WINTER 2015

a m p l i f y

STATION MANAGERMagnus Thyvoldcjsfmgr@sfu.ca778.782.3727 (3)

PROGRAMMING COORDINATORDavid Swansoncjsfprog@sfu.ca778.782.4423

TALK COORDINATORMaegan Thomascjsfpa@sfu.ca778.782.4423

MUSIC COORDINATORKiara Shibleycjsfmusc@sfu.ca778.782.3076

PRODUCTION COORDINATORMatt Pollockcjsfprod@sfu.ca

EDITOR-IN-CHIEF Gurpreet Kambo

GRAPHIC DESIGNERLauren Harris

PHOTOS & ARTRob SeebacherLauren HarrisCaitlin MaxwellAmber ReyelleRyan Walter Wagner

SPECIAL THANKS TO Chris YeeDavid Swanson Magnus Thyvold Austin CozicarBrad McLeod Samantha Thompson Trevor Wilson Alexandra NikotinaLauren McNeil

A&E COORDINATORJamie Cessfordcjsfae@sfu.ca778.782.5940

PUBLIC RELATIONS COORDINATORChris Yeecjsfpr@sfu.ca778.782.5940

TRAINING COORDINATORAlina Kovalcjsftrng@sfu.ca778.782.4315

VOLUNTEER COORDINATORMagnus Thyvoldcjsfmgr@sfu.ca778.782.3727 (3)

PUBLIC SERVICE ANNOUNCEMENTScjsfpsa@sfu.ca778.782.3695 (fax)

Lauren

Harris

AMPLIFY IS THE OFFICIAL MAGAZINE OF CJSF, SFU’S CAMPUS-COMMUNITY RADIO STATION.

WELCOMEBeginnings and endings are strange, often personal and emotional things. I’ve had much cause to ruminate on them recently because I’ve had so many. I had a big one at the beginning of 2015 when I came back to school at SFU. I left a full-time stable job at a big telecom, that had decent pay, treated its employees well and had opportunities for advancement. The problem? I was bored out of my mind. I tried really hard to like the job because on paper, everything about it was nearly perfect - except that one tiny, niggling detail.

Off I went to SFU, after years at that job. I’d always wanted to go to a big university, have that full “university experience.” After so many years out of school, I struggled to keep up. I quickly learned many new things about myself that the comfort and familiarity of my old job did not allow me to find, and I rediscovered other things that I’d forgotten.

Getting involved at CJSF was an important beginning for me. I can’t say I had any particular love for radio at the time. I can’t honestly even recall the specific circumstances in which I first approached the station, though I was looking for a “home” at SFU, and some friendly faces. My background in writing and print journalism would’ve made the student newspaper seem a natural home for me. I did do some work for them and it was a great experience. But what drew me to CJSF is its unique sense of community,

and its openness to welcome new members to that community. I’ve told people in conversation that CJSF likely has the most passionate and engaged community on campus, and what makes it so special is that it’s a community of communities. Each show is unique and has its own community around it, whether it’s Il Sole Italiano, our Italian show (that gets calls from listeners across North America), SFU Ideas and Issues that regularly features interesting people and news from across campus or IntraVenus, our long-running women’s issues show. Each of these very different shows and communities has a space at CJSF, because that’s the mandate of community radio.

My most recent “beginning” was when I was asked to work on Amplify, which had been dormant for a little while. I have plenty of experience with writing, editing and managing print content, but not with shepherding an entire publication from start to finish, so it’s been quite the learning experience. Projects like this require careful incubation, and I (and many others who contributed) have been keeping the eggs warm until they’re ready to hatch. I’m excited that you now have our new baby in your hands.

And so Amplify also has a new beginning. A new concept and direction. Like a faithful mama bird, I have lovingly regurgitated my recent experience with new beginnings, used

it for inspiration, back onto these pages which you are now holding.

In each issue, we are going to feature different CJSF shows that will provide the majority of the content for the issue. The articles will not simply regurgitate content from their shows (because obviously that would be taking the metaphor one step too far). They will serve as complements to the show and will feature content geared towards a print format.

This will serve as a way of further connecting our “community of communities.” I would love to see a fan of the show Metal Meltdown flip through the magazine and see an article from Community Forum about a political issue they’re interested in, and decide to join that community too. I would love to see a person who’s never heard of the station before pick up the magazine and see our broad range of content and issues we cover and decide they want to tune in - or even better, get involved.

Community radio allows us to create this type of space, not only where there’s something for everyone, but that there’s space for anyone to help create it. The new Amplify is here to stake the claim, be the flagbearer and further the mission for that cause.

We hope you enjoy it. Gurpreet Kambo, Editor-in-Chief

ORIENTATION TIMES

Want to get involved at CJSF? There are a lot of areas where you can volunteer, whether you want to be on the airor not.

If you’d like to be in on the latest goings-on in the local arts scene, cover overlooked but important news stories or perhaps take a more behind-the-scenes role, there’s a place for you!

To learn more about the opportunities available, the first step is to attend a station orientation, the schedule for which is:

1st Friday of each month at 2:30 pm

2nd Tuesday of the month at 4 pm

3rd Thursday of the month at 3 pm

4th Wednesday of the month at 6:15 pm

Interested? Book an orientation time on our website http://www.cjsf.ca/signup

KIDS CAMP

CJSF 90.1 FM held it’s annual Radio Kids Camp on August 10th - 14th. Eight children from the ages of 8 - 12 years old attended the camp, where they played games and learned skills related to producing radio. It culminated in a two hour live show hosted by the campers on the last day, which they titled “Wild Child Radio.” The broadcast consisted of the camp participants’ selections of music, along with stories that they’d written during the week.

Other activities during the camp included writing and recording a station ID, a session on interviewing

FM PARTY

CJSF’s 12th Annual FM Party took place Oct. 3 at Vancouver’s Astoria Pub. It featured an all-star lineup including Adrian Teacher and the Subs, as well as Supermoon, TV Ugly, Ace Martens, Malk and Mi’ens, and was undoubtedly a night to remember.

“It was a grand event. A collection of misfits coming together for the love of radio, words and music. I give it four thumbs up,” said CJSF volunteer Trevor Wilson. “It was everything I wanted and more. My favourite part was dancing with [Programming Coordinator] David Swanson. I want to marry him.”

When asked to rate the overall dancing ability of the CJSF FM Party patrons, he said “They were amazing, they rocked my socks off. I’m not Pitchfork. I refuse to apply a numerical scale to people’s fun.”

