crease, and wrinkle that needs the attention of a facial give away a person more than words can ever reveal. Yet, beneath Ning’s fortified exterior lies a compassionate soul and (cynical but nonetheless) a witty sense of humour. 

We witness a very human portrayal of how the protagonist grapples with the trauma and unrealistic expectations exacted by shaky relationships with her former partner, employer, boxing coach, coworkers, customers, and mother. While mostly character-driven, this book culminates in a story that is underpinned by a heart-arching exploration of the impacts of loneliness, absence, racism, and gender-based social norms on women. With this work, Thammavongsa further commentates on the perception of language capability as an indicator of class, belonging, and worth. Ning and her coworkers are frequently told by customers that their “English is so good.” This is a backhanded compliment that immigrants are all too familiar with. It suggests that people of colour aren’t capable of speaking the language fluently based solely on their skin colour, when in truth, the “Susans” have spoken English for years but choose to converse amongst themselves in their own language as a way of reasserting their own autonomy. As these Susans exchanged quick-fired gossip under the guise of workplace pleasantries in their mother tongues, the readers are left to re-evaluate run-of-the-mill nail salons as anything but unremarkable service providers, and see them as places of migrant autonomy and collectivism.

Planet SFU: Winter special

By
Peak Web
-
0
ILLUSTRATION: Olivia Blackmore / The Peak

By: Veronica Richards, SFU student

On a snowy mountain, about 366 metres above sea level, a fascinating creature can be found. We’ve staked out the Burnaby Mountain campus of SFU for hours, bearing the frosty winds and refilling our narrator’s hot chocolate so he can continue to do the deep knockoff David Attenborough voice. This extraordinary species stands out against the seasonal scenery. In all of his glory, there he is: that one guy who wears shorts during winter. 

Watch as he confidently walks by, free from the burdens of gloves, scarves, toques, boots, and a warm drink. He does not concern himself with the dilemma of a winter coat, saying he is “used to the weather.” His fashion ranges from single-coloured t-shirts, branded t-shirts, golf shirts — and if he’s especially fancy — video game t-shirts. Don’t worry, we’ve got all our top scientists trying to figure out how these beings don’t catch a cold. Rumour has it — they sometimes wear a thin hoodie. 

Now, if you look to your left, you’ll see a polar bear. Yes, you heard me right. A polar bear. His name is Frosty. According to the shorts guy, he and Frosty have become best bros. They’ve bonded over their love of salmon sashimi, the outdoors, and university basketball. “Frosty would be a great player; he really has the height going for him!” our guy eagerly shares. We now witness the guy wearing shorts approaching Frosty. The shorts guy asserts his dominance with a little “hey dude” and raises his arm to dap the bear. Frosty enthusiastically returns the gesture, sending our guy stumbling. He quickly recovers, and tells our cameraman, “Don’t worry, we’re almost the same strength. I go to the gym a lot!” He is very eager to show us his muscles, which are conveniently not obscured by a puffy winter sleeve.

Frosty glares at the oblivious guy and starts circling him as if he is catching his prey. Our shorts guy starts to circle him as well — lasting about three seconds before dropping to the floor in exhaustion. Frosty, once again, raises his nonexistent eyebrows. “Maybe we tie. But I’m definitely the better-looking one,” our shorts guy says. Frosty has no eyebrows, but you know if he did, they would be raised as if wondering is this guy serious? Oblivious, the sleeveless human continues, “Nah, we’re like polar bears in a pack. That’s totally the saying.” 

We were able to ask Frosty a quick question before his afternoon swim. When asked about our guy, Frosty said, “Yeah, I don’t know how he’s not cold either. I like our matching t-shirts, though!” 

Catch episode two to find out whether this rocky friendship lasts — or if Frosty eats our shorts guy.

 

When autocorrect helps the devil steal your girl

By
Peak Web
-
0
PHOTO: Damir Khabirov / Adobe Stock

By:  Katie Walkley, Peak Associate

Chad: Hey weirdo!

Chad: *Wanda

Wanda: hey chad! strange typo, lol. how r u?

Chad: I’m alright. Feeling hyped to go see some dead cats tonight!

Wanda: ew . . . wtf?

Chad: Jazz cats! I’m going to a new jazz bar that just opened up.

Wanda: hm OK then . . .

Wanda: so on ur profile it says u go to SFU? me too! Chad: Which cum piss is your favourite? I love the Vancouver one.

