APRIL 2019 LOCAL + FREE - CITR RADIO
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Vol. 36 | No. 03 | Issue. 408 April “that lucky magazine from CiTR 101.9FM” 2019 Local + Free
TABLE of CONTENTS When Uncomfortable,
APRIL 2019
COVER:PHOTO OF BO DYP BY COLE SCHMIDT.
A Lobster will Take
Off Its Shell to
Features Grow
05 - WARM NOTICE
here to support women, non-binary, POC and otherwise
marginalized BC musicians. EDITOR'S NOTE
06 - BO DYP
“I do have a life saturated in things that I have to care W HAT S HAP E D O Y O U R I N T E R S E C T I O N S M A K E ?
about in order to survive.”
In this issue you’ll read that we can express ourselves in any medium, and still be in
08 - THE STEW JAMS our roots; that intentions along with intersections will take unique personal shapes;
Celebrating the Energy of Hip-Hop that whatever your flavour; equal representation can welcome all; and that art-making
knows no borders.
10 - MAX AMMO Yours,
Filling and filing papers M’aritime N’8V
15 - R
USSIAN TIM
& PAVEL BURES ADVERTISE: Ad space for
upcoming issues can be booked
by calling (604) 822-4342 or
“the energy of these songs will be emailing advertising@citr.ca.
Rates available upon request.
super great.”
CONTRIBUTE: To learn how
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contact volunteer@citr.ca.
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We are always looking for
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DONATE: We are part of
04 - Filmstripped CiTR, a registered non-profit,
and accept donations so we can
Mino Bimaadiziwin provide you with the content you
love.To donate visit:
citr.ca/donate.
10 - On The Air
Bepi Crespan Presents
11 - Art Project !!!
By Max Ammo To inform Discorder of an
upcoming album release,
art show or significant
12 - RECORD STORE DAY MAP!! happening, please email
all relevant details 4-6
weeks in advance to
14 - April 2019 Calendar Mallory Amirault,
Editor-In-Chief at
editor.discorder@citr.ca.
18 - Real Live Action You may also direct
comments, complaints
Music + Comedy and corrections via email.
19 - Under Review
21 -
CiTR Program Schedule
22 - CiTR Program Guide
23 - March 2019 Charts
Publisher: Student Radio Society of UBC // Station Manager: Ana Rose Carrico // Advertising
Coordinator: Alex Henderson // Discorder Student Executive: Fatemeh Ghayedi // Editor-in-Chief:
Mallory Amirault // Under Review Editor: Cae Rosch // Real Live Action Editor: Jasper D. Wrinch // Web
Editor: Zoe Power //Art Director: Ricky Castanedo Laredo // Social Media Coordinator: Avril Hwang //
Administration Coordinator: Halla Bertrand // Charts: Myles Black // Production Assistants: Christina
Dasom Song // Writers: Hari Alluri, Sarah Amormino, Zainab Fatima, Mark Hjorthoy, Tate Kaufman, Amrit
Krishna, Leo Yamanaka-Leclerc, Valie Madejska, Lexi Mellish Mingo, Zoe Power, Cae Rosch, Vihaan
Soni, Jessie Stainton, Faur Tuuenty // Photographers & Illustrators: Max Ammo, Amrit Krishna, andi
icaza-largaespada, Matthew Lim, Alistair Henning, Kalena Mackiewicz, Jessica May, Terry Mota, Sunny
Nestler, Cole Schmidt, Coltrane Yan // Proofreaders: Mallory Amirault, Ricky Castanedo Laredo, Fatemeh
Ghayedi, Zoe Power
©Discorder 2019 - 2020 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 8,000. Discorder is published almost monthly by
CiTR, located on the lower level of the UBC Nest, situated on the traditional unceded territory of the hən̓q̓ əmin̓əm̓ speaking Musqueam peoples. CiTR can be heard at 101.9
FM, online at citr.ca, as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at (604) 822-2487, CiTR’s office at
(604) 822 1242, email CiTR at stationmanager@citr.ca, or pick up a pen and write LL500 - 6133 University Blvd. V6T 1Z1, Vancouver, BC, Canada.Di s co r der M a ga z i ne | APRIL 2019
FILMSTRIPPED
MINO BIMAADIZIWIN
words by Zainab Fatima // illustrations by Sunny Nestler
“So much was taken away.” words being Bangishimogikwe’s.
Grace Dove, who plays Bangishimogikwe,
J
im, a transgender Anishinaabe does an exemplary job at illuminating her
man, finds himself with the character as a young Anishinaabekwe who
opportunity to reconnect with his is strong, genuine and kind. I love what her
culture after meeting an Anishinaabekwe, character represents: she is proud of who
Bangishimogikwe. From the opening line she is, and conveys that in the way she
in the short film Mino Bimaadiziwin, one carries herself.
can tell that the film will be sentimental, When I watched the film, I saw Jim as
thought provoking and beautiful. someone who is struggling with identi-
This was the first time I watched a film fying himself. He doesn’t speak his
that is only ten minutes long, and I didn’t Native language and doesn’t spend much
expect myself to notice a new detail each time in cultural celebrations. Because of
time I watched it. It amazed me how the this, he initially doesn’t want to take up
film manages to compress such a detailed Bangishimogikwe’s invitation. Feeling out
story in such a small time frame. The of place is definitely a feeling that is familiar
editing, visuals, writing and characters to me; I saw myself in this position when
make it a subtly intricate and captivating my family moved to Canada. I was ten
work of art. years old, and Canada was so different from
The first scene opens to a beautiful view Pakistan and Oman. I felt odd and isolated
of trees and forest greenery, with the voice with the smallest things like my school
of Jim’s Grandma saying, “so much was lunch being different from others, which,
taken away.” The scene then cuts to her I’ve now found out, is a pretty common
telling a young child about the history and struggle for immigrant children. Similar to
struggles of their people. Grandma is my Jim, language was also something that I
favourite character in this film, because of struggled with.
the emphasis in the words she speaks. Aside After coming to Canada, I saw that kids
from the opening line, what also stuck my age spoke in English and not Urdu.
out for me was when she told the child to This was weird to me, and I didn’t feel
“follow the sunset to find the goodlife.” like myself when I spoke English at home.
One of the things I found most Even now, I realize that whenever a family
compelling in the editing was the way the friend comes over, I only speak to them touch with his culture. we’re connected to our roots, they are
camera would show two opposites consec- in English. Speaking this language is now But personally, I kind of like that. There always a part of us, and we can be proud of
utively: image of trees and sunshine with second nature to me. After living here for a are things left for the audience to interpret that. Being different, or standing out from a
Grandma’s sorrowful story, a shot in a car while I’ve gotten used to these things, and I on their own, and this can encourage people crowd is not a negative quality. It’s easy to
followed by a view of the woods, isolation sometimes feel that my Urdu isn’t as good to talk about the film and further connect forget this. Watching Mino Bimaadiziwin
within a social setting, and the best one of as it used to be. with one another. has been a powerful, but gentle reminder
all, Jim and Bangishimogikwe. This happened naturally as I grew up, The message Mino Bimaadiziwin delivers that there is more beauty in self-realization,
and there isn’t a specific moment that I can is timeless, but in a time of social media, it than anything else.
