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Don’t feed the killer clowns with your attention

By
Peak Web
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There’s no shortage of historical examples of people behaving irrationally and cruelly — shall we say, monstrously — when they feel that behaviour will get them attention. In fact, monsters are precisely what are spawning at playgrounds across the world in the form of killer clowns.

No, it isn’t just Halloween arriving early. Reports of “killer clown” sightings have become frequent across North America and Europe, involving people dressed up as terrifying clowns loitering in quiet neighbourhoods to scare innocent community members. Citizens and police alike have judged these clowns as a threat which communities must respond to urgently and vigorously. Law enforcement has gone so far as shutting down schools and arresting threatening clowns in otherwise peaceful neighbourhoods.

But there’s no need to worry ourselves so much: these killer clowns, existing solely for the purpose of scaring children, aren’t some psychopathic form of necromancy. They’re just an ordinary problem created by ordinary people — people, perhaps, who lack fulfilment in their lives and seek entertainment by inciting terror.

To determine what these people hope to accomplish by dressing up as killer clowns, we need look no further than the digital society we spend far too many of our waking hours on. The Internet is where the killer clown was born.

In 2013, a young filmmaker dressed up as a killer clown as a social experiment and posted pictures of his guise on Facebook, perhaps in bad taste. From this first instance, photos of killer clowns spread to the corners of the Internet, where there’s no shortage of irrational, cruel monsters ready to take advantage of the new idea.

These sorts of people are best-described as trolls. They make comments that can defile even the most innocent and beautiful things on the ‘net, and get away with saying insulting and rude things with no consequence. What trolls have in common with their monstrous cousins, killer clowns, is anonymity.

No one can see the true identity of an Internet troll, just as no one can see the face of the person behind the clown mask. Perhaps it’s this very anonymity that some people find so terrifying about clowns, just as they fear the dark and the unknown.

The increasing frequency of killer clown sightings suggests that the behaviour of these clowns is largely determined, and even unintentionally encouraged, by media. People who have researched this phenomenon have determined that sightings of these clowns come in waves: society experiences a flurry of killer clowns every few years.

This suggests that newly spawned clowns are just copying the offensive behaviour that they’ve heard about in the news or on social media. When clown sightings increase in frequency, they receive more coverage, which lets them reach a wider audience, including potential troublemakers.

This results in a positive feedback loop that causes the phenomenon to spread around the world. One community even saw killer clowns used as an advertising ploy — evidence of the clowns’ success at generating attention.

 

By fearing the clown, we’re only feeding the troll. We would do better to ignore this over-publicized phenomenon, stop giving it the front page, and leave no incentive for the attention-seeking killer clowns to hide behind their masks while feeding on the fear of children.

Don’t shame artists for the liberties they take

By
EIC
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In case you missed it, Demi Lovato recently made tabloid headlines for her comments regarding a piece of fan art by self-taught Romanian artist Vladimir Serbanescu. The drawing in question depicts Lovato in a pose similar to the one she sports on her “Body Say” cover art, only this time reimagined as a mermaid.

Serbanescu took some liberties in the proportions of Lovato’s body — most notably, making the bosom larger.

After seeing the picture as it spread through social media, Lovato commented: “Is that how my boobs should look? It’s gorgeous, but that’s not my body.”

Lovato fans immediately started calling Serbanescu and his fans (who jumped to the artist’s defence after Lovato’s comments) out for body-shaming Lovato, who has had previous issues with eating disorders. The artist defended his portrayal by saying to Seventeen magazine, “I enlarged her breast just because I wanted her to lay on it and the posture of the body wasn’t allowing it, therefore the only solution was making them bigger.”

Now, I don’t really care about either Serbanescu or Lovato, at least not any more than I do about any other human who I’ve never known personally. (This level of care basically amounts to “Please have a good life and don’t fuck up anyone else’s in the process.”) But this is a conversation of art, creative licence, celebrity status, and what should and should not be allowed.

