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Tannis Ling, Paige Cowan, Michelle Fu, Hannah Reinhart, Ken Tsui, Michele Guimond and Megan Lau at Bao Bei // photo c/o Leigh Eldridge

Vancouver Notables is the ongoing interview series where “No Fun City” shows off. More like burlesque than a talent show, Vancouver Notables wants you doing what you do best, but with sequins on your nipples. Tell us who you are, what you’re doing that’s of note and why, oh why, are you rocking that boat? 

Sad Mag cornered the team behind Vancouver’s new Chinatown Night Market and asked them all sorts of questions about the history of the Night Market, how it’s going to reemerge (re-surge!) this year, and the challenges they’ve faced in getting it there.


Alright, team: introduce yourselves!

ML: I’m Megan Lau. I’m Sad Mag alumni and family. I read, write and sometimes take pictures.

MG: I’m Michele Guimond. I work for a big organization by day doing marketing PR etc… but by night I like to use my marketing powers for good, connecting with people with a good idea that want it heard.

MF: I’m Michelle Fu. I’m an artist and designer, and the co-founder of 221A, a non-profit artist run centre based in Chinatown, Vancouver.

KT: I’m Ken Tsui. I’m a filmmaker and host of pop-up events around Vancouver. I currently have the honour of working with the Vancouver Chinatown Merchants’ Association as a program director for this year’s Chinatown Night Market.

HR: I’m Hannah Reinhart. I’m an arts administrator in Vancouver, and am thrilled to be able to say I’m a part of this crazy talented group.

TL:  I’m Tannis Ling.  I own Bao Bei Chinese Brasserie, which is a restaurant that sits on Keefer St. where the market happens every year.  I’m the [Night Market’s] Managing Director.

Photo c/o Chinatown Night Market & Glasfurd + Walker.

ML: I grew up in Vancouver. As a kid, I went with my parents on their grocery trips in Chinatown every weekend. Back then, the neighbourhood was loud and alive. Those memories have a big place in my heart. I got to know the market around 2006, when I got involved with a magazine that was based in Chinatown. The Night Market meant we had tasty and affordable eats outside our door. When Ken asked me to join this team, I had to do it. This has been one of those rare opportunities to work with creative, generous and like-minded people.

HR: Ken recruited me to the team. We met about a year and a half ago when I was working in the neighbourhood, and I have always had a ton of interest in and admiration for his pop-up events and general zest for community building. I’d expressed this to him in the past, so I guess he knew I’d share his interest in bringing new life to the Night Market.

MG: Ken and I know each other through a shared love of food. Despite eating together for a couple of years we never really discussed the details of day jobs, of which mine happens to be marketing. Over a meal at Bao Bei (of course) he told me what he was planning for the market with Tannis. Seeing Ken turn most of what he touches into gold, including his pop up restaurants, I was excited to offer help with some marketing, social media, PR, etc. I am really excited by helping people get the message out about an idea that adds to the cultural landscape in Vancouver. This project was a great opportunity to get involved with a team of people dedicated and passionate about the same things.

MF: I’ve been actively working in Chinatown since 2008, and since then I’ve spent many nights working late into the evening. In the summer the Night Market is a welcome excuse for a stroll, a treat and the inevitable chance of running into a neighbour or friend. Moving here last year really cemented how much I love the neighborhood, and my desire to immerse myself even more increased. I’ve tried on numerous scales to create community engagement, and it’s a fun dilemma I’m constantly rethinking. Ken and I worked together once in the past, and have since kept an eye on each others’ projects (at least I did — is that creepy?), so when he approached me about working together again for the Night Market, he knew I’d be more than interested!

TL: I always knew that I wanted to open Bao Bei in Chinatown for the obvious reason that a Chinese restaurant belongs the best in Chinatown. I also loved the neighbourhood and felt that, unlike other areas of Vancouver, it had a gritty realness to it that I was attracted to and felt at home in. There’s also nothing handier than getting most of your produce, dry goods and smallware within a couple blocks of the restaurant.