J
im is Bangishimogikwe’s contrast. point to and say “that is what changed matters even more. As a young adult, I was
These two are so different, from everything.” I think this sort of ambiguity deeply affected by Bangishimogikwe and *
the colours in their clothing, to can also be seen in Mino Bimaadiziwin, what she stands for, because I am vulnerable
their language, and worldviews. Despite and I can imagine that for viewers who to what is said about me, especially because
their differences, they come together as don’t share similar experiences or under- of how I portray my life online. It can
Bangishimogikwe invites Jim to return to stand the impacts of colonialism and inter- be difficult to stay connected with your
his culture, reminding Jim of his Grandma. generational trauma, this film might have heritage, particularly if you’re in a society
It’s poignant as the film is bookended with been a little confusing, because we don’t that is completely different. But the main
the first voice being Grandma’s, and the last know what specifically caused Jim to lose message this movie delivers is that however
4 F I L MST R IP P E D |Mino Bimaadiziwin9102 LIRPA | e n i z a g a M r e d r o c s i D
warm W ARM NOTICE IS AN EXCITING NEW NOT-FOR-PROFIT COLLECTIVE created to support
women, non-binary, POC and otherwise marginalized BC musicians. The collective was founded by artist
notice
and community organizer Amanda Nicole, who brings nearly a decade’s experience in artist and project
management, and even features a former Discorder Editor-in-Chief among its ranks!
In 2019, Warm Notice has partnered with nightlife and independent music mainstay The Lido to present The Lido Music
Residency. This program runs seasonally, with 4 residencies offered per year, and secures each recipient a paid one-month
performance residency at the iconic Vancouver venue. Artists in residence are guaranteed 2-4 evenings of stage time, which
can be booked within a single week or spaced across weekday evenings throughout the month, and are also offered the
opportunity to use an additional day for hosting a workshop or artist talk.
words by Zoe Power Applications for the very first residency, Spring 2019, have now closed, with the artist in residency soon to be announced.
But Warm Notice are actively seeking applicants for future residencies, and encourage artists of all different backgrounds,
illustrations by Terry Mota approaches, and experience levels to apply. We sat down with Amanda Nicole to find out more about Warm Notice, and to
ask what interested musicians need to know when considering The Lido Music Residency.
Who makes up the collective? How events over the years. It's a wonderful pointless, unless we could weave in marginalized for any reason to feel
did you come together? and safe space, there is a very serious ways to shine a light on that. A big comfortable to apply. Once an artist
zero tolerance for shitty, hurtful focus for us is finding ways to do that. is selected for the season we'll meet
AMANDA NICOLE: The collective in behaviour. The people who work there with them to plan out their residency.
its current form is me, Amanda Nicole, prioritize learning and adapt to what How is Warm Notice funded? Each residency includes live video
interdisciplinary artist and musician makes people feel safe and respected. documenting and recording which will
Casey Wei, and multidisciplinary artist A: We want to be totally transparent be given to the artist. Currently we
and editor Brit Bachmann. The three of We already know about the residency about where our money comes from offer $400 per residency, which goes
us started sharing ideas about a year project at the Lido. Are there other and where it gets distributed. We directly to the artist. We want this to
ago, and Warm Notice took shape. projects in the works, and/or dreams think it’s an opportunity to contribute be a useful opportunity during and
For me it feels like it's formed in part and schemes for the future? something educational for artists to following the residency. Our deadlines
as a response to feelings of isolation reference. Once we have any money for the summer, fall and winter
as women in music and a longing A: Our main focus is creating opportu- we’ll work towards creating a public residencies are still rolling, so find us
to speak freely, create and be heard nities to showcase emerging musicians document that is easy to read. The online and apply now!
amongst peers. We look forward to who have been marginalized in BC artist residencies currently are solely
having many more artists, activist and with the intent to further their career funded by generous donations from *
community members join the collective and/or export their music outside of our peers.
along the way. British Columbia and Canada. Our
first effort to do so is with the artist What do artists need to know if
Why the Lido? residencies. Earlier last year I started they're interested in applying to
reading about and listening to The Lido Music Residency?
A: The Lido was a really easy choice talks linking the treatment of
for us, I've worked there for four years women to climate change and it A:We hope musicians of all
and I took over the programming in blew my mind. I started reading different backgrounds, approaches,
January. Since day one The Lido has about the brutalities women face and experience feel comfortable
supported local music and artists, when climate disaster strikes and it applying, we especially want artists
offering hundreds of free concerts and made starting up a new project seem who are women, artists of colour or
ON THE AIR
REVIEW OF DOWNLOAD
-UKNOWN ROOM
words by Mark Hjorthoy
music" and create hard to categorize tracks "Longform" full length. Bubbling, sparkling
is a feat not many people could achieve. synths, and hypnotic grooves. Great
F
ollowing the news of the death of moved back to England, to concentrate on And "Unknown Room" is a brilliant sonic songwriting in a style that any techno head
Vancouver electronic music icon, other plans, which left a decision for Key masterpiece that fits into this mould. would be happy to hear on a dancefloor.
Phil Western, cEVIN Key has and Western to keep moving in this direction The opening track "Calling Monster The rest of the album switches from "III"
announced that "Unknown Room" will be or to change up the formula. Island" is a cheeky poke at their style. The era Download, to Puppy, to Phil's projects
the last Download album. If that wasn't Their decision led to Download being a fragmented beats, coupled with freaky seemingly random that makes you wonder
hard enough to hear, this latest album purely instrumental act. With Phil Western sequences that push and pull are punctuated "what are they up to next?" Unfortunately,
seems like the beginning of something. It's in the co-pilot's seat, "Download III" was with a sample from old Godzilla movies. we will never know.
impossible to say what that is now, but on born. A tremendously glitchy yet listenable This is pure Download, and is a great I believe "Unknown Room" will be a
first listen, it's obvious that a change was mix of melody, cacophony, and techno headphone listen for the record. great mystery for die hard Download fans.
happening. beats brought Download from an obscure The second track "Gaslighter" brings The changes hint at something that won't
Starting out as an experimental project "art noise" act, to "experimental techno" back old "Bites" era Skinny Puppy. With be revealed, and leave us with too many
by Key and Dwayne Gottel, (featuring and beyond. Each release since fell into this it's slowed down drum machines and questions. Never again will we be waiting
Western, Mark Spybey, Genesis P-Orridge, formula, even if loosely, and their fans were massive synth pads, you'd get the feeling to hear what's next. Thanks cEV, and RIP
Dan Handrabur, etc), Download's music was in favour of the change. that Key had this track around a long Phil, this one IS history.
tense, creepy, unnerving and full of vocal This newest and final Download release time. Add a bit of Tangerine Dream, and
treatments. Similar to Skinny Puppy in some "Unknown Room," makes an obvious Gaslighter takes you back to a time of too *
ways, but miles apart and more brutal in gesture towards yet another change. It's much eyeliner and big hair. This review was written by a contributor for
others. When Dwayne passed away in 1995, been rumoured that Western had taken "Happy Tribe Conspiricy" is where the CiTR101.9 FM's Bepi Crespan Presents radio
Phil stepped in as Gottel's replacement. over the majority of the project with "III," change is most obvious. This track to me show. To listen to Bepi Crespan Presents tune in
Following that release, and a tour of North and his style is all over every Download sounds more in line with Western's former to citr.ca or 101.9 FM every Friday 2pm -3:30pm.
