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The Ubyssey Sep 30, 2005

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Friday, 30 September, 2005   THE UBYSSEY
from the sidewalk
Brooklyn
emcee would
rather"rep
for the rest of
us with real
talk"on The
Hear After
J-LIVE
The Hear After
Penalty
by Zach Goelman
CULTUREWRITER
As far as independent hip-hop
goes, Brooklyn native J-Live is a
model success. His honest, train-
of-thought flow leads listeners
logically through verbal imagery
and simile. His first-person perspective brings the listener
almost into dialogue with the
soliloquy, as if every incoming
line were prepared for your
impending thought. And the
artist possesses a rare talent for
taking the concrete and explaining it through abstract means, as
opposed to the common inclination to do the reverse.
On The Hear After, J-Live's
third album and Penalty Records
debut, the artist confesses that he
has the ability to "paint an image
in [the] mind with each rhyme,*
and then goes on to do exactly
that. "I see poison pushers in they
own community/sayin fuck it,
that's they only opportunity/I see
old folks acting just like little
kids/and little kids thinking that's
what they should grow to be..."
When J-Live goes critical, his
aggression cuts like a scalpel.
"Weather the Storm" and "The
Sidewalks" both target both personal and societal detractors with
an acute, abrasion; his sharp
tongue like fine-grain sandpaper.
And his status as a solo inde
pendent gives him both the perspective and the position to level
critically the failures that confront him everyday.
He outlines the flaws with the
public school system, the stereotyping of American blacks, and
the adoption of these very stereotypes by black people themselves.
But he's also aware that the fight
against the beast can attract a stigma—that by rejecting the popular
but posturing high and mighty,
one merely alienates oneself from
your audience. That being the
unsatisfying nature of pop culture, J-Live is resigned to it, as he
testifies: "...but whatever's clever,
son, I let them tell it/why should I
play the role of zealot just for y'all
to repel it?/I'd rather rep for the
rest of us with real talk/so I'm out
like that, J transmitting hve from
the sidewalks..."
A soft rustling on one track
brings the listener right up into
the booth with the emcee; fluid
turn-tabling on another evokes a
"breathing" sound that conjures
an intimate closeness. The production on The Hear After is ideally suited to J-Live; a conceptual
mix of bizarre sounds splashed
over delicate "boom-bap"
rhythms. But familiar audios also
slip out: the drill from Ice Cube's
Down For Whatever is inverted
upon itself, sounding dissonant
and foreign.
J-Live goes it alone on
"Whoever," addressing all image-
obsessed hip-hop artists still playing games; colleagues eager to
take credit for success but blame
others when things go awry.
Heads will nod to the mixed
rhythm of cowbells and chord
strumming, but one thing in particular sets this track apart.
J-Live creates layers in his
music; he sings the chorus with a
backing array of his own voice,
the sound he creates being a perfect metaphor for his place in hip-
hop today—it's just him and his
skills interweaving in an internal,
self-sustained symphony. He
threads it tight, and in the
process out-performs his solo colleagues in both creativity and
style. 11
'Tweens
Oxfam Benefit Concert
Gallery Lounge, SUB
October 7
Have fun and help a good
cause! Oxfam UBC is holding a
benefit concert for emergency
famine relief in Niger.Tickets are
$5 and 100 per cent of the proceeds will go towards aid in
Niger.
Hit List—A Ski Movie
Norm Theatre
October 4, 7pm
Fun for ski-bunnies and couch-
potatoes alike—the newly
released ski movie Hit List is
coming to the Norm Theatre.
The movie features local slopes
including Whistler Blackcomb
and the remote inlets of BC.
Canucks Kickoff
Celebration
Pit Pub, Student Union Building
Octobers
Enjoy the beginning of the
hockey season with follow fans.
Warning: cheer for the hometown favourites or keep a low
profile.
Muchmusic VJ Search
Norm Theatre
October 6 and 7,10am-4pm
Here's your chance for stardom,
or at least to have a chance to
interview the stars. Who knows
—their star quality may rub off
on you! Audition to be the next
MuchMusic VJ and enjoy tons of
prize giveaways.
Day of the Longboat
Jericho Beach
October 2 and 3, All Day
Come cheer for your friends, or
laugh at the Ubyssey as they fall
into the water and emerge cold
and shivering with dampened
spirits. UBC Rec's biggest event
is sure to be fun for everyone—
even for Team Ubyssey.
British Columbia Fashion
Week
Performance Works Theatre,
Granville Island
September 27 to October 2
Check out this show case of
Canadian designers with outfits
from funky to functional to
*What? That's a shirt?'Weekend
fun in beautiful Granville Island.
Scrapbooking Weekend
Retreat
Harrison Hot Springs
September 30 to October 2
Enjoy all-inclusive weekend of
scrapbooking fun in beautiful
Harrison Hot Springs.To find out
more, and to register, visit
www3crappingaway.com
The Proclaimers
Richards on Richards (aka 1036
Richards Street)
October /, 7:30pm
And I would walk five hundred
miles just to see the Proclaimers
in concert! Call 604-280-4444 for
more info. Or just walk five hundred miles. Either will work.
ClASSIFIEDS
nnouncemems
DONATE TODAY AND ENTER FOR
A CHANCE TO WIN 2 TDC TO SEE
GREEN DAY OR AN IPOD SHUFFLE.
Every $10 donared recovers $103.20
worth of FOOD! please visit www.
questoutreach.org/contest
xua uur ricuiar
PLAY RUGBY! Beginners and novice
players welcome. Check out www.
roguesrugby.ca or call (604) 812-3603 for
more info.
DISCOVER OKINAWA KARATE. Tue
& Thurs 7:30pm-9:00pm, 2-2668 West
Broadway Ave, 604-230-0161 www.
mariomckenna.com
ENGLISH SPEAKER SEEKING
MANDARIN SPEAKER FOR
LANGUAGE EXCHANGE. Write to
Lance at bluedragon90@gmail.com
uy&se
DOUBLE FUTON FOR SALE. Incl.
frame, very good condition Si25 obo.
604-733-0790
ACOUSTIC GUITAR FOR SALE.
Seagull S6 Cedar w/ accessories $275 obo
Diana @ 604-765-5455
EOSC114 TEXT FOR SALE 4TH
ED. $65.00 good condition. Call Lyn
604-677-0561
gil&liMimtKE
A+ STUDY SKILLS. Increase your
marks! Next seminar. Sat. Oct 1st. www.
aplusstudyskills.ca 604 219 6720
ARABIC TUTOR. Native Arabic Speaker
available to help you learn to read, write,
and communicate, or bring your skills up
to the next level. $20/hour. Call 604-773-
4533 or email: taamija@gmail.com
h^TiinrmTmiiimiTmfTTiTirTi^
CONDOMS
Discreet Service by Mail
Serving Major Brand Names
Lubricants and.
the NEW Durex Massagers
WWW.CONDOMSCANADA.COM
mpioyment upportumties
ADVENTURE! Teach English
Worldwide. Earn money. Get TESOL
Certified in 5 days. Study In-Class,
Online or by Correspondence. No degree
or experience needed. Job guaranteed.
To learn more, come to a FREE Info
Seminar Tuesday @ 6pm, #203 1451
West Broadway. 1-888-270-2941
gIobaltcsol.com
TEACH/TUTOR ENGLISH. $300
TESL Certification erne 604-687-1286
ccommonation
A FRIENDLY, CARING, AND
ALTERNATIVE-MINDED FEMALE
UBC STUDENT LOOKING FOR A
POSITIVE HOME WITH FEMALE
ROOM-MATES. Looking for a place
near the University, and fairly reasonable
in rent. If interested, please contact
Naomi Hart at (416) 534-5178, Toronto)
or naomaIa@hotmail.com. Thank you.
FOR RENT. Arbutus and W. 22nd 1
bedroom in 2 bedroom apartment $480/
month 778-898-5625
MENTOR A CHILD FOR ONE
HOUR A WEEK! Volunteer:
www.bigbrothersvancouver.com or
604.876.2447 ext. 250
FREE DRINKS, A REFERENCE
LETTER AND INDIE-PRESS COOL?
Bleach magazine seeks motivated creative
person(s) tor help with promotions,
events planning and photocopying
madness. Must love writing, an and/or
music. Email infb@bleachmag.com
isceiianeous
FINEST ONLINE SELECTIONS.
Okanaganposter.com Greatgiftarc.com
CLASSIFIEDS FOB STUDENTSf
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Friday, 30 September, 2005
Vol.LXXXVH N°8
Editorial Board
coordinating editor Jesse Marchand
coordinating@ubyssey.bcca
news editors Paul Evans SC Eric Szeto
news@ubyssey.bcca
culture editor Simon Underwood
culture@ubyssey.bcca
sports editor Megan Smyth
sports@ubyssey.bcca
FEATURES/NATIONAL EDITOR Alex Leslie
features@ubyssey.bcca
photo editor Yinan Max Wang
photos@ubyssey.bc.ca
production manager Michelle Mayne
production@ubyssey.be ca
Coordinators
volunteers Liz Green
volunteers@ubyssey.bcca
research/letters Claudia Li
feedback@ubyssey.bcca
The Ubyssey is 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. All editorial content appearing in
The Ubyssey is the property of The Ubyssey Publications Society.
Stories, opinions, photographs and artwork contained herein
cannot be reproduced without the expressed, written permission
of The Ubyssey Publications Sodety.
The Ubyssey is a founding member of Canadian University Press
(CUP) and adheres to CUP's guiding principles.
Letters to the editor must be under 300 words. Please indude
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. The Ubyssey reserves the right to edit
submissions for length and darity.
