I’m an overachiever, and here’s why
[dropcap]I [/dropcap]am a self-proclaimed goody two-shoes. I never skip class, always have my readings done on time, and always write a completed draft of my term papers a week before they’re due. Hell, I’m even writing this article well in advance of its due date.
As the embodiment of a responsible and conscientious student, my behaviour has been teased constantly. I’ve endured eyerolls and the oh-so-original insult of “nerd” by my peers. I learned to keep quiet when they complained about how stressful their semester was, how they were so behind on their readings, and how they still hadn’t started their papers that were due the next day. When enrolment dates came around and they were frustrated about not getting into their classes, I kept my mouth shut and my early enrolment date a secret.
Silence has become my golden rule, as I could never relate to stories of pulling all-nighters while drinking Red Bull and coffee. After all, nobody wants to hear about time management skills or responsibility. The few people to whom I’ve divulged my GPA or scholarship details usually silence themselves immediately. They nod with wide eyes, then awkwardly proceed to change the subject.
All throughout elementary and high school, I never felt like having good grades was something to be proud of in my circle of friends. It was the strangest paradox, as good grades were the ideal that many strived to achieve, but those who had them seemed to be best-off keeping their accomplishments to themselves. Needless to say, I learned that the golden rule of keeping silent about my grades was key to keeping my friends.
I learned that the golden rule of keeping silent about my grades was key to keeping my friends.
But what many people don’t understand is that there is also an underlying reason I push myself to do well. My family immigrated to Canada six years ago with the intent of providing educational opportunities for my brother and me. After seeing my parents work long and hard to get us here, I’ve never taken their efforts for granted.
During times when I was tempted to skip class, the thought of the incredible time and money they spent for me to be able to go to a university like SFU killed the thought real quick. Going to class and doing my best in school is a small way for me to show how much I appreciate them.
My dad, who is one of the most driven and hardworking people I know, encouraged me to seize every opportunity I could when we moved here. One of his favourite phrases is, “If you finish 95 percent of a task and leave five percent incomplete, it hasn’t been done to its fullest.” Because of him, I began to step out of my shell by deciding to join clubs at SFU, and pursue a co-op term. Much of my determination and work ethic come from him, along with putting 100 percent of myself into everything that I do.
So yes, I’m a nerd, in all her organized and studious glory. I am a nerd who has moved countries, goes after new experiences, and works her ass off. A nerd who, after being silent for years in order to fit in, wants to be freely proud of her accomplishments for once.
Call me any name you want, but this is one label that I will proudly own.
COLUMN | TIM’S BIT: Multitasking doesn’t exist
Tim’s Bit: Tirades on our stupidest things. . . is a web-exclusive column featuring Tim Mottishaw’s comedic tirades on some of our humanity’s dumbest problems, with regards to culture, society and politics. Read more Tim’s Bit here!
[dropcap]H[/dropcap]ow did we become so connected to our devices that the idea of focusing or ‘monotasking’ ceased to exist — or became one of those things your grandparents used to do?
Attention spans are getting shorter, and multitasking is becoming a required trait for even basic tasks like watching television. It’s rare today to find someone focusing on one task at a time. We watch TV while scrolling through Twitter feeds on the side. We converse with friends next to us while we type on our phones. We write articles that have hyperlinks or memes in them.
Not all forms of multitasking have negative results. It’s long been understood that music can have an effect on how you focus. Some studies have even shown that how well you focus actually depends on how much you enjoy the music playing. Some people study with rock or jazz in the background — I study with classical music playing.
In this case, music while studying or doing housework becomes something to help you hone your focus to the reading, sweeping, writing, or other task at hand. You can watch TV or a movie and still knit, if you are a skilled enough knitter. Yet trying to watch TV while playing Candy Crush more often is just ‘task-switching’ over multitasking, without you really realising it. The worst part is when you accidentally miss that ‘oh my god’ scene in your favourite TV show because you were activating a colour bomb on level 135.
The key is that the music requires passive attention, where playing on your phone requires active attention. It’s a question of the complexity of the tasks or the focus required. This is why you are not allowed to text and drive at the same time, or why there are very few people, if any, who can text and talk at the same time.
I get it. We think that because we can have two conversations with two different people on WhatsApp at the same time, there’s no difference. Yet, there is. Those chats are not happening at once. It’s one message and then the next — and even this task-switching has limits.
