The various iterations of the “Escaping Vancouver” narrative share a core unexamined underpinning: the idea that I, a hard-working, usually white, middle class person, did everything right, became successful, and yet am still unable to afford to live in the city of my choice. We must challenge the embedded privilege that characterizes what might be termed “middle class self-help advocacy”—the tendency to rely on individualized solutions to collective social problems.
On a cold Saturday night in January a haphazard line-up has formed outside the Fox Cabaret. Everyone is underdressed – young women with leather jackets draped over tank-tops and men with tight black jeans, thin t-shirts, and undersized polo hats. Above, the refurbished façade glows red, hinting at the building’s previous incarnation as a worn-down porn theater. However, the crowds outside are not here to enjoy “adult entertainment,” they have come to dance at one of Vancouver’s up-and-coming nightclubs.
During the last weeks of August, many Vancouverites spent time checking out the city’s first annual Mural Festival – an exhibition of 35 murals by over 40 local street, graffiti and mural artists mostly clustered around the lower Main Street corridor. The event was sponsored by a $200,000 grant from the City of Vancouver, with additional support from Mount Pleasant BIA and Burrard Arts Foundation