It is agreed by all persons pladng 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.
i .-•■•'■ <i   -, ) i i< l<.-n t I   y«jn   ,  oil   | > I. i .  i-
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EDITORIAL OFFICE
Room 24, Student Union Building
6138 Student Union Boulevard
Vancouver, BC V6T 1Z1
tel: 604-822-2301
fax: 604-822-9279
web: www.ubyssey.bcca
e-mail: feedback@ubyssey.be 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.bcca
business manager Fernie Pereira
ad sales Wesley Ma
ad design Shalene Takara
Boris Korb/s Mac froze. He kicked itsending it flying into Aaron
Carr who tripped into Broc Nelson. Liz Green dropped her glass ot
water and a shard hit Alex Leslie in the eye. She stumbled
around, knocking the recyding bin over, sending cans and bottles
everywhere.Claudia Lee, Jean Chou and Zach Goelman,arriving
with food,tripped on the cans and pizzas fiew.Bryan Zandberg
was hit by pepperoni and Yinan Max Wang took a Hawwai ran to
the face. Simon underwood laughed at other's misfortune and
was slapped by Jesse Mardiandtbr it. Andrew MacRae lent
against the water cooler,pushing it over.Momoko Pine, Glen
Chua, Greg Ursir and Colleen Tang didn't get involved as they
watched 6feb Scott slide by. Eric Szeto kept telling his story as
Megan Smyth retched and water washed around their ankles.
The power bars shorted, shocking Derek Vinge and knocking out
power. In the confusion Paul Evans lost his glasses and a crunch
was heard. Michelle Mayne lit a match and tried to calm everyone
down. Power was eventually restored, the Macs were turned bade
on and production resumed.
cover photo Yinan Max Wang
cover design Michelle Mayne
editorial graphic Joel Libin
V
Canadian
University
Pr&ss
Canada Post Sales Agreement
Number 0040878022 THE UBYSSEY   Friday, 30 September, 2005
CULTURE 3
Generation Ookpik
A mandatory Souvenir for Social Studies teachers
SOUVENIR OF CANADA
October 2,4t 11
by Bryan Zandberg
CULTUREWRITER
What could be better than a funny
film about existential angst? Why, a
funny film about Canadian existential
angst of course! Actually, Souvenir of
Canada is a little more complex: it's
also an erratic documentary about
the building and demolition of
Douglas Coupland's Canada House
art installation in North Vancouver.
And it's also a candid look at his
Canadian family. But that's a whole
lot of the C-word, so let's skip to a new
paragraph and I'll try to explain why
you may want to make this documentary one of the your top picks at the
Vancouver International Film
Festival this year.
Coupland is best known for the
success of his fiction, with novels
like Generation X and Life After
God. Souvenir of Canada, a fUamtic
rendition of the book of the same
name, tackles the Vancouver
author's abiding interest in themes
like identity and relationships. As
the narrator and commentator,
Coupland transposes these themes
onto a larger investigation of what
it means to be Canadian.
Oddly, Coupland broaches the
subject by way of an analysis of his
father, an archetypal Canadian if
ever there were one. His dad is
practically a coureur de bois, who
also enjoyed a successful career as
a pilot and doctor. Anyone who's
ever read Coupland recognises
right away that this archetype of
manhood doesn't resemble in the
slightest his postmodern son. And
as the vagaries of the latter's pop
art installation mount, the contrasts between Coupland junior
and senior become, well, pretty
uncomfortable. The awkwardness
is brilliant, downright hilarious at
times, and the film skillfully banks
on the Coupland family dynamics
to talk about the ephemeral nature
of culture on a national scale.
Cue the stubby beer bottles,
hockey memorabilia, effigies of
the Queen and a million other random bits of Canadian cultural jet
sam that Coupland has been collecting for decades. This is spliced
with tongue-in-cheek television
vignettes from the 1970s, gems
from the National Film Board
vault, and loads of other irony-
infused tidbits that typify how this
country has struggled with itself in
the mirror since the end of the
Second World War. And believe
me, some of the tactics we've used
to try and figure ourselves out in
the past are simply ridiculous.
True to his restless, wry temperament, Coupland stacks images of
these artifacts a mile high just to
mock them and then make them
vanish in vast expanses of the
boreal void and prairie that are
the other face of Canada.
But the audience isn't left holding the bag in terms of what the
film posits this Canadian identity
is, or could be. Coupland gives us
a Canada where we can hang up
our coats and be at home
through some superbly emotional
moments, which I will not ruin for
you. At any rate, Souvenir of
Canada is documentary at its best.
Something future generations of
kids won't have to groan about if
they're ever forced to sit through
the film in one of those mandatory
National Film Board screenings
for social studies class. 53
Moscow to
Santiago
ONE DAY IN EUROPE
October 6, 9
by Aaron Carr
CULTURE STAFF
Thinking'of branching out and experimenting with some foreign fare at
the Vancouver International Film
Festival? Looking for something
lighter than the incomprehensible
post-modern artsy flicks that monopolise film festivals everywhere? If so,
you might want to consider taking a
gander at German director Hannes
Stohr's One Day In Europe.
Revolving around the Champion's
League soccer final between teams
from Turkey and Spain, One Day In
Europe tells four stories that each
take place in a different European
city—Moscow, Istanbul, Santiago de
Compostela, and Berlin. To further
distinguish the European nations,
Stohr structures each story around
the same scenario: character A is a
tourist in country X and becomes
dependent on the help of character
B—a local who knows the streets, language, and people—to help solve a
tricky situation.
While this may seem straightforward and maybe even a little boring, it actually works quite well.
Stohr's goal of showcasing differences and similarities between various European nations provides
unusual and often amusing twists
to each story. This is where One
Day In Europe really shines. The
characters are so fleshed-out and
their situations are so believable,
that the inevitable humour will
keep you laughing and smiling
until the credits roll. Ii
Little Buddha's VCD
Anti-climactic. Uneventful. Mundane. Remarkable?
THE SILENT HOL Y STONES
October 4,5
by Glen Chua
CULTUREWRITER
A young monk becomes enthralled
by the television he finds in the
Living Buddha's abode. On his visit
home, away from the monastery, we
learn he is more interested in the TV
and VCD player than his own kin. He
returns a day early with his father,
whom he has persuaded to bring the
TV back to the monastery so that his
master may enjoy the VCDs. The
end.
Basic, anti-climactic, uneventful,
plot-less—words that I thought of,
and words that others voiced, in reference to Tibetan director Wanma-
caidan's debut production, The
Silent Holy Stones. The movie fol
lows a young monk "torn between
his prayers and Chinese VCDs" in
Wanma's Tibetan borne village.
Here, however, 'torn,* in our sense
of the word, is hyperbolical, as his
supposed struggle is underwhelm-
ingly mundane and causal. But is
this necessarily negative?
The film opens with worn, weathered hands carving ancient
Buddhist text onto stone, with chants
accompanying the clashing of rock
against rock. But what I anticipated
would be the showcasing of Tibetan
people and their responses to the
increasingly dominant Chinese presence turned out to be nothing more
than an unmoving glimpse into a
monk's life. The relatively uneventful story of the young monk is
matched by dry and elementary cinematography. The camera points to
one location and stays there, still to
the point of stagnancy at times. I was
left wanting so much more.
I left the theatre not knowing
exactly what to think of Wanma's
creation. Perhaps it's because I've
grown so accustomed to sensationalised stories of conflict and resolution. Wanma brings something completely different to the table—no
flashbacks or altered sense of time,
no voiceovers or narration, no moving camera angles, no exaggerated
personalities, no plot twists. In fact,
many would argue that there isn't
really a plot, as the forgettable con
clusion might suggest
But perhaps it's because of these
very absences that T might recommend this film. Unembellished,
Wanma's story comes across as honest and realistic. What we take in are
simple frames of a young monk's
life and his relations with his
monastery and family in a changing
Tibet This change features subtle
actions and quiet results. Things like
the introduction of Chinese products
into Tibetan ways of life, even "infiltration" into its most sacred happen
in ordinary, unremarkable ways. U
Beyond the traditional denouement into an existential void
HEART, BEATING IN THE DARK
October 2,3
by Momoko Price
CULTURE STAFF
It's the classic story betwixt two
lovers: Boy meets girl. Boy likes girl.
Girl likes boy. Boy and Girl get married and have a child. Boy and Girl,
in a fit of youthful dysfunction and
desperation, kill their own child. Boy
and Girl, now fugitives, go out on the
lam, hopping from hovel to hovel...
Okay, so it's not exactly Romeo
and Juliet, but Nagasaki Shunichi's
highly anticipated remake-sequel of
the groundbreaking Japanese independent film. Heart, Beating In The
Dark is no less of a heartrending
tale. A story whose real beginning
unravels in the wake of the more
standard drama of a child murder,
Heart, Beating in the Dark pulls the
audience beyond the traditional
denouement into an existential void
in which life offers no lessons and
crimes are left unpunished.
Older, but not necessarily wiser,
Muroi Shigeru and Naito Takashi
reclaim the screen as Inako and
Ringo from the 1982 version of the
film. They are joined by a new generation of lost youth: Yuki and Toru,
a 21st century couple who may have
superficially transcended the gender
roles of their predecessors but who
are none the less chased by the same
demons and trapped by the same
pain.
The movie relies on minimalist
special effects and is punctuated
with choppy, simple scene cuts. But
Heart is a multi-layered production,
periodically harking back to the original, always toying with the telling of
the story then, the retelling of the
story now, and the evolution of the
story over time, occasionally breaking from fiction entirely.
Sensitive moviegoers should be
warned that repeated acts of domestic sexual assault occur, as the characters inhabit each other's bodies to
try to regain the emotion they had
lost The manner in which these acts
are portrayed stems back to the
exploratory, observational nature of
the film: it portrays neither morality
nor immorality, to the point where
even actor Naito Takashi (who plays
Ringo) must struggle with his own
sense of outrage against the passive
character he once played..