There has been a trend lately for people to focus on the conversation with the person in front of them, phones face-down or in a basket over dinner. Similarly, teachers are asking students to turn their tech off in high school classrooms. It’s a matter of focus. New studies even show that we learn better with pen and paper than we do with a laptop.
It’s also a matter of respect. The prof spent time building her lesson plan for you to learn. Your friends made an effort to show up for dinner with you. We need to start remembering to return that focus and effort, and to not be tricked into thinking that “Oh, one sec” is acceptable simply because you think you can.
Maybe multitasking results from a fear of missing out, maybe it is simple conditioning, or even a myth that has taken hold as fact — sort of like the idea that Einstein was bad at math as a child, or that humans have only five senses. I think that multitasking is actually more a bunch of hooey than fact. So turn your phone off, look at that one task or person in front of you, and focus on them. Everything else will be there when the task at hand ends.
Trust me, if the world ends while you’re there in that moment, having your phone won’t even matter.
NEW MUSIC FRIDAY
By: Sarah Finley, Max James Hill, Courtney Miller, and Jessica Whitesel
Follow The Peak on Spotify to stay up to date on New Music Friday.
“All in My Head (Flex)” – Fifth Harmony feat. Fetty Wap
Jessica Whitesel: I can understand the mass appeal for Fifth Harmony, but I personally just don’t get it. What are they flexing? Or is the sexual partner supposed to be flexing? Also the overall feel of the song fits with Fetty Wap’s style, which is pretty one note, but what can you do?
Sarah Finley: The combination of Fifth Harmony and Fetty Wap isn’t something I ever would’ve imagined, and this track is definitely more Fetty Wap’s sound than Fifth Harmony’s. It’s the sort of catchy that will have me singing it while driving when it inevitably comes on the radio, but not the kind that I would show off to my friends.
Max James Hill: I actually totally dig this! Fetty is in fine form here, and it seems like he’s trying a different flow here rather than just remaking “Trap Queen” for the 10th time. And Fifth Harmony is no Destiny’s Child or Haim, but I appreciate the simplicity of the hook and how the song’s clearly not trying to pretend it’s any deeper than it is. Totally acceptable beach party song.
Courtney Miller: Fetty Wap seems to be reaching to get his notes and lyrics across which is a stalwart contradiction to Fifth Harmony’s seamless, precise notes. Other than that, it’s a decent R&B track that has a splash of island life in it.
“The Getaway” – Red Hot Chili Peppers
JW: This is more the sound that I am expecting from the Chili Peppers in 2016. It is a throwback to some of their non-singles on some of their early releases, which have always been relatively consistent in terms of sound — except for Stadium Arcadium. It is them, but grown up. Anthony Kiedis could be doing more vocally, but that is more of a nitpick than anything.
SF: Unpopular opinion: can the Red Hot Chili Peppers just stop making music already? After so many band member changes, it’s just time to call it quits. This track follows their signature sound — slow vocals and hi-hat heavy percussion. If you like RHCP, you’ll love this because it’s exactly the same as everything else they’ve created.
MJH: Listening to “The Getaway” is like getting sprayed in the face with Axe and being force-fed a pound of beef jerky. It reminds me of being in grade eight and not remotely in a good way. I’m with Sarah — the Chili Peppers need to throw in the towel.
CM: Fully approved as a Peppers song. Signature vocal melodies, up-tempo instruments, and that Peppers-spacy quality.
“It’s You” – BØRNS
JW: This song is slow, sad, kinda jazzy, but also feels electronic. I don’t know how to feel about it other than it confirmed that I really don’t like “ooooo-ing.” So because of that I would probably skip this song if it came up again.
SF: BØRNS is in my list of top favourite artists, but while he’s usually more electro-pop, this track features slow piano chords and wistfulwishful vocals that are anything but.
MJH: I unapologetically love most Sad White Boy Music™ and this is no exception. Sounds to me like a more radio-friendly Radiohead, which I can get behind. Probably not something I’d ever download, but I definitely enjoyed this listen.
CM: Emotional, powerful vocals backed by soft piano. “I won’t cover my scars, I’ll let it bleed.” You go BØRNS, own that pain, friend.
