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The Ubyssey Sep 13, 1996

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Array Shrum
T-Birds take on Clansmen in
annual grudge match
Retro
The Ubyssey goes
back in time
Fringe
More plays than you can
shake a stick at
Congratulating ourselves since 1918
Total eclipse of the Seoul
The student protests in South
Korea have attracted worldwide
attention, but the government's
continuing efforts to quash the
reunification movement have
gone largely unnoticed.
by Charlie Cho
YONSEI UNIVERSITY, SOUTH KOREA, AUGUST 20, 1996.
At dawn, riot police, firing tear gas, aided by helicopters
and armoured vehicles, smash through university barricades. In a violent campus siege,  18,000 police
storm the campus and arrest 6000 students
While the crackdown ends days of pro-
unification protests by Hanchongnyon—
the Korean Federation of Student Unions-
action by the National Police Agency (NPA)
will continue.
From August 28 to 30, 10,000 NPA officers search 62 universities and colleges,
arresting  500 more  students. Tons of
banned   North  Korean  literature   are
seized along with molotov cocktails, steel
pipes, gasoline bombs and a police radio.
In response to the NPA's unprecedented
shutdown of their computer communications site, Hanchongnyon sets up a temporary online Bulletin Board System the next
day.
il
teams" throughout South Korea. The NPA offers rewards of
$3700 and $6100 for information leading to the arrests of
16 student leaders, including Chong Myung-ki, president of
Hanchongnyon, and Park Pyung-yon, president of Yonsei
University's student council.
The  following  day,   the  Kim  Chaek  University  of
Technology president openly
condemns the government.
"This is a murderous gangster-like act unprecedented in
the world history of education," he says. "[It] is as good
as an open declaration
that the arrest of
students will
be encouraged and
Things haven't always been like this, explains UBC
Sociology Professor Yunshik Chang. He points to a time
when South Korean students were popular supporters of
democracy.
"It began way back in the '60s when Syngman Rhee
decided to extend his term of presidency for the second
This is a murderous
gangster-like act
unprecedented in
the world history
of education."
President of Kim Chaek University
Anyone that "praises, encourages,
advertises or supports the activities
of an anti-state organisation"
may face up to seven
years in jail.
time by amending the constitution," he explains.
"That made a lot of people very angry and students more or less took the lead. Ever since,
they've been carrying out democracy movements."
But Chang points out thatthe recent student
violence is a reaction to brutal government backlash.
"When people thought that the students were
right, they simply joined them in the streets. The
size of the demonstrations grew and grew each
\year. It became a threat to the government
and they quickly reacted. Government reac
km tion was so strong that it made them angri
i
|%   er.A.th^ca^ier.the,™^
against the government became more
radicalised and more violent."
While most of those arrested are released within two
weeks, about 450 still face charges of violating the strict,
anti-communist National Security Law, which stipulates
that anyone that "praises, encourages, advertises or supports the activities of an anti-state organisation" may face
up to seven years in jail.
On September 2, a North Korean news agency reports
that Kim Young-sam's South Korean government has
formed a "joint headquarters of investigation into leftist
crimes of Hanchongnyon," setting up "joint investigation
legalized. The Kim Young-sam group
must know that the money set on the
heads of the innocent patriotic students will turn out to be the rope of
gallows that strangles their necks. They must suspend the
arrest of students and set free the arrested students at once."
President Kim, a former political dissident, outlaws
Hangchongnyon, accusing its members of being infiltrated
by North Korean 'elements.'
"This is an anti-establishment student movement that
engages in urban guerrilla-style warfare," he tells university deans after the Yonsei siege. Government officials cite a
recent poll showing that 80 percent of South Koreans support stern measures against radicals.
According to some South Korean student
leaders, the police provoked the violence
and the students responded by throwing
rocks out of fear and self defence. Bang
Nyong-hyun, Yonsei University's student
councilor and demonstration organiser, says
that news organisations are misrepresenting the
student activists, spreading resentment toward
them.
Bang calls for the withdrawal of the 37,000 US troops
stationed in South Korea, the abolition of the National
Security Law, and the reunification of Korea on terms
demanded by the North.
Chung Dong-yong, spokesman for the main opposition
National Congress for New Politics charges: "President Kim
used the students for his own benefit. There's no difference
between this government and a military regime."
♦   ♦   ♦
continued on page 2 2   THE UBYSSEY, SEPTEMBER 13, 1996
features
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Exchange students (UBC undergradu
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We're friendly and eager to meet you.
Call Cheri at 822-8190 to be matched
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PS This is not at dating service. We offer
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ESt students welcome.
Call Greg: 736-7992.
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224-0486
'tween
UBC Dance Club
Tuesday, Sept. 17
Free introductory
dance lesson.
SUB Ballroom,
12:30-l:30pm.
gays,   Lesbians and
Bisexuals of ubc
Wednesday, Sept. 18
General Meeting:
come out this year.
SUB 211, 12:30pm.
[Women only
[March
Rally
7:00pm
Sept. 20th
Mrout Lake,
I Victoria and East 15 Av.
(Vancouver
More info
call 872-8212
Student movement struggles
continued from page I
Amnesty International reports the arrests of
several hundred political prisoners each year
in South Korea, held under the National
Security Law "which restricts freedom of
expression and association."
Torture and ill-treatment of detainees continue to be reported. Last year, 200 people
were arrested, including students, political
activists, writers, publishers and academics.
Several people were arrested for making unauthorized visits to North Korea.
By way of comparison, Amnesty International reports it has received unconfirmed
information that North Korea had imprisoned hundreds of political prisoners in 1995.
Its 1996 Report notes amendments to North
Korea's criminal law have been introduced
"to bring legislative provisions into line with
international human rights standards."
While few support rising student violence,
activists are not alone in seriously considering Korean reunification. South Korean opposition leader Dr. Kim Dae-jung, says most
Koreans support reunification but not one
dictated by North Korea. RWE Australian
Business News reports that Kim would support reunification in stages commencing
with a peaceful co-operation over perhaps a
10-year period and eventually a federal system.
Former Canadian diplomat Harry Sterling
shares Kim's cautious approach to reunification, pointing to recent socioeconomic problems experienced by Germany. Sterling identifies how governments in both the North and
the South manipulate mistrust to maintain
1960 PROTEST marks the beginning of the current anti-government movement.
their authoritarian rule. The North points to
the US military presence to instill "a siege mentality that facilitates its control," while the
South points to the North "to justify its own
authoritarian policies while in power from
1960 to 1993."
"While reunification might be a double-
edged sword for those controlling the levers of
power," Sterling says, "compelling factors
could push them to a thaw in their own Cold
War simply to avoid the North's horrendous
problems from deteriorating to the point they
have a negative impact on both sides of the
border." In a Financial Post column, Sterling
produces figures that show North Korea's per
capita income, GDP and annual trade is vastly
inferior to South Korea's.
While the financial outlook for Korean
reunification appears bleak, the cries for reunification and an end of US military presence by
student activists at South Korea's Yonsei
University are beginning to be heard.
Meanwhile, Kim Young-sam's "democratic,"
government continues to imprison students
that oppose it in order to kill the student movement that led to his presidency.^/
The Ubyssey wants
to let you know...
WORK
STUDY
Staff Meetings
Wednesdays @ 12:30pm.
We talk about everything
from bzzr gardens to
seminars.
News/Features
Meetings
Tuesdays @ 12:30pm.
We discuss story ideas and
assign them too.
Culture Meetings
Tuesdays @ 1:30pm.
We hash out what arty
stuff is goin' on around us
and decide who's gonna
cover what.
Sports Meetings
Tuesdays @ 2:30pm.
We spit tobacco and scratch
our crotches.
Caucus Meetings
LGBQ Caucus
Friday, Sept. 20 @ 11:30am.
Women's Caucus
Friday, Sept. 20 @ 3:30pm.
Colours Caucus
Friday, Sept. 20 @ 1:30pm.
Men's Caucus
Friday, Sept 20 @ 12:30pm.
Caucus meetings are designed to
address issues some staff members may
feel more comfortable discussing outside regular staff meetings.
Caucus meetings are open to caucus
members only. The office will be closed
to non-caucus members during the
meetings.
Seminars
They're a comin'... we
promise. Keep your eyes
peeled!
Anyone interested in working (for money) at the
Ubyssey should submit a
resume to SUB 241K (attention Scott Hayward) by
Wednesday, Sept. 18.
You must have applied for
a student loan and have
registered with the Work
Study office.
Job description
Two jobs are available doing
administrative work. Some
computer skills would be
helpful. Salary is $13.89 per
hour, 10 hours per week. FRIDAY, SEPTEMBER 13, 1996
sports
THE UBYSSEY  3
SHRUM BOWL XIX
T-Birds aim to de-kilt Clansmen again
by Wolf Depner
Shrum Bowl XIX, the cross-town football
feud between the UBC Thunderbirds and
the SFU Clansmen, is just an exhibition
game. But don't tell that to the players and
coaches.
'We're going into it all guns blazing,'
said UBC Assistant Coach Jerry Mullins.
"Yeah, it's going to be fun,' UBC Running
Back Mark Nohra said. He was named CIAU
player of the week after rushing for 252
yards in a game against the Alberta Golden
Bears last week.
And amusing doesn't even start to
describe the off-field antics involving rowdy
UBC and SFU fans.
In 1995, the sideshow almost proved to
be more interesting than the main event as
the Birds unkilted the SFU Clansmen 29-7
in front of nearly 5000 fans at Thunderbird
Stadium.
The win gave the Birds a 9-8-1 series
lead and was UBC's third consectutive win.
But to predict the 1996 outcome on last
year's result is to say that Don Cherry is soft-
spoken.
With six offensive starters from last year
gone, the Birds are still looking for offensive
consistency to complement a stalwart
defence. Two games into the Canada West
season, the 1-1 Birds have been able to
move the ball, but have had trouble scoring.
The Clansmen played far better in 1995
than the final score would seem to indicate
and will use the game as a tune-up for their
regular season. Don't expect them hold
back. 'Anytime, we play UBC we're looking
to win, to play hard,' said SFU head coach
Chris Beaton.
Quarterbacks
Veteran UBC pivot Jason Day has made
mistakes in the first two games, but has
proven in the past that he can get the job
done. With regular Adrian Rainbow injured,
Day lead the Birds to a 20-17 victory over
SFU in Shrum Bowl XVII.
SFU has a huge question mark at the
pivot position. 1995 back-up Cam Weber
will start, backed up by the talented, if completely unproven, Terry Kleinsmith.
Wide-receivers
SFU's Steve Hammerjackson is a solid
possession receiver who likes to go up the
middle. He is complemented by Kairns
Graham and speedster rookie Sean Forrest.
UBC will count on Simon Beckow, Brad
Coutts and John Little to stretch SFU's
porous secondary.