Chad: *cum piss

Wanda: what the hell r u talking about?

Chad: *cum piss

Chad: Omfg.

Chad: *campus

Wanda: i don’t think this is autocorrect i think you’re just a creep

Chad: Please just give me another chancellor.

Chad: *chance

Wanda: fine, but only because my psychic said I would meet the love of my life today. so, what do u do in ur spare time?

Chad: Contra obscuro hoc spirtuum justa ad faciendam voluntatem meam.

Chad: Hold on how did that even happen??

Chad: I meant to say that I volunteer saving animals and babies in my spare time . . . 

Beelzebublover69: WHO HATH SUMMONED I TO THIS AWKWARD ENCOUNTER?

Chad: This friggin flip phone . . .

Chad: Wait what? Who are you?

Beelzebublover69: I’m literally the devil, dawg. What else would I be? Are you pranking me right now? You disturbed my slumber. Also what the hell does cum piss even mean?

Wanda: hey, sorry I wasn’t responding. i was just bench pressing.

Wanda: how is there a third person in this chat now? is that even possible?

Beelzebublover69: I don’t know how I got here, but man it sure stinks like weakness in this place. At least eternal damnation has some HEAT . . .  am I right, Wanda?

Wanda: LMAO wait ur actually so funny im dead

Beelzebublover69: Oh stahppp, you’re not dead yet. 😉 

Wanda: hey, wanna to go out sometime? Some perv was just telling me about a new jazz bar in town. we should check it out. 😉

Chad: Wait, that was me!! STOP IGNORING ME!

Beelzebublover69: That sounds wonderful!

Wanda: you know, i think i’ll finally be able to leave this dating app thanks to you

Beelzebublover69: Oh Goddess (my lord and saviour Trisha Paytas), am I in a dating app right now? 

Wanda: yes?

Beelzebublover69: NOOOOOOOO SAVE ME SATAN!! RESCUE ME FROM THIS HEATHENLESS WASTELAND AND BRING ME BACK TO HELL!!!

Wanda: take me with you! 

Wanda and Beelzebublover69 both blocked Chad and lived happily ever after in a situationship marriage held together by a shared taste in TikToks. Chad threw away his flip phone and quit his dopamine detox to pursue the more promising life of Clash Royale. Satan silently congratulated himself for his genius wingmanship and continued to manipulate autocorrect to get his homies to quit complaining about the dating scene. And with that, the chances of dating app success more than doubled for mortals and fiends alike.

January update on SFU’s contract workers

By
Peak Web
-
0
The Academic Quadtrangle at SFU is pictured on a cloudy day. The grey tone of the building, sky, and pond stands in stark contrast to the dark green grass.
PHOTO: Puneet Aulakh / The Peak

By: Lucaiah Smith-Miodownik, News Writer

Students returning to campus this week will be greeted by a new year, a fresh semester, and an updated syllabus. For the university’s contracted workers, however, the push for better wages continues. While the idea of being a living wage employer has been a topic of discussion for over a decade, it was not until July 2022 that SFU announced it would begin taking steps to obtain a living wage certification. 

Most recently, the university provided an updated statement in January 2025, stating that “Simon Fraser University continues to implement a living wage for employees who regularly work on our three campuses.” However, for contract workers, SFU stated that the “terms and conditions of their employment, including rate of pay, are matters between employees and their employers.” SFU does not directly employ dining workers. They are contracted out to Compass Group. 

On November 5, SFU dining workers held a demonstration “to demand the university become a permanent living wage employer.” At the demonstration, contract workers and allies gathered around Strand Hall and “delivered a letter asking SFU president Joy Johnson to meet with them on November 10 at 6:00 p.m. to hear their concerns,” or they would initiate a full strike. UNITE HERE Local 40, a union which represents hospitality workers in BC, including SFU’s contracted dining workers, amplified the event. On their website, Local 40 stated that while dining employees make less than $27.05 per hour, SFU’s top executives “have received total compensation increases ranging from $38,000 to over $89,000 since 2023, on top of their six-figure salaries.”

The Peak corresponded with Michelle Travis, research director at Local 40, for more information on contract workers’ plans moving forward.

