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Protest organized for Trump Tower opening in Vancouver

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By: Benjamin Mussett

With Trump comes controversy. The same can now be said for the opulent buildings which bear his name. Following a fairly rocky development stage, the official opening of Vancouver’s Trump International Hotel and Tower is now upon us. As expected, a large anti-Trump demonstration is slated to welcome the president’s sons who are now heads of the Trump Organization, Eric and Donald Jr. The official unveiling is scheduled for Tuesday, February 28

The confrontational greeting should not come as a surprise to the Holburn Group, the Vancouver-based company that developed the 69-storey skyscraper. The project has been a significant point of contention among many in the city who feel that Trump’s controversial and occasionally divisive politics should not be represented in Vancouver. By late 2015, a petition requesting that Trump’s name be removed from the building had gathered over 50,000 signatures.

In fact, following Trump’s now notorious campaign proposal to prohibit Muslims from entering the US, Mayor Gregor Robertson also spoke out against Trump’s involvement in the project. In a public letter, which Robertson addressed to Joo Kim Tiah, the president and CEO of the Holburn Group, the mayor said, “Trump’s name and brand have no more place on Vancouver’s skyline than his ignorant ideas have in the modern world.”

Despite the backlash, the Holburn Group chose not to cut ties with the Trump Organization. After the uncovering of an audio tape which appeared to feature President Trump boasting about groping women without consent, the company released a statement distancing itself from the controversy, albeit not the Trump brand. “Holburn, a company that has contributed immensely to the growth of Vancouver, is not in any way involved in US politics. As such we would not comment further on Mr. Trump’s personal or political agenda, nor any political issues, local or foreign,” read the statement from Joo Kim Tiah.

Aside from the local implications, the Trump brothers’ upcoming visit to Vancouver involves a larger controversy concerning the excessive cost of protecting the president’s sons as they promote his brand and attend hotel openings around the world. Instead of divesting his business holdings or putting them in a blind trust to prevent possible conflicts of interest, the president chose to place his two eldest sons at the helm of the Trump Organization.

As with the rest of the president’s close family members, Eric and Donald Jr. are now continuously protected by the Secret Service. The cost of protecting the jet-setting businessmen has proven excessive. According to The Independent, the security expenses for Eric Trump’s trip to Uruguay last month alone cost taxpayers nearly $100,000. All of this has raised significant ethical concerns regarding the intersect between the presidency and Trump’s private business. Should public money be used to defend Trump’s family members while they promote and profit from the Trump brand?

Tuesday’s official opening will be the third time that activist Vancouverites have come out to protest Donald Trump in just the last few months. Nonetheless, the Holburn Group has decided to stick with the Trump brand and all that it represents. The company has stated numerous times that they are under contractual obligation to keep the Trump name and dropping it would entail “enormous financial and legal ramifications.” Still, there is an advantage to this type of attention: plenty of publicity and profitable curiosity.

For anyone interested in Tuesday’s planned protest, more details can be found here.

With files from the Georgia Straight, CBC News, Global News, Forbes, the Independent and the New York Times.

Women’s basketball ready to make a run at GNAC championship

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After a highly successful regular season, which saw the team finish with a 246 overall record their best since the 201213 season SFU’s women’s basketball team is now turning their attention to post-season play. They’ve qualified once again for the Great Northwest Athletic Conference (GNAC) championship, and will play Central Washington in the quarter-finals.

 

It should be an interesting matchup. The Wildcats are the only team not named Alaska Anchorage or Western Washington that the Clan lost to all year in conference play a fairly shocking 7366 overtime loss at home back on February 4. It was one in which head coach Bruce Langford said, “We looked like we didn’t care.” They’re one of the hottest teams in the GNAC as well, winning six of their last seven games.

 

“We have to rebound better, [and] we have to move better,” said Langford on what has to be different. “One of the things they do is try to slow the game down and disrupt our flow offensively. They had some success doing that last time.”