“Animal Style” – Biffy Clyro
JW: This song is just weirdly angsty. But it is like a gross preteen kind of angst. This is like pop-punk but without the pop or the punk. It’s also like the non-alcohol light beer of songs, so like gross but drinkable tap water — if you are thirsty enough.
SF: This sounds like the kind of track you would overhear blaring from the emo kid’s earbuds next to you on public transit. This song is 60 percent electric guitar, 30 percent snare-heavy percussion, and 10 percent aggressive lyrics angrily yelled at the audience.
MJH: This is the kind of song a 12-year-old blasts after his mom tells him to clean his room one too many times. It reminds me of a more toothless Queens of the Stone Age. I honestly didn’t even think this kind of music still had an audience. Hard pass.
CM: If you miss your pop/punk/rock circa 2005 reminiscent of Fall Out Boy — but not FOB, more like the bands that tried to be FOB — then give this a shot. It’s a fairly general song of that era and good for headbanging.
“On Fire” – Raleigh Ritchie feat. Chris Loco
JW: I really liked Raleigh Ritchie’s album You’re a Man Now, Boy. I am hoping that this was a reject from that album or him doing a solid for Chris Loco. Like, for fuck sakes Raleigh Ritchie keeps saying he is on fire, have you never heard of stop, drop, and roll? Or is this Chris Loco dude actually as much of a dick as his name makes him sound, and wants Ritchie to burn to death?
SF: Beginning with slow and gentle piano chords, a string section, and soft vocals, this track does an impressive 180 about a minute in with a bass drop, transitioning into synthesizers and irregular drumming. Difficult to pull off, Raleigh Ritchie and Chris Loco manage it with no problem.
MHJ: Why would anyone put the time and energy into making this song? Whom does it serve? Why are we here? What’s the meaning of life? Are we destined just to waste our time with meaningless distractions until we leave this mortal plane, no wiser for the experience? These are all questions I posed myself to distract from listening to this pile of trash.
CM: Poignant piano notes with well-executed lyrics make this a slower jam that’s worth a listen. It’s not anything new — we’d be hard-pressed to find genuinely new stuff — but it’s well-crafted and doesn’t stay in one place for too long.
“Unforgettable” – Sia
JW: This is a forgettable song. So thank God for small miracles. It is like this weird bastard child of jazz and classical music, was watered down and then stuck in the early-1950s Disney washing machine, and then the dirty laundry water was packaged. Sia can do better and is better than this disaster.
SF: Sia’s unique voice reminds me slightly of Amy Winehouse here with long drawls and a powerfully wide range of notes. Backed up by the classic Disney Pixar instrumental sound (harps, violins, cellos, flutes, and a subtle horn section in the background that crescendos for dramatics), I can perfectly imagine Dory swimming along in the sea to this track.
MHJ: Before checking the Spotify playlist I thought to myself, “Weird. This sounds like a Disney song or some shit.” Then I checked and, turns out, it is a Disney song or some shit. Still, it doesn’t really take advantage of Sia’s incredible vocal range or ability to sell complicated emotions — compared to something like “Breathe Me” or “Chandelier,” it’s pretty tepid, and got me about as excited as the thought of a Finding Nemo sequel.
CM: I wonder how many people won’t realize that this is a cover of Nat King Cole. . . regardless, Sia does it justice and adds her own spin. It’s good if you want something with an older pop/R&B feel instead of what you usually get these days.
“Pull Up” – Wiz Khalifa feat. Lil Uzi Vert
JW: I wonder how rappers pick their names. Like Lil Uzi Vert, what does that mean? Literally it is “small machine gun green” — or “vertical,” depending on how you feel about using French names for colours. What does it mean?? Also this song is like T-Pain-light so YIKES.
SF: You know how sometimes rappers disappear for a while and you think you’ve seen the last of them, but then they pop up out of nowhere just to disappoint you all over again? That’s Wiz Khalifa. Peaking at “Work Hard Play Hard,” he should’ve just stopped while he was only a li’l behind, and this track proves it.
MHJ: Wiz Khalifa doing a half rate Young Thug impression while Lil Uzi Vert offers one of the most lazy, half-baked guest verses in recent memory? Yeah, no thanks.
CM: Auto-tuned rap? Nope. If you’re going to rap, then spit your lyrics rhythmically — you don’t need bloody auto-tune. Further, they sound like they’re dying a little and I can’t get behind a song that is this bad.
