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The Ubyssey Nov 1, 2002

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HEWS:
Some of us have kids
UBC-AMS Parents Association seeks
recognition. Page 8.
SPORTS:
Athletes in action
Profiles. Page 3.
EDITORIAL:
Go team...maybe not.
Why we pay so much to sports. Page 6.
Concert review inside. Page 7.
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PAGE FRIDAY
Friday, November 1,2002
APPLICANTS WANTED TO STUDY
PART IV. OF THE URANTIA BOOK.
EARN S25.000: For details, visit
www.eventodaward.com
LEARN TO TEACH ENGLISH 4 WK
F/T TESL Certificate Program or Sat.
P/'T Program. $885. Thousands of jobs.
Ph: 604-609-0411.
FREE SCREENING OF FEMME
FA TALE staiTing Antonio Banderas &
Rebecca Romjin-Stamos. Tues. Nov 5,
SUB Norm Theatre, 9:30pm.
CALL FOR NOMINATIONS: MUSIC
UNDERGRADUATE SOCIETY: Grad
Reps (deadline: Nov 3) & Executives
(deadline: Nov 10). Info: 604-292-6667
MARXISM & WORLD REVOLUTION: Break with the Pro-Imperialist
NDP! Imperialism, the Global Economy
and Labour Reformism. A Spartacus
Youth Club Public Class Series. Nov 5,
6pm, SUB Rm213. Readings/Info: 604-
687-0353
CALL FOR SUBMISSIONS:
UPROOTED ANNUAL LITERARY
MAGAZINE. Max 3 poems (max 50
lines each) & 1 short story (max 1500
words) per submission.. Your name &
contact info shown ONLY on cover letter. Send to: English Student Society
(Buch Tower 397, 1873 East Mall) Due:
Dec 9. No email submissions. Info:
Esszineubc@hotmail.com
SWING DANCE! Every Sat. at St.
James Community Hall on 1 Oth Ave. 4
blocks West of McDonald. Beginner lesson @ 8, Student $4 only! 822-0124.
START YOUR OWN FRATERNITY!
Zeta Beta Tau is looking for men to start
a new chapter. If you are interested in
academic success, a chance to network
and an opportunity to make friends in a
non-pledging Brotherhood, e-mail:
zbt@zbtnational.org or call 800-431-
9674.
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pick-up & delivery. Free estimate. Alan
604-879-0290
EAT ALL DAY & MELT AWAY. New
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Athletics and recreation budget revealed
CLASSIFIEDS
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All films $3.00
films
.1 .SI
Fri Nov 1
7:00 Reign of Fire 9:30 Austin Powers Goldmember
12:00 Rocky Horror Picture Show ($5)
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by Sarah Conchie
SPORTS EDITOR
Every full-time student at UBC,
regardless of their athletic ability or
interest, paid $154.91 directly to
Athletics and Recreation this year,
as well as $21.00 through the Alma
Mater Society (AMS), to support the
only fully independent university
sports program in Canada.
As an ancillary, Athletics and
Recreation doesn't get any money
from the university, aside from the
occasional grant for special projects.
Instead, funding comes through student fees, endowment funds from
private donors, fundraising and
user fees.
When tuition was raised by 21
per cent this year, Athletics applied
a 19 per cent fee increase. $76 7,000
in new revenues was collected at the
beginning of the winter semester.
But according to Bob Philip, Director
of Athletics, it's not enough The
department has recently completed
a core review of its services and
came up with,a plan that includes
increased non-student user fees,
financial support from the university, and elimination of several varsity
teams and full-time staff positions in
an effort to control expenditures and
increase revenue.
The task force report, completed
in July 2002, forms the basis for a
multi-year business plan that has yet
to be released.
"We haven't presented anything
to the university yet," said Philip.
"There's a task force report, and
while it's gone to the vice president,
it hasn't gone beyond that It'll form
the basis of what we're doing right
now, so we have to let them handle
it before we get into it."
Linda Harmon, the UBC director
of business relations and chair of
the University Athletics Council,
said it was too early to comment on
the implications ofthe report
Student fees accounted for
approximately 55 per cent of
Athletics's total revenues this year,
and although the Board of Governors
approved an increase in Athletics
fees proportionate to general tuition
fee hikes, Philip thinks that new
money should be made elsewhere.
"Students are already contributing
their fair share," he said.
Athletics took on the responsibility of managing all of the university's assets in 1994, but the rising
costs of management and upkeep
have prompted the department to
reassess their role.
"We're totally on our own right
now. I guess the case we're trying to
make to the university is that we not
stay only on our own," asserts Philip.
"We think that we should stay an
ancilliary, but we're just trying to get
some help on the facilities so that we
can maintain them on a better level."
UBC has five buildings, 16 playing fields and one artificial turf field
where varsity athletics, intramurals,
community sports and fitness take
place year round. Some of those
facilities, like the Winter Sports
Centre, are badly in need of repair.
The centre was assesed a $7.4 million repair price tag in 2001, of
which only $2 million has been
implemented. However, should
Vancouver be awarded the  2010
Winter Olympics this July, the 2010
Bid Corporation plans to renovate
the facility, turning it into a 5500-
seat arena, which could double as a
concert (and similar events) venue
after the games.
Other facilities, like the Bird
Coop and the tennis centre, are self-
sufficient, with an operating budget
of just over $ 1 million per year.
Then there are are the athletes.
Approximately 600 UBC students
are classified as varsity athletes, and
most receive scholarships. Lastyear,
Athletics awarded almost $400,000
in scholarship money to players. To
qualify for a scholarship, an athlete
must demonstrate "good academic
standing" and "athletic ability." In
return, they receive up to $ 1500 a
year and various perks, including
gym passes. That scholarship money
comes out of an endowment fund
estimated at $5.5 million. The goal
of the varsity program is to increase
that fund to at least $10 million, in
order to allow athletes "to study in
Canada while training and excelling
in their sport."
And as for the 30,000 odd students who've never participated in
any form of university athletics?
"It's not an old cliche to say that
if you're physically fit, it helps you
study and do a whole bunch of
things," concluded Philip. "I think
we have to provide those opportunities on the campus, and students
definitely benefit by it The question is, should they pay the whole
thing? I think that's the key point,
that the university is opening up for
debate now and that we're willing
to discuss." ♦
tdaK<_Wrr     Jtf
On the eve of the 2002 National
Championships, three UBC field
hockey players have been named AU-
S»Jt.aa?-.ffltfBiip...::
Canadians. Fifth-year sweeper Laura
Balakshin and third-year midfielder
Steph Jameson were named to the
first national team, and Mo
O'Connor, UBC's star midfielder,
was named to the second team roster. The CIS Championships begin
Saturday at St Mary's University in
Halifax, where the Thunderbirds will
battle to defend their 2001 CIS title.
