#SundayMusic | Perfection | John Prine’s Remarkable, Eternal 1971 Début Album

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Guitarist Jason Wilbur played on stage with John Prine for 1999’s  Live from Sessions at West 54th

One of the most celebrated singer/songwriters of his generation, John Prine was a master storyteller whose work was often witty and always heartfelt, frequently offering a sly but sincere reflection of his Midwestern roots, writing about the lives of ordinary people in a remarkable and perceptive way.

Widely cited as one of the most influential songwriters of his generation, Prine was known for his signature blend of humorous lyrics about love, life, and current events, often with elements of social commentary and satire, as well as sweet songs and melancholy ballads.

John Prine’s first record, simply titled John Prine (Atlantic, 1971), featured a photograph of the slightly impatient-looking young singer-songwriter seated on a bale of hay, hands cradled in his lap, with his guitar standing upright nearby.

The austerity of the image was a good reflection on the album’s contents: a baker’s dozen songs clocking in at about 43 minutes, performed mostly on acoustic guitar with a spare backing combo, delivered in a straightforward nasal drawl, with titles like Sam Stone, Donald and Lydia, Hello in There, Illegal Smile, and Souvenirs.

Beneath the casual simplicity of the presentation lies a treasure trove of lyrical beauty: detailed portraits of despair and loneliness, interspersed with witty cultural commentary about dimestore patriotism, back-to-nature movements, and the justice system’s obsession with people’s “illegal smiles.”

That first record wasn’t a big seller.

It peaked at #156 in the Billboard charts in 1972, a year after its initial release. But that small splash had big ripples down through the years. John Prine not only set the tone for his half-century career, it influenced several generations of American singer-songwriters working in the rock, country and folk traditions.

1971 was a year of disaffection and ennui. The Beatles had broken up, the hippie dream was over, four kids were shot in Ohio by National Guardsmen and you had Crosby, Stills, Nash and Young singing a protest song that was powerful at the time but who wants to listen now? Prine’s eyeglass was focused on all of the same things but his was an ironic, detached P.O.V. that remains vital and relevant.

The record is of that time but it is somehow of this time too, though Prine’s delivery and from where in his throat he’s singing obviously owes something to Dylan.

All through the 1970s Cathy and I would attend annually at the Queen Elizabeth Theatre on Georgia Street with a pack audience gathered to appreciate John Prine.


John Prine on stage and singing with Iris DeMent (who we will write about another day)

Some artists are one hit wonders and one album wonders. Not Prine. He kept doing it and gathering up new fans right until the end, even when sickness made a physical mess of him.

John Prine died on Tuesday, April 20, 2020 of severe acute respiratory syndrome coronavirus 2 (SARS-Cov-2), the pandemic coronavirus that caused COVID-19.

Stories of a Life | Oct. 31st | Raymond’s Surgery Day

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Saturday, October 31 2025, Raymond is admitted to VGH for a radical prostatectomy

As I’ve written previously, on Friday, October 31 2025, I was admitted to the Vancouver General Hospital for a radical prostatectomy, in response to my Stage 4 prostate cancer. My prostate would be removed over the course of a 3½ hour surgery.

My friend Susan Walsh drove me to the hospital, leaving at 8:45am, arriving at VGH at 9am, where she dropped me off.

I climbed the stairs on the west side of the Jim Pattison Pavilion, just off Laurel Street, and upon entering the building walked down the long corridor towards the Admitting desk, where a woman behind a glass enclosure told me that my arrival was expected. Next, I was directed to an elevator leading to the third floor,  and ushered into a carrel, with curtains on three sides, and given a blue gown to wear, a new, softer gown construction less given to exposing a patient’s body. I then climbed into what I found to be a quite comfy bed, the back of the bed tilted up.

No sooner was I comfy in my bed than a young woman in her 30s approached the carrel, my bed and me, introducing herself as Jen, the lead nurse on my upcoming prostate cancer surgery, that was planned to start 75 minutes hence.