 

The Wildcats will be led by Taylor Baird, the top rebounder in the conference with 8.6 boards per game. The team will “have to match her competitive level” to limit her, according to Langford.

 

But perhaps the biggest hurdle in winning the GNAC championship for SFU is just how the tournament is structured. If they win the game against Central Washington, they’ll be playing Western Washington the next day a team that SFU hasn’t beaten this year and which has lost only two conference games.

 

If they manage to beat the Vikings, barring a monumental upset, they’ll be playing Alaska Anchorage in the final the day after. SFU hasn’t beaten them either the Seawolves went the entire conference schedule undefeated.

 

If they get to that point, the Clan will be playing their third game in as many days.

 

Langford wasn’t sugarcoating how incredibly difficult the challenge in front of them is, especially with the format of the tournament seemingly in favour of the top two seeded teams.

 

“The reality is, we play a game that we have to win and give 100%, and then we have to play a game against a team that’s rested,” he said on the structure of the tournament. “There’s no comparison. [. . .] [ And if we win that] we’ll be playing three games in three days in a row against a team [that] have played their second [in as many days].”

 

However, the last two games against Alaska Anchorage and Western were both fairly close SFU lost by single-digits and led in both of those game at points. In the previous two meetings, SFU lost by double-digits both times. It’s an encouraging sign that SFU can perhaps hang with the two dominant teams of the GNAC.

 

“I’m pleased with a bunch of pieces,” said Langford. “The three we gave up in the Alaska game the other day, that was crucial. We don’t give up that three and we have three kids with open three looks, all hit the front rim.”

 

“We hit one of those, it’s a different game. We hit two or three of those, it’s over. So I’m pleased from that standpoint, that we can play with them. And on an equal playing field and on an equal day, we should do well.”

 

One of the keys for the tournament will be how the Clan manages Ellen Kett’s minutes, especially with such a tight schedule. It’s no secret what the game plan is against SFU pressure Kett early and often, and try to tire her out.

 

Alaska Anchorage did it almost to perfection in the team’s last game on Saturday, picking her up early in the backcourt and forcing her to run. Kett ended up with 10 turnovers and was “so tired she [couldn’t] make a mental decision,” according to Langford.

 

The goal will be to try and limit her minutes, especially in that first game, so that she can be not nearly as tired if they do advance.

 

“If she needs to play the whole game in order to advance to the next game, she’s not going to show up for the next game, and that’s what happened last year when we played Alaska,” said Langford, referring to an 8247 loss to Alaska Anchorage that ended their season last year.

 

“We’re going to try and win the first game and save her as much as we can. That’s a challenge [. . .] If we can get 15 minutes out of [Tayler Drynan], that’s still not going to solve our problem because Kett is still going to be tired the second game, but it’s going to help.”

 

The Clan will play Central Washington this Thursday at noon. If they win that game, they’ll face Western Washington in the semifinal, also at noon. Follow our Twitter account @PeakSFUSports, where we will have live coverage.

Men’s basketball closes out season with dominant 93–82 win over Seattle Pacific

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Hidde Vos started the game and finished with two points in 22 minutes of action. Him and Gibran Sewani ended their collegiate careers with a win.

In a season that was far from perfect, with a young team that faced a lot of adversity and has struggled until February to achieve their first conference win, the men’s basketball team put up a perfect ending.

“Man, you know what,” said senior Gibran Sewani, one of two seniors playing their last collegiate game. “There was something in the air. I feel like it was just going to happen from the beginning — I didn’t say that, though. I didn’t want to jinx them.”

Saturday night, SFU put up a dominant performance against a team playing for their playoff lives. And in the end, the Clan got to play spoiler — something they missed out on Thursday — and ensured that Seattle Pacific’s 12-year NCAA Division II playoff streak ended — which included the entire six-year existence of the GNAC tournament.

They beat a team that had trounced them 88–66 on opening day of conference play by a margin of double-digits — talk about coming full circle.

