@prefix edm: . @prefix dcterms: . @prefix dc: . @prefix skos: . edm:dataProvider "CONTENTdm"@en ; dcterms:isReferencedBy "http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1211252"@en ; dcterms:isPartOf "University Publications"@en ; dcterms:issued "2015-08-26"@en, "1999-10-01"@en ; edm:aggregatedCHO "https://open.library.ubc.ca/collections/Ubysseynews/items/1.0126249/source.json"@en ; dc:format "application/pdf"@en ; skos:note """ no owls since 1918 THE UBYSSEY MAGAZINE Friday, October 1,1999 volume 81 issue 6 UBC Archives Serial despite losing six family members and a score of friends to an oppressive south american government nora patrich continues to mix art and politics. NORA PATRICH "Legacy" at the Simon Patrich Gallery, 2329 Granville St. runs until Oct. 28 by Daniel Silverman You probably haven't heard of Nora Patrich, but you'll have seen her works. Her paintings appear all over the Lower Mainland, from a mural in Arbutus Village to posters for International Women's Day. You probably don't know anything about her past, either, which is fraught with peril and suffering. It may seem trivial this far removed, but it's worth taking a serious look at her experience and the art it has produced. Nora Patrich's paintings possess a very distinctive style that manages to evoke a lifetime and a half of experience. Colour is used very sparingly, but the emotion is evident, and if you know her story, the effect is remarkably powerful. The figures in the paintings are almost exclusively women, who are all possessed of a sense of calm contemplation. "I do paint men, but the woman figure is much more sensuous to work with...I paint the reality as a woman. I paint my reality." The absence of men from many of her paintings is indicative of her own experience. In Argentina she lost many people who were dear to her, including six members of her own family, because of their political positions. "There's a lot of the men that are not there, because in my reality there was a lot of men that were, and ended up not being. There were also a lot of women that ended up not being, but the one that was left behind was me." Patrich wanted to capture the moment when she and and others like her decided to take action against injustice. The action she took, and still takes today, was to get involved politically, using her art. "Because of my experience inside that reality, it's much more vivid than what happened to some men around that reality. A lot of the women are calm because in that moment when you realise what it is you want to do, it's a very particular and special moment. That means that you're taking you're life in your hands, you're going to be deciding." Patrich's story is tragic and at the same time a testament to her perseverance. When she was a teenager in the 1960s she got involved with the Spartacist movement in Buenos Aires, taking part in a circle of artists trying to speak out against the oppressive government of the time. There she met and married her first husband, Horacio. Two days before they married in 1976, a friend of hers attended a demonstration, was forced into an alley by police, and had a gas grenade shot into his stomach. The next day, protesting his death, Patrich and her fiance' were themselves shot at. CALM CONTEMPLATION: Nora Patrich delves into the emotional and political experiences of women. Despite the obvious risks, they both continued to fight against the government. One day, in 1977, however, Horacio did not show up to take Nora and their two-month-old daughter back home. He became another one of the thousands who were "disappeared" during that period. Patrich fled the country with Juan Sanchez, an artist already prominent when Patrich was growing up. The two of them ended up, eventually, in Vancouver, where they live and work together. The work on display at the exhibit, she says, carries the theme of blood which has been so pervasive in her own life. ""Blood is life," she says, "blood is death, blood is legacy, what we pass on to future generations. Blood is what's spilled sometimes in wars, needlessly, and blood is what a lot of people give to be able to struggle for what they believe in." While she is presenting her own perspective, she is not trying to force her own opinion on her'viewers. How the viewer reacts, she says, is up to them, so long as there is a reaction. "All I'm interested in is to make you feel something, put a question in your head, or make you feel good or whatever it is, even if you hate it. What I don't want is to just leave you what I say. "I'm not going to force-feed you anything. I'm going to propose something, and then it's in you to elaborate it in your head." To this day she is still active politically. She has donated many murals to various organisations as well as producing commission works for such groups as Amnesty International and International Women's Day. She points out that she does not consider this to be acts of charity. "I don't think I do charity. 1100 per cent do not believe in charity." It's an argument that is galvanised by the urgency of her own political activism. Her actions are not prompted by compassion but by necessity. She substantiates this by saying: "When I was working in Argentina I never got paid for being a militant." "Whatever I'm going to paint, there's always going to be a political statement with it, but the way I think, the way I use the colour, that's a political statement in itself also." Patrich says that while the message is important, the painting must still be able to stand on its own. She compares her work to a child, appropriate since she is also a foster mother. "Each painting, once I've finished it, has to have a life of its own... The kid grows up and leaves you, and the baby's going to survive whether you die or not, or whether you stay with the kid or not." In the end, Patrich wants to promote the arts as a political vehicle, since to her, so much of one's life is enriched by the arts. "I think that the human being cannot be fulfilling itself, or be whole, if the arts are not a part of their lives because you cannot expect a human being to develop itself if it just does one thing with its body. The arts help create a much more developed human being, a much more open-minded human being, and much more sensitive to the things around them.%> fiber 1, 1999*page friday—the ubyssey magazine- CLASSIFIEDS ceo m mod at ion FURNISHED, CHARMING, BRIGHT. Loft-BR chalet/apartment with private entrance and french door overlooking garden. Carpeted. Prime locarion. Parking or near bus direct to UBC. Avail, now. 3750/mo. Util. and cable inc. N/S, N/P please. Call 261- 7153. SPACIOUS, FURNISHED 1 BR SUITE. Quiet, large, cozy, knotty cedar L/R. Private entrance, overlooking garden. South Granville location near bus direct to UBC or parking avail. $700/mo. inc. util., cable and shared laundry. N/S, N/P please. Couples may apply. Avail. Sept 1st. Call 261-7153, mployment ATTENTION NURSING STUDENTS. Caregiver/companion position available immediately caring for elderly lady in Point Grey area. 4-6 hours, 3 evenings per week (possibly more). Doug: 224- 1484 or cell 729-7858 ir Glen 683-2925. EXCEPTIONAL OPPOTUNITY TO GET PAID TO SURF THE INTERNET. Email manager44@home.com for free info. $7/HR SURFING THE NET. Free, no buying/selling, netcash2000@yahoo.com HEY INTERNET USERS! Could you use more money? Spend more time web- surfing! www.it-pays.com WE RAY YOU TO LOSE WEIGHT. Needed: 85 people immediately. Doctor recommended herbal-based nutritionally based, all natural. Call 878-4844. WANTED: STUDENT LIVING IN RESIDENCE to represent clothing company from their dwelling. Simple tasks, few hours set around your schedule. Should be sociable/approachable. Email: contactcnm@cnmonline.com or 1-888- 400-5455. LOST: BLUE, FAKE LEATHER TRIM, 5 STAR, ZIP-UP DAYTIMER. Last had it Thursday night, computer terminals in SUB. Please return, my life is in there. Reward. 