“Sunday Love” – Bat for Lashes
JW: This song is a super fun, middle of the road, not too sad, not too happy song. Also her voice is amazing! I will have to find other songs by Bat for Lashes because this is some of the best music I have heard in a long time.
SF: Light and quick percussion leads the track, quickly introducing feminine head-voice vocals and electronic instrumentals. Nothing particularly stands out in this track and it’s a bit. . . dull.
MHJ: Love Bat for Lashes. This isn’t my favourite of hers — I tend to like her either a lot sadder (see “Laura”) or more menacing (see “What’s a Girl to Do”), but this is definitely good stuff and I’m glad to see her putting out new music after the four-year wait following The Haunted Man. I’m all about this.
CM: Definitely pop-py, but it’s not the same stuff recycled over and over again. The vocals get a little ethereal during the chorus, which is interesting, but mostly due to the echoey effect. I could take it or leave it.
“Fick Feeling” – Samir & Viktor
JW: This song is just so fucking happy-sounding! It also has that special brand of I don’t listen to this sober, but when you are in a club this has the dance pop vibe to really get you into the night. Sober this is too much, but drunk in a club, yeah, I would listen to it and enjoy the hell out of it.
SF: Although I admittedly do not speak Swedish, I can tell that essentially the only lyrics to this jam are “fick fick feeling.” That being sad, this song, being upbeat and electronic-y, is both cute and worthy of drunken dancing in a club.
MHJ: Sounds like Spanish Justin Bieber so that’s cool I guess. But for real, was this a song that really needed a drop? Can we just get over our obsession with drops in pop songs already?
CM: I know I have heard this song before. In English. Please, branch out a little, otherwise it’s fine but it’s not great.
“Heatwave” – Robin Schulz feat. Akon
JW: No mas is right. No more. No more, Akon; no more songs about love and weather being the same time; no more vaguely tropo-Caribbean rainforest pop-songs; no more sing-rapping. NO MORE. NO MAS. NO ME GUSTA.
SF: Comparing love to heat — what an original idea that’s definitely never been done before. Acoustic guitar, shakers, and drums that sound like bongos (??) make this love song ridden with sappy similes more tolerable than most.
MHJ: I’m sorry, I just can’t take Akon seriously. It just sounds like he’s trying to sing in a really romantic, loving voice but he’s also got a head cold and can’t really breathe through one of his nostrils. I guess the beat is okay? Kind of reminds me of a tropical rainforest, for whatever reason.
CM: A fun yet laid-back tune about love being a heatwave. It was chill to listen to and would be good for studying those things that get you growly.
“Bitter Salt” – Jake Bugg
JW: You’re right, Jake. It is getting old. I might be on but it is fucking old. Lyrically you have the creativity of a tired five-year-old told to write a poem. But that same five year old doesn’t know what a poem even is because they haven’t been taught about them yet. So yeah, it’s on.
SF: Nasally vocals singing “it’s on, it’s on, it’s on” over and over again do not impress me. This track is exactly what the name describes: bitter saltiness. I don’t know who screwed over Jake Bugg this much, but if there’s one thing you can be sure of, it’s on.
MHJ: Apparently it’s on, or so Jake Bugg wants us to know. This song is pretty inoffensive and I like the nasally guitar sound in the post-chorus, but otherwise this is pretty paint-by-numbers. Like, middle of the road pop rock. Untoasted white bread and butter.
CM: His voice is almost shrill? I kept waiting for that to mellow out, but I was left hanging. That being said, it doesn’t make the song bad. It’s actually a pretty good higher-tempo track that actually kind of works with the shrill-factor.
“Why You Always Hatin? – YG feat. Drake and Kamaiyah
JW: Other than the fact that the “please tell me why you always hatin’” makes me want to Dougie, this is a pretty solid song. It’s catchy, and has that special brand of danceable chill rap that always reminds me of Biggie.
SF: Although Kamaiyah has released a few tracks before, this collab with rappers like YG (who’s easily the best part of this track) and Drake would’ve been sure to cinch her career — had she had a noticeable part at all. YG is easily the best part of this track, but I could go for less Drake and more Kamaiyah.