“Our members and campus allies sent a strong message to Compass Group and SFU on November 5 that workers deserve a permanent living wage”

— Michelle Travis, research director at Local 40

While the workers received a response from SFU on time before a full strike would begin, Travis said that “Local 40 members have approved job actions up to and including a strike.” On November 7, SFU stated that they declined the workers’ offer to meet and hear their concerns. She stated, “Workers may escalate strike action in the new year to win a fair contract if there is no progress in negotiations.”

Regarding communications with the university, Travis told The Peak that conversations have “been limited with the administration continuing to deflect accountability onto their contractor. We have not had a substantial response from Compass Group either at this point.” Travis said workers “will decide whether to take further strike action in coming weeks.”

Finding warmth in the cold with the Ayx Bus

By
Peak Web
-
0
Six Ayx Bus workers and advocates stand outside the Ayx Bus with a sign that says, “the bus is open.” The white bus is about the size of a TransLink community shuttle.
PHOTO: Courtesy of @fionaeyork / X

By: Maya Barillas Mohan, Staff Writer

For some living in the Downtown Eastside (DTES), the warmth associated with the holidays is not a reality. The Ayx Community Bus, a grassroots initiative spearheaded by advocate Fiona York, attempts to lessen the loneliness and aid those who are unhoused and precariously housed. Encompassing the range of seasons and needs, the Ayx Bus serves as a cooling centre in the summer, and later in the year, provides warm clothing and hot drinks. This past December 24 and 25, care packages were delivered in the DTES from 9:00 p.m. to 2:00 a.m. The Ayx Bus operates three days a week in the summer, and at the hottest and coldest times of the day seasonally. 

“Aýx̠” is the Sḵwx̱wú7mesh (Squamish) word for “crab.” CRAB Park is an acronym for “Create a Real Available Beach,” with the area having been one of Canada’s only technically legal tent cities. According to York, “former residents of CRAB Park (and other encampments like Oppenheimer) are the outreach workers on the bus and also help coordinate and prepare the supplies for the bus. They distribute food and supplies, answer questions, and provide a supportive presence for other people on the street or in tents.” In an interview with The Peak, York described how the former residents “provide a supportive presence for other people on the street or in tents,” giving back to those who are still struggling. She said they “feel good about being able to help others in their situation.”

York noted that, in the face of a gentrification plan, the unhoused community is on the precipice of serious changes. Specifically, the City of Vancouver recently passed amendments to their 2024 development plan for the Oppenheimer District to enforce a limit of 20% social housing priced at shelter rates. In the 2014 plan, the limit was at 60%. Buildings that could not previously exceed 8–12 storeys can now be built more than 19 storeys. 

On their website, the City wrote, “The policy updates will make it easier and more financially viable for governments, non-profits, and the private sector to deliver new social housing and accelerate the replacement of aging [single room occupancies]. Together, they advance the DTES plan’s vision for a mixed-income community with diverse housing options, local-serving shops, social services, and cultural activities that support a welcoming and inclusive neighbourhood for all residents.” The City stated this plan will “ensure existing renters in the DTES are not displaced and have access to housing that remains permanently affordable.”

However, York suggested the rezoning plan “aims to gentrify the entire neighbourhood and in fact make it less friendly and more precarious for people who are unhoused or low income.” She said, “It doesn’t address homelessness or provide any new shelter-rate housing,” making “shelter-rate and actually affordable housing will be more scarce than ever.

“More security, more policing, more high-end businesses and services. Unhoused people will be more erased and less supported,” said York. 

York also called the language in developer statements “insidious double speak,” where words like “uplifting” are used. “The city is really just trying to support developers and development but acting like they’re helping the DTES,” she said. In a press release, W, a former CRAB Park resident and incoming Ayx Bus worker, said:

“The DTES doesn’t need gentrification, it needs more people who actually care about other people.” 

— W, former CRAB Park resident, incoming Ayx Bus worker

York noted that readers can support the cause by following @ayxcommunitybuss on Instagram to see posted donation wishlists and contribute to the fundraiser goals. Donations go towards operation stipends, bus maintenance and fuel, and ongoing training. 

 

Re: SFU’s Centre for Accessible Learning is not accessible

By
Peak Web
-
0
a photo of the door to the Centre for Accessible Learning at SFU’s Burnaby campus.
PHOTO: Gudrun Wai-Gunnarsson / The Peak

By: Niveja Assalaarachchi, News Writer

In 2021, The Peak featured an article detailing an SFU student’s attempt to get accommodations at the Centre for Accessible Learning (CAL). The author recounted their experience facing a significant mental health condition and not having enough documentation to register for accommodations. The CAL advisor recommended they withdraw from all classes. The student concluded that they didn’t feel the accommodation process truly helped students at SFU. 

