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.
What follows is a personal essay written by a long-term resident of Belvedere Court, Sean MacPherson. The Belvedere is a rental apartment in Vancouver that has recently been in the news following a wave of efforts to evict, intimidate, and coerce the residents into leaving their homes. In response, tenants have organized – with the support of the Vancouver Tenants Union – to protect their right to housing and preserve Vancouver’s vital affordable rental stock.
Vancouver Mural Festival, at the core of its structure, does not represent a culturally diverse or marginal perspective as you might expect from a mural festival. Instead it is the initiative of a group of predominantly white men who have built alliances, not with the everyday people of Vancouver, but with real estate developers, Business Improvement Associations (BIAs) and the City government.
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
What better place to start than with the development’s aggravating name? The Independent. An adjective made noun with a definite article, it stands alone not just in light of the word’s meaning but in its semantic structure. It embodies a built space at the same time it embodies a lifestyle. Tossing all subtlety out the window, it condescends to you in equating a space with some whitewashed version of bohemianism. It is a name that digs its heels into cultural anxieties over distinguishing oneself from the masses, and slaps you in the face with its promise to make you stick out.
This weekend NDP voters in the Vancouver-Fairview riding rejected Vision councillor Geoff Meggs as their representative in the upcoming provincial elections. The defeat of a sitting councillor represents a significant defeat for Vision Vancouver, but also a strong sign of disapproval for NDP’s leadership and union hierarchy. The party’s base of active membership has voted for George Heyman, striking down the endorsement of Meggs by the NDP-Fairview Executive, which includes CUPE’s Paul Faoro, a key player in labour’s rightward turn at the municipal level since the creation of Vision Vancouver in 2005.
Fairview is the former riding of Mayor Gregor Robertson. Due to this alone the rejection of Meggs signals a serious upset for Vision Vancouver. Fairview is a “battleground riding” in provincial politics, but also a weather-vane for the political climate of the city itself. But why exactly did members turn against Meggs?