When I opened the restaurant and realized that the night market was going to happen outside every summer, I couldn’t believe how lucky I had gotten with that location. I’ve always had a great love for markets and was excited to have the summer weekends on our street imbued with a sense of liveliness and fun. However, I think once the two night markets in Richmond opened up, a lot of business went over there and the market started to feel a bit sparse. My opinion was that there was no point for the Chinatown Night Market to compete with Richmond and that it should be its own entity, reflecting the emergence of a very exciting, young, entrepreneurial and creative spirit in the neighbourhood yet still preserving its cultural identity. I went to the Vancouver Chinatown Revitalization Committee (VCRC) and suggested the idea to give the night market an update which seemed in line with their mandate of bringing life back to the streets of Chinatown. They in turn introduced me to the Vancouver Chinatown Merchants’ Association who has organized the night market for the last 17 years, and welcomed me and a group of volunteers to facilitate this new vision.

What is the history behind the Chinatown Night Market?

KT: The Chinatown Night Market has been a summer cornerstone for the neighbourhood for almost 20 years. For years, the market was a bustling and full of energy. However, what was once a three-block market is now just a single block. Despite scaling down, the market still maintains a cultural significance to the city that the new market team is excited to be a part of it.

TL:  This was also the first night market in North America.

Things have really changed in Chinatown; even in the last five years there’s been a huge turnover in the types of businesses and events that are making Chinatown their home. How is the Chinatown Night Market walking the line between old and new?

MF: This is exactly what got me interested in working with the Night Market this year. I wouldn’t say its been a turnover of businesses in the area; I’d rather say that there is more diversity side-by-side. Though we do have to be realistic about the changing neighbourhood, we can also be very sensitive to everyone living and working here. It’s something I’m very aware of, having been part of the initial change five years ago. So our main thing is to make sure that diversity and accessibility are at the top of the list. We’re not replacing traditional with new; we’re adding to it. We’re keeping it as affordable as it was before, but making it more engaging. We want the Night Market to be a place you can buy a plate of shrimp dumplings, then finish it off with homemade ice cream while listening to Chinese opera, or trying your hand at Hip Hop Karaoke.

Can you recall some of the challenges (overcome or not) that you’ve faced while organizing this endeavour?

HR: Time has been the big one. Annual summer festivals of this size usually take the entire year to plan, and we’ve been working since January (Ken and Tannis started a bit earlier). We’re playing catch up this year and looking forward to getting a head start on next year!

MG: I knew from the start that this was going to be a marketing challenge. How do you get people engaged with something that isn’t happening yet? It is hard to get people focused on an event for summer in the middle of a long, drizzly winter and spring. However, every week as ideas turned into concrete plans and so much amazing talent started signing up, it became clear we just needed a way to help people see what was coming. We are now covering the programming on the wesbite/ blog weekly and activating social media with announcements about what’s coming. Soon we will have a full program up for the summer. We have had so much great support from collaborators and press. Overall, when people hear about what we have planned they are super excited! It’s not hard to convince Vancouverites about the value of a new cultural event. Follow us on Twitter and Facebook for announcements throughout the summer.

MF: Working with people from all different backgrounds! That’s been an enlightening challenge — working with different generations, cultural backgrounds, language barriers, different interest groups, and the list goes on…

TL: I’ve realized that creating something from the ground up like the restaurant is difficult but that trying to take an existing event and altering it after 18 years has its own set of challenges.

Okay, team stuff: complete the following “Mad Libs” with the appropriate activity/member of the team…

“Getting it done,” means getting great, crazy, overworked people on board.

Tannis’ cat always manages to make meetings about driving Ken crazy.

The absolute best answer to any question that anyone asks is always ”let me talk to the team about that and get back to you”.

What are you all most excited about right now?

HR: I think I’m most looking forward to seeing Rain City Chronicles perform on the stage. I just went to one of their events a few weeks ago on the theme of “Fame and Fortune,” and it blew me away.

MG: I am really excited about Hip Hop Karaoke hosted by HHKVan. Ken was saying these guys have been looking for way to make these nights accessible to a younger audience. To date, their nights have drawn huge crowds at legal age venues like Fortune Sound Club, but the market is now offering them a way to invite younger kids up on stage. I have no doubt this event is going to be huge.