America, Mark Spybey left the project and album since. Phil's ability to "get inside the project "Off & Gone," mixed with his
“Warm Notice” O N TH E A I R |Bepi Crespan Presents 5Di s co r der M a ga z i ne | APRIL 2019
F E A T U R E .
BO
words by Zoe Power
Photos courtesy of Cole Schmidt and Soleil O'Wadi
illustrations by Jessica May
T
for pre-planned choreography. Bringing he name Bo Dyp is a double
a background in contemporary dance to entendre referencing both the
their performance, Bo’s approach to drag term ‘body politics’ and the late
is less about rehearsed reveals and meticu- Kwakwa̱ka̱ʼwakw Chief and master carver
lously mapped-out flourishes than an in-the- Beau Dick, to whom Bo is loosely related
moment, embodied expression of their raw and from whose style they draw for their
connection with a song and an emotion. mask-inspired drag looks. Indeed, part of
A
lthough it seems, retrospectively, both perfect The impact of this profoundly honest what is so remarkable about Bo’s drag is
performance style can be felt in the that it does so much: continuing Dick’s
and inevitable, Soleil O’wadi hadn’t planned to responses which it garners: “I often have powerful legacy of bringing to life and
the experience of a quiet and still audience reinterpreting Kwakwa̱ka̱ʼwakw cultural
make their drag debut last Canada Day. In fact, while I’m on stage,” says Bo. “And a lot of heritage, while simultaneously offering a
people tell me about their experience of the complex exploration of the body politics
they’d left the city, and were intending to spend quiet and still audience. It’s always a cool with which they have experience. Bo’s drag
thing to experience for me: to just have the is informed by their intersecting identities,
the entire long weekend volunteering at an overnight camp. attention, and to have the space to share which include being queer, AFAB, and
what I want to share.” non-binary; mixed-race, with Indigenous
What Bo has to share goes well beyond and white-settler ancestry; a survivor
B
ut after experiencing transphobia what one may expect, or be prepared for, of sexual assault; and a person who
from a fellow volunteer, Soleil at a traditional drag show. In the 8 months experiences arthritis, depression, dysphoria,
decided not to stay, and found they’ve been performing, they’ve hushed addiction, and ideation of body death.
themselves back in Vancouver putting audiences across the city with their uncom- Unsurprisingly, Bo can find bringing
in a same-day request to the host of promising refusal to shy away from compli- these experiences to the stage exhausting:
Commercial Drag: “I had a horrible cated topics, and a visual style which “Performing is emotionally laborious for
weekend. Can I perform? references their Kwakwa̱ka̱ʼwakw heritage me, because of the content I perform. But
“And then I got ready in a couple of (Soleil is from the Dzawada̱ʼenux̱w nation, it’s also releasing, and then to have the
hours,” Soleil tells me. “I went to Value and bears the strikingly apt Kwak’wala positive feedback that I do makes it even
Village to get something to wear; went to name Kwa̱nxwalaogwa: “One Who more rewarding. But the other side of that
the dollar store to get my Canada flag, that I Possesses Thunder”). is people being like ‘you’re an asshole, you
drenched in fake blood. And yeah, I debuted But despite bringing attention, through made me cry!’ — saying these things that
the same day that I decided to debut.” their drag, to real-world injustices from they don’t need to say.
The politically charged, emotionally ongoing colonial violence to sexual assault “And then touching me nonconsen-
intense debut, performed to Highly Suspect’s and ecological destruction, Bo is hesitant to sually — like, here have a bunch of hugs;
defiant “My Name Is Human,” could describe their art as ‘activist’. Reflecting on I’m gonna touch your arm; I’m gonna rub
not have been better choreographed to the label, they tell me “I wouldn’t consider your neckpiece… People, I think, forget
introduce the bold and powerful style of Bo myself [activist], but I do have a life that performers are people. So I’m not
Dyp: the drag name under which O’wadi saturated in things that I have to care about just this shiny thing that is to be admired.
performs. But then, they aren’t really one in order to survive.” If you appreciate my work: pay me.
6 “Bo Dyp”9102 LIRPA | e n i z a g a M r e d r o c s i D . E R U T A E F
Thank me for my emotional labour, and Indigenous musicians (M’Girl, Frank Waln, violated Mother Earth — the silence is
give me some money.” Jeremy Dutcher, and Snotty Nose Rez Kids palpable even via Youtube.)
Although the emotional tax of perfor- have all served as inspiration for Bo’s drag But alongside these competitive
mance is exacerbated by these tendencies numbers) to starting off-stage conversa- milestones, 2019 has also brought success
within drag audiences, Bo is drawn to tions. “My make-up is sometimes inspired of a more personal kind. Shortly after their
the medium for its accessibility and the by specific artists and specific looks, so just VNDS success, Bo was officially adopted
nature of the platform it provides. Having having that and being able to talk about by established local drag sensation Gender
withdrawn from formal dance education as that with people [is important],” says Bo, Spice, marking the inauguration of the
a consequence of their arthritis, Bo explains who has modelled previous looks on masks House of Spice.
that “drag gives me space to dance, but to by Klatle-Bhi, as well as Beau Dick and For Bo, the adoption means a chance to
dance to my own ability, without pushing carvers from their own family. “It’s about collaborate with one of their drag idols:
my body too hard, and without doing it for getting all of us out there.” “They were actually one of the first drag
a very long amount of time.” artists who I saw and was like: ‘Wow.
Amazing. I’m so impressed,’” recalls Bo.
“It was my [very] first show that I went
“My main thing is Indigenous visibility: to, when I saw Gender Spice perform, and
I thought: ‘Woah. They are so cool. And
I want people to know that we’re still here, someday they’re gonna think I’m cool, too,
because I’m gonna perform.’ And then it
that we can engage with pop culture in a happened!” Laughing, Bo explains they
were drawn to the style of their now drag
way that remains true to who we are." zather because “they are really good at
genderfuckery. Just like — confusing the
audience. And that’s what you gotta do!”
