The Great Canadian Tire Money Caper is great Canadian magic

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November 14, 2016

corinraymondphotobyjustinrutledge — Corin Raymond (pictured) managed to raise $7,000 in Canada's unofficial currency for the recording of *Paper Nickels*. *The Great Canadian Tire Money Caper* is that story.

Imagine going through security at the airport with $500 in stacks of Canadian Tire Money in your bag.

As Corin Raymond watched his bag go through the X-ray machine at YVR, on his way home to Toronto after a concert tour of BC, he couldn’t wait to see the look on the face of the security agent. “I thought, they’re gonna want to check this out,” said Raymond. “I was so excited about them finding this criminal amount of Canadian Tire Money in my bag.” But they didn’t spot it, and Raymond boarded the plane feeling like a gangster getting away with some kind of heist.

That was in 2012 when “the caper was at full blast,” as Raymond described. No, he didn’t rob a Canadian Tire and make off with the famed currency. It all started with a line in one of Raymond’s songs, “Don’t Spend it Honey,” in which he sings “Don’t spend it honey! Not the Canadian Tire Money!” and describes all the items he was saving up for. The song inspired fans to start donating their Canadian Tire Money (CTM) to him during performances. Once he found out that the Rogue Music Lab in Toronto, where he had already planned to record his next album, actually accepted CTM as a form of payment, that’s when everything came together.

After about 15 months Raymond ended up with over $7,000 in CTM and was able to fund the recording of his album, Paper Nickels. The experience inspired him to write his second one-man show, The Great Canadian Tire Money Caper, which he first performed in Hamilton in 2014 and has toured to fringe festivals across the country.

“It was a perfect storm of beautiful circumstances, of music, art, community, and generosity,” according to Raymond. As the donations of CTM flooded into his mailbox, so did the personal stories and pieces of people’s lives. They would include cards, artwork, and letters explaining what they had originally planned to spend the rewards money on. “People could get involved in this project for five cents, and they were investing in art,” said Raymond. The 150-page booklet that comes with Paper Nickels includes many of the letters and artwork Raymond received. “It’s humbling and inspiring to be on the receiving end of so much love,” he said.

Once media got wind of this story, Raymond was doing all kinds of interviews with outlets such as the CBC, The Globe and Mail, and the Toronto Star. He was even on the cover of The Wall Street Journal, who sent a correspondent to see the stacks of money for themselves.

“Canadian Tire got a lot of really great press. I know their stock increased in value during that time, and I think I had something to do with that,” he laughed.

Raymond gives credit to James Paul of the Rogue Music Lab for accepting the currency to pay for the album in the first place. Paul had been accepting CTM for 20 years, and Raymond said, “I think in the back of his mind he hoped someone would pay for an album with it one day.”

The Great Canadian Tire Money Caper is a piece of theatre about Raymond’s unique experience — something that could only happen in Canada. It’s also about the value of art and small acts of generosity. Not everyone will understand the poetic beauty of this story, and that’s a pity, but just like the $500-stack of bills that went through security unnoticed, therein also lies its magic.

The Great Canadian Tire Money Caper will be presented at the Surrey Arts Centre Studio Theatre on November 18, and Raymond will be in concert at the China Cloud in Vancouver on November 15. For more information, visit corinraymond.com

Staff Favourite Albums

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EIC

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November 14, 2016

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Good Grief by Lucius: One of my biggest regrets of 2016 is that I didn’t see Lucius when they were in Vancouver. Twinsies power duo. What more could you want. – Natalie Serafini, Copy Editor

1989 by Taylor Swift: She’s a snake but what can I say? She’s got the talent that brought her to fame and the money to prove it. – Matthew Fong, Layout Assistant

Absolution by Muse: The only good thing to come out of 2003. – Tamara Connor, Features Editor

Cults by Cults: The happiest music for hating yourself, and I’m all about that. – Alexa Tarrayo, Photo Editor

I Can Hear the Heart Beating as One by Yo La Tengo: The coziest album of all time by the best band you’ve never heard of. – Max James Hill, Editor-in-Chief