The headliner for the Dragons
and Tigers East Asian category at
this year's VIFF, Shunichi's film is a
window into a world of filmmaking
and international culture that, even
after 23 years, remains unknown
territory for a large majority of
North American movie viewers.
Independent film lovers will not be
disappointed. II 4 Culture
Friday, 30 September, 2005   THE UBYSSEY
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MYWism
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The Comic
Script Writing by
Correspondence
Program
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MEET MBA PROGRAM
REPRESENTATIVES
FROM: Alberta, Athabasca,
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Saint Marys, Saskatchewan,
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Wilfrid Laurier...
October 4,2005
4:30 - 7:30 pm
Hyatt Regency Vancouver
655 Burrard Street
Vancouver
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www.canadianmbafairs.com
This Charming Girl
Octobers, 13
by Kian Mintz-Woo
CULTUREWRITER
Lee Yoon-Ki's first feature, This
Charming Girl, pulls with the very
best strengths of French cinema.
The filmmaker fills the screen with
images culled from ordinary life and
removes strong plot and narrative.
Kim Ji-Soo (in her first screen role)
stands up wonderfully in this minimalist introspective. Her natural
uncertainty and poise carry the film.
Her character, Jeong-Hae, works
in a busy post office by day and lives
a quiet solitary life by night. Her coworkers wonder idly about her, but
lack serious interest. What grips the
audience are the personal details of
her life. There is a delicateness in
how the characters notice that Jeong-
Hae's eyelashes fall out. This was
also the first movie I have ever seen
that ended in mid-sentence (or perhaps the last lines made more sense
in Korean).
The way Lee sets the tone with
evocative images brings to mind
Keith Behrman's recent indie entry,
Flower and Garnet In both films,
neophyte actors bring a similar
strength and natural poise to the
screen. Along with Behrman, Lee is
confident enough to draw the camera closer and let it linger without
words. II
An empty, sprawling discourse
October 12,13
by Greg Ursic
CULTUREWRITER
Three strangers meet in a late night
bar in Moscow, where they share
drinks and stories. Their stream-of-
consciousness, liquor-fuelled discourse, runs the gamut from the
pedestrian to high-minded conspiracy theorizing. Eventually, they
grow weary of one another's company and head off in search of a
warm place to sleep off their
impending hangovers.
I always see one festival film that
leaves me wondering what I missed.
4, which won awards in Rotterdam
and Seattle, still leaves me in a state
of confusion, in spite of extensive
reflection on the effort I will admit
that the opening sequence grabbed
me by the throat, but then the movie
let go just as fast
The director drags viewers off
along a torturous journey, during
which nothing of much importance
actually ever happens. To exacerbate
the situation, he subjects viewers to a
relentless aural assault from packs of
wild dogs, screaming birds and
shrieking babushkas. Even worse is
the visual barrage of stark mud
strewn landscapes, a parade of unappealing (and I'm being nice here)
people gorging themselves with
orgiastic glee, and clones in various
stages of undress (for which I'm still
in therapy).
With the exception of a hint that
there may be a germ of truth to one of
the aforementioned conspiracies,
that's all there is. And you get to stare
at it for over two hours. It feels like
four.
An empty, sprawling discourse,
you literally could not pay me to sit
through it again. Unless you tend
toward masochism of a cinematic
nature, do not see this film. And if
you do, you deserve everything you
get II
Dust yourself off and try again
Hell on Wheels
October 4, 7, 9
by Greg Ursic
CULTUREWRITER
It was originally just a crass marketing gimmick by L'Equipe to
sell a few newspapers. But the
Tour De France has since endured
two World Wars and 90 years, and
in the process has become one of
the most-watched and longest-running sporting events in the world.
In Hell on Wheels, Oscar-winning
documentary filmmaker Pepe
Danquart follows competitors as
they tackle the excruciating
3500km route over the course of
22 days.
If you've ever seen footage of
the race on TV, the difference with
Hell on Wheels is the need for
speed;  rather than tracking the
riders with moving cameras,
Danquart employs static shots to
illustrate the velocity that the
cyclist travel. You discover that the
on-the-ground announcing style is
far more enthusiastic in comparison to the relatively static TV coverage. And where else will you see
a line-up of cyclists still clipped
into their pedals relieving themselves at the side of the road? I was
more intrigued by the candid
moments with the racers.
The time Danquart spends with
the athletes at the end of each race
day reveals a set of supreme athletes who can still maintain an *aw-
shucks* sort of charm, each suffering from a human amount of self-
doubt. It's also amazing to witness
their commitment to the team:
many members have been on the
same team for a decade well aware
that their mission is not to win
stages, but to propel their colleagues to victory. And as the tide
implies, this is not a easy trip.
The shots of cyclists wiping out
are disturbing to watch, especially
since they usually tumble in a pack.
The up close and personal aftermath is worse, as these walking testaments to road rash get back in the
saddle and are literally patched up
on the go. One rider takes it to the
next step, completing the tour with
what should be a debilitating injury
(it must to be seen to be appreciated). The hardest thing to watch,
however, is the crestfallen man
destroyed by sheer exhaustion, collapse, limping to the van in defeat.
While two hours might be a bit
long, Danquart nonetheless provides a true insider's view into the
ultimate test of endurance that is
frenetic, claustrophobic and ultimately exultant. II THE UBYSSEY   Friday, 30 September, 2005
Culture 5
Let me tell you a good Astoria
Like most Vancouver things,
goes well with raindrops and wine.
ASTORIA
Daylight for Delay
www.astoriaband.com
by Colleen Tang
CULTURE STAFF
"Is that Jimmy Fallon?* It's not
tbe best way to introduce a fine
new release from an up-and-coming local band, but it was my first
impression when the album
cover was placed in front of me.
But the lack of Fallon was easily
countered by six tracks of
Astoria. This band keeps the
instrumental soft and light with
a voice to match, reminding me
of Pete Yorn and quality bands
like Keane.
Daylight for Delay is a short
debut, totaling just six tracks, but
they do well to not to overwhelm
and confuse their listeners, making it easy to determine their
sound. The disc starts with Take
All Night, an upbeat track that
highlights their musical talents.
As. the album progresses, the
tracks wind-down and soften up,
revolving around topics such as
love and change.
What distinguishes this band
from all the rest in the indie
scene? I can hear the lyrics sung
by John Gibson-Fraser above the
din, unlike the muffled, indistinguishable voices that you
encounter with some lo-fi bands.
And you can find comfort in the
steadiness of the bass-line and
drum sequence in "I Love You,
Slow Piano.* Most of the songs
include a choir-like sequence
where lead singer Fraser's voice
trails on one note.
Daylight for Delay is a wonder-
fid disc to play on repeat when
you're sitting in your room watching the rain drops cascading down
the window with the lights down
low. I imagine a glass of wine would
also fit nicely, except I didn't have
any at the time. II
Dancing about Architecture
There's always a a trade-off: either you're sitting in an air-conditioned concert bowl sipping
cappuccinos and chatting flippantly through the slow songs, or you're crammed into a tiny art
gallery sweating buckets and hoping that gung-ho Australian isn't going to hit you in the face
with his trombone. Architecture in Helsinki followed Montreal's Wolf Parade at Artspace last
Saturday night   yinan max wang photo.
Passelina on Assesina, or else gasolina
%w &$m&*.
PAPA A.P
Assesina
i EMI
.ft by Broc Nelson
>j CULTUREWRITER
The proliferation of Spanglish-
infused music in Southern California
reifies the state's historical connection with Mexico. Reggaeton (a mixture of Caribbean sounds and frenetic-paced Spanish rap) continues to
plague the airwaves down south
despite failing to cross over up north.
Few Latin acts surpass the bass-line -
and rap-sing style that punctuates
UNIVERSITY     OF     BRITISH     COLUMBIA
Campus  & Community  Planning
Public Meeting
You are Invited to attend a Public Meeting for a development permit application (DP05024)
for Phase II of the new student residences on Lower Mall on the site labeled 'Subject
Property' on the location map below. This application is for two 18-storey buildings, a 7-
storey low-rise, plus 1-storey commons block, and would supply an additional 1052 beds for
students. Phase I of this project (18-storey high-rise and adjoining 5-storey low-rise,
providing 567 beds) is already complete.
The 'town hall' portion of the public meeting will commence at 7:00 pm. Persons wishing to
speak or present at the 'town hair meeting may register for the speakers list by telephone:
604-822-6930 by noon on October 5, 2005. Prior to the meeting there will be an open house
where visitors can view plans, and speak with University staff and consultants.
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Date: Wednesday, October 5, 2005
Public Meeting:
Open House 4:00 - 7:00 p.m.
Town Hall Meeting 7:00'- 9:00 p.m.
Place: 207/209, Student Union Building
6138 Student Union Boulevard
For directions to Student Union Building,
please visit: www.maps.ubc.ca. More
development application information is on the
Campus & Community Planning (C&CP) website:
www.planning.ubc.ca/corebus/devapps.htnil
Questions: Lisa Colby, Manager Development Services, C & CP, e-mail: lisa.colby@ubc.ca
jl     This event is wheelchair accessible. For more information about assistance for persons with
O-   disabilities, e-mail rachel.wiersma@ubc.ca.
this blend of genres; Papa AP.'s
Assesina is no exception.
The official theme of the album
revolves around women and persuading them to behave provocatively. 'Invito A Bailar* centres around
an infectious chorus-line beat suspiciously reminiscent of 50 Cent's
'Candy Shop* complete with a back
and forth female/male dialogue.
As a result of the carnal focus of
the album, the majority of the tracks
stick to vigorous sounds often interspersed with annoying background
vocals. 'La Noche* captures the distracting quality of this approach. An
abrasive voice yells, *bailame,
abrasame, seduceme,* diminishing
the seductive success of the song.