Staring directly at me, Jen said …

“Cholangeo, huh?” ‘Yep’, I replied. “You know, Raymond, every other patient I’ve worked with who had been diagnosed with cholangeo died, yet here you are, looking pretty darn fit, and in good shape and quite ready for your upcoming cancer surgery. Why is it that you are here, lying in your comfortable bed, full of vim and vigour, when all of the other cholangeo patients who suffered from your cholangeo diagnosis are long gone, expiring within weeks or months. Gone. Dead.”

“A miracle,” I said. After which I explained what had occurred in the year of my discontent in being diagnosed and treated for my Hilar cholangeocarinoma.

“Well, I’m glad you’re still with us,” Jen said. “I’ll see you in the operating room in about an hour. I’ll be the one keeping an eye on the doctors to make sure that all goes well. You can count on me.”

An Explanatory Digression

Hilar cholangeocarinoma. A bit of background. On October 7th, 2016 I was diagnosed with Hilar cholangiocarcinoma by Dr. Fergal Donnellan.

Weekly for the next six months I attended at VGH where Dr. Donnellan installed a stent in my bile duct. By Christmas, I was in palliative care at St. John’s Hospice at the University of British Columbia. Apparently, I was a goner, the tests definitive.

Problem was, I felt pretty great (October 2016 was the worst month of pain I had ever experienced), in January 2017 attending the Women’s March — with Gwen Giesbrecht, currently running with COPE for a position on the Vancouver School Board, and longtime DTES community activist Wendy Pedersen, and her then 11-year-old daughter — to protest the election of Donald Trump as U.S. President.

Long story short, my family physician, Dr. Brad Fritz, assigned me to meet with VGH urology specialist and surgeon Dr. Andrzej  Buczkowski to review my case.

In early January 2017, Dr. Buczkowski showed me the results of several MRIs, CT scans and PET scans, which showed from the neck down,  the lymph nodes in my body were a flaming red, the bile duct cancer having spread throughout my body. Dr. Buczkowski expressed surprise that I looked healthy, and fit, when given the surfeit of tests I had been subjected to for months indicated I should be dead.

Over the course of the next two months, I was tested and re-tested, ending up on an operating table at Vancouver General Hospital at 6am on Friday morning, March 7 2017, where from 6am to 3pm, Dr. Donnellan rooted around in my body looking for the cancer spread — the results of the tests conducted by Dr. Buczkowski indicated that my bile duct cancer had disappeared. At 3pm, I was wheeled to a ward, still fast asleep, and still under the effects of the anaesthetic I had been given.

At 4:30pm, standing at the foot of my bed, Dr. Donnellan voiced what he told me later were the three most difficult words he had ever expressed: “It’s a miracle!” My cancer was gone, there was absolutely no trace of my cancer anywhere, not in my liver, pancreas, gall bladder, lungs, or bile duct. And so it has remained until, and I expect beyond, this day.

My friend Margery Duda, a longtime community pools advocate (whom Kareem Allam must meet), picked me up from the hospital to ferry me home.

I’ll write about the entire journey of my Hilar cholangeocarinoma in days to come.

Jen and I spoke for about 10 minutes, after which she departed, where upon three of her nurse colleagues who would be attending at my surgery approached my carrel to introduce themselves. Next up, my surgeon, a cheerful Dr. Miles Mannas and three of his urologist colleagues dropped by my carrel, as well as two oncologists who had been supervising my case, three anesthesiologists and the two doctors who would be conducting my upcoming, precise, robotic surgery.

At 10:25am I was wheeled into the operating room for my radical prostatectomy that, unlike the “photo” above (created with Gemini AI), appeared to be the size of a football field. I was approached by the lead anesthesiologist, with whom I had met previously, in preparation for my prostate cancer surgery. “I am going to apply the anesthetic now,” he said. And I was out like a light.

The surgery lasted until late afternoon, after which I was wheeled to a recovery ward, where I was attended to for the next 12 hours by an absolutely tremendous nurse — with a wry and wicked sense of humour — and very well cared for.