A
Drag is also a tool to further what they s Bo’s star continues to rise in the *
identify as the primary goal of their practice: Vancouver drag community, they’ve You can find and follow Soleil O’wadi (Bo
drawing attention to Indigenous people, been bringing this mission and Dyp) on Instagram. Their work also appears
Indigenous art and Indigenous issues. “My message to ever more prominent stages. in the catalogue of the recent Hatch Gallery
main thing is Indigenous visibility: I want After winning Commercial Drag’s first ever exhibition Masquerade: Exploring Fashioned
people to know that we’re still here, that we “All Stars” event this January, they went on Resistance. To see them live, watch out for
can engage with pop culture in a way that to compete in the high-profile Vancouver’s their FernGully-themed Commercial Drag
remains true to who we are… like, I’m me, Next Drag Superstar competition, where booking this month, where they’ll perform
and I’m Indigenous, and I’m doing this other they made it all the way to the finale. both as Crysta and as Mother Earth.
thing that’s still me.” (Those yet to experience Bo’s drag can find
Through drag, Bo is able to showcase these performances online, including the
the work of other Indigenous artists; a finale in which they lip sync to Lady Gaga’s
practice which extends from performing to “Til it Happens to You” as an abused and
“Bo Dyp” 7Di s co r der M a ga z i ne | APRIL 2019
F E A T U R E .
the stew
jams
Celebrating the Energy
of Hip Hop
words by Lexi Mellish Mingo // illustration
by Amrit Krishna // photos by Coltrane Yan
A
s I turn on Binz by Solange and close the blinds so that my landlords don’t the opening cypher, the night is directed
into a showcase, where the core collective
catch me busting loose, I know I’m about to release some real shit. What’s members improvise with the live band.
The event's conception was directly
happening in our bodies as we throw limbs, twist hips, hop, and tap our feet? inspired by Kalmunity, a Jazz-based
performing arts and music event, that both
Self-expression. And it’s feeding an endless circuit of vibrancy, transcending the Larisa and Rupert experienced separately in
Montreal. The legacy of Kalmunity was the
body into surrounding space. What’s better than this? catalyst for The Stew Jams, but Vancouver’s
Stew Jams differs in its event structure and
creative conceptualization. Branching off
Obviously, doing it with others! The from Kalmunity Jazz focus, Larisa explains
benefits become infinite, and The Stew Jams that these jams seek to offer a more nuanced
has created a space for all flavours. As long perspective of Hip Hop, which includes an
as you bring yours, there’ll be enough for open-style jam in which anyone can get on
everybody. stage. “Hip-Hop started as a movement
In my own search for something more and a culture. It was a way for people who
fulfilling than dancing alone, I got the felt unheard to be heard. The Stew Jams
pleasure to meet with three very important is tapping into that.” In order to do this,
members of The Stew Jams, Larisa Sanders, Rupert adds that they “bring together
co-host and co-founder of the event, Chris different elements of Hip-hop such as the
Couto, band leader and organizer, and MC, the DJ, dancers, and occasionally a
Rupert Common, co-host and organizer. The graffiti or art installation.”
Stew Jams is a community Hip-Hop event
I
run by a conscious collective, charged by the n Vancouver, a Hip-Hop scene existed
diversity of people, sounds and expressions. long before the brewing of The Stew
Jam, “Years ago I was walking down
L
arisa, Chris, and Rupert each Main street and I bumped into Sara Kendal,
took part in creating The Stew for a youth facilitator and a Hip-Hop artist,
different reasons, but they all share a and a part of the group Metaphor, this
communal intention: to enable a safe space kind of old school, multi-element group
for expression by acknowledging the unique with Rup Sidhu (aka Rup Loops) and DJ
offerings of others. For Chris, percussionist Su Comandante, Kia Kadiri and Ndidi
and band leader, the energy of collaboration Cascade,” acknowledges Rupert. “I feel like
is what keeps him animated. “When I play I am a part of a generation who inherited
a dope beat and hear Rup feel inspired, and the torch they were carrying, and in turn,
Larisa is singing one of her favorite covers, we are carrying it onto the next people.”
that’s my favorite part,” he beams, “it’s Rupert’s first-hand experiences in
always nice to be in a space that’s bigger Vancouver’s male dominanted Rap
than you.” scene encouraged him to become an
Each night starts with an intention and innovator. “When I first got into facili-
a beat, but what carries the night forward tating Hip-Hop events I noticed the lack
is all in the timing. Channeling a collective of women and female rap cyphers. It
intuition, the group checks in with the would be all guys and the topics would
energetic temperature before they open be super aggressive and macho, misogy-
the space for the opening cypher to start. nistic and homophobic,” admits the MC,
“It’s really hard to freestyle if the energy “I’d go to hip-hop events and everyone was
is not in the room,” admits Larisa. After all hardcore and nobody was freestyling.
8 “The Stew Jams”9102 LIRPA | e n i z a g a M r e d r o c s i D . E R U T A E F
“ Equal representation goes with
the fabric of who we are and
what we do. ”
Where’s the Hip-Hop? Where’s the organic imposing patriarchy lingering in certain again featured Creeasian - a b-boy, DJ,
and sporadic?” In response, he collabo- venues, The Stew Jams has recently moved beatmaker and Grass-dancer with A Tribe
rated with several other people to create from their former location to Red Gate Arts Called Red / Original Rudes Crew.
the Freestyle Rap alliance, which has Society. “Everybody didn’t feel comfortable In the same way that the Stew Jams
eventually given way for his involvement in and safe in [the former location] space completed a year of hearty offerings by
The Stew Jams. The Stew Jams create a safe anymore. Even if it was just a couple of reminiscing the first ingredients that came
space for self-expression through empha- people, the trickle-down effect was just to play, each night ends just the way it
sizing the founding elements of Hip-Hop too much for us as a community event. It started: with an open jam and cypher.
with a uniquely Vancouver Flavour. wasn’t worth it, so we just decided to move Although making music, dancing, and
The Stew Jams practice inclusion and places,” tells Larisa. The new venue aligns freestyling alone is always going to reap
acceptance by acknowledging the bound- with the collective’s growing values of rewards, you can’t physically do it all alone.
aries and barriers that individuals in inclusion and accessibility. “The most amazing thing about The Stew
their community encounter. The group is the people,” says Larisa, “the people who
T
practices this by giving land acknowledg- his March marked The Stew Jam’s come are so beautiful and expressive and
ments, holding people accountable for what one year anniversary. “I remember open. The whole room just buzzes with
they say on the mic, and educating when a week before the first event I love from our community.” The Stew Jams
needed. At its foundation, the organizing was so nervous, and I asked Chris if he offers those who seek a safe space to give
team and collective are comprised of thought people would be able to do this and receive. By showing up, your energy
people of contrasting backgrounds and for an hour,” said Larisa. Chris responded partakes in filling space and complimenting
actively consider what that models in the to Larisa without doubt, “Yes of course. others and becomes an essential part of
community. “Equal representation goes They’re going to jam, and it’s going to be the stew. So, what’s the best part? The
with the fabric of who we are and what we ok.” In that same faith, Chris remembers, communal stew is always overflowing, so
do. When I see people on the stage with a “I just had a sense that everything was everyone goes home with some leftovers!