Cross country
Ashland, Oregon has one of the
biggest Shakespeare festivals in the
world, but it's also the site of the
NAIA Cascade Conference Cross
Country Championships, where ten
teams will run for two spots in the
NAIA National Championships. UBC
will have to compete with
Washington's Northwest College
(ranked first) and Eastern Oregon
(second) to qualify for the championships, as well as SFU. UBC is currently ranked tenth in the confer-
Volleyball
After winning the first two games
of the season, the women's volleyball team is ranked number one in
the country this week. Longtime
rivals the UVic Vikes are nowhere to
be seen in the national coaches'
weekly poll. Both the men's and
women's teams open at home
against the number two Manitoba
Bisons, 6pm and 8pm Friday. ♦
#ft* UBYSSEY
The sixth annual Vancouver Asian Film Festival is happening November 1-4 at Tinseltown. Showcasing more
than 30 films from all over, there'll be something for
everyone, we assure you. Check out the schedule at
www.vaff.org.
HALLOWEEN'S NOT OVER
Hear chilling tales of Vancouver's ghosts with the
Vancouver Museum's Haunted Trolley Tours until
November 2. Ghouls for the whole family. Call 861-
6508 for details.
A NICE THING TO DO
Don't know what to do with your fairy wings or
pumpkin costume? Green Thumb Theatre for Young
People is collecting old Halloween costumes for adults
or children to use in their theatre productions. Green
Thumb is a local charity that tours BC elementary and
secondary schools and performs plays about social
issues such as bullying and racism. Costumes can be
dropped off Monday to Friday, 8:30am-4:30pm at
1885VenablesSt
MUSIC
Local alt-folk-ish bands Jon Rae and the River and
the Olden Days open for Winnipeg indie star
Greg MacPherson. Pat's Pub, 403 East Hastings,
November 2.
Check for events listings every issue of Page
Friday, the Ubyssey Magazine. PAGE FRIDAY
Friday, November 1, 2002
by John Moon
SPORTS WRITER
Most would-be players who fail to
make the team accept their fate and
fade into the background. Not Ben
Feist.
When Feist first came to UBC,
Coach Dale Ohman invited him to
try out for the volleyball team. It
wasn't a storybook beginning—Feist
was cut and relegated to the junior
league. Unsatisfied, Feist and a few
other junior league players formed a
group to practice harder and make
the varsity team the next year.
Amidst fierce competition, (only
fourteen players made the team that
year (compared to the current roster
of eighteen). After a year of intense
practice, just two juniors made the
team: Tom Booth and Ben Feist.
"We were just ecstatic," Feist
recalls, at a loss for words. It was
one of the greatest steps forward in
his volleyball career—he had
proven, to the coach and the team,
but most importantly to himself,
that he had the discipline and ambition to achieve his goals.
That first, hard-won year on the
team was a learning year. "A situation presented] itself, and I didn't
know what to do," Feist admits. "I
learned something at practice every
day."
Born in Saskatoon, Feist soon
relocated to Kelowna. He grew up
with two brothers and amicably
divorced parents, alternating houses on a weekly basis. In high school,
Feist played basketball, soccer and
volleyball. In grade eight, by his own
admission, he was the worst player
on the team. But he worked at his
volleyball, improving little by little
every year, and by grade 12, Feist
was one ofthe top players. "That's
when I knew I had a future in vol-
for
leyball," Feist recalls.
At the end of high school. Feist
was still torn between basketball and
volleyball. They were both sports that
he loved and excelled at, but he also
knew that at ,the college level, he
could only commit himself to one.
This decision was made easier
when he took off for Okanagan
University College. The volleyball
program there was far better than
the basketball program, and Feist
chose volleyball.
It wasn't a rash decision—Feist
has no regrets about choosing the
bigger nets. He still loves to play basketball and admits the call of the
hoop is strong sometimes, but he
has committed himself to volleyball
and is determined to see it through.
Initially impatient and eager.
Feist has settled nicely into his position as power on the team. "It's not
[important] what I do," he emphasises. For Feist, it's the team that
matters.
Right now, there are two other
players competing for his position,
both of whom are performing better
than he can.
Feist has no problem with this.
"The goal is to win," he says.
His participation in that winning
aim, however, is often compromised by a recurring injury.
Instead of gliding smoothly over
the thighbone. Feist's knee cap rubs
against it This causes intense pain
and may even contribute to permanent damage. Feist has to keep it in
check through physiotherapeutic
exercise regimens.
For an ambitious and driven player like Feist, taking time off from
practice is not an option, though.
"He tries to tough it through,"
Coach Dale Ohman remarks. "He
wants to do so well."
It's no coincidence that Feist's
personal strengths also characterise
the entire team. Feist brings cohesion and determination to the
Thunderbird court, and as
Ohman says, "Feist is one of our
most supportive players. He helps
run the team from the inside."
Because of his knee. Feist is only
expected to play occasionally in the
next few games, putting in a few
serves towards the end, but he wants
the other players on the team to see
the satisfaction he derives from contributing even that small amount. He
also wants them to have confidence
in their own contributions.
"You can't do it without everybody," says Feist.
But in his fifth and last year on
the team, that sentiment can be
extended, the team couldn't do it
without Feist
Each advance he has made in
volleyball, from high school to college, junior to varsity, have served to
make him one of the most mature
and driven players on the roster.
Cell biology and genetics seem far
from Feist's mind as we turn to the
topic of his future. Like many students at the end of their undergraduate degree. Feist is more than a little
tired of school. Right now, he is contemplating going to Australia to play
beach voEeyball professionally for a
few years. And why not? At 23, Feist
is at the peak of his career, with most
volleyball players retiring around 2 7.
After getting paid to play the
game he loves for a few years, he is
considering returning to school for
his MBA, and maybe even getting
into the business aspect of the
biotech industry.
What is most amazing about
Feist has Utile to do with his sport,
or his professional aspirations. His
pure ambition reflects and rubs off
on the team as a whole, and it is this
* ■
/
x-
POWER PLAYER: Feist has spent five years on the volleyball
team, nic fensom photo
stmbition that Feist lives for. Feist fiedyet
knows he has to set realistic goals, "Some   day,"   concludes  Feist,
but in the back of his mind, that his "I'm going to be as good as I want
goal for perfection hasn't been satis- to be." ♦
Full circle: UBC's biggest post returns
by Rob Nagai
SPORTS WRITER
The Suave Dog Imperial is what he calls himself. Sitting in the stands ofthe War Memorial
Gymnasium covered in sweat from practice,
Brian Host recounts tales of basketball, academic misfortune and growing up in the suburbs of-'R- Town.'
Host barely fits in the small plastic seat. At
21, six foot ten, and two hundred and fifty-five
pounds, Brian Host towers over most—including his teammates on the varsity basketball
team.
His whole life has been about size. When
he tried baseball and then football, nicknames
like "butterfingers" seemed to be the only
thing that stuck. But he started playing basketball in grade six with Athletes in Action-a
Christian organisation, and hasn't looked
back since.
His first years of high school were at
Palmer Secondary in Richmond—'R-town' as
he puts it By grade eight he was six foot four.
In grade ten he moved to Richmond Senior
Secondary, and naturally played for the school
basketball team, the Colts. Despite four years
of experience, he didn't feel he was good until
grade ten. "That's when I stopped growing an
inch every five months. My feet stopped grow-
t
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BRIAN'S BACK: Host is up to his old tricks after a two year hiatus, nic fensom photo
ing and I was able to wear in a pair of shoes."
Currently he wears a size 15.