Alasdair and Fergus walking down Waterloo Street towards Almond Park

At 10am on Saturday morning, my friend Alasdair and his son Fergus (about whom I wrote on Tuesday) arrived to pick me up and take me home, where I remained bed-ridden for the next three months, continuing the worst part of my recovery through early June, cared for by Nick Ellan, Alasdair, his bride Meaghan (and their two children, Fergus and Elliott), my neighbours Heather, Judi, Kevin and Laurie — and all other members of my housing co-op, for that matter, about which circumstance, I will write several times over the coming weeks and months — my good friend Kelly Ryan, and the dog we share, Teague the schnauzer wonder dog.

Teague the schnauzer wonder dog, my constant and much loved companion

At the 2026 Cannes Film Festival, A New Cultural World Order Emerged

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The Boulevard De La Croisette at the Palais des Festivals, during the 79th annual Cannes Film Festival  

The Cannes Film Festival has never been the Oscars.

For most of its history, Cannes existed in a parallel cinematic universe: a place where auteurs were celebrated, formal experimentation rewarded, and films destined for repertory cinemas received standing ovations from critics long before mainstream audiences had even heard of them. Winning the Palme d’Or once meant prestige rather than popularity.

Yet the gap between Cannes and Hollywood continues to narrow.

The 79th Cannes Film Festival was, at first glance, a quieter edition than many in recent years. There were fewer major studio titles, fewer headline-grabbing celebrities, and a competition lineup that lacked the immediate excitement of some previous festivals. But beneath that apparent calm, Cannes once again demonstrated its ability to identify the artistic, cultural, and commercial currents that will shape cinema over the coming year.

Three themes emerged from the Croisette in 2026: the continued rise of LGBTQ+ storytelling, the growing strength of Japanese cinema, and the enduring vitality of Spanish-language filmmaking.

Queer cinema was unquestionably the dominant force at this year’s festival.

The most discussed films in competition centered on LGBTQ+ characters and experiences, reflecting an industry increasingly willing to place queer stories at the centre rather than the margins of contemporary filmmaking.

Among the standouts was Ira Sachs’ The Man I Love, starring Rami Malek as a gay performance artist navigating New York’s AIDS crisis during the 1980s. The film earned one of the festival’s most enthusiastic receptions and immediately positioned Malek as a potential awards-season contender. Rather than revisiting familiar tragedy, Sachs crafts an intimate story on love, creativity, desire, and mortality.

Belgian filmmaker Lukas Dhont continued his remarkable ascent with Coward, a World War I drama exploring forbidden love amid the horrors of trench warfare. Following the success of Girl and Close, Dhont delivered another emotionally devastating examination of identity and human connection.

Perhaps no film generated more passion than La Bola Negra from Spanish directing duo Javier Calvo and Javier Ambrossi. Spanning generations of queer men from the Spanish Civil War to the present day, the film received the festival’s longest standing ovation, emerging as one of the festival’s most acclaimed titles.

The prominence of these films suggests something larger than a passing trend. Queer stories are no longer being treated as niche programming. They have become central to contemporary cinema’s understanding of history, memory, identity, and social change.

Equally notable was the extraordinary presence of Japanese cinema.

Few national film industries are currently operating with the artistic confidence and commercial momentum found in Japan. The country’s box office revenues reached record levels in 2025, while production volume climbed to historic highs. That energy was clearly visible at Cannes.

Palme d’Or winner Hirokazu Kore-eda returned to competition with Sheep in the Box, another nuanced exploration of family relationships.

Ryûsuke Hamaguchi, whose Drive My Car became a global phenomenon, presented All of a Sudden, a thoughtful examination of friendship and emotional intimacy.

Meanwhile, Koji Fukada competed with Nagi Notes, continuing his reputation as one of Japan’s most perceptive contemporary directors.

Although stylistically distinct, all three films explored themes of family, loneliness, companionship, and human connection. Their collective presence underscored Japan’s position as one of the most important creative centres in world cinema.

Three Films in Competition, a Thriving Box Office and the Envy of Europe: Spain Is Having Its Moment

Spanish cinema also enjoyed an exceptionally strong year.

