Editor's Note

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Call me sentimental, call me carb-obsessed, but I’ve been imagining those St. Viateur sesame bagels all week. Around this time last year, I was in Montréal for a vacation-turned-research trip on call-outs, social justice and processes of accountability, and I lived off bagels. Does Vancouver have an equivalent, cheap comfort food? I could have really used it over the last 11 months.

Circulating on social media right now, there’s a comic illustration with altered dialogue. It shows people grooving out to a band and two people approaching the dance floor. One of them asks, “Isn’t that dude a known abuser?” looking in the direction of a man dancing. The other responds, “He deleted Facebook and moved. Nothing more can be done.” The meme, if you can call it that, is uncredited at the time of this note’s publication.

After so many call-outs, town hall meetings, public statements and policy updates, I wish that image wasn’t still so relevant. When talking with people in Montréal who had already confronted the abusers in their community, I couldn’t have imagined the amount of emotional labour that my own community would spend addressing sexual assault allegations. I saw their exhaustion last summer and now I feel it for myself. We’ve done good, but there’s still work to do.

As the major media cycle moves on from #MeToo, I am reminded that this issue isn’t over at the call-out, town hall meeting, public statement or policy update. And it sure as hell isn’t over when abusers delete their social media accounts, move cities and try to reinvent their public image. Accountability is a process of reckoning, not just with the individuals who hurt us, but with the structures of oppression that enable and even encourage gender violence. It is as much about looking inward and questioning our own actions as it is about dismantling the patriarchal and colonial violence that exists outside of ourselves. If I sound like a broken record, it’s because this message is important to hear.

Discorder has prioritized articles about accountability, harm reduction, consent and toxic masculinity to interrupt the apathy around these topics. This Summer Issue is no different, with features on punk antagonists, lié; the radical CURRENT: Feminist Electronic Art Symposium; the work of queer-Métis fashion designer, Evan Ducharme; and an op-ed on sexual assault in CanLit written by UBC Creative Writing alumna, Keagan Perlette.

There is also an exclusive Bartholomew comic, a short fiction piece by Mack Gordon, reports from Music Waste and Sled Island, and reviews of music, podcasts, film and more.


Discorder is 35-years old — 35 years of free, independent, badassery — and we’re celebrating with an all-ages 401st Issue Party at Red Gate on Saturday, July 21. There will be performances by BB, Francesca Belcourt, Mourning Coup and The New Rituals, a photo booth, giant Twister and more, $10 at the door. We hope to see you there!



P.S. I started a summer radio show called BB’s Disco Party that airs every Tuesday from 3-4pm on CiTR 101.9FM in Vancouver and online at citr.ca. Tune in to hear music, etc. from the pages of Discorder Magazine.

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Anyone who has kept up with my Editor’s Notes will know that I love nostalgia. I love revisiting old Discorder features and CiTRisms, and sneaking them into my writing like the chewy bit in a Tootsie Pop. But, nostalgia isn’t always sweet.

As I write this Editor’s Note, I am listening to CiTR / Mint Records’ Pop Alliance Vol. 2 from 2011. It takes me back to that era of Vancouver pop music — lazy-romantic song lyrics that lean hard on the quotidian; an unresolved tension between classic guitar-driven pop and electronic dance pop; and more than anything, the artists’ ambitions to become that band that defines West Coast sound. Though I hear Vancouver in the music and I love it, I don’t have the same fondness for the art.

The original cover art for Pop Alliance Vol. 2 is a totem pole with the likenesses of local musicians in place of traditional figures and spirits. Although the artist wrote a statement (included in the record sleeves), there is no justification for cultural appropriation. The cover art is harmful in its trivialization of Northwest Coast Indigenous culture. It is my personal view that not only is the cover art a gross misrepresentation of the vinyl, but it also contradicts the values of decolonization that both CiTR / Discorder and Mint Records strive towards. Our organizations are making a renewed commitment to educating ourselves on Indigenous cultural appropriation, and holding workshops that will be open to CiTR / Discorder members and our community at large. You can find our statement and apology online, and on page 4 of this issue.

Why now? Over the past year, CiTR / Discorder have been working on how to address the harm of this cover art, and also an instance of artistic cultural appropriation that Discorder published in the April 2017 issue. Discorder is complicit is the creation and dissemination of an illustration that appropriated the work of an Anishinaabe artist. As a magazine and media organization, we take responsibility for the ways we have failed our contributors and community, and we want to keep this conversation open.

June is National Indigenous History Month, culminating in celebrations on the Summer Solstice, June 21. I encourage Discorder readers to take some time to reflect on the land you occupy and the people for whom the land means life. Seek out education on local Indigenous issues, and show up where you can.

In this issue of Discorder, you’ll read about the Indigenous burlesque group, Virago Nation; emerging hip hop artist, Rude Nala; DIY artist-run space, Duplex; Dim Cinema’s experimental moving-art programs; Moniker Press’ experimental risograph printing; toxic masculinity as defined by WAVAW, and so much more. Pull out the June event calendar and flip it over for the Music Waste Festival schedule (June 7-10).

I would also like to welcome Sydney Ball as the new Under Review Editor, and extend a thank you to Alex Lenz for guest editing Real Live Action.