92 NISSAN STANZA XE. Auto, 4 door, Fully Loaded, A/C, P/W, P/I, PIS. New timing chain, excellent condition. $5800 obo. Phone 224-0020 (after 4pm). FOR SALE: BLACK 1990 HYUNDAI EXCEL. 154 Tkm, new brakes, fresh from Aircare. $2500 obo. Call 341-7223. usiness Opportunity EARNWHIJ^ YOU LEARN. Put your ImMMfanuMfti^J^n^ er to work tor you. Start DuiFding a se ous income before you graduate. www.nfliCANADA.com nnouncement UBC SAILING CLUB AGM NOTICE. Monday, Oct. 4th at 7pm, Jericho Sailing Centre. BZZR GARDEN. Philosophy Students Association. Fri, Oct. 8th, 4:30-8:30pm. Buch A200. I drink therefore therefore 1 TROTSKYIST LEAGUE FORUM: THE FRAUD OF "HUMAN RIGHTS" IMPERIALISM. Sat., Oct. 2nd, 7pm. Room L4, Brittania Community Centre. SPARTACUS YOUTH CLUB CLASS. National Chauvinism is Poison to Class Struggle: Independence for Quebec. 12th Oct. 7pm SUB 212. ENGLISH STUDENTS SOCIETY GYM NIGHT on Fri, Oct. 8, at Osborne B. Gym. 9pm-11pm. $2 for club members. $3 for non-members. Bring gym clothes and runners. mployment Cont. LOOKING FOR: SKETCH/CARICATURE ARTIST for line of t-shirts. Potential for royalties. Call Lindsay at 536-0864. FIND GLOBAL SIGNIFICANCE IN YOUR WORK STUDY JOB. Join the Youth Millenium Project Team! You will be empowering youth around the world to enrich their local community. For more info, contact Hurrian Deyman: Hurrian@hotmail.com cademic Services EXPERIENCED PROOFREADER. UBC Graduate Student in English. Over 6 years of teaching experience. Help with papers/alignments. Same day or overnight service. Student rates. Call Irina at 686-0804. ervices UNIVERSITY DRY CLEANERS. Dry cleaning, dress making and ALTERATIONS available. 105 - 5728 University Boulevard (UBC Village). Ph 228-9414. Special discounts for UBC students. WANTED: VOCAL TALENT. Work with us to record original pop songs for submission to record companies in Canada and US. Phone: Teal or Michael at 874-2777. CHINESE SPEAKING VOCAL TALENT WANTED to work with us to record original pop songs for submission to record companies here and abroad. Phone Mike at 874-2777. rolunteer Opportunities I miscellaneous SEXUAL HEALTH EDUCATORS NEEDED for a school based education program. Honorarium given. Training provided. Males are encouraged to apply. Call Lu at 251-4345. THE ANXIETY AND FEAR LABORATORY in the Dept. of Psychology at UBC requires female volunteers who have experjencd unwanted sexual activity to participate in a psychological research project. If you are interested in helping us or would like more info, please contact Nichole at 822-9028. Your telephone conversation will be kept confidential, and your privacy protected. WE DON'T WANT TO SEE YOU N.AKED! Don't get me wrong, the human body is beautiful and thats why we make clothes for it. Get it on with free embroidery for your Rez/Floor/Team/Faculty, etc... www.rezwear.com, email: contactcnm@cnmonline.com or 1-888- 400-5455. kVWVVWUMMlMMMAMVWWVWWtMVMMAMIUW^^ To run a classified, please call 822-1654. CORRECTION In the September 28th issue of the Ubyssey, we incorrectly identified the website www.studentcare.net/ubc as an AMS website about the proposed health and dental plan in the editorial ("Is it a Band-Aid solution?"). It is, in fact, the website of the proposed healthcare provider, Student Care Networks. The Ubyssey regrets the error. UBC Film Society 7:00 9:30 7:00 Film Hotline: 822-3697 Q.^n www.ams.ubc.ca/social/filmsoc "••Ml Schedule SUB Theatre AH Shows $3.00 October 1-3 The Genrals Daughter No show Oct 1 (BZZR garden) South Park October 4-7 An American in Paris (Oct 4-5) Singin' in the Rain (Oct 6-7) Hello, Dolly! (Oct 4-5) West Side Story (Oct 6-7) tCM i 1M We're looking for team players for FULL and PART TIME POSITIONS. If you're a self starter and hardworking, motivated individual, please apply in person between 2-6pm. "^ Flexible hours (open 24 hours) •=©- "^ Fun and busy Environment! <£» "®" Eligible for benefits after 6 months, ■sa ks" Starting @ $7.15/hr & up. =en ATTN: CHRIS GUILLET MANAGER BREAD GARDEN 2996 SOUTH GRANVILLE V6H 3J7 PH: 736-6465 £U0B =vUB ssey IVEAWAY * • submit the best haiku you can about Fonzie and Happy Days. Remember—5,7,5. • submit a Polaroid of someone in their underwear on the hood of any muscle car. • submit the first drawing of dolphins attacking UBC (stick figures accepted) • submit graciously to our leadership • submit a funny doodle .and get this • 2 tickets to the Canucks game against the Rangers sat oct 2! • 2 tickets to the Canucks game against the Blackhawks wed oct 6! • A Ubyssey T-shirt (in any one of four colours!) • One slightly used game of Life. jast winner the ubyssey [iveaway if • Movie posters! A person may only win one prize per month. The Ubyssey reserves the right to | withold prizes. Winners must be members in good standing of the Ubyssey Publications Society. So there. Also, any submissions may be published. Ubyssey staffers are ineligible to win. Just drop by the ubyssey business Office in room 245 to pick up your stuff strc6tcrs isHblfit... we asked you: The AMS spent $15,000 on a printer. What would you have spent the money on? They could put a little more money into the Fine Arts department— some studio space would be nice. Upgrading some of the buildings in general and adding a few more bike trails... —Robyn Drage 3rd year tine arts CiTR equipment, damnit! Because we need it. —Ciprian Gligor 5th year anthropology or...what's inside tbday ,/- e LOAN JAY AND PATRICK TALK ABOUT THE NEW ALBUM, THEIR NEW DEMOGRAPHIC AND THAT DAMNED BEER COMMERCIAL ninp GAP I definitely would not spend it on a printer! Repair the roads! Going out on South West [Marine Drive], the roads are so shitty and I don't enjoy driving through that way and it hasn't been touched. You don't need to buy a copier. Copiers are so cheap! —Juliana Sam 3rd year commerce The Center for Bio-Ethical Reform plans to sue UBC. The organisation maintains that the conditions placed on it#6enocide Awareness Project by UbC have been unfair. letters: A new rubber track—I'm into running and the track here is a joke. —Mika Quinn 2nd year science Respom I wasn't sure if I should eteVfcdigntfy Ted Gerks rantvHti^Tr)3$p«ai«i, but I can't help it. IJ by David Jurasek An expressionless face, running and landing In dirt, choking.on an apple, sweating, close-ups of two different vaginas—first one dead, second one exhausted. A little girl is raped and killed. A small town detective longs for his neighbour, who constantly humps a bus driver. A news article—not ever coming close. If you are ejecting voyeuristic pleasure, knowing