From Almodóvar to a new generation of auteurs, Spain arrived at Cannes 2026 in historic fashion — and the industry behind it has never been in better shape: “Spanish cinema is in a very exceptional situation right now.”

Beyond the acclaim received by La Bola Negra, Spanish-language filmmaking demonstrated a remarkable ability to combine artistic ambition with emotional accessibility. The result was a slate of films that connected with critics while remaining accessible to broader audiences.

Director Rodrigo Sorogoyen’s new film, The Beloved (El Ser Querido), joined Pedro Almodóvar’s Bitter Christmas (Amarga Navidad) and Javier Calvo and Javier Ambrossi’s La Bola Negra in an unprecedented three-film representation of Spain in this year’s Official Competition at Cannes.

That balance increasingly defines the modern Cannes success story.

The Cannes Film Festival is no longer merely a launching pad for challenging art-house films. It has become a marketplace where prestige, commercial potential, and awards-season momentum intersect.

Several titles emerged from Cannes as serious Oscar contenders.

One of the festival’s biggest acquisitions came when independent distributor A24 purchased Club Kid for a reported $17 million. Directed by and starring Jordan Firstman, the film follows a gay nightclub promoter who unexpectedly discovers he has a son. What might have sounded like a modest independent comedy became one of the festival’s biggest crowd-pleasers, demonstrating once again that audiences remain hungry for character-driven storytelling.


Scenes from James Gray’s Paper Tiger, starring Scarlett Johansson, Adam Driver and Miles Teller

Scarlett Johansson generated strong reviews for James Gray’s Paper Tiger, while Léa Seydoux enjoyed a particularly successful festival with appearances in both The Unknown and Gentle Monster. Each performance strengthened their standing as potential awards-season players.

Elsewhere, veteran auteurs returned with films that may finally bridge the gap between Cannes prestige and Academy recognition.


Winner of the Palme d’Or at Cannes last month. Certain to feature in the upcoming Oscar race.

Romanian director Cristian Mungiu captured the Palme d’Or with Fjord, a provocative examination of religious intolerance featuring acclaimed performances from Sebastian Stan and Renate Reinsve.

Russian filmmaker Andrey Zvyagintsev earned the Grand Prix for Minotaur, while Polish director Paweł Pawlikowski returned with Fatherland, a postwar road movie featuring another standout performance from Sandra Hüller.

Together, these films reinforced Cannes’ unique role in the cinematic ecosystem. The festival remains a place where future Oscar nominees are discovered, where international auteurs launch their next projects, and where global film culture takes stock of itself.

As the lights dimmed along the Croisette and the crowds drifted away from the Palais, what lingered was not the memory of celebrity sightings or red-carpet spectacle. It was the sense of cinema looking outward once again — toward different cultures, different identities, different ways of seeing the world.

The strongest films at Cannes this year were united not by style or genre, but by curiosity. They crossed borders of language, history, sexuality, and geography in search of common human experience.

And perhaps that is the enduring lesson of Cannes.

Every May, the festival gathers stories from every corner of the world and projects them onto a single screen facing the Mediterranean Sea.

For a brief moment, cinema becomes a conversation between strangers. Japanese families, Spanish lovers, queer artists, wartime dreamers, and lonely souls all share the same flickering light. The waves continue to lap against the shoreline, the projectors fall silent, and the stars eventually depart.

But the stories remain, carried home across oceans and continents, waiting for audiences everywhere to discover them.

#VanPoli | 2026 Vancouver Mayoral Candidates | We Take No Prisoners | Part 2

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Stephanie Allen. Along with Kareem Allam, by far our favourite candidate for Mayor of Vancouver, a boots on the ground visionary, a fiscally responsible, well schooled, non-pedantic knows her stuff politico, who possesses much — perhaps unparalleled — insight into how government functions (although we would say she may have met her match in Kareem Allam), and after years of working in British Columbia’s provincial government knows how to implement true change for the better — the real deal Zohran Mamdami running in the current 2026 Vancouver civic election — COPE scored a major coup in landing the absolutely tremendous Stephanie Allen as the municipal party’s standard bearer in the 2026 Vancouver civic election (thank you Shawn Vulliez, COPE’s absolutely brilliant campaign manager, for convincing Ms. Allen to run for the office of Vancouver Mayor)!