Since that time, the process of applying for accommodations has not improved — sadly, even those who have been approved for CAL must navigate consistent systematic demands to receive required accommodations. It is clear that the processes designed to help students actively fail them, even after they get their initial accommodations approved.

Unfortunately, I am also familiar with the bureaucratic nature of CAL. For the better part of three years, the centre has personally helped me with writing all my exams at their offices in the Maggie Benson Centre — by granting me additional examination time. I have also been able to request academic accommodations such as having the right to record class lectures. 

However, the process of applying for CAL was a nightmare. It was an overwhelming experience being a first-year student, having to sign a myriad of papers and provide evidence of my need for accommodations. Not only did this process take many weeks to complete, but it required me to pay out of pocket for doctor’s notes to prove my condition. This is despite having an individual education plan in high school which had already established the conditions I had. Not only was the process of getting my accommodations difficult but the process is something that continues to be tough after the fact. 

I and many of my fellow students with accessibility issues need to renew these rights manually, each semester. This process, though designed to be seamless through the CAL portal, can be laborious at times. I don’t think I’m alone in the experience of having to chase down my professors, begging them to check their inboxes to see if they’ve received an email from CAL with my much–needed accommodations. 

Each quiz, midterm, and final exam must be individually filed via their website. You would think after all of the supposed investments into the university, a more synchronous system would have been established. One which allows students to worry less if their forms are already filled out — alas, that is not the case. 

I remember, after a family emergency last year, I had to suddenly change my examination plans and was stressed out because the centre only gives students until a week before the test to file a request. 

I am thankful that I, and many other students, get to have academic accommodations that take our unique learning circumstances into account. However, it doesn’t need to be such a hard-fought battle as it is to get those accommodations with little help from others. In my opinion, this speaks to a larger issue facing students with accessibility concerns: most of the time, we are fighting a lone battle, with little guidance, and a whole lot of hurdles — both in education and outside. 

Perhaps CAL could make the transition between high school and university easier for students with accessibility needs by processing documentation easier. The university could also make the process for applying for exams and other accommodations more flexible for students.

We are, often, left to advocate for ourselves — navigating a broken system.

We are faced with an education system that is not designed for us, and has historically discriminated against us.

A system that seems hellbent on not wanting to recognize us or making us speak up for our issues. Nearly half a decade on from the aforementioned article, we have yet to scratch the tip of the iceberg in the tremendous struggles that people with accessibility issues face on campus.

What Grinds Our Gears: Charity campaigns at the checkout

By
Peak Web
-
0
The photo of a cashier’s hands, near the cash till, as they are printing a receipt.
PHOTO: Simon Kadula / Unsplash

By:  Petra Chase, Features Editor

I recently moved close to a Walmart and inevitably find myself there for essentials. Every time, I’m asked if I want to add a donation onto my bill. This seems like a convenient way for shoppers to make a small difference, with wallets already open. It’s typically only a couple dollars — much less than the five perishable items that somehow came to a whopping $38 being held hostage at the register. But I’m shopping at Walmart because of the rising cost of groceries, like the low-income families that have always been Walmart’s main customer base. So why is the colossal enterprise that made $175 billion in profits last year (in the fiscal year of October 2024 to October 2025) asking us if we want to help make a difference? 

Walmart proudly announces they have donated millions of dollars to charities like the Children’s Miracle Network, Canadian Red Cross, and Breakfast Club Canada. Giant corporations like Walmart should absolutely be supporting local charities, but this money should come from their own hoarded pockets rather than scavenged from the customers they’re already milking profits from. 

Being sprung this question in an overstimulating environment as the conveyor belt moves the next person’s items towards the edge adds to the pressure. In the quick-moving conveyor belt, the ensuing fight or flight may cause you to feel like the greediest person alive for not sparing two dollars to “end world hunger.” But a simple response is available: “I don’t donate through Walmart.” When you donate to organizations and fundraising campaigns directly, you can be intentional about supporting causes that you care about, without unintentionally being a part of Walmart’s deceptive charitable branding. You also get tax credits later on. So, let’s make intentional giving the norm in 2026.