Both Serbanescu and Lovato make valid points. Serbanescu’s is that he created a piece of art in order to fit his artistic conception — which as an artist is fair, and even expected of him. Lovato meanwhile points out that it is her body, and the perceived slight of Serbanescu’s breast enlargement certainly doesn’t help the public’s perception of the female anatomy.

I get her point. But Serbanescu recreates celebrities as mythological creatures and spirits. It seems naïve to expect that, in this realm of mythology, the creatures would adhere to human ratios and standards — they aren’t human.

I’m not saying that this artist is Picasso, but in general, we hail Picasso for reimagining the distribution of bodily elements. I doubt the famed painter actually thought that our noses should be on our foreheads or that our eyes could just go wherever.

As a public figure, the unfortunate reality is that Lovato’s image is not her own. She cannot cultivate which artworks of her get shared with the world. Celebrities become part of the public realm in that sense, regardless of whether or not that should be the case.

Serbanescu tried to show his appreciation of Lovato by blending her image with that of a mermaid, another image which he enjoys. I don’t think he should be penalized or ostracized because of his creative choices. I think he did the best he could under the circumstances.

He saw that although she said the drawing was “gorgeous,” she was less than thrilled with how she was portrayed. He responded by saying that he never meant for his art to be taken as some kind of guide for what he thinks female bodies should look like.

Our Western culture’s perception of the female body and our idolization of a certain body type are deeply problematic, and they can lead to eating disorders, poisonous body image, and extreme social pressure to conform. That’s not in contestation, and I don’t wish any of that on someone. But it seems to me that Lovato may have taken this fan art misstep a bit too far.

Cozy feelings filled the Fox when Andy Shauf took the stage

By
EIC
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0
Andy Shauf returns to Canada amidst a full year of touring.

There’s something to be said about small, cozy concerts in a crowded venue; where the easy-going tone of the coming show is set by the star casually walking in and out of the venue. With a fear of an oncoming typhoon hovering in the air, a long line-up of people outside of the Fox Cabaret wait to be let in. They’re all bundled up in rain jackets, boots, sweaters, and scarves, braving the looming storm for the solace of Canadian artist Andy Shauf’s sold-out show.

The atmosphere (quite literally) changes the moment you enter the warmth of the Fox Cabaret, checking your numerous fall-ready layers at coat check, and settling down, drink in hand, waiting for the show to begin. There are just about enough people there to fill the floor when the opener, Scattered Clouds, fills the room with dark, heavy bass, slick synths, and plenty of reverb. The band reflects the overhanging storm, hypnotizing the audience with ominous rhythms and recitative lyrics.

After a strong set by the trio, the crowd is handed over to the main act of the evening. Shauf takes the stage with an almost meek demeanour, immediately launching into a laid-back rendition of “Alexander All Alone” with his four-piece band, and the noise of the crowd is reduced to a background clamour. There is a palpable connection between Shauf and his band. Shauf and his drummer don’t go a full song without maintaining concentrated eye contact with each other, keeping a steady beat throughout.

The intimacy of the venue is matched by the band, from the very beginning of the set to the end — “The Magician,” followed by an encore performance of “Wendell Walker.” Shauf’s unique and pleasantly soft voice, the pianist’s strong harmonies, easy-rolling basslines, and an ever-steady beat from the drummer melded into what was a lovely show.

Shauf and his band made it easy for the audience to forget that the city outside wasn’t actually a warm and hazy Friday evening.

Bringing New West history back from the dead — literally

By
EIC
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Alison Main Tourneur and Jacqollyne Keath share the stage in Body and Soul, running from now until October 29.

What happens when a person travels forward through time only to meet their own ghost? Playwright Elizabeth Elwood explores this possibility in her current production, Body and Soul.

Elwood spoke to The Peak a few days into the show’s run, and she said everything has been going well, aside from having to replace a couple of cast members. “Three and a half weeks ago our stage manager broke his arm, and his cameo role had to be replaced,” said Elwood. He is still managing the show, but wasn’t able to perform.