“However the party overall was a 9.9. It’d be a be a 10 if there was free beer. But there was free cake and pizza,” said Wilson. “It was a raucous affair and I’ll cherish it forever.”

(which included interviewing SFU students about their favourite animals), a field trip to see the CBC TV and Radio studio in Downtown Vancouver, swimming, and a workshop on beatboxing.

“My favourite parts were recording and editing the station ID and visiting the CBC,” said Micah, a camper who just began grade six. Micah’s group wrote a story they read on the air called ‘Mer-Mer All The Way,’ that included a zebra named Philip, a parrot with a hoverbike, a friendly alien named Eli and a swarm of winged cows.

“I really think I want to work in radio when I grow up,” he said.

NEW SHOWS AT CJSF

This fall saw a number of new programs added to CJSF 90.1 FM’s schedule, including:

FemConquest: A show featuring music composed, performed and/or written primarily by female-identified people. “Women are frequently underrepresented or ignored in a lot of genres of music. I wanted to bring recognition to the female artists that don’t get the attention they deserve,” said host Laura Scheck. She feels that this is important “for equity purposes. Representation and visibility furthers the cause of women’s equality.” Music ^ Talk / Fridays, 2-3pm

Business Book Talk: Bob Garlick, marketing/design consultant and self-described “great idea guy,” talks business for aspiring and current business owners. Every week he interviews an author of a business-related book about their thoughts on the topic. Talk / Sundays, 1-2pm

The Vault: A showcase of CJSF’s best segments from the archives. “The

Vault features great CJSF spoken word content that’s been aired over the years,” said CJSF Programming Coordinator David Swanson. “[For example] we recently featured an interview with a professor on the topic of LGBT rights in prison, that was done back in 2009.” Digital sound technology such as MP3s have only existed since the ‘90s, so much of the content aired on CJSF is not retrievable unless it was recorded using analog methods. Still, Swanson intends to dig “as far back as possible” to find more radio gems from CJSF history. Talk / Tuesdays, 4:30-5pm

CANADALAND: In this nationally-syndicated podcast, journalist and media critic Jesse Brown gets beneath the headlines to uncover what’s going on in Canada’s newsrooms. Brown is one of Canada’s few journalists dedicated to turning the lens back on the press itself, thus he is not supported by any major media organizations. In the past two years Brown has become infamous in the Canadian media landscape for breaking controversial stories such as the allegations against former CBC host Jian Ghomeshi. Talk / Mondays, 5-6pm

by Chris Yee ^ Gurpreet Kambo

On ESSENCEtial Conversations, Lucca Hallex and I dive deep with our guests to explore what it is that makes them unique. Societal shifters, people with intriguing products or services, individuals who have bucked the system to have done life their own special way all tend to find their way to our show. We love to invite anyone we find fascinating – and frankly, considering we find just about every human fascinating, it isn’t hard to find guests for our show.

Lucca and I first met several years ago when we were pursuing certification as professional coaches. The two of us hit it off like a house on fire, and have collaborated on many projects (and a fantastic friendship) ever since. ESSENCEtial Conversations is a playground for us – a place to ask all the questions we want, to get at the intriguing details about why a person has become who they are, and and what they are creating in the world.

Metaphors come up frequently on air and in our work with clients, and there is one in particular that we have found to be especially useful in enabling clients, ourselves, and our guests in understanding why it is we do what we do – and offering a fresh perspective that facilitates change. Since it has cropped up on our show

many times, we thought we’d go a little more in-depth with it here for you.

Do you know those times when you feel like you’re beating your head against the wall to make something happen?  This thing that you just know should be working for you right now, but doesn’t seem to be moving anywhere.  This goal that you’ve been hell-bent on achieving within a certain time-frame, yet you keep feeling blocked from reaching the finish line.  When you hear the word “should” in your head – a LOT.  Pummelling you.  Discouraging you.

What if you could just put it down, and walk away? What if by doing so, you could turn everything on its head and loosen it all up again?

Once while Lucca and I were playing Jenga with my son, my youngest asked me “How come the blocks you choose always move?”  My answer: “because I always choose the blocks that are ready to move.”

 He was investing time and energy into moving the Jenga block that he felt should move next.. the one he wanted to move next… and sometimes it would work, and other times it made for some very shaky Jenga-tower moments.  Some blocks don’t give a hoot about whether you think they should move or not – they’re just not ready.  When it was my turn, I took time

to give many blocks a small, testing tap – and when I felt one move easily, that’s the one I would choose.

What if making progress towards our overarching life goals could be approached exactly like this?

 To allow the tasks themselves to inform us of whether they are indeed ready to go forward.  To respond to a stubborn block not with frustration and increased effort, but by turning our attention to something else that is moving easily.  To ask ourselves – what else might be ready to move, here?  What else is worthwhile doing that feels much lighter, that moves forward with ease?

And what if, by doing so, you experienced the greatest bonus:  the next time you came to check on the stubborn and immovable blocks, you discovered something had altered, and they were now ready to move with ease?

Ahhh… doesn’t that feel better?

Join us as we explore more metaphors and alternative ways in which our guests make the decisions they do on ESSENCEtial Conversations. We welcome suggestions for guests, if there is someone inspiring who you would like to see featured on our show.

ESSENCEtial ConversationsFridays 5pm–6pm

Lively conversations with grass-roots change-makers in areas such as social justice, the environment, and innovative thinking.

by Rebecca Mears

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JENGA JAMMAKING THE RIGHT MOVE IN THE GAME OF LIFE

Here’s a fun activity for a rainy day:

Step 1 - Take a look at your music library

Step 2 - Count how many artists/bands have at least one woman

Step 3 - Count how many artists/bands are entirely/primarily female

Step 4 *optional* - Probably hang your head in shame just like we did

As feminists and producers of programs devoted to women’s issues, we have both gone through the above process and had to reconsider how we look at women’s representation in music; too often, this activity leads to the same results for many people regardless of how conscious they are of feminist issues and women’s representation. Music is a big part of people’s lives, and yet it is frequently the case that women are disproportionately represented in our experiences of music. FemCon, short for Female Content, is one solution to expanding this representation. FemCon is a recommended guideline that works along the same lines as CanCon. It uses the MAPL (Musician/Artist/Producer/Lyricist) categories, just like CanCon, but instead of requiring a Canadian Musician/Artist/Producer/Lyricist, FemCon looks for at least two of the four MAPL categories to be filled by

self-identified females. For example, for a song to be played and considered FemCon, the lyrics may have been written by one or more women and the track itself performed by a female-identified artist, or a band consisting of one or more women.