Host is not new to UBC. After starting in
1999 and playing two seasons for the Birds,
Host took a brief academic hiatus before
returning to this year's basketball lineup. His
rookie season, under then Thunderbirds
Coach Bruce Enns, showed promise. Host
talks about Coach Enns as if he is talking
about a would-be father. Enns convinced him
to come to UBC. "He's the main reason I came
to UBC," Host says. "Bruce is an instantly likeable guy, really personable." And while Host
recieved offers from several places in the
United States, he was wary of getting a basketball-only scholarship, opting for the academic
nature of UBC's athletic program.
When Kevin Hansen replaced Enns
behind the UBC bench, the atmostphere
changed. Host describes Hansen as "all about
winning," but says Hansen has breathed new
life into the team. Host willingly follows
Hansen's direction, but admits that there
have been some rough patches. "Coach
Hansen and I are working on our relationship. We had some personality clashes in my
first season. We've.all got a lot to learn from
him. He's our leader. Every time he steps on
the court he is leading us. At the same time he
has a lot to learn from us."
At practice, Hansen is showing Host the
T>aby hook.' It's clear that Host's size will be
an advantage to the team, and he eagerly
accepts his new role. "I have a job in here. It's
to bang inside, score ten points, and free up
guards [for shooting]." He grins, and puts on
his game face. "Don't come in my house. I
own the lane." >;•.■■
It hasn't always been so clear. At the end of
his second year, Host was benched. His injury
was not on the court, but rather in the classroom. After flunking a biology class, the university put him on academic probation, making him ineligible to play.
That summer, Host reunited with an old
crush from highschool. Sandra Gin had
always liked Host, but felt their height difference, (she's five feet tall) was a little unsettling. A year later, it is Gin who has helped to
provide an anchor in Host's life. She has
helped him study through his harder classes
and even taken classes with him. As Gin puts
it, laughingly, "He does a lot better in the classes I take with him." Gin also introduced Host
to Christianity. The two pray and attend
church together and often after teaching
Sunday school. Host teaches basketball moves
to the students. As a member of the UBC
Cheer Squad, Gin will watch most of Host's
games this season.
"Separation makes the heart grow fonder,"
says Host of his hiatus from school. "I was
dying for a place to play ball. There are no
gyms when you don't have a team. And you
start to realise what you have lost That was
one ofthe major reasons I started concentrating on my academics really seriously." The
love for the game is clearly in Host's voice
when he describes his time off.
Brian Host has got a lot to concentrate on
this year: a full course load, a season with
expectations for the team to make the playoffs,
and his loved ones. He also works part-time, at
(where else?) Mr. Big & Tall, a clothing store
for large-sized men.
Whether you see him on campus battling
underneath the boards, holding hands with
his girlfriend, or studying when he gets the
chance, Host is back at UBC for good. At six
ten, he's hard to miss. ♦ k HfffWfe'saaBi^^ -j
THIyUBYSSIY
GIVEAWAY
What is Dame Edna's real name?
Answer this question and win a compliintaitary ticket to see:
A NIGHT WITH DAME EDNA on FRIDAY, NOVEMBER 1, AT 8PM
Come Lo die Ubyssey Office (SUB Room 23, in the basement) with your answer.
i ve fpissed yen
K^SUMS, don't
■#-J:.-Vr/s:.t4.».;la    ;;
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,. ?-"- -«»ft ■ --. ,i^\p     f'-y.
. \ .i,-**v»    * *a* • '..    tit
Mimiel Mgs' debut release
.in the world-famous soul-
fiil house label, Med
Music. Migs* music leaves
llie listener with an uplifted spirit^ a positie feeling
or an expanded mind.
Come to the Ubyssey Business Office for your
chaflce to win a tad new CD by Miguel Migs!
SUB Room 23 Behind the Arcade
THEUBYSSEY
GIVEAWAY
La Serpenta Canta
the legendary dlamanda galas returns to vancouver
Saturday 9 November 2002, 8pm
at the Vogue Theatre (918 Granville St.)
To receive a COMPLIMENTARY TICKET, come to
the Ubyssey Office (SUB Room 23. In the basement)!
»     IT     »      ^S\
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the right
way
/?(/S & TUG
in theatres now
by Greg Ursic
CULTURE WRITER
Everyone, whether they want to or not,
remembers their first job: trying to figure
out what to wear to the interview, being
worried about doing the wrong thing or
having no clue about what to do. Now
imagine the stress level for a bookworm
with limited social skills, in a first job that
involves managing sex trade workers.
For Conrad—former professional student and recent university grad—having a
job has, up until recently, been a novel
concept. Determined to learn all he can,
he decides that a great way to learn about
business and develop his people skills is
to manage a massage parlour. After all,
how difficult could it be? All he has to do is
answer the door, treat the customers nicely and ensure that the women follow the
rules. Unfortunately for Conrad, the
women have other ideas. In the battle
between book smarts and street smarts,
there are bound to be some nasty
casualties.
Before I proceed, there's a dirty little
secret that has to be revealed—this is a
Canadian film. But put your fears to rest—
this isn't some esoteric bouncing handy-
cam feature that can only be understood
by fine arts post-docs. The title alone
should be enough to pique people's interest and dispel anyone's concerns: the
name refers to the service provided at the
full-body massage parlours, or as it's
known in the trade, 'a massage with a
happy ending."
Don McKellar, Canada's hardest-working actor, is brilliant as Conrad, deftly capturing the character's blunt shell-shocked
naivete both in speech and actions.
Conrad is so clearly out of his element that
it is painful to watch as he stumbles from
one situation to the next, clearly unaware
of what he's supposed to be doing. One of
the film's funniest moments is a take on
DeNiro's classic "you talking to me?"
tough-guy scene. McKellar (for whom the
role was written) also manages to make
Conrad's gradual transformation believable. Thankfully, the supporting cast does
a terrific job as well.
Tara Spencer-Nairn is commanding
(think dominatrix) as Betty the brassy busi-
ness-sawy street-smart leader of the
group. While we get to see her tough exterior (figuratively speaking), Betty's soft
and silly sides also peek out. Lindy Booth's
Lea defines quirky as the happy-go-lucky
member ofthe group whose interest in the
business is driven more by her desire to
feel a "skinship" with the patrons than
cash. The last member of the group is
Cindy, the newcomer played with a fresh
wide-eyed innocence by Kira Clavell.
Rounding out the players is the collection
of customers who infuse the film with ribald humor.
The interactions between the characters feel natural, which is essential, given
the comedic nature of the film—if situations seem forced, they won't achieve the
desired effect. Soo Lyu, the film's
writer/director, achieved this through a
well-written script and by allowing the
actors leeway to improvise.
As most ofthe action happens indoors,
you would be hard pressed to guess that
this film was made on a limited budget:
the production values are solid, the editing is tight and the story is evenly paced.
Add a lively soundtrack (with a touch of
porno chic), punchy writing that flows
well, interesting subject matter with a side
of voyeurism, and you have the ingredients for a thoroughly enjoyable film. ♦
A story
%&
It wasn't easy, but director Soo Lyu is finally
able to enjoy the "release" of her debut
feature film, Rub & Tug.
by Greg Ursic
CULTURE WRITER
Every screenwriter (indeed, probably most of
the public at large) has what they think is the
perfect idea for a film. Of course, putting that
idea to paper, fleshing it out and actually getting someone to look at it is something altogether different. If you are a novice screenwriter who is lucky enough to get approval to
turn your script into reality, you'll discover
that that's when the real work begins.