Running backs
The Birds' running game got off to a slow
start, but has hit its stride and more. Veteran
Mark Nohra had a monster game against
the Alberta Golden Bears while rookie Akbal
Singh has played more like a veteran.
SFU's backfield is very potent too.
Veterans Shawn Lee and David Mattiazzo
are not bruising backs, but have the quickness to exploit the smallest openings.
Expect SFU to rely on the two backs early on
in the game so as to give pivot Weber a
chance to settle down.
Offensive Line
Once considered a concern heading into
the season, UBC's 0-Line has yet to give up
a sack in two games and has opened up
holes Rush Limbaugh could penetrate. SFU
will start a veteran offensive line that gave
up two sacks per game last year.
Defensive Line
UBC's offensive line will have to contain
SFU's Doug Brown who collected twelve
sacks last year. Otherwise, Bird QB Jason
Day will be under more pressure than
Saddam Hussein. UBC's Dave McLaughlin,
currently sidelined with an ankle injury,
should be available for Friday's contest.
And if he plays the way he has in the past,
watch out.
Linebackers
UBC's linebacker corps has been nothing
short of brilliant in the first two games. If
SFU doesn't get good yardage on first down,
look for Alex Charles and Co. to tee-off on
0-LINE MEETS D-LINE-the offensive and defensive lines will set the stage for this weeks's
Shrum Bowl. Here they face off against each other at practice, scorr hayward photo
Cam Weber. With Justin Ring playing for
CFL's Hamilton Ti-Cats, SFU's small but
speedy linebacker corps will rely on Robert
Kozikowski and Jason Clemett who finished
last season with three sacks and 83 tackles
in 10 games to slow down the Birds' running game.
Secondary
UBC's secondary has been sohd so far.
Watch for Dan Rootes to continue his
impressive play. SFU heads into the Shrum
Bowl looking for consistency in the defensive backfield.
Special Teams
UBC's kicking game has struggled so far,
going 2-8 in the first two games. That is
unacceptable. With Jamie Boreham injured,
Ryan McWhinney will step in. He struggled
against Saskatchewan, going 0-3, but has
looked good this week in practice. The reliable Bret Anderson (10 for 12 in 1995) will
handle kicking duties for the Clansmen.
Intangibles
UBC has already played two games while
the Shrum Bowl will be SFU's first game of
the season. The fact that this year's game
will be played under Canadian rules should
also benefit UBC, at least offensively, but
don't count on it. The past three games, all
won by UBC, were played under American
rules.
SFU head coach Chris Beaton puts his
own twist on the rules debate: 'I just hope
like hell we know what we're doing.'^
The Ubyssey's Pick:
UBC 30 SFU 16
The Peak's Pick:
SFU 17 UBC 16
Cheerleaders to debut at Friday football classic
ps^H
*mm- Jt%9
UBC ALL-STARS jumping to new heights in practice for their debut performance at the Shrum Bowl, richard lam photo
by Jo-Ann Chiu
For the first time in six years, UBC has a cheerleading
squad and coach Rochelle Graf hopes it will do more than
whip-up fan support at this season's T-Bird games.
The new UBC All-Stars, formerly known as the Steveston
All-Stars, will be debuting at Friday night's Shrum Bowl.
'I have three days to put this squad together,' Graf said
at the team's Tuesday practice.
"The team learned a dance routine and six chants on
Monday night, and they will learn six more cheers [tonight].
One more rehearsal on Thursday, and then we have to be
on the field Friday.'
Graf said she hoped the All-Stars' premiere will attract
other UBC students so the team can become a university
program.
Currently, the squad is a mixed batch of top cheer athletes
from across the Lower Mainland that includes three men and
14 women from various high schools, colleges and UBC.
Grafs only stipulation is that potential candidates for the
All-Stars have some previous cheerleading experience.
"Otherwise at university level, I would have to take an 18
year-old back to the grassroots of cheerleading, and at this
time, it would be too difficult,' she told The Ubyssey.
The coach said all students—regardless of gender—are
welcome, especially since male cheer athletes are something of a novelty here in Canada, where the public perception of cheer squads is years out of date.
South ofthe boarder, things are very different Graf said
her male cheer athletes have been snatched by American
universities waving enticing scholarships at high school
graduation.
All-Stars stunter Peter Parrotta will soon join that number. A former linebacker/tailback with the Richmond Colts,
Parrotta's football career was cut short by a back injury. But
the 5' 10' athlete found he couldn't stay away from the field.
'I had to be on the field,* explained the 19 year-old
Parrotta. 'So I became a mascot and ended up working
with the cheerleaders. Ms. Graf spotted me tossing some of
the girls up in the air and she thought I had potential. So I
joined the squad. I've really developed in my stunting skills
since then.'
Although Parrotta's strength and agility was appreciated
by the girls he worked with, being accepted by as a member
of the cheerleading squad by other men was another matter.
'I've always thought of myself as a stunter and not really a cheerleader anyway,' says Parrotta. 'But the guys did
make fun of me at first, saying I was gay and calling me
other names. But I knew that the best-looking girls in
school were spending more time with me than their
boyfriends. It's also so much fun. I loved football. I used
to get such a rush from running into someone full-out on
the field. Now I get the same feeling from throwing the
girls around or tossing them up in the air.'
Parrotta is laughing all the way to the bank. The
University of Hawaii has granted the athlete a cheerleading
scholarship estimated to be worth about $ 15,000. It will
cover tuition, books, and room and board. Although student visa complexities mean Parrotta won't be leaving until
January, he'll be able to help with the UBC All-Stars in the
meantime.
The move to UBC signals a metamorphosis for the formerly independent cheer squad. The All-Stars formed after
the cancellation of Steveston high school's award-winning
cheer team which Graf coached for 10 years. The All-Stars
have regularly competed in national competitions across
Canada, Hong Kong, Japan and all over the United States.^ "   -v--
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The    easier       The    b e t t e r.™ FRIDAY, SEPTEMBER 13, 1996
features
THE UBYSSEY   5
Retrograde: A look back in The Ubyssey...
years ago
The editorial
Welcome Back
Tuesday, September 18, 1956
Tomorrow the Social Credit Party will be
returned to power as the government of
British Columbia. Perhaps they will lose as
many as three seats—more probably, they
will gain several. The voters will have spoken.
The people of BC will have re-elected the
most misbegotten assortment of cranks,
political tricksters and would-be reactionaries ever to be assembled under one legislature roof; they will have expressed their
approval of a government whose colossal
smugness is surpassed only by its incredible
hypocrisy; they will have endorsed a regime
of pseudo-religious egomaniacs that "gets
things done"—but has somehow managed
to convince the voter that he's not paying
through the nose for it.
But that's the way the political ball
bounces in BC in AD. 1956, and what with
galloping prosperity and a senile opposition,
there's litde that can be done about it for the
present.
So welcome back to power for at least
another four years fellows; but please: Try to
remember there's a growing number of us
who aren't interested in collecting "Social
Credit dividends."^/
Life before Telereg...
Dawn Lineups Gone
Record 7,200 Enroll
FASHION TRENDS for frosh in 1956 included the above, which
was the graphic from an ad for Eaton's.
Tuesday, September 18, 1956
The "stupid practice" of lining up
for half the night in order to register early will end this year, according to John A. Parnell, UBC's
associate registrar.
"Camping" in front of the
Armories in the wee small hours of
the morning has been the procedure in previous years by freshmen
to get favoured timetables.
The chief aim has
been to avoid Saturday
classes, necessitated by
the size of the enrollment.
Now class sections will be filled
up in order; students who register
late in the week will have the same
opportunity of getting Monday,
Wednesday, Friday lectures, as
those who arrive early the first day.
First day arrivals should also be
prepared to be assigned to
Tuesday, Thursday, Saturday lectures.
Registration this year is expected to break a nine year record. The
peak enrollment was 9374 in
1947, at the height ofthe veterans'
return to college.
Officials predict that over 2000
new students will be registering
this week. 1600 of this number
will be freshmen, the rest will be
entering UBC at different levels.
Total registration is expected to
exceed 7200.
The new registration policy is
aimed at reducing the advantage of
coming early and will assure equal
opportunity to students.
In addition to the bumper crop
of freshmen, the largest since the
war, the ranks will be swelled by
students registering in the new
School of Education.
The peak enrollment was
9374 in 1947, at the
height of the veterans'
return to college.
Priority numbers will still be
issued according to Mr. Parnell but
only in the event of large numbers
waiting to get into the Armories.
This will allow those with low priority to return later on and not
lose a time advantage.
Students who are confronted
with the necessity of taking
Saturday classes may apply for a
change if classes would interfere
with a Saturday job taken to aid
financing of education.
According to a spokesman from
the office of the registrar changes
in timetable to accommodate students with a Saturday job will be
made if class-work hours actually
conflict and upon written or verbal
application, j,/
Remember Vietnam?
UBC draft dodger detained by US
Thursday, September 16, 1976
by Heather Walker
A UBC student is being held in New Jersey on
charges of evading the United States Vietnam
draft.
Sam Israel, a first year creative writing student,  was   arrested   in   New  York   City  on
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AMAZING TECHNOLOGY was available in 1976,
as seen in this ad from Kelly's Stereo Marts.
August 15 while returning to Canada from
Europe.
Israel left New Jersey in 1969 after he was
denied conscientious objector status. He
became a Canadian citizen last May.
He is being held in the US on $20,000 bail,
but has been released on his own recognizance
to his parents' home in Atlantic City, New
Jersey.
Israel cannot return to BC to await his trial
unless the bail is paid. He is planning to appeal
for a reduction in his bail.
Israel could not be reached for comment
Wednesday because he was consulting with his
lawyer in New York.
An appeal was originally scheduled for
Wednesday, but was postponed until Friday,
Israel's wife Brenda Webster said Wednesday.
"The standard bail in these cases is $5000,"
Webster said.
"It's absurd for them to ask so much."
Webster said Israel's lawyer told her the bail
was high because Israel had come to Canada
before, "and they expect him to run off again."
But, she said, other people in Israel's position have only paid $5,000.
I don't see why we should be charged such a
high bail," Webster said. Israel and Webster earlier turned down an offer from a Vancouver
school board electrician to pay the full $20,000
bail.
Hugh Burton heard of the case through a
story in the Vancouver Sun and phoned the
paper with his offer.
Webster said she was "overwhelmed"
by the offer.
"I was over on the island (Vancouver
Island) at the time, and I wasn't aware
that the arrest was even in the papers," she
said.
She said she and Israel both felt they
could not accept the offer. "If the bail was
reduced to $5,000, I don't know if we would
accept or not, but I don't think so.
"The issue is the morality of the whole
thing," she said. "Sam's family was prepared to
make arrangements to pay the bail, but we didn't agree with that, either."