FemCon tracking seeks to increase the amount of female content being played. Currently there is no hard minimum for the amount of FemCon, but a minimum percentage is recommended depending on the show and genre of music played on it. FemCon is minimal effort with maximum benefit, just like CanCon! With this minimum percentage, FemCon acts as a small contributor to increasing the visibility of women in the music world. There are some superstar female-identified artists out there, but here at CJSF, FemCon, like CanCon, works to promote local artists and groups featuring women. Supporting local artists helps build the local music scene and makes the Metro Vancouver area even better. What makes FemCon great is that, as with the feminist movement, we are not trying to silence anyone! Not men, not any person. We are making women’s voices heard alongside the voices of everyone else.

FemCon guidelines have been created with gender equity, rather than equality, in mind. To provide context, here is a quote that sums up this concept:

“Equity and equality are two strategies we can use in an effort to produce fairness. Equity is giving everyone what they need to be successful. Equality is treating everyone the same.” – Amy Sun, Everyday Feminism

Rather than changing how male artists are currently treated, which is, in a word, preferentially, FemCon instead changes how female artists are treated. Through enacting FemCon guidelines at CJSF, the goal is to achieve equal or near-equal representation of women and men in all music genres. For an example of this in an everyday situation, look at music festival artists line-ups; it can be easily observed that there is a disproportionate overrepresentation of all-male bands and male artists. Women’s representation in this context is severely limited and wrongly conveys the message that women are not as actively involved in music or worthy/talented enough to be equally represented in festival line-ups. This is the case, not only for festivals, but for community and much mainstream radio as well. By following FemCon guidelines, the goal of achieving proportionate representation in radio broadcasting is more likely to succeed here at CJSF and, hopefully, around Canada and the world.

HOW DO WE REPRESENT WOMEN IN MUSIC?

IntraVenusWednesdays 4pm – 5pm

The CJSF Women’s Collective presents stories and music by and about self-identified women and the gender issues we deal with.

by Kitty Cooke ^ Laura Scheck

Lauren

Harris

A S S I M I L A T I O NAssimilation is not synonymous with reorganization Or adaptationIt is not the combination of two culturesIt is the cleansing of a pallet That leaves the taste buds sour ColdDarkDampEmptyBroken to the coreBecause you must do as you are told to see GOD after you dieBut E-V-I-L looked so pretty to the eyeThe way the “V” came to such an elegant pointBut evil tore out the souls of the goodEvil removed the very definition of life for a cultureSo long lived it told stories from back when animals were still in creationEvil digested the tongues of a language so raw to the bone it ran through the very veins of the earthBut it was only supposed to be a tripLike the trip your grandpa took when you were three and didn’t understand the meaning of deathRestrained by the thin line of a foreign voiceGripped by the throat and dragged into the closet Into the ColdDark

As part of celebrating Pride 2015, CJSF dedicated a full day of programming to celebrating Pride on August 5th, 2015. One of the features was a series of interviews with the members of the group ‘Youth for a Change,’ an LGBT youth activist group based out of Surrey, BC. Jasmine Broeder is a member of Youth for a Change and an activist in the LGBTQ2IA+ community who uses spoken word as part of her advocacy

by Jasmine Broeder

Damp EmptyAbyss of this strange world we call ours?Better to give the blame to the darkness I guessIn the light people can be seenAnd how dare these demons steal our lightWars start when two parties cannot communicateCannot understand the fear and suffering Faced by the shadows in the cavesBrought down to their knees by the voices in the wallsClinging to their every wordHoping to be seen for onceTo be recognized AcceptedAppreciatedTo not be turned to the streets of their own homesTheir emotions held hostage by their own mindsRunning circles in their own livesTo open their eyes to the forests that raised their childhoodsTo open their eyes to some equality Some integrityImpartialitySo that he can have some sanctityTo die in the hands of his spiritsTo leave to his own heaven Not the white land above the clouds forced upon him by the men that walk among him With more judgement in their eyes than their own god

Special Programming Feature

“Sometimes,” says Alexis Young, A.K.A. Youngblood, a Vancouver-based ‘dream-pop’ artist, “there is pressure to adapt to this watered down pop-star thing. I’m not interested in doing that. I want to be successful, but not if I have to sacrifice my values.”

The question of maintaining one’s integrity is never a straightforward matter in any profession, but you could argue the entertainment industry presents a unique case. The tension between producing the artistic work that one feels compelled to, and that which will sell is one that drove even a critically and commercially successful artist like Lauryn Hill out of the music industry. Women, especially in pop music, are often forced to portray themselves as sexual objects to

increase their commercial appeal. For Young, the task of proving her talent and artistic credibility as a female musician has been a daunting journey; one that surely as many artists have succeeded at, as have stumbled.

Young, who grew up in Calgary, Alberta, certainly has the qualities that one might think would propel her to mainstream pop success. A platinum blonde, she has an infectious smile, full-bodied laugh and a charming demeanor that would translate well on-stage. Her theatrical stage persona mixed with ethereal vocals and a hard beat create a dreamy, electronic, otherworldly sound that is hard to place in a specific genre.

She credits the monotony of suburban living for kickstarting her passion for music. “Growing up in the suburbs of Calgary is not very exciting so I spent a lot of time retreated inwards. I listened to a lot of music; obviously the music that people listen to as a teenager directly impacts the rest of their lives [when] your chemicals and your emotions are flying wild, ” she says. “Growing up there gave me time to reflect on who I was and who I wanted to be.”

While she admits to spending a few years listening to 70’s ‘dad-rock’ like Led Zeppelin and AC/DC, musically it

was not what inspired her the most. “I would say the most critical, mind- melding times was when I really got into indie music [at] fifteen… some of the best indie rock came out while I was in high school,” she says, adding that she listened to a lot of New Pornographers and Stars, and describing Metric’s first album as “soul-crushingly beautiful.”.

“It’s such a mystery,” she says, about what it is that makes an artistic work a great one. “Good music is good music regardless of who created it. If it’s undeniable it should speak for itself. It’s so strange to me… [I’m] fortunate in that I haven’t had to fight so much to have myself be heard because I’ve just tried to write good, undeniable music. I don’t know if that sounds hedonistic, but that’s what I want to do,” she says. “I don’t want to have to apologize for what I’m writing, and for people to think they have to play my music simply because I am a girl. I want them to play it because it’s fucking awesome.”

