Category Archives: Essay

#BCPoli | Affordable Housing Plan | Part 2 |
BC New Democratic Party

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Premier David Eby and the B.C. New Democratic Party (NDP) have developed a comprehensive housing plan aimed at addressing British Columbia’s escalating affordability crisis. The second plank in the B.C. NDP’s housing plan specifically targets individuals and families earning between $30,000 and $88,000 annually, aiming to provide affordable co-operative housing on a large scale.

The B.C. New Democrats’ housing plan emphasizes the use of municipal, provincial, and federal Crown land for the construction of housing co-ops, offering long-term leases — typically on a 66-or-99 year leasehold basis — to keep costs down.


The Railyard Housing Co-operative, built on Crown land, 135-units, with bachelor-1-2-3-and-4 bedroom units, priced well below the market. Includes two child care centres, with spaces for up to 130 children.

Additionally, municipalities would forego development fees — saving up to $1.5 to $4.5 million, depending on the size of the housing co-op, and number of units — significantly reducing the cost of building, thereby allowing these newly-built housing co-op homes to remain affordable for middle-income earners.

The strategy to build co-operative housing on government land is a notable aspect of the B.C. NDP’s approach to solving the housing crisis.

Co-operative housing, which offers more stability and community engagement than traditional rental housing, is a model where residents collectively own the housing but do not own individual units.

This model has proven successful in other parts of Canada and Europe, providing long-term affordability and community-driven management.

One of the key elements of the plan is its focus on affordability through leasehold arrangements on public land.


A town house-style housing co-operative built on Crown land in Vancouver’s River District

By leasing land rather than selling it outright to developers, the government can ensure that the affordability of these homes is maintained for generations. The 66- or 99-year lease term provides security for families and individuals, allowing them to build long-term roots without the fear of skyrocketing rent or property values.


The 65-unit purpose built rental building at 2nd and Larch in Vancouver, with 14 studio, one, two and three-bedroom units set aside at CMHC’s median market rental rate, at $1000 – $1250 per month

The B.C. NDP has also introduced a provincial mandate that requires all new purpose-built rental housing to allocate 20% of units at the Canada Mortgage and Housing Corporation (CMHC) median market rental rates.

These CMHC rates are typically much lower than the market rates in hot real estate markets like Vancouver and Victoria.

By ensuring that a portion of new rental units are priced affordably, the provincial government hopes to address the growing rental affordability gap.

This is particularly significant as purpose-built rental housing often commands higher rents than older rental stock, leaving many renters — especially families — struggling to find affordable, stable homes.

In addition to building new housing, the B.C. NDP has a long-standing policy of purchasing existing apartment buildings to preserve affordable housing.

By acquiring older buildings, the government prevents private developers from converting them into luxury condos or raising rents beyond the means of current tenants. This approach has been lauded for ensuring that affordable housing remains available across municipalities, where market pressures often push lower-income residents out of desirable urban areas.

Premier David Eby has stated that the B.C. NDP will continue this strategy, helping to protect vulnerable renters from displacement due to real estate speculation.

In stark contrast, John Rustad’s B.C. Conservative Party has yet to present a comprehensive housing plan. The absence of a clear policy to address the affordability crisis leaves many wondering how the party intends to tackle one of the most pressing issues facing British Columbians.


Premier David Eby addresses a gathering of real estate and urban development professionals Thursday, Sept. 12, 2024, at the Paradox Hotel Vancouver | Photo: Rachel Thexton

Premier David Eby believes the B.C. Conservatives should release more particulars of their housing policies, with the October 19th election just over one month away.

Speaking at a meeting of real estate and urban development professionals last Thursday, the B.C. NDP leader said voters deserve to know what exactly the Conservatives intend to do on housing if they win a majority in the upcoming vote and form a new government.

“I would like to know what the Conservative housing plan is,” Eby told the audience at an industry event hosted by Urban Land Institute BC. “I think for housing to be on the ballot for people, they have to actually understand what their choices are that are coming forward.”

While Rustad has criticized the B.C. NDP for their housing initiatives, he has offered little in the way of a concrete solution. The B.C. Conservatives’ silence on this issue is particularly concerning given the housing crisis’s impact on the province’s middle- and lower-income families.

Moreover, the B.C. Conservative Party’s proposals related to rental housing would exacerbate the housing affordability problem.

Rustad’s party advocates for removing the cap on rent increases, a move that would disproportionately harm renters, particularly those on fixed or lower incomes.