An alternate version of Daddy
Yankee's hit 'Gasolina* (which actually sounds exactly the same as the
original) is the only bright spot on a
bland album. Despite its inaccessibility to the average English-speaker, it
works due to its catchiness and commanding vibrations. After repeated
excursions to the dance floor, the
double-meaning of 'dame mas gasoline* may begin to seem enticing if
only to attract the hot guy dancing
across the floor, a
Serenity Natural Foods
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-«*w««««^.rafc**^ ;»6!*w.«atoRC^^^ fi Feature
Friday, 30 September, 2005
THE UBYSSEY
Friday, 30 September, 2005
Feature 7
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by Alex Leslie features bureau chief; photos by Yinan Max Wang
Representative quote: ""We're too rooted in facts, sorting things out and counting them and organising them and moving backwards. Moving along what we already know, working with
canons of literature and canons of scientific procedure rather than patterns that we can build new ideas on. We take guidelines and turn them into rules. We take tools and turn them
into rules. And shoot ourselves in the foot—create prisons and then leap inside...! think we should give that up, have more fun in the immediate and be ready for more fun in the future/'
Before the speeches of Martin Luther King Jr.
and the Kennedys, a man named Dick Gregory
was speaking to audiences across the United
States. Gregory was not a politician or a
preacher but something in between: a comedian. A precursor to Richard Pryor, Chris Rock
and Dave Chapelle, Gregory's comedy made
fodder of the racism prevalent in his country.
In 1962 at the Playboy Club in Chicago, he
became the first black comic to perform before
a white audience. But Gregory wasn't telling
jokes about black people, but about the faces
staring back at him from the crowd.
"There was always comedy black-to-black
and white-to-white, but he told jokes that
were mostly about white people,* Elaine
Decker tells me from her office at the British
Columbia Institute of Technology (BCIT). 'So
he says things like, 'It's amazing the kind of
anxiety you can stir up as a black man walking through a white neighbourhood with the
real estate section of the local paper under
your arm.' That's not a joke about black people. That's a joke about white people told to
white   neoDle.*   But   comedv  was   one   of
A. A. kJ
Gregory's few publicly sanctioned freedoms—
on tbe same nights that he satirised the injustices of racism to a Caucasian audience, he
retired to a room in a separate hotel from his
white colleagues.
Decker, the BCIT associate dean of academic
studies, has been studying comedy for years and
teaches a Humour Studies course at BCIT, a senior elective in liberal studies. Our interview,
extended by Decker's explanations, elaborations
and anecdotes—'that's what you get when you
interview an old lady with ADD,* she jokes later—
includes mentions of Abbott and Costello, Albert
Einstein, Desmond Tuttu, Chris Rock, George
Carlin, Rube Goldberg and Nelson Mandela.
Decker earned her PhD in Education from UBC
last year, having completed a two year thesis
project examining the role of humour in education: laughter as a portal to imagination, a means
of seeing and shedding our prejudices, and a tool
for profound analysis of our lives and, she
explains with a phrase taken from Doris
Lessing's Massey Lectures, breaking free of the
'prisons we choose to live inside.*
In the case of Dick Gregory, that prison
was a national systemic racial prejudice.
Decker points to queer comics as a contemporary parallel to Gregory's liberating comic
courage. "How come we're outside of your
definition of normal?' is what they're saying
with their jokes,* she tells me. The past two
weeks witnessed the coming and going of the
Vancouver International Comedy Festival.
Attending show after show, I heard comics
interrogate everything from sexuality to politics to bus etiquette, asking us again and
again to define and then toss aside our definitions of normal.
*I think comedy helps us rehearse stepping outside of our own prisons and going
where we haven't been before,* says Decker.
Now more than ever academics, educators
and health experts are looking to humour
and the laughter it produces as a means to do
just that and in the process achieve the
abnormal, the extraordinary.
History's fast laugh
Dick Gregory is only one of many examples
strung through history. Tracing comedy's periods of stasis, its breakdowns and breakthroughs,
is a study in the evolution of prejudice and
acceptance—in short, of the prisons society has
chosen to live inside. In a 1939 edition of New
York Times Magazine, Stephen Leacock wrote,
'Let me hear the jokes of a nation and I will tell
you what the people are like, how they are getting
on, and what is happening to them.* A quick survey of satirical literary voices will confirm this
fact, from Aiistophanes's lampooning of philosophers in Ancient Greece, to Geoffrey Chaucer's
undoing of the  religious  establishment,  to
Jonathan Swift, writing as  Captain Lemuel
Gulliver, tearing into human flaws in 18th century England, to Mark Twain's reflections on rural
American life. Comedic commentary, related
from an intrinsically outside perspective—that of
the critical observer—has no reason to pander
and is unique in its almost obsessive focus on
what makes us weak,  absurd, hypocritical,
strange, paradoxical, human.
During periods of conflict, the voices of our
humourists are often those that go farthest
from normalised propriety (also known as the
'politically correct"), hazarding the sensitivities of both sides. The underground stand-up
comedy hero Bill Hicks, who died before the
emergence of the current Bush administration, performing during the Gulf War:
'Remember how it started, they kept talking
about the Elite Republican Guard in the
hushed tones, like these guys were the bogeyman or something? Like these guys were 12-
feet tall desert warriors. After two months of
continuous carpet bombing and not one reaction at all from them, they became simply the
Republican Guard, not nearly as Elite as we
may have led you to believe. And after another
month of bombing they went from the Elite
Republican Guard to the Republican Guard to
the Republicans Made This Shit Up About
There Being Guards Out There." Cut to a
decade later and Bush's son making more shit
up about Iraq, with another host of comedians
in the wings, armed with their shovels.
That comedy is a serious business has
become a cliche. To say that comedy is a serious
mode of thought, even—gasp!—a philosophy, is
far from that status. Yet in the same way that no
era can be separated from its politicians, art and
armies, neither can it be separated from its
jokes. 'Dick Gregory was talking about some pretty serious stuff that had a devastating effect on
his family and his whole conununity of black people,* says Decker. 'He wasn't trivialising that
stuff so that he could get rich. He was trying to
change the world that he was in and he thought
comedy was the way to do it*
Thinking of Dick Gregory, who joked honestly
from the stage about his oppressors before he
earned his civil rights; and Charlie Chaplin who
wrote and directed The Great Dictator, which
ridiculed Adolph Hider, and was ultimately
exiled from the US; and George Carlin who was
imprisoned on the perfectly ironic charge of performing his bit 'Seven Words You're Not Allowed
to Say on Television* (wait for it) on television;
and Lenny Bruce, Carlin's idol, who was arrested
for his devastating social commentary; and Bill
Maher, who had his show pulled from the air for
his comments following 9/11; and, in the past
year, Jon Stewart, whose America, the Book was
banned from Walmart shelves for taking a
Supreme Court Justice joke one nudie too far, it
is impossible not to begin to notice comedy's
power for revolution and redemption. Just as
laughter can be an expression of pure joy, it can
be an agent of change. And not just in our societies, but in ourselves.
What's your context and where
are your walls?
Here's a story.
In the early days of August I spent a night in
London, just a couple of weeks after the terrorist
bombings. There were signs advising caution in
the Underground stations and the Piccadilly line
was shut down. On the streets above, London
policemen patrolled, carrying automatic guns; in
their immaculate uniforms, they were a strange
mix of courtliness and violence. That night I
walked around looking for something to do and
ended up at a bar in Soho, where a gay pride
demonstration spilled in from the street downstairs and a stand-up comedy show was about to
start upstairs. I made my way out of the black-
leathered throng and up into a tiny room
crammed with Londoners holding beers. Then
the show began, and it was terrible.
Of course, if you pay three pounds for a comedy show in Soho, you shouldn't expect divine
comedic enlightenment The usual stand-up topics were given their cursory review: shitty day
jobs; Bush's uncanny resemblance to a primate;
why Americans are stupider than Brits; the joys
of dating. Then, in the middle of a particularly
weak punch-line, a magic word was dropped, and
the crowd's apathy was cracked wide open into a
roar of pleasure. That magic word was
'Brazilian.* The comic, aware that his riff was
ninning out, that the stage was beginning to slowly tilt and slide him from his place in the spotlight, leaned down into his mike and muttered:
'Damn these bloody misfires. All my jokes, are
Brazilian these days.* Mayhem.
Hilarious, right?
It is, if you know the context—meaning, in this
case, if you happen to be a soused Londoner
who's just endured two weeks of recovering from
a terrorist attack that possibly devastated a chunk
of your morning route to work. Just a few days
earlier, police in the London Underground had
shot down a dark-skinned man who, instead of
falling to the ground at their calls, broke into a
wild run. The man turned out to be Brazilian. The
media immediately jumped on the incident as
negligence; uncalled-for violence; tbe symptom
of a militia-like response to the attacks. Two
weeks later at a small comedy show in Soho, two
dozen Londoners responded in a different way,
by laughing.
Humour is all about context: the context of
the actor in the joke, the context of the teller,
and the context of the listener. A joke, then,
can be seen as a dense packet of information
about all aspects of the situation in which it's
told; similarly, a laugher's reaction is a profound indication of who they are—their prejudices, limits and how far they are willing to go.
'There's nothing funny in the joke. The joke is
in the person,* says Decker.
'If you think about how a joke works, we go
into a joke with an expectation of something,*
she explains. "We need some background knowledge in order to understand what the joke is
about, because a joke is about taking something
normal and rendering it through the punchline
abnormal. So, to start with we need to know
what's normal...If we're willing to let go of normal and move into imagination and flexibility
and humility, then we respond to the joke by
laughing. If we're not willing or not able to do
that we respond by saying 'That's not funny' or 'I
don't get it" In other words, what you laugh at is
a measure of how far you are willing to venture
away from your regular patterns of thought In
analysing that process, you just might discover
how entirely subjective, or possibly flawed, your
perceptions of normality are—'Normal is what
we say it is. Normal is us, normal is not them,*
Decker elucidates.