It is only natural to wonder how Soo Lyu, by
all appearances an innocent, fresh-faced idealist, chose to do a comedy about the sex industry.
It was pure chance according to Lyu, the writer
and director of Rub & Tug, opening today.
"I just accidentally walked into a 'rub and
tug' [where male clients get a 'rub' (massage)
and a 'tug' (hand job)]. I mean, I was looking
for a Shiatsu massage and then I realised, I
was in the wrong place and that's how it all got
started." Lyu briefly talked with some of the
women and knew she had to find out more
about the business. Soon after, she discovered
an acquaintance who knew an owner of a rub
and tug, and she asked to speak with him.
The owner, whose main business was a coffee shop, peppered his discussion with phrases like, "These fucking bitches, no fucking
respect for me. Oh wait, I don't mean it that
way, but these fucking bitches..." Lyu soon
understood his comments: this could be the
only segment ofthe sex trade where the power
dynamics were reversed—the girls supplied
the services and had the owner at their mercy.
Lyu knew that the reversed viewpoint she had
found could make a great film.
"I realised it was film-worthy, that it was a
new refreshing angle for the viewers," she
said, "so that's what really got me started."
In order to give the characters added
dimensions and ensure that the story rang
true, Lyu spent a year interviewing women
who worked at massage parlours. "They need
ed to know that I wasn't an underco    i
they could tell from the way I loo-       ■   1
wasn't."
Once they knew her plans, the      ■ i
became excited. "I would call them up      :
if I could come watch them work i    .   •
were like, 'We'll order some Chinese '
talk and talk,' [and] they keep tellii -'
jokes," Lyu told me. "It was such aw     '    '  I
and amazing time I had doing the
views and research."
- While it was fun, the preparation ,.u ...„
an eye-opener. The more research Lyu did, the
more surprised she was by what she learned
about the business: neither the places nor the
women fit anyone's stereotypes.
First, most people would be astounded to
know how prevalent the parlours are, Lyu told
me. Second, virtually every place that Lyu visited (in Toronto) had legitimate business
licenses and were registered with the city.
Third, there were no bouncers or other security as 99 per cent ofthe time, the clients are
there to get the service and get the hell out,"
Lyu said. This is the main reason the owners
want to ensure that 'full-service' (sex) does not
take place, as that attracts both unwanted elements and police scrutiny. Fourth, while Lyu
saw a few women smoke pot, drugs did not
play a role in any ofthe women's fives. Finally,
all the women were there voluntarily and
many had a clear plan when they went into the
business. "[The] women are really business-
savvy, and they do fids because they know it's
really quick money."
Once Lyu felt she had gathered enough
material, she and Edward Stanilus—the film's
co-waiter and producer—began the task of sifting through the research, pitching ideas and
writing a treatment. This proved more challenging than they first thought.
"We had so much material that I'd like to
use but couldn't because it's such a disciplined art form," she said. When they were satisfied with their finished product they submit-
*lt is only natural
to wonder how Soo
Lyu, by aU appearances a fresh-faced
idealist chose to do
a comedy about the
sex industry.
ted the final draft to Telefilm, and received
funding in a record three months. They also
pre-sold the Canadian rights to the Movie
Channel and the Movie Network to secure
additional funding.
With a $400,000 micro-budget, they had to
be creative. (By comparison the runaway indie
hit My Big Fat Greek Wedding was made on a
US$5 million "shoestring" budget according to
the trades ads.) There was a running joke
about the film becoming a Canadian-
Lithuanian co-production—Stanulis' background is Lithuanian and using his contacts
they were able to use a Lithuanian cultural
centre for several scenes: the wedding, airport
and detention center. Furthermore, the food
was catered by his mother, the musicians for
the wedding scene came from the centre, and
the filmmakers borrowed props from the cen-
they couldn't find the prop they needed. "We
realised that this couch isn't working and we
need another one, and we're shooting in two
hours." So, they drove over to his parents'
house and took their couch. They couldn't,
however, borrow actors.
Given their budget limitations, it would
normally have been impossible to afford professional actors. How then were they able to
use such established actors as Don McKellar
and Lindy Booth? Stanulis explained: "ACTRA
[Alliance of Canadian Cinema Television and
Radio Artists] has a new program called CLIP
where first-time directors can get union actors
for as little as $10 a day." The actors in Rub &
Tug earned $ 100 per day, with the program
stipulating that the actors will receive a portion of the film's revenues. While this helped
secure the talent (along with lots of begging to
woo McKellar over to the project), it meant
lengthening the shooting schedule from 18 to
24 days as one ofthe restrictions ofthe CLIP
[Canadian Low-Budget Incentive for Writers
and Producers] program is that shooting is
limited to twelve hours per day.
Even though the actors didn't have any of
the perks they were normally accustomed to-
all the actresses shared one dressing room-
no one- ever complained and they remained
consummate professionals. Indeed, Lyu feels
that being in such close quarters may have
helped with their performances as "they
became good friends, and their chemistry
came alive [on screen]." The finished product
is a testament to their tribulations.
I was curious as to how Lyu, who graduated
from Ehwa University in South Korea with a
degree in political science, got interested in
filmmaking. "I got the first degree to make my
parents happy and got it out ofthe way. And I
thought, it's about time I did something to
make me happy," she said, laughing.
To that end she asked her two brothers,
both studying in Toronto at the time, to take a
look at film schools in Canada. "They did some
research for me and [said] that Ryerson is
apparently the best school, so go to Ryerson."
She submitted a storyboard for an idea she
had (she was an accomplished artist having
inked a comic strip in Korea) and was accepted into the program in 1991.
Lyu's transition was not an easy one, as language initially posed a formidable barrier. But
not for long. Stanilus noted that "[in] her first
year at Ryerson, no one wanted to work with
her on her films, but by fourth year she was
winning all the awards and everyone wanted
to work with her." She has continued to win, as
the only graduate of her class to complete a
feature.
Rub & Tug has played to sold out audiences
at the Toronto, Calgary, Vancouver and Sudbury
film festivals—extra shows had to added to meet
the demand. It won Best Feature at the Sudbury
International Film Festival and was voted as
one ofthe most popular films at the Vancouver
International Film Festival. ♦
2*v •* jsjr. r^.*5*
Name another movie that
Rebecca Romyn-Stamos has
starred in and receive a
COMPLIMENTARY
DOUBLE PASS
to a preview screening of:
Femme
Fatale
showing
Monday,
November 4, 2002
at 7:30pm
at Tinseltown.
Come to SUB Room 23
(in the basement
behind the arcade)
with your answer.
UBYSSEY
Giveaway
THEUBYSSEY
GIVEAWAY
Where and when did Porgy and Bess first open?
Answer this question and win a complimentary ticket to see PORGY AND BESS on FRIDAY, NOVEMBER 1, AT 8PM.
Come to the Ubyssey Office (SUB Room 23, in the basement) with your answer.
wmmimmmmmmmm.