SFU came out fast, with the first five points in the first minute. However, Seattle Pacific answered back with some offence of their own, even taking the lead.

Down 16–12, the turning point of the game came with a 14–0 run, started by a layup from Kedar Wright. JJ Pankratz tied the game at 16 with a huge dunk — the first of two dunks for Pankratz.

After this point, SFU never trailed again in the game.

SFU finished the first half up 40–33.

In the second half, freshman Othniel Spence continued a great first half — in which he put up nine points in eight minutes — and put up a second-straight dominant performance after putting up a career-high 29 points in Thursday’s game. In 23 minutes of action, he put up 24 points, went six-for-nine from the field (66.7%), four-for-six from the three-point line (66.7%), and eight-for-nine on free throws (88.9%).

“There’s no other way I’d rather go out. I’m so happy for the guys.”

– Gibran Sewani on his final game

It’s a terrific sign for the freshman who looks to be a big part of the team’s future.

“With a young guy, it’s just confidence,” said head coach Steve Hanson.”You come in not knowing what your role is going to be. [Spence] asked me before he came here, he’s like, ‘Coach, am I going to get a chance to play?’ and I said, ‘You’re going to get a chance to play, but you’ve got to come earn it everyday in practice.”

Pankratz also had a big night, going nine-for-11 (81.8%) from the field, and, from the three-point line, going five-for-six (83.3%). He tied Spence for the team lead in scoring with 24 points.

“[Pankratz] seems to get a lot of confidence from playing offence, and I get on him about his defence. And tonight, he was just outstanding defensively, and then he gets to play those long stretches because of his great defence. You can see what he does on offence,” said Hanson.

While SFU never did trail in the game again, they did look to be in danger of a late game collapse. Seattle Pacific came back from a 12-point deficit to tie the game at 67–67 with 5:41.

In previous games, this looked like the point at which Seattle Pacific might build a small lead that they would carry for the rest of the game, and complete the comeback.

However, after missing a pair of free throws 34 seconds earlier, Tyrell Lewin sunk two free throws and started giving SFU back the momentum.

“They did an excellent job getting to the free throw line all night, and when it got going tough, we finally started attacking the hoop. We did some things to try and get the ball inside, and try to get to the rim, and try to get to the free throw line, and I think that was the difference — we just didn’t settle,” said Hanson.

Wright led the team in rebounds with nine, all of them defensive.

It was a great send off for Sewani and fellow senior Hidde Vos, who were able to bask in the excitement of the crowd for their final game. For two players who have been through three different head coaches in the last three years and a lineup that, along with new coaches, saw a high amount of turnover in that time period, it was an appropriately happy ending.

“It didn’t really hit me until like five minutes left in the game, and I was really starting to feel it. It was a tough game for myself — I picked up four fouls, and couldn’t really do much — but I don’t really care, to be honest, it was just amazing,” said Sewani. “There’s no other way I’d rather go out. I’m so happy for the guys.”

And for a guy who’s been with the team so long, especially having been on a 2014-15 team that fell just short of making the playoffs by placing seventh, it’s promising to see his level of optimism for the team going forward.

“This is the most faith I’ve ever had in the program moving forward, and I’m just so happy that the program is in the right hands,” he said. “I’m jealous I can’t be there next year.”

And he’s got a point, at least from the outside looking in. In Michael Provenzano and Spence, they’ve got some freshman who look like they will be serious talents in the GNAC for three more years. In Wright, Pankratz, and Iziah Sherman-Newsome, the team will have a talented senior class to lead the way.

But for now, it’s time to remember the season that just ended, that ended on such an upbeat note — one that saw the team play some exciting and competitive ball down the stretch. With two conference wins, and four Division II wins, it was a better season than the one before.

It was the perfect ending.

Women’s basketball lose close 77–72 contest to Alaska Anchorage

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Ellen Kett finished with 14 points and 11 assists in 36 minutes of playing time.