Questioning one's assumed truths is particularly likely in. comedy as many jokes are set in
surreal circumstances, which require us to operate in a temporary and irrational world. "You
have to put aside all sorts of things you know to
be true if I say to you Tm going to tell you a joke
about a conversation between a kangaroo and a
giraffe.' You don't say, 'Oh shut up, you idiot, kangaroos and giraffes don't talk," Decker tells me.
*You prepare yourself to hear a conversation
between a kangaroo and a giraffe. Because that's
what humour does. It causes you to set aside your
certainties.*
This process of stripping away one's
entrenched conceptions—Decker's Humour
Studies course includes consideration of ethnic
and queer comedy, giving plenty of opportunity
for her students's prejudices to meet their
match—can be intellectually liberating, with the
potential to enrich and expand one's world view.
But some consider the benefits of humour to
extend beyond those of the mind, and into the
physical body.
Laughter, the yoga way
In 1995 in Mumbai, India, a physician named
Dr Madan Kataria founded the world's first
Laughter Club. She had read research done by
a Dr Lee S. Berk at Loma Linda University
investigating the beneficial effects of laughter
to stress hormone levels and the immune system and Norman Cousin's book Anatomy of an
Illness, which described the role of laughter in
his recovery from Ankylosing Spondylitis, an
incurable spine disease. Kataria's first club
began in the structure of a member telling a
joke and the rest responding through laughter;
when the jokes ran out or began causing
offence to certain members, it was decided
that the club's laughter would instead be spontaneous. There are currently over 5,000
Laughter Clubs around the world.
I am sitting in the basement of the
Oakridge Lutheran Church at the corner of
Cambie and 41st and the room in filled with
laughter. About 20 people, including myself,
are seated on pillows in a circle. Many are doubled over with laughter and a woman in the
corner has lost control completely and is
stretched out, her thick black hair spread out
over the carpet around her face.
This is Vancouver's Laughter Club; the group,
consisting of regulars and interested outsiders,
meets once a week for an hour of continuous,
cleansing laughter. Over the course of the hour,
the group performs a series of laughter-centric
activities, including sitting with eyes closed and
talking in gibberish for several minutes, and
walking around the room miming the presentation of a gift to other members and exchanging
proclamations such as *You are beautiful every
day, in every way.* Each gesture is accompanied
by mutual, ecstatic laughter. The session ends
with deep breathing exercises and an exchange
of thoughts about the session, during which one
woman relates how laughter therapy has helped
cope with her recent separation from her partner
while another member, a tall serious-looking
. man, looks dn wearing a large fake red nose.
Allan O'Meara, who recently travelled to a
large Laughter Yoga event in India as Canada's
Laughter Ambassador, has been involved in
Laughter Yoga for about four years and has
been running Vancouver's club for about two
and a half years. Wearing one Hallowe'en-
themed and one multi-coloured striped sock
with the toes sewn in, he manifests pure ebullience. 'We have so much stress is our fives,
we're just bombarded by stress and we don't
even know where it's coming from,* he tells
me. 'Laughter Yoga is just another way of
releasing it. I'd rather laugh than cry, and
those emotions are so close together.*
Farah Nazarali, who calls herself The
Laughing Yogi, led the night's session. She now
considers laughter an invaluable part of her daily
routine. One activity required the members to
mime a fierce argument while laughing, reassigning the frustration and anger normally associated with laughter to joy and release. *You're
rewiring your brain. I think it will help me when
I get into situations where I'm in a conflict,* she
says. *I definitely think it's going to have an
impact on all aspects of my life.*
O'Meara explains that though the laughter
enjoyed in the club might be argued by some as
'fake,* the advantages are the same. *When
3'ou're faking laughter, you're producing the
same benefits,* he says. *Your body doesn't know
the difference.*
*I think laughter is something that allows you
to release,* says Nazarali. 'If you have anxiety or
anger or any pent-up emotions, laughter allows a
very positive release.*
Funny bones for a healthy body
Yoga isn't the only area that has begun reaping
humour's positive physical effects. The medical
establishment has begun to pay attention, evidence ranging from the Robin Williams film
Patch Adams, to growing interest on the part of
schools in incorporating humour in medical
training, to the establishment of 'laughter
rooms* in some European hospitals.
Over the phone from Nebraska, Shirley Trout,
former president of the Association for Applied
and Therapeutic Humour (AATH), speaks in an
amused farmer's lilt The AATH, founded in
1988, is a non-profit organisation that promotes
the application of laughter for its positive bene
fits. Its membership, according to the AATH website, includes scholars, psychologists, counselors,
allied healthcare practitioners, nurses, social
workers, physicians, business executives, human
resource managers, educators, clergy and hospital clowns.
Despite its funny focus, the AATH is a serious organisation; this year's national conference, which features a series of professional
speakers, is sponsored by Cancer Treatment
Centers of America.
'There's not enough research that we can say
anything definitive,* Trout tells me, speaking to
whisperings surrounding laughter's possible
role in cancer treatment therapies. 'So a doctor
cannot say, 'You must go home and laugh three
times a day or 60 times a day and you will get better. It's not really a therapy in and of itself...[But]
having the abiHty to see humour in a situation
and possibly physically laughing could be beneficial to let your body do the healing that is needed
to do the cancer treatment*
Trout who has a background in health care,
waxes poetic on the emotional and spiritual benefits of laughter and comedy to a patient facing a
fatal disease. 'It gives you a kind of emotional salvation in this world. Whether or not you can rise
above your physical situation, that remains to be
seen,* she tells me.
'But in the meantime, you can keep your
sense of self by using humour.*
The pedagogy of humour
This sense of self is something Decker is interested in preserving in her students. As a professor at BCIT, she frequently encounters students
who are reluctant to read out their work and take
ownership of their efforts. Having completed her
PhD thesis in the role humour should play in
education—a two year-long effort—she looks to
laughter and levity as a means to restore creative
confidence in her students.
*A number of students ask me if I can teach
them to be funny. They say they're not funny. Can
I teach them to be funny? And I say, no, you were
born funny,* she says. *You were born believing
that you were funny, that you can dance, that you
can sing, that you can draw. And we teach it out
of people. By about age 10 people will tell you, I
can't dance, I can't draw, I'm not an athlete, and
I can't sing...We teach them that there are rules
for all these expressive purposes and that if they
can't meet the rules they quit trying, and they
give it away. We say to them from a very early
age, 'Get serious. Grow up."
Decker points to comedy's emphasis on
imperfection, its promotion of the capacity for
flexibility and imagination in the individual, as
contributions to a positive pedagogy. T think
humour should have a greater presence if not in
a separate course but certainly imbedded in pedagogy or imbedded in a light-hearted and curious
learning relationship that's founded in questions
rather than answers,* she tells me.
Humour is also valuable in the classroom for
its encouragement of critical thought—its membership to a tradition that attracted the minds of
some of history's greatest social critics, from
Jonathan Swift to Dick Gregory to Lenny Bruce.
That critical perspective, says Decker, should be
applied by students not only to their studied
material but also to the educational establishment itself. T want them to understand that
every teacher is making those selections on their
behalf. That doesn't mean the teacher has the
truth,* she says. 'The teacher has a perspective
that happens to be sanctioned by the state
because you're an employee, but there may be
many other ways and that they should always
analyse and adjudicate what comes from the
teacher against other standards.*
Decker's course in Humour Studies at BCIT
includes activities that engage students directiy
in the nuts-and-bolts of humour's range, from
entertainment to the gallows: students are
required, among other things, to perform a comedy routine in front of their peers, and to pen
their own epitaphs. Returning to her metaphor of
the personal prison. Decker explains that she
hopes that this levity will be applied by her students on a wider and long-term scale in their
lives beyond the walls of the classroom.
"We're too rooted in facts, sorting things
out and counting them and organising them
and moving backwards,* she tells me.
'Moving along what we already know, working with canons of literature and canons of
scientific procedure rather than patterns that
we can build new ideas on. We take guidelines and turn them into rules. We take tools
and turn them into rules. And shoot ourselves in the foot—create prisons and then
leap inside and say, 'Well, I can't do that
because I'm in prison. Can't quit up smoking
because I have a fortune invested in ashtrays.' I think we should give that up, have
more fun in the immediate and be ready for
more fun in the future."
What makes us laugh, anyway?
Or, Al Gore's Face
But after all the hoo-ha, where does this thing
called laughter actually come from?
Psychologists and philosophers have struggled to
pin down a set theory of humour since the times
of Aristotle and Plato, and have yet to come to a
definite conclusion. For your convenience, here
are the principal theories of humour, in no particular order.
#682: Incongruity
Advanced by Shopenhauer, Kierkegaard,
William HazHtt, George Santayana, and countless
others, this theory claims that humour results
from the otherwise unconnected placed in a context that uniquely binds it In The World as Will
and Idea, Shopenhauer states that all laughter 'is
occasioned by a paradox, and therefore by unexpected subsumption, whether this is expressed
in words or in actions. This, briefly stated, is the
true explanation of the ludicrous.*
The unlikely, the unexpected and the gloriously inappropriate is, according to this theory,
the root and cause of laughter. If you were to see
an elderly woman hobbling along with a cane,
you would most likely not laugh. However, if she
were then to fling away her cane and dance the
Macarena, you would laugh. Why? Because the
second action follows the first in the temporal
sense but not in the logical.
#3: Superiority—Plato, Thomas Hobbes
This is the party pooper theory. According
to this view, humour is not an exaltation of the
mind, nor an elevated recognition of absurdity, but a manifestation of the fundamental and
primitive human desire to feel bigger,
stronger and smarter than others, and, on
occasion, than oneself.