•.7^7 - V      .     '     -      -.*,"-?X,fc?xSS ©
THEUBYSSIY
FRIDAY, NOVEMBER 1, 2002
VOLUME 84 ISSUE 17
^tifMfisfi:^i||xliiY
PAGE FRIDAY
Friday, November 1,2002
EDITORIAL BOARD
ACTING
COORDINATING EDITOR
Michael Schwandt
NEWS EDITORS
Kathleen Deering
Chris Shepherd
CULTURE EDITOR
Michael Schwandt
SPORTS EDITOR
Sarah Conchie
FEATURES/NATIONAL EDITOR
Duncan IV). McHugh
COPY EDITOR
Anna King
PHOTO EDITOR
Nic Fensom
PRODUCTION MANAGER
Hywel Tuscano
COORDINATORS
VOLUNTEERS
Jesse Marchand
RESEARCH/LETTERS
Parminder Nizher
The Ubyssey's the official student newspaper of the University of
British Columbia. It is published every Tuesday and Friday by The
Ubyssey Publications Society.
We are an. autonomous, democratically run student organisation,
and all students are encouraged to participate.
Editorials are chosen and written by the Ubyssey staff. They are the
expressed opinion of the staff, and do not necessarily reflect the
views of The Ubyssey Publications Society or the University of
British Columbia
The Ubyssey is a founding member of Canadian University Press
(CUP) and adheres to CUP's guiding principles.
All editorial content appearing in The Ubyssey's the property ofThe
Ubyssey Publications Society. Stories, opinions, photographs and
artwork contained herein cannot be reproduced without the
expressed, written permission of The Ubyssey Publications Society.
Letters to the editor must be under 300 words. Please include your
phone number, student number and signature (not for publication)
as well as your year and faculty with all submissions. ID will be
checked when submissions are dropped off at the editorial office of
The Ubyssey, otherwise verification will be done by phone.
"Perspectives" are opinion pieces over 300 words but under 750
words and are run according to space. -
"Freestyles" are opinion pieces written by Ubyssey staff members.
Priority will be given to letters and perspectives over freestyles
unless the latter is time sensitive. Opinion pieces will not be run
until the identity of the writer has been verified.
It is agreed by all persons placing display or classified advertising
that if the Ubyssey Publications Society fails to publish an advertisement or if an error in the ad occurs the liability of the UPS will
not be greater than the price paid for the ad. The UPS shall not be
responsible for slight changes or typographical errors that do not
lessen the value or the impact of the ad.
EDITORIAL OFFICE
Room 24, Student Union Building
6138 Student Union Boulevard
Vancouver, BCV6T1Z1
tel: 604-822-2301
fax: 604-822-9279
web: www.ubys5ey.bc.ca
e-mail: feedback@ubyssey.bc.ca
BUSINESS OFFICE
Room 23, Student Union Building
advertising: 604-822-1654
business office: 604-822-6681
fax: 604-822-1658
e-mail: advertising@ubyssey.bc.ca
BUSINESS MANAGER
Fernie Pereira
AD SALES
Karen Leung
AD DESIGN
Shalene Takara
Halloween night and a]l is calm and sweet except lor the grizzly annual meat-beating in tlie basement of Hie SUB. This year
Duncan M. McHugh jerked himselT diy as Chris Shepherd
screamed in pain, wishing he had used hand lotion, or something. The Gonchie looked on in disgust as Anna King muttered
away at her privates. Hewie Tuscano and Mike Schwandt pulled
each other, chaffing bloodily with every stroke through the glory
hole. Jose Velasquez bumped his head forcefully against the
counter until it swelled and pulsed. Meanwhile, Nic Fensom
played eerily with himself in the corner, while Sara Young
watched on and rode herself raw. No one expected it, but during the kafuflle, Kathy Deering managed to rub Greg Ursic—the
only witness to her crime—into a coma Rob Nagai was a really
bad boy (I can't even tell you what he did), but Celine Asril and
John McCrank were perfectly behaved in ihe midst of depravity. Through his bloody orifice, Tejas Ewing asked John Moon
what the Dang he was doing with lhat cbainsaw. Unfortunately,
Parm Nihzer and jesse Marchand would live to miss the whole
event, or would they? MWAHAHA!!!
Canadian
University   -
Press
Canada Port Saks Agmmant Nitpnbor 0732144
u     0)       y?    b   \>_Y
UBC ATHLETICS
BWD6ET
COMMITTER
3J
Go team.. .maybe not
Is school spirit and funds forless than two per
cent of the student population really worth
$176 to each and every one of UBC's almost
30,000 full-time students?
It sounds reasonable. Each student pays a
little bit to maintain UBC's reputation as a
top-notch athletic school. Each student provides a little bit for those who possess a certain kind of talent. We all pay a little extra to
send the athletes on the road to represent
UBC, and put money in the athletic coffers to
participate in the myriad of intramural activities that happen every week.
And the UBC Athletics and Recreation
. Department is unique. It not only provides
over 600 student athletes with training facilities, gear and the opportunity to compete and
pursue school at the same time, but it also
manages all of the university's recreational
assets, paying for plant operations, upkeep
and staff. And we can't forget about intramurals, which provide casual athletes and sports
enthusiasts with the chance to get involved
and stay fit. Athletics, in response to student
demand, devoted an extra $ 115,000 to the
intramurals program this year. With a budget
of $1.1 million, intramural programs reportedly draw over 45,000 participants per year
But $600,000 comes from student fees. And
when $ 15,000 of that money goes to one-off
events like a beach volleyball tournament, we
start to wonder.
Those same students that forked over the
initial fee still have to pay admission to rah-
rah varsity games like football and basketball.
They also still have to pay substantial
entrance fees to participate in intramurals,
and drop cash to use facilities like the Tennis
Centre and the 'Bird Coop.' (This is especially
frustrating when the Aquatic Centre has a free
gym and, despite being financed almost completely by student money, the Tennis Centre is
used mainly by non-student residents of
Hampton Place.)
When it comes to performance, money
doesn't seem to translate into winning teams.
At the University of Victoria, students pay $48
per term. Along with Simon Fraser University
(which has switched over to the CIS league
from the NAIA for most of its major teams),
UVic has remained a dominant presence in
the Canada West Conference of Canadian
Interuniversity Sport competition, often surpassing UBC teams. Other athletic powerhouses, such as the University of Calgary, give
free access to all varsiiy games and most fitness facilities.
In fact, out of 48 schools surveyed by a UVic
graduate student, UBC is in the top quartile of
the fee bracket, but is one of the only schools
that still charges its students admission to varsity events and asseses extra entrance fees for
intramural activities.
So where is that extra $767,000 from this
year's 19% fee increase going? $ 150,000 has
been applied to salaries, including the hiring
of two new high-profile coaches. $63,000 has
been allocated to increased travel costs, specifically in women's hockey, so that the team can
play a full complement of season road games.
The Bird Coop, perpetually crowded and out of
the price range of most students, is slated for
expansion. And $60,000 is earmarked for a
one time contractor to assist in finance and
marketing, especially in promotion and sponsorship of varsiiy events.