Andrew McMahon in the Wilderness by Andrew McMahon in the Wilderness: I met him and he is a pure little cinnamon bun whom I want to protect. – Jessica Pickering, Burnaby Distribution Manager

Grace by Jeff Buckley: Buckley’s voice, poetry, and face are absolutely fucking beautiful. – Janis McMath, Humour Editor

Take Care by Drake: Moody, introspective Drake with bangers. The best of both worlds. – Nick Bondi, Sports Editor

Soon it Will Be Cold Enough by Emancipator: I’ve written so many scripts with this album playing in the background. Good times. – Adam Madojemu, Multimedia Editor

Pilgrim’s Paradise by Daniel Caesar: Only Daniel Caesar could make angsty lyrics sound this beautiful. – Linda Shu, Layout Assistant

Vestiges and Claws by José González: He’s Swedish, he’s lovely, and this album is everything you want from indie folk. – Jessica Whitesel, Arts Editor

The beauty of math through the eyes of SFU’s Peter Dickinson

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EIC

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November 14, 2016

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long_division_rgb — The concept of writing a play that is about math might seem odd to some, but for SFU professor Peter Dickinson (pictured) it is par for the course. His latest play *Long Division* came out of one of his previous works *The Objecthood of Chairs*.

You may not think to look at the circumstances that bring people together as a mathematical equation, but Peter Dickinson, SFU professor in the department of English and the School for the Contemporary Arts, has written a play in which love is looked at through the language of math.

The impetus for Long Division comes out of one of his previous plays, The Objecthood of Chairs. “It’s about a relationship between two men, told through chair design,” said Dickinson. One of those men, Paul, is a high school math teacher. Dickinson wanted to explore this character further, along with six others, and use mathematical concepts to explain the way all of the characters come to be aligned. “The story unfolds as a mathematical equation,” he explained.

The play begins with the language of a word problem that you might find on a standardized test — figuring out who will arrive first with different people using different modes of transportation. This is how the characters come to meet up at a bar, and the story maps out their relationships mathematically.

“I tried to strike a balance between mathematical language and a lot of mathematical references while explaining it in a human way that people can understand,” explained Dickinson. “There is a way in for specialists and others to appreciate it too; I’m playing with mathematical concepts but trying not to make it too complex.”

For example, set theory is explained using cliques in a high school, and various concepts such as the number zero, infinity, and the Fibonacci sequence are referenced. The science of patterns, and how they relate to the characters and the events that connect them, all form the basis of the play.

The story is set in the school where Paul teaches, and the other characters include parents, students, the school’s principal, a bar owner, and an Imam who uses the gym at the school. “I wanted to balance sharing who they are as individuals, through monologues, with the larger story as well,” said Dickinson. He can’t say much more about the plot, though, or it would give away the way everything coalesces at the end.

The theme of finding beauty in mathematics through things such as structural elegance and the golden ratio is inspired by a quote from mathematician G. H. Hardy: “Beauty is the first test: there is no permanent place in the world for ugly mathematics.”

According to Dickinson, math can be beautiful, and it can also be comforting. “You can count on numbers and count with numbers,” he said. They are reliable, unlike people, but we also have to learn to be comfortable in a space where there is uncertainty and we don’t know the answers.

“Infinity can be overwhelming,” said Dickinson. Some concepts are hard to wrap our heads around if we think about them too much. “We become intimately connected through chance events,” explained Dickinson. “There are only small spaces between us, and we’re only particles colliding into each other.”

The show also includes some elements of physical theatre, with choreography by Lesley Telford. Telford worked with director Richard Wolfe to find moments when choreographed movement could enhance the story. “The movement often shows us the psychological state of the characters during their monologues,” said Dickinson.

“I hope people leave the theatre thinking a bit more about random connections, and making something out of nothing,” said Dickinson. “These are just questions I’m asking the audience to ruminate on.”

Long Division will be presented by Pi Theatre from November 17 to 26 at Gateway Theatre. For more information, visit the theatre’s website.

Canada doesn’t need nickels anymore

By

Peak Web

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November 14, 2016

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After the eradication of the penny began in 2012, Canadians naturally speculated about the potential removal of the nickel.