States Hobbes (always grumpy without Calvin
around) in Human Nature: 'The passion of
laughter is nothing else but sudden glory arising
from some sudden conception of some eminen-
cy in ourselves, by comparison with the infirmity
of others, or with our own formerly.* In Repubhc,
Plato insists, in his typical scary way, that laughter should be excluded from the training of the
young guardians of the Kallipolis, his conception
of the ideal state.
#683: Release
Ha ha ha! Didn't that feel good? Maybe you
laughed just then because you had a build-up of
nervous energy that couldn't be channelled
through means appropriate to the reality of the
situation. Inkeeping with this theory, that is the
physiological reason for laughter, as supported
by Herbert Spencer and Mr. Sigmund "Funny
Pants* Freud (his frat nickname).
#0.7a: Fn1ighfa«im«nt and Exploration
John Morreall in his essay Taking Laughter
Seriously. 'Space does not permit me to trace
all the other values of humour here, but we
can see the essence of most of them if we think
of humour as our higher cognitive function
operating in play mode. At the most general
level, the value of humour is that it liberates us
from practical and even theoretical concerns,
and allows us to view the world from a higher,
less entangled perspective, as a kind of aesthetic field. This change from our more ordinary frames of mind is a luxury, to be sure, but
in creatures like us, with our seemingly infinite capacity to worry about the past, present,
and future, perhaps a necessary luxury." Refer
to: Mike Myers.
Imagination and the mindful
future
Unsurprisingly, Decker identifies humour as her
personal philosophy. It isn't as simple as laughing on a regular basis, or remembering to see the
humour in everyday situations: Decker considers
comedy a philosophy of life balance.
'[I] use humour as an entry point to the serious questions of how do we Hve, what is the
world we want to be in? And to take back a sense
of responsibility of creating that world and at the
same time giving up a sense of controlling that
world,* she explains. "I think it really is one of the
dehcious paradoxes of life!"
To Hve with a humourous perspective, she
tells me, is to be actively intellectually engaged,
while remaining open to imagination, flexibility
and change. "It's a question of trying to function
as your own mirror. The Buddhists call it mindfulness. It's your life, why don't you get all the
way into it? Pay attention to it*
"We have to figure this out as we go. We have
ourselves, we have each other and we have our
wits. And those wits are both the serious wits and
the comic wits. And the task is hard, so we'd better use all the resources we can get," she tells me,
as our interview comes to its end. "I think that's
my philosophy: If this helps, use it"
And that's no laughing matter. IB
•O. 'C&a*"'
*-*
ft Sports
Friday, 30 September, 2005   THE UBYSSEY
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University of Ottawa
Attend law school in Canada
and the United States
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Earn two degrees:
* an LL.B. from the University of Ottawa; and
• a J.D. from Michigan State University
College of Law.
Pay Canadian tuition for all four years.
nm
u Ottawa
L'Universite canadienne
Canada's university
For more information visit:
www.commonlaw.uOttawa.ca or
call (613) 562-5800, ext. 3288
Application deadline: November 1,2005.
UNIVERSITY      OF      BRITISH      COLUMBIA
Campus  &  Community Planning
Development Permit Applications
DP 05023: Mid Campus Lot 15, 6282 to 6298 Eagles Drive
Formwerks Architectural Inc. are proposing 9 townhouse units on Lot 15 in the Mid Campus
Neighbourhood, UBC. Relaxation of the requirement for handicap parking stall is requested. This
application is scheduled for consideration by the Development Permit Board on October 12, 2005.
DP 05022: Mid Campus Lot 8, 6333 Larkin Drive
Adera Equities Inc. is proposing a 55-unit, 4 storey residential apartment building with rooftop patios on
Lot 8 in the Mid Campus Neighbourhood, UBC. A 1.7m relaxation of the 14m height limit is requested to
allow some rooftop railings and an over-height portion of the building on this sloped site. This application
is scheduled for consideration by the Development Permit Board on November 9, 2005.
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pay .^   ^    ^^    4
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^    |     .Centre*. '
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More information on these projects is available on the Campus & Community Planning website:
www.planning.ubc.ca/corebus/devapps.html. The Development Permit Board convenes at Cedar
Room, Ponderosa Centre, 2071 West Mall, 5:00 - 7:00 p.m.; for directions visit www.maps.ubc.ca.
Questions: Lisa Colby, Manager Development Services, C & CP, e-mail: lisa.colby@ubc.ca
•      This event is wheelchair accessible. For more information about assistance for persons with disabilities,
Shaping up for school
by Jessica Young
THE FULCRUM
OTTAWA (CUP)—Hat abs and enoi^
mous pecks both are physical attributes that often fall to the wayside as
students enter into the school year.
The oft-coveted summer beach body
comes in second to midterms, readings, and term papers. But whether
you are new to university or a returning student, it is important to remember that physical health is essential
both in and out of the classroom.
According to Canada's Physical
Activity Guide to Healthy Active
Living, a person must participate in
60 minutes of physical activity a day,
in order to maintain or improve your
health. Endurance, flexibility and
strength are three activity categories
Health Canada provides. With hectic
schedules and tight deadlines, students often forget the importance of
their physical health. Like many
universities across Canada, the
University of Ottawa has an included
gym membership in each student's
tuition fees. The convenience of having exercise facilities on campus
gives students the opportunity to get
their 60 minutes of physical activity.
Christine Rainey, peer education
coordinator for Health Promotions,
talked about the benefits of physical
activity. "Certainly physical activity is
important to get your metabolism
going, to help you burn calories, and
helps give you a great mental boost as
well,* Rainey said, a
Shaping up: How to make it bearable
Bring a friend
Partnering up with a pat can make
the transition much smoother. You
can provide motivation for each
other.
let the music takeyou
Whether you're jogging or lifting
weights, music is a great way to keep
your rhythm going. Exercising can be
less dreadful while listening to your
favourite tunes.
H20
Keep hydrated. Bring a water bottle
and make sure to drink whenever
you feel thirsty.The water fountain
just doesn't cut it for many, especially
when running on the treadmill for
half an hour.
e-mail rachel.wiersma@ubcca.
r j—
Tips on getting and staying in shape
• Follow a well-balanced diet
• Follow a well-designed weight training/cardiovascular program and
remember to modify it every four to six weeks.
• Ensure that you get the proper rest that your body requires.This is
different for everyone.
• Do not over do it If you workout too much or too quick, you will get
bored of it and quit.
• Give yourself at least one day of rest between workouts to ensure
proper rest.
• Be sure to have the proper techniques for all exercises in order to
avoid injury.
• If you are not sure what to do, ask the Fitness Centre attendants for
assistance, or purchase the services ofa personal trainer to educate
you all about weight training.This will allow you to have a safe and
efficient workout without having the risk of injury.
er of the week for the week ending
September 25. The first year student has already played four
seasons in the WHL, most recently
for the Red Deer Rebels. Last
Friday Festa stopped over 20 shots
as UBC triumphed over Grant
MacEwan College. On Saturday
Festa was again able to help the
T-Birds to a win by blocking all
18 shots the Griffins tried to put
past UBC. H
Bird
Droppings
Player of the week
Canada West named Thunderbird
goalie Gerry Festa the hockey play- THEUBYSSEY   Friday, 30 September, 2005
Sports 9
i
WF&T™
^■^^^
'.^  ''.*?A'  *A.f&£&.
Marco! Polo!
Can't float? Don't worry, be brave! Clutch the inner-tube and pass that ball. The Aquatic Centre hosted UBC Rec's annual inner-tube water polo event last night
YINAN MAX WANG PHOTO
T-Bird run their claws off at Stanford
1
'-•125
by Megan Smyth with files from Derek
Vinge
SPORTS EDITOR AND SPORTS WRITER
With both NCAA divisions I-HI and NAIA competing in the cross-country Sundodger
Invitational, it was one epic race last weekend
at Stanford University. Despite the strong competition, the UBC women's team managed to
break some home records and the men showed
definite potential.
A handful of new T-Bird female athletes
proved themselves with solid results. Senior
Meaghan McCollum of Gabriola Island and
freshman Rhianna Debrayanna of Penticton
impressed Coach Marek Jedrzejek. 'They competed at this prestigious event for the first time
and I'm excited about their prospective ability
in the fiiture* said Jedrzejek.
The women raced along a 4km route that
circled the Stanford golf course. Although
the course was dry and dusty and the temperature rose to 28 degrees Celsius, the
Thunderbirds were still able to represent
UBC incredibly well.
McCollum finished fifth with a time of
14:34 passing many runners on the last kilometre as she powered to a strong finish.
Junior Shannon Elmer followed only six seconds behind and came in eighth place.
Rhianna Debryanna, Piper Hayes, Kimmy
Taylor, and Nicole Akyeroid all placed in the
top 40 out of 128 racers. The women's team
placed third out of a total of 21 teams, setting
a new UBC record.
'The race was much shorter than I have ever
raced—it was over so quickly* McCollum stated
after the race.
Due to graduation and ineligible status, the
UBC men's cross-country team has lost a few
star runners from last season.
The men's team was ranked third in the
PHOTOS COURTESY OF DEREK VINGE
NAIA league going into the dusty 8km race that
had more uphill than downhill.
Senior Derek Vinge, who placed 91st out of
233 racers with a time of 25:56, was followed
by teammates Shane Carlos and Jeff Symonds.
"We learned a lot from this race,* said
Symonds, the men's team captain.
In the end the UBC men's team came in 21 st
out of 32 teams.