who is right and wrong, and a tense narrative, stay away. You will end up snoring, pretending to snore, and/or snickering. You can see England acro$s the channel- Now you can't. The endless stare is gone. Did you miss something? Pharaon, the main character, Is levitating now. The boredom, the caress and oppression of the sun, humming to an electric keyboard, cheering to a soccer match after being affected by Domino, the factory worker, imagination isn't the right word. Deep empathy, silent grace, complete rejection, emptiness. The window is open, birds are chirping, it could rain. Anything is possible. Did we forget about the bloody murderer? ' - The stillness and banality of growing inner rage, inner tension, lust, envy. They are all withheld by difficult, inarticulate, somewhat sensitive and somewhat coarse people. They don't belong in a movie. These are the cousins you often wish you didn't have. If you carry enough curiosity, generosity, understanding, or courage to stand near them for two and half hours without judgment, you will find more than what any film can ever offer. Dignity is difficult, bring some subsistence.* Shh St is a language that only a few old women in southern China still understand. It is Nu Shu; invented by women and once punishable by death 1 Um SHU: A HIDDEN LANGUAGE OF WOMEN IN CHINA part of the Vancouver Int'l Film Fest Oct. 1 and 3 by Jaime Tong You hold in your hand a crisp white paper fan from your sworn sister. The vellum crackles as you slide it open to reveal a ipUm that she has written |l|l|g the folds. If she were there with you, she would sing it |HI|ou to express her support and friendship. Only you and your "sworn sisters", a group of close friends, can read this HHHt.—it is written in a language called Nu Shu. a language that has been passed on from one generation of women to the next in the southern Chinese province of Hunan. No one knows for sure, but some Ullimate that the language is THE SECRET LANGUAGE OF WOMEN: Nu Shu is kept alive by women, who sing and write to their "sworn sisters? THE EM atfteVa noremab by Doretta Lau Chinese director Chen Kaige's historical epic, The Emperor and the Assassin, has all the elements of a riveting drama: a beautiful leading actress, treacherous interpersonal relationships, panoramic camera work, the quest for nationhood, a tragic romiintic subplot or two and an astronomical body count. Set in the 3rd century BC, thc lilm chronicles events arising from tho Qin emperor Ymg Zheng's desire to unify his kingdom with tlie six neighbouring ones. The five chapters of the film are a study in the puritv of political ideals, the corruption of power and the ultimate consequences; Ying Zheng's promise to unite "ail people under one heaven" ends in mass slaughter, widespread suffering and his fall from grace. Ignorance of Chinese history does not hinder the viewer; the tale stands on its own as a work of art, but remains laithful to known historical events. This is not a Hollywood drama at the expense of verity. The cinematography is breathtaking; whether it is a wheat field, the entrance to the palace or battle ground§|§ Zhao Fei lends the landscape beauty. The mammoth war sequences, with thousands of live extras, are unparalleled and keep the audience in rapt attention. Strange as it may sound, the Slaughter and destruction are elegantly choreographed; though grace is not a word usually applied to war, Chen makes combat took like an art form. The visual excellence of the film is complimented by the strength of its cast li Xuejian plays the initially benevolent emperor and powerfully carries off his tragic descent. Zhang Fengyi is the fearless assassin and the perfect foil to Li's bloodthirsty emperor. Gong Li, formerly the face of Zhang Yimou's films, turns in a haunting performance as Lady Zhao, Ying Zheng's lover turned enemy. Chen himself recreates Prime Minister Lu, reason to the emperor's passion. At times, the film did feel an opic 160 minutes long; however, each scene was necessary to the unfolding action. Members of the audience were seen to nod off and squirm uncomfortably in their big, leather chairs. At the conclusion, many were too sedated to give the film the applause that it deserved, but the rest of us put our hands together in appreciation of this cinematic spectacle.* almost a thousand years old. The first time local documentary filmmaker Yue-Qing Yang heard about Nu Shu was when she was in Beijing to attend the fourth United Nations World Conference on Women- She was at the conference to present a work in progress—-a documentary on foot binding— when she heard about the existence of the language, now kept alive by only a tiny group of elderly women in the villages in Hunan. "Once I heard that women actually have their own writing, their own way of communication, I mean, that was really intriguing," she says. "So I had to know. I had to find out what it is, what they do, what their secret communication is, what they communicate about. "The way they 'read' their writing is to sing it. Formally, it is written all in poetic form, like seven or five characters per line." Nu Shu, which is Chinese for "women's writing," was once written and sung by many of the women in Hunan villages of the Jian-yong region, but the number of women who fluently read and write the language has dwindled . The language and the women who used it are chronicled in Yue-Qing Yang's documentary, Nu Shu: A Hidden Language of Women in China. "These old ladies are beautiful," says Yang. "They are strong and they carry the strength of the Chinese women as a whole. What can say more than if, for centuries, for thousands of years, the women don't get an education, yet they invent a writing for themselves." Yang made several visits over four years to film the documentary. "I've lived with them and shared their homes, which was great. J think t developed a very intimate relationship." This intimacy is what sets Yang's documentary apart from the rest. Yang's isn't the only film about Nu Shu. China's Central TV (CCTV) went into the region a few years ago to document the dying language, but as Yang explains, "Beijing hired a male director from CCTV to make a documentary about Nu Shu, which only treats Nu Shu as a tourist attraction." Her outrage grows as she says, "You know, it was like the producer was thinking 'who is going to see old ladies?' To them, [the Beijing teamf these oid ladles are ugly." , P During the Cultural Revolution in the 1960s, the Red Guard prosecuted women who used Nu Shu, burning the books and artifacts, and sometimes the women themselves. Nu Shu was thought of as "old culture" by the government, and because only women were fluent in it, Nu Shu writings were suspected as spy documents. Nu Shu wasn't always written into books. It was embroidered into handkerchiefs, woven into cloth, written onto fans. The language itself Is very different from written Chinese. Each Nu Shu character represents a syllable, so it was more accessible to women because one only needed to learn about 300 characters to be able to write it. iiiii^Hiillliliilllllllllill^Miiiiii On the other hand, in order to read and write fluent Chinese, also known as Nan Shu, or men's writing, one needs to learn several thousand characters. Unfortunately, as more women started attending university, less of them were able to keep Nu Shu alive. Yang's documentary examines the sub-culture that surrounds N.u Shu as well Nu Shu's function in the women's lives. Nu Shu was a means of communicating with other sworn sisters about abusive marriages, the" JsolitlOh'ofarra^gfed'"marriages, and the liberation in widowhood. A line from a Nu Shu poem reads, "Beside a well, one won't thirst; beside a sister, one won't despair." Although Ny. $hu i$ very nearly a dead language, it fostered that sense of sisterhood. And although the language is dying, the bond it created has been passed on to subesequent generations.