Without rent control, landlords would have the freedom to increase rents at will, further straining families who already struggle to afford housing. This policy would worsen inequity in a rental market that already heavily favours landlords.

Additionally, the B.C. Conservatives have proposed further empowering landlords, potentially reducing tenant protections and making it easier for landlords to evict tenants or raise rents. This shift would create an even more unequal dynamic between landlords and tenants, where renters — many of whom are low- or middle-income families — would have little recourse against rent hikes or evictions.

Families relying on affordable rental housing would be hit hardest, with fewer options to find stable, affordable homes.

— David Eby (@Dave_Eby) September 16, 2024

In contrast, Premier David Eby’s B.C. NDP housing plan aims to strike a balance between affordability and housing supply, ensuring families earning between $30,000 and $88,000 can access housing without being priced out of the market.

David Eby’s emphasis on co-operative housing, along with the mandate for affordable rental units in new developments, represents a long-term strategy to combat housing unaffordability in British Columbia. This stands in direct opposition to the B.C. Conservatives’ pro-landlord, anti-renter policies, which would likely lead to higher rents, more evictions, and an exacerbation of the housing crisis.

The contrast between the B.C. NDP and the B.C. Conservatives on housing is stark.

While the B.C. NDP have laid out a multi-faceted plan that seeks to provide affordable housing to middle-income families, protect renters, and increase housing supply, Rustad and the B.C. Conservativesoffer a vision that favours landlords, weakens tenant protections, and risks pushing more families into housing insecurity.

As the housing crisis continues to dominate the political landscape in British Columbia, voters will need to decide which approach best addresses their needs — an inclusive, affordable, multi-faceted housing strategy, or a hands-off market approach that prioritizes developers and property owners over renters.

The B.C. NDP’s Housing Plan, Part 1 — Dignified Supportive Housing

#BCPoli | The Impact of The Age of Grievance and Complaint Culture in 2024

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The age of grievance and the culture of complaint have become defining features of contemporary political discourse in Canada and beyond.

In Frank Bruni’s The Age of Grievance, the New York Times’ Opinion columnist and Duke University professor, outlines how political figures have weaponized grievances to galvanize support, shift public sentiment, and redirect anger into votes.

This culture of dissatisfaction, cynicism, and victimhood has seeped into the Canadian political landscape, informing the strategies of major conservative figures, including Pierre Poilievre, the leader of the Conservative Party of Canada, and John Rustad, leader of the Conservative Party of British Columbia.

Understanding how this age of grievance shapes political campaigns is crucial to grasping the shifting nature of voter behaviour, particularly as it pertains to the rise of far-right or populist sentiments.

Pierre Poilievre and the Politics of Grievance

Poilievre has skillfully harnessed the culture of grievance as a key political strategy.

At the heart of Poilievre’s appeal is his ability to frame issues as part of a broader narrative where everyday Canadians have been wronged by government elites, bureaucrats, or a distant political class. By positioning himself as the voice of “common sense,” he taps into frustrations felt by many Canadians — whether it’s over affordability, housing, inflation, or perceived loss of personal freedoms.

Bruni’s The Age of Grievance highlights how figures like Poilievre manipulate these sentiments to create a sense of urgency.

Poilievre frequently paints a picture of a country under siege by wokeism, government overreach, and inflationary policies. He taps into a sense of national victimhood, where Canadian values and identity are under attack, positioning himself as the solution to restore these lost values. This isn’t merely a campaign tactic, but a broader effort to reshape Canadian political consciousness.

Bruni notes that “in a grievance-fueled culture, anger becomes the rallying cry, and solutions are often secondary to the preservation of outrage.”

This applies perfectly to Poilievre’s style.

His criticism of Prime Minister Justin Trudeau’s handling of the economy, energy policy, and pandemic restrictions follows a pattern of inflaming grievances rather than offering concrete, nuanced solutions. In doing so, Poilievre consolidates support not by offering optimism, but by fanning the flames of dissatisfaction.

British Columbia and the Politics of Complaint

In British Columbia, the age of grievance has similarly found fertile ground.

The current provincial election has become a battleground for competing narratives of grievance, with John Rustad of the BC Conservative Party emerging as a central figure exploiting this atmosphere for political gain.

British Columbia, a province often associated with progressive politics, has seen increasing polarization. The polarization between the BC New Democratic Party (NDP), which has governed for years, and rising conservative forces, such as Rustad’s BC Conservatives, reflects the influence of a growing culture of dissatisfaction. Voter frustration over affordability, housing crises, healthcare shortages, and environmental policies has coalesced into a broader sense of disillusionment with the political establishment.