Players, coaches, and fans participated in the yearly pink game and seniors night on Saturday, which drew probably the biggest crowd of the season. Two of the Clan’s most important players, Ellen Kett and Meg Wilson, played their last game in front of the home crowd at Simon Fraser. The fans let them know they’ll be missed, as posters for both players could be seen around the gymnasium.

“I thought I was going to be way more emotional,” said Kett after the game, but right from the tip-off, all distractions went away. Simon Fraser was playing Alaska Anchorage, the number two ranked team in the nation and first in the Great Northwest Athletic Conference (GNAC) with a perfect conference record.  

The game began fittingly, as Kett hit an open three off of a Wilson assist for Simon Fraser’s first basket of the game. By the end of the first quarter, however, the Clan was down 15–11. Although both teams already had their playoff seed locked, it was obvious that Alaska Anchorage wished to finish with a perfect record, and Simon Fraser wanted to play spoiler.

Not even halfway into the second quarter, the game had already presented four jump balls, and things got scrappy. Kett and Wilson were both critical in a 10–3 run that was capped off by a Meg Wilson three, and gave the Clan a 31–27 lead. Alaska Anchorage regained the lead by half, however, and the teams went into the break with a score of 38–33 for the visitors.

Kett and Wilson both performed well for the fans and their families in the first half, as they led the game with 11 and nine points, respectively.

Simon Fraser came out of the half ready to play, retaking the lead by the 8:40 mark in the third quarter. They extended this lead to as much as 10 off of a Kett three that made the score 59–49, with a bit more than three minutes to go in the quarter. At this point, Kett was forced to rest to get ready for the fourth quarter, and Alaska Anchorage took advantage. By the end of the quarter, the lead was cut to five.

A Tayla Jackson layup with 5:58 left in the final frame marked the first basket Simon Fraser had scored in over seven minutes of game time. With 3:46 left in the quarter, Autumn Williams hit a huge three for the Seawolves, which made the score 66–64 for the visitors. The game went down to the wire, but a dagger three by Tara Thompson, and good free throw shooting down the stretch, gave Alaska Anchorage the 77–72 victory.

Both seniors showed their importance to the team, as Meg Wilson led the team with 18 points, and Kett had 14 points and 11 assists, as well as an uncharacteristic 10 turnovers. “I thought the seniors did well,” said coach Bruce Langford after the game.

This game was bigger than basketball, however, and Kett was positive after a disappointing loss. “I’m really happy with the turnout — [there are] a lot of fans here, so hopefully we raised a lot of money as well,” said Kett, who played a big part in the organization of the fundraiser.

Even after an emotional game, Simon Fraser is already looking forward to the postseason. “We still have a lot of our season left. We want to go far in the GNAC championship and as big of a run as we can in nationals,” said Kett.

“The [players] have got to feel good about big parts of their game tonight,” said Langford, as the Clan gets ready to play in the GNAC championships.

Next Game: Simon Fraser will go into the postseason as the third seed in the GNAC and will play the sixth-seeded Central Washington University Wildcats in the quarter-finals. The two teams split the season series, as both teams won the away game. The Wildcats have the fourth-best scoring defence in the conference, and have the top rebounder in Taylor Baird, who averages 8.6 rebounds per game.

Tip-off is on March 2 at 12 p.m.

Beyoncé’s Grammy loss is about more than just the music

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Once again black artists are left on the outside looking in as the Grammys use them to increase TV ratings, while white artists collect the majority of the awards.

As I watched the 59th Annual Grammy Awards telecast, and waited for Album of the Year (AOTY) to be announced, I knew deep down in my gut that Beyoncé’s Lemonade was not going to win.

Despite being the most nominated woman in Recording Academy history with 62 nominations, winning 22 of those nominations, and her 20-plus incredibly powerful years in the music industry, Beyoncé has yet to win the biggest award of them all. And as AOTY winner Adele herself said, “What the fuck does she have to do to win. . .?”