MHJ: YG is criminally underrated, and this song offers the same effortless appeal that’s made his recent work (especially My Krazy Life) so appealing. Newcomer Kamaiyah is instantly appealing, and Drake’s monotone delivery is actually a really good fit here. I like.
CM: Add it to the list of rap songs that are absolutely nothing special. Someone’s getting these guys down, so they make a repetitive track with questionable vocal ability about it. Next.
What you don’t know about Fraser International College
[dropcap]B[/dropcap]efore I start with a long rant about what you don’t know about FIC, why don’t I save you the trouble of Googling what FIC is in the first place. FIC stands for Fraser International College, and it’s a direct pathway into your second year at SFU.
To start with, FIC is your family, your home away from home. Being an international student in a new country, it’s comforting to be at an institute that only has other international students. It’s a place to make friends with people from various countries in the world. Though, truth be told no family is perfect, and FIC can be, at times, a dysfunctional family.
Fellow FIC student Katrina Mugume once told me that “FIC is like a box of assorted cookies. There’s literally a person from every continent in the world. It’s a great way to offend numerous people for the first time and correct your own cultural ignorance.”
Another nice thing about FIC is that you may not have exams during the regular SFU calendar. Instead, some teachers have final exams held in the last week of classes. It’s a highly competitive college, and once you’ve been accepted to FIC they will ensure you have a strong work ethic, so that once you’re finished you’re ready for anything.
FIC isn’t perfect, though. The classes are long: each class is four hours, and you have the option of taking it in the morning, afternoon, or evening. Can you motivate yourself to wake up for a class from 8:30 a.m. to 12:30 p.m.? Yes, this is just for one course. To make things worse, you could be stuck with an evening course from 5:45 p.m. to 9:45 p.m.
You don’t have access to a U-Pass, so you have to pay from your pocket to commute to school.
The distance to FIC is also a challenge. For those of you who do not know where the college is, it’s located in Discovery 1 — a.k.a. in the woods. Another unfortunate aspect of being an FIC student is that you don’t have access to a U-Pass, so you have to pay from your pocket to commute to school. Nonetheless, after facing all these challenges, you’ll be able to handle anything that SFU throws at you (and the added U-Pass will be the cherry on top!).
Did I mention the class sizes are relatively small, being at most 30 students per class? Depending on what kind of student you are, this could be a great or a not-so-great thing. For those of us, myself included, who like to disappear in a classroom — to sit back, relax, and open your phone to all the social media apps of your choosing — having a smaller class pretty much places you under a microscope.
This also means that, at some point during the four-hour class, the teacher will take attendance. However, on the plus side, you are given the opportunity to get to know your teachers and classmates, and the teaching staff are very supportive towards enriching your education.
So, if you’re considering attending FIC, or if you go to SFU and really don’t know anything about the college, you’ve now been given the basics. Take from this what you will!
Burlesque in the spotlight during festival season
The Vancouver International Burlesque Festival (VIBF) hit Hot Art Wet City and the Vancouver Playhouse earlier this month. For those who don’t know, the art form of burlesque is a combination of caricature, extravaganza, and parody, usually centred around the removal of the player’s clothing.
The festival kicked off at the Wise Hall with Diamonds in the Buff, an industry appreciation night that included a red carpet awards section called the “Buffies.” Unfortunately the party was closed to the general public, but it was a wonderful excuse — not that the people of burlesque require one! — to dress to the nines and celebrate the unique, local community.
VIBF featured the TED Talks-style show, TIT Talks, at Hot Art Wet City. Speakers presented their stories and perspectives, with two different shows for both local and international talent. Presenters at TIT Talks included UBC associate professor in the department of anthropology and sociology, Becki Ross, for her work on the history of burlesque in Vancouver; April March, the “First Lady of Burlesque,” who started doing burlesque in 1952; and life partners Mat Fraser — of American Horror Story: Freak Show fame — and Julie Atlas Muz, an award-winning performer.
The first show was the International Cabaret, featuring acts from globally renowned burlesque stars in classic showgirl acts — complete with rhinestones and feather boas — as well as comedic nerdcore performers who added a strong dose of satire to the stage. Living legend, April March, closed out the first half of the show to thunderous applause. Other acts included Axis d’Evil, the Luminous Pariah, Sweetpea, and Mat Fraser with Julie Atlas Muz.