In short, the benefit of Athlethics to school
spirit and fitness aside, how many students
actually care about varsity sports? How many
students follow the Thunderbirds, have attended a game or have a stake in how those teams
do? More importantly, how many students
would rather save some money? Having winning sports teams is nice, but—especially
given what the majority of Canadian universities are able to do with lower fees—we reckon
most students would rather pay for their textbooks, cover rent or buy a nice new pair of
shoes, than support varsity sports or the facilities they're played in.
enmusiasis wiin uie cnance io gei involved     mieruniversiiy apori competition, oiLen sur- wuuiu rauier save some moneyr navuig wui-
and stay fit. Athletics, in response to student    passing UBC teams.  Other  athletic power- ning sports teams is nice, but—especially
demand, devoted an extra $ 115,000 to the     houses, such as the University of Calgary, give given what the majority of Canadian universi-
intramurals program this year. With a budget    free access to all varsiiy games and most fit- ties are able to do with lower fees—we reckon
of $1.1 million, intramural programs report-     ness facilities. most students would rather pay for their text-
edly draw over 45,000 participants per year.          In fact, out of 48 schools surveyed by a UVic books, cover rent or buy a nice new pair of
But $600,000 comes from student fees. And     graduate student, UBC is in the top quartile of shoes, than support varsity sports or the facil-
when $ 15,000 of that money goes to one-off    the fee bracket, but is one of the only schools ities they're played in. ♦
rm\mmmw^^4immm^fW^msmmmMmgmm
„     i p    . i.,    | sentences   and  paragraphs,  but     , a
TUCK yOU, teatUreS editor!          must be expressed through a medi- , ^
um with a greater capacity for pas-                               . ■.          /       '^^^^^^^^^^t''l*\* ■ >»
The  editorial  contained  in the     sionate discourse: poetry. The fol-                               1 /          ^^^^^^^^^^^m
October 29 issue ("The hottest cos-     lowing is an acronymistic and sub-                           ' '„'t * /*         <h        i! ^' '* M  "'* ^
tumes") of the Ubyssey was a foul     versively brilliant poem expressing                          Ovr^C ■   I   i                »?»!*   <*? %iit'll t1
and contemptible piece that con-     my disgust with the Ubyssey.                 *            '       * * , § \ ~?         ,     jjff .          •   «    '            /
eluded with a heinous assault upon          U is for the Ubyssey, a newspa-     ,                                " _,„'   .„y£               *  fi   ** ' ** | *"'*" ^**
,11-11                                            .lrTl                                     ._l.r1.Tll._1                                                                                                                                                                                                                             P -            **..                  '_.*'.                      *                                                V                                                    Lv
Fuck you, features editor!
The editorial contained in the
October 29 issue ("The hottest costumes") of the Ubyssey was a foul
and contemptible piece that concluded with a heinous assault upon
the highly respected Underground
newspaper. This is a reprehensible
declaration that not only unnecessarily trivialises all of the efforts
expended by the Undergrounds
staff but exposes the Ubyssey editors to be petty and capable of
unspeakable, calculated cruelty.
The raw emotions generated by
this formidable act of brutality are
too potent to be expressed in mere
sentences and paragraphs, but
must be expressed through a medium with a greater capacity for passionate discourse: poetry. The following is an acronymistic and sub-
versively brilliant poem expressing
my disgust with ihe Ubyssey.
U is for the Ubyssey, a newspaper that I hate!
B is for bad, which the Ubyssey
totally is!
Y is for dumb. Something of
which the Ubysseyhas plenty!
Fuck you, Duncan McHugh!
The End.
PS: I had intercourse with your
mother.
—Trevor Gilks
Editor, The Underground
• /.
t   1 feedback©
i
St* W'liii- %i'..., PAGE FRIDAY ftrM-f&tt'ffi^^ 7
Friday, November 1# 2002 ■.:..:.    ■..*.:^.* ■*!_£*.   ,■>.>_*■!,. '■.j'-^Wi1:! vr-..'.''..i:u.' -V- ^..- *■:   ti :■_■.•.* i !■  •*■*«..:. ......-u.  ,:■.■> V i'I; j.vf.iy* 1     /
Amon Tobin gets smart
AMON TOBIN
with Bonobo, Prefuse and DI P-Lc. a                    i ■ ■ i i  I,
at the Commodore Ballroom                            '-il   ■»   ;■)
Oct 24                                                              '■   ■ i .    ,.i
by Tejas Ewsn3                      i- v   •  i ■■•
CULTURE WRITER                                      1   ■] i   ■ .
It's hard to write a short review of an Amon
Tobin presentation. Tobin is on the cutting
edge of electronic music and this was not
your pedestrian Paul Oakenfold-style DJ set.
In fact the entire concert, supporting acts
included, reflected the term often applied to
Tobin's work: intelligent dance music.
Although Tobin rejects the term, it is an
evocative description of what he and his
guests try to do. The number of genres and
styles of music fused together in Tobin's work
supersedes the category of drum and bass
that he is often included with, and force the
audience to think about what is being presented to them. As a result, the evening took
on a more experimental tone than most ofthe
Ii        i
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It started with Bonobo playing a very upbeat,
sample-heavy set of recognisable tunes,
including some by Tobin. This got the knowledgeable crowd excited, and filled the dance
floor. However, the next act, Prefuse 73,
played a listening-oriented set, consisting
mostly of original synth music played over
slower drum and bass beats. This resulted in
the dance floor population first becoming
motionless and then diminishing noticeably.
Next came DJ P-Love, performing some
scratching including a good mix of DJ
Shadow's "Organ Donor.' His performance
was no better for dancing, though, and was
marred with technical difficulties, so it further emptied the dance floor. The crowd
clearly appreciated these acts, but the energy
v  -'-7-.----/- *-      ♦agegMMSsp'-    '--..'E»iitfM"
HEY DJ! Brazil's Amon Tobin keeps the dancefloor moving, robin turner photo
levels were affected. Amon Tobin may be
unique, but. his music is eminently dance-
able, so it would have been nice to see the
opening lineup order reversed so that
Bonobo led into Tobin. This would have filled
the floor and improved the atmosphere for
Anion's appearance. As it was, Tobin got a
lukewarm reception and had to work hard to
get the crowd involved.
Did he ever work hard, though. He upped
the energy right away, with a fast piece, sam
pling "Survivor" by Destiny's Child. Once he
moved on to a heavier version of Lemon
Jelly's "In the Bath' the crowd was hooked,
and the previous mistakes were forgotten,
Tobin certainly lived up to the hype, providing a complex multi-faceted set of music that
you would not hear from anyone else. The
crowd was expecting as much, and they react
ed with great enthusiasm, packing the dance
floor and keeping the energy high until the
very end. It was certainly worth the wait ♦
Joseph Naytowhow:
Storytelling Festival to
enrapture with an ancient art
VANCOUVER STORYTELLING
FESTIVAL
at various venues
Nov. lto3
by Michael Schwandt
CULTURE EDITOR
The act of telling stories is perhaps
the oldest of humanity's art forms.
Although declining in prominence
with continuous advent of new
artistic forms, the ancient craft of
live storytelling is a craft that still
has countless active artists worldwide. The Vancouver Society of
Storytelling organises an annual
storytelling festival that brings
together audiences and artists
from all over the world. This year's
festival, the 11th that the society
has presented, will feature dozens
of performers, including Joseph
Naytowhow, a singer and storyteller who will be joined on stage
by Cheryl L'Hirondelle.