No date has been set for Israel's trial, but
Webster said it would probably take place just
before the US presidential election.
If Israel is convicted of draft evasion, she
said, his penalty would depend on the judge.
"There is a small possibility of imprisonment, but we don't want to think about that,"
she said.
"Otherwise, he could be told to pay a fine,
or might be put on probation for two years.
"As far as I can see, that would only mean if
he doesn't resist any more drafts for two years,
he'll be all right." Webster said the arrest took
place when the couple had to change planes in
New York.
She said they had to pass through US customs
in order to change planes, and the officer looked
up information on people with non-American
passports. When the customs officer saw Israel
had evaded the draft, he was arrested, j
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UBC's Nearest Launderette 6   FRIDAY, SEPTEMBER 13, 1996
features
THE UBYSSEY
Top guns, iron eagles, and firefoxes
The Abbotsford International
Airshow's miltaristic sidekick,
Airshow Canada, remains one of
the most under-reported news
stories in the country
by David Thiessen
Every August the Fraser Valley landscape undergoes a
brief but fundamental change when the City of Abbotsford
hosts its internationally acclaimed International Air Show;
every second year it is accompanied by an aerospace
tradeshow, Airshow Canada.
So for one weekend Abbotsford becomes a mecca for
various pilgrimages, many of them military in nature.
The summer of 1995 was no exception.
Hundreds of thousands flocked to the airport gates,
eagerly anticipating the display of some of our most modern technologies of cultural homogenization and death.
Despite some difficulty, organisers—particularly those
in charge of the tradeshow—have managed to sanitise all
this.
THE TRADESHOW HAS GROWN RAPIDLY IN ITS SEVEN SHORT
years of existance. Two hundred firms exhibited at the first
show in 1989, 37 of which represented military firms. Two
shows later, 15,000 delegates from 70 different countries
discussed trade at 509 exhibtions—at least 104 of which
represented an arms producer.
International military firms such as Britain's leading
arms exporter British Airspace, American weapons manufacturer Hughes Aircraft, France's largest military firm
Aerospatiale and Mitsubishi Heavy Industries were just
among the 104 arms producers represented.
*
*
*
ALTHOUGH AIRSHOW CANADA LIKES TO PRESENT THE IMAGE OF
a commercial function, its own publication Aerogram
said 'it was impossible to avoid the echoes of the Persian
Gulf in 1991... the F-117 was a star of the flightline and,
inside, Hughes Aircraft Co's largest exhibit was dominated
by an enormous screen that projected videos of smart
bombs devastating Iraqi targets.'
Even so, Airshow Canada has always managed to completely avoid the land of sustained publicity that eventually
closed the ARMX tradeshow in Ottawa.
In April 19 1996, Project Censored Canada ranked the
military activities surrounding Airshow Canada 1995's
eighth most under-reported news story.
Indeed, few residents of British Columbia, let alone the
rest of Canada, realise Airshow Canada is North America's
premier aerospace showcase for both military and civil
technology, serving all customers—democratic or dictatorial, benign or utterly evil.
THE PUSH TO PARTICIPATE IN AIRSHOW CANADA REFLECTS
the nature of the post-Cold War arms trade. Canada is helping move away from the 'hard-core' arms bazaars and
toward venues that better promote the dual interests of
aerospace corporations, where civil and military hardware
have always comfortably co-existed.
As Airshow Canada concluded in a brief to the BC government, 'the world market for civil and military aircraft,
including parts, engines, and supports, is well in excess of
100 billion US, not including missiles, and has led to large
increases in exhibitor space requirements as industry and
government vie for a share of this multi-billion dollar pie.'
But as governments scramble for a larger
piece of the pie, they are increasingly willing
to embrace the general duplicity surrounding the exporting of military goods.
President of the Canadian Aerospace
Association Peter Smith commented, that 'it
is not for those who manufacture or assemble weapons to grapple with the moral issue
of who the arms should or should not be
sold to.'
The rightfulness is determined, Smith
continued 'by the rules of the game in government policy."
*- * *■
AN F-14 TOMCAT gets ready to fly home after a weekend at this year's
Abbotsford International Airshow. You could buy one next year.
RICHARD LAM PHOTO.
In 1995 military giants Sikorsky, Rockwell International,
and Loral Aeroneutronic joined the show; government
involvement also rose dramatically.
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Last October The Ottawa Letter reported
that Trade Minister Roy MacLaren and
Industry Minister John Manley were concerned that an altruistic stand on arms
export regulations would hurt Canada economically.
MacLaren questioned 'whether we've actually lost a lot
of business because ofthe rules on defense exports.'
Manley and MacLaren have little to fear, however.
The 1995 tradeshow, for example, attracted 51 of the
same military firms that attended ARMX '89 in Ottawa—a
tradeshow member of parliament Andre Ouellet called 'a
profitable and scandalous effort to sell weapons to Third
World countries.'
But Prime Minister Jean Chretien disagrees.
In his Airshow Canada '95 address Chretien said, 'from
Airshow Canada's beginnings in 1989, the government of
Canada has supported this event."
Many feel Chretien's comments reflect a willingness to
distort the principles inherent in Canada's military export
regulations, which disallow the sale of arms to areas in conflict or with a history of serious human rights abuses.
The trend that Ouellet lamented —that is to see 'third" or
lesser industrialized world as the primary 'aerospace' market of the future—has been the most central impulse behind
Airshow Canada's mushrooming prominence.
"We have been
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with the response
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"The region of South
East Asia is one of the
last in the world where
defense budgets
continue to expand in
the post-Cold War era,"
said Derek da Cunha of
Singapore's Institute of
South East Asian Studies
I
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'THE   REGION   OF
South East Asia is
one of the last in
the world where
defense budgets continue to expand in the post-Cold War
era,' said Derek da Cunha of Singapore's Institute of South
East Asian Studies to a group of defense officials at the
Defense Asia '95 exhibition.
'As report after report have indicated for many years
now, the traditional arms markets of North America and
Europe are in decline; the Middle East, Latin America, and
in particular the Asia-Pacific region have since come to be
seen as the most important arms markets ofthe future,' da
Cunha said.
Da Cunha is not far off the mark. FRIDAY, SEPTEMBER 13, 1996
features
THE ubyssey 7
In. Aerospace After the Cold War: A Blueprint for
Success, the US Aerospace Association revealed that 'major
increases in foreign sales' were primarily responsible for
its 26 billion dollar trade
surplus last year.
Airshow Canada '95
was a good example.
Because of new initiatives like the presence of
SICCOFFA (the military
wing of the Organisation of
American States), Airshow
Canada personnel said our
'five-day conference will
be attained by Senior Air Force Officials from all North,
Central, and South American nations, many with procurement responsibilities.
'The interdependent nature of the defense and civil
aspects of the aerospace industry make this [addition] to
Airshow Canada relevant.'
Not only did the Canadian Ministry of Defense Export
Services and the Canadian Defense Production    Office
ComDef—a Washington DC based arms
symposium/bazaar—to permanently relocate to Vancouver
'in order to tap into the natural synergy between partici-
been involved in genocidal activities for decades; hence, the
reports carefully worded, if not also ambiguious, conclu
sion:
Despite all this, the city of Abbotsford , as well as local and
national media, continue to promote and defend the
tradeshow on the basis that it is a civil tradeshow with
little military activity involved.
'Although considerable time, effort, and
commil/ment are
required to finalize any
sale in [these regions]...
a more focused effort is
required to promote
Canadian technology
and expertise in defense
products.*
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THE DECISION TO BUY JUST GOT EASIER! Forget about Pepsi points, this is the real thing,
baby. Airshow Canada '95 real picture. DAVID THIESSEN PHOTO.
attend the show—as did the Defense Export Service of the
United Kingdom, the Italian Department of Defense, the
Austrian Military Group, the Netherlands Defense
Mission, among many others—but Canada's Department of
Defense also joined hands with Bristol Aerospace (one of
Canada's leading defense firms) in a concentrated effort to
sell the modernized C-F5's it recently tried selling to
Turkey.
Perhaps more revealing, a few months before the 1995
show, Airshow Canada proudly announced the decision by
pants at both events.'
For the past five years, ComDef sought ways to revitalize
the industry.
'Since 1991,' said ComDef s CEO David Whiteree, 'we
have held discussions with members of various delegations, including Egypt and Turkey, about the possibility of
finding a new home for ComDef.
'ComDef," announced Airshow Canada, 'will now be
able to visit the tradeshow as
guests of Airshow Canada'
which 'will allow it to explore
opportunities between North
American nations and Asian
and Pacific nations in the
areas of defense, defense
technology, and logistics.'
'We are building,' says Price,
'an important bridge
between the aerospace markets of North America,
Europe, and Asia.'
While a large proportion of
the show's exhibitions are
civil, and many of those with
dual interests highlight their
civilian projects as well as
their military, the claim is
growing increasingly impossible to substantiate.
Ottawa's release last spring of its Export Strategy
Report 96/97 not only reflects the same attitude expressed
by Maclaren and Manley, but also lists Airshow Canada as
a venue through which the government will 'assist industry... in establishing key contacts in the foreign country
defense community.'
Nations tagged as particularly important military export
regions include Korea, Taiwan, Saudi Arabia, Malaysia,
Indonesia, Turkey, and China."
The governments of China, Turkey, and Indonesia have
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Questions?  Call 822-9876 8   FRIDAY, SEPTEMBER 13, 1996
^■^^ TBirllp- Jii %m   tLhII M   ^m&
THE UBYSSEY 9
Poets, prophets , policemen, princes of darkness ... the Fringe has it all!
COPS AT PLAY: Allan Franz and Michael Sunczyk gaze no/rishly as they contemplate their future acting careers beyond The Cop Play. At least they're not doing any police sketch art...
Essence of jazz
by P. Santos Javier
LJ\j^iLXJi<iiiiK&.j  ULnjii [
Fr Sep 13 5:00pm
Su Sep 15 12:30pm
at the Havana restaurant
The sell-out crowds at Vincent Balestri's Kerouac, the
Essence of Jack is testament to the public's enduring fixation
with one of the Beat Generation's best-known figures. Since
the publication of On the Road in the' 5 Os, Kerouac's writings
continue to provoke debate and to sell, sell, sell more in each
passing year. His books today are worth gold nuggets in
stores downtown and are stolen as frequendy as they are
bought.
The earmark of a great writer, then, this obsessive adulation? Certainly not according to most contemporary academics, critics and writers who generally regard the Beat movement as a period of literary mediocrity.
Balestri's play cares less about validating Kerouac's place
on everyone's bookshelf than it does determining his stature
as a human being. The Essence of Jack has the structure of a
jazz session, with Charlie Ryga's tenor sax making clear the
inseparable nature ofthe music and Kerouac's writing.