* ber t, 1999 • page friday—the ubyssey magazine - rve been around for a while by Nicholas Bradley ^■: This is the first time the band has learned all the songs on an album to play live, says Patrick Pentland of Sloan, over his lunch. His bandmate Jay Ferguson hods, and whispers, so Patrick won't^ hear him: "I gotta do some practising in the soundcheck." At the end of their concert later that day, it's obvious to everyone that all four members of Sloan have some woodshedding to do. Their fifth album, Between the Bridges, has been out for a week, and the Wednesday night show at the Starfish Room is one of the first chances they've had to show off the new songs. It doesn't go the way anyone had planned. Patrick promises that there won't be as many old songs tonight, or during any of their upcoming shows. "I don't know how many times you can play 'Penpals,'" one of the hits from 1994's Twice Removed. "i know how many times I can play 'Penpals,' and I'm well past that." Jay laughs again. Jay—he's the Cute One in the band, the one you want to take home and hold hands with. Jay's all about wearing suede shoes with his Orange Tabs, and grinning at the girls in the crowd as if he can't belive that he's actually onstage and that all these people still want to hear "Snowsuit Sound" after all these years. On stage, each Sloan shows a different personality. They take turns singing. There were four Beatles. There were also four guys in Kiss. Chris Murphy is the Funny One, the one you probably know. He's all rock n' roll, at least that's what he's trying to convince you of. He's hoping that you'll remember the scissor kicks and his swinging hips and that you'll forget the fact that he has to stop in mid-riff to stop his glasses from sliding off his nose, and that he falls over when he tries to climb onto the drum kit for another rock star pose. Andrew Scott is the Cool One, the one who plays—drums, guitar, or piano—hunched over, his hair flailing. On one hand he's the jock in the band, the sweatiest man in rock and roll, all bulging veins and sinewy arms as he sings about running track, making his. bandmates seem even skinnier than they are. ("Underwhelmed?" Try 'underfed.') On the other hand, he's the moody one with the dark songs who never smiles, or looks out at the fans. Patrick just stands off to the side looking for all the world as if he can't wait to get off the stage. He trades off most of the lead vocals with Chris, and maybe he's Chris's alter ego: the (almost) serious frontman who wants to get on with the show. "So no one paid to get in, right?" he asks, and waits a second before the punchline. "'Cause you're not getting your money's worth." He's only half-kidding, but he still laughs his way into the riff that runs through "Money City Maniacs," the last song of the set. He's having just as much fun as everybody else; he just won't let on. Jay isn't sure how the new songs will come across live. Some of the songs on Between the Bridges are more complicated, with more layers of guitar, than on the last album. The new record was made quickly. Sloan wanted to tour, and they needed an album to tour behind. " I think that we work well in that situation," Patrick says. "There was time to think about it for sure, there was a lot of thought put into it, but at the same time, I think there was a lot of instinctive, or instinctual, like, you know what I mean." Jay starts in. "I think some of the songs on Navy Blues were almost written to be played in the live form. 'Money City Maniacs' being a good example of a song..." ".. .that's essentially written to be played live," Patrick finishes for him. "It's like 'Here's the hand-clap part, here's where you all scream."' And they do scream. Audience participation is very important at a Sloan show. By the last song in the set, everyone knows that the band has had an off night, to put it mildly. But no one really cares, least of all Chris, who takes the opportunity to invent a new game. He asks Jay to play a minor chord. When Chris sings "Hey you!" and the crowd answers back a little too quietly, Jay chimes in with the sour note. When the crowd gets it right, Patrick hits the major chord and leads into the rest of the song. Chris looks very pleased with himself. Chris is a pretty funny guy. "He's gotta pack the puns in there sometimes," says Jay, referring to one of the new songs, "The Marquee and the Moon." The song's about two clubs in Halifax, the Misty Moon and the Marquee, and Chris couldn't help turning this into a reference to Television's first album, Marquee Moon. Songs like this one and "The N.S." are about the band's abandoned hometown, Halifax. But the local theme running through the album was an accident, according to the band. "It's not like everything is about Halifax," Jay says. "In a magical world, you could probably reason that everything is a story, but I think you could probably do that with every album that exists. " It kind of has the air of a concept record without really being about anything," he laughs. Patrick admits, though, that this album is more obviously personal than others. "There's probably more references to Halifax and ourselves than on any other record: frnean I could be wrong, but..." Sloan is onstage. They haven't rehearsed for at least two weeks. On the very first song, some lyrics are forgotten. It goes downhill from here: Chris rattles the hi-hat loose, Jay spends forever fiddling with the distortion pedal, Patrick misreads the set list and starts to play the wrong song. The sound is badly mixed and the bouncers keep having to tell people to stop taking so many photos. Everyone is also having a very good time. Sloan*is adjusting to the fact that some of their fans, as Patrick explains, don't have the sense of the band's history that the older fans do, that the kids now didn't exactly grow up -V THE CUTE ONE: Jay Ferguson fumbles his way through a set at the Starfish Room. NICHOLAS BRADLEY PHOTO on Peppermint. "We did an in-store in Halifax and we were signing autographs atthe tables, and all these people were coming up, these kids—like girls and whatever—were just like, they ask questions, and we'd be like, 'How old are you?' or 'What grade are you in, like Grade 12 or whatever?' and they're all in like, Grade 7. They were basically three when we got together." -"We fit in there for a while around '92 or '93 when things were happening, Seattle of the East, and all that crap, but then, we're in our thirties, and those kids are all in their early twenties or whatever, mid-twenties. I