Rustad’s campaign has capitalized on this sense of grievance, positioning his party as the “real alternative” to the governing NDP.

Rustad frames the government as “out-of-touch elites” who care more about woke policies, such as climate action, than about the daily struggles of British Columbians. In echoing Poilievre’s national campaign strategy, Rustad paints a picture of a province where citizens have been ignored and betrayed by the government. By presenting himself as the antidote to this betrayal, he has tapped into a well of voter dissatisfaction.

As Bruni notes, “leaders who exploit grievances do not seek resolution, but rather fuel the perception of perpetual crisis, ensuring that discontent becomes a permanent political currency.” Rustad’s campaign exemplifies this. He doesn’t offer a transformative vision for British Columbia but rather sustains a sense of crisis — over taxes, land use, or environmental regulations — that keeps grievances alive.

The Grievance Mindset and Populist Shift

The age of grievance has had a marked impact on voter behaviour, not only in British Columbia but across North America.

Many voters who feel alienated or left behind by the status quo are drawn to conservative or even far-right parties that exploit their frustrations. This is evident in how Rustad’s party, much like Poilievre’s federal campaign, attracts voters by offering simple answers to complex problems, such as opposing carbon taxes or claiming that crime and drug use are rampant due to “soft-on-crime” policies.

Bruni warns that in such a grievance-driven environment, “voters can be seduced by voices that promise a return to simpler times, even when those promises are illusory.” This has been true for British Columbia voters who, dissatisfied with the NDP’s handling of the housing crisis or healthcare system, may turn toward a party that doesn’t represent their best interests but resonates with their frustrations.

The age of grievance thus contributes to a political atmosphere where voters are more likely to make choices based on anger or cynicism rather than long-term policy benefits. This phenomenon explains why populist and even far-right movements, which exploit dissatisfaction but offer few concrete solutions, have gained traction even among voters who might otherwise support progressive policies.

David Eby and the Progressive Response

For David Eby and the British Columbia New Democratic Party, the challenge is how to counter this grievance-fueled narrative.

The key may lie in offering a vision of hope and forward-thinking solutions, rather than merely responding to grievances with defensive rhetoric. As Bruni suggests, “the antidote to grievance is not more grievance, but a reassertion of optimism and constructive action.”

Eby’s task is to convince voters that their frustrations — though real — are best addressed through thoughtful governance, rather than reactionary policies.

By focusing on housing, healthcare, and climate action, David Eby can remind voters that while grievances may persist, real solutions require sustained effort and collaboration. Moreover, Eby must highlight the dangers of grievance politics, pointing out that figures like Rustad are more interested in sustaining voter anger than in solving the province’s problems.

The age of grievance has become a dominant force in both federal and provincial politics in Canada. Conservative leaders like Pierre Poilievre and John Rustad have capitalized on this culture to galvanize support, while progressive parties like the B.C. New Democrats must find ways to navigate this political landscape without succumbing to the cynicism that defines it.

By offering solutions that go beyond complaint, leaders like David Eby can potentially counter the divisive forces that have emerged in this era of grievance-driven politics, and form government post Election Day, on Saturday, October 19th.

Sunday Music | Kacey Musgraves | 2018’s The Golden Hour Album | Top 100 of the Past 75 Years

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Kacey Musgraves, born on August 21, 1988, in Golden, Texas, is one of contemporary music’s most original and respected voices, known for her ability to craft lyrics that are witty, vulnerable, and unflinchingly honest.

Musgraves’ unique blend of traditional country roots, modern sensibilities, and genre-defying experimentation has positioned her as a standout in both the country and pop music scenes.

Musgraves’ breakthrough came with her major-label début album Same Trailer, Different Park in 2013. The album featured the single Merry Go ‘Round, a melancholy portrayal of small-town life, and the cheeky, rebellious anthem Follow Your Arrow, which encouraged people to live authentically regardless of societal norms.

Her lyrics, which tackled themes of non-conformity, marijuana use, and same-sex relationships, were bold for the country genre, known for its traditional values. However, her authenticity resonated with listeners, earning comparisons to past pioneers like Willie Nelson and Dolly Parton.

Musgraves’ rise to prominence in the early 2010s established her as a sharp lyricist and a trailblazer in country music, and her 2018 album Golden Hour cemented her status as a cross-genre force, earning her critical acclaim and commercial success.