MF: Outdoor films, and dumpling weekend! Who doesn’t want to know more and eat more dumplings?

ML: I’m with Michelle. Dumplings forever. It’s also going to be beautiful to see Keefer Street transformed and the neighbourhood bustling at night. I want to experience something like the vibrant Chinatown of the 1950s and 1960s that I’ve heard and read about.

KT: I’m excited to see Girls Rock Camp and Green Burrito Records’ band The Courtneys on share the stage. Nothing says summer jam more to me than The Courtneys’ “90210.” Am I allowed two? Screw it. Of course, I’m allowed. I can’t wait to shout “Warrrrrrriorrrrrs come out and playyyyyyyayyyayay” on the mic during our Street Fighter II: World Warrior tournament.

TL: New vendors! We have have a slew of new sellers with products that range from jewelry, laser cut crafts, vintage sunglasses, books, design magazines, ceramics, flowers, chocolate, ice cream sandwiches, and chutney. We also have a couple of collective stalls, one being run by the popular design blog Poppytalk, and the other by China Cloud, a neighbourhood studio/gallery space, that are planning to showcase different artists every week for the entire summer.

The Night Market begins May 17th and runs every Friday, Saturday and Sunday until September 8th. Check out the action on the 100-block of Keefer Street from 6pm-11pm!

Vancouver-based company CineCoup offers $1 M

Sad Mag loves a good show-and-tell almost as much as we love independent arts and culture. In fact, if showing off could be an independent art form… well, we would be doing it, now wouldn’t we? So when Sad Mag heard about CineCoup, we thought, “What better way to strut your Canadian film-making stuff, than competing for one million dollars via social media?”

 

“At it’s most basic level, the CineCoup Film Accelerator is sort of like American Idol, except for indie film in Canada,” says Sean Horlor, co-founder of Steamy Windows Productions, CineCoup contestant, and organizer of the CineCoup West Coast Party at The Queen’s Republic on April 25th. “Between now and June 11, filmmakers get to showcase their filmmaking abilities every week on CineCoup.com and in June, one filmmaker will be selected for a $1M production budget and a 2014 release in Cineplex. Fans and critics will vote their favourite filmmakers to the top.”

A pretty sweet deal, and one bankrolled by J Joly, founder and CEO of OverInteractive Media and dimeRocker. Joly’s project puts the curatorial power of social media to the test, so that filmmakers who participate gain valuable audience feedback based on their film’s trailer and concept. Rather than relying on film competitions or focus groups, it’s really the team’s social media savvy and the professional online pitch package which will bolster fan support. In the end, the Top 10 projects will be optioned for development. A jury of industry professionals and a “CineCoup Superfan” will select one project for up to $1 million (CDN) in production financing and guaranteed release in Cineplex theatres in January 2014.

Is there a need for such a competition in Canada? For Horlor and his team, the answer is, “Definitely.” Says Horlor, “my team joined this year because the barriers to entry to the filmmaking industry are huge. Only 3% of the films screened in Canadian theatres are made by Canadian filmmakers.”

CineCoup gives indie filmmakers a chance to tell stories that might never make it to screen through the traditional filmmaking model in Canada. It’s a novel concept that, according to Horlor, has really changed the game: “So let’s say you’ve shot a few short films or done a ton of commercial work. You’ve got the skills to make your film. You have a great feature script, access to the best talent, and a great crew…now what? If you don’t have connections to investors or distributors or have a film that’s suitable for federal grants, your project will never find the money to get made.

CineCoup has changed that model. We’ve been connected to fans before our project has even gone to picture and they have helped crowdsource our concept and screenplay by interacting with us in realtime. CineCoup is also finding investors on our behalf and connecting us to their industry network. CineCoup will pitch the Top 10 projects this year at Cannes and the Top 5 filmmaking teams will be going to Banff to pitch industry reps themselves.”