The "movements" are the stages of Kerouac's life, though
Balestri takes on other roles too, ranging from Kerouac's little brother to an old college coach to fellow beat writers Allan
Ginsberg, Gary Snyder and William Burroughs. His turn as a
hypertalkative Neal Cassady is a bewildering sight — Cassady
apparently spoke in continuous sentences, and Balestri hardly pauses to breathe. His Yoda-speaking Burroughs also left
the audience in stitches.
But Balestri shines brightest as Kerouac. His Jack is sympathetic, funny, gentle and, maudlin as this may sound, loving. The deaths of his younger brother and mother tormented him to the end; Balestri pitches Kerouac's conversations
with their imaginary voices with vulnerability and restraint.
Kerouac's life was equally heroic on an artistic level:
Balestri continually returns to the writer's pursuit of, and
arrival at, a new language in poetics, one which he eventually called "bebop writing." Balestri also impressively weaves
in generally glossed-over facts such as the physical beatings
and public condemnation Kerouac suffered for his art. One
won't find a more inspiring performance at this year's
Fringe.
Sophomoric soapbox
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at the Britannia High School Auditorium
It would be hard to imagine a more sophomoric treatment of
the Bible than Bessie Luteyn's In the Beginning and
Thereafter, but I've seen too many church skits to bother trying.
Luteyn's script is supposedly more satirical, or more
irreverent, or something to that effect, but apart from some
slight traces of queer content, it's really no different from
your average Isaac Air Freight sketch: boring, predictable,
shallow, redundant to anyone who's already heard the
Bible's greatest hits, obscure and irrelevant to anyone who
hasn't, and nowhere near as important as it thinks it is.
The, ahem fun begins when Creator (Ian Alexander
Martin, who looks so goshdarn happy to be on a stage) pops
into existence and creates the universe while playing on an
Apple computer. Yeah, an Apple, as in the fruit that Adam
and Eve supposedly ate. The trite wordplay and ersatz tech-
nospeak just get worse from there.
Moses (Allen Roskam, faking an
inexplicably stout British accent) shows
up with some tablets and, when it
appears that Creator is not the Creator
Moses was looking for, puts the stupid,
if affable, Brent Spiner clone on trial.
Moses leaves, only to be followed by a
prancing, strutting Jesus (Roskam
again, sans the beard) who's out to settle his paternity with the "hermaphro-
dyke" Holy Ghost (Margaret D'Andrea)
that conceived him.
The point, if there is one, is a long
time coming. In the meantime, Luteyn
demonstrates that, yes, a little knowledge can be a dangerous thing. Luteyn
knows just enough Bible verses to
make the link to the text apparent, but
she evidently doesn't know much about
the Bible. Jesus brags about a few of his
pithier sayings, but a few are actually
quotes from the Hebrew Bible.
Most significantly—given Luteyn's
claim that her play is meant to rank on
Christians for being a mean, nasty,
oppressive bunch, though it's a point
the play makes rather weakly—she
shows a complete lack of understanding for those points where the historical Jesus might have agreed with her.
Remember the incident when Jesus
turned over the moneychangers' tables
in the Temple and accused them all of being thieves? Luteyn
writes this episode off as an instance of religious fanaticism
caused by an itch in Jesus' nose, and she completely misses
the fact that, with that act of social protest, Jesus was criticizing the religious, political and economic oppressions of his
own day.
If Luteyn stopped ranting long enough to listen to those
Christians who share her concerns, she might discover some
common ideological ground, but it seems she'd rather look
to the soapbox set for her inspiration.
prise; the play is called Evil at Earls, after all.
There is some violence; let's face it, the play
is about evil, so one should expect a grisly death
or two.
Although all the actors performed
admirably, kudos must go to Aaron Nelken for
his performance as the urbane and suave
Prince of Darkness. Definitely go see this one;
it's a real hoot!
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by Ben Sharab
Sa Sep 14 5:45pm
Su Sep 15 2:45pm
at the Firehall Arts Centre
The Cop Playis not an introspective look at one cop's career.
Instead, it is an attempt to depict the utter stupidity with
which Hollywood films depict police and their actions. In
short, it is a farce. Raul Sanchez Inglis playfully shows us the
extreme comedy of law enforcement with shootouts, villains,
sexy starlets, a gay cop and an invisible partner named
Johnson.
Throughout the play Detectives Doug (Allan Franz) and
Rick (Keith Provost) follow leads in hopes of catching the evil
drug lord Dr. Chin (Michael Sunczyk). In the course of their
search Franz and Provost create a wonderfully uncomfortable chemistry as partners. This is clear in an off duty bar
scene—the best scene in the play—that humorously creates a
base for their relationship. In following the farcical theme
our detectives run into the regular cast of alhes and villains:
Eric Breker with his Igor-like Bruno, and Lori Triolo as the
sexy Donna Barracuda, Michael Sunczyk as the busty Loretta,
and others. These characters help the audience to understand just how silly it is to believe that real criminals behave
in such a manner.
Unfortunately, there are points in the play where characters feel out of place and utterly incomprehensible. The
scenes involving Jane Spence as the professor, Sunczyk as
the Salami Guy, and the consultation of the theatre sports
group serve no purpose but to reach for cheap laughs. The
play would be much stronger and funnier without them. In
addition, some actors spoke inaudibly and incomprehensibly during high-energy moments. This seriously impeded the
clarity ofthe piece.
On the whole, The Cop Play is a lighthearted evening at
the theatre. The humor ranges from witty and insightful to
childlike and downright silly. Expect high energy, high villainy, high heroism, and a generally silly and fun time.
Earl of darkness
by Andy Barham
Sa Sep 14 1:45pm
Su Sep 15 12:45pm
at the Firehall Arts Centre
If Christian mythology has given us nothing else, it has provided writers of horror and suspense with the inspiration
and motivation for many of their plots. Evil at Earls is no
exception, as three friends, Matt, Doc, and Bob, discover during dinner at Earls Restaurant.
For the most part, the repartee between the friends is
witty and well written with enough good lines and gags to
keep the audience shaking mhthfully in their seats, although
there are moments when the actors camp it up a little too far
a la your average Hollywood shitcom.
The first indication that things ain't quite what they seem
occurs when the group confuses Holly the Hostess with Sally
the Server (both played by Tanya MacPherson), since these
two staff persons differ only in their hairstyles. This is
enough to provoke Matt (Aaron Nelken) to wonder about the
weirdness of Earl's serving staff resembling clones of each
other.
Things come to a head when James Lann (Robert
Saunders), a mysterious stranger, joins the trio at their table.
From this point onwards, the friendship between Matt, Doc
and Bob begins to unravel as the dialogue becomes more
personal and vindictive, while the service at
Earls, already cloyingly ingratiating, begins to
deteriorate.
I won't spoil the show for those who haven't
seen it yet, but the ending comes as no sur-
by Sarah Galashan
Su Sep 15 12:30pm
at the Gastown Theatre
As any drama buff knows,the theatre attracts a
strange mix of individuals. Often drawn to the
stage by the fame and fortune achieved by few,
these people are more often than not like kids
that never got over their hunger for attention.
Classified as a "dramedy," A Life in the Theatre
combines humour and a very honest look into
the personalities of two such characters.
John and Robert, the two main characters,
embody every imaginable personality flaw one
might expect from an actor (though we must try
not to generalize).
UBC alumnus Ed Astley is a credit to the
show as a neurotic and insecure Robert.      x
Hiding his weaknesses under a pretense of sincerity, Robert is someone that every thespian has
doubtless met at one time.
•    Robert spends much of his time advising the
much younger and equally insecure John (Kevin
McCrae) on an actor's responsibilities and career
choices. The two are a credit to the often pretentious art we call "the theatre."
The show is a must-see for any aspiring actor who dreams
of overnight Hollywood success, as it will confirm their worst
nightmares of what might be thirty years down the road. This
play will easily turn any Tom Cruise wanna be into a successful accountant overnight.
David Mamet has a very well-written, comical script here,
but a note: adding an intermission would do much for the
enjoyment of those who've had a few too many cups of coffee before the show.
Poetic look at abuse
by James Rowley
Fr Sep 13 - Sa Sep 14 7:45pm
at the Vancouver Performing Arts Centre
Playwright/Director Tina Overbury wants you to know her
play is "not an 'angry woman play.'" By bringing the inner
voices and memories to life of a woman seeking to overcome
the legacy of childhood abuse, Only Nine is, indeed, in danger of being shunned by entertainment seekers. More fool
them if they do.
This is an elegant, mature and gentle work suffused with
the stuff of truth. Judi Closkey, Dolly Scarr, and UBC BFA
graduate Nicole Eby play a woman and two of her past
selves, struggling to re-unite and reclaim a numbed sexuality. The simple poetry ofthe script, though it is at times potentially clumsy, is here, by virtue of the love and talent of her
actors, a beautiful and touching expression of personal experience. Closkey, as the central figure, is breathtaking. She
flows easily from high to low with such honesty, clarity and
immediacy ... well, you have to see it.
For Overbury, now in her early twenties, this is a play-
writing debut. With luck it won't be the last we see of her.
As we continue to discover the pervasiveness of childhood
abuse in this country, it's easy to see such crimes simply as
legal or moral issues and forget their profound and lasting
effects on the victims. These effects are difficult to write
about, and painful to contemplate. Only Nine allows its audience insight without accusing us of complicity. The company
expects, and receives, our empathy and our love. In return,
we are well entertained.
t   i
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///■■
//,
UBC FilmSoc
Fri.-Sun., Sept.13-15, Norm Theatre, SUB
(Line,
24 hrs, 822-3697
7:00 PM
The Arriva!
9:30 PM
Eraser
Turn the page for even
more Fringe Fest reviews!
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'tfyifj\ufjej yotj ^uh 10  FRIDAY, SEPTEMBER 13, 1996
culture
THE UBYSSEY
Even more Fringe Festival stuff ...
Babies and kitchens
are for the birds
by Robin Yeatman
THE TURKEY BASTING METHOD
Su Sep 15 12:15pm
at the Green Thumb Theatre
For the culinary types in the audience, this play is definitely not set in a kitchen, and the only bird remotely involved
would be the stork. Amazingly and humorously enough,
this play is about conception involving a woman and her
turkey baster. Pretty romantic.
Single, middle-aged Mary wants a baby, and her neighbour Joseph is willing to donate his half ofthe chromosomes
to the cause. Definitely puts a twist on the Christmas story,
doesn't it? You know it has to be the '90s when Mary is bowing down to a giant phallic sculpture, praying to conceive.
This play explores the fears, doubts and desires of Mary
as she waits for Joseph to bring her what may grow into her
very own baby. The script lightly touches on the inadequacy Mary feels because she is childless. Although they support her, Mary's friends question whether these feelings
may be the reason for Mary's sudden maternal instincts.