While Musgraves had already earned significant acclaim with her earlier albums, it was Golden Hour that catapulted her to a new level of fame.

Released in March 2018, Golden Hour marked a departure from her previous work, blending country with elements of pop, disco, and electronic music. The result was a dreamy, genre-blurring collection of songs that felt both fresh and timeless. Musgraves has referred to the album as her “space country” project, reflecting its expansive sound and experimental approach.

Much of Golden Hour was influenced by Musgraves’ personal life, particularly her relationship with then-husband Ruston Kelly.

The album’s themes of love, heartache, and self-discovery resonated with listeners across genres. Songs like Slow Burn and Butterflies captured the warmth of new love, while tracks like Space Cowboy and Happy & Sad explored the bittersweet and often contradictory nature of human emotions.

Kacey Musgraves’ third album goes down so smoothly that it might not even scan as a total reinvention. Throughout Golden Hour, the East Texas singer-songwriter is radiant, awestruck, taking the scenic route to the bar just for the hell of it.

After Musgraves’ previous two albums, which felt like they were cut from the same home-sewn flannel cloth, in 2018 she ventured beyond the front-porch hum of country music. On Golden Hour, Musgraves employed strings, vocoders, disco beats. And if this sounds like a left turn for the lovable cynic who once characterized the world as an absurd beauty contest, a bad party, and a toxic boys’ club, well, that’s kinda the point.

Since 2015’s Pageant Material, the then 29-year-old singer-songwriter has changed her perspective.

On Golden Hour, everything sprawls and swells and gushes, a gaping sky that makes the sonic landscapes of her previous albums feel like mere set dressing. The result is Musgraves’ most accessible record and her most ambitious, a magnetic, comfortable culmination of her pop and country instincts.

The album’s production, handled by Musgraves alongside Daniel Tashian and Ian Fitchuk, was a critical element of its success.

The lush arrangements, ethereal synths, and subtle country flourishes created a sonic landscape that felt both intimate and expansive.

Golden Hour was a striking departure from mainstream country music, which at the time was dominated by bro-country and pop-country trends. Instead, Musgraves embraced a more eclectic and nuanced sound that allowed her to transcend genre boundaries.

This genre fluidity was key to Musgraves’ crossover success.

Kacey Musgraves stands out in the crowded landscape of modern music arising from her ability to remain true to herself while pushing boundaries. Her lyrics are clever, often laced with humour, but they never shy away from exploring the depths of human emotion.

In a world where many artists feel pressure to conform to commercial trends, Musgraves’ authenticity is refreshing. Her refusal to be boxed into any one genre has allowed her to build a diverse fan base, and her music continues to resonate with listeners across demographics.

As a result, she has become a symbol of creative freedom and artistic integrity in an industry that often prioritizes marketability over originality.

In Golden Hour, Kacey Musgraves created a work of art that transcended the limitations of genre, and in doing so, she solidified her place as one of the most innovative and respected artists of her generation.

Now, here’s some good news: Kacey Musgraves will play Rogers Arena in Vancouver this upcoming Thursday, September 19th, with the concert getting underway at 7:30pm. Ticket prices range from $73.80 to $247.40.

#VIFF24 | VanRamblings’ Vancouver International Film Festival Column

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The 43rd Annual Vancouver International Film Festival

Since opening in 1981, with a handful of films in just one theatre — the lost and lamented Ridge Theatre, at 16th and Arbutus — the Vancouver International Film Festival has taken on a vital role for local filmmakers and film lovers.

As it celebrates its 43rd anniversary this year, today VanRamblings will provide insight into the award-winning films that will screen at VIFF this year, as well as provide information on this year’s venues, ticket acquisition, and more.

With 150 feature films running over 11 days, although VIFF 2024 isn’t as complex as once was the case — as it runs from September 26th thru October 6th, it’s now shorter than the 16 day length it maintained for many years — navigating the sprawling festival can still be a little daunting.

VIFF is best approached like a multi-country overseas vacation: with pre-planning, and lots of it.

What movies to choose?

On viff.org , you’ll find films organized by programme (Showcase, Panorama, Vanguard, Northern Lights, Insights, Spectrum, Portrait and Altered States) by country of origin, by genre, and  by director. See what intrigues you!

Also, check to see which films have a guest attending (noted on each film’s individual page), which might mean an interesting Q&A.