mic, it shows me that we made that person going to go exactly how it’s supposed to.
feel comfortable and safe enough to do Creeasian performed and each transition *
that,” radiates Larisa. happened so seamlessly.” With relief in
The event’s venue acts as the base of her voice, Larisa concluded that “[We] just
the Stew, determining how welcome an threw everything together and it worked!”
individual or community feel within it. Honouring the success of their first event,
In response to the deeply embedded and the one year anniversary of The Stew Jams
“The Stew Jams” 9Di s co r der M a ga z i ne | APRIL 2019
F E A T U R E .
words by Zainab Fatima // photo by andi icaza-largaespada // illustrations courtesy of Max Ammo
M W
ax Ammo, a local animator hen asked about the colour Unsurprisingly, immigration is a stressful want to do short films. I’ve been wanting
from Mexico City, is schemes in their art, Max stated and tedious process. Max explains that to create that, but you have to have time,”
currently going through that they don’t choose a palette feeling undervalued and unwanted is often they laugh. “I would really like to find some
the complex process of before drawing a picture, “I just do it [in] crushing, and makes it difficult for them to funding or find a part-time job that would
immigrating, a process which has been a the moment.” Sharing that the colour create art in general. But even then, they allow me to have time for experimentation
major influence in their creative practice. schemes in their animation don’t necessarily find the strength to not give up by sending and for production.” In these films, Max
With a notable emphasis on immigration, have a deep meaning behind them, but they personal reminders to themselves, “I’m imagines exploring the conflicts between
we also spoke an array of topics from do try to convey what they are feeling in here for a reason. My work counts. My life upper and middle class, with other themes
art-making, to magic and creating work their drawings. counts. And it counts more than the paper to include queer representation and magic.
despite or sometimes in spite of the And those feelings have resonated with that I have to fill.” I was curious to know why it was
adversity we face. Our conversation was their shared communities in Mexico. In When the immigration process is over something Max wanted to work with. “I
heavy, but Max’s endearing personality February, they posted their artwork on and Max decides to stay in Canada, they just really like the possibility of what you
and openness to share their experiences the Instagram page, Concha Electrica, want to experiment with film. “I really can do visually and how it can surprise
made the conversation approachable and a feminist collective from Mexico City. someone. In animation there’s the surprise,
engaging. Created by Max’s friends, the collective that ‘the cloud turned into something really
Interested in experimenting with multiple has grown in its diversity and has been a weird.’ I really like the element of surprise
forms: drawing, music, film, storytelling, positive platform for Max to share their art and I think that magic does that for me.”
each medium expresses itself uniquely. For more broadly and reconnect with Mexico But while the immigration process is
example, with their music, Max reflects City’s art community. still in progress, Max had some advice
feelings about the cultural climate they for anybody who is also going through it:
are in, whereas their drawings are a form “I’m here for a reason. “Keep all your papers in order! Keep every
of therapy. What does remain a constant My work counts. little single receipt, email, everything dated
across Max’s work, is working to portray when you send it. I was actually thinking
the obvious and not-so-obvious political My life counts. about making a Youtube tutorial of tips
climates we are living in. Max explains And it counts more and advices. I will do it in animation,”
that the struggles of the countries we live they laughed. Hopefully within the near
in are inescapable, so naturally, art and
than the paper that I future, we’ll get to see the magic of Max’s
art-making is directly influenced by that. have to fill.” animation turning the complex and
Using music to encounter themes such as often stormy clouds of immigration into
A
feminism and migration, Max explains that fter coming to Canada, the something surprising and weird.
their music is a space to reflect the topics workload of immigrating has
that are more serious for them. But beyond limited the amount of time and *
the seriousness of their music, Max find a energy Max has been able to put into their Max's Calendar piece (right) is positioned
lightness in other media. Most notably, this work. In some ways, more time-consuming vertically so you can pull it out and display it
lightness exists in their visual art, sharing media has stopped altogether, like pixelated on your wall along side our events calendar.
that drawing is what they use to distract animation, because they are only able to
themselves from the stress of the world. create pieces that can be completed quickly.
10 “Max Ammo”Map by Kalena Mackiewicz
Sunday Monday Tuesday Wednesday Thursday Friday Saturday
1 2 3 4 5 6
April · Claire Edwardes @ Fox Cabaret · Acid Mothers Temple, Yamantaka · Analogue Photography in a · Smino, Pheolix @ Vogue Theatre · TISH: George Bowering, Daphne Marlatt,
Maria Hindmarch, Fred Wah @ Griffin Gallery
· Quiet City #61: Hiroshi // Sonic Titan @ Fox Cabaret Digital Era @ Massy Books · Alien Boys, River Jacks, ATD, · Toast Collective Fundraiser w/ Sajia
Hasegawa, Michelle Helene · Tommy Genesis, Deb Never Amrit, · The Rare Forms, BB, Brutal Terminal City Rats @ SBC Sultana, Wut, Daniel Geddes, House Wind, fu-
ture star, Chris-a-Riffic @ Toast Collective
Mackenzie & Elisa Ferrari, naw E South East, Venus Kunt @ Fortune Poodle @ Astoria · RnR 8: The Infinite w/ Robyn · Space Elevator (album release), Phuture