Vancouver Uncovered featured a variety of local talent from Screaming Chicken Theatrical Society, the Vancouver Burlesque Centre, and other hubs of burlesque education. Hunter S. Johnson delivered a hilarious performance which comprised of moving from tacky tourist clothes to a crisp, sparkly suit. The Lost Girls provided cult neo-burlesque in an unconventional but sensual experience.
Tassel-twirling was a feature in many of the acts, and although some were lost (oops!) the performers carried on in confident style. Clothing was flung, poles were conquered, and the performances were amazing. There was never a dull moment, with hosts Betsy Bottom Dollar, Bastard Keith, Mister Nickel, Mat Fraser, EmpeROAR Fabulous, and Sailor St. Claire keeping the ball rolling and the jokes cracking between the main events.
If you couldn’t make it to the festival this year, there’s always next year. If you can’t wait that long, catch any number of local shows at the Fox Cabaret, the Biltmore Cabaret, the Wise Hall, or elsewhere. It’s a fun, flirty, and sexy night out on the town that you won’t forget. Be prepared for plenty of skin, boobs, and profanity — everyone’s three favourite things.
When you want to join in on the fun instead of just playing spectator, the Vancouver Burlesque Centre offers classes, workshops, and student showcases to show you how to strut your stuff and bare some fine skin.
CENTRE STAGE: Ballet BC closes 30th anniversary season and young talent shines in Arts Umbrella’s Expressions Festival
Program 3 – Ballet BC
May 12–14, Queen Elizabeth Theatre
Program 3 closes Ballet BC’s 30th anniversary season. Finnish choreographer Jorma Elo’s I and I am You and artistic director Emily Molnar’s 16 + a room are remounts first seen in 2013, and the third piece on the bill was a Canadian premiere, Bill, by choreographers Sharon Eyal and Gai Behar.
Eyal and Behar’s style is full of instinctive, animalistic energy. Bill opens with a lone dancer centre stage, clad in a full-body yellow jumpsuit and cavorting with an almost cartoon-like gaiety. Later in the piece, 16 dancers join him on stage, some of them standing in a circle and shrieking like angry birds. The choreography was pulsating and visceral, and the tight jumpsuits emphasized the statuesque figure of the human form. The piece was stunning and evocative, but the ending seemed sudden and unplanned.
Elo’s I and I am You presented a contrast between sharp movements, to place the dancers into specific positions and more sweeping movements that produced a hopeful tone. The lightest of the three works in terms of tone, it provided balance to the other works.
Molnar’s 16+ a room, as the title suggests, involves 16 dancers and a bare stage. The music is full of dissonant pops and crackles, and the dancers are dressed in shades of black and grey. With a wink at the audience, signs reading “This is a beginning” and “This is not the end” are paraded across the stage. The cohesive thematic message of Molnar’s work was very strong, and her choreography shone most when all 16 dancers were on stage moving together with the power of a locomotive and the grace of a swan.
Julius Caesar – Arts Umbrella
Expressions Festival
May 12, 14, 19, 21, 22, Waterfront Theatre
At just over an hour, this abridged version of Shakespeare’s classic political tragedy hit on the highlights of the play but, at times, felt rushed and lacking in depth. With a sparse stage and few props, the set design could be seen as rudimentary, but it did allow for the focus to be on the actors and their lines. The words of Shakespeare, after all, carry the play no matter the version, and these young actors brought out the relevance of this timeless story.
While some scenes felt a bit forced, there were many moments of intense emotional connection between characters, such as a heart to heart between Brutus (Raquel Neumann) and Cassius (Bonnie Duff). It’s difficult to overcome the audience’s anticipation for seeing Caesar slaughtered and the deaths that follow, as the conspirators begin to take their own lives and each other’s. These actors delivered Shakespeare’s difficult lines with ease. I commend the senior theatre troupe for taking on this immense piece of theatre.
The Drowsy Chaperone – Arts Umbrella
Expressions Festival
May 13, 15, 17, 18, 20–22, Waterfront Theatre
Before the lights come up, we hear a voice in the dark telling us that he loves the moment of anticipation when waiting for a show to start. He explains that in those moments he usually prays for the show to be short and for the performers to stay out of the audience. Finally, we see that the voice belongs to a man sitting in his living room beside his record player. He describes his favourite musical, The Drowsy Chaperone, and when he plays the record for us his apartment fills with zany 1920s musical theatre characters.