In order to even be acknowledged, people of colour have to go above and beyond. We are not given the space to simply be good or just okay. Beyoncé’s Lemonade shattered boundaries of genre, came with a 60-minute visual piece that centred on southern black femininity, and produced radio bangers. Kendrick Lamar incorporated hip-hop, funk, and jazz with incredible lyricism on To Pimp a Butterfly. Both of these albums changed and revolutionized culture — yet still that wasn’t good enough.

The last time a black person won AOTY was in 2008 when Herbie Hancock’s River: The Joni Letters beat Kanye West’s Graduation and Amy Winehouse’s iconic Back to Black. Yet, the last time a black woman won AOTY was in 1999 when Lauryn Hill won for her debut solo record The Miseducation of Lauryn Hill. This means that a black woman has not won the biggest Grammy of them all in this century. When you look at those facts, it is clear that something is very wrong.

Racial inequality is an issue that is talked about within the industry, but the conversation seems to stop after we get to diversity within performers. However, it’s clear that awards systems have inequality issues as well. Part of this challenge comes from the fact that we don’t know the Grammy voter demographics, but it is widely assumed that those who vote are predominantly older white folks. The voting body doesn’t necessarily accurately represent the full scope of the audience. It’s important that people of colour be represented in all areas of the industry, not just where they can be seen.

There’s also the challenge of understanding the historical context. Many of the awards that are won come with contexts that are comfortable for mainstream (read white) audiences. Beyoncé has won many of her awards in R&B and Urban categories; Lemonade won best Urban Contemporary Album, which is to say she won best “black” album. In many ways this says, “We’re with you celebrating black people, but that’s not an experience I can relate to, so I’m not going to try.” Adele’s album and career is built upon the same musical legacy and history as Beyoncé, yet she is chosen to win and that just doesn’t seem fair.

Now the irony of this whole discussion isn’t lost on me. Awards and entertainment are meant to be forms of escape from the world we live in. Then there’s also the fact that people around the world are dying and I’m sitting here writing about why Beyoncé should’ve won a hunk of metal and wood that’s going to collect dust on her mantle.

However, these issues are important because entertainment plays an important role in shaping how we understand the world around us. As any good communication student will tell you, television and film don’t reflect the world we live in — it simply replicates that which is familiar.

Popular culture reveals a lot about who we are and what we value as a society. If the world we live in constantly excludes people of colour from spaces of decision making, forcing them into the margins of society, then it makes sense that our media and, by extension, our awards would reflect that. These issues are systemic and need to be changed from the inside out.

Until the system is completely changed to not exploit people of colour, we will not be celebrated like we deserve.

Album Reviews

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I See You – The xx

The xx is a UK-based band consisting of Romy Madley-Croft, Oliver Sim, and super producer Jamie xx – which hasn’t released new music in over four years. Their much-anticipated latest release, I See You, sounds like a ray of sunshine weaving in and out of the tracks.

It opens with the energizing calls of the saxophone — already proving how this latest project is a departure from their otherwise signature melancholy sound. The listener can definitely hear the artistic and emotional growth that must have taken place since Coexist.

Much of the album remains sonically expansive and reserved, and the lyricism is also characteristically simple. Standout tracks for me include “Say Something Loving,” “Lips,” “A Violent Noise,” and “I Dare You.” However, I much prefer the band’s previous two albums as they offered many more catchy tracks that could be played over and over. Meanwhile, I See You has a few good tracks, with the rest just acting as filler. – NA

No Culture – Mother Mother

Mother Mother’s quirky indie rock is always infused with messages about the state of our society and comments on our culture. With their sixth album, No Culture, the band continues this trend with a collection of songs about love, drugs, and the temptations of consumerism.

The lead single, “The Drugs,” has been getting lots of airplay and is catchy with more of a palatable pop vibe than some of their previous work. The rest of the album does carry their trademark sound with innovative vocals and cryptic lyrics, but I can’t help but feel like they may be losing their edge just a little bit. They keep inching towards becoming mainstream.