Despite the barriers that female musicians face, tokenism is not something Youngblood agrees with. “You should play music because it’s good, not because you have to.” However, she notes that there are challenges for female artists that

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YOUNGBLOOD ON BEING FEMALE, PASSIONATE AND DRIVEN TO CREATE MUSIC

Blood on the Dancefloor

Rob Seebacher

“GOOD MUSIC IS GOOD MUSIC REGARDLESS OF WHO CREATED IT. IF IT’S UNDENIABLE IT SHOULD SPEAK FOR ITSELF.”counter-intuitive,” she says, noting that many of those artificial barriers have come down. “I feel that nowadays you should be finding more men who are comfortable listening to women’s music and thinking more about the emotion and less that is it written by a woman.”

While musically Young doesn’t have many similarities to punk rock, she has certainly been influenced by it. On punk’s relationship to women, she observes that it’s traditionally been very male-dominated but has opened up to women. “I would say that what our culture has ascribed to ‘masculinity,’ is inherently a part of punk. Aggression, screaming, and being physical is a lot of what punk music is about and that’s not what traditionally has been ‘proper behaviour’ for women. So when you’re getting chicks out there just owning it and being powerful, that’s why they’re getting more attention. You could argue that this isn’t a new thing, but I think it is being more widely celebrated because is it a lot more accepted for

women to take on these roles,” she says. “Gender roles are becoming more fluid these days. a man doesn’t have to be aggressive and women don’t have to be this 'picturesque, elegant, poised beauty.'”

“I always want to just feel comfortable with who I am. If I ever do something that is not me, I’ll feel self-conscious about it and people can see right through that,” she says, regarding whether she would ever conform to ‘pop star’ standards as a way of achieving success in the music industry. “Are the ends a justification to the means? If you want to sacrifice something you believe in and you know it’s going to ultimately give you the power to create better decisions, then all the power to you. Not everyone wants to do that though.” She admits her image has at times been a source of stress, however, “you want to be recognized for what you’re doing, not how you look. The best thing that you can do, is do your best to feel good about yourself. Positivity attracts positivity and if you feel good and you’re putting out good energy, you’re going to get those good vibes back.”

Despite this, she admits to moments of self-doubt. “There have been moments where I’ve had panic attacks

FemConquestFridays 2:00pm to 3:00pm

Music exclusively by female-identified artists and bands. FemConquest aims to bring attention to the often underrepresented and overlooked women in music.

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Blood on the Dancefloorjust aren’t there for men, and that music produced by women should not be sidelined simply because men have difficulty identifying with it. “[Men] can’t see themselves in different perspectives other than the ‘man’ because to them it is a form of weakness, when it’s not,” she says, adding that this is an issue related to how men are socialized in western society.

She is optimistic about the future, however. “I think we are making great steps towards our perspectives being more open to different genders and representations. A straight man can listen to a gay man’s voice and still feel the same emotion and a woman can listen to a transgender person’s music and still understand it. It doesn’t matter what the gender is, it’s all about humanity.” She notes that in the past, musical artists were segregated and marketed by their appeal to different genders. “Men and women may have both listened to The Beatles but before that women got to listen to bands like The Ronettes and The Supremes. You didn’t have men back then listening to these bands and relating to their music. These women were singing songs that were written by men but specifically geared towards a female audience, which is totally

Amber Reyelle

because I can’t figure out what to wear,” she says. “I know people will be looking at it and judging it.” Despite having those moments of uncertainty, Young appreciates other artists who incorporate their image into their entire performance. “If anything I will look at other women, and men too, onstage who just have the most bad-ass outfits on and be inspired by that,” she says as she jokingly gestures towards her over-sized sweater, noting the difference between her on- stage and off-stage personas.

Unfortunately, she does recall moments where she felt that her being a woman caused her unnecessary grief. “I went on tour with my boyfriend’s band, Gay Nineties as a backup singer and percussion player. We had a blast but I always felt like I needed to prove myself every night. I didn’t feel like I had ‘earned’ my spot on stage; these boys have been working the scene for years and years. I turned up and these guys were like,

who the heck is this chick?” She could sense the confusion that people felt when she arrived as the only woman in a band full of experienced male musicians.“One night as we were loading all of our gear, one of the bar staff said to his co-workers ‘Oh, watch for the girl in the band, she’s going to pick up the lightest piece of equipment and try and get away with not carrying anything,’” she says, adding that she always pulls her weight. “I was gutted at his comment. I picked up two of the biggest amps around me, hauled them up and stormed out of the bar.” She remarks that she did not take such discouragement to heart and that it was her musical ability that allowed her to tour with the band. “If I wasn’t doing something right, I wouldn’t be here doing this.”

When asked what she believes it takes for a female pop artist to be successful, she responds with “it comes around to just writing music you care about. If it’s undeniable, people will have no choice but to love it. Don’t ever feel like you have to ‘prove yourself. ’” She mentions

that she has “gone down those spirals of darkness, and it doesn’t make anything better.” She felt she had to prove herself as a women during those periods, and that never got her to a place where she felt confident and content with what she was creating.

“When I write things to make myself happy, that’s what I see people responding to the most”.

Youngblood is currently working on her new EP, tentatively scheduled for release in Spring 2016.

by Evangeline Hogg

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because I can’t figure out what to wear,” she says. “I know people will be looking at it and judging it.” Despite having those moments of uncertainty, Young appreciates other artists who incorporate their image into their entire performance. “If anything I will look at other women, and men too, onstage who just have the most bad-ass outfits on, and be inspired by that”, she says as she jokingly gestures towards her over-sized sweater, noting the difference between her on- stage and off-stage personas.

Unfortunately, she does recall moments where she felt that her being a woman caused her unnecessary grief. “I went on tour with my boyfriend’s band, Gay Nineties, as a backup singer and percussion player. We had a blast but, I always felt like I needed to prove myself every night. I didn’t feel like I had ‘earned’ my spot on stage; these boys have been working the scene for years and years. I turned up and these guys we’re like,

who the heck is this chick?” She could sense the confusion that people felt when she arrived as the only woman in a band full of experienced male musicians.“One night as we were loading all of our gear, one of the bar staff said to his co-workers ‘Oh, watch for the girl in the band, she’s going to pick up the lightest piece of equipment and try and get away with not carrying anything,’” she says, adding that she always pulls her weight. “I was gutted at his comment. I picked up two of the biggest amps around me, and hauled them up and stormed out of the bar.” She remarks that she did not take such discouragement to heart and that it was her musical ability that allowed her to tour with the band. “If I wasn’t doing something right, I wouldn’t be here doing this.”