think its natural that we're not that big a part of it," Patrick continues. "It's probably a drag for other bands when there's an article written about them to have Sloan always mentioned in it, 'cause we're not part of it much anymore." He pauses, and almost sriiiles. "Now we're part of the ages," he deadpans as Jay starts to snicker. All four members of Sloan live in Toronto now. They're all in their thirties. They still sing the song about skipping classes. But Patrick doesn't know what's happening with the East Coast kids anymore. On the plane, Jay says, Chris was busy listing all the bands in the Halifax pop explosion. _ "Eric's Trip to Jale to Thrush Hermit, Hardship Post—everybody's gone. Thrush Hermit broke up, just recently, and they were the last of that little.core that was around when we were starting," he says. a Patrick chimes in with an explanation. " If you can't make it you gotta pay the rent, and if you want to do other things with your life, then it's just natural that the bands end. But we're doing alright, so we keep going." He adds that he's not interested in branching out to fill any hole in the scene. "Anything you wanna do, you can do on a Sloan reco»|." Anything—Patrick suggests that the next one might be all piano, or maybe acoustic guitar. Then his face lights up—the next record is going to be nothing but drums, he decides. They've put out three records in 18 months, so there's going to be a bit of a break now, while they tour Japan, Australia, the US, and, maybjp starting in February, Canada. "It's probably the best time to have kids, actually," says Patrick. Jay looks decidedly unimpressed. t They both look unimpressed when they talk about haying "Money City Maniacs" in a beer commercial. Jay rubs his fingers togther when Patrick starts to explain why Sloan sold the rights to Labatt's. Sloan had just bought back their publishing rights and needed the cash. "It's not the coolest move in the world," Patrick adipits, but Jay says that it was a good move because it let the band get more control over their songs. Besides, they play bar shows anyway, and their distribution company, Universal, is owned by Seagram's. "We're working for bootleggers," says Jay. "Sometimes, I was younger, I'd see a band that ryiight have a song in a commercial, and I said 'Ah hell, what'd they do that for,' but you never know what the real reason [is], it's like maybe one of the guys in the band has two sick kids...I would never judge anymore why anybody would do something like that for the money." Patrick calls this "a different era for us," both musically and thematically. He says some of the band finds it frustrating to play the same old songs over and over again. The old ones are too simple, he says, and remind them of things they don't want to be reminded of. But there's other things to think about. "You wanna balance it between what you wanna do and what you think the people who are paying 25 bucks to get into the show wanna hear." Soafter^ long wait.Sloan cornea back onstage, a bit sheepishly, for an encore, and Jay starts to sing "The Lines You Amend," the first of three songs from One Chord to Another. Sloan knows these songs well. Chris jumps up and kicks the air in time with the last riff of "The Good in Everyone," flashing the Kiss sticker on the back of his bass. He doesn'tfall over this time, and he flashes the crowd a quick smile before he jogs off stage.«> -page friday—the ubyssey magazine*friday, octot allJAZZUlP b ss WITH THE KEN ALDCROFT TRIO +1 at the Havana Sept. 26 by Lawrence Chew It was a jazz quartet without a bass. That kind of caught me off guard. I mean, the bass is what keeps the groove going, right? Well, I was wrong. But, when you've got as talented a songwriter and arranger as Ken Aldcroft, you don't need a bassist. His exceptional guitar playing was only improved by Bernie Arai's extremely capable drumming. Helping the melodies along and providing some fantastic solos were Brian Harding on trombone and Graham Drd playing both tenor and soprano saxes. Once collected on stage, these four musicians took to some avant-garde jazz. Let's not forget that this was a poetry reading too, and Kris Elgstrand provided a series of fresh and original poems, as well as stories that allowed both verse and music to play with one another on a dark, simple stage. With performers Michael Gordin Shore and Kwesi Ameyaw assisting him at the microphone, the poetry came to life through Aldcroft's perfect complementary score. It started with a Latin feel played to Elgstrand's poem, at the show's namesake, "What Goes". A piece about love, love lost, love being found again and then love being stalked. "If you hear footsteps—don't worry, they're mine." Unfortunately, his poetry wasn't always spoken with the same care and beauty as the words deserved. At times it even garnered uncalled-for laughter (although it was from that one guy who always manages to sit at the front and act like a total dork—come on, you all know the type). Other works by such Jazz legends as Duke Ellington and Charles Mingus were also read. Mingus' "Scenes in the City" was spoken to a cool, Harlem sound and the words were uttered: "Jazz is beautiful, not pretty like girls in magazines." It wasn't until the author read his own work that I appreciated the quality and ingenuity of his writing. The realisation came with the reading of "Ted's Head". It was like Dr. Seuss, but on psychotropic fungi... and read to jazz. The other piece he read was entitled "The Big Purchase". Just as brilliant as the previous poem, it can be considered the pessimist's anthem. Elgstrand found a perfectly logical, and yet philosophical, way to prove that sadness is far more reliable than fleeting happiness, which can leave one at any moment. The final piece of prose for the night was incredibly and wonderfully fitting. "Snake Hips" is Elgstrand's story of a boy who refuses to use his bones and grows up never using them, remaining completely listless. It reaches a point where both his mother and father refuse to move as well. That is, until an old, scratched up record with the most beautiful music is able to inspire both parents to dance. Then the boy discovers that his undiscovered talent is his ability to dance like no other because of his bones. To bring emotion to the story, Aldcroft wrote a brighter and more traditional song that had a rousing feel and an infectious melody. This last performance was TRICKY At the Rage Monday Sept 27 they do the trick by Andrea Winkler An Evening of Quirky and Beautiful Songs feat. Lee Sun at the Vancouver East Cultural Centre Pf* Sept. 27th ■ When you go to see Tricky, it is definitely for the atHlOSPheCB. Blue lights made hazy by all kinds of smoke; bass so loud it arrests your legs. And then, there's Tricky, who played the i. Rage on Monday. After opening the set with a rendition of Blondie's "ooo~ : ," he took off his shirt and for the rest of the show 1 marveled at the energy jolting the man's body. He managed some pretty funky backward stretches while his head shook spasmodically from side to side. One of Tricky's live performance trademarks is to keep his back to the audience; you basically watch him shake for two hours and, periodically, have him seek refuge behind a speaker. His audience engagement consists of "thank you very very much" after every couple of songs. I have talked to people who get annoyed about this but I figure, it's Tricky, and he's a genius. He can do whatever he wants. Thankfully, Tricky played quite a few tracks from his older albums Maxinqaye and Pre-Millennium Tension, including "Vent" and Public Enemy cover "Black Steel" (always a crowd pleaser). His backup vocalist sang beautifully, complementing Tricky's guttural Brit laments. Not to mention a VIP rap interlude by Mad Dog that put the crowd in motion. There were times when Tricky stretched songs for over ten minutes mostly riding the bass beats inserting the occasional "I'm a bad boy" or "I'm just passing time." These had a mixed effects on the crowd. Some were really into it, like the guy beside me who was flailing so hard he almost took out a few people around him, while others seemed bored and headed for the bar. The show was definitely enjoyable' and I've been humming Tricky tunes ever since.