Other notable tracks include “Love Stuck,” which is an upbeat song about overthinking love. The title track might be the most well-written song, with its dark themes about the decline of culture and humanity. With five shows coming up at The Commodore to cap off their Canadian tour, Mother Mother are providing plenty of chances for you to experience their unique sound for yourself. —TP

Weyes Blood has a Front Row Seat to Earth

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Weyes Blood (Natalie Mering) latest album Front Row Seat to Earth is a response to our current relationship with technology.

For solo artist Natalie Mering, music has always been in her blood — it’s even part of the inspiration for her musical creation, Weyes Blood. The name comes from a combination of Mering’s own musical genes, along with the influence of Flannery O’Connor’s novel Wise Blood, which the musician read when she was 15.

When asked about the reasoning of blood in particular, Mering mentioned that she fell in love with the idea of blood having characteristics being passed on for generations. “Blood never really dies,” she explained, “it’s just regenerated.”

Growing up in a family of musicians significantly impacted the California native’s life, as she found herself surrounded in a world of musical influences. At a certain point, Mering confessed that her parents became extremely Christian and involved in their own bands during her upbringing, which may explain why listening to her music is similar to a religious experience in itself: classical piano chords mixed with angelic vocals remind the listener of a divine and mystical sound.

The discovery of her father’s band led to a long, unfolding process of Mering’s own self-discovery in music. Realizing her talent, the musician soon followed in her parents’ footsteps, which she calls her destiny: “My breakthrough moment was when I was 15. I remember picking up my electric guitar and being able to play barred chords for the first time,” she admitted.

This realization led to a serious epiphany which showed Mering the way, giving her the final push to follow her dreams in the music world and simultaneously carry on the pattern of musicians in her family. “I remember thinking that if my dad can do it, then I can do it too,” she added.

Weyes Blood is also influenced by Mering’s musical idols, which include Sonic Youth, Ween, Syd Barrett, Joni Mitchell, and Enya, to name a few. The Los Angeles-based songwriter was lucky enough to work at a record store and go through the new arrivals section consistently, which exposed her to a wide variety of music at an early age. Mering always planned to be in a band, but sadly, she couldn’t find anybody that took music as seriously as she did.

“I was so obsessed and willing to give up everything to do this,” she said. “I always wanted to be in a band, but I realized that I had to play alone. I couldn’t find musical soul mates.”

Despite not having any additional members, Weyes Blood does not disappoint: Mering’s 2016 album Front Row Seat to Earth is packed with powerful vocals and hazy, ethereal sounds. Much of the album’s inspiration comes from the desire for societal and cultural changes among the rise of technology:

“I felt like things were reaching this boiling point of words, and we could no longer perceive truth,” Mering explained. “We’ve become so desensitized to current events and things that are happening outside of our realm. So this album [Front Row Seat to Earth] is saying, ‘Here we are, a first world country with access to our community, but we are witnessing everything through what feels like theatre.’”

Mering went on to discuss the impact of screens we see every day on our smartphones and computers, mentioning that they provide that “buffer” through which we absorb copious amounts of information: “Our perceptions are limiting our scope of emotional empathy. It’s just a really strange time in terms of our grasp on what’s happening with technology right now.”

Since her last album, Mering has stayed on the radar: she just released a new LP and a joint EP with singer/songwriter/producer Ariel Pink in the last few months. The collaboration features a four-song EP entitled Myths 002, which Mering described as having “a similar Renaissance-harmony feel”: “We had been friends for a while and started playing together and it all just started to make sense.”

When asked to describe the sound of Weyes Blood in one sentence, Mering calls her creation “neoclassical folk balladry that’s vulnerable and sometimes includes computers.”