Now, you may know Stephanie Allen from her critically important role as Vice-President of BC Housing, or — following the untimely death (from cancer) of VanRamblings’ friend and neighbour, Brenda Prosken, who we first met and worked with at Vancouver City Hall in her role as General Manager of Community Services — when Stephanie Allen stepped up to the plate in 2020 / 2021 to find housing and homes for those who were resident in the Strathcona Park encampment (following on Brenda’s work on the decampment of Oppenheimer Park, when she located housing for all of the encampment’s residents), but there’s more …


A re-imagining of Hogan’s Alley, Vancouver’s first enclave for some of the Vancouver’s early Black Canadian immigrants, located within a T-shaped intersection at what is now the easternmost end of the Dunsmuir and Georgia viaducts — immediately south of Chinatown | Stephanie ALLEN.

Hogan’s Alley, the early 1900s community in and around the Strathcona neighbourhood — framed today by Main Street to the west, Union Street to the north, Jackson Avenue to the east, and Prior Street to the south — where it eventually became the cultural hub of the community, the former neighbourhood known for being home to Nora Hendrix, the grandmother of rock legend Jimi Hendrix, and a cook at Vie’s Chicken and Steak House, a Hogan’s Alley’s culinary institution.

The latter half of the 1960s marked the neighbourhood’s demise, when city blocks of homes and businesses that formed Hogan’s Alley were demolished for the replacement Georgia Viaduct, which itself is set to be demolished later this decade.

And, gosh, who do you think it was who developed the concept of a renewed Hogan’s Alley? Could it be Stephanie ALLEN, COPE’s absolutely tremendous candidate for Mayor of the City of Vancouver? Yep, yep, we believe that is the case.

Time to introduce you to another high profile candidate for Mayor of Our City

William Azaroff. Running for Mayor of Vancouver under the banner of OneCity Vancouver, VanRamblings first met Mr. Azaroff in June 2019 soon after he was appointed CEO of the Brightside Community Homes Foundation (a prominent non-profit in Metro Vancouver), where he leads a team that manages 26 buildings encompassing over 1,100 affordable homes for seniors, families, and persons with disabilities across the Metro Vancouver region.

Recently, the Vancouver & District Labour Council (VDLC) endorsed Mr. Azaroff for Mayor in this year’s Vancouver municipal election, announcing its endorsement on May 20, 2026, while simultaneously urging the Green Party and COPE to reconsider their Mayoral campaigns to consolidate the so-called “progressive” vote.

That night, COPE’s very able (and, dare we say, brilliant) campaign manager, Shawn Vulliez posted a brief note to VanRamblings in which he averred, “There’s a secret meeting going on tonight where, I’m told, One City Vancouver and the VDLC are going to jettison the co-operative agreement reached by OneCity, the Greens and COPE that would have us work together, as we have in the past, where the VDLC is going to formally endorse OneCity.”

As British statesman Benjamin Disraeli observed “in politics, as in love, there is no honour,” pointing to a world where strategy, leverage, and party alignment often take precedence over unbending morality.

As renowned philosopher Hannah Arendt once observed …

“In matters of the heart, the adage “all is fair in love” suggests that strong passions can lead to irrational choices, which I would argue in politics is fundamentally incompatible with logical, rational reasoning. Love requires vulnerability and deep personal investment, while politics often demands strict detachment or ideological pragmatism. When the two collide, devotion to political figures or ideologies can sometimes overshadow the love and respect shared between partners, be they political or lovers.”