When asked what she believes it takes for a female pop artist to be successful, she responds with “it comes around to just writing music you care about. If it’s undeniable, people will have no choice but to love it. Don’t ever feel like you have to ‘prove yourself ’”. She mentions

that she has gone down those “spirals of darkness, and it doesn’t make anything better”. She felt she had to prove herself as a women during those periods, and that never got her to a place where she felt confident and content with what she was creating.

“When I write things to make myself happy, that’s what I see people responding to the most”.

Youngblood is currently working on her new EP, tentatively scheduled for release in Spring 2016.

by Evangeline Hogg

10

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CJSF: Who are you?

Ryan: We’re The Dirty Spells, AKA Doug, Emily and Ryan. I play the drums, Doug plays the bass and Emily plays the violin.

CJSF: So I understand that your band has been through a number of incarnations and that the song ‘Causeway Cannibal’ was very important, being the first song you wrote in your current one. Can you tell us about that song?

Ryan: The way that we wrote it was funny. The initial version of Dirty Spells was a psych-garage seven-piece. Then eventually we were a five-piece and then a four-piece. So in our jam space, we had this interlude song that we typically played while Greg, the fourth piece, was tuning between songs. We didn’t really have any structure to it, we just did it, and one day we didn’t stop where we usually stop, and that became the second half of the song. We kinda didn’t realize what we were doing but thought it sounded cool. When we became a three piece, that became the first song that we fleshed out even further.

Doug: We work pretty organically as a three-piece. Often one of us will come up with a part, start jamming on something and it just ends up being eight minutes long and unbelievably epic with really complicated changes. Our new stuff, we’re trying to get more dancey - but still confusing. We’re

really good at being confusing.

CJSF: Do you feel like there’s more room for you to experiment with less members?

Emily: We can be way more experimental because there’s so much space. There’s a lot of sonic room between violin and bass. With no guitar, we thought we had to fill it up but then we were like ‘oh my god, we have this incredible drummer, we don’t need to fill it up.’ Teeth was a really 'full' album and I think we want to write more sparse things.

Doug: Sometimes less is more.

Ryan: We’re working really hard to try and get to zero people and complete our sound.

CJSF: You have a very cinematic sound. Do you get a lot of influence from film?

Emily: Yes and no. I just really like instrumental music. I don’t imagine [movie] scenes, but with every song something is happening. We don’t have vocals or lyrics, just instrumental, but I guess I have my own image in my mind of what’s happening in the story of the song. I think instrumental music is so much more powerful than music with lyrics. That’s probably because i’ve been a classical musician for 33 years.

Doug: [Music] is more powerful without lyrics, I feel. When you have lyrics, as a listener you have a focus,

usually the vocalist or lyrics. Whenyou take that away, it means you have to be more deliberate musically. You actually have to pay more attention, so you experience it differently. When you’re singing lyrics, you’re saying what the song is about right upfront. I think having to figure that out as a listener, having to decide what this song is about without having those lyrical cues is much more interesting.

CJSF: What are you guys doing from here?

Doug: We’re going into the studio, do some recording, try and get a new album done. The plan is basically to try and record, do a bunch of stuff this winter and then hopefully do a bunch of touring.

Dirty Spells are currently working on their next album. Their music can be heard at dirtyspells.bandcap.com

by Jamie Cessford, Jesse Wentzloff, and Gurpreet Kambo

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The Vancouver MixtapeSunday 8:00 pm to 9:00 pmTuesday 8:00 am to 9:00 am

Explore Vancouver’s rich underground music scene through interviews, event listings, and of course music.

PAT’S PUB:Hot Food. Cool Jazz. No Cover.

by Peter Prentice

It is almost three o’clock on a sweltering Saturday afternoon. In the stifling Sahara of Vancouver’s

summer I am looking for an oasis of cool. I park my car in the parking lot at the Patricia Hotel at East Hastings and Dunlevy in Vancouver’s Downtown Eastside and head, with some trepidation, for the metal door at the side of the building. “Will my car still be here when I come back?”

However, curiosity about what is happening inside that building is greater than fear about my car’s immediate future, so I pull open the door and go inside.

Pat’s Pub and Brewhouse does not appear to be much different than many drinking establishments. There’s the requisite bar, a pool table, Keno and sports on the overhead televisions and washrooms that are, to be generous, “utilitarian.” They do brew their own beer. Pat’s Classic Lager is as smooth a lager as you will find anywhere. The food is tasty too.

What sets this place apart is the music. Jazz music. The best jazz music in Vancouver. The Saturday afternoon jazz series has been running at Pat’s since January 2012. It is a return to roots of a sort for the Patricia Hotel. The place opened in 1914 and for sixteen months from late 1919 to early 1921 was

home to the great pianist Jelly Roll Morton, one of the seminal figures in the early growth of jazz. He lived in the hotel and played in the pub, which then was called the Patricia Café.

Today, almost 100 years later, the Hugh Fraser Trio is playing. Fraser is on piano, but he is equally well known as a trombone player. He is a prolific composer and respected educator with over forty years’ experience. The man, considered by many to be Canada’s greatest living jazz musician, will perform three sets in a bar in one of the toughest neighbourhoods in Vancouver.

The place is almost full. The audience skews mature with a smattering of young people. People who arrive early enough have an unimpeded view of the stage from one of the tables near the front. Everyone else has to play hide and seek behind one of the ubiquitous posts which keep the building from collapsing but which block patrons’ views.

Fraser and his trio play a mixture of his original compositions and covers of classic jazz tunes in the hard bop tradition. The veterans play with the energy and enthusiasm of men thirty years younger and the audience appreciates it. Even with the food and the beer and the conversation, people are listening and they like what they hear.

Tyler Boissonnault, who is in charge of the show, acts as MC, waiter and genial host. He is always smiling and brings a youthful enthusiasm which makes this event special. Tyler bounds to the stage at the end of the first set and thanks everyone for coming out and the musicians for their great music.

