Category Archives: Pop Culture

#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 with a packed 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 April 20, 2020 of severe acute respiratory syndrome coronavirus 2 (SARS-Cov-2), the pandemic coronavirus that became known as COVID-19.

#VanPoli | 2026 Vancouver Mayoral Candidates | We Take No Prisoners | Part 1

#VanElxn 2026, #VanPoli Civic Politics, Politics, Pop Culture, Vancouver, Vancouver Votes 2026

Kareem Allam. Who? You may not know the achingly bright Kareem Allam four months out today from the October 17th Vancouver municipal election. But by early October, when the advance polls open, you will, and we’re betting that you will cast your ballot for Kareem, and members of his Vancouver Liberals team. Kareem is the most well-schooled candidate to ever run for the Mayor’s office in the City of Vancouver, with the strongest and most well thought out and expansive policy platform of any of the candidates and parties seeking office in the 2026 Vancouver municipal election. In a word, Kareem is brilliant, Vancouver’s Zohran Mamdami, a charismatic and populist candidate, articulate, and collaborative.

In the coming months, VanRamblings will introduce you more thoroughly to this outstanding candidate for Mayor of our city, why it is we are enthusiastically supporting his candidacy, and why it is we believe far and away that he is the most qualified candidate for Mayor, seeking office in the 2026 Vancouver civic election.

Ken Sim. Not since the reign of error of Mayor Jack Volrich in the late 1970s, has Vancouver had a more inept, more morally corrupt, shambolic clusterfuck of a civic administration than has proved to be the case under the maladministration of the far too often absent and woefully under qualified Ken Sim, the occupant of the Mayor’s office in the City of Vancouver for most of the past four years.

Jettisoning the Fair Wage Programme at City Hall early on in his administration; shutting down the Rentals Office at City Hall; attempting to get rid of the City’s Integrity Commissioner even while he was under investigation; converting a Committee Room used by several of City Hall’s 33 Advisory Committees, in order that he could convert the meeting room into a personal gym for himself; shot gunning a flagon of beer from the stage at Khatsalano Days, which he attended early on in his administration, causing the children and parents who were present to recoil, aghast at Sim’s utter lack of judgement; attending meetings dressed in a T-shirt and sweat pants, when he bothered to turn up to vote at all (on the rare occasions when he deigned to participate in the decision-making at City Hall); vacationing with his billionaire friends at resort locales across the globe; championing gang and drug-related cryptocurrency to finance civic government; and perhaps worst of all — attacking City Councillors, as he filed one unfounded formal complaint after another on then OneCity Vancouver City Councillor Christine Boyle, now our province’s Minister of Municipal Affairs, while later on in his administration going on the attack in the most despicable manner possible against the honourable and incredibly hard working COPE City Councillor Sean Orr (who topped the polls in the 2025 Vancouver City by-election, who has emerged as the conscience of Vancouver’s civic administration), calling him a drug dealer in the Chinese press, for which untoward act he was officially sanctioned by the City of Vancouver’s Integrity Commissioner for his harmful and utterly spurious allegation.

The internal party polls conducted by various of Vancouver’s civic parties show Ken Sim and his ABC Vancouver administration languishing around the 10% mark. Ken Sim is on his way out, as are most of his lickspittle  ABC City Councillors.

For VanRamblings, that can’t happen soon enough.

Pete Fry. Serving the public as a Vancouver City Councillor since first being elected to office under the Green Party of Vancouver banner on October 20 2018, Councillor Pete Fry has served the office with honour, integrity and distinction.

In a recent conversation with the distinguished Councillor Fry, our favourite City Councillor told VanRamblings how challenging this past term has proved to be under the bullying (VanRamblings’ word, not Pete’s) administration of Mayor Ken Sim. Vancouverites should thank our lucky stars that Pete Fry has emerged as an incredibly effective, if un-official, opposition to the morally bankrupt  ABC Vancouver civic administration under Mayor Ken Sim, as an empathetic and informed voice of reason, who has consistently well-represented the interests of not only those of us who twice elected him to office, but for all the citizens who call Vancouver home. On that front, Councillor Pete Fry is deserving of our support, and unending admiration for a necessary job well done. Thank you Councillor Fry!

Why, then, has VanRamblings chosen to support Kareem Allam as Vancouver’s next Mayor, over the accomplished and hard working Pete Fry? Well, partly because we believe Kareem Allam to be brilliant, and a gift to our city, with the potential to be the best Mayor our city has ever experienced. Kareem is well-funded, organized, experienced, has worked at the federal, provincial and civic levels of government, and is the best informed politico we have ever met, and interacted with. As we say, Pete Fry has consistently proved to be an admirable Vancouver City Councillor, deserving of our support — but, as a City Councillor (we believe that Pete will drop down to run for Council come early September), not Mayor.