They also question what will happen when the baby is born.
Will Mary and Joseph live together, will they remain
friends, or will they go their separate ways? Or, worse still,
will Mary's dead mother intervene from heaven and stop
the conception altogether? The possibilities are endless.
The cast (Nancy Robertson, Michael P. Northey, Sera
Rhyane and Diana Swayze), as directed by Pam Johnson,
work well on the whole, with some especially convincing
moments. Written by UBC's very own Theresa O'Leary, The
Turkey Basting Method provides another charming, comical evening of entertainment at the Fringe.
A wild, skinny night
at the Fringe
by Richelle Rae
Adventures in the Skin Trade
at the W.I.S.E. Hall
Adventures in the Skin Trade is a story about Samuel
Bennet, a young man leaving home for the first time. His
destination is London and he has the phone number of a
woman named Lucel in his pocket. Thus begins the adventure for Sam, a fledgling poet keen to see and experience all
that life has to offer in the 1930s. In one wild night Sam
goes from the train station to a pub, to a house with furniture literally stacked to the ceiling, to a sketchy establishment owned by Susan Dacey where he is poisoned with perfume by Polly Dacey. And all of this is amazingly accomplished with his finger stuck in a beer bottle.
If the story sounds ridiculous, you're half right. But what
is more important is that the script isn't. Adapted from the
works of Welsh poet Dylan Thomas, Trevor Found's script
is not only clever, but also well thought out and carefully
planned. Unfortunately, the press package says nothing
about Found's background in theatre, so I can not say
whether this is his first production or even which of
Thomas' poems he adapted the script from.
What I can tell you is that Found has taken a tremendous
risk in taking on a huge literary giant like Thomas. Found is
a brave man, though admittedly the risk was a calculated
one, considering that the very nature of poetry is theatrical
and the textured language is a natural candidate for the
stage, as Vancouver's own Studio 58 proved in 1991 with
Under Milkwood.
ONE OFTHE BASTE PLAYS SHOWING: UBC grads conceived
The Turkey Basting Method.
It isn't just the script that makes this show one of this
Fringe's best bets, but the talented cast that adds life to the
words. The entire crew gives an energetic and committed
performance from start to finish. The characterization of all
the actors is excellent, especially that of Nicole Le Vasseur
as the mentally unstable tragedian Polly Dacey. Summed
up in a word: hilarious. Enjoy!
The Jones Boy sees
problem from inside
 by Andy Barham
THE JONES Boy
Sa Sep 14 12:15pm
at the Vancouver Performing Arts Centre
Tom Walmsey was a heroin addict during the '70s, pub-
hshing several volumes of poetry about his experiences,
including Lexington Hero. The Jones Boy also concerns
itself with heroin addiction, taking place in a crummy
Granville Street hotel room.
"Jones" was '70s vernacular for junk sick, likely deriving
from "yen", a term common in 19th century opium dens,
and Lee (Ryan Taylor) has a serious "jones on his bones." As
the play opens, we see him lying in bed with a blanket
around him in a filthy hotel room littered with junk food
debris.
Although the play was well acted for the most part, I personally thought the "junk sick morning" routine was a tad
overdone. The script describes a runny-nosed Lee shivering
while reading a comic book. Taylor portrays Lee in a more
advanced state of withdrawal; it's the sort of overblown
depiction one would expect from some Hollywood bozo
haniming it up, rather than that of someone who's actually
been there.
Nonetheless, the play was otherwise very well performed — the needle marks on Lee's sister Sally (Kathleen
Corbett) were extremely convincing, for example — and the
acting was first rate. It's a disturbing play about an even
more disturbing subject — there is some graphic violence —
and erstwhile theatre goers should bear this in mind. Don't
be put off by the play's gritty subject matter, however, since
drug addiction is very much a part of our urban reality.
While our understanding of it is rninirnal, limited by ill-
founded prejudices which view drug addiction as a criminal problem, it is a medical and social issue.
In this context, it should be emphasized that The Jones
Boy takes place in the '70s, a time when the quality of street
heroin was particularly low and its price particularly high.
Since then, thanks to cheap imports from the Golden
Triangle and Pakistan, the price has dropped considerably,
while the quality, though fluctuating, has improved dramatically. It should also be noted that cocaine currently represents a far more serious problem than heroin on the
streets of Vancouver; hence, Walmsey's play may seem a bit
dated. Nonetheless, The Jones Boy gives us an insider's
view of a social problem most of us would prefer to ignore,
and should be seen as much for this reason as for the entertainment value ofthe play itself. I cannot recommend it too
highly.
Two, two, two plays
for the price of one!
by James Rowley
OVERTONES AND THURMAN WENT
Sa Sep 14 1:30pm
Su Sep 15 8:00pm
at the W.I.S.E Hall
It's two, two, two plays in one.
Rock, Paper Scissors is a new company made up mostly
of Studio 5 8 grads. In its Fringe debut, the young cast shows
off the strength of their alma mater's physical training.
Thurman Went is a one-man, multi-character story of a
man's struggle to return to the flesh and blood world after
a period of withdrawal (characterized by an uncanny likeness to a pair of glasses and a jacket on a wheeled mike
stand).
David C.Jones' infinitely creative use of mime and puppetry is a treat in itself, but there is something missing-
something like...fun? As is the case with much ofthe piece,
Thurman's exploration ofthe healing arts (the practitioners
of which are represented by their eye-glasses alone) could
be hilarious, but Jones seems to be trying a bit too hard.
Overtones, written by Alice Gerstenburg and directed by
Jones, works up to a feverish and side-splitting pace after a
slow start. Two reserved Victorian(?) women's subtle conversational sparring is echoed and contradicted by their
uninhibited selves, represented by portraits come to life.
The women (Kirsten Williamson of Mom, Dad, I'm Living
With a White Girl and Rachelle Erie) fight to conceal their
true feelings and manipulate each other to achieve their
desperate goals. Ironically, they both want the same thing,
but we only know that through the "overtones" of unspoken
dialogue between their alter egos (Cyndi Mason and Diana
Clent). When the verbal dogfighting starts, the choreography will floor you, and Clent's hungry subliminal maniac,
in particular, will crack you up.
Overtones makes this dual Fringe show well worth seeing, but Thurman WentwiH be enjoyed by some more than
others.
DAYCARE OPENINGS
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Ages: 2-34 to 5 years
Pleasant, clean, spacious surroundings; small group;
healthy snacks and tender loving care by
ECE qualified staff
Bonus: we will help toilet train your child.
We will transport your kindergartener
to and from Queen Mary School
Recommended by Parents
Hours: 7:45 am to 5:45pm • One block from UBC gates
Ask for Deborah or Doug (staff) • 4595 West 8th Ave.
Phone 228-5885
The Fringe Festival is almost over.
Next week, we'll need staffers to cover the Vancouver Int'l
Film Festival; after that, there's the Writers & Readers Festival.
So, if you want to interview famous people, or if you just
want free tickets to events, come by SUB 241K and ask Peter
for details. The only catch is: you gotta write something! ■>- ;  ?
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FRIDAY, SEPTEMBER 13, 1996
THE UBYSSEY   11
Texan tunesmith wants otheir
people's interpretations
by Peter T. Chattaway
Craig Ross - Dead Spy Report [MCA]
There are those songwriters who compose a verse, achb-t^
rus, a verse, a chorus, a bridge, arid'then another chorus or .
two. And then there are those tunesiniths who don't work
in such a linear fashion, those who paint with words arid'
instruments in the hope of touching on some elusive qu'ali-.
ty of the soul, those who write arid perform just to see what
will happen.      ; • ' ""'.'''
In 31-year-old Craig Ross's case, that approach got him a
record deal. "I was just making a bunch of recordings at
home; and somebody started passing tapes around without
my knowledge," he says between drags on his cigarette:
"And that basically is how I got signed..I didn't get out and
shop or anything, it was sort of accidental.". -V.""■'-
Some garage-based bards may bristle at the thought of
letting their works proliferate in a musical underworld
without copyright protection;"but Ross says he wasn^t wor-;"
' ried about people stealing his works-in-progress. "I'd be flat- '
tered, I guess," he says. Tm.riot that territorial. I've never
heard of anybody stealing a song, honestly.. I've heard -pf.
people taking ideas. But all the time I've been doing this,
I've never seen it happen to'anybody I knbw,.e~ver."   ;-;'*• -^/v'
Not that it would be easy "to pinch ari idea from Ross's ,
catalogue. The songs on Dead'Spy Report, his first solo •
album, have ho obvious" hooks," nor do .they have the sort of
lyrics that wow you with their wit and "cleverness! Instead,.
Ross writes" for a primarily, atmospheric effect, .with the.
clockwork percussion of 'Kill the Mornirig;, the plaintive-
steel guitars of 'World and Wonder' and the high-ghding ;
background vocals of 'Cry' complementing his moody,
evocative lyrics.'.      •     ,   •■   . ' .,       ■   ^ " '    .--■■-■'•"
Ross says the music comes to him fairly quickly — a-
basic melody will take 15 "minutes to write down —.but the •
real work comes in trying to find lyrics that will fit the'-
moods he's captured on tape. "I kind .of gofor lyrics with a •
rhythmic approach, but it's-not even the rhythm — it's the-
sound of the vowels. The song is already written,, but what .
are these words? What's it supposed to be? .It's hot a-rari-
dom approach, but I feel like the song's already written, .so.
rmjust.trying to extract it." •" . ^ . ' ■ .r'
The process doesn't.stop: with Ross,- though. Ross^iriay
build the room, but he leaves the furrrishings to the listener. "I believe in people's-imaginations and their ability to
create images for themselves," he says, ."arid that's all I
want anybody to do. What are the images? What's the vibe?
What do you feel like doing afterwards? Does it make you
happy? Does it make you wanna go get stoned? Does it
-make you warina sit; around and cry? Does it make you
wanna go out and punch somebody in the face? It
could mean anything to anybody, and in that respect,
I'd kind'of like to leave it there."
- ■" The realities ofthe modern music scene, however,
may force him to invest in a more blatant kind of
imagery by producing — egad! — a music video. (The
, first to come from Dead Spy Report will probably be
'Rill the Morning.') Ross hasn't given the issue much
thought yet, though he hopes even the visual media
might leave room for "interpretation. "It'll be a chaU
lerige to try to pull that off," he says. "It's going to have
to be something very non-narrative. Something
slightly random."
For how, Ross is collaborating with a whole different kind of interpreter: the band members that tour
with him as the opening act for the Throwing Muses.