VanRamblings is here to say two things …

  • We absolutely and definitively will not support nor endorse William Azaroff as Vancouver’s next Mayor. We believe Mr. Azaroff is Ken Sim redux in casual wear, a bully, a sort of ne’er-do-well, and although better informed and more accomplished than Mayor Ken Sim, in practice is a kind of despicable, self-serving politico, a non-collaborative fellow, with the potential to be an intimidating and coercive oppressor who will bring to Vancouver City Council the same sort of dysfunction and disunity that has proved to be Ken Sim’s stock-in-trade. Read more on our rationale below.
  • At reading the paragraph above, we believe VDLC President Stephen (pronounced “Stefan”) von Zychowski — who we like and respect — will be apoplectic. Soon, we will ask for Mr. von Zychowski’s permission to reprint the statement he has made on social media as to the rationale of the VDLC in choosing to support William Azaroff as our next Mayor, as well as his OneCity Vancouver civic party. Fair’s fair, after all.

On February 12th, Mr. Azaroff defeated First United Church Executive Director Amanda Burrows in OneCity Vancouver’s Mayoral nomination race, securing 1329 votes or 60% of the vote total, with Ms. Burrows coming in second with 929 votes, or 40% of the vote. Nomination battles are always a numbers game.

Upon winning the OneCity Mayoral nomination, did Mr. Azaroff reach out to Ms. Burrows and say …

“You ran a good race, a great race. I learned so much from you as we both sought to secure the OneCity Vancouver Mayoral nomination. I think the success of OneCity in this year’s election demands candidates of quality, discernment and accomplishment, all of which you embody. I believe going forward it is critical you remain on the OneCity team, and that you secure a nomination for Council, which I will heartily endorse. Working together, there is so much good that we can accomplish.”

Did William Azaroff reach out to Amanda Burrows, congratulate her on a well-run campaign, and ask her to join his OneCity Vancouver team to seek a Council nomination, which he would heartily support? Nope, gentleman that he isn’t, he did not approach her. Instead, he left Ms. Burrows to twist in the wind.

Note. Amanda Burrows did not seek a OneCity Council nomination.

From the outset there was very little enthusiasm within COPE (the Coalition of Progressive Electors), for the Mayoral candidacy of William Azaroff, should he secure the OneCity Mayoral nomination.

Even so, in signing a OneCity Vancouver / Greens / COPE co-operative agreement COPE — which was represented by campaign manager, Shawn Vulliez — at the behest of the VDLC, COPE made a commitment to consider backing various of the “progressive” non-COPE candidates should these candidates “pull ahead.”

COPE’s Executive did not want to risk the potentiality of Stephanie Allen’s Mayoral bid should all go well — as was heartily hoped would occur —  given the possibility Ms. Allen might emerge as the successful consensus “progressive” Mayoral choice, thereby garnering support from OneCity, the Greens and the VDLC.

There was to be no ill will expressed, nor acted upon, nor any misunderstanding(s).

COPE conducted itself in an honourable matter.


Derrick O’Keefe, COPE School Board candidate (l), and his activist partner, Andrea Pinochet-Escudero

Why then was there opprobrium among some in COPE for an Azaroff candidacy?

If one reads various social media accounts, and speaks directly with a broad cross-section of COPE’s membership, one learns that many members of COPE have experienced mulish interactions with Mr. Azaroff, such that  he is considered by many COPE members to be the Evictor in Chief in the affordable housing sector, as he displaces vulnerable tenants from their homes.

VanRamblings has covered municipal, provincial and federal elections for 60 years.

In all that time, there is no Mayoral candidate or party leader — federally, provincially or municipally — who did not put his or her imprint on the party they lead, deciding who would constitute members of her or his team going into an election.

For instance, when Kirk LaPointe became the Mayoral nominee for the NPA in 2014, he dismissed all of the vetted candidates for Council, Park Board and School Board — this at the end of a long, arduous and thorough vetting process, when all of the successful candidates were in place, as he secured his own team to run as candidates at all three levels of civic governance, Council, Park Board and School Board.

Did William Azaroff put his imprint on OneCity Vancouver after winning the Mayoral nomination, indicate he believed their star candidate, longtime civic affairs journalist Frances Bula, must be a member of his team, that her nomination for Council would be a critical element in OneCity’s success at the polls in October?