Pete has said, on various stages, in the media, and on social platforms …

“It is the people of Vancouver, the citizens, the electorate, who will choose the next Mayor of Vancouver, and who will be elected to the next civic administration. Not me, not you, not any of the candidates seeking office in 2026 — but the citizens of our City who call Vancouver home. The wisdom of the citizens of Vancouver will carry the day. On Saturday, October 17th, on Election Night 2026, we will know which candidates have emerged as successful in their bid for civic office, who will form civic government, in keeping with the wishes, and the wisdom, of the electorate.”

And so it is, and so it will be. VanRamblings wishes Pete well in his endeavours.


The video is a year old, but at least it explicates Ms. Bligh’s intention to seek the Mayor’s chair

Rebecca Bligh. Running with her newly formed party, Vote Vancouver, Ms. Bligh was first elected to Vancouver City Council in 2018 under the banner of the Non-Partisan Association (NPA). Ms. Bligh and two of her NPA colleagues chose to leave the NPA following a right-wing takeover of Vancouver’s oldest civic party — formed in 1937 to oppose the CCF / the left-wing “progressive” forces.

In 2022, Ms. Bligh joined a new, nascent civic party, ABC Vancouver, where she sat as a Councillor before being expelled from that party on Valentine’s Day, 2025.

Now, we will say we really like Rebecca, and that her partner Laura is the first person in 50 years who has VanRamblings’ number — she keeps us in line — and is not about to let us get away with any nonsense. We love being called out by people we know care about us, as misguided as we may be from time to time.

Here’s a little of what Ms. Bligh’s LinkedIn profile has to say about the esteemed Councillor ..

“Since 2018, Rebecca Bligh has acted as a director for the Federation of Canadian Municipalities, serving currently as Chair of Governance, as well as the Chair of the Standing Committee on Finance with the City of Vancouver.

Outside of politics, Ms. Bligh is the founder of BLACKPiiN a consulting and facilitation practice providing leadership development to executives and teams, working with them to define, develop and implement strategies to enable success by uncovering how their leadership can achieve their desired results.

Passionate about giving back to her community, Rebecca has volunteered on boards and supported initiatives that give back to community; including recently established, Let’s Eat, and prior to 2018 the Dr. Peter AIDS Foundation and Legado Initiatives, providing training and development in Ethiopia and Mozambique.”

In fact, Ms. Bligh served as President of the Federation of Canadian Municipalities (FCM) from late 2024, concluding her extended term (she was to have served only through June 2025) in late May of this year. During her tenure, Ms. Bligh functioned as the Chief National Advocate for Canadian municipalities, overseeing critical policy initiatives focused on the housing crisis, the poisoned drug epidemic, climate change, and community safety. All of which is to say that Ms. Bligh has the bona fides (and then some) to serve well as the City of Vancouver’s next Mayor.

Whether it is Rebecca Bligh, Pete Fry or Kareem Allam who you choose to cast a ballot for come October of this year, each of these three individuals we write about today would make a fine Mayor of our beloved city by the ocean.

On Thursday, we will write about four more relatively high profile aspirants to become the next Mayor of Vancouver, only one of whom we will recommend.

 

VIFF Experiencing a Time of Renewal While Bringing in New Audiences

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In 2025, VanRamblings makes our 44th annual foray to the Vancouver International Film Festival, where the regulars we’ve attended the festival with all these years once again find themselves in attendance to enjoy the best in world cinema.

As you might well imagine, like VanRamblings, a few of us are getting on in age, despite looking young, vital and, as long has been the case, committed to VIFF: Eileen broke both her knees three months ago, requiring emergency restorative surgery; Ed’s wife (who worked for the festival for many years) passed on, as did former volunteer David who chose MAID as a way to leave this life; Lorne is here once again, as is VIFF  VanCentre programmer Tom Charity, looking all hail and hearty (both Lorne and Tom are on the younger side of the regular attendee contingent); in his 80s, former CBC producer and film critic Volkmar has made his way to VIFF once again, as have Barbara and Len (who told us The Ivy, which screens on Tuesday for a second time, is his favourite film of all the films he’s attended at VIFF this year).

Unlike VanRamblings, each member of the group above has attended five screening each and every day since the commencement of VIFF 2025 this past Thursday.

Although seniors make up about 20% of those in attendance at the 44th annual VIFF, the majority of audience members at each screening that we’ve attended would seem to range in age from approximately 25 to 45 years of age, some younger than that (university students in the main), some a wee bit older.