•'- ^ Ross has worked with bands before — first with the
Stick People, then with Texas blues-rockers Storyville
— but he left them behind when he felt his control
over his material slipping. "I'm kind of a control
freak when it comes to writing! In a sense, Ihave to
be able to do things my way, andi can'be a little difficult in aband situation. T'm_ riot an^asshole, but I
am, like/pushy. When I hear a song,it has to sound a
certain way, cuz that's.the way I hear it: ^
■" "But this situation [on tile road], is "different, cuz
:these guys who are playing with me,' I:haven't sat
down and actually said play this or play that. I try to
encourage them to bringmore things into the music,
but it's still my thing. It's my deal. •
■"Arid they're happy doing it, too. I wouldn't want to
have anybody who wasn't enjoying it, cuz it's a lot of
work. I rrieari, outside ofthe 45 minutes you get to- -
:play, you're driving, driving, driving and moving equipment, and it's a lot to ask for people to corrie out and play
in support of a record that isn't really theirs. So you've got
to be gracious to people "when they're; working with you.
They're definitely giving something to it; and you have to be
willing to listen to ideas." ..
• . Touring as a solo artist has also forced Ross to come to
■terms with another of his insecurities: his voice: In past
bands, he" left the singing to others/and the lead vocals on
-several cuts from Dead Spy Report are obscured.by an
eclectic array of effects in the finalsoundmix. But singing
in front of live audiences at small venues like the Starfish
Room has forced him to rely on the basics.
"It's a trip!" he confesses. "It's weird, because I'm probably going to go through the same stage of growth with
singing that I went with guitar playing. When I first started
playing it started off very simple, then I started getting into
a bunch of effects, and I started covering everything I did
NO RICHARD LEWIS / AL PACINO / MARTY FELDMAN COMPARISONS,
PLEASE. Craig Ross is a tad neurotic, but he translates his
neuroses into atmospheric, evocative pop songs. J
with effects, and then I got it back into being simple again."
This laissez-faire, take-it-as-it-comes approach has served
Ross quite well so far, and it enables himto keep;some sort
of historical perspective.even as he. lives in the moment.
"I'm successful right now; I'm doing exactly what I want
to do," he says: "I'm playing with musicians that I really
like, I've got a record out that I really like. Whit more could
I ask for? That's as successful as I-could have hopedto have-
ever been. What happens after this? If it's good, then great.
If it's bad," then' .
nobody can take'anything away from me,
cuz it's already been
done, it's already out.
You can't . turn . the
hands back and - say
that record was never
done." jf
Experiments in pop music leave the listener sullied
(Vs Only a Flesh Wound
Lombdmp) [Virgin]
Sam Phillips is onr1 ol pop
music's bust kept secret.?. With
throe albums uf increasingly
textured  art pop  under  her
hull, she's built up u small but
loyal following, but low outside
that circle ha\e hoard of her
Ami those within the circle1
aren't Mire they want Ui share
her with th« world - they'd hke
to see her music recognised, surely, but they're also afraid she']] go
mainstream (The fact that she's a "mlica" favorite dnean'lhelp. since
it means she'd a hit with people who don't pav for their music amway.
A fat lot of guild that's done her carcer.l
Indeed, one of Uie endlessly fahcinatim; things about Sam s music
has always been Uie way it teeters between aimmerr.ial viability and
don tKiveji-riamn ejqierinum.ation But with Otnrupop (H'n Only ,i
flesh Wuund Lamhchop), her fourth album for Virgin, Sam may have
crossed the line and abandoned polished pop fori-ver mis is an album
that like an adolescent's first p.iti h of pubic hair feels a litlJe odd and
at first isn't all tli.it comfortable, hut after a while il may begin to grow
on the listraer hke some proud symbol of maturity or .lomethinp.
The genital rnetaphnr lk deliberate, as Sam is by far nuire provoca
live sexually on Omrnpup tlian she'-> ever been before. There's nnth
mg sejrv about Ihi.s rilbnnx, per se but il dries revel in matters nf tlie
flesh, usually txi hijdihght Uie potentially degrading, consumptive
nature of personal relationship.-, Cunauie: 'Help Yourself 'I laid
dinAii cm Uie table,' You pulled up a chair / You're going to help \ our
self/ To me " PeeJ free lo make up your own "eating" pun
Al tunes .Sam gets a lillle too carried away with her own cleverness.
'("(.nipiiJhhe liambler' lasts a mere 4S semiulf., but she sin,^ Uie
punchline — "he would rather Jay a but' — three tunes wiUi increasing
abrasivencss, as if we did a'I get it Uie first time. Neither this sung, nor
Uie endlessly droning "Where Aw; You Taking Me/ stand up tu repeat
liKtamng, and they could be enough to turn first-time listeners off for
ever.
There are diamonds in Uie rough, though, anil most of Uie. sougfc on
Ihmupop are as good as anyUung else she's ever dune. 'Knfcrtain
men' and Power World' (an upbeat sounding piece that could he this
disc's 'Shim Happy People') are exceptionally melodic even radio
friendly; 'Slapstick Heart' de.lUy fits Sam's simile-twisting-wordplay tu
a musical frame built by R.E.M.; and ' Zero Zero Zerol' sends a bubbly
biass section to Hawaii for some gooly, lighten-up, feelgood irivohty.
It's Sam's party, and everyone who wants to is free to join
- Peter T.Qia&miQr
Sully - Solly [Random MedSa Cora]
Tins rawer unprepossessing looking CD (it's about as "garage* zs they
cume — the co\er look's very rnuiJi hke a xeroxed sheet uf Folded
paper) delivers far more than many a slicker product, from the opening Ltack fifteen' to Uie penultimate 'anothe.nl' Uie listener is treated
lo a curunih blend oi psj-clu'delu' launch and reflectively lyrical, etlie-
real tune poems reminiscent of Sinead O'Connor's finest work.
'Hint O'Connor is a sifiiuficafit influen(,e on Sully's scnuid is mani-
lefsdr evident lioUi in Sully's vocals and in the variety and type ol
niii'ric featured on Uie CI) [mapine a luirder, rauncluer, moie psy-
i Iiedelic Smeari an experimental punk rock Sinead backed by Uie
singular guitar of U^'h Edge, if jou will — and >"0ii might begin to
approach Uie sound of Sully
My only complaint with the CD is the fir ml »ong 'blues drone' It io
too long ami far too munteresUng musically, to long hold Uie listener's attention in this age ul'vast>-' sliurtcued attention spans. Twas
indeed a wise decision to pul it at tht: end of tlie CD. — AotyBvium
A LIE OF
THE MIND
a play by
Sam Shepard
■.♦.■:;■■ ■■■■■■
"3s»,
, !jsi- r. -
A Family NightmHra--
y'lolent, Hllarloua, Pb«U<
SEPTEMBER 19 - 28
8pm
Two for One Preview
Wednesday, September 18th
FREDERIC WOOD
THEATRE
Box Office :
822 1678     w;>
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*■ . i: »'   *r J. v.
-***m9l>'\   ■ <'.'f1-..''-ri.j-!-.Jb  V *   "t
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12   THE UBYSSEY, SEPTEMBER 13, 1996
i-Z
ClIALlXrC-
It's time for
Arts
Undergraduate
Society
Elections
Rage crowd more evil than empire
by Mauran Kim
Rage Against the Machine
September 7,1996
The Plaza of Nations
Rage Against the Machine is a
band with a social consciousness.
As lead vocalist and lyricist Zack
de la Rocha says in one song, he's
a "brother with a furious mind"
not a rock star.' RATM's music
tackles subjects ranging from the
Eurocentric basis of North
American-education to racism in
the US military to the brainwashing effects of television to the
plight of illegal immigrants.
But you wouldn't have known
that from the crowd at the Plaza of
Nations Saturday night. It didn't
make a difference who RATM was
or what they were singing about.
People were there to mosh mosh
mosh and release' middle-class
teenage angst. The" crowd cheered
when an American flag was
turned upside down, without
understanding the context of the
action, or the reasoning behind it.
This could have been Hockey
Night in Canada. Just switch the
"Fight Fight' chants with "Fucken
Rage" and you've got yourself a
rock 'n roll type of deal.
RATM raged through the music
with speed and, at times, little conviction. It seemed—surprise, surprise—like they were only going
through the motions, wanting to
be someplace else. Zack de la
Rocha's voice, however, was in tip
top screaming form; and seeing
how the guitarist made the synthesizer-like sounds using only his
guitar was interesting. ■
In reality, I wasn't there just for
the music. I wanted more from
Rage.. Instead, sweaty teenage
muscle boys kept pushing me
aside as they rushed to mosh to
the faster songs. My eyes and my .
mind wandered to the audience
and beyond. I saw an. old Asian
man cleaning the. ground of
crushed pop cans, cigarette butts,-
and old pot roaches. How ironic
that the band on stage was doing
numbers about oppressed peoples
and the need for therri to  rise
against the white,. Eurocentric
power structure, and here was an
Asian janitor cleaning up after the
young, white, privileged moshing
audience. '   ■
"Look at'em,' yelled a friend of.
_mine. "Used to slaves!"
• Just like that, the show turned
into a contemplation of North
American society and the role that
I, as a person of colour, play in it.
There was a blonde hair-flipping, blue-eyed, leather pants- •
clad, midriff-baring, tattoos on the
butt-showing' woman who must
have thought' she was at Motley
Crue—she couldhave been, it really didn't make a difference—hoist
ing herself'onto the shoulders of
her skin-headed, muscle-bound
boyfriend and waving to the band.
A high point in the evening came
when she had to come down
because the moshers were bumping into her so hard that she
almost fell; a crowd surfer accidentally hit her with his foot. (Oh, ho.) :
Rage played one encore—giving
in to chants of "Fuck you, I won't
do what you tell me"—and then
left. Just like that. Without a thank
you. Without a goodbye. Without a
word. In the end, I had to be
happy—at least nobody called me
a chink at RATM. To trivialise
things even further, I guess.jf   '.'-
Less miserable than...Les Miserables
di. (mm
HEDQ
'□■
by Peter T. Chattaway
Nominations due
Sept. 18th at
12:30pm
in the AUS Office.
Mrmmiz^^
The Umbrellas of Cherbourg
opens today at the 5th Avenue Cinemas
Watching Jacques Demy's The Umbrellas of
Cherbourg, the latest French New Wave classic
to be blessed.with a painstaking restoration
and widespread distribution, is like visiting
another world. This 1964 gem's wildly expressive colour scheme and jazzy big-band score,
courtesy of Michel Legrand, are a gleeful up-
yours to "serious" film critics everywhere, but
there's also enough street-level realism here to
keep the film from being completely fluffy.
Most famously, every single word of dialogue is sung, not spoken: that means Demy
had to direct every single moment around a
prerecorded soundtrack while ensuring that
everything looked spontaneous, and damned if
he didn't pull it off. It's such an amazingly
audacious .experiment, you almost forget how
trite the actual story is.