Three music platforms for a better listening experience

By
Peak Web
-
0
A phone open to the Qobuz app, plugged into wired headphones, playing the song "Everything is free" by Gillian Welch
PHOTO: Elliott Marquis / The Peak

By:  Heidi Kwok, Staff Writer 

The onset of the 2000s ushered in the birth of online streaming, driven by small tech startups who would become the exploitative media monopolies we have today. An unsettling prediction of this grim dystopia is Gillian Welch’s 2001 song “Everything is Free,” which expresses her despair towards what the internet would mean for musicians’ livelihoods. 25 years later, Welch couldn’t have been more on the mark. Spotify, the global music streaming giant with over 700 million monthly users, is perhaps the worst culprit, underpaying artists with skimpy royalties that vary between $0.003 and $0.004 USD per stream. This abysmally low rate makes them among some of the lowest-paying music streaming platforms available out there, right next to Apple Music. 

In April 2024, Spotify came under further controversy, requiring tracks to exceed 1,000 streams before being eligible for royalty payments, to the detriment of independent artists with smaller audiences. Royalties that should have gone to their rightful creators instead end up in the pockets of former CEO Daniel Ek, who accumulated $345 million in one year. These earnings surpassed those of even the most-streamed artists on the platform. Worse yet, in 2025, Ek’s venture capital firm invested $600 million euros in AI weapons systems company Helsing. Spotify also reportedly donated $150,000 USD to President Donald Trump’s inauguration ceremony.

With Spotify’s extensive rap sheet, many have called for their boycott. Sharing the same sentiment, I’ve decided to explore three music listening alternatives with more equitable compensation models, whether you’re streaming or owning.

Tidal

Tidal is an “artist-first, fan-centered music streaming platform that delivers over 110 million songs” — 10% more than Spotify. This streaming contender offers one of the highest artist payouts at $0.013 USD per stream, far outpacing competitors like Amazon Music and Apple Music. In terms of pricing, individual plans run for $10.99 per month, with student plans being half the price. A unique feature of Tidal’s paid plans is subscribers can choose to opt in for a DJ Extension at an additional monthly cost of $9. This add-on allows users to access and mix Tidal’s music catalogue via integrations with professional DJ software such as rekordbox and serato.

Upon creating an account and a free 30-day trial, I was immediately given the option to transfer my music (including artists and playlists) from other streaming platforms, including Spotify, Apple Music, iTunes, Amazon Music, and YouTube Music, to Tidal using a third-party service called TuneMyMusic. A one-time fee is charged for transfers of over 500 tracks. If you only need a one-time transfer, you must buy a monthly premium plan (at $7.60 CAD), then immediately cancel the subscription once you’ve conducted all necessary transfers. 

Playing around with the audio options and selecting the highest sound quality (HiRes FLAC) flooded my ears with a rich and crystal-clear tone.

For years, I attributed Spotify’s poor audio quality to my cheap, crappy headphones, but the truth is that Spotify’s audio quality is just embarrassingly bad.

Exploring the platform, I quickly noticed Tidal’s proactivity when it came to giving credit where it’s due. Have you ever wondered who were the instrumentalists and sound engineers responsible for your favourite track? Tidal sets album credits front and center with a simple click of the album cover art (Spotify, in contrast, tends to sweep the credits behind a long-winded navigation path). 

Tidal also presents a significant departure from Spotify’s emphasis on popularity ranking. On Tidal, listening statistics (or “plays”) are eliminated from artists’ profile pages, whereas Spotify displays artists’ “monthly listeners” metric, as if being top of the charts was more important than artistic merit. 

Bandcamp

Bandcamp is an online music store that connects artists with fans with the mission of supporting “artists equitably so that they can keep making music.” While Bandcamp does not release public financial reports, the store claims that an average of 82% of fan payments goes back to the artists and their labels. For all sales on physical and digital items, Bandcamp charges a revenue fee of 10% to 15%, respectively, in addition to a payment processor fee that varies between 4% and 6%. 

Bandcamp offers a unique browsing experience with personalized pages for each artist and label, where fans can purchase entire music catalogues, limited merchandise such as vinyls and apparel, and engage with community board messages posted by artists. Users can listen to tracks for free — although some artists stick to short previews as samples — before deciding to make a purchase. Once a purchase is made, customers can download their music in audio formats such as MP3, or for those who are more attuned to the obscure world of sound mixing and production: FLAC, ALAC, AAC, Ogg Vorbis, WAV, and AIFF formats. 