In between sets the band members mingle with their friends and admirers. Many musicians are in attendance. Most have played here. All are fans. In a few minutes, the trio will return to the stage for another set of great jazz. For now, Pat’s Pub is a party atmosphere with the chatter and laughter of people connecting and enjoying each other’s company.

Since Cory Weeds’ Cellar Jazz Club closed in early 2014, Pat’s Pub has emerged as the choice spot for great live jazz. A large part of the appeal is that the place is unpretentious. It doesn’t try to be a jazz club. It just is. Pat’s is truly an oasis of cool on a hot sunny Saturday afternoon.

by Peter Prentice

The Jazz SpectrumWed 5:30-7:00pm

The best in new and independent jazz produced locally, across Canada and around the world.

Wandering RhythmsMondays 12pm – 2:00pm Fridays 5am – 7:00am

Tune your ears to the great unknown as we explore the amazing diversity of music from every corner of our planet.

GLOBAL GROOVE: Musical Journeys Beyond Language

by Nick Lagasse

Hip hop in Arabic. Funk in Swahili. Death metal in Finnish. Reggae in Japanese. Music in other languages is too much fun! In this age of endless cultural exchange, why is appreciation of non-English music still so rare in the mainstream? Do we really need to understand the lyrics to appreciate the essence of a song? After five years of hosting a radio show exploring music from every corner of the Earth, I have found that language is one of the main barriers holding us back from a real breakthrough in, and perhaps a whole new era of music. Quite simply, vocals in other languages seem to prevent listeners from exploring brave new musical worlds. Imagine what the global and local music scenes could be like if we finally broke down the language barrier - a true musical renaissance just waiting to happen.

If you are reading this, you are probably already open to sounds that echo beyond the pop landscape. But foreign-language music is still unexplored territory for many people. For one thing, many people don'tknow where to begin (or aren’t interested). This is most obvious in English-speaking countries, where the sheer quantity of music catering to us makes it unnecessary to seek out foreign-language music. Of course, all of the biggest-selling global acts sing

in English (on the Billboard charts of best-selling albums of all time, the top 50 are all in English). But even outside of the mainstream, there just aren’t many places to find other-language music, except for culture-specific non-English programming.

I don’t mean to get caught up in a long rant on cultural imperialism, but simply to point out that we are still missing out on most of the world’s music that has been within grasp since the global blooming of the internet. Especially in our ultra-multicultural nation of Canada, why not indulge in other music as a gateway to understanding other cultures and points of view? What I really want to convey here is the thrill of listening to music in a language where you understand nothing.

In truth, I have developed a gradual but undeniable aversion towards most English lyricists. I have grown so tired of clichéd vocals that I often prefer not to understand what someone is singing about. To be fair, most vocalists are not really poets and most musicians will settle for recycled phrases that would be considered plagiarism in other art forms. But when the lyrics are in a language I don’t understand, I am suddenly freed from the burden of intended meaning. The song is no longer about something, and the voice

is transformed into a pure and beautiful instrument. The words become more rhythmic, melodies more pronounced, and I am also able to soften my focus and take in the entirety of the music.

The amazing thing about music is how it transcends the realm of comprehension. The human voice can carry meaning and emotional weight with or without words. According to famed musicologist and neuroscientist Daniel Levitin, listening to (or playing) music activates virtually all parts of the brain, including the parts associated with language. Indeed, music is often considered a form of language in itself. On the other hand, in my opinion the best way to learn another language is to start singing their songs.

 To take the first step towards opening your musical horizons, you don’t need to jump straight into the traditional Qawwali music of Pakistan.  You can start with a style of music you are already familiar with, only with the vocals in another language. From there, it makes a great jumping off point to more traditional non-western forms of music. I promise you that there areartists in far off places that will blow your mind.

Caitlin Maxwell

Fake Tears - Nightshifting By Gurpreet Kambo

I don’t often find myself lacking appropriate words for analysis or critique, something perhaps not conducive to writing a review. Analytical types like me usually want to come up with a point of reference to describe the artist, an easy (admittedly lazy) phrase like “band X + Artist Y = new artist Z.” The artists probably hate that kind of stuff. My powers of analysis failed me with Nightshifting by Fake Tears. It is at first familiar, but then in coming up with words to describe it, or a point of reference for comparison, everything you come up with kind of comes up short.

Here’s what I tried: Depeche Mode + Sarah Mclachlan. Synth-dream-pop. Massive Attack + The Eurythmics. Probably the closest is The Eurythmics, though that still doesn’t quite capture it. Fake Tears has more of an ethereal sound, and is less overtly poppy. Mostly I was left with a feeling rather than words. The feeling that runs through the album is one of melancholy, even on the more upbeat songs. Drum machine beats punctuate space-y, sad sounding synths, while the layered female vocals sort of wash over you - I’m not sure the lyrics ever seemed to matter except to contribute to the mood. But in listening to it, it will put you in that kind of mood and make you reflect on those aspects of your own life. It is powerful in its feeling of melancholy - the feeling that life is full of darkness but with notes of hopefulness for tomorrow.

Some of my favourite albums are ones where all of the tracks just flows together, and so the album

feels entirely like one piece rather than a collection of ‘hit singles.’ More Dark Side of the Moon, and less Thriller. Nightshifting is very much of this style. I listened to it three or four times, and I mostly can’t pick out any one particular song as it flows as a unified piece. That would probably be missing the point anyway. As a whole, it explores the moods, sides and sounds of a unique ethereal, synth-electronic melancholic style. Highly recommended, and I can’t wait to see what their next album sounds like.

Dungen - Allas Sak

By Trevor Wilson

We’ve all heard psychedelic music from the 1970s, and/or all the ‘revival’ bands recently. Well, there are carbon copies, and there are new bands pushing that sound to new limits within the same formula. Dungen is one of these bands pushing the sound to new heights. Moreover, they are Swedish and sing in their native tongue, which just adds to the mystique. Production-wise, much of it is extremely similar to their 70’s inspirations, but the use of Swedish along with strong songwriting sets this band apart. To transcend time and space is the key.