♦ FUNK SOUL SISTER: Tricky's female counterpart shook up the Rage Monday night, melanie streich photo Ph ■ "i by Ron Nurwisah __ Lee Sun is like that funny, always smiling friend ^J know the one. The one that makes f-% your day by doing something just a ^■■4 little bit off-kilter. That's the • pH. impression I got when I watched ^■■4 her show on Monday at the inti- p.«»«««Hmate confines of the Cultch. -^|W^Jtollertalading onto the stage in a You a perfect way to show how Aldcroft and Elgstrand achieve a wonderful marriage between music and the spoken word.* pink ballgown, Lee Sun proceeded to charm the audience with her own brand of unique and upbeat music. C There are shades of other female singer-songwriters in Lee ^-Sun. I'm reminded of Sarah Jy McLachlan and Tori Amos. But Lee Sun is much happier than the fore-mentioned artists. She manages to keep the amount Cof tortured, existential angst to a minimum, preferring instead to be nostalgic and ultimately light-hearted. These are fun songs, the [ft kind that leaves you with a —ul smile on your face and tap- Lj ping your toes. One particu- —jlar song spoke of "clouds ^J which I painted when I was mfive" while another reminisced about two young lovers "playing dumb." But just like your funny friend isn't perfect, unfortunately neither was Lee Sun's show. Her on-stage banter, while at times entertaining, more often became lengthy and at times even annoying. Lee Sun's songs, too, were somewhat uneven, with some genuinely interesting but others in need of a good once over (or even left out of the show all together). Still, it would take a curmudgeon not to like Lee Sun. Her brand of music is a balance. Catchy, without becoming pop, and, fortunately, not infected with a bad case of melodramatic angst, the sort that ruins oh so many aspiring singer-songwriters. And Lee Sun herself, kind of like that quirky, cheery friend simply grows on you. ♦ >, .October 1, 1999 • page friday—the ubyssey magazine ■ Breast loses raison d'etre UBC Student Special for UBC's nearest laundrette! rcmnixactJiH 3496 West Broadway 2 blocks East of Alma Phone: 739>-0598 I Just clip this coupon and... Wash Your .laundry | for FREEl Come enjoy our- oozy c2d gig Cafe Atmosphere and djh Friendly Sei-vice! <$** _ We offer professional (0T Dry-Cleatning and I Drop Off- Open 7 Days a Week (T) I from 7am to lOpm. Easy Parking in toack. I This coupon entitles you to one free wash (one machine) per customer. | Offer expires 30/11/99. | "7 pm and I'm jogging through Pacific Spirit park. A big, scary owl comes onto my HEAD! I run. I hide under a tree. I am bleeding. The owl waits. I wait. It gets darker. I am scared. I decide to run for it. I grab a stick and run to another tree, yelling: AAAAAAAAAh! The owl swoops again. I sprint, swinging the stick over my head. I CAN FEEL IT BEHIND ME, CLOSING IN! Then, my stick makes contact with the owl's legs, and it is gone. Running home, I almost get sprayed by a skunk." In the woods since 1918. DO YOU WANT TO MAKE A DIFFERENCE? BE A CANDIDATE FOR THE BC YOUTH COALITION The BCYC is looking for community minded individuals, aged 18 to 30, to run for municipal public office. Candidate positions for School Board and Civic Council are available throughout the Lower Mainland. Benefits Include: Salary $10 000-$30 000 per year »i Part-Time hours (1-3 meetings per month) Job Security (3 year elected term) Create government policy, gain contacts, improve your community Contact: For more information phone Mike Milat at 946-2139 or 686-2048 pgr or email us at youthcoaliton@hotmail.com. Respond soon. Positions are filling up fast. ^ m mgi w% IN BLOOM: Deb Pickman plays a woman dealing with cancer in My Left Breast. MY LEFT BREAST at the Presentation House Gallery through Oct. 3 (held over from the Vancouver Fringe Festival) by Jesse Boparai My Left Breast is an autobiographical monologue about a woman's struggle with breast cancer. As you may have inferred from the title, Susan Miller's script deals largely with her mastectomy, although the play focuses on a number of other things. The play has won praise and awards since its first staging in 1995. Last week, Deb Pickman was given a Vancouver Sun People's Choice Award for the Fringe Festival. Unfortunately, I disagree somewhat with popular sentiment regarding My Left Breast. Something was missing in the show I saw on Sunday. During the performance, I was unable to keep my attention away from the slow-moving hands of my wristwatch. Susan Miller originally wrote and performed this piece as a way of sharing her experiences with breast cancer. Performed by an ordinary actress, My Left Breast loses its raison d'etre and becomes another piece of "cod liver oil" theatre, which we are forced to ingest because it's good for us. Without the author's presence, this play loses a vital link to the audience, and as a result it becomes harder to overlook its weaknesses. My Left Breast impressed me very little. The script has a literary structure, so much of the play sags. I am not saying the script is without merit (it contains some sharp writing); rather, I think it has few purely dramatic merits. As for Pickman, a UBC grad, I cannot agree with those who gave her the People's Choice Award for best actress. She did a splendid job as a performer, but not as an actress— she represented a character without acting a role. I don't know what to say about this show's director, Renee laci, as I am not sure what she did with this production. I realise this review violates our modern code of etiquette, in that I have chosen not to praise this play, even though it addresses several important issues, including breast cancer. I agree with many of the views and ideas expressed in this production, but watching this play was no fun. You may well want to spend $10 to see My Left Breast, but I'd advise you to donate that money directly to the Canadian Breast Cancer Foundation and go watch a real play instead.