The plot of the show is simple: a showgirl falls in love and plans to give up her career to become a wife. Her producer tries to stop the wedding, and Aldolpho, the dimwitted stock European, sleeps with the wrong woman in an attempt to woo the bride. After plenty of musical numbers the show ends with four weddings and a sugary sweet happily ever after.
The Man in the Chair (Paterson How), provides commentary throughout the show. With great comedic instincts, I can see him easily fitting into the professional theatre world. Other stars of the show included the chaperone (played by Haley Goldin the night I saw the show). Once you get over the fact that she’s drinking while underage, her strong voice shows she is mature beyond her years. Likewise, Janet the showgirl (Abigail Holmes when I saw the show) showed off her own vocal chops, while Kitty (Katherine Matlashewski) played the ditzy wannabe showgirl perfectly. She reminded me of a young Frenchie from Grease, and I can see her fitting right into a show like that.
The Peak Board of Directors’ Meeting | May 26
Peak Publications Society Board of Directors Meeting Agenda
May 25, 2016
The Peak offices
Chair: Max Hill
In Attendance:
- Maia Odegaard (Board Secretary, non-voting)
- Max Hill (Editor-in-Chief)
- Tamara Connor (Collective Rep)
- Kevin Rey (Collective Rep)
- Thadoe Wai (At-large Rep)
- MuhammadQasim Dewji (Employee Rep)
- Jess Whitesel (Guest)
- Call to Order
- Approval of Agenda
- Approval of past minutes from April 21, 2015
- Financial update
Maia to present the state of the Society’s finances through April 2016.
- Discussion of Proposal to Divest from Fossil Fuels
Kevin Rey to present his proposal.
- News and Associate News stipend (tabled last board meeting)
Tamara to present the proposal on behalf of the news team.
- Infographic subscription proposal
Proposal written by Nathan Ross, presented by Tamara Connor.
- New couches for the office meeting area
Maia to present proposal to purchase new couches for the meeting area.
- Summer workshops in Minnesota
Some editors have expressed interest in attending the ACP/CMA summer workshops in Minneapolis, MN. The Board will discuss the feasibility of budgeting for this event.
- Adjournment
Peak Publications Society Board of Directors Meeting Agenda
April 21, 2016
Hub Restaurant
Chair: Max Hill
In Attendance:
- Maia Odegaard (Board Secretary, non-voting)
- Max Hill (Editor-in-Chief)
- Tamara Connor (Collective Rep)
- Kevin Rey (Collective Rep)
- Thadoe Wai (At-large Rep)
Regrets:
- MuhammadQasim Dewji (Employee Rep)
- Call to Order 6:12 p.m.
- Approval of Agenda
Kevin/Thadoe
All in favour
- Approval of past minutes from March 15, 2015
Tamara/Kevin
All in favour
- Financial update
Maia presented the spring budget through March 2016 (see appendix A)
Tamara/Thadoe
All in favour
- Investment update
Maia presented the Society’s investment portfolio through March 2016 (see appendix B). The investments are holding fairly steady.
- Pay increase for editorial team
BIRT all stipend positions receive a 10% pay increase effective May 2016.
BIFRT all job descriptions are amended to reflect the pay increase and will state that overtime will not be paid, but staff are able to apply for an additional stipend, subject to approval by the PPS Board of Directors.
Kevin/Thadoe
All in favour
- Adjustment of job descriptions
See further resolution in item 6.
- Leaving InMotion Hosting
Qasim and Maia to investigate other hosting services and the process of migrating from InMotion.
No vote.
- News Editor and Associate News Editor stipend
Motion tabled until item can be further discussed with parties involved.
- Desks
The board discussed moving all staff desk assignments to better accommodate team work.
No vote.
- Adjournment 7:37 p.m.
Approved by ________________________________ & __________________________________ on May 26, 2016.
Hedley wows hometown crowd
By: Courtney Miller and Eric Smith
Hedley took Rogers Arena by storm at the final show of the Canadian leg of their Hello World Tour. Francesco Yates started the show off strong with a solid, high-energy performance, complete with superb falsetto. He and his bassist even had some synchronized dance moves for the funky “Better to Be Loved.” Yates ended on “Sugar,” arguably his most well-known tune.