Various Artists - Chapel SoundCollective Vol. 1 By Kiara Shibley

Vancouver has multiple thriving dance scenes, and if you’re looking for a window to sneak a peek at ‘em, here you go. The collective Chapel Sound has been posting new tunes, throwing shows, and webcasting members’ sets for a few years now. Formed by a few gender-bending trap/house/bottom end producers, including Ekali and Eli Muro, collectives like this lend a

hand to showcasing multiple styles and, frankly, social groups building and growing around the Lower Mainland. This is the first official release by the collective and I can’t stress enough just how eclectic the tracklist is. For example, directly beside each other you have a chill, trip-hop inspired jazzy tune by Jolin Ras and a fantastic trap track by Jade Statues that builds slow, then breaks like parting clouds, all whilst melting your cerebellum with its warm bassline. Both by being so hard to categorize musically, and by showcasing familiar and brand new talent the compilation is beginning to catch the attention of larger music and arts publications. Check out the compilation, then find a local show put on by any number of Chapel Sound members and experience this future-facing music live.

AFX - Orphaned Deejay

Selek 2006-2008

By Trevor Wilson

Here we are with new-ish AFX, from the vaults, as it states in the title, 2006-2008. If you don’t know, the mighty Richard D. James AKA Aphex Twin records under many pseudonyms and AFX is his even more tangential and abstract foray into his electronic sketches. This man’s archive is vast and far-reaching. Check out his semi-secret uploading of material on his ‘anonymous’ Soundcloud page. AFX usually has a certain synth sound, and a tendency towards abstract beats. Here, these are all present but the beats are far more steady with almost no fluctuations. This album is a short, yet dazzling and fun voyage with one the world’s most celebratedcomposers of electronic music.

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MAXIMUMROCK-N-ROLL RADIO

RADIOGOETHE

EARSHOTTOP 20

WANDERINGRHYTHMS

CLASSICALGUITARALIVE

NEWDIMENSIONS

THEDOWNLINERSCRYPT

ON THETRACKS

GLOBALRESERACHNEWS HOUR

RADIOECOSHOCK

NASHAVOLNA

ZUCCHINIBROTHERS

TELL US ATALE

THE JAZZSPECTRUM

SYMPHONYIN THEMORNING

CLASSICALGUITARALIVE

THEVANCOUVERMIXTAPE

SYMPHONYIN THEMORNING

THIS WEEK IN BCMINOR LEAGUESPORTS

THEROCKIN’ BLUESSHOW

SHORTWAVEREPORT

OUTLAWJAMBOREE

TOAST ANDJAMS

TOAST ANDJAMS

TOAST ANDJAMS

TOAST ANDJAMS

SPOKENWHEEL

THE HITPARADE

TERRAINFORMA

MAKINGCONTACT

SCIENCEFORTHE PEOPLE

GORILLARADIO

A MUSIC DORKMINUTE

THIS WAYOUT

THE GOSPELLOUNGE

METALMELODIES

DEMOCRACYNOW!

DEMOCRACYNOW!

DEMOCRACYNOW!

DEMOCRACYNOW!

DEMOCRACYNOW!

JUMBALAYA

WANDERINGRHYTHMS

JUMBALAYAJUMBALAYA SFU IDEASAND ISSUES

HOT FRIEDCHICKENSHOW

THATCHINESESHOW

CULTURECLUB

BUSINESSBOOK TALK

RADIOGOETHE

ELECTROFIED

AFRICANCONNECTION

IL SOLEITALIANO

GENERICALTERNATIVE

JUMBALAYA

THE EXTRA-ENVIRONMENTALIST

FEMCONQUEST

JUMBALAYA GOLBANG AGENTS OFKARMA

FRANCODÉLICE

RADIOALICIA

FUTURETALK

GROUNDWIRE / SPOKEN WORDSURPRISE

INTRAVENUS

COMMUNITYFORUM

VOICE OFTHE NORTH

PIRATESOF THECARIBBEANINTERVIEW

SHOW

CANADALAND THEDOWNLINERSCRYPT

THE VAULT

WINGS THE ARTSSHOW

ESSENCETIALCONVER-SATIONS

YUCASTEREO

NOCHANNELFOR OLDMEN

THE JAZZSPECTRUM

SNUFF THE ARTSEDGE

SONSLUSITANOS

SOUNDTHERAPYRADIO

JUMBALAYA

THE ARTSSHOW: LP / POP-O-PIEPLANET

THEVANCOUVERMIXTAPE

THE UNDIESCENE

JUMBALAYA STRAIGHTNO CHASER

ASCENSION

W.I. CULTURESHOCK

THE METALMELTDOWN

BEYONDTHAT

BREAKIN’ SILENCE

TANA RADIO

SHOUT! CLAP! SLAM!

MELODIESIN MIND

RAD RADIO THE EDMSHOW

FULLSPECTRUMHOUSE

THEROCKIN’BLUESSHOW

PCP THE METALMELTDOWN

KRISPYBISKIT

THEINTERVIEWSHOW

FULLSPECTRUMHOUSE

MAXIMUMROCK-N-ROLL RADIO

PCP

PCP

PCP

PCP

PCP

AGENTS OFKARMA

SHOUT! CLAP! SLAM!

ASCENSION

MUSIC

TALK RADIO

MUSIC & TALK

PROGRAM

GUIDEWINTER2015

15

Fake Tears - NightshiftingBy Gurpreet Kambo

I don’t often find myself lacking appropriate words for analysis or critique, something perhaps not conducive to writing a review. Analytical types like me usually want to come up with a point of reference to describe the artist, an easy (admittedly lazy) phrase like “band X + Artist Y = new artist Z. The artists probably hate that kinda stuff. My powers of analysis failed me with Nightshifting by Fake Tears. It is at first familiar, but then in coming up with words to describe it, or a point of reference for comparison, everything you come up with kind of comes up short.

Here’s what I tried: Depeche Mode + Sarah Mclachlan. Synth-Dream-Pop. Massive Attack + The Eurythmics. Probably the closest is The Eurythmics, though that still doesn’t quite capture it. Fake Tears has more of an ethereal sound, and is less overtly poppy. Mostly I was left with a feeling rather than words. The feeling that runs through the album is one of melancholy, even on the more upbeat songs. Drum machine beats punctuate space-y sad sounding synths, while the layered female vocals sort of wash over you - I’m not sure the lyrics ever seemed to matter except to contribute to the mood. But in listening to it, it will put you in that kind of mood and make you reflect on those aspects of your own life. It is powerful in its feeling of melancholy - the feeling that

life is full of darkness but with notes of hopefulness for tomorrow.