With the rise of AI-generated music and algorithms, Bandcamp’s anti-AI stance is refreshing. “Bandcamp is not built to break you as an artist,” general manager Dan Melnick told MusicTech. “I think our business model is very well positioned for the age of AI. If the streaming world gets flooded with AI music, then it reduces the pie for living musicians.”

In an era where subscriptions reign supreme, and consumers have scarce opportunity to truly “own” their favourite media, Bandcamp is great for those who want full control and permanent ownership over their music. It can also be a more accessible way of owning than traditional CDs and vinyl records. Keep in mind that purchased music can be accessed through Bandcamp’s app (which includes a feature for offline listening), but cannot be added “directly to Apple’s Music app due to limitations imposed by Apple.”

Radiooooo

Radiooooo — alternatively known as the “musical time machine” — is an app that takes listeners across both space and time. Well . . . not literally, of course, but through a worldwide radio platform livestreaming tracks from countries around the globe and spanning multiple decades of the 20th and 21st centuries. Launched in 2013, the platform began as a passion project created by a group of music-loving friends. At its core, Radiooooo is a collaborative, user-curated music player driven by discovery rather than algorithms. An unpaid account only gives you listening access to ten countries and four decades, so for full access, you’d want to consider opting-in for a premium plan at $6.90 CAD per month.

Radiooooo’s user interface can best be described as a blend between Google Earth’s interactive globe and retrofuturistic design elements, featuring clunky yet charming analog-style buttons set against a backdrop of bold primary colours. Unlike the sleek, minimalist UI of platforms like Spotify or Tidal, Radiooooo deliberately rejects overly sterile neofuturistic designs. Instead, it embraces an analog aesthetic that evokes the nostalgia and optimism associated with the space-age cultural movement of the mid-1950s to early 1970s — a period when faith in technology and visions of a utopian future were widespread. The result is a highly immersive listening experience centred around the unexpected.

After comparing three Spotify alternatives, how do you ultimately decide which service aligns best with your listening habitats and values? Here’s my final verdict: Tidal is best for those seeking familiarity, with an interface nearly identical to Spotify’s, though it may not suit those who prefer listening to podcasts, as Tidal appears to be purely music-focused for now. Bandcamp is perfect for supporting artists directly through the purchase of physical or digital music, though the selection is not as large as Tidal or Spotify. Conversely, Radiooooo is your go-to for those eager to step outside their comfort zone and expand their musical horizons. There are also other music streaming options out there, like Qobuz and Deezer, which I did not get the chance to review but are worth checking out.

NTKNTG: Events for the late winter

By
Peak Web
-
0
PHOTO: Adi K / Pexels

By: Sarah Venkatesh, SFU student

A performance of Legally Blonde

Evergreen Cultural Centre 

1205 Pinetree Way, Coquitlam, BC 

January 15–17, 7:30 p.m.

January 18, 3:00 p.m.

January 21–24, 7:30 p.m.

Cost: $25–30, $18 for upper seats

Stage 43 Productions is bringing Legally Blonde to life right in one of Vancouver’s most popular theatres. Whether students are fans of the movie, or want to see a musical for the first time, the classic story of Elle Woods comes to life in this performance. Students can purchase a ticket for $25 through Stage 43’s website or in-person at the venue; however, the organizers are offering a special discount of $20 tickets, only for January 21. 

 

Ballet BC’s INFINITY program

Queen Elizabeth Theatre

630 Hamilton St, Vancouver, BC

February 26–28, 7:30 p.m.

February 28, 1:30 p.m.

Cost: Ticket prices may range

For those interested in contemporary performances and pieces, Crystal Pite’s Frontier and Jiří Kylián’s 27’52” are bringing their work to the Queen Elizabeth Theatre. These performances feature experienced dancers from Ballet BC’s INFINITY program. Tickets range from $19 to $195, depending on how soon students purchase and the seating time. Those that have subscribed to Ballet BC can guarantee 20% off ticket prices, including other perks, such as early access, free ticket exchanges, and priority service. This is a great opportunity to enjoy phenomenal theatrical nuance performed by a talented team. 

 

Lafarge Lake Christmas Lights

1299 Pinetree Way, Coquitlam, BC

November 28–February 16, 4:00 p.m.