***

Horlor invites fans to come to the CineCoup West Coast Party at The Queen’s Republic April 25th. It will be a night of celebration and great drinks. Help all eight of these West Coast teams reach the Top 15! Teams in attendance are:

http://www.cinecoup.com/gradeninemovie
http://www.cinecoup.com/scam
http://www.cinecoup.com/thedangersofonlinedating
http://www.cinecoup.com/bad
http://www.cinecoup.com/themillandthemountain
http://www.cinecoup.com/hastings-street
http://www.cinecoup.com/the-fall
http://www.cinecoup.com/thirdwavefilm

in which paper feathers, bowler hats, and patterned collars queerily coexist

On April 12, the Sad Mag crew piled into a car and headed for Seattle to take in ‘Mo-Wave, Seattle’s brand new, all-queer music festival. In between comically oversized whiskeys and late night street meat breaks, we found some time to interview a few of the festival’s outstanding artists. We took the same (sort of) three (or so) questions to all of them to see what made this amazing celebration of queer art and culture tick. 

Over a beer at The Wildrose, Tyler Morgenstern chatted with Jordan O’Jordan, a Seattle transplant with bluegrass charm and a penchant for the personal as political. 

Read on! and have a listen to Jordan O’Jordan seduce you with his banjo

How long have you been playing as your current project and where are you from?
My name is Jordan O’ Jordan. I’m originally from Ohio, but I live in Seattle now.

What brought you to Seattle?
Originally I wanted to make the pilgrimage to the Mecca of grunge rock. Long ago, after college, I thought, “I wanna get out of Ohio, where do I wanna go? Oh. Seattle.” So many bands. Singles is one of my favorite movies of all time. And I know it’s not actually Seattle. It’s like falling in love with LA from movies like LA Story or like…watching Joan Crawford in LA. It’s not real LA, just as watching Singles is not real Seattle, but I still really liked it.

This project (Jordan O’Jordan) started in 2002. So I’ve been doing that for about 11 years now.

How do you go from making a cross-country migration to the city of grunge and end up playing blue grass and doing slam poetry?
I grew up in southern Ohio—in Appalachia—so I grew up listening to a lot of blue grass music. But I played in a bunch of punk bands in high school, then went to college. And it’s hard to play solo punk drums in your dorm room. So I thought “I’ll pick up a string instrument. I’ll pick up the banjo so I can take my culture wherever I go.”

What do you like about ‘Mo-Wave?
One, it’s a bunch of friends of mine who put it together. And it’s always nice when your buddies do something really cool. And I think it’s awesome to have a queer music festival in Seattle. There’s a ton of queer artists around here and we’re all playing music, so just to have a space that’s specific for a moment is awesome. To just say “hey, we’re integrated most all of our lives. But every once in a while we just want it to be us. This specific, tiny, discrete moment–for just a moment–where we can feel completely comfortable.”

As an artist, how do you think we go about creating more queer stages?
Sometimes I think it’s about making specific choices. Touring according to specific choices, about who we listen to, who we are around. It’s so easy to go into a town when you’re on or booking a tour and be like “Who’s gonna draw the most people? Who’s the popular band I wanna play with so lots of people will be at my show? I don’t care if it’s straight people.”

But then sometimes you think, “You know what? No.” Let’s contact our friends who are the queers and the gays in town and let’s play the dive gay bar, rather than the cool, hip joint. Let’s take these spaces, where we’d be anyway and then let’s make them into show spaces or let’s do guerilla art stuff. Some of my favorite shows have been in non-traditional venue spaces like queer houses, parks, galleries, or in tattoo parlors, or on top of a building. People put it together just for a moment.

And it builds community, too. Those spaces are more close-knit. And at the risk of sounding preachy, it’s not about selling booze. When you play a bar or a venue, the goal of why you’re there is to sell booze. Let’s call a spade a spade. You need to pay all the bartenders, you need to pay the door people. You need to sell a lot of booze.

Which, thank God. Everybody likes to get fucked up. But every once in a while, it’s important to make specific choices about the things we’re saying with our careers…that maybe aren’t the things we want to say.