Only one week before the show, another cast member with a major part fell ill and had to be replaced. “It’s been a real challenge,” she said, “but they got it together for opening and it all went smoothly.” You might start thinking the show is haunted, but it’s not that kind of show — it’s actually a comedy.

The story follows Timothy Grey who leaves his job to write about the history of New Westminster. His friend decides it might be a good idea to bring back a resident ghost in order to ask the ghost about historic details for the book. When the ghost’s previous self ends up travelling through time and they come face to face with each other, things get complicated. “They end up bringing back the real person too, and it gets chaotic; they rewrite history,” said Elwood.

Set in a heritage home in the Queen’s Park neighbourhood of New Westminster, and shown in the Bernie Legge Theatre right in Queen’s Park, the show couldn’t be more local. Elwood explained that she wanted to include as many local references to New Westminster history as she could, and she also based her set design on Irving House to add historical accuracy.

Elwood’s idea of a ghost and the person that ghost used to be travelling through time first appeared in a marionette show she did called The Christmas Spirit. In that show there was a haunted, old fashioned manor house, and the ghost and its time-travelling double seemed to be a hit with audiences. This time, there are actors instead of marionettes, and the only thing that remains is that one plot device. Body and Soul was written over two summers in Pender Harbour, where Elwood does most of her writing.

“People always get a chuckle out of ghost stories,” said Elwood, and she thinks audiences will enjoy the element of romance and humour in this show. “It’s an upbeat, happy show. Not a slapstick farce, but more of a smile and a chuckle; it’s a witty and whimsical story.”

Body and Soul will be presented by the Vagabond Players at the Bernie Legge Theatre from October 6 to 29. http://www.vagabondplayers.ca/body-and-soul  

Acting out gaps in Cantonese culture

By
EIC
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0
SFU alumnus Milton Lim (left) shares the stage with Raugi Yu (centre) and Andrea Yu (right) in Gateway Theatre's production of King of the Yees.

SFU theatre alumnus Milton Lim has been busy over the past few years with his company Hong Kong Exile, creating and directing interdisciplinary works. He doesn’t often find himself acting in another company’s work, and he is very excited to be playing Danny Ma in King of the Yees at Gateway Theatre. He is also enjoying this role because he shares a cultural background with his character, which doesn’t often happen. “It’s satisfying to have that specificity.”

Playwright Lauren Yee based King of the Yees on her relationship with her own father, and the story follows Lauren as she embarks on a journey after the disappearance of her father in San Francisco’s Chinatown. Because the characters are based on real people, Lim said he did a considerable amount of research in order to properly represent his character. “But I didn’t have to dig deep about living as a young Chinese man; that research has been done,” he laughed. He did however have to learn a bit of Cantonese for his role.

Lim described the play as a very accurate representation of the gaps and deficiencies in knowledge that can occur between family members in Cantonese culture, allowing for a greater appreciation of the complexities of the culture. “For people of our generation, it’s parallel to Lauren Yee’s experience,” he said. He thinks all audience members, regardless of their cultural background, will relate to the father-daughter relationship, concerns about personal cultural history, and intergenerational gaps in knowledge. “I personally look forward to my parents and brother coming to see the show. I think it will be affectual; it will start a conversation.”

With fantastical elements and a lion dance, the play sounds like an entertaining ride with a strong, unpredictable plot. In a behind-the-scenes video produced by the Goodman Theatre in San Francisco, Lauren Yee described it as starting from a very realistic place and then exploding into a joyride.

There are other SFU folks involved with the show, including sound designer Stefan Smulovitz who is a music instructor in the School for the Contemporary Arts, and director Sherry Yoon who is an alumna.

King of the Yees will be presented at Gateway Theatre from October 13 to 22. https://www.gatewaytheatre.com/yees

Exploring the idiosyncrasies of elections with Fight Night

By
EIC
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0
Fight Night takes the concept of how voters can be influenced to the stage.