Weyes Blood was at the Cobalt on February 25. Before playing the show, Mering was excited about her Vancouver premiere and visiting BC. Aside from playing her show, Mering looked forward to hiking with friends and getting deep into the zone, nature-wise: “I love how beautiful BC is. It feels like you’re kind of on the edge of the world.” For myself, listening to Weyes Blood can evoke that same “edge of the world” feeling if you just close your eyes and listen — no mountains needed.

Highlights for the Vancouver International Dance Festival 2017

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Kenesis is a multidisciplinary performance that will focus on the search for utopia.

Best eye candy: Alonzo King LINES Ballet | March 3-4 | Vancouver Playhouse $50 for students

Performing two works, SAND and Shostakovich, this contemporary ballet company impresses with long lines and deep emotional expression. The choreography takes classical ballet and gives it a new sense of form while infusing it with cultural references and working with classical music. These remarkable dancers bring passion and depth to Alonzo King’s rich choreography. They are only here for two nights and they are sure to be incredible shows; don’t miss your chance to see this world-class company from San Francisco.  

Best performance art: Dairakudakan | March 10 – 11 | Vancouver Playhouse $50 for students

One of the most anticipated shows at the festival, this butoh-theatre company from Japan impressed Vancouver dance goers last time they were in town. They are bringing a new show, Paradise, that explores the Persian origin of the word meaning “enclosed garden.” With colourful costumes, near-nudity, and a conceptual narrative, this butoh (a type Japanese contemporary dance) show should be a great opportunity to expand your horizons. This is among many chances to see butoh at VIDF, as festival producers Barbara Bourget and Jay Hirabayashi, Vancouver’s own butoh masters, are also presenting some of their own works.

Best technical effects: Kinesis Dance somatheatro | March 2-4 | Scotiabank Dance Centre $25 for students

In celebration of the company’s 30th anniversary, Vancouver-based Kinesis Dance Somatheatro will present In Penumbra, a multi-media work about the search for utopia. Paradise seems to be a recurring theme of the festival, and this show aims to explore the good, bad, and ugly of our insatiable desire to reach paradise. A continuation of 2015’s U>W, the show is set to have innovative lighting and special effects that will surely add to the multi-dimensional experimental choreography of artistic director Paras Terezakis.

Best show featuring locals: Rob/Jane/Kim | March 16 – 18 | Roundhouse Exhibition Hall free with VIDF membership (cost of membership is $3)  

Mentor and SFU dance professor Rob Kitsos has teamed up once again with alumni Jane Osborne and Kim Stevenson to create Death and Flying, a work about the power of objects to evoke memories and create connections with those closest to us. The piece is inspired by poet Max Heinegg, and uses gesture, recordings and memories to explore the way we choose to keep certain object, but leave others behind.

Best emotional intensity: Compagnie Virginie Brunelle | March 16 – 18 | Roundhouse Performance Centre $25 for students

Virginie Brunelle brought her intense, emotionally powerful work to VIDF last year, and the Montréal-based choreographer will be back with To the Pain That Lingers, a piece about unfinished business between two people and the pain associated with ending a relationship. The aim is to explore our connection to each other and what is left behind when that is broken. If it’s anything like last year’s sensual, honest duet that was also about difficulties in relationships, it is sure to have audiences on the edge of their seats.

Best shows for a tight budget: Dancers Playing Basketball and KTL Company | March 5, 12, 19 | SFU Woodward’s Atrium | Free

Dancers Playing Basketball is exactly what it sounds like: a group of dancers who meet up to play basketball together. The group will present an informal show in the Woodward’s Atrium basketball court.

KTL Company is an urban dance group that is based out of Harbour Dance Centre. They aim to offer training and performance opportunities to Vancouver dancers and choreographers. They’ll be sharing some of their smooth moves on the same dates in the Woodward’s Atrium.

For more information or to purchase tickets, visit vidf.ca.

Logan perfectly mixes action and emotion

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An older and

He may be Wolverine, but Logan is a perfectly imperfect superhero.