If you’re only playing venues or only playing with straight people…take a minute. Get a little political. Get a little meta.

the cast of Ride the Cyclone

Ride the Cyclone begins with the Amazing Karnack, a carnival fair “precognition machine,” which specializes in predicting the exact time of people’s deaths, introducing a bass-playing rat named Virgil who will cause both of their deaths by chewing through a live-wire.

Then, shit starts to get weird. Ride the Cyclone is a superb piece of musical theatre, the kind of play that makes you want to drag friends to repeat viewings. It tells of six members of a teenage choir from the small town of Uranium, Saskatchewan who die on a rollercoaster named the Cyclone. They spend the afterlife arguing with Karnack and each other about how to be resurrected, pondering whether their shortened lives had any value or meaning, and best of all each taking a turn singing hilarious, beautiful, and deeply bizarre songs exposing the rich inner lives their town and peers had no patience for. Unlike so many films and plays that condescend to non-urbanites and congratulate themselves for unpeeling the perfect facades of idyllic rural or suburban life, Cyclone depicts what beauty and madness inhabits the imagination of every human being.

This generous production gives every character the chance to shine, and the show has many highlights. Elliot Loran plays Ricky, a mute disabled nerd who is a rock star on the planet Zolar, whose fantasies of being a swinging intergalactic bachelor accompanied by a harem of alien catwomen are somehow both filthy and adorable. The character of Ukrainian gangsta rapper Misha (Jameson Parker) segues from a fantastic and heavily autotuned hip-hop parody (with the genre-summing refrain “my life is awesome/ this beat is awesome/ robots are awesome”) to a moving ode to his online girlfriend that he will never meet. Kelly Hudson’s Constance delivers a lovely soliloquy about life’s intense and rarely described moments that isn’t quite like anything I’ve ever seen attempted in theatre or cinema. And Kholby Wardell is a powerhouse in a cheap black wig, whose Genet-quoting Noel Gruber laments that being gay in a small town is like having a laptop in the Stone Age – “you have it, but there’s nowhere to plug it in.” His cabaret number “Fucked up Girl” transforms him into a dissolute Parisian prostitute who lives the life of drama and romance that Noel never could. In the preview performance I watched, Wardell’s physical and erotic performance just about brought the house down.

This version of Ride the Cyclone has some differences from the show that played in Vancouver in 2011, including a framing device wherein the characters compete to be the one that Karnack returns to the land of the living. Playwright Jacob Richmond gets great comic mileage from the competition’s enigmatic and ever-shifting rules, and the device gives the story clear narrative drive that was lacking in the earlier version. But it also feels slightly arbitrary and unconnected to Cyclone‘s central theme. Rielle Braid’s Type A brown-noser Ocean Rosenberg is thrust into the role of protagonist, but the removal of a song delving into her mixed family background prevent her from being as likable as she needs to be. Overall, Cyclone’s excellent singing, choreography, and biting social commentary are awe-inspiring. Victoria’s theatre company Atomic Vaudeville specializes in making magic happen on a small budget, and I’ve never seen one of their productions without being amazed by the complexity of their accomplishments.

One friend I saw Cyclone with said “I loved this show, and I fucking hate musicals.” Another friend said she wanted to try to act the whole thing out in her room the next day, or at least buy the soundtrack. Go Ride the Cyclone, once or five times.

For tickets or more information: Ride the Cyclone is on now until Feb 16th on the Granville Island Stage. 

{Photo credit: Fairen Berchard}

On June 1st, queer voices are taking over the airwaves!

Tune in to CITR 101.9FM for a whole day of LGBTQ programming that starts at 6:00AM, including Barb Snelgrove, Ryan Clayton, David C. Jones, DJ Lisa Delux, Jennifer Breakspear, Miss Meow, Spencer Chandra Herbert, Kate Reid, Dean Nelson, not to mention your favourite unofficially-queer magazine Sad Mag!

QueerFM has been broadcasting on CITR for almost 20 years, making it one of the longest running queer radio programs in Canada. We caught up with Aedan Saint, QueerFM Broadcast Coordinator and Rainbow 24 organizer,  to ask him for the story behind this event. We are glad we caught him just before his departure to Hawaii, where he’ll be kicking off a new Hawaii edition of QueerFM!