You can also peruse the hard copy VIFF guide, which will soon be available at your favourite local bookstore, at regional and neighbourhood libraries and the nine venues where films will be screened, as well as at coffee shops across the Metro Vancouver region. Note should be made that the most accurate and up-to-date  information about guests is available online only.

Award-Winning Must-See Films

(Underlined titles of films link to the VIFF page for the film, which will provide you with more information on the film, as well as allow you the opportunity to buy tickets for the film, if you’re of a mind to do so).

Anora. Sean Baker’s Anora won the Palme d’Or at Cannes, in the director’s most searing and shattering film yet, with a breakout performance from Mikey Madison. Not to mention, a thoroughly fun and provocative time at the movies.

All We Imagine as Light. Grand Prix winner, Cannes 2024. IndieWire’s Anne Thompson says this film is her favourite this year, as she exclaims: “All We Imagine is an exquisite, spellbindingly hypnotic, a poignantly lyrical film that transcends form and style, full of enriching humanity and gentleness, joy and sadness and languorous eroticism, with a captivating beauty rarely seen on film.”

The Seed of the Sacred Fig. Iranian director Mohammad Rasoulof’s Special Jury and FIPRESCI Prize winner at Cannes offers a mesmerizingly gripping parable in which paranoia, misogyny and rage of the Iranian state are mapped seamlessly onto an ordinary family unit.

Conclave. Oscar nominees Ralph Fiennes and Stanley Tucci lead a brilliant ensemble cast in All Quiet on the Western Front director Edward Berger’s adaption of Robert Harris’ high-stakes drama, in which Cardinals gather at the Vatican to elect a new Pope, the film emerging as a psychologically complex morality tale.

The End. Tilda Swinton and Michael Shannon sing for their lives in Joshua Oppenheimer’s post-apocalyptic musical, with the director offering a staggering meditation on how we live with ourselves at the end of the world.

No Other Land. Best Documentary Award, Berlin 2024. A vital and wrenching documentary about Israel’s often barbaric efforts to expel a Palestinian community, co-directed by a collective of Israeli and Palestinian filmmakers, No Other Land offers a ground-level view of an occupation in action.

How and where do I buy tickets?

The easiest way to purchase tickets is to go online to viff.org, put the name of the film you’re interested in in the search engine, and click on Buy — from there it’s easy, allowing you to print your tickets at home. Or, you can call the Festival Infoline at 604-683-3456 from noon til 6 p.m. daily through October 6th. (Online is quicker.) Note that there is a service charge for online and phone orders: $1 per single ticket, up to $8 per order.

Required by the provincial government (because VIFF films screen unrated) you’ll need to purchase a one-time $2 VIFF membership.

Tickets can be purchased at the venues, as well, during operating hours. As of September 26th, all festival venues (VIFF Centre, The Chan Centre for Performing Arts, The Cinematheque, Fifth Avenue Cinemas, Cineplex International Village, The Orpheum, The Rio Theatre, SFU Goldcorp, and The Vancouver Playhouse) will have a box office open daily, one hour before the day’s first screening.

How early do I have to show up?

If you’re picky about where you sit, the earlier the better: An hour isn’t too early for a film that’s popular. But even if you don’t mind being in the back (or front) row, show up at least 15 minutes before showtime: At the 10-minute mark, unoccupied seats are counted and sold to those in the standby line.

What line do I stand in?

Each VIFF screening will have three separate queues: a pass-holder line (for those with passes hanging around their necks), a ticket-holders line (for those with tickets in hand) and a rush line. Standby tickets, for screenings that are sold out, go on sale 10 minutes before showtime, at full price.

Stand in the wrong line at your peril. (There will be signage, and helpful VIFF volunteers in VIFF T-shirts, if you’re confused.)

Can I bring my lunch?

Technically, no; VIFF venues do not allow outside food. Theoretically, yes, if you’re discreet about it. (Or just eat while waiting in line.)

Can I save a seat for a friend?

If you’re saving a seat at a sold-out screening, you might be asked to relinquish it if your friend is late, so tell them not to be.

What about bus routes and parking?

Translink / Coast Mountain buses are the best way to get around, although most of the venues are within walking distance of one another. Skytrain will whisk you to The Rio in no time flat. There’s parking at Cineplex International Village, but you’re going to want to check in with Festival staff (they’ll be wearing bright yellow VIFF T-shirts) to register your vehicle.

What about crowds?

There will be crowds, particularly at the better-known films; not a lot you can do about that. Maybe you’ll meet somebody nice in line; it happens often. Weekday screenings generally have shorter lines, particularly for less well-known films.