How. trite is it? Well, there's this girl named
Genevieve (Catherine Denueve) who works in
her mother's umbrella shop. She likes this
guy—named Guy (Nino Castelnuovo), of
course—who works at a local garage and
dreams of owning a gas station, but her mom
(Anne Vernon) would rather she marry Roland
Cassard (Marc Michel), the diamond merchant
with the petite, neatly trimmed moustache.
(You keep waiting for his upper Hp to twitch.)
Guy gets called away to fight in Algeria, and
Genevieve gives him one night of sin before his
departure, to prove her undying love. Guy
stops writing; Genevieve, pregnant with his
child, begins to think he's forgotten all about
her; Cassard's offer of marriage begins to look
rather tempting. Meanwhile," Guy's dying aunt
(Mireille Perrey) has a caretaker, Madeleine
(Ellen Farner), who pines for him quietly ..."   ■
BOY AND GIRL make beautiful music together in The Umbrellas of Cherbourg.
None of this really means anything—in fact,
one gets the distinct impression Demy deliberately avoided anything resembling a grand
theme. Indeed, so reliant is this film on its look
and its sound that Demy, who died in 1990,
spent his last years despairing that Umbrellas,
languishing in faded, worn-out prints, might
never be reissued. Fortunately, the colours have
been restored, thanks to a three-strip colour separation Demy commissioned way back when.
A blemish or two do mar Demy's fabric: the
colour strips aren't perfectly registered, and
background details like the umbrella shop's pinstriped neon mauve wallpaper tend to flicker
distiactingly. Every now and then, a train whis-'
tie or similar sound effect threatens to pierce
the carefully orchestrated bubble of sound. And
the subtitles, while adequate, -lose the poetic ■
quality of the original French. (Is it just me, or
would the subtitles benefit from a bouncing dot
like in all those Meow Mix commercials?)
Demy's attention to style pays off/however.
The Umbrellas of Cherbourg is not as dark and .
textured as, say, Les Miserables—that other all-
singing French export—but by bathing every"
last moment in colour, and music, Demy does
prove that even the most everyday experiences, from delivering the mail to pumping a ~
tank full of gas, can have a poetry and a life of
its own that is worthy of celebration, jf
■ i %1  » s *,«
..-% >T^t^.T. FRIDAY, SEPTEMBER 13, 1996
culture
THE UBYSSEY   13
Well-drawn Gon is the anti-Barney
 by Charlie Cho
Con - by Masashi Tanaka
[Paradox Press]
Cute and cuddly critters aren't going
to take it any more. They're fighting
back, and Gon, a distinctly un-
Barney dinosaur, is going to help
them do it.
Each issue contains three
vignettes prominently featuring the
vicious little runt.
With drool occasionally spilling
through his serrated teeth, Gon is a
CRASS monster. Generally unrecognised as a comic-book genre, Cute
(Reluctantly), Aggressive, Short, Stout
animals include America's cat
Garfield and Canada's aardvark
Cerebus, who made his first appear
ance in 1977, outfighting and outwitting mere human barbarians.
Almost fifteen years later Gon,
Japan's CRASS prehistoric beast,
became "an instant sensation" in
Weekly Morning magazine. Gon is as
ruthless and deadly as Cerebus, and
he shares his large eyes and rounded
snout. However, he has something
the earth pig lacks: a compassion for
the aforementioned cute, cuddly critters.
Gon has simple priorities: eat,
sleep and protect his animal buddies
from bears, bobcats and dingos.
Don't expect any thought bubbles
from Gon; there's absolutely no text to
get in the way of the action. Tanaka's
fine, dynamic brushstrokes vividly
capture the textures of fur, feathers,
scales and water splashes. It is as if
Michael Zulli's (The Sandman) animal kingdom had been reduced to fit
Tanaka's manga-sized pages.
Placed in their indigenous habitats, the creatures generally behave in
a convincingly natural, albeit violent,
manner. The "action-packed" conflict
will easily appeal to you if you like
those wildlife shows in which wolves
or lions duke it out.
Gon is simply about a tough little
dinosaur fearlessly exerting his
supremacy over his enemies, who
foolishly think that they are the predators. The formulaic plot and inconsequential series leaves only the stunning artwork to fend for itself. Goji is
like a roller coaster ride: it's an exhilarating rush while you're on it, but
then the ride slows down and you end
up right back where you started.^
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tile mildew.
BCTEL
Offer    applies    lo    new    telephone    service    subscribers    only.    Some    restrictions    apply. 14 THE UBYSSEY, SEPTEMBER 13, 1996
ubyssey
September 13,1996 • volume 13 issue 3
Editorial Board
Coordinating Editor
Scott Hayward
News
Ian Gunn and Sarah O'Donnell
Culture
Peter T. Chattaway
Sports
Wolf Depner
National/Features
Federico Araya Barahona
Photo
Richard Lam
Production
Joe Clark
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.
The Ubyssey is a founding member of
Canadian University Press (CUP) and firmly
adheres to CUP'S guiding principles.
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 senstitive. Opinion pieces will not
be run until the identity of the writer has
been verified.
Editorial Office
Room 241K, Student Union Building,
6138 Student Union Boulevard,
Vancouver, BC. V6T 1Z1
tel: (604) 822-2301  fax:822-9279
Business Office
Room 245, Student Union Building
advertising: (604) 822-1654
business office: (604) 822-6681
•
Business Manager
Fernie Pereira
Advertising Manager
James Rowan
There was tension in the air—so much
tension that Charlie Cho and Kaj Paget tried to
cut it with a knife. Jo-Ann Chiu and Atshin
Mehin had to get the package to David
Thiessen's print shop. Chris Nuttall-Smith was
chuckling that they'd never make it But Sarah
Galashan and Ben Sarab were determined.
They started typing up a storm as Wolf Depner
cleaned the wax out of Andy Barham's ears;
Nick (who had been to the placement meeting)
had told him to. Joe Clark kept glancing nervously at the seven clocks in the office. 'Don't
worry,' said Nick Bouton, 'we've still got eight
hours until we have to deliver the package.' At
that, Mimi Yiu nearly burst a vessel. 'You
fool' cried Ben Koh, 'don't you realise you're
looking at the clock that says Santiago time."
Suddenly, a yell came from the production
room. Federico Barahona had managed to get
his finger stuck in the imagesetter. 'It's better
than whenl got caught in the print dryer,' said
Richard Lam. All Sarah O'Donnell and Ian
Gunn were concerned about was if this was
going to affect the news copy in any way. At
this point, Scott Hayward started in on his mil-
itaiy routine, making Peter Chattaway cry in
the process. Christine Price and Mauran Kim
gave him kleenex and helped him fix his mascara. Then, all of a sudden, they were done.
Robin Yeatman and P. Santos Javier grabbed
the 16 page package and handed it to James
Rowley who whizzed off into the night with
Richelle Rae and Marilee Breitkreutz. And
they all lived happily ever after.
op/fed
Canadian
UiTaveisily
Canada Post Publications Sales Agreement Number 1»JLTO1
Mass perceptions, political wrongs
Beware of words.
The dictionary is filled with words like
'democracy,' 'freedom,' 'counter-revolutionary,' 'dictatorship,' 'communist,' and
'fascist'—all of them rendered meaningless
by rhetoric and propaganda.
George Orwell, Malcolm X, Noam
Chomsky and John Ralston Saul have made
similar arguments.
Modern news organisations sacrifice content for image to maintain the short attention-spans of their mass audiences.
'Information bites' are cliches based on
commonly-held beliefs.
International conflicts are thus simplified
to 'us against them.' Once a country is
labelled as the enemy, spin doctors construct the image to match the policy.
Countries that foreign policy makers have
deemed to be 'enemies of the state' are
described as 'terrorist,' 'repressive,' 'dictatorships,' 'drug kingpins,' 'Hitler' and
'butchers.'
Friendly countries  are  'democracies,'
'trading partners,' "western,' 'modern,'
'civilised,' and 'industrialised.'
Our choice of 'friends' and 'unfriends'
clearly has nothing to do with human rights.
If Iraq may be subjected to what Saul called
'the most extensive equipment trial since
World War II* for invading Kuwait, why has
Indochina's invasion and occupation of East
Timor been ignored? Because for the West,
human rights is not the issue—economics is.
So strong is the economic motive, that
even when both countries involved in a
bloody war are ruled by equally harsh military governments, the West chooses sides.
South Korea and Croatia got the thumbs up;
North Korea and Serbia thumbs down.
None of which is really news. In this cynical age we all know that the TV news lies to
us, that the State Department always has
another agenda, and that no one cares.
But still it goes on.
For all the changes in the world in
the past 30-odd years, the polarized
view of Korea is as entrenched in the west
ern mindset as it was the day the war
ended.
South Korea is democratic, friendly—and
the highest accolade of all—a burgeoning
economy. The North continues to languish in
its own Communist backwater, offering us little but grainy TV pictures of tens of thousands of weeping citizens whipping themselves into a frenzy over the death of what we
all know to have been a maniacal dictator. We
shake our collective heads and invite the analysts to give us odds on the likelihood of war.
But when the televison picture cuts to
footage of South Korean security forces tear-
gassing students, our response is considerably more muted. Growing pains in a
promising economy, say the analysts.
The reality, is—of course—somewhat different Which somewhere in the backs of our
minds we all suspect It is easier to accept
the sound-bites and rhetoric.
The Cold War may be over, but very little
has changed. Our century of mechanised
war grinds on.
Concerns about Coke deal are unfounded
Over the past year there has been
some debate, and a number of
issues raised on a number of levels concerning the UBC-AMS-Coke
deal in particular and the commercialization of Universities in
general.
The first is the loss of consumer choice. Although this agreement does not ban the consumption of other brands on campus it
will mean that they will be unavailable at AMS and university food
outlets.
It is not the mission, neither of
the University nor of the AMS, to
ensure the availability on campus
of a wide assortment of cold beverages from different manufacturers. In the case of the former it is
teaching and research, and in the
case ofthe latter it is student advocacy and student services. It is
true that the AMS and the
University should provide good
food and beverage operations on
campus, and variety is a component of quality. However, there
will remain a wide selection of
juice and pop at AMS and
University outlets. It is just that
they will all be from one supplier.
The AMS does not provide
brand variety in its food items, (I
have never been asked what brand
of wiener I'd like in my hot-dog) so
I fail to see why it should reasonably be expected to do so for soft
drinks).
It is reasonable, however, to
expect the AMS, as well as the
University to streamline all its
operations, including its business
operations and to seek alternate
legitimate sources of funding as
long as the obtaining of these
funds do not compromise its
goals, objectives and overall mission.
Traditionally, universities were
seen to be one of the few institutions that were relatively free from
commercial corporate influence.
The third main concern is
whether this agreement O
will weaken and/or appear
to weaken this state of independence.