“I took over for QueerFM founder Heather Kitching in 2010 as she went off to Ottawa while I was hosting Fruit Salad (30+ year LGBTQ radio show on Co-Op Radio 102.7FM) for 16 months during and after my year as Mr. Gay Vancouver XXX.  Juggling two radio shows on two stations was… interesting.

“I’ve been producing & hosting QueerFM since then… as well as creating the spinoff shows QueerFM Arts Xtra and QueerFM QMUNITY – AND coordinating the broadcasts of the closing of the Odyssey Nightclub in 2010, WinterPRIDE at Whistler 2011,  The 2011 OutGames and Rainbow 24: LGBTQ Voices 2012.”

“I saw an old flyer from the early 1990s on the CiTR Programmer’s office wall. I thought it odd that no one had produced such a marathon in all the intervening years.  As I planned to make my departure from CiTR and Canada in early June [for Hawaii], I thought…why not create a love letter to the LGBTQ community of Vancouver?  Rainbow 24 is a snapshot in time of our community and its many voices.

“Why June 1st? Simple. US President Bill Clinton first declared June PRIDE Month in the US on June 2nd, 2000 which was re-signed by US President Barack Obama in 2009. Being an American and leaving to go back home, I thought it a poignant way to express the FAMILY that both Canadian and American LGBTQ Communities are, and that we’re stronger together.”

How can you get involved with QueerFM? You can listen on CiTR 101.9FM Vancouver, Like QueerFM on Facebook, and follow them on Twitter. Also check out QueerFMVancouver.com, or email them your love letters or requests to be a guest on the show!

What’s next for QueerFM after Aedan’s departure?

“QueerFM 2.0 launches just after my departure on June 5th to continue the legacy Heather and I have created and nurtured.  Our NEW Producer/Host Jared Knudsen is a great guy, and when you add in the other hosts (Barb Snelgrove, David C. Jones, Ryan Clayton and Velvet Steele) there are not many topics in the LGBTQ community and beyond that they couldn’t handle.  They’re a fantastic collaborative team. CiTR has been pretty fantastic in their support and we appreciate their continued commitment to diversity and support of the LGBTQ Community in Vancouver and beyond…

As for me, I’m headed home to Hawaii, and have a great little show called QueerFM Hawaii that I’ve already scheduled to start when I arrive as well as cross-show content between Vancouver, Victoria and Hawaii.  So we’re expanding the rainbow… one city at a time! :)

“Thanks SAD Mag & Vancouver…it’s been quite a ride.”

Rainbow24
June 1st 6:00AM – 6:0oPM
CITR 101.9FM
Listen online at CITR.ca
QueerFMVancouver.com | Twitter | Facebook

Peach struts on to the stage in a bedazzled, black-and-white-striped dress looking like the most glamourous of inmates or a sexy Hamburgler. The crowd at The Cobalt showers applause upon one of its newest and most admired drag queens.

Music begins, bass rumbling, and she reels off every word to Lil Kim’s “How Many Licks” in perfect lip-sync. I been a lot of places, seen a lot of faces, aw hell, I even fucked with different races. Near the end of the song, Peach does one-armed push-ups in three-inch heels while maintaining the illusion that she is, in fact, Kim’s white doppelganger. The audience hurls five-dollar bills at the stage. Girl is hustlin’.

All in a night’s work for this unlikely queen. Underneath the make-up, Peach Cobblah is Dave Deveau, award-winning playwright and promoter for popular East Van queer parties, Queer Bash and Hustla. Deveau produced a drag show for a year prior to putting on make-up and strapping on fake breasts himself, and first found inspiration to do so in his wallet.

“My business partner and I started doing drag for financial reasons,” he says. “We weren’t making any money but watched queens get tips thrown at them week after week so we thought, ‘Let’s make some fuckin’ tips, girl.’”

Peach Cobblah aka Dave Deveau photographed by Rob Seebacher in Issue 9: TRANSPLANT.