With the US presidential election looming, politics and democracy are on many people’s minds. Fight Night explores the way democracy works and how easy it can be to be influenced by a candidate.

On the phone from Belgium, Angelo Tijssens — the writer and cast member who plays the “ringmaster” role in the show — explained that making a show where the audience could vote was an idea that their artistic director, Alexander Devriendt, had on his bucket list for a while. “It was something he thought he’d like to do one day.”

After Belgium went through a period of having no government, they began talking more about the idea of creating the show. “We had no government for 540 days. No party could form a majority, so we started talking about doing the show.”

The audience is given a device to vote electronically for their choice of the five actors after each segment of the show — similar to a televised debate — and actors are eliminated along the way.

The actors are not representing themselves as politicians, but they use the same strategies to gain audience support such as portraying themselves as the underdog or appealing to emotions. Tijssens said, “We wanted to make a show about what happens when you get to the voting booth; how easy is it to be influenced?”

The actors may be on stage for one segment or for the entire show, and often compete with each other to see who will last the longest. “Some actors are in the dressing room for 75 percent of the show,” explained Tijssens. But they’ve learned how use audience appeal to their advantage. As Tijssens said, “There are subtle little ways to bend the rules we’ve made for ourselves.” They never know how the show will end and have to prepare for any eventuality. For example, one segment is set up as a talk show where they discuss what has happened so far, and this scene has 128 different versions.

“It’s a battle, of course,” said Tijssens about elections. From the way debates are set up as win or lose affairs, to the many war and sports analogies used to describe them, they are seen as a fight among the candidates. “Before we had democracy we had to fight to decide who would rule,” explained Tijssens. “It’s still a battle, but now it’s semantic warfare.”

Another concept they wanted to explore through this show is the tyranny of the majority: the idea that a majority of 50+ percent can have all of the power, and the rest of the public has no say. “History has shown us that there is no better system than democracy,” said Tijssens. He believes there are simple changes we could make to improve it, though, such as reducing the amount of money involved in an election. “Money buys you votes, votes get you power, and power gets you money,” said Tijssens. It’s a vicious cycle.

Tijssens has never been to Canada (“the better half of the continent,” as he described it), and he is looking forward to spending a couple of weeks in Vancouver, with plenty of time to sightsee during the day before taking the stage at night.

Fight Night will be presented at the Cultch from October 18 to 29. http://thecultch.com/events/fight-night-2/

Five banned books you might want to read

By
EIC
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0
Sometimes the greatest books are the ones we're told not to read.

“The books that the world calls immoral are books that show the world its own shame.”

Oscar Wilde’s quote is perfect for capturing the spirit of Banned Books Week. Occurring annually from September 25 to October 1, it’s about celebrating the freedom to read. It is an important event that highlights the role literature has in challenging our society. Here are five books that stand out from dozens of banned titles, to get you ready for next year’s event.

1984 by George Orwell

Banning a book about surveillance and oppressive state organizations seems more than a tad ironic. The American Library Association (ALA) notes it’s one of the most challenged and banned books of all time.

Orwell’s novel highlights issues like surveillance, privacy, and free will. It was banned and burned by Joseph Stalin for its negative portrayal of communism. During the Cold War, many American schools also banned the novel.

Though 1984 was published in the late-1940s, it still remains incredibly relevant today.

The Lorax by Dr. Seuss

Even children’s books can be scrutinized. Dr Seuss’ The Lorax aims to teach children about environmentalism and conservation using the fictional and fuzzy creature, who “speaks for the trees.”

This simple message of sustainability quickly became controversial in the small logging town of Laytonville, CA, due to concerns that children were being “brainwashed” by the book. The conflict escalated and became known both nationally and internationally, creating a large conversation around issues of environmentalism, as well as academic freedom.

Habibi by Craig Thompson

Not even the graphic novel is safe from criticism.

Thompson took seven years to create this novel about child slavery and young sexuality. Appearing at the eighth spot on the ALA’s 2015 most-challenged book list, Habibi has been challenged for its nudity, sexual explicitness, and unsuitable content for its young audience.