VanRamblings experiences this new, vibrant and younger VIFF audience as a hopeful sign that culture and love of international cinema still exists in this city, which means that even in these meanest of post-pandemic times would seem to mean that it is entirely likely VIFF will persevere through the troubling social and economic times many of us are experiencing, long, long into VIFF’s illustrious future.

Clicking on the underlined title links below will take you to the VIFF webpage for the film, and will allow you to order tickets, if you are a mind to do so.

Orphan. B+. Set in Budapest in 1957, one year after the failure of the Hungarian Revolution at the hands of a brutal Soviet regime, a young Jewish boy, Andor, whose mother has raised him to believe that his father will return from the death camps, where Andor’s father was taken near the end of the Holocaust, as  locals hid Andor and his mother — has his hopes shattered when a brutish stranger appears on the doorstep claiming to be his father. The film’s powerful earth-toned, sepia-drenched visual style, including its desaturated colour palette and dynamic camerawork recalls director László Nemes earlier work on the Oscar-winning Son of Saul. Hungary’s nominee for a Best International Feature Film Oscar.

John Candy: I Like Me. A-. A major audience pleaser, this moving-picture, sentimental love letter to one of Canada’s greatest comedians, as directed by Colin Hanks offers an unabashed celebration of John Candy’s life and work in a tale told by friends, reinforcing Candy’s reputation as a prodigious talent and kind-hearted soul, who, in spite of a deep insecurity, was still ultimately a great and loving man. Make no mistake, this is not a hagiography. While the assessment of Candy’s life and legacy provides ample cause for laughter, it also provokes plenty of tears. Residing just beneath that easygoing, eager-to-please, every man exterior was a chronic anxiety that reached a crippling peak during his final years. John Candy passed much too early at age 43. Set to screen a final time at VIFF, at the Cineplex International Village, on Wednesday, October 8th, at 12:45pm in Cinema 10. Arrive early to guarantee yourself a seat.

Sentimental Value. A. Here’s what VanRamblings wrote on social media after the screening of Sentimental Value …

Not hard to see why people are going gaga over Joachim Trier’s latest film, this Grand Prix winner at Cannes in every way a triumph, both Renate Reinsve and Stellan Skarsgård’s performances each a revelation, although the whole cast is simply beautiful and humanely perfect. Sentimental Value — about an estranged father and daughter really resonated with us — opens wide on November 14th, on its way to a raft of well-deserved Oscar nominations. It’ll be so good to see Mr. Trier, Ms. Reinsve and Mr. Skarsgård as fixtures on the upcoming Oscar campaign trail. If you don’t know much about them now, you soon will.

A guaranteed lock for the following Oscar nominations: Best Picture, Best Director, Best Actress, Best Actor, Best Screenplay, and Best International film, for which Norway, in respect of the latter, has submitted the film for a Best International Feature Film Oscar nomination. Set to screen one last time at the Vancouver Playhouse, on Wednesday, October 8th at 5:30pm. At this point, standby only.

Sirât. A. Spain’s submission to the Academy of Motion Picture Arts & Sciences for a Best International Feature Film Oscar, and earlier this year, winner of the Jury Prize at the Cannes Film Festival, about 15 minutes in, we thought we might leave the screening to go home and spend time with our dog. We’re glad we didn’t. As the film moves along, Sirât turns out to be outstanding cinema, unsettling, tragic, violent, humane, explosive, empathetic and completely unexpected at every moment, Óliver Laxe’s new film is a lightning bolt of a film. The film’s narrative summary: a father (Sergi López) and his son arrive at a rave deep in the mountains of southern Morocco. They’re searching for Mar — daughter and sister — who vanished months ago at one of these endless, sleepless parties. Surrounded by electronic dance music and a raw, unfamiliar sense of freedom, they hand out her photo again and again. Hope is fading but they push through and follow and eventually join a group of ravers heading to one last party deep in the Moroccan desert. As they venture deeper into the burning wilderness, the journey brings unexpected, heart-breaking tragedy. A kind of contemporary, grimly sublime Wages of Fear, Sirât is at all times visually transportive as it focuses on simple plots and conflicts that provide ample space for philosophical and existential contemplation. Laxe’s most fully realized film to date, Sirât folds in the visceral pleasures of contemporary genre and blockbuster cinema. Set to screen at The Rio Theatre on East Broadway at Commercial Drive, on the last day of VIFF, 8:45pm Thanksgiving Sunday evening, October 12th.