His career as a storyteller began
over a decade ago, when
Naytowhow worked as a career
counsellor for First Nations communities. "I was trying to self-identify with the Cree tradition I was
born into," says Naytowhow, who
as a child was placed in
Saskatchewan's residential school
system. "I had this big gap in my
mind, of some part of me that was
missing, so I started to journey into
the community, visiting elders and
going to ceremonies, trying to
recover the knowledge, the history
and the teachings. That's where the
stories came in.'
Naytowhow found his love for
storytelling and begin using the art
both to educate arid entertain those
around him. Incorporating song
-7:£v
\ _.'
into his performances was a natural step for him. "It came as a
cathartic experience. I didn't
realise it at the time, but it was
basically helping me to bring out
the voice and sound in my body
that was, in a lot of ways, pushed
down. This was the perfect
medium."
The ■ stories that Naytowhow-
tells encompass accounts of his
own experiences, as well as tales
passed to him oyer the years. "I'll
tell stories from elders that I've visited. Some of them are about hard
times, some of them are about
prophecy, some of the them are
teaching about conduct," he
explains. "There are certain laws
within the stories to be told."
Joseph Naytowhow and Cheryl
L'Hirondelle, who perform in both
English and Cree, will be on stage
November 2 at the UBC First
Nations House of Learning (8pm)
and November 3 at the Vancouver
Museum (lpm). In addition to
Naytowhow's songs and tales, the
Vancouver Storytelling Festival will
include storytellers representing
an array of cultures that span the
Americas, Europe, Asia and Africa.
See www.vancouverstorytelling.org
for more information. ♦
v-
\
p
Peaches and the Electroclash tour stopped by
Sonar last week. Peaches, who's originally from
Toronto but now lives in Germany, had a set riddled with technical problems, despite the efforts of
a muNeted roadie. Ever the entertainer. Peaches
persisted and did her best to keep her socio-political skin show going. At one point, while crowd-
surfing, she even sat on R.E.M. lead singer Michael
Stipe's head. How cool is that?
The whole 'electroclash' moniker was a bit of a
scam. Peaches, along with her tourmatesTracy + the
Plastics and Chicks on Speed {and, well, W.I.T., but
we don't talk about them), were established long
before electroclash became the 'it' thing. Plus,
they're all feminist and queer-friendly, whereas electroclash emphasises 'fun,' not politics. Bullshit.
SARA YOUNG PHOTO
Weary of fear
Play less than terrifying
THE WEIR
at the Arts Club Theatre Granville Island Stage
until Nov. 16
by Jesse Marchand
VOLUNTEERS COORDINATOR
As I drove to Granville Island, a thick fog was slowly
enveloping my car. By the time I emerged on foot from
the covered parking, the moist air had surrounded
everything, creating a cool and eerie atmosphere, an
atmosphere that uncannily complimented the eerie
play in which five characters gather in a small Irish pub
to tell ghostly tales.
Once I took my seat and looked at the stage, I found
the atmosphere inside the theatre was just as fitting.
The set was marvellously constructed to look like an
Irish country pub, and as the play began the sound
effects calmly hissed out a unforgiving wind and the soft
hum of traditional Irish music.
Enter Jack (played by Henry Woolf). He was quite
possibly the strongest actor in the play, written by
Dubliner Conor McPherson. His learned Irish accent
was sometimes so strong that I could barely understand
anything he was saying. Although he is a short man, his
presence on stage is magnanimous and he easily
endeared his character to the audience in the first five
minutes, during which he didn't say a word and simply
moved about the pub.
Once Brendan (played by James O'Shea) came in.
however, the dialogue seemed a little forced and his
accent faltered. I haven't looked at the script but it
seemed like Oishea had some trouble remembering his
lines. I wouldn't hold it against him though, as it
seemed like little more than opening night jitters. His
performance through the rest of the play was bang on;
you couldn't help but like his character.
In fact, all the actors were quite good. Jim (played by
John Huston) was so great in telling his spooky tale that
he had me feeling a little uncomfortable in my seat. The
nature ofthe tale was far from everyone's comfort zone.
Finbar (played by Stephen Dimopoulos) also told a
tale, involving a Ouija board—which only managed to
endear his character to the audience, rather than scaring them. Perhaps he was just too likeable.
Another star of the play was Valerie (played by
Jennifer Wynne Webber). Not only was her Dublin
accent right on, but she was so into character that it was
hard to imagine that she was acting. Her tale was not as
spooky as it was sad, and she nearly brought the audience to tears.
Acting aside, however, the play seemed to be lacking
something. It was funny, scary and sad, but the events
ofthe first act seemed longer and stronger than the second. I guess I was expecting a lot more scary stories
than there were.
The play was good, but at times the plot lagged and if
it wasn't for the comedic relief of Brendan and the arguing between Jack and Finbar, the heavy subject matter
would have weighed a. little too heavily.
The thing is, it's not the sort of play that leaves you
thinking like most ghostly tales should- Once I left I
really didn't have much to say about it Like the woman
beside me said, "it had its moments,' but the dialogue
didn't always hold the audience's attention.
Nevertheless, the moments are worth seeing if you like
a good evening at the theatre. ♦ mw^fy^m^^m^^m^^m^m^wmmmM E£&L5SR^
■ai~j
Parks privatisation
called in question
Thirteen environmental groups
vie for public awareness
by John McCrank
NEWS STAFF
A campaign called "Save Our Parks" has recently been launched
by a coalition of 13 environmental groups, who say the provincial government is about to drastically reduce the enjoyment
British Columbians experience in parks.
"There's a definite move towards private control, user fees
[and] commercialisation in parks," said Sarah Pugh of the
Valhalla Wilderness society. "And we think that the broader public doesn't know about this, and that's what this campaign is all
about"
The campaign is composed of television ads on CTV that
started on October 14 and run until the first week of November,
and the website "saveourparks.ca" that articulates the positions
and arguments ofthe coalition, as well as provide links to other
sources of information.
Nobody at the BC Ministry of Water, Lands, and Air
Protection would comment on the campaign or on any of the
issues involved.
However, a draft report by the government-appointed
Recreation Stewardship Panel has been posted on the ministry's website since September 15. This report makes "recommendations to improve the management of British Columbia's
fish, wildlife, and parks recreation services."
Some of the recommendations by the Recreation
Stewardship Report are for "new user, license and permit fees,"
permitting "a limited number of new intensive, revenue-
focused, recreation locations that provide facilities and services," as well as partnerships with private for-profit businesses in
the management of the parks.
The Recreation Stewardship Panel is headed by former
Social Credit Environment Minister Bruce Strachen. Strachen
said that the panel is still analysing all of the submissions,
including public concerns, generated by the draft report
between September 15 and October 15, and will be presenting
a final report to government on November 29.
"Our mandate is to provide continuous services with less
funding from the government, so we have to overcome a shortfall," said Strachen.
But Pugh said a report titled "Economic Benefits of BC's
Provincial Parks" refutes the government's claims that parks
don't pay for themselves, and need to pay for themselves.