2nd @ 255 E 2nd Ave. · Hell Night w/ Gorbman and Aaron · Haley Blais, Blue J, The Jacob & Emily Millard, Tin Memoriez @ Rickshaw Theatre
· Ian Badger, Cassidy Wearing, @ Little Mountain Gallery Living, Jenny Banai @ Biltmore Lorica, Accidental String Quartet · Pleasant Comedy @ Our Town
2019
· Flying Fish Cove, Sleuth @ The Avant-Garden
Matt Harvey @ WISE Lounge · Azure Leaf, The Galactic Cabaret +/-1, haggisbannock @ Toast · Blessed, Warm Amps, Primp, Swim Team,
· Sawdust Collector presents New Butterfly, Nicole Mikala @ Cafe · All Things Blue, Cantaloupe Collective Máscaras @ KW Studios
· The Pierce Kingans (EP Release), Sleepy
Works #16 w/ Julia Ulehla, Alex Deux Soleils Lounge, Dante's Paradise · Chris Ho, Fawkes, Hownd @ The Dog, The This, The Great Speckled Fritillary
Mackenzie, Justin Devries @ Gold · Preening, Ex-Softess, KNORML @ Static Jupiter Heatley @ Static Jupiter
Saucer @ Red Gate Arts Society · Dálava @ China Cloud · Red Gate Karaoke @ Red Gate · All You Can Eat Laundry @ Little Mountain
Gallery
Arts Society
7 8 9 10 11 12 13
· Creative Action: Rising Youth · IDEA Grad Show Opening Gala · Shared Madness w/ Jennifer Koh · Verboden 2019 Pre-Party w/ Verboden 2019 Verboden 2019 Verboden 2019
Media Arts Workshop @ Spartacus @ Harbour Centre @ Fox Cabaret Dead Leaf Echo, Left Spine Down, @ ASTORIA / RICKSHAW @ ASTORIA / RICKSHAW @ ASTORIA / RICKSHAW
Books The Wheal, Momy Fortuna, Diva · Lunchtime, Sleepy Gonzales · Janice Guy talk and book launch · CJSF's 16th Anniversary Party
· Sawdust Collector pres- Plagaluna, Sektion Tyrants @ The Roxy @ Emily Carr University w/ Devours, YEP, Jock Tears,
· Vanden Dool, Ace Martens, ents Dreaming Skies, Loscil/ @ Astoria · Ponytails, Peach Pyramid, Kin Girlsnails @ Red Gate
Rampant Lion @ Pat's Pub Magnanensi, Magik @ Gold Saucer · Intercept Augmentation @ Ground Kanyon @ Fox Cabaret · The Dead Zones, The Pierce
· DILLY DALLY, Chastity @ WISE Floor Arts Centre · Sigh, Echuta, Dixie's Death Kingans, Teak Physique @ The
· Hop Along, Summer Cannibals Hall Pool, Tissue @ KW Studios Greedy Pig
@ Biltmore Cabaret · Luv-A-Fair - Best of Klassix · My Favourite Feud: Old School · Ricecake: Songkran @ 238 E. 1st
· Garbage Sisters Improv featur- Nights & 80s Wrestling Watch and Discussion Ave
· Marin Patenaude & Cole ing the Compost Kid Players @ Little Mountain Gallery · Soda Fountain Sketch Comedy
Schmidt's Euro Tour Fundraiser @ Little Mountain Gallery · DELETE YOURSELF: Antwood, Goo, @ Little Mountain Gallery
w/ Cast @ The Heatley Matt Tecson, Rhi, ED @ RED G8
14 15 16 17 18 19 20
Verboden 2019 · Earl Sweatshirt, Liv.e, MIKE · Kobo Town, Compassion Gorilla @ · Dead Soft, Pet Blessings, · Ex Hex, Feels @ Biltmore Cabaret · Russian Tim & Pavel Bures (album
@ ASTORIA / RICKSHAW @ Commodore Ballroom WISE Hall Little Sprout, Akita @ Static · Leikeli47, Yung Baby Tate, Softieshan release), The Corps, YOU BIG IDIOT,
· Weird Flux Exhibition Opening @ Fortune The Greatest Sons, Aanthems, Modern
· Conundrum #6 w/ Sasha L Ford, Jupiter
· Big Business @ WISE Hall · White Denim, Son of Stan @ Rickshaw Terror @ WISE Hall
Jaime Yoonji Lee @ 240 Northern · Sawdust Collector presents Theatre · Leisure Club, Jessicka, Sleepy
St. Mixed Input (guest curation from · Quiet City #62: Paul Metzger, · Club Sofa, Sad Ally, Kylie V, Primp Gonzales @ Biltmore Cabaret
· We Know Nothing About Art
Katrina Orlowski), Plimley/Meger Fleshtone Aura, John Saint- @ Static Jupiter · Campfire Shitkickers Album Release
@ Little Mountain Gallery
· Co-op Radio's Podcasting @ Gold Saucer Pelvyn @ Toast Collective · No Likes, GRRL, Paranoid Romantic, w/Skum Shine, The C U Next Tuesdays
The C U Next Tuesdays @ SBC @ SBC
Workshop @ Red Gate Arts Society · Slam Dunk, Not Amused, Cave Girl, · Library, Faux Plums @ Blue Light
· Secret Service 01 @ Celebrities
Puzzlehead @ Red Gate Arts Society Sessions
· Spindle, Omianan @ Merge · Terrifying Girls' High School (album · Straight to DVD 3 @ Little Mountain
· Millennial Line @ Red Gate Arts release), Shearing Pinx, Ape War, Gallery
Ricecake: Songkran @ 238 E. 1st Society Balance @ The Avant-Garden
Ave
21 22 23 24 25 26 27
· Intro to Synthesizers for Women · Kero Kero Bonito, Jaakko Eino · Splendor in Space: A Drag · Dual Nature, Laverne, Nikola · Vancouver Noise Fest IX @
@ VIVO Media Arts Kalevi @ Biltmore Cabaret Odyssey @ HR MacMillan Space Death Ray @ The Avant-Garden Remington Gallery
Centre
· Emerge on Main w/ Matthew · John Q. Public, Dil Brito, · Emily Rowed (album release), · Brass, AK747s, The Dog Indiana, · Disposable Camera Project IV:
Ariaratnam, Julia Chien, Alex Trickledown @ The Semlin Manor Adera @ Fox Cabaret Hockey Moms @ Pub 340 Nostalgia E Hastings
Mah @ Fox Cabaret · Luciterra: Starlit Spectacular
@ Rickshaw Theatre · Camaro 67, Missy D @ WISE Hall · Aprilween 2: The Reckoning
· Sawdust Collector presents · L.o.x (PDX), Woolen Men (PDX), @ Red Gate
Adriana Contreras, Tin Gamboa Bedwetters Anonymous, Sylvia · Looking for Friends: A Comedy
@ Gold Saucer Wrath @ Red Gate Arts Society Show @ Little Mountain Gallery · Soft Cedar presents: Tariq (al-
ART PROJECT BY · Mixed Gems @ Red Gate Arts
bum release), Ings @ The Cultch
MAX AMMO
Society
28 29 30
· Iceage @ Astoria The Stew Jams · Intro to Audio Recording and
@ RED GATE ARTS SOCIETY Processing for Women @ VIVO
· Ora Cogan @ the Lido Media Arts
·
· Peter, Bjorn and John @ VENUE Get it right:
· - Happening around town
One one side you get
know this page pulls out! ·- CITR/DISCORDER
· Hey! In case you didn't other our annual and
Max Ammo's art and on the SPONSORED EVENT
our sweet calendar with about Max Ammo on
e Day Map. You can also read
totally useful Record Stor · - Happening at CiTR @ UBC
Pg.10 of the issue. - Can't Miss This!9102 LIRPA | e n i z a g a M r e d r o c s i D . E R U T A E F
RUSSIA N TIM & PAVEL
AVEL
I
f you haven’t moshed to a punk rock cover of t.A.T.u.’s
“All The Things She Said,” you’ve never truly lived.