The Thunderbirds are off to the states again
for the next race on Saturday October 1 at the
Willamette Invitational in Salem, Oregon, a
TNiUBYSSif
IN CONCERT Nov 4 & 5
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fspdrtspubysseyvfe 10 Opinion/Editorial
Friday, 30 September, 2005   THEUBYSSEY
*o3->
'No Nukes is good
nukes': Degrassi
It's a tender issue. The idea of
nuclear technology sends some
cringing at the thought of another
Cold War or World War Three
and yet reminds others of energy,
electricity and good paying jobs.
Recently, Canada lifted a seven-
year moratorium on India in
regards to nuclear technology. In
1998, Canada placed the moratorium after India tested nuclear
warheads during a time of tension between India and Pakistan.
Canadian Foreign Affairs
Minister Pierre Pettigrew stated
that not only will Canada lift the
moratorium against India, but
also that Canada will begin supplying India with dual-use
nuclear technology. According to
the Canadian government, these
nuclear technologies will be kept
under strict international safeguards to ensure that it is not
used by India's military nuclear-
weapons program.
Canada's motives seem to be
clear. Sharing the technology will
vastly improve the trading relationship between the two countries. But did they make the right
decision?
It's not the first time that
Canada has shared this nuclear
technology. In 1943, Canada, the
USA and the UK signed a secret
nuclear project agreement. The
project was a Canadian nuclear
facility that supplied the plutoni-
um for the first British bomb.
Now, the unrest dominating
South Asia has given many the
uneasy feeling that a cataclysmic
war is impending. But the
"us and them,* first world
versus third world mentah- "*
ty isn't going to cut it here.
The question we need to ask
when considering whether
to enter into this bond with
India is, how have they
behaved in the past, and
can we trust them in the
future? Or are we being
tied unwittingly into an
unstable potential
endgame, bound by promises with the possibility of
destruction hanging in
the balance.
And so we are left with the
complicated issue of sharing
nuclear technology with India.
Although Canada has made it
clear that the use of these technologies is intended for civilian
use only, eyebrows should be
raised given that India used
Canadian materials, unbeknownst to Canada, to build and
test their first nuclear weapons in
1974.
It would be false to suggest
that beginning a civilian nuclear
partnership with India is tantamount to giving them nuclear
weapons, but it is still a dangerous possibility. To build nuclear
weapons, a country needs
radioactive material—something
a nuclear reactor provides. Then
a nation needs only the capability
to enrich the radioactive material
and construct a warhead—something a nuclear-armed country
such as India can already do. It is
fcgH-'&tfm
a major concern when »   "
the only thing preventing a country from building more nukes is a
promise, especially when you
consider that deterring Pakistan
and China will undoubtedly
supersede diplomatic niceties
with Canada.
While it can be argued that
we're not actually giving India
nuclear weapons, the close relationship and easy transition
from civilian to military applications should cause the government to reconsider that Canada
may be directly complicit in
nuclear proliferation. The very
real possibility that India may
again use Canadian technology
to build up its nuclear capabilities means that the Canadian
government should reconsider
its recent decision as it seems to
go against the Nuclear Non-
Proliferation Treaty Canada
signed back in 1969.
And heck, let's throw in another mention of the fact that India
already built its first warheads
with our technology.
What the government is doing
is analogous to giving an
unloaded gun to someone who
already possesses the bullets and
telling them they have to promise
not to load it. II
r hKsrb*j 11 VEs
Human rights not just an Eurocentric catch phrase
by Tristan Markle
I am writing in response to your
editorial on human rights and
Chinese/Canadian relations
("Political action, not words* [Sept
20]). Your mainstream analysis
went something like this: Paul
Martin should not normalise economic relations with China until
China shows "action" toward
improving their "human rights*
record. However, your mainstream
analysis, which I can also find in
the National Post, results from your
conservative and naive understanding of both the Chinese and the
Canadian Empires, both of which
are racist regimes which survive
only by brutally expropriating the
natural resources of nearby so-
called "indigenous" nations, and
genociding them (an appropriate
neologism).
Why would, or why should,
Paul Martin criticise Hu Jintao on
the genocidal occupation of
Tibetan lands, on the military
build-up and nuclear testing on
the Himalayan plateau, or on the
corporeal and cultural oppression
of Uygur people (a nation almost
20 million strong in North
Western China), whose freedom
fighters are imprisoned, whose oil
is being siphoned off and sold
back to them at obscene prices,
who cannot practice their religions in private, and whose cities
(such as Kashgar) are being
forcibly colonised, whole quarters
bull-dozed, mosques turned into
tourists attractions—all according
to an offensively classic racist colonial scheme. Paul Martin cannot,
and should not, criticise Hu Jintao
for the excesses of the Chinese
Empire because the Canadian
Empire's history and current
expansion into the North is one of
even more brutal (and just as
secret) genocidal violence and
expropriation of resources according to racist ideology. Canada's
wealth depends on the continuing
expropriation of the natural
resources of First Nations lands by
predominantly white colonists
huddled together along the US border. How dare Paul Martin Jr
speak of "human rights"? In the
current mainstream discourse,
"human rights" is nothing but
Eurocentric term implying the
supposed inherent moral superiority of European systems of colonial government (genocide in the
context of capitalism), which supposedly "protect human rights,"
over non-European governments,
which supposedly don't protect
"human rights." You were right
when you said "Maybe Canada
should shed its attitude of moral
superiority over China"!
Your editorial is instructive, in
that it reveals how shallow the call
for "human rights* has become.
Do we want to protect human
rights? Yes! Then support the
Tibetans and Uygurs in their struggle against racist colonisation!
Support the First Nations of
Canada in their land-claim struggles! Support the basic human right
of all people to have food, a right
which all members of the United
Nations tacitly agreed to when signing the UN constitution, but ignore
because of their sick obsession with
capitalism and the spectacle of
open-markets. Let us give meaning
back to the term human rights.
—Tristan Markle is
a second year biology student
Laramie Project denied where message most needed
by Kalev hunt
The Surrey School Board has cancelled a high school production of
the Laramie Project, a play based
on the aftermath of the 1998 murder of Matthew Shepard.
I remember exactiy where I
was when the news about the
attack on Matthew Shepard broke:
at a conference in Orlando.
Eventually I had to turn off the TV
in the hotel room I was staying in
because I was crying too hard.
I was raised in Surrey. I went
to school there until I was 12.1
had it slightly better than the
other gay kids growing up there
because I was picked on because I
was smart, not because I was
queer.
But at night I would often cry
myself to sleep because I knew
that they knew I was different...I
just couldn't understand why that
made them hate me.
Surrey is EXACTLY where stories like the Laramie Project need
to betold: told loudly, told passionately—but above all simply told, to
lift that horrible silence that leads
children to throw themselves off
bridges rather than come out in
such an unforgiving, hateful environment.
And if the story that needs to
be told is raw and brutal, then
"protecting the children* should
involve depicting reality, not censoring it in the name of homophobia. If children are old enough to
bully others, then they are old
enough to see the results of that
behaviour.
I was one of the lucky ones: I
escaped to the (relative) tolerance
of UBC with no suicide attempts
under my belt. But I managed that
by burying my true feelings so
deeply at age 15 that they didn't
resurface until the end of my second year at university. That saved
my life but it cost me five years of
it I can never get back. Teenagers
in Surrey today shouldn't have
to bear that burden anymore
than I did.
—Kalev Hunt is a
student at UBC
■ISP*5*''
Streeters
Are you afraid of
nuclear war?
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"No, I'm not afraid. I don't think it
will happen."
—AHAmini
Arts 2
"It's somewhat of a worry—there are
a lot of idiots out there.*
—Craig Tervil
Arts 3
"At the moment no, but I think it
could be a concern in the fiiture*
—Angelena Weddell
Engineering 1
"I think that there's potential for it to
be a huge problem, in which case I
am afraid of it."
—Susie Roman
Womens Studies Masters
T haven't really thought about that."
—Evan Baptie
Economics 3
■Streeters coordinated by
Carolynne Burkholder THEUBYSSEY   Friday, 30 September, 2005
News H
Students feeling frustrated by full courses
by Liz Molnar
NEWS WRITER
Increased demand for space in coveted classes at UBC is a trend that is leaving many students up in arms and out of a seat when it
comes to registration.
"I wanted to get into any second year economics course, and they were full for the
whole summer," said undergraduate economics student Adam Kim.
"It was ridiculous because every single
second and third-year econ course was full,"
he said.
Classroom seating shortages are one contributing factor to many courses filling up.
"For most classes, class size is determined by
the number of seats in the classroom," said
Dr Angela Redish, head of the economics
department.
Space was not the only issue limiting this
year's registration, however. The increase in
students outpaced faculty growth and there
are not enough instructors to meet the
demand.
This year in particular, the political science department has felt the strain of enrolment more than in the past, said Department
Head Professor Richard Johnston. "We're
down five hundred seats in our bread and
butter courses due to a large number of faculty members taking leave."
"We've just offered sessional teaching
appointments for next semester that will cut
that number in half," explained Johnston.
"But the sessional market for poHtical science is drying up because people are increasingly being offered tenure positions."
As the field of international relations
became increasingly popular over the past
decade, the request for economic, poHtical
science, and language classes grew dramatically, with demand for courses outpacing the
availability of class spaces.
Dr Allen Sens of the poHtical science
department said he sympathised with students. "Most professors take extra students
and the extra workload because we hate turning students away,* he commented.
"But there are limits to what we can do in
terms of taking on too many more than we
have now," said Sens.
The Buchanan complex, one of the primary teaching faciHties for the Arts Faculty,
will undergo major renovations beginning in
2006 to provide larger classrooms. Once the
Buchanan complex renovation is complete,
larger classrooms will allow departments to
increase enrollment in their most popular
courses.
But in the meantime, students will continue to be turned away due to a lack of space
and personnel. As Dr Sens noted, "They may
not get the exact course they want at the time
they want, but they will get their major
requirements."