No, he did not.

Can you imagine Mark Carney or David Eby lying back and taking no interest in who would be running for their respective parties in a coming election? In early 2020, longtime NDP Executive Director Raj Sihota had the support of the Vancouver-Hastings constituency executive and the members of the riding, and was their chosen candidate to represent the party in the upcoming election.

Next thing you know, Premier John Horgan — at the insistence of then NDP Attorney General, David Eby — parachuted in former Vancouver Park Board Chair, Niki Sharma, to seek the Vancouver-Hastings NDP nomination, with the full support of the provincial party. Next thing you know, Ms. Sharma secures the Vancouver-Hastings NDP nomination, emerges as the victor in the October 24, 2020 provincial election, shortly after which she was appointed our province’s Attorney-General, when David Eby took on the housing portfolio.

William Azaroff a leader? We think not.

Colleen Hardwick. Yep, she’s running for Mayor again, and doesn’t have a hope in hell of winning. Think: lost cause.

VanRamblings has written kindly and lovingly about our longtime friend.

But no more.

At a recent luncheon with a weathered confidante of the esteemed Ms. Hardwick, VanRamblings offered the comment …

“Colleen Hardwick can be difficult to get along with.” The rejoinder by our luncheon companion, said with a chuckle in his voice, “Raymond, Raymond, Colleen is not difficult to get along with, she is impossible to get along with.”

We continue to like Ms. Hardwick’s core message: neighbourhood empowerment, and community involvement in the development of new and updated neighbourhood community plans. That she is the only candidate to voice such policy, gets her no little support from us. Sadly, though, Colleen Hardwick is an imperfect messenger for her policy proposals. Speaking with friends we ran across while sauntering down West Broadway, our friend Helen — as we were speaking about the upcoming civic election — offered the following comment, unbidden …

“Colleen is sharp. And I don’t mean that in a kindly way. There is an edge to everything she says, almost an inherent meanness, an ‘I know better than you’ ethos that is off-putting, that causes me to think, ‘I kind of like what she has to say, but I don’t like at all how she goes about saying it’. For me, Colleen is an unpleasant character, and someone who I could not begin to support, no matter how much I like her message.”

Recently, Katie Hyslop, writing in The Tyee, published an article titled, Colleen Hardwick Is Running for Mayor Again. Midway through the article, Ms. Hyslop asked Colleen Hardwick a question about affordable housing, and homelessness.

Have you ever read such utter bullshit in your entire life?

Who, which voters, given a shit about “recovering balance” (whatever the fuck that means). Not to mention, who gives, which voters and where are they, give a flying fuck about “zone capacity” or the ” 2012 Coriolis report”? We mean, really?

Who does Colleen Hardwick — running for Mayor again, don’tcha know — think her audience is, who are the voters — outside of pointy-headed, so called “intellectuals” at the universities in our region — is she attempting to communicate with, to garner their support, that she’s the right candidate to become the Mayor of Vancouver in 2026, that she can “recover balance” and change “zone capacity”?

Colleen Hardwick might well have said …

“Affordable housing must be addressed through the construction of housing co-operatives, where members pay no more than 30% of their income for their homes, where they are empowered to make decision-making on the Co-op’s finance, membership or maintenance committees. Where housing co-ops are built on a 99-year-leasehold basis, on city-owned land, or provincial or federal Crown land. Construction and materials are paid for through the Community Amenity Contributions made by developers building high rise condominiums. All this would be overseen by Thom Armstrong, who heads both the Co-operative Housing Federation of British Columbia, and the Community Land Trust. On top of that, the City would charge no development fees for the construction of this crucial affordable housing, saving millions.”