Young Mothers. A+. Winner of Best Screenplay at Cannes back in May, and Belgium’s submission for a Best International Film Feature Oscar, Young Mothers is yet another tour-de-force from multiple Cannes winners, the Dardennes’ brothers, Jean-Pierre and Luc, and our favourite film thus far that we’ve screened at the 44th annual Vancouver International Film Festival. Deeply moving from beginning to end, this is the brothers’ best film in more than a decade, captivating when it’s simply taking in the quotidian responsibilities of new parenthood — feeding, diaper changing, bathtime — or when it catches an expression of wonder or joy as a mother gazes into the tiny face of the child she has created. With dignity and intelligence on screen in every scene and every character portrayal, Young Mothers is  another fine addition to the Dardennes’ film canon, with a comfort in the familiarity of their methodology, and their ability to coax tremendous performances from even the youngest of actors — the cast of Young Mothers is uniformly excellent. Young Mothers screens twice more at VIFF, on Thursday, October 9th, 12:30pm at Fifth Avenue Cinema, and Sunday, October 12th at 8:30pm at Alliance Francaise.

Nouvelle Vague. B+. The opening night film at VIFF 2025, director Richard Linklater’s latest film is filmed in exquisite black and white, the dialogue almost entirely in French, clearly a labour of love and a product of considerable craft chronicling the making of Jean-Luc Godard’s Breathless, the film a valentine to the French New Wave. There’s so much joy in this telling, so much sophistication of craft on display, and such a delightful ode to this exemplary era of creativity, Nouvelle Vague is nothing less than a bold, muscular act of caring, a shout of joy and a call to arms. As Owen Glieberman writes in Variety …

The film reminds you that the real salvation of cinema will always come from those who understand that making a movie should be a magic trick good enough to fool the magician himself into believing it.

A cinephile’s film through and through, Nouvelle Vague is also breezy and entertaining, never taking itself too seriously while highlighting an extremely serious moment in film history. A film that delights in its characters’ rule-breaking and playfulness and experimentation, for devoted film lovers, Nouvelle Vague is a must-see — a joyful homage to the art of cinema that should have you queuing up at the Vancouver Playhouse for the film’s final screening at VIFF, on Saturday, October 11th, at 11am. One final note: we thought Zooey Deutsch was a revelation as Jean Seberg, her performance reason enough to see Nouvelle Vague.  Arrive early.

No Other Choice. A-. South Korea’s Oscar submission this year, No Other Choice isn’t just director Park Chan-wook’s funniest film, but his most humane, too — and that’s quite something for a comedy as violent as this one, the film a masterful work of cinema, bleak, brilliant, and mordantly hilarious. The film’s summary: After being unemployed for several years, a man devises a unique plan to secure a new job: eliminate his competition.

As the VIFF guide says …

After giving the best years of his life to a paper mill, Man-soo (Squid Game star Lee Byung Hun) has been axed. Standing to lose everything and fearing too much competition in his niche sector, Man-soo hits on an ingenious scheme to guarantee the kind of position he so richly deserves: He will invent a fictitious paper company, invite his peers in for a meeting, and dispatch of his rivals, one by one.

Park’s filmmaking is as elegant as ever, in a wildly enjoyable picture that balances psychological tension against giddily hilarious comic set pieces, in this stunningly energetic and endlessly creative film that delights the mind and the eyes. One more VIFF screening: Thursday, October 9th, 8:45pm at the Vancouver Playhouse.

Vancouver’s Première Film Festival Returns in Challenging Times | VIFF

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The Vancouver International Film Festival is back for its 44th edition, in a climate that’s become increasingly difficult for the experience of moviegoing.

The festival is significantly shorter than it was in its pre-pandemic years, and its presenting organization, VIFF, is facing the same pressures felt by all exhibitors in the era of streaming: “the incredible challenge of people’s couches,” said VIFF Programming Director Curtis Woloschuk.

Nonetheless, the annual Festival perseveres, this year offering 170 films from 68 countries, screening October 2nd through 12th at multiple venues, mostly in the downtown area. Many of those screenings will feature guests and post film conversations; all will offer the camaraderie that being in a roomful of film lovers provides. Festivals like VIFF, said Woloschuk, are “very, very focused on bringing community together, because that is the thing you cannot do in your house.”

This year’s Opening Night Gala film is Richard Linklater’s comedy-drama Nouvelle Vague, a dramatization of Jean-Luc Godard’s classic Breathless, and is set to screen at The Playhouse on Saturday, October 4th at 6pm. The film follows Godard as he begins production on the French New Wave film, which features film stars Guillaume Marbeck as Godard, with Zoey Deutch as Jean Seberg and Aubry Dullin as Jean-Paul Belmondo.