Get Issue 9 here.

Thanks to all who came out to Sad Mag Issue 9 Release + Hip Hop Karaoke last night! It was an amazing time and we’re thankful to all of you for joining us to celebrate the newest addition to the Sad Mag family!

If you missed out, you’ll be able to find Sad Mag Issue 9 at a retailer near you soon. If you’re subscribed, you already have an issue coming your way!

We thought we’d share the outpouring of happiness and love with this song from geneva.b, Issue 9 cover girl and brief West Coast transplant. It’s rare to have consecutive sunny days in a row in Vancouver, so seize the moment while it lasts and enjoy this new track!

love, Sad Mag

I think I really started to like living here when I got into playing ball at Kits Beach in the spring of 2009. Playing ball and reading on the beach is basically my dream vacation except I don’t have to go anywhere so it’s perfect.

I also really like my neighbourhood. I live just off of Commercial Drive—among artists, graduate students, and other undesirables. I don’t know how to cook, so the crazy restaurant density nearby is helpful. It also appears to be the only neighborhood with other black people. Most of all though, I appreciate that I’ve stumbled on a great crew of friends on my block—an outgoing, thoughtful, spiritual community that embrace me despite my transience.

Shad, Issue 9 (the TRANSPLANT issue)

RSVP to our launch party on May 14th at Hip Hop Karaoke!

Photo by Leigh Righton

Tara Mahoney is one half of the Gen Why Media Project dream team, a “community building project that uses public art, participatory media, events and intergenerational dialogues to engage society in new forms of civic participation.” Given their commitment to community engagement, it makes perfect sense they would be part of the force behind this Monday’s Reimagine CBC Celebration. We talked to Tara about the event and why you should get involved in your public media.

Sad Mag: Hi Tara! Who are you and what do you do?

Tara Mahoney: I’m the co-founder and creative director of the Gen Why Media Project. The GWMP is a community building project that uses media, public art, events and intergenerational dialogue to engage society in new forms of public participation.

SM: Why did you get involved in the Reimagine CBC Celebration?

TM: We strongly believe in public media. We need a non-commercial provider to conenct us with the rest of our country, promote democracy and explore knowledge about ourselves and our culture, even if it’s not profitable. Commercial broadcaster cannot do that to the same extend as public media can. So that’s why when Open Media approached us about hosting Reimagine CBC event, we were totally on board. It’s an honor to be a part of a movement that encourages people to come together in a creative and generative way around such a deeply Canadian institution.

SM: How did  OpenMedia and Leadnow.ca get involved? How do your organizations fit together?

TM: OM and LN both exist to promote civic engagement (in one way or another) and so do we. We have different approaches and focuses but ultimately we are trying to accomplish the same the goal, so it makes sense for us to join forces. Plus they are wonderful people and good friends.

SM: The CBC has such longevity as a Canadian institution. What makes it so beloved? How do they stay relevant?

TM: The CBC does many things very well and it has done a good job of innovating with technology – especially with their radio offerings. I think the one thing that keeps them relevant is that they reflect our Canadian identity back to us. They feel like a family member – a reliable and trusted source of knowledge. That is a profound and strong foundation to build on.

SM: What are you most excited about with the Reimagine CBC Celebration?

TM: Hm, that’s a hard one. I’m really excited about everything, we have an amazing group of participants. It will be great to see Wade Davis speak and hear a story from Ivan, and Steve Pratt always dazzles with his visions for innovation and the music will be great, it’s all exciting!

SM: What is your hope for the dialogues generated during the event?

TM: My hope for the dialogues is that people walk away feeling good and positive about how we can shape our public media together. I want people to feel like they have a stake in the CBC and responsibility to protect it, while also imagining the possibilities for the future.

SM: Do you have a vision for the future of the CBC?

TM: I think I’d be cool to see it be more open and integrated into communities so as to promote more cultural production. There is so much talent in this country, it’d be great to see the CBC as a platform that encourages and promotes crowd-sourced cultural innovation.

Get all the details on the Reimagine CBC Celebration here!