Russian Tim and Pavel Bures are here to help with that.
BURES
BURES words by Cae Rosch
// Photo courtesy of Tim Bogdachev
T C
he band, fronted by Tim Bogdachev On April 20, to celebrate the digital impossible to see him confined to any one ommunity is the foremost element
long-time host of CiTR’s own punk release of the long-awaited EP, they’ll be role. From show promotion, to hosting of that experience. Tim describes
rock power hour Rocket from playing a release show at the WISE Hall, radio, to punk rock trivia, to playing in this a philosophy of punk rock
Russia, plan on releasing their first EP this and they clearly couldn’t be more stoked band himself — Tim is nearly omnipresent. community where bands support each
April. Finally, you’ll be able to practice about it. Though the band says the new EP, other, promote each other’s shows, and
T
your Russian at home and sing along at titled Greatest SuperHITS (So Far), won’t ogether, they bring their diverse break down the walls of musical cliques.
their many, many shows. “change anyone’s life or cure stomach flu,” experience and forcefully high To that end, the band will be joined at
Russian Tim and Pavel Bures exemplify and you probably won’t understand a single energy to a unique brand of music: the release show by five other acts (and
the strongest values of Vancouver’s local word of their mostly-Russian lyrics, they one that started with punk rock covers friends) — the Corps, YOU BIG IDIOT,
punk scene, and they’ve been a cornerstone are quick to reassure you that “the energy of pop songs from Russia and grew into the Greatest Sons, Aanthems, and Modern
of the community since they started playing of these songs will be super great.” its present whirlwind from there. Now, Terror. These are some of the band’s oldest
together two years ago. Tim, Kristy, Julia, Super’s a big word with Russian Tim and they feel it’s time to set those songs down friends, groups they’ve grown with and
Ilya, and Sergei embody the diversity and Pavel Bures, which makes a lot of sense for in a real recording, so they’ll be available collaborated with for years, and that proves
raucous enthusiasm of Vancouver punk. what is effectively a supergroup. Julia and outside the context of their enthusiastic this is not only a release show. When the
Of multiple national origins and musical Sergei both play in Stranded Hikers, an up yet inherently ephemeral shows. They’ve doors open at 6:30, it’s time for a full-on
backgrounds, they come together nearly and coming three-piece punk act, and Ilya recorded six songs with Stuart McKillop of party. For $10 ($15 at the door,) Russian
every week these days to play joyous, plays in multiple groups including Generals Rain City Recorders, and the EP is nearly Tim and Pavel Bures promise an evening of
wild shows to put the fun back in punk. of Monrovia, Zafirios, and Blue Wagon. ready for digital release across streaming friendship and celebration, musically forced
It doesn’t matter that the word “punk” If you’ve heard a trumpet on a track from services. And it’s only digital release. The upon you with their tried and true brand of
doesn’t have “fun” in it, because they’re virtually any Vancouver-area band, it was band explains, “Rather than spending reckless enthusiasm.
going to do it anyway. They describe probably Kristy, and the talented multi-in- $3,000 on vinyl, we would rather release They promise they won’t flake - they’re
their performances as “superFUN and strumentalist also sings and plays guitar more superHITS.” They’re not going to Russians, after all. They just want to see
megaENERGETIC,” capslock and all, and for Rong (another supergroup, where waste time on money on pressing records you at the show. It’s time, Tim says, for
they’re in no way exaggerating. No one has she’s joined by three of the other raddest and CDs when they could be creating even “great success!!”
as much fun as hyped up Canadian punks women of the Vancouver scene, including super-er FUN, even mega-er ENERGY, and Unsurprisingly, the multiple exclamation
shouting in broken Russian as they bounce Emilor Jayne of Pet Blessings). Tim himself even more HITS. It’s not the objects that points are his.
along to Russian Tim and Pavel Bures’ has been involved in so many chunks of matter to Russian Tim and Pavel Bures. It’s
racing, dynamic tunes. Vancouver’s punk community that it’s the experience. *
“Russian Tim & Pavel Bures” 15Di s co r der M a ga z i ne | APRIL 2019
F E A T U R E .
"F
luid in my gender, I don't
fall into easy categories.
Also, as someone who is
a settler person of colour
on unsurrendered Indigenous land that is not
my ancestors', my X on this map is learning and
unlearning, searching for home, and moving in
the direction of my dreams.”
K
immortal is on stage at the launch and racism exist in this world. It's about neighbourhood [in Surrey], friends and electronic music came from Black roots,
of X Marks the Swirl, their second acknowledging our intersections.” homies with BIPOCs. I have my privileges, I and I remember that hitting the audience.
full-length album, speaking before have my non-privileges. I'm hearing myself So it's been a journey for me as a hip hop
T
their first song. oday: “What is it like to take up more clearly from that front. And it's not head to realize that, but also realizing
“Now that I've released this album, space as a Filipino here? Am I taking glorified, but it is not a voice that's heard. that that's where my grit comes from, like
people are already like, what's next, Kim?” up too much space, but then I'm More and more I'm realizing I have to Bambu, Blue Scholars, and the first spoken
We are speaking less than a week since her told to take up space, and I feel mahiya...” speak from where I'm coming from, and it's word poet I've ever seen drop a poem
launch, and Kimmortal is reflecting on the I repeat the word, as a question, and they not heard as much. So when people remind about police brutality and what it meant
night, something they have barely been able continue: “I feel shameful for taking up me of that, that humbles me.” to be Filipino on this land, and roots, and
to do. A ring has fallen off my hand from space. Is it ok? Is this alright? I don't know. Reminders are another echo: “I'm being ancestry, hitting that on a spoken word mic
the patio onto the Main Street sidewalk. And there's a real correctness to having a intentional, but I'm also open to be judged, at Charles Tupper [Secondary], and that
We have decided that if someone picks it question, but then what is it to be like, this and that's been hard, but also, I love this. was when I was like, ooh, what is this?”