This year’s Festival, Woloschuk said, has a special emphasis on independent voices — the majority of this year’s films are by first- or second-time directors, and most do not currently have theatrical distribution. “It very much goes back to the heart of VIFF,” he told VanRamblings.

“The kinds of films that the Festival has always brought to Vancouver have been those films that you might never see again.” He noted that streaming services, though plentiful, do not always focus on international films or challenging independent films. “VIFF really remains that place for discovery, and for those voices.”

It’s been a rough few years for the film industry in general, which has had to deal with multiple blows: the pandemic, union strikes, and devastating fires in Los Angeles that affected film and TV production workers. “The industry is still in a little bit of flux,” Woloschuk said. “While there wasn’t an intentional design to come up with films that didn’t have distribution, the films that we all loved and that we all felt passionately about didn’t have distribution. We’re hoping that being part of the Festival brings some attention to them.”

That said, the Gala & Special Presentations programme at VIFF 2025 features films with distribution, films that have won multiple awards at other film festivals, and films that will feature in this year’s Academy of Motion Picture Arts and Sciences Oscar race. Those films of note include Joachim Trier’s Sentimental Value, which won the Grand Prix award at Cannes, and Jafar Panahi’s, It Was an Accident, which won the Palme d’Or at Cannes this past May.

In addition, VIFF filmgoers will want to ensure that they attend a screening of Kleber Mendonça Filho’s The Secret Agent, Hikari’s Rental Family, László Nemes’ Orphan, Noam Baumbach’s Jay Kelly, Sergi López’ Sirât, and the Dardennes brothers’ Young Mothers.

If you’re counting, you might notice that VIFF will screen fewer films this year (170, compared to 190 in 2024), and that there is no tribute event this year. That’s due to a development that nobody at VIFF anticipated or wanted: the loss of the 1800 seat Ford Centre for the Performing Arts, currently home to and owned by the Westside Centre Church, which declined to make the site available to VIFF in 2025.

It seems unthinkable to hold VIFF without the Ford Centre for the Performing Arts, which has been a key part of the Festival for many many years. But when one door closes, another opens: the 688-seat Vancouver Playhouse. “All those films set to screen at the Vancouver Playhouse are going to look great,” Woloschuk said, the Vancouver Playhouse set to host numerous screenings during the Festival.

The Vancouver International Film Festival continues evolving focus to year-round exhibition, which began in 2007 with the organization programming films in the Vancity Theatre on Seymour Street, at Davie. The plan then, Woloschuk said, was “to allow us to be a film festival year-round” — to give a home to international films and independent films. As VIFF worked with The Cinematheque, another independent Vancouver venue dedicated to independent art and international films, VIFF “was able to balance the Vancity venue, with its smaller footprint for the Vancouver International Film Festival, which really allows us to invest the rest of the 353 days of the year in keeping that film festival year-round feeling.”

Kyle Fostner, VIFF’s Executive Director, added that VIFF demonstrates commitment to festivals in general, citing the recent partnership with the National Film Board’s Festival for Talented Youth (NFBTY), the 18th edition of which VIFF hosted last month. “These festivals are the feeder ground for year-round cinema,” he said, “so it’s not one or the other — it’s really championing the discovery of film. The premise is, life is better with a great presence of film in your life.”

As movie theatres struggle to recover from pandemic losses, VIFF is still with us: smaller than before, but nonetheless a major presence in Vancouver’s arts scene.

Woloschuk acknowledged that many of us have fallen out of the habit of regular moviegoing. “I think it’s important, as communities that support arts and culture, to get back into that habit,” he said. At VIFF, “the stories that we have that you can engage with, especially around a festival, are so important right now, at a time when elements within our community and elsewhere are trying to separate us.”

Fostner added that the combination of the film festival and year-round cinema has a cascading effect: People see a film they might not otherwise have seen, and then pass along that discovery. “It’s infectious, in a way,” he said. “Our guests who come in to the cinema are playing a role in our discovery mission as well — sharing the love of film and getting more people to enjoy them.”

Here are a few columns VanRamblings has published about VIFF 2025 to date. You can look for a fresh new VIFF column on VanRamblings each day this week.

VanRamblings’ Top 27 Best Bet Picks | VIFF 2025

Toronto International Film Festival award winning films that will screen at VIFF

VIFF 2025 Galas and Special Presentations, Part 4

VIFF 2025 Galas and Special Presentations, Part 3

VIFF 2025 Galas and Special Presentations, Part 2

VIFF 2025 Galas and Special Presentations, Part 1