Some organizations, such as the credit union Desjardins, argue that the nickel should be eradicated in the next five years. The change would logically entail the adaptation of other coins, such as the quarter, to stop measuring five-cent increments of value.

A massive overhaul of our coin system would undoubtedly be needed, with perhaps 10-cent, 20-cent, and 50-cent pieces instead of 25-cent coins — an overhaul which, like any governmental initiative, is not without cost. For example, eliminating the penny cost Canada $38 million. Evidently, eliminating the nickel would be both costly and a hassle.

However, the costs of not eliminating the nickel are even worse. Minting it is a money-losing process: the similar American nickel costs 9.4 cents in materials to produce. Cutting government costs in the long run was one of the rationales for the Canadian penny’s removal, and it applies equally well to the nickel. It wouldn’t even be a novel move: countries such as New Zealand have eliminated five-cent coins, and others, like Australia, are strongly considering following suit.

The building effects of inflation render them further unnecessary. One needs look no further than the original reason that our country created such small denominations of currency to realize that society no longer needs such a low-valued piece.

The Bank of Canada targets two percent inflation each year, causing money to be worth less than it was the previous year — a process familiar to many frustrated consumers well-aware of ever-rising prices. While the annual change in value may be relatively small, over time, the effects of inflation grow drastic, with a dollar regularly losing half of its value in 35 years.

The Bank of Canada keeps records of the inflation experienced by consumers since 1914. From these inflation figures, we can determine the purchasing power of money over time. These calculations show that the value of the nickel in 1914 is equivalent to a value of less than a quarter of a cent today.

While it made sense for Canadians of 1914 to use nickels, they certainly never considered implementing a quarter-cent piece, simply because its value would be trivially low. However, today we mint and carry with us a coin worth less than a 20th of its original value. Canadians never intended or demanded such a low-valued coin, yet because we’ve failed to adapt to inflation, we pour money into minting these unprecedentedly useless coins.

Inflation is inevitable. While its eradication may have base costs, the resources we pour into making and carrying nickels each year will only add up as the value of the nickel goes down. Historical precedent shows that Canada has no need for a piece of such low purchasing power, so it would be best for Canada to leave the nickel behind as soon as possible.

Why going braless is flawless

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EIC

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November 14, 2016

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I hate bras. I have never been the type to buy cute, lacy, sexy, appliqué-smothered boob prisons. All my bras are black, plain, and push-up, because up until this point, society has told me that I need big, perky breasts to be attractive.

I am unfortunately a member of the itty-bitty titty committee, and have small boobs compared to my family and friends. While they boast double Ds, I struggle to make do by smushing my B-cup breasts into tighter bras with extremely high push-up promises.

Until recently, I consistently purchased overpriced fabric chest cages in hopes that I could better fill in dresses and achieve a perfect hourglass figure. But due to a mix of nipples coming into fashion again and my slacker tendencies, I decided to try going sans bra for a week.

The first day of my braless adventure wasn’t bad. I discovered that winter is a good time to start foregoing bras: since you’re wearing so many thick layers and warmth trumps cleavage, no one will ever know.

But my first time wearing a T-shirt without a bra was not so simple. I could prominently see my nipples showing through my shirt, awkwardly drawing too much attention to themselves like a millennial on Twitter (i.e. me).

I almost decided to stop my experiment, but luckily stuck with it. What I realized was that most of the time, no one actually cares. I got just about as much attention drawn to my breasts as I did with the push-up bras, which was a welcome surprise. I did get one pair of high school boys whispering to each other, “She’s not wearing a bra!” on the 145 bus, but my internal response was, “Yeah, and it’s awesome!”

The greatest change I have noticed after being braless these past few weeks has been in my confidence level. The once self-conscious, boob-oppressing me has become a boob-loving, self-assured woman.

I am not afraid of a little nip. After I stopped hiding my nipples behind layers of padding and fabric, I came to terms with the way my boobs looked. And I grew to like them. I stopped trying to morph them to look like what I thought other people wanted, and I let them be themselves. For years I thought I wanted bigger breasts, but all I really needed was an empowered view of my self-worth.

Sometimes I do have to make exceptions. It’s annoying to do physical activity without a bra. Even climbing up stairs really fast feels uncomfortable. So I do wear sports bras to the gym out of necessity, but change out of them when I’m finished. I’m not about to go burn all my bras, because sometimes they have a place in my wardrobe, but they are no longer an everyday accessory.

Life is so much easier without bras. My chest feels lighter, literally and figuratively. The feeling you get when you take off a bra feels so good. The feeling of never having to put one on in the first place feels so much better. I don’t have indents in my skin from having a wire poke me all day. I don’t struggle with loose bra straps. I don’t have to scoop my chest fat into place for optimum cleavage distribution, and I don’t have to feel bad for having smaller tits. I am free.

Give male birth control a shot

By

Peak Web

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November 14, 2016

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Acne unapologetically blooms across your skin. Your mood shifts rapidly and unpredictably. Your libido is up or down like a rollercoaster, and whether you realize it or not, you might be sinking fast into depression.

If you read this and thought, “How terrible and unreal,” because you’ve never experienced any of this yourself, then I’m happy that you’ve never had to worry about these symptoms of hormonal birth control.

Which is not to say, of course, that these problems apply only to users of birth control. I just want to draw your attention to the realities of a risk-riddled treatment that millions of women worldwide deal with, because those same long-lived realities were all it took to kill a study of male birth control.

The Journal of Clinical Endocrinology and Metabolism recently dropped this bombshell, revealing the development of “birth control shots” for males. These shots were 96 percent effective, but apparently, one of the review boards was in quite a tizzy over a different percentage: the three percent of males who experienced depression while on the shot.

Thirty percent of women experience depression while taking female birth control, as Indiana University Bloomington biology professor Elisabeth Lloyd told CNN.

I’m confused. Did the people who cut this project just . . . not know what hormonal birth control entails? Or do they just not care that these symptoms have affected people who aren’t cisgender men for, like, ever?

Because when a birth control option has a depression rate roughly 10 times lower than the one preceding it, that’s not cause to stop looking into it. That’s great! That should be like Mardi Gras in your mind! That’s progress.

As a boy, who therefore has never had to take birth control, I don’t want to overtake the voice of a demographic that I’m not part of. I do, however, want to note all of the men who participated in this study who thought the birth control shots were a great idea.

Out of 320 participants, about 75 percent were down to continue with the contraceptive. Even among those who heard about the study and weren’t interested in the shots, there were men who spoke positively of making them publicly available. Public health major Timothy Lee, told CNN that the shots should be “a personal decision” as long as the potential effects were made clear.

Some doctors, like urologist Seth Cohen, talked about how hormonal birth control is just problematic in the first place. Cohen told CNN this breaches medical ethics, that “young people’s” brains are vulnerable, and that this really just means we need to take a closer look at women’s contraceptives and their problems.

To me, a breach of ethics is expecting women to subject themselves to worse health risks than what men would have to suffer for the exact same result. It’s expecting women to be the ones who most likely pay for that birth control, because not everyone has the luxury of condoms.

If you exist in a time and place where you have access to birth control when you need it, then you’re probably able to make an informed decision about whether or not the risks are too much for you to bear, and you have a right to do so.

If women have been doing this for decades, and men are willing to start, then I don’t know why we need to complicate this issue any further. There are people worldwide who would kill for such convenient, advanced birth control methods. Give us the option, if it’s there. And if you think there are better and brighter solutions? Look for them in the meantime.

Rent’s 20th anniversary is here

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EIC

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November 14, 2016

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Is Broadway a little too far and a little too expensive for you? Were you even born when Rent hit the musical scene 20 years ago? Never fear, fans of musical theatre: URP (formerly Uncle Randy Productions) has got you covered. For one week, November 15–20, URP has assembled what director Richard Berg called, “One of the strong[est] casts of any show we’ve ever done.”

Both Berg and the production’s lead, Darren Adams, spoke to The Peak to give us all a little taste of Broadway before they light up the stage at North Vancouver’s Centennial Theatre. They’ve been rehearsing for months — Berg’s favourite part of the staging process — while Adams is super stoked to step into the big shoes other actors have left for him.

For many people here in Metro Vancouver, seeing Rent has been a distant dream, despite there having been tours and other almost-local tours of the production. Berg has been able to see not only the original production, but the Canadian tour, and the original Broadway cast tour when they visited Seattle several years ago. Meanwhile, Adams has never been able to see a live production of the show, so he is going make the role of Roger his own. “It’s kind of a pros and cons sort of thing,” he said. “I don’t have anything to compare myself to other than the recorded tracks [. . .] I’ve known the show inside and out forever.”

It’s safe to say that Adams is a fan. Berg is as well, although his love for the show is more nuanced. Despite being a director of musical theatre, Berg admitted that, “I’m one of those odd people in musical theatre, in that there are more musicals that I dislike than I like [. . .] I tend to be drawn to the more rock/pop-based ones and the ones that are more performance energy-focused, as opposed to heavy plot-driven ones.”

Rent has always been one of those musicals that most people enjoy, and that a lot of people fall in love with. On the characters, Adams said that “Collins and Angel are kind of everyone’s favourite characters . . .” Adams’ single favourite is Collins and, despite the fantastic original performance by Jesse L. Martin on Broadway (and in the movie), the production’s own Chris Olson “does an amazing job as well.”

Berg and Adams also agreed on their favourite number, both overall and from their own production. “Another Day” tells the story of Mimi finally convincing Roger, as put by Adams — a guy who’s been “going through a lot over the past year or so up until the point of the show [. . .] all the demons that he’s wrestling with” — to get out there and start living again. She convinces him that there is positivity and life even when you’re diagnosed with AIDS which, if you’ve seen the musical or know the story, is an integral plot of the show.

The scene “is one of the strongest in our production,” Berg noted. He added, “[Adams]’s a very gifted performer and does a phenomenal job in this show, but that’s a number where he really shines.”

Don’t miss your chance to catch Rent. Who knows when it will come back, and a 20th anniversary edition is bound to be extra special. More information at URP and tickets at Centennial Theatre.

Students get a discount: $36 instead of $44 for regular shows November 16–20, or $28 for the preview performance on November 15.

NEW MUSIC FRIDAY

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EIC

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November 14, 2016

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Follow The Peak on Spotify to stay up to date on New Music Friday.

“We the People . . .” – A Tribe Called Quest

Jessica Whitesel: I always forget how great rap can be. When there is focus on social justice and issues that black and POC communities face, it’s straight fire. That’s the focus of this song and while it isn’t going to be the soundtrack to getting lit in the club, it still is a banger nonetheless.

Tegan Gallilee-Lang: Daaaang, it is so baller when the backtrack cuts out like that. All the lyrics in this song had me going “Boooooom. Equality, bitch!” Must add it to my post-election angst playlist.

“Me and Your Mama” – Childish Gambino

JW: This song is stupid long and doesn’t really do too much as a standalone song since it is cinematic as fuck. This wouldn’t be out of place on any number of soundtracks, but it is too long to just sit and listen to.

TGL: DONALD GLOVER JUST PUT OUT A NEW TV SHOW WHERE DID HE FIND THE TIME TO DROP NEW MUSIC!!?? That man is a superhuman. The track is really great though. When you’re listening don’t give up on it too quickly, it really kicks in about halfway through. The screamy-singing is definitely a departure from Gambino’s usual mellowness, but I dig.

“Immigrants (We Get the Job Done)” – K’naan feat. Snow Tha Product, Riz MC, Residente

JW: After the disaster that was the US election earlier this week, this song has so much more urgency than if it was just another song from Hamilton. Also I’m a sucker for rapping in Spanish so that’s pretty great.

TGL: Yo, this week’s playlist is T-O-P-I-C-A-L. The Hillary dig stings, but the song overall has empowerment potential. It makes me happy that all these different people got together to rap and sing about their shared struggle, ya know? The Spanish rapping is the definitive highlight, though.

“Dandelion” – Sad Eye

JW: I guess it’s OK, but it’s been done sooooo many times already. Girl sings in a weird strained lower voice, bass and electronic plinks come in, then the backing track drops out, and then she starts to sing super high and the song stops. It’s old and not really worth listening to.

TGL: Her singing and melodic lines remind me a lot of Tove Lo — but a lot better? Like she definitely sings with more nuance. The song is super catchy, too. I would turn this up and jam out to it in the car.

“Cocoon” – Milky Chance

JW: It’s classic Milky Chance, but kind of slowed down and I can’t decide if that works for me or not. It’s not a bad song, but I might have to listen to it a few more times before I can make any sort of call on this being either a good or bad song.

TGL: Nothing special. I would probably come to like it if 102.7 The Peak made it one of those songs they play non-stop.

“Ghost in the Wind” – Birdy

JW: I want to like Birdy because she does have talent, but I just can’t. There is something about either the production or the type of songs that she ends up singing that I just don’t like. This is another one of those. It’s too slow, too high, and doesn’t go anywhere until almost the very end, but it’s too little too late.

TGL: I don’t like the piano’s sound. Too tinny. Otherwise, the song really builds. I was reluctant to keep listening, but the payoff was worth it. Loved the contrast between solo Birdy and Birdy avec ghost chorus.

“On Hold” – The xx

JW: I guess that this an OK song, but I’ve tried listening to it about six times now and all I’m getting is background music. So maybe it isn’t that great.

TGL: The rhythmic singing in the chorus is so cool! Otherwise kind of a dud. I was still thinking about Birdy.

“I Would Like” – Zara Larsson

JW: This sounds like every other Zara Larsson song and by extension every other pop song out there right now. It’s OK but it isn’t new and doesn’t stand out.

TGL: Song about sex because that’s what will sell, right? Wait, Zara Larsson, you would like to get to know me under where? I didn’t catch it the 30th time. Bleh.

“What the World Needs Now Is Love” – Rumer

JW: I mean, the song is correct, the world does need some love right now, and I did think about this song right after I found out that Trump won. I would have maybe liked a version that was sped up just a touch, but this still is a good version.

TGL: This is a high school choral arrangement waiting to happen. That I would want to hear.

“Secret Stash” – Dragonette feat. Mike Mago

JW: This is a fun song and I would dance to it at the club, but if you are trying to get anything done, I would say skip this one.

TGL: Stash of what? I missed it. I would probably only ever listen to this song about drugs (or it could be Halloween candy, who knows?) again if I was on drugs. So not great chances.

“The Valley” – Keshia Chanté

JW: I didn’t know she was still making music. I remember her from when I was in middle school or something like that. It doesn’t seem to really go anywhere — kind of like her career.

TGL: Dang, I was excited when I saw this song was by Keshia Chanté. “Been Gone” was some A+ shit. This sound is a lot like Banks’, which is cool for Keshia Chanté but for the music world is nothing super innovative.

“Overture” – Dave Grohl feat. Taylor Hawkins, Nick Raskulinecz

JW: I’m confused as to where this song is coming from. I know that the Foo Fighters are currently on hiatus, but this is also 2/5 of the band. It’s great drumming and guitar playing, but that’s about it. I guess it is what it says it is — an overture — but unless you have a part written in for cannons like “1812 Overture” you can sit the fuck down and stop.

TGL: This a rock thing that I’m supposed to know about, right? Why is there no singing? What an anticlimactic ending to an otherwise actually-OK-this-week playlist.

Movember is still a viable movement

By

EIC

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November 14, 2016

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As we draw closer to Movember, get ready to hear from many that because moustaches no longer equal a mandatory accumulation in research funds, there’s no point to growing them.

Despite this claim neglecting the fact that Movember has raised over $446 million since 2003, this month is about more than sponsorships for facial hair. Movember advocates for awareness about men’s mental and physical health, while simultaneously encouraging early cancer detection.

So, what about those hipsters who sport the most fashionable modes of facial hair all year long, or those men who can’t seem to sprout one hair above their lips? How are they contributing to the quest for men’s health? Well, the idea that all men must grow beards to support prostate cancer research — or that if they already have a moustache, they’re not doing it for a good cause — are nothing more than common misconceptions.

Whether the choice is personal or one made by stubborn hair follicles, not all men need to modify the way they look to support the eradication of a terrible, terrible disease. That’s almost as preposterous as saying, “There’s no way you can support breast cancer research because you don’t have boobs.”

People can find other ways to support the cause. Besides, when some men look as creepy as Kip or Uncle Rico with a moustache, it’s better for all of us when they choose to be a part of the campaign by different means — perhaps by sporting some moustache gear instead.

Yes, the campaign has been the source of some unrest over the years for the problematic implications many have drawn from it. It employs archetypal masculine mottos such as “Real men, growing real moustaches, talking about real issues,” which once again reduces masculinity to physical characteristics like facial hair. It’s also been used as an excuse to shame women for their own body hair.

Nevertheless, completely boycotting an event that fights cancer is just unreasonable. Whether we like it or not, there is a new case of prostate cancer every 2.4 minutes according to the Prostate Cancer Foundation. Nothing will be done about it by simply sweeping the issue under the carpet.

Movember promotes a sense of community for males by reinforcing a supportive environment for afflicted men and their well-being. Until the people who criticize Movember find a better way to tackle the plethora of illnesses that affect the male population, they have no right to complain about a project that brings widespread awareness and funding to men’s health.

The year Pandora’s box exploded

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EIC

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November 14, 2016

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Kylie Jenner eloquently stated at the beginning of the year that 2016 was the year for “realizing things.” I wonder if she could see the disasters developing before us. Among the many ruthless acts of terrorism all throughout the world, it seems the realities of the Pandora’s box have poured over the West.

June 12: Omar Manteen took a gun, killed 49 people, and wounded 53 others in Orlando at a gay night club. The world analyzed his ethnicity, his religion, and his sexuality.

June 16: British MP Jo Cox was brutally murdered, and the media received criticism for not labelling the white perpetrator a “terrorist.” People asked whether this would have been the case had the perpetrator been a man of colour.

June 23: When the police officer allegedly responsible for the unlawful death of Freddie Gray in Baltimore was acquitted, some asked why only #BlackLivesMatter and argued that #AllLivesMatter. Others called this racist.

June 24: When Britain announced that it would be leaving the EU, the island divided. Racist and xenophobic hate crimes ensued.

November 8: When Trump was elected as president, the Trump HQ yelled “Lock her up” while the other half of the population labelled Trump misogynistic, bigoted, and corrupt.

In light of these events, we criticized, yelled, meme’d, labelled, and further split our world based on race, gender, and sexuality. Social media reinforces our beliefs and further divides us. We smack ideas into each other’s faces without even a glance or a thought; as a result, we do not heal.

As soon as the results of the election were announced, Twitter lit up with a graphic that established what the outcome would have been if only millennials had voted. We immediately labelled the baby boomers as wrong, as racist, and as sexist.

There’s a reason why we called the US election “Brexit 2.0.” This election relays all the same ideas of racism, and ageist remarks, as what the Brexit referendum vote posed, with the added touch of homophobia and bigotry.

We can criticize Donald Trump all we want. We can share the same articles, like each other’s statuses, retweet that same meme thousands of times, and delete our Trump supporter friends off of Facebook; but doing so only further enforces this divide.

We need to use our anger, our motivation, our fear, and look to find rational solutions to combat bigotry. Let’s speak to and level with those who disagree, and try to use our knowledge to unteach the ignorance that we so often see.

I’m not ignoring the fact that Britain voted to leave the EU due to racist ideations. I’m not ignoring that the US population voted to elect a president who views women as objects, with a vice president who believes in conversion therapy.

I do, however, believe that the American voting system has created a platform for people to validate themselves and these ideas — ideas that many have worked hard to lock up and squash in Pandora’s box. But the box has exploded, and it’s not being rebuilt any time soon.

It’s time we begin to understand that we’re all striving for the same things we wanted 50 years ago: workplace equality, ending racism, breaking the glass ceiling, and abolishing homophobia.

It’s time to change the conversation. Our world is far from the accepting place we all believe it should be.

As stated by Naomi Klein: “So let’s get out of shock as fast as we can and build the kind of radical movement that has a genuine answer to the hate and fear represented by the Trumps of this world. Let’s set aside whatever is keeping us apart and start right now.”