** A little light drama BABEL RAP AND PLAYWRITING CLASS at the Vancouver Little Theatre runs until Oct. 3 THE ILLEGAL by George Belliveau "We're gonna get to Heaven anyway, when we die, aren't we?" asks one of the characters in Babel Rap. A new, young Vancouver theatre company stages two short one-act comedies by well-known local playwright John Lazarus at the Vancouver Little Theatre. The first play, Babel Rap, features two workmen debating their purpose in life as they build a tower to heaven. Their suppositions about God and how we fit into the grand scheme of things generates some humorous and philosophical dialogue. The following play, The Illegal Playwriting Class, unfolds in a doctor's office. An all-knowing and lusty doctor/playwright offers lessons to a young woman when suddenly conflict arises in the presence of her husband. Both plays are filled with witty dialogue, and the actors' energy provides reasonable entertainment for its audience in the basement theatre. While being in between jobs (the life of most actors), actor Stefano Giulianetti decided to "hire himself" and create his own theatre company— Lucky 13 Productions. Not only does this young actor perform in the two productions, but he also directs, designs and produces them. Wearing all these hats makes for a challenging project, but in order to survive financially it had to be done. Actor Darren Wilson plays opposite Giulianetti in both comedies, and Eufemia Fantetti creates the role of Madame in The Illegal Playwriting Class. The acting is energetic and fast-paced but it lacks clear direction. In Babel Rap, both actors reached highs and lows yet the shaping of the piece seemed arbitrary, which failed to create clear dramatic moments or beats for the audience. The film noir acting in The Illegal Playwriting Class worked well to create melodrama, but once again the direction could have been more focused. When actors direct themselves it becomes difficult to be objective, and what appears to work from the inside does not always read as well from the outside. The three actors had some strong moments, although a great deal of the acting was the facial failing to take advantage of the rest of the body. Another character, God, which we never physically see in Babel Rap, is heard and only seen through some simple, yet effective, lighting and sound effects. For the most part the technical aspects are kept to a minimum, and it works well as the plays are rich in language and do not need a grandiose setting. The venue is cozy and the plays are short. So, as light entertainment after dinner, they may suit your purpose.♦ ■ page friday—the ubyssey magazine*friday, October Campus wide strike could be on the way Anti-abortionists to sue UBC by Daliah Merzaban A campus-wide support staff strike seems increasingly likely as mediation talks between the Canadian Union of Public Employees (CUPE) Local 116 and UBC fail to achieve any significant progress. After a second full day at the BC Labour Relations Board (LRB) on Tuesday, frustrated_ CUPE negotiators asked mediator Grant MacArthur to give them leverage to declare strike notice. "Things are procpeding very, very slowly," said John Geppert, president of CUPE local 116. "We, yesterday [on Tuesday] asked the mediator to book out, which would entitle us to give strike notice, but the mediator refused." Before giving strike notice, CUPE must first ask the mediator to submit a report to the government, or "book out." The union can then give 72 hours notice that a strike or lockout will be declared. Geppert said the mediator's job "is not to stonewall our ability to go on strike," but added that there are still two days of mediation are scheduled for next week. In August, a strike vote for employees of Local 116—which represents the roughly 1,700 trades, technical, Food Services, custodial. Bookstore, and Plant Operations staff on campus- brought three quarters of the membership out to vote. Over 89.3 per cent favoured serious job action. Local 116 aimed itself with this strike mandate after 21 bargaining sessions with UBC to replace thc contract that expired on March 31 which yielded only four agreed-upon provisions. CUPE wants to prevent UBC from having an increased ability to contract-out jobs without first consulting Ihe union. Union members are also concerned with tho university's proposed new sick leave model, which includes plans for an annual bank ot throe days with a two-day unpaid wait period for illness. This proposal angers some long-term employees who enjoy the current model that is premised on earned time. Buan Moorluidd, a senior engineering technician in Psychology, labeled thc proposal "punitive" and "discriminatory" because, he said, management staff and faculty aren't restricted by similar rules, and it may lorce workers who are unable to afford a cut in pay to work regardless. Moorhoad wrote a letter expressing his concerns ||o UBC President Martha Piper earlier this month. Jim Horn, UBC associate vice-president ot human resources, defended the proposal in his reply to Geppert, saying thc model would "close the gap that now exists between an employee's accrued sick days and the six-month wart tor the University's long-term disability plan." The local would also like to achieve wages and benefit settlements similar to the rest of the public sector. BC's Public Sector Employers Council set wage Increases at O0-2 (zero per cent over the first year, zero per cent over the second year, and two per cent over the third year). Geppert said there's been some discussion in the university to restrict the increase to 0-1-0. He said other public sectors, although they've received the 00-2 settlement, have been granted other consessions, such as improved working conditions for nurses. "Wages have been limited, but other improvements and benefits have been significantly more than the wage guidelines, and that's what we're looking for," said Geppert. UBC officials could not be reached for comment by press time. Meanwhile, Local 2950—which represents the roughly 1300 clerical and secretarial staff on campus—will be heading to thc LRB on October 7 and 8. Yesterday roughly 275 members of Local 2950 Voted unanimously in favour of a motion to "work to rule," which means members will do nothing outside their specific job desciptions.<* by Nicholas Bradley and Daliah Merzaban The Genocide Awareness Project (GAP) has not yet come to UBC, but it is making its presence felt nonetheless. The Center for Bio- Ethical Reform (CBR), which organises GAP, intends to file a lawsuit against UBC over what it perceives as the unfair demands the university required CBR to fulfill in order to bring GAP to campus. "It's very troubling to us that Canadians, in significant numbers on this campus, are having difficulty understanding that there can be no social reform unless there are rights of free speech that mean something, not just hypocritical rhetoric," said CBR Executive Director Gregg Cunningham. The university has not yet received any notice of legal action, according to UBC Vice President Students Brian Sullivan. "The university's position continues to be that the process [it has] taken here and the conditions that were required were both reasonable and necessary. And if we can't agree on something and they wish to petition legally, we have no hesitation on taking the matter on that basis," said Sullivan. "In the meantime, we continue to have the possibility of discussing with them the conditions