Thompson’s work has also been examined for its Islamic content, and some say that it does a disservice to Muslim culture, particularly Muslim men.

The Satanic Verses by Salman Rushdie

The Satanic Verses is a novel from 1988 that explores themes of faith, identity, and the immigrant experience.

The novel was incredibly controversial among Muslims, with many saying that it was blasphemous toward their faith. This resulted in Rushdie receiving death threats, and also caused riots. Due to tension the novel caused, several countries banned the novel, and many US bookstores stopped selling the book.

Rushdie lived in hiding for over a decade because of this novel.

Fahrenheit 451 by Ray Bradbury

Fahrenheit 451 is about burning books. Bradbury imagines a future in which books are systematically burned, leaving a population that is apathetic and lacking critical thought.

Bradbury’s novel has been challenged several times by schools in the US for indecent language, and resulted in expurgated copies being printed for high schools. Bradbury claimed that his novel is about censorship, but is also about his fear of an illiterate society.

FOOD FIGHT: Bao Bei presents problematic dining

By
EIC
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1
The experience is just as important as the food, and a confusing environment makes for a confusing experience.

Bao Bei is a modern Chinese restaurant on the outskirts of Chinatown, an accessible 10-minute walk from Main Street SkyTrain Station. It’s critically acclaimed, but might make you bitter.

Let me start by saying it is not student-budget friendly, but if you bring a couple friends to share dishes with, it is very well-worth a visit. It is a unique restaurant, as stated on its website — whether it be for the positives or the negatives.

The signage and exterior are a blatant symbolic representation of Chinatown, but the moment you walk in, the ambience is startlingly Gastown. What made me uncomfortable about this isn’t the clean-cut, hipster, Western ambience when you walk in, but that they try so desperately to facilitate the exotic and oriental elements of Chinese cuisine. It’s very strange and slightly offensive.

The bartenders clearly know what they are doing. Trust me, you want one of their signature cocktails. All the juices they use in their cocktails are freshly squeezed, and it makes all the difference. The harty paloma was absolutely beautiful — a delicate balance between sweet and tart. They also have a finely curated wine list, with descriptions that are actually helpful in choosing the right wine to enhance your dining experience.

The quality of the ingredients Bao Bei uses are something they pride themselves on. All of their animal products are ethically raised and sourced. They also offer several vegetarian and vegan options, as well as many menu items that can be made vegetarian.

My recommended vegetarian dishes are:

The sticky rice cake (just make sure to ask them to make it vegetarian!). It’s delicious, and can easily be shared between two people.

The bean curd skin, if you want to try something different but surprisingly delicious.

The vegetable potstickers. They are made in-house by a woman named Helen, and wow, this woman must be a goddess, because the potstickers are incredible. The texture and flavour are perfect and the spices are not overpowering.

I would be hesitant to recommend the shan tofu. It is a vegan dish, but the chickpea tofu is almost slimy in texture. Although the flavours from the accompanying yuzu, miso, portobello, and sake vinaigrette are incredible, the texture did not sit well with me.

If you are looking for a new restaurant scene to try and are in the “treat yourself” mood in terms of finance, consider giving Bao Bei a whirl. I personally couldn’t separate the slightly unpleasant gentrification and orientalization of the restaurant from my meal experience, and left not knowing if I would come back.

Five beers to warm your autumn nights

By
EIC
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1
Nothing says autumn like a delicious craft beer.

I will confess, my love of beer only just began over the summer. Since that first blush with a floral ale, I’ve delighted in sampling lagers, stouts, and wits. Now, a new season welcomes a new array of brews. Here are some of my favourite autumn bevs, to keep warm on chilly October nights.

Storm Brewing – Vanilla whiskey stout. I actually tried this beer over the summer, but it seems best-suited to fall and winter. It’s spicy and dark, and the whiskey undertones keep the vanilla from becoming a saccharine sweet. If, like me, you’re not a fan of hop-heavy beer, this might be a good intro to the dark side.