up, it's theirs. Our conversation is about is who the fuck I am, what does it mean, And I love where things are headed. And
“T
to be joined by a passerby, a homie of can that exist? And what does it mean to I'm up to talk about it, and where I can here's an urgency that hit me
Kimmortal's. By the time we stop recording talk about these things in a way that can do better, I'm up for that, because I'm also to perform for the first time
our interview, we will have opened up three unite the people?” part of this... I'm also trying to have a fine at Rhizome, late Rhizome,
times to folks we encountered — mostly Five nights ago, Kimmortal shouting balance between acknowledging that it is and Khalil and Jill being in the same room,
BIPOC femme rappers, artists, comedians from the stage, “Anybody in love? my career and it is where I'm getting suste- I was 18, and then them cheering me on
whose welcome presences and support of Anybody in queer love?” The crowd in the nance financially as well as spiritually, along the way, and watching each other's
each other becomes an undercurrent of our Fox Cabaret responding, loud. Already mentally, all of that, but it requires people stories come through in the medium of hip
time together. enthralled. like Lal, Rae Spoon, Khalil [Khingz], Purple hop. Hip hop is no bullshit. It's like your
Five nights ago Kimmortal had said: Today: “And I realized, wait, love is kind Hearts [Social Club], Missy, JB. It requires senses are more attuned, and you can smell
“This is a big thing for me — as much of queer, you know what I mean? — spirits that community to stay remembering why if there is bullshit. Like is it even fair to say
as the swirl is awesome, I've definitely are kind of queer.” I'm doing this, but at the same time, I'm like my mom breathes hip hop? My mom can
wanted the swirl-spiral to die, cuz I just At the launch: “Rage and anger informs ‘I don't have to live like a broke artist,’ so smell bullshit from afar, like when she's
wanted to kick this project out, but where a lot of the art you just saw on this stage. I'm trying to navigate that. flipping through TV, she's like “shataaap...
it's at currently is a beautiful space, a In that acknowledgment, there's also joy, “Lal is like a pinch, and a nudge forward, shataaap...shataaap...shataaap.
beautiful place, and I give it up honestly there's also an abundant amount of support and also a reality check for me. I definitely “It's funny, the more I come into myself,
to the features on this album including JB and love — resilience in our existence, clicked on their Facebook a couple of times the more I'm like, I get you, mom, the
[the First Lady], Missy D, Khingz, Jillthy, healing methods that we're tuning into, [recently] to just remember why I do what more I'm like, I get myself a little more.
OS12, who couldn't be here, and also and so there's a movement, there's changes I do — also ground myself as to what is, I get myself in hip hop a little more, not
the producers behind this album, namely happening. I know you get me on that rage, what can I do in the future, and how to just hip hop, other mediums, I kinda know
David Telarico. I usually don't work with I know you get me on that anger, I know hold myself as an artist with an awareness... myself a little better, so it's funny how
white people, but David, he is like really you can hold me, I know we can hold each four years ago, when I opened for Lal at things are coinciding. Getting to know my
dope, and I say that out of love, because other, we can do better. And, sometimes the Cobalt... it was Vivek [Shraya], Lal, roots, getting to know my place in hip hop,
decolonial love is not nice, it's straight we'll fail at doing that.” Missy D and myself, and I remember Lal getting to know my place here. Not getting
up, it's straight up and it's honest, and it In reflection: “On the real, I'm a queer laying it on the Vancouver audience that too comfortable.”
doesn't deny the fact that white supremacy filipinx, who grew up in a middle class hip hop's origins along with funk, pop, and
16 “Kimmortal”9102 LIRPA | e n i z a g a M r e d r o c s i D . E R U T A E F
WORDS BY HARI ALLURI // PHOTOS BY ALISTAIR HENNING // ILLUSTRATION BY MATTHEW LIM
Holding tension becomes crucial for “OS-12, when we go into high school young'un looking up to folks who have is actually listening.” And listening for
Kimmortal. “I create songs so I can emote, classes, he says, we talk about Totemization, been doing this for so long, and to know community: “There are hella queer filipinx
and I want to get better and feel like I'm a and Totemization means you scope it, you that I'm in this, creating culture with other folks out [here] doing their thing, and it's
part of something, [at the same time] the draw it, you rap it, you dance it... this is folks, that's kind of weird, I think I'm still a voice that's quiet, but it's loud, and so
language I'm speaking on the microphone: the new gen, where people are just starting adjusting to that... you put something in I'm happy, because I'm a part of it.” Julay
I'm trying to come from a language of to talk about truth and reconciliation, so the world, and it's watched, but that's not Nieto, who Kimmortal credits as helping
decolonial love, which is not often spoken how we talk about that from a decolonized where it started. Being aware of where illuminate their connection to cosmology
in our communities... so it's okay if we're perspective means trying to employ different people are at to witness, but also knowing and knowledge of their ancestry, states:
not speaking the same language.” modes of art and thinking, and even the that you're embedded in it, it's this weird “When I was in my darkness, they were
way thinking needs to be questioned, and so thing I'm trying to stay grounded in, just present when they could have been
P
erhaps listening is a language, too, that's what inspired shapes. because I've always been an observer, ever elsewhere, they took me to the hospital, we
and the cipher is an example of since I was a kid in a stroller, now that wrote music together and it saved me.”
“W
that: alive in the album's launch, in hen people ask, what do I'm creating, I'm still watching. And our I think back to the folks who had
the back and forth between the emcees and you mean X marks the society is so binary in the ways in which passed through our conversation and
the artists; the vulnerability and strength of Swirl?, there's a three part we perceive. And it comes through in hip how all their exchanges with Kimmortal
both openers Dakk'one and Khingz, who answer:” One: swirl marks a movement: hop shows, from the very thing of Lemme involved attention to each other's work, to
double as sound and guest features; between “I'm inspired by the mass movement of hear the ladies say... lemme hear the dudes disruption, to urgency, to care. The end of
“the sharp jabs” in tin lorica's comedy and people, which Khari [Wendell McClelland] say! — how we interact in the space.” Their one such exchange resonates for me:
the reflective “emo sadness” in the poems really referenced in his release when he's fluidity extends to the tension between So much respect for what you do — You
that intersperse their stand-up set; between talking about Black Lives Matter and Idle voice and ear, community and self: “This too — every time I see you I say, yes,
Kimmortal and the background singers No More.” This resonates with Kimmortal's is for the fam, blood and not... this song is you're out here, rising!
and the band and the folks in the audience. intentionality of having the album — and about ancestral longing, and these lights are For X Marks the Swirl, Kimmortal
Kimmortal announces, “I'm very inspired the launch — open up not with their own hella bright, I kinda wanna be in my head.” echoes, “I hope there's a real, genuine,
just by the people around me, because you words, but with those of Indigenous artist Kimmortal reflects, “I want to be in conver- authentic cipher coming through, that's
inform my work. JB the First Lady and Black artist Missy D. sation with people for my whole life. And my prayer. Turning a monologue as an
“I read Julay [Nieto's] Ilocano translation “With Missy and JB, when we work on each within the conversation, too, you can take a individual, as an independent solo artist,
of the land acknowledgement at the end [of other's tracks, we push a different type of break, go into your own.” into a conversation. That's what I can
the set]: that's what I closed with, because creative expression, different facets of our Three is the question: “Sometimes all I stand behind.”
we shouldn't just open with it, it should be own creativity that we wouldn't necessarily can do is just be quiet. I'm realizing more
embedded, flowing through it all.” be able to find by ourselves.” through this queer journey how much I *
The swirl flows into their thinking on the Two: I'm non-binary, so fluidity of need to sharpen my listening skills, which
album through their work in community. self: “I've always understood myself as a is directing me to what is next for Kim?
“Kimmortal” 17You can also read