Some of my favourite albums are ones where all of the tracks just flows together, and so the album

feels entirely like one piece, rather than a collection of ‘hit singles.’ More Dark Side of the Moon, and less Thriller. Nightshifting is very much of this style. I listened to it three or four times, and I mostly can’t pick out any one particular song as It flows as a unified piece, and that would probably be missing the point anyway. As a whole, It explores the moods, sides and sounds of a unique ethereal, synth-electronic melancholic style. Highly recommended, and I can’t wait to see what their next album sounds like.

Dungen - Allas SakBy Trevor Wilson

We’ve all heard psychedelic music from the 1970s, and/or all the ‘revival’ bands recently. Well, there are carbon copies, and there are new bands pushing that sound to new limits with that same formula. Dungen is one these bands push the sound to new heights, and plus… they are Swedish, and sing in their native tongue, which just adds to the mystique. Production-wise, much of it is extremely similar to their 70’s inspirations, but the use of Swedish, along with strong songwriting sets this band apart. To transcend time and space is the key.

Beirut - No No NoBy Kiara Shibley

Vancouver has multiple thriving dance scenes, and if you’re looking for a window to sneak a peek at ‘em, here you go. The collective Chapel Sound has been posting new tunes, throwing shows, and webcasting members’ sets for a few years now. Formed by a few gender bending trap/house/bottom end producers, including Ekali and Eli Muro, collectives like this lend a

hand to showcasing multiple styles and frankly, social groups building and growing around the Lower Mainland. This is the first official release by the collective and I can’t stress enough just how eclectic the tracklist is. For example, directly beside each other you have a chill, trip-hop inspired jazzy tune by Jolin Ras and a fantastic trap track by Jade Statues that builds slow, then breaks like parting clouds, all whilst melting your cerebellum with its warm bassline. Both by being so hard to categorize musically, and by showcasing familiar and brand new talent the compilation is beginning to catch the attention of larger music and arts publications. Check out the compilation, then find a local show put on by any number of Chapel Sound members and experience this future-facing music live.

AFX - Orphaned Deejay Selek 2006-2008By Trevor Wilson

Here we are with new-ish AFX, from the vaults, as it states in the title, 2006-2008. If you don’t know, the mighty Richard D. James AKA Aphex Twin records under many pseudonyms, and AFX is his even more tangential and abstract foray into his electronic sketches. This man’s archive is vast and far reaching. Check out his semi-secret uploading of material on his ‘anonymous’ Soundcloud page. So AFX usually has a certain synth sound, and more tendency towards abstract beats. Here, these are all present, but beats are far more steady with almost no fluctuations. This album is a short, yet dazzling and fun voyage through one the world’s most celebrated composers of electronic 14

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MAXIMUMROCK-N-ROLL RADIO

RADIOGOETHE

EARSHOTTOP 20

WANDERINGRHYTHMS

CLASSICALGUITARALIVE

NEWDIMENSIONS

THE DOWNLINERS CRYPT

ON THETRACKS

GLOBALRESERACHNEWS HOUR

RADIOECOSHOCK

NASHAVOLNA

ZUCCHINI BROTHERS

TELL US A TALE

THE JAZZSPECTRUM

SYMPHONYIN THEMORNING

CLASSICALGUITARALIVE

THEVANCOUVERMIXTAPE

SYMPHONYIN THEMORNING

THIS WEEK IN BCMINOR LEAGUE SPORTS

THEROCKIN’ BLUESSHOW

SHORTWAVE REPORT

OUTLAWJAMBOREE

TOAST ANDJAMS

TOAST ANDJAMS

TOAST ANDJAMS

TOAST ANDJAMS

SPOKENWHEEL

THE HITPARADE

TERRA INFORMA

MAKINGCONTACT

SCIENCEFORTHE PEOPLE

GORILLARADIO

A MUSIC DORKMINUTE

THIS WAYOUT

THE GOSPELLOUNGE

METALMELODIES

DEMOCRACYNOW!

DEMOCRACYNOW!

DEMOCRACYNOW!

DEMOCRACYNOW!

DEMOCRACYNOW!

JUMBALAYA

WANDERINGRHYTHMS

JUMBALAYAJUMBALAYA SFU IDEASAND ISSUES

HOT FRIEDCHICKENSHOW

THATCHINESESHOW

CULTURECLUB

BUSINESSBOOK TALK

RADIOGOETHE

ELECTROFIED

AFRICANCONNECTION

IL SOLEITALIANO

GENERIC ALTERNATIVE

JUMBALAYA

THE EXTRA-ENVIRONM-ENTALIST

FEMCONQUEST

JUMBALAYA GOLBANG AGENTS OFKARMA

FRANCODÉLICE

RADIOALICIA

FUTURETALK

GROUNDWIRE / SPOKEN WORD SURPRISE

INTRAVENUS

COMMUNITYFORUM

VOICE OFTHE NORTH

PIRATESOF THECARIBBEANINTERVIEW

SHOW

CANADALAND THE DOWNLINERS CRYPT

THE VAULT

WINGS THE ARTSSHOW

ESSENCETIAL CONVER-SATIONS

YUCASTEREO

NOCHANNELFOR OLDMEN

THE JAZZSPECTRUM

SNUFF THE ARTSEDGE

SONSLUSITANOS

SOUNDTHERAPYRADIO

PULSARSOUNDS

THE ARTSSHOW: LP / POP-O-PIE PLANET

THEVANCOUVERMIXTAPE

THE UNDIESCENE

JUMBALAYA STRAIGHTNO CHASER

ASCENSION

W.I. CULTURESHOCK

THE METALMELTDOWN

BEYONDTHAT

BREAKIN’ SILENCE

TANA RADIO

SHOUT! CLAP! SLAM!

MELODIESIN MIND

RAD RADIO THE EDMSHOW

FULLSPECTRUMHOUSE

THEROCKIN’BLUESSHOW

PCP THE METALMELTDOWN

KRISPYBISKIT

THE INTERVIEW SHOW

FULLSPECTRUMHOUSE

MAXIMUMROCK-N-ROLL RADIO

PCP

PCP

PCP

PCP

PCP

AGENTS OFKARMA

SHOUT! CLAP! SLAM!

ASCENSION

MUSIC

TALK RADIO

MUSIC & TALK

PROGRAM

GUIDEWINTER2015

Rob Seebacher

CJSF can be heard on the radio at 90.1 FM and on the internet at www.cjsf.ca.

-phone: 778·782·4423on-air: 778·782·2573 (cjsf )fax: 778·782·3695address:

TC-216 SFUSimon Fraser UniversityBurnaby, B.C. V5A 1S6