Phillips Beer – ”Crooked Tooth.” Of course there’s at least one pumpkin beer on this list. This ale is light and a little spicy, but not heavy on the nutmeg and cinnamon. Phillips generally makes solid brews, so if you like this one be sure to check out the “Toothless” and “Crookeder Tooth” versions.

Steamworks – Pumpkin ale. In case the last pumpkin ale wasn’t enough, here’s another gourd-geous option. This one struck me as a wee bit softer and warmer than the Phillips Beer version, but both are very drinkable. Neither is too heavy, so you can drink either one — or both — all night without feeling like you’re stowing an actual pumpkin in your belly.

Postmark  — ”Oktoberfest.” I’m a sucker for floral beer, and for beautiful packaging. Postmark’s “Oktoberfest” has both going for it. This one isn’t spicy or pumpkin-infused, but it’s a light lager that goes down easily. If you’re looking for a darker option, Postmark’s stout was the 2016 Gold Medal Winner of the Canadian Brewery Awards, and it also has a highly Instagrammable label. You know, if that matters to you too.

Raven – Cream ale. I’m not always a fan of chocolate beer. It never really tastes like chocolate, which is more of a betrayal than my tastebuds can bear. The worst chocolate beer that I ever had tasted like fancy hand soap. This beer — a cream ale with notes of chocolate — is the perfect take. It’s not trying to be a chocolate bar; it’s just nutty with a hint of sweetness.

Meet the musician who’s doing a PhD for fun

By
EIC
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0
Tom Krell (How to Dress Well) mixes experimental and ambient sound with the immediacy of a rock star.

When How to Dress Well, the stage name for Tom Krell, arrives in Vancouver for a show at the Biltmore Cabaret, he’ll find loads of friends and family, and a city that’s ready to party for the last show of his North American tour for his latest release, Care.

He spoke with The Peak before his show in Dallas about what makes his show worth going to, what German philosophy and nihilism have to do with his sound, and what music is all about for this American singer-songwriter.

Though he specializes in an ambient and experimental sound, with a sprinkling of pop, Krell’s voice sounds raspy and almost rocker-like while performing live. “The show is really, really unique insofar as it’s extremely beautiful moments paired with really energetic and fun, loud and dance-y moments. I don’t think there’s anything else like it on the road right now. It feels special.”

For Krell, how the music feels is everything.

“It’s fun to do the live show because some songs just feel amazing, just the way the vocal melody sits in my body, or the way the guitar sounds or the drums rock.

“It’s such a naïve, bodily, very free and playful thing — the music writing — whereas as an act, philosophy is a discipline. It’s a totally different kind of game.”

As for whether his doctoral pursuit influences his music, the simple answer is no. “I mean, obviously, there’s a common thread between music and the philosophy studies, and that’s me. But they’re extremely different kinds of acts. Like, I also play a lot of basketball, but that doesn’t really affect my sound either. It does give me a lot of bodily pleasure to do that, and so does singing, so there is some common ground, but not really.”

As for how he juggles his philosophical pursuits with his life as a musician? “The study is just like, it’s not a career or anything. It’s just something I’m doing for leisure.”

Despite Care having only come out last month, Krell’s already thinking to the future. “I’m always writing. I’ve done a few songs in the last few months that I’m extremely excited about [. . .] I’m always just following these songs around, thinking of what feels really good, and always writing.”

How to Dress Well also likes to switch things up on stage, to play with the set list and make each experience something special. “Lately, I feel like ‘The Ruins’ and ‘Made a Lifetime’ — we did them back to back last night (in New Orleans) and it felt so fucking sick.”

Krell will be here to play as much music as he can. “Sometimes, when you’re up there [on stage] you’re like, ‘Can we just do every song? Can we just stay out here forever?’ And then the venue’s like, we have to close. We need to clean up.”

How to Dress Well will be at the Biltmore Cabaret on October 20. Tickets are available on Timbre Concerts’ website.

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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