Or, in addressing the issue of homelessness, Ms. Hardwick could have reminded readers of the 2022 platform for TEAM for a Livable Vancouver, when she stated …

“There are 277 social agencies on the Downtown Eastside, located in the square mile around Hastings and Main. 277 very well-paid Executive Directors, Vice-Presidents, Directors of Human Resources, Property Managers, Directors of Supportive Housing, and more, staffed in each of these agencies, who engage in redundant work each and every day, putting money in their pocket at the expense of the vulnerable citizens they are charged to support. No wonder that for years, many in the community have called those who are employed by these agencies “poverty pimps”. Merge these agencies, leaving 40 agencies. TEAM wants to hire a “czar” — as David Eby has often said is the key to provide service to our city’s most vulnerable citizens, rather than line the pockets of the senior administrators. Billions of dollars could be saved, services rationalized, better service could be provided with savings applied to social housing construction.”

But did she say that, did she actually answer the question that was asked of her, in plain and simple language that all of us could understand? Could have been a great answer to a simple question. But Ms. Hardwick seems not capable of that.

Y’know, Ms. Hardwick, not every voter is a PhD candidate, as you are, or grew up with a silver spoon in their mouth, living in a home where their parents are a respected, tenured professor at the University of British Columbia, and their mother sat on the Vancouver Park Board as a multi-term Commissioner.

According to Statistics Canada, the “average level” of education in Vancouver-Point Grey / Vancouver Quadra is second year university. East of Main Street, the “average level” of education is Grade 8. There are 54 ethnic communities in Vancouver where the first language spoken in the home is neither French nor English. No wonder in Vancouver, there’s a paltry 36% turnout of eligible voters — if that — when a Vancouver City election is called every four years.

Fortunately, there’s a Mayoral candidate — and a couple of civic parties — in the current Vancouver City municipal election who are running a stealth campaign to get the vote out among people in those 54 under-represented communities who don’t go to the polls — but will in 2026 — when it comes time to cast their ballot for a new Mayor, a new and vibrant Vancouver City Council, and a grassroots, community-oriented Vancouver Park Board, and Vancouver Board of Education.

And we’re here to tell you, folks, that it ain’t Mayoral aspirant Colleen Hardwick, and her gang of well-meaning, yet woefully under qualified TEAM of misfits.

Muhammad Ahmad. VanRamblings predicts that Mr. Ahmad, and his recently created, AI generated (according to a friend of ours who has spoken with Mr. Ahmad) Bright Futures Vancouver municipal party will secure less than 2% of the vote come the evening of Saturday, October 17th. Chances are, though, that you are likely going to see Mr. Ahmad on at least some of the stages where Mayoral all-candidates meetings are being held, on various dates throughout September and October.

Part 1 of the column on current Vancouver Mayoral aspirants may be found here.
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Now, we’re going to say this again and again: there is no more honourable activity than offering yourself for public office, as a serious and well-experienced candidate with a vision, and a more than passing familiarity with civic governance, and how our city is run, who the important administrative staff at Vancouver City Hall are and what it is they do, that you’ve attended a surfeit of Vancouver City Council meetings, or if you’re running to become one of the nine elected trustees on Vancouver’s Board of Education (who are elected to office every four years) that you are a regular attendee at School Board meetings and have been for years, or if you’re running to become a Vancouver Park Board Commissioner that you’ve done your homework, that you have a OneCard stuffed in your wallet, your purse, or your shirt or blouse pocket, and know almost everything there is to know not just about Park Board governance but about Vancouver’s many community centres — where it is critical that you are a member of your local community recreation centre and make regular use of the facility, which is kind of a second home for you.

See you back here tomorrow, when we write about the recently concluded 79th annual Cannes Film Festival, which for years has acted as a predictor as to which films will emerge as Oscar contenders the following January, as was the case with the Grand Prix winner at Cannes in 2025, Sentimental Value, or Best Actor Oscar contender Wagner Moura, who won the Best Actor award at the 78th Cannes Film Festival in 2025 for his role as a dissident on the run in the political thriller The Secret Agent (directed by Kleber Mendonça Filho), among a host of others, not the least of whom was the Best Supporting Actor Oscar winner, Stellan Skarsgård, for his role as an acclaimed filmmaker and absent father, in Sentimental Value.