Cost: Free

Lafarge Lake hosts the largest free light display in Metro Vancouver every year until February 16, perfect for those that want to spend a fun night out without paying. Those visiting can explore the lights from dusk until 11:30 p.m. daily, although it is recommended to visit on the weekdays or from 6:00 to 8:00 p.m. to avoid large crowds. Lafarge Lake’s lights include festive zones and installations, and food trucks and warm drinks are also available!

 

Destination Downtown

Various locations across downtown Vancouver

December 1–February 28, times vary according to activity

Cost: Varies depending on activities

Although the winter break is over, Vancouver’s own winter festival, known as Destination Downtown, is still running until February 28. The festival includes a Ferris wheel located at the Vancouver Art Gallery North Plaza, free ice skating (with a $5 rental fee) at Robson Square, and live entertainment. Students are recommended to use public transit, since it can be difficult to find parking and some of the events are located near Waterfront Station and accessible with bus routes.

Enemy Alien: Tamio Wakayama at the Vancouver Art Gallery

By
Peak Web
-
0
PHOTOS: Jamal Allad / The Peak

By: Noeka Nimmervoll, Staff Writer

Enemy Alien: Tamio Wakayama is on display at the Vancouver Art Gallery from October 3, 2025, to February 22, 2026. Curated by Paul Wong, this postmortem solo exhibition of the photographer Tamio Wakayama features collections from a career spanning over 50 years before his death in 2018. Wakayama was born in 1941, a time of aggressive discrimination against Japanese Canadians by the Canadian government, with around 21,000 people detained and dispossessed, many of whom were forced into internment camps. Japanese Canadian prisoners were labelled “enemy aliens” due to rampant racial prejudice and political fear of a Japanese invasion. Furthermore, the government seized their possessions, homes, and businesses, sold them to pay for the costs of their internment, and never returned them to their original owners. In exploring injustice and discrimination against his community, Wakayama turned to photography, launching his first foray into activism.

Wakayama photographed and participated in many political events throughout his life — including the Civil Rights Movement and the redress movement of Japanese Canadians. He also embarked on personal journeys for meaning and connection, which became an integral part of his work and life. The exhibition featured his memoir, Soul on Rice, now published posthumously via the Vancouver Art Gallery, as well as a film entitled Between Pictures: The Lens of Tamio Wakayama (2024) by multidisciplinary artist Cindy Mochizuki. After a visit to the gallery, I hereby share my musings.  

The gallery is quiet on the eyes when you enter, black and white, the only colour in the room being a violent red with these words: Enemy Alien Tamio Wakayama. I began viewing photograph upon photograph of this man’s work. Even with these harsh words in mind, I began to see the world through the eyes of a man who loved people. His photos, beginning with his time with Black communities in the South, captured the tangible tension of the time, as well as the joy, resilience, and wisdom of the African American community there. Some images evoked a warmth of community and life-in-motion, while others captured the raw, tumultuous spirit in every individual of a crowd. It occurred to me that pictures like his can only be taken when the photographer, and the camera, are accepted by the community.

The exhibition displayed many of Wakayama’s journeys on his lifelong fight for social justice. He photographed Indigenous life in Saskatchewan, the struggle of Doukhobors maintaining their traditions in BC, anti-war protests in Ontario, and more. On one personal journey, he visited Japan and captured scenes of families cooking, strangers mingling in parks, communities planting trees, and people enjoying life. These photographs were often composed around a single person in a group, capturing them in a candid moment of simple pleasure and living. Some of his other works were much more dramatic. He later became the official photographer of the Powell Street Festival in Vancouver and served this post for almost twenty years. His photographs from this time are filled with action and captured a thriving community in moments of intense focus, flow, and fun. 

The story of Japanese Canadians isn’t told enough, and such a remarkable life and career as Wakayama’s is long overdue for its time in the spotlight.

He was a resilient activist and artist, devoted to pursuing justice, who searched grandly for community in a world hostile to his existence, and seemed to have found it, time after time.

I am in love with the tenderness and humanity that is so prominent in his work and displayed at this exhibition, and my visit to Enemy Alien inspired me to continue my own work for a community in the place that I call home, and beyond.

123...1,417Page 2 of 1,417

Simon Fraser University’s independent student newspaper since 1965.

Contact us: [email protected]

© The Peak Publications Society 1965-2024

Simon Fraser University’s independent student newspaper since 1965.

Contact us:
[email protected]

© The Peak Publications Society 1965-2024