The economics department has attempted
to control course registration by doing away
with waiting Hsts all together, said Redish.
"We tell instructors that they may not admit
TEACH ME! Buchanan building renovations starting 2006. yinan max wang photo
or sign students into their [full] classes," but
added, "We do consider exceptional cases."
Language courses are in particularly high
demand due to the Arts undergraduate
degree's language requirement, yet there is a
necessity to keep class sizes small so that students will have more opportunities to participate in class. Departments are under a mandate from the Faculty of Arts to cap first and
second-year language courses at 30 students
and conversational classes at 24 students.
Enrique Manchon, a senior instructor
with the French, Hispanic, and Italian
Studies Department, noted that, "The
department is trying to enforce caps very
seriously. We try to prioritise students that
are graduating, but then it's no longer first-
come first-serve." II
UN turns local tradition of celebrating rivers global
Mark your
calenders: starting
thisyear#this isa
World Rivers Day
by Carolynne Burkholder
NEWS STAFF
Every September 25, thousands of
people gather to celebrate Rivers
Day in Burnaby, BC. This year the
local tradition was adopted by the
United Nations when it declared
September 25 to be World Rivers
Day.
Mark Angelo, head of the Fish,
Wildlife and Recreation Program at
the British Columbia Institute of
Technology (BCIT), pioneered the
event 25 years ago. that is now a
world-wide celebration.
"It's wonderful to see the growth
that's unfolded since we started
back in 1980," said Angelo. "Our
motive from the start was just to
create a pubfic awareness about
our waterways and also [to] encourage people to get out and enjoy
them."
"The success of the event provin-
cially has led to the estabfishment of
the first [World Rivers Day], which is
also taking place today around the
world," continued Angelo. "We have
Hterally thousands of events taking
place in all different countries
involving milHons of people, which
is wonderful to see."
fHiUBYSSef
INHP
We're giving away 5 copies of Our Lady
Peace's CD Healthy In Paranoid Times.
Come to SUB Room 23 for details.
BC Rivers Day celebrations
included stream clean-ups, fish
enhancement projects, and community celebrations, like the event in
Burnaby. On Sunday, over 75,000
people were involved in Rivers Day
events throughout BC.
"The rivers of British Columbia
contribute so much to cur quality of
life," Angelo explained. "I think that
we have perhaps the finest wild
river heritage in the world and the
kind of response we have to Rivers
Day is a reflection that British
Columbians care deeply about the
rivers."
Bob Gunn, Angelo's colleague
from the Fish and Wildlife program
at BCIT, has been involved in the
Burnaby Rivers Day celebration
since 1993.
"The great thing about this event
is that it is supported by a large
contingency of community stewardship groups," said Gunn. "It's a
place for people to come and learn
what's going on in the community
with  environment activism  and
awareness.
•f*V>  oo *-\~ti
ryr*r\ii+
As mucn as tne event is c^ou.*.
the pubHc coming and celebrating
the natural heritage of the rivers, it's
also a place for [stewardship and
environmental] groups to get together, talk about what they are doing,
and share with each other and the
community,* he explained.
One of the community groups
involved with BC Rivers Day in
Burnaby is the Pacific
Streamkeepers Federation. ZoAnn
Morten    is     the,   Streamkeeper
^f^e^iiil^ll^^l
M  M  £
Experience Japan for a year with The Japan Exchange
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Teacher or Coordinator for International Relations,
beginning August 2006.
Applicants must be a Canadian citizen, hold a
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under the age of 40.
Information Session at UBC
Thursday, October 13 - 12:30-2:00 PM
Buchanan D, Rm 230
A p p I i ca ti o h Forni s a ri d i ri f d rm at i on
UBC Career Centre
www.vancouver.ca.emb-japan.go.jp
Consulate General of Japan
Tel: (604)684-5868, ext 415
Deadline:
November 18, 2005
The JET Programme is an official programme of the Government of Japan
Program Coordinator and oversees
fish enhancement projects throughout BC.
"(Rivers Day] is one event that I
always make sure I have the opportunity to go to," said Morten. She
beHeves that this is an excellent
opportunity for people to learn how
their Hves impact the environment.
Angelo said she is optimistic that the
celebration of Rivers Day will continue to grow both in Burnaby and
throughout the world.
"I'm thrilled to see the response
and it's wonderful to see...a BC tradition evolve into a Canadian celebration of our waterways,* said
Angelo. "My hope is [that] in other
countries we will see the same kind
of thing evolve as we've seen here
over the past twenty-five years." II
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Oxfbrd Se ifii n ars
w ww. o x f o rd se m i n a r s. c o m
/ 12 News
Friday, 30 September, 2005   THEUBYSSEY
  FRIDAY, JU SEPTEMBER, ZUU5     IJHUb UJ5YSSHY
Exner's body found in False Creek
Mysterious circumstances surround death of former UBC engineering student
by Eric Szeto and drink.  However,  as  they What foHowed was a very     ing a member of our family
by Eric Szeto
NEWS EDITOR
Family and friends of Will
Exner, the 24 year-old UBC engineering graduate, who had been
missing for 11 days, found out
the most dire of news last night
when his body was discovered at
the marina of the False Creek
Yacht Club.
The circumstances surrounding his death remain a mystery.
Will Exner vanished last
Saturday after attending a BC
Lions football game with his
friends. Following the game the
group decided to extend their
night, staying downtown to eat
and drink. However, as they
were heading home, Exner
decided that he was going to
walk home over the Granville
Bridge.
That was the last time anyone
had seen him—until yesterday.
Sarah Georgetti, Exner's
fiancee said that she wasn't worried when he didn't return
home on September 11; however, the sequence of events that
followed over the course of the
next 24 hours quickly changed
those feelings.
"By the time I got a hold of
the last [of Exner's friends]...I
was like there's something
wrong," she said.
What foHowed was a very
exhaustive search throughout
Vancouver. A search team compromised of Exner's family, the
Georgettis, friends and volunteers combed the local parks,
and the surrounding area that
Exner was last seen—but still
they found nothing.
The official search was called
off on Monday when no clues
had surfaced. There was also no
prior indication that there was
something morbidly wrong, said
Amy Exner, Will's older sister.
"It's devastating to my daughter; it's devastating to all of us.
Will and Sarah have been together for nine years and we're miss
ing a member of our family,"
said Ken Georgetti, Sarah
Georgetti's father.
"It's hard to understand
unless it happens to you."
Ken Georgetti presumes that
Will Exner was walking over the
Granville Street Bridge, but
there is no conclusive evidence
to suggest anything.
Ken Georgetti also noted that
while the search party was looking around Stanley Park they
found a body, albeit not Will
Exner's, but one that RCMP had
been searching for some time.
The RCMP could not be
reached for comment by press
time. II
-..«■
•£-*-*■
Sprouts' future clouded in uncertainty after first year flops
by Paul Evans
NEWS EDITOR
With a large debt and slow startup,
Sprouts—the small organic food co-op
in the SUB—is now facing questions
about its future prospects and possibly even its survival.
Alma Mater Society (AMS) VP
Finance Kevin Keystone commented
that Sprouts wasn't able to meet its
projected targets in its first year.
"If [Sprouts] continues to run a
deficit it becomes the AMS' prerogative to decide whether to continue to
pay for that deficit," he said.
If Sprouts is unable to make
money and the AMS continued to
cover its costs, "It would essentially
become an AMS service," suggested
Keystone. "It was never supposed to
be a service."
But Elana Cossever, Food Coop
President, the club in charae of man-
aging Sprouts, said that business is
improving.
"This year so far, we've been really busy—much busier than last year."
She admitted that Sprouts failed to
turn a profit in its first year but said
that it deserved more time.
"There's no way that not making a
profit in one year is reason enough to
shut us down," said Cossever. "Give
Sprouts a chance to do what it has to
do. It's just sprouting still."
Cossever also said that Sprouts
serves a purpose beyond selling food.
"I think a lot of people recognise the
value of Sprouts as not just a grocery
store, but as a community service,"
she explained. "The value [of Sprouts]
isn't really in generating money but
in generating awareness around
community issues."
"There's no way that
not making a profit in
one year is reason
enough to shut us
DOWN."
-Elana Cossever
Food Co-op President
Cossever added that while she
wants Snrouts to urovide a service
JL A.
to the UBC community, she still
wants it to be a successful business.
"I think it's important that we keep
ourselves running with what we
do," she said. "I think it's an important model to show people that ethical businesses work."
One major problem confronting
Sprouts and the AMS goes back to
the renovations made at the time
Sprouts was opened. Former AMS
VP Administration Lyle McMahon,
who oversaw the renovations to the
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TROUBLE SPROUTING: The AMS will deliberate over the future of Sprouts, yinan max wang photo
area the store was to occupy, commented that the original budget
caUed for $30,000 but the final
total ended up being around
$50,000 doUars.
It is unclear as to whether Sprouts
will be Hable to pay this $20,000 cost
but McMahon said that doing so
would be difficult for Sprouts.
"It may be too much of a burden,"
he said.
The issue will likely go before
AMS council in the near fiiture.
Cossever said that she doesn't
think council will vote to shut down
Sprouts, however.
"I can't imagine Sprouts would go
down easily...it wouldn't look good on
anybody if that happened," she said.
Whatever council decides,
McMahon acknowledged that
Sprouts faces a difficult challenge.
"It's a hard thing to seU: expensive
food to poor students." II
r''twsss?
? "'iSSiiilfciiJ
'"'::::v $sK^$**?yK
NEWS SEMINAR
Tuesdays at 1pm in
SUB 24
Featuring former
Ubyssey  News Editor
Sarah Bourdon and
Jonathan Woodward of
the Globe and Mail
newsOubyssey. be. ca
■ ■3JPfei?f;

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