"And what they're looking at in order to do that is...gouging
the pockets of park visitors in the form of user fees, and...letting
private businesses into the parks with money making enterprise^]," she said.
This Ministry of Water, Lands, and Air Protection report
from September 2001 was done in conjunction with Price
Waterhouse Cooper, and estimates that provincial parks contribute about $420 million into the provincial Gross Domestic
Product and generate $ 170 million in tax revenue.
Andrea Reimer, from the Western Canada Wilderness
Committee, said that public parks should remain public.
"The economic study that the government did last
September shows clearly that parks make BC money," Reimer
said, "and it just doesn't make sense to have that money going
into private profit'
"The key finding ofthe report was that for each dollar invested by government in the protected areas system, there is about
ten dollars return in visitor expenditure,' she added.
"I know there's been lots of concern that we're going to privatise parks—that is not in our mandate, we are not about to do
that,' said Strachen. Admitting Reimer's argument was sound,
he went on to say, "...we will be recommending that we expand
[private enteprenurialship and user fees within the parks].'
According to government figures, there were a total of
23,522,040 park visits in 2001, and about six out often residents of BC using provincial parks each year. The Recreation
Stewardship Panel report estimates that with the new fees, the
government could generate somewhere between $10.4 million
and $ 16 million in new revenue.
Shirley Wasswa-Kintu, a second-year biology student at UBC,
worries that these changes would have a negative effect on the
quality of life in BC.
"I believe,' said Wasswa-Kintu, "that for governments to privatise parks would make it inconvenient for families or couples
or whoever—if they just want to go to the park to enjoy nature,
sit on the grass, have a picnic or whatever, it's inconvenient to
come up with the money.'
"People in the future are going to pay for this,' she said.
Some people, such'as Mike Apperly, a first-year forestry student at UBC, think that if the government were to redirect the
money into the bash-strapped social system, the new fees might
be worth it,
' "t believe it could be a beneficial idea,' said Apperly,
'depending on whether the government manages it properly
and whether or not they aire going to expand other public service's with the added money.'♦
Representing parents at
by Celine Asril
NEWS WRITER
Students with families at UBC have created the UBC-AMS Parent's Association
(PA) to represent their needs, which they
feel are not adequately dealt with by
existing organisations.
Most parents who study at UBC are
faced with a lack of recognition and thus
help, Jennifer Upsdell, vice-president of
the PA, noted. For example, there is a
general notion among parent-students
that the priority for obtaining daycare
services (on campus) is given to those
who live on campus itself.
Jim Ferguson, a clerk at the UBC Child
Care Services, said that there is no preference given to students who five on or
off campus.
The PA aims to eliminate such misunderstandings, said Upsdell. The PA hopes
to create a central hub of information that
links all the services available to parent-
students in one easily accessible place.
Upsdell estimated many students at
UBC (graduates and undergraduates, full
and part-time) are parents or are respon
sible for at least one dependent.
The PA is currently working on trying
to implement an additional line of code
on the university registration form that
would set up an extra parameter asking if
the student applicant has dependants,
because right now there are no official
statistics on the number of student-parents at UBC.
But according to Maggie Hartley,
assistant registrar in the registrar's
office, information regarding marital or
family status is not collected because of
the provincial Freedom of Information
and Protection of Privacy Act. "It basically says to only collect information related
to the business that you do," said Hartley.
Brian de Alwis, president of the
Graduate Student Society (GSS), feels that
the GSS has been dealing with some ofthe
issues facing parent-students on campus.
The GSS formed a campus planning
group and one ol the issues that group is
dealing with is the lack of family housing.
"It's grossly less than demand,' said
de Alwis of the current availablilty for
family housing. There are now 531 units
for student families at UBC and there are
475 student families on the waiting list
for family housing.
The PA is only at its fact-gathering
stage, said Upsdell. Before the group can
carry out any substantial action it must
increase its membership or change its
status into a resource group or service.
By increasing its membership the PA
would show that they represent a large
number of people and that the requests
they make would be for a large number
of people.
But it is difficult to get the message
out to student-parents that the PA even
exists. The struggle to balance family, student and social life is evident, said
Upsdell. "Many do not even have the time
to go to Club Days or read the campus
papers."
If the PA becomes a resource group or
service (which an AMS club can attempt
after existing for two years) they would
not have to maintain a high membership
but would still be able to provide a service to parent-students.
For information regarding the PA, you
can contact Upsdell through email at ubc-
parents@hotmail.com. ♦
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COWGIRLS AND PRINCESSES: Adrienne Coatla and Jenny Ellis work and play hard at SUBcetera. nic fensom photo
Undergrad publications invade SUB basement
by Chris Shepherd
NEWS EDITOR
Several campus undergraduate society
papers will be moving into one office in
the SUB basement next summer, when a
new inter-faculty publication office
(IFPO) is approved by the Alma Mater
Society (AMS) Council.
The creation ofthe IFPO will be a part
of a bigger project that will see a large
part of the SUB basement become a
social space for students.
The office will fill some of the area
currently occupied by the SUB arcade
and will be the centre for producing the
Engineering Undergraduate Society
(EUS), the Science Undergraduate
Society (SUS), and possibly the
Commerce Undergraduate Society (CUS)
newspapers.
Currently the nEUSpaper (the EUS
publication) and the 432 (the SUS publication) use space in the SUS office in the
Leonard S. Klink Building.
While the current office used by the
nEUSpaper and the the 432 serves their
needs, the papers are looking forward to
the new space.
"(The current office] is less than
optimal," said Jen Ross, who is co-editor-in-chief of the nEUSpaper. "We only
have access to the facilities when we're
publishing.'
Ben Warrington, editor of the 432,
agrees that the current situation is not
perfect
"There hasn't been too much trouble
because the papers are generally done
on the evenings and weekends, so it
doesn't get in the way of SUS business.'
The AMS and the founding papers
hope the IFPO will be a resource available to smaller pubfications just starting
on campus.
Ross cited benefits such as a broader
base of writers for the papers to draw on
and being able to hold workshops to
improve various skills involved in making a paper.
The Arts Undergraduate Society
paper, the Underground, is not considering joining the office because their
paper will be getting an office in the
new Arts space being built in the D
block of Buchanan. That location is
scheduled to be finished at the end of
November.
The papers still have many details to
sort out regarding the office. Scheduling
usage, issues of access to the SUB and to
the office itself and dividing costs associated with the office will be dealt with in
meetings held over the next few weeks.
No rent will be charged for the space,
however, because students using the
office all belong to groups that fall under
the AMS organisation.
Currently the only costs for the
papers are those associated with building the office. Funding is being sought
from various grant sources to help pay
for those costs.
The AMS does not plan to be involved
in the content ofthe papers.
"I personally don't think that's our
job,' said Oana Chirila, vice president,
administration for the AMS.
Chirila added that there is specific
AMS code that states that contributors
and editors with a paper are wholly
responsible and liable for all material
appearing in their pubfications. Because
the papers are not owned by the AMS,
the organisation is not concerned.
The work on the IFPO will begin once
the plans for the renovations of the SUB
basement are accepted by the AMS
Council. The office is expected to be
ready for use in the summer of 2003. ♦

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