under which that particular display might be on campus." The GAP display consists of large, graphic pictures that equate abortion with acts of genocide, including the Holocaust. The university requested that GAP be held on Maclnnes Reid, behind the SUB, in order that students who did not want to see the display would not have to. Cunningham argues that this detracts from GAP's impact. "The students on this campus who most need to know what abortion is and does are certainly not going to go out of their way to see that message," he said. In addition, UBC required CBR to pay its own security costs, up to a maximum of $15,000 a day. "The conditions [for coming] arise out of our concern for every- GAP: Gregg Cunningham (left) promises that the Genocide Awareness Project will eventually come to UBC despite opposition. On Wednesday UBC students protested against GAP (above). TARA WESTOVER PHOTOS body's safety, and to make sure that the presentation is appropriately mounted," said Sullivan CBR has also implicated the Ubyssey in the matter. "The lawsuit begins with the lack of journalistic integrity with [the Ubyssey] reporting scurrilous lies about CBR that cause the campus to feel threatened by this project in ways that would never have been possible if the paper wouldn't have uncritically reported that we were professional agitators," alleged Cunningham. "All of this scurrilous lying and rumour-mongering that tho paper fed right into by leaving people under the impression that we were racist, Nazis and all of that sort of stuff, I think contributed in some measure to the university then overreacting and saying we're going to require some pre-payments, an enormous security charge." Meanwhile, a press release from CBR claims that "this nearly hysterical security assessment may have been influenced by a campaign of vilification which smeared CBR in the campus newspaper." Sullivan denies that media reports played any part in UBC's decisions. The university had obtained "more than adequate" information from talking with Cunningham, CBR, and other universities, said Sullivan. "It would be my view that the university has relied on, if you will, its own analysis and exploration of things. In no way, would it seem to me, that the university was relying on media reports in order to determine the approach here." CBR also notes that the Alma Mater Society (AMS) is likely to be named in the lawsuit because it revoked SUB room bookings made by the Lifeline club to host GAP-related events. Nathan Allen, AMS coordinator of external affairs, said that the AMS hasn't done anything wrong. "I don't see how making a stance for choice warrants a lawsuit against us," said Nathan Allen, AMS coordinator of external affairs. The AMS passed a motion opposing GAP's coming to UBC, but according to Allen, the motion supported only legal means of opposition. Cunningham promised that GAP will eventually come to UBC. "These pictures are going to be displayed on this campus every day from the point at which the project launches because we want to say to the students and the administration that we respect your rights and we expect that you're going to respect ours." Meanwhile, about 200 people attended an anti-GAP rally on Wednesday, in front of the Goddess of Democracy. Speakers at the rally drew attention to women's legal right to abortion. "We fought long and hard for the right to choose here in Canada," said Joy McPhail, MLA for Vancouver-Hastings. Rally organiser Erin Kaiser of Students for Choice, said that "the issue is to keep [abortion] safe, free, and accessible." Christine Singh of Medical Students for Choice emphasised the issue of safety. "Within the medical community, there are those of us who care and are going to work really hard to keep abortion safe," she said. Protesters also attended Wednesday night at a campus lecture given by Cunningham to a two-thirds full lecture hall. Fifteen demonstrators picketed outside the entrance to the room, handing out leaflets and coat hangers. "The definition of genocide is being expanded all the time," Cunningham told his audience. Both events had a strong security presence. Campus patrollers monitored the rally, while RCMP and campus patrol were on hand during Cunningham's lecture:* 1.0 friday, October 1, 1999• page friday—the ubyssey magazine- n/u - J «•' - / S*A THE AMS — COMMITTED 70 S?EmiHG> WRi T^S^ I : \\ffiu dL W/<. V. _A A printer a sherpa, and some spillage With referendum time once again rearing its fee-raising head Now, to chalk all that missing beer (bought with your student the people who work on the second floor, directly next to the and hatting its fee-raisins? evelashes at starvine students dollarsi to sIoddv Dourine assumes that the oourers have all courtvard. That would be...urn...the AMS. Yav for spending! With referendum time once again rearing its fee-raising head and batting its fee-raising eyelashes at starving students everywhere, the financial acumen of our beloved Alma Mater Society (AMS) is coming under careful scrutiny once again. When you (the student) pay your tuition fees, the AMS (your student society) (resume-padding student politicians) (and hangers-on) takes $58.50 (bastards) and uses the money (those bastards) to do whatever it is the AMS does between resume-formatting. So what do they spend their (your) money on? (Now, before we get going, don't pile the blame for any of these at the feet of the Director of Finance, Karen Sonik. She got the budget in this year roughly seven hundred years before the usual budget-submission time. It was so early that it came on the heels of the previous budget: the so-called "Eisenhower Budget" passed in May.) So where, oh where, does the money go? Well, a lot of it goes to "spillage." "Spillage?" you ask with various dirty, dirty thoughts running through your mind. Don't bother to pretend otherwise. Sickos. Anyway, what "spillage" refers to is the amount of beer that went unaccounted for at the annual AMS Welcome Back Barbeque. How much, you ask? How does $8,000 sound? Well, estimates have ranged as high as $10,000. So at roughly $150 per keg, that makes about...oh...53 kegs. Now, to chalk all that missing beer (bought with your student dollars) to sloppy pouring assumes that the pourers have all the motor control of a geriatric baboon; we probably can't actually assume that. Read that again, and as you read, imagine pouring 53 kegs of beer out into the sun-browned grass of Maclnnes Field. Try not to cry. All that beer wasn't spilled. It was given to friends and friends of friends by people who are no friends of yours. And if they are your friends, and you didn't get free beer—if we were you, we'd be pissed. Go give them a piece of your mind. The "fun" with money goes beyond friendliness (nepotism?). The AMS just bought a printer. Have you ever bought a printer? We have. The printer that the AMS bought cost about $15,000. For that amount of money, they'd better be able to print mighty convincing twenty-dollar bills, or at least three-dimensional posters. How about the courtyard renovations? Do you know about them? They're great! The courtyard on the second floor on the SUB was leaking, and they decided to replace the whole damned thing. Coming soon: mirrