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Kevin Morby brings the Media Club to its feet

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This man knows how to work a crowd, even if it is with bad puns.

An intimate night of music at the Media Club started with Jaye Bartell, a solo act featuring only Johnny Cash-style vocals and exquisite finger-picking skills on an acoustic guitar. Bartell’s voice was deep and soothing, despite also sounding melancholic.

He didn’t move around a lot, looking rather emotionless and a little nervous while he was playing. In between songs though, Bartell seemed to relax more and made small talk. His music is more folk than pop, but if that’s not your style, don’t fret — it grows on you as he plays. The crowd could tell there was talent in the house, as Bartell received plenty of applause at the end of his 30-minute set.

By the time Kevin Morby took the stage, clad in a beige blazer and bolo tie, the Media Club was packed. His type of pop is laced with rock and folk, with lots of percussion punctuating the songs. There’s a freshness to Morby’s music, and it’s hard to discern where it comes from. His sound is all at once comfortable, familiar, and yet new. It could be from the bluesy bass, the great rhythm, or toned down rock edge — but what I do know is that it was a great show.

Great musicality and a big sound helped Morby command the stage. The crowd emphatically followed the singer/guitarist’s lead, head-banging and dancing energetically to each song. People were standing on the furniture just to catch a glimpse over all the moving bodies.

He kept the crowd entertained between songs with various attempts at stand-up comedy. Let’s just say, it’s a good thing he’s more serious about music. A fan told him to name his next album “Pho!” (pronounced foe). To which Morby responded that it’s pronounced “fuh” but that it was a “fuh-nny” idea.

I think you can imagine the half-hearted applause and scattered groans which followed. However, his jokes did pass the time while he was tuning, and kept the audience engaged. It was even a little endearing to see him try so hard.

Morby played a new song, “Tiny Fires” to the great delight of the crowd. He also played fan favourites like “Miles, Miles, Miles” with his band, and did a few songs solo, including “Black Flowers.” It didn’t matter whether he had a band or not — every song was greeted with raucous approval by the audience.

For a Tuesday night, Vancouver partied pretty hard and it’s all thanks to the great talents of Bartell, Morby, and company. No one left the Media Club without a smile on their face and their blood pounding through their veins to the echo of the kickdrum.

dvsn makes performing live look effortless

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The duo started their tour off on a high note.

On June 8, Canadian R&B duo and recent OVO signings dvsn played their first show of their debut tour at Fortune Sound Club, to support their debut album Sept. 5th. The duo consists of talented singer Daniel Daley and producer Nineteen85, who’s become well-known for producing Drake hits such as “Hold On, We’re Going Home” and “One Dance. Think of electronic/trap R&B, with a lot of sexual innuendos mixed in the lyrics.

The evening started with the in-house DJ. At the beginning, he was trying to get the crowd going to not much effect. But once the place started to fill up around 10 p.m., there was a lot more energy to it. Of course, with dvsn signed to OVO, founded by Drake, you knew there would be some Champagne Papi songs, with remixes of “All Me,” “Controlla,” and “Still Here.”

Once dvsn got on around 11 p.m., they opened with probably their most recognizable song in “Try/Effortless,” with a snippet of Drake’s “Fire and Desire” mixed in. After “With Me” and “Do it Well,” they went into “Too Deep” — the definitive crowd favourite of the night, which includes some super sexual lyrics that they are getting well-known for. Other highlights included “Hallucinations,” and a Prince tribute with a cover of “Purple Rain.” It wouldn’t be an OVO concert without some more Drake as well, so they played their part from “Faithful,” one of the better songs off Drake’s new album in my opinion.

It’s very rare that you can hear an entire artist’s catalogue in one concert, but dvsn managed to play all 10 songs off their only album in just over an hour. They hit multiple high notes perfectly, and they sounded exactly like the album, which is not something that you can say for most acts. I had also never been to a concert at Fortune before, and I was pleasantly surprised at how good the acoustics were. The bass was thumpin’ and you could perfectly hear the vocals.

In all, it was a great concert. If you’re a fan of R&B such as the Weeknd, I definitely recommend giving these guys a listen.

Levitation Vancouver is set to kick off festival season

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King Tuff preforming at Rickshaw during last year's festival.

Summer has arrived, which means music festival season is swinging into full gear.

Although there has been some disappointment with the cancellation of the Squamish Valley Music Festival, there are still plenty of other festivals to fill the emptiness.

Levitation Vancouver is back for its second year from June 16–19, featuring artists with an emphasis on psychedelic or experimental sounds. Having gone last year, I recommend this festival to anyone who has the means to attend.

The festival is spread out between the Commodore and select venues. Groups such as garage rock band together PANGEA start the festival off on Thursday night at the Cobalt respectively, for some shows you won’t want to miss.

Tycho’s chilled out electronic ambience will fill the Commodore on Friday, changing the atmosphere from the psychedelic glam pop/rock from of Montreal, and surf punk sounds of FIDLAR.

Beachy surf vibes mark the midway point of Friday with Allah-Las, their music steeped in a 1960s sound reminiscent of the Zombies or the Kinks. Vancouver-based punk group White Lung rounds out Friday’s schedule for Levitation.

Los Angeles experimental electronic master Flying Lotus headlines on Saturday, and is sure to have accompanying psychedelic visuals to set the tone. Californian band the Growlers are set to play beforehand, with a sound that bridges rock, country, surf, and pop into the umbrella of psychedelia.

Another highlight of Saturday will be Thee Oh Sees. John Dwyer always brings a great energetic live show, and since he’s touring with two drummers right now it’s sure to be an excellent set.

Night-time shows will take place at the Cobalt, Imperial, and Rickshaw Theatre after the headliners finish at the Commodore. You can expect to see some great acts, with bands like Montreal-based Suuns, electronic synthwave artist Com Truise, stoner-psych heavyweights Dead Meadow, and mutli-genre/jazz-fusion/electronic bassist Thundercat.

A nice aspect of this festival is that you don’t need to pay for the full weekend, or even a full day. Tickets for the different venues are sold separately, so if you’re only interested in seeing a band or two in the evening you won’t have to break the bank. Or, if you’ve been at the festival since 4 p.m., you don’t have to feel pressured to go see another handful of bands later on in the night.

Administration allegedly mishandled three sexual assault allegations

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Three sexual assaults have allegedly taken place at SFU Residence, with the university being accused of mishandling the accusations.

In the midst of rolling out community consultations for SFU’s new standalone sexual assault policy, reports have emerged that this past year that administration may have mishandled sexual assault allegations from three students against a male student in residence. The mishandling could implicate the top levels of administration including President Andrew Petter, VP Academic Jon Driver, and Associate VP Students Tim Rahilly.

What happened?

The first individual alleges she was raped by the male student in October of 2015 while living in residence, according to The Vancouver Sun. The second alleges a sexual assault happened during the Christmas Break outside of campus.

Both students withdrew from classes shortly thereafter. It was in February of this year that the mother of one of the individuals wrote to President Petter to bring his attention to the issue. However, it was not until April that the mother met with several members of the administration.

What was the administration’s response?

It was reported by the Sun that the male student was moved to another residence — according to some reports, to an even larger room. Kurt Heinrich, a spokesperson for the university, told The Peak that the university conducted a safety assessment “in conjunction with the RCMP.”

Heinrich emphasized that the male student in question was no longer on campus, but would not say whether that was due to university action or some other reason. It is unclear whether the student is still enrolled in the institution.

He would also not get into the specifics of any other measures taken by the university, despite saying to The Peak, “We’re doing our best [to be] as transparent as we can.”

Several friends of the survivors have claimed that the university has encouraged them to keep quiet about the allegations. They also claimed that they have been physically threatened by the accused student’s friends.

What are they saying now?

As of now, Petter, Driver, and Rahilly have all declined to comment.

The Peak questioned Heinrich about why the university’s legal counsel was present at the April meeting if not to protect the university from liability. Heinrich said “that wasn’t necessarily the case,” but wouldn’t say why Li-Jeen Broshko, the lawyer, was present.

Heinrich refused to comment on many aspects of the story, including two of the female individuals withdrawing from classes, citing privacy concerns and a wish to not interfere with the ongoing RCMP investigation.

Said the Teaching Staff and Support Union (TSSU) in a statement made available to The Peak, “The SFU Senior Administration needs to take responsibility for their decades of inaction and start being part of the solution rather than silently perpetuating injustice.”

The Peak will update the story as more information becomes available.

 

The Peakeasy: Episode 3

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Since the Highland Pub is closed this summer, we’ve taken matters into our own hands and started The Peakeasy!
Drink of the Week: Wheat King

Stay tuned for weekly videos where we make cocktails and drink them and talk and stuff!

Shot by Adam Madojemu
Featuring Jess Whitesel, Nathan Ross, Maia Odegaard

About Time

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We address the philosophical topic of things we’re told about time in University.

Created by Adam Madojemu

The Peakeasy: Episode 2

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Since the Highland Pub is closed this summer, we’ve taken matters into our own hands and started The Peakeasy!

Today. we make another Cocktail!

Stay tuned for weekly videos where we make cocktails and drink them and talk and stuff!

Shot by Adam Madojemu
Featuring Jess Whitesel, Nathan Ross, Maia Odegaard

What Do SFU Students Think About Donald Trump?

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We ask SFU students what they think about Donald Trump.

Created by Adam Madojemu & Tatum Miller

The Peakeasy: Episode 1

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Since the Highland Pub is closed this summer, we’ve taken matters into our own hands and started The Peakeasy!

Shot by Adam Madojemu
Featuring Jess Whitesel, Nathan Ross, Tamara Connor, Maia Odegaard

Personal online photos: Why is it bad to compile an online obituary?

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[dropcap]A[/dropcap]t the end of last month, The Guardian posted an article by Rana Dasgupta titled “Posting photos online is not living. You are producing your own obituary.” The article begins by making large sweeping statements about tourists taking pictures and using them as “material for a personal online story” in lieu of truly immersing themselves in their travel experiences.

This opening sets the stage for the rest of the article, which can be best described as a rather incoherent attempt by Dasgupta to sound profound and edgy, while actually coming off as supercilious, assumptive, and poorly thought out. The main downfall of his argument is that it considers social ‘media-ized’ experiences and actual experiences to be mutually exclusive — which has about as much of a logical following as Scientology.

Cynical criticisms of technologies are hardly new; even Plato once quoted Socrates saying that writing “will create forgetfulness in the learners’ souls, because they will not use their memories; they will trust to the external written characters and not remember of themselves.” Older generations and Luddites have likely been skeptical of the new innovations used by younger people since the invention of the wheel. This is why I cringe a little every time I see yet another article added to the already superfluous amount criticising people for using modern technology.

Even if their criticisms are true in some ways, these technologies catch on because their cost-benefit is worth it. Condemning people for using them is being overly judgemental.

Dasgupta tries to sound profound and edgy, while actually coming off as supercilious, assumptive, and poorly thought out.

Despite the article’s title, I’m still not quite sure how Dasgupta reckons that our social media accounts eventually being used for obituaries is bad; personally, I’m fine with my friends and family having an easier time finding my pictures and listed life experiences after I’m gone, as opposed to having to scavenge to find such documents like previous generations may have. Most technology is made for the purpose of making life easier, and this is another instance of it doing exactly that.

Dasgupta claims that the things people post on social media “become significant only at the moment of death,” which only takes a quick glance at Facebook’s recent “On This Day” feature to refute; people look back at their old posts to reminisce all the time. The article really doesn’t provide any substantiation for this statement at all. I can only assume that he included it to show off his prophetic powers, foretelling the destiny of content submitted by people who use social media in a way he doesn’t approve of.

Both my favourite and least favourite statement in the article is, “In an era when people still believed in their own lives, they wrote autobiographies. We, by contrast, have become auto-obituarists.” First of all, plenty of people still write autobiographies. I’m not quite sure when this supposed era of people believing in their own lives ended, but I, for one, certainly don’t think of myself as fictitious. Also, autobiographies and obituaries aren’t exactly contrasting concepts, so I’m a little perplexed over what point Dasgupta is trying to get across here.

Overall, this article feeds into an already existing notion of media-use shaming. Sure, perhaps some people could greatly benefit from taking time off from social media to smell the ‘IRL’ roses; but that’s hardly something you can assume from noticing someone snap a few photos. It’s also entirely their prerogative, and they don’t deserve to be condescendingly judged for it.