This agreement restricts
advertising to current levels and
standards. Fears of Coke logos
on our diplomas and massive
billboards   are   unfounded.
The University will not look
more commercialized.
There is probably a growing threat to the indepen- ,v*
dence of Universities in the ^-
current economic and political climate. However, the independence of universities is threatened
when earmarked contributions
are accepted from private firms to
establish centres and programs
for research and teaching in fields,
sub-fields, and topics of the firms
designations. It is threatened
when faculty, graduate, and undergraduate research projects begin
to rely heavily on industrial
research contracts. It is also
threatened when public granting
agencies emphasize marketability
in their grant selection criteria.
It is not threatened by a contract about soda pop.
The University does not operate in a vacuum. It must deal with
corporations, public and private if
only to buy soda pop, electricity,
and toilet paper. It is precisely by
having long term contractual
agreements, enforceable by rule of
law that it can assure that next
year's quote on macaroni doesn't
depend on this year's medical study on the benefits of a high carbohydrate diet.
It  was   possible
for   the   University
and the AMS to obtain
acceptable   terms   for
this agreement
because they were not
critically dependent
on the revenues
derived therefrom
and thus had the economic power to walk
away. If we depend
increasingly on such revenues
for core functions we may undermine this position and be unable
in the future to walk away from
unacceptable propositions.
There are ways to avoid this,
for example, by only spending the
revenues on non-recurring projects.
This Coke agreement was
about buying soda pop. It was not
about teaching and research. It is
not about giving Coke a say in the
academic curriculum. It was not
about giving Coke a say, directly or
indirectly, in what research does
or does not get done at this
University.
I suspect that what many who
oppose the Coke deal are most
concerned about is not this deal
but what the next deal might be,
say an exclusive supplier agreement for textbooks for all courses
at UBC. That, of course would be a
fundamentally different proposition because it would interfere
with the mission ofthe University.
However, approving one kind of
agreement should not and does
not imply, make inevitable or even
more probable acceptance of a different, objectionable agreement
There is no doubt that a certain
amount of unease was created
wthin the University community
by the fact that the actual legal text
of the Coke agreement remained
confidential. To some, confidentiality may simply be incompatible
with a public institution with a
mission to seek and disseminate
new knowledge, while others perhaps suspect secret clauses that
explicitly and directly undermine
just this mission.
These latter concerns, especially, as well as others mentioned
above could be allayed by the
adoption and promulgation by the
University of a policy outluiing
principles to be followed and general conditions to be met by any
such future agreements in order
to ensure that they do not compromise the integrity ofthe University
or hinder it in the fulfilment of its
mission as an institution of higher
learning.^
Vighen Pacradouni FRIDAY, SEPTEMBER 13, 1996
op/fed
THE UBYSSEY   15
A new spin on summer employment
HELLO, SPIN! Marilee Breitkreutz spent her summer on the phone at SPIN, gaylord fields photo
by Marilee Breitkreutz
Two summers ago, I worked as a receptionist for a trucking company in Langley. This
year, I found myself living in the center of
Manhattan and interning for the editorial
department of SPIN Magazine. What led me
to give up an enviable position inside the
trucking industry?
It all started in May 1995, when I took a
two-week trip to New York City. While I was
there, I called SPIN, told them I was a
Canadian student interested in the publishing and music industries, and asked if I
could have a tour of their offices. It turned
out that Darren Tuozzoli, the editorial assis
tant I spoke with, was also the intern coordinator. He gave me a tour of the office a
couple of days later, and we discussed the
possibility of me returning the next summer as an intern. I kept in touch with him
over the next nine months, and in March he
informed me that the job was mine if I still
wanted it
It is fitting that my association with SPIN
began with a telephone call; as an editorial
intern, my purpose was to assist the editors
with a variety of tasks, and somehow, it
almost always involved calling someone. I
spent hours on the phone asking record
labels why our editors hadn't received the
latest release schedule or Beck CD, request
ing books from publishing houses,
checking with TV networks regarding their fall programming,
requesting press kits from clothing
companies or fact-checking for the
research department However, I
can proudly say that I never called
to order coffee, lunch or even in-
house massage or aroma therapy
for any ofthe editors I Okay, I did go
and get coffee, but my superiors
were always very gracious about
asking me to do those more menial
tasks.
All internships may not be so
pieasant My place of habitation for
the summer, a New York University
residence hall, was populated with
other lads who interned at NBC,
Rolling Stone, Sotheby's and some
big, boring-sounding financial
something-or-other where they actually pay their interns! My acquaintance at Rolling Stone didn't seem to
be enjoying his work as much as I
did—he claimed his boss was demanding
and required too much photocopying of
him, and he left the company after a couple
of weeks. He then got an internship at MTV,
where he was quite satisfied.
The first question most people ask about
my internship is, "How many famous people did you meet at SPIN?" I wonder where
they think I was working, exactly. I worked
in an office with no windows. I spent a lot of
time screening letters written to the editor
by prison inmates. Sure, I worked with people who had interviewed famous people-
maybe even hung out with them. And there
were near-brushes with fame: the other editorial intern in our office got a call from
MTV VJ Kennedy accidentally transferred to
him, I was once givenjoan Osborne's hotel
phone number during a research project
(she was no longer there when I called), and
I once walked past Smashing Pumpkins
lead singer Billy Corgan on the street one
day, but no, I didn't meet any famous people while at SPIN.
However, despite the humble job
description, I had a fantastic time. Living
and working in New York City was extremely exciting, I was in an office with many
interesting people, and yes, some freebies
did make it down the ladder to me in the
form of free CDs and concert passes.
In fact, if you are interested in a certain
career or field, an internship is one of the
best ways to try it out, get work experience,
and make those ever-important "connections." If New York City seems too scary,
don't let that stop you. One of my most
heartening discoveries this summer was
that people who live in that city are not animals—not all of them, anyway.
My advice to anyone who is interested in
something like this but doesn't have the
opportunity to go to New York and ask for
the job in person like I did is this: decide on
the area you are interested in, muster all of
your confidence, write a provocative or
interesting cover letter, and follow up on it
The other intern in my department was chosen out of over 150 applicants on the basis
of his ingenious cover letter and a telephone interview.
You also may need to be prepared to get
coffee, make photocopies and place phone
calls all day, but it's worth it There are
many opportunities—especially in a place
like New York City. All you need to do is ask
someone to give you a chance, j
Corporate sponsorship: the Choice of a New Generation
When I was a kid I studied for the
Pepsi Challenge—probably harder
than I did for my first year calculus
exam. I got my mom to buy a bottle of
Coke, and a botde of Pepsi, and I
poured them into two rows of paper
Dixie Cups, and practiced telling the
two types of carbonated beverages
apart
Both brands of colored sugar-
water tasted the same to me, but it
wasimportant to like Pepsi better-
almost as important as preferring
Burger King to McDonald's. It wasn't
just that Pepsi lovers got a free 1 took
thePepsi Challenge' button. The ugly
fact was that your entire social status
depended on you choosing Pepsi. At
my elementary school, you were
either part ofthe New Generation, or
you were a geek. I had an inkling that
my fake Adidas bag guaranteed geek
status, but I could still dream.
Life is now more surreal for students at my old elementary school.
TheToronto board of education has
signed a deal with Pepsi giving the
company exclusive vending rights to
sell nutritious pop to the student
body. As an added bonus, Pepsi has
generously donated an award to
encourage academic excellence in
students strung out on caffeine and
sugar called the Pepsi Student of the
Week.
Other companies are also targeting students. The makers of Prego
have distributed lesson plans on the
scientific method to schools.
Students perform an experiment
using the famous Slotted Spoon Test
to determine which spaghetti sauce
is thicker, Prego or Ragu. They have
not done the experiment correctly
unless they find Prego thicker.
In Hunt-Wesson's lesson plan on
history, students learn that Gregor
Mendel, Louis Pasteur, and Orville
Redenbacker where scientists 'who
made a difference."
Overworked teachers and underfunded school boards are easy targets for these companies whose motivation is simple: get a customer
young, andyou have them for life. It is
the same reasoning behind the targeting of university students, who are
probably leaving home for the first
time, and who, upon graduation, will
be storting their lucrative careers
(entry level positions at Starbucks).
Your university and student council
help these companies gain access to
you. You will find credit card applications in the book store, and can
expect your addresses to be sold to
phone companies. You will also
drink nothing but Coke products
while on campus, unless you are prepared to risk drinking the water.
The university has signed a ninety
page, secret exclusivity contract with
the company, which, given the size of
UBC is equivalent to banning Pepsi
and Pepsi signs from a region larger
than West Vancouver. Your
University is willing to sell its name
to the highest bidder, and to sell you
as a consumer.
The product is you.  Coke  and
Pepsi also wage their battles in space. Pepsi, in an     ^
attempt to be the choice of
The     Next     Generation,
recentiy had Russian cosmonauts space-walk with a
huge Pepsi can.
As a publicity stunt, Coke
bought valuable research time
aboard the space shuttle to
study "bubble nucleation
and resulting foam formation" in zero gravity, and to
test the affect of space
travel on beverage choice.
Meanwhile,        legitimate
research waits for years on the
ground.
Corporations are becoming more
and more influential in public
research institutions. The recent
Canadian study which found that salt
isn't linked to high blood pressure
was funded by Campbell's soup, who
have been criticised for being too liberal with the salt shaker. Even if the
study is accurate, its credibility is tarnished by the association.
At MIT, researchers had their
funding terminated by Gatoraid
after they discovered that the best
beverage to drink while exercising is
water.
The mechanisms of influence can
also be subtle. Given the low level of
government funding, departments
are under pressure to shift research
goals to attract corporate money.
Research areas such as history, theoretical physics, or art whose benefits
are not immediate or profitable, are
being pushed aside in favour of
research which should be done by
the companies who will profit from
it Our dependence on corporate
money also creates pressure on
researchers to find results
which will keep the donors
happy. Our faculty of
forestry is funded so heavily by logging companies,
that anyone who criticises
current forestry practices may
find it hard to renew their
grant
The current shift to
private sector funding is
one which should be
resisted at every turn. Each
time we sell off a piece of our
university to private interests,
we release government from their
funding obligation, and increase the
pressure on us to secure even more
private money. Universities have
always reflected the interests of
those who fund them, whether they
be rich alumni the government or
corporations. If Coke is paying to
make our libraries wheelchair
accessible, Cadbury's is bringing us
up to fire code, and our washrooms
are being built by McDonald's, then
it is impossible to imagine that all
this corporate money would not buy
influence.
If universities are to avoid focusing their research on Coke bubbles,
and increasing the shelf-life of
Twinkies, we must distance ourselves from corporations.
Universities should be probing and
challenging the power structures in
our society.
They should not be corporate
appendages.
by Jonathan Oppenheim
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