The third installment of the Wolverine franchise is set in the year 2029, where a struggling and weary Logan (Hugh Jackman) takes care of the terminally ill Charles Xavier (Patrick Stewart) in an isolated facility along the Mexican border. While Logan’s Wolverine can still bust out his claws and take care of bad guys if he needs to like nobody’s business, it is clear that his powers are not what they once were. His regenerative healing abilities have lessened significantly due to the adamantium that makes him indestructible interacting with his old age, so he turns to alcohol to dull the physical pain he feels from his injuries.

He spends his days as a limousine driver to make some extra cash to pay for Charles’ medicine. The professor needs to take the medicine in order to reduce the amount of seizures he has as he loses control of his telepathic abilities.

Logan’s life takes an interesting turn when a young woman named Gabriela Lopez (Elizabeth Rodriguez) shows up begging for his help to take her and her daughter Laura (Dafne Keen) to a place called Eden, a safe haven that is mentioned in an X-Men comic book. He refuses to help at first, but quickly comes to discover that her little girl, Laura, is more like him than he initially thought. Charles urges him to take her to safety, and together they run from those who want to capture her for her abilities.

The movie does a great job of combining emotion and action. Logan’s struggles with his illness are as essential to his character development as when he whips out his badass Wolverine claws. Jackman’s performance as Wolverine, however, does range from moody and brooding to stilted anger, with not much depth in between until the end. His dynamic with Stewart is wonderful though, and their banter induced plenty of laughs from the audience.

But the real star of the movie was Keen, who acted with a depth well beyond her 12 years. She doesn’t speak for the majority of the movie, yet still brings a fierceness to her character that shows that having mutant abilities is anything but child’s play.

Logan also has an “R” rating for the use of strong language and gore, which I personally thought it could do without. Giving that rating to a superhero movie like Deadpool, which relied on those elements to create a witty script, made sense, but for Logan it seemed like F-bombs were dropped for the sake of dropping F-bombs. The violence was also gratuitous. It was Game of Thrones-level shit, but it didn’t necessarily detract from the movie’s plot.

All in all, Logan has a little bit of everything, from character development to action to even a couple of heart-wrenching moments. It’s worth watching for those who want to see Jackman take his claws out once again.

Many people confused about Donald Trump’s “I’m a huge racist” comments

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Donald Trump just can’t seem to stay out of trouble. The president of the United States is in hot water after telling his supporters at a Mississippi rally that he is incredibly racist.

“Folks, I’m a huge racist,” said Trump at the rally. “I think it’s pretty clear by this point. I hate Mexicans, I hate blacks, and I really hate Muslims. I essentially base all of my policy around hatred for minorities. I’m sure you’ll all agree with me that we need to be protected from these bad hombres!” [Crowd cheers.]

The speech caused quite a stir all over the world. Many have taken to social media to denounce these comments, with one Twitter user commenting that “it’s pretty fucking obvious that Trump is a confirmed racist now. How can anyone misconstrue this??”

However, it may not be that simple. Pundits on various television stations have been spending the past 24 hours trying to decipher what exactly President Trump meant by these words.

“I think he’s just voicing his displeasure over recent events,” said Jenna Mias, a senior White House correspondent on CNN and contributor to The Huffington Post, likely referring to the overturned travel ban. “Sure, he said these awful things, but he’s just playing up to the crowd. I don’t think he actually believes these things. He’s simply trying to connect with white, middle-class workers who are desperate to believe him.

“That’s why he won the election, because he made rust belt workers feel important again — not because he spewed racist shit 24/7.”

“The president is not a racist, period,” said Alex Jones, founder of Infowars. “He has a duty to protect the American people, and I think he will do a wonderful job. If systematically limiting the opportunities of non-white people is considered racist, then I might as well pack up and leave. This country has gone to shit.”

President Trump has yet to personally respond to these allegations, but White House press secretary Sean Spicer told the press that Trump is “the least racist person in the history of the Earth” and that he has watched the hit TV show Atlanta many times and “really liked the rapper guy.”