Carly Rae Jepsen took the reins next, opening with “Run Away with Me” off E·MO·TION. Most of her set came from her latest album, and sadly nothing from before Kiss was played. Her performance was intimate — she seems more natural and at home on a smaller stage — but spot-on. Surprisingly, she did not end on “Call Me Maybe,” though she did have the entire audience singing and dancing along. Instead, “I Really Like You” took the coveted finale slot to keep the singalong kicking.
Hedley introduced themselves with an inspirational video about #ChangeAgents. This initiative helps people recognize world problems and connects individuals to make a #Someday where those problems are fixed. Following directly was a small sitcom-style skit introduction, which got the audience laughing and ready for a fun, crazy night.
From the get-go, frontman Jacob Hoggard was bouncing from one side of the stage to the other, never letting up as the band exploded onto the stage to “Hello.” The band’s stage presence was phenomenal, with guitarist Dave Rosin and bassist Tommy Mac also moving freely about the stage.
The sound was great, the vocals coming in at a decent volume over of the drums, bass, and guitar. They played a sweet medley of their song “Never Too Late” sandwiching “Lean On” by Major Lazer and DJ Snake, featuring MØ, “Sorry” by Justin Bieber, and “Uptown Funk” by Mark Ronson, featuring Bruno Mars.
“Can’t Slow Down” was next, and I’m still not sure why they auto-tuned Hoggard’s great voice. Then they switched gears to older stuff like “Gunnin’,” “For the Nights I Can’t Remember,” and “Perfect.” The audience went nuts during “Lose Control,” thanks to the great showmanship from the entire band.
They also did a rendition of “Unchained Melody” dedicated to Hoggard’s Nona who was in the crowd. Next Hoggard appeared in the audience and serenaded the crowd with his acoustic guitar, before joining the rest of the band on the main stage.
The night was made even more memorable by an extra song, “I Won’t Let You Go (Darling),” that Hoggard added to the set-list because it was his little sister Amanda’s birthday. It was a sweet, touching moment — the soft beauty of the song mixing with the palpable emotion in his voice. There were some teary audience members by the end.
Hedley ended on “Anything,” and though I wasn’t a fan of the song when it came out, there’s something deeply moving and inspiring about so many people banding together, screaming “Fuck that, I can do anything.” The only downside to the evening was that drummer Chris Crippin was injured. He did, however, emerge at the end of the show to take a deserved bow with his bandmates and fill-in drummer. – CM
I rarely go to concerts because they’re overpriced in Vancouver. That said, I got a Groupon deal on Hedley tickets and decided, why the hell not.
When I got to Rogers Arena, I noticed I was surrounded by mostly pre-teens and likely many families from Abbotsford and Mission, that were there to support local talent.
As I took my seat, Francesco Yates and his afro took the stage with some wannabe Mick Jagger moves. Yates’ voice had excellent range and reminded me of the late-legend Prince himself. It came as no surprise to me when I later learned he won Breakthrough Artist of the Year at the 2016 Juno Awards.
After Yates finished, Carly Rae Jepsen got the crowd singing along to her international hit “Call Me Maybe” and ended with her more current hit “I Really Like You.”
I overheard one father say he only came for Carly Rae, and that he was going to leave after her opening act. To both that man’s and my surprise, Hedley blew us away.
Hedley opened with “Hello” — a great choice for an introductory song, and coincidentally the name of their newest album and tour. The setlist included new and old hits, as well as a cover of Justin Bieber’s “Sorry” and Bruno Mars’ “Uptown Funk.”
Lead singer Jacob Hoggard led a singalong on piano to the hit “For the Nights I Can’t Remember” and stopped to complain the Vancouver crowd wasn’t singing well enough, comparing us to Toronto. This sparked a huge reaction from his Vancouver fans.
Perhaps the highlight of Jacob Hoggard’s in-between-songs comedy act was confiscating a girl’s cellphone for texting during his concert. He went through her texts, making boyfriend jokes, which led to Hoggard calling the girl’s “daddy” on stage.
All in all, it was a memorable performance, and Vancouver fans definitely got their money’s worth. All of my expectations for this concert were surpassed, and I think it was because there was a “proud to be a Vancouverite” vibe that echoed throughout Rogers Arena. I left the concert a little prouder to be a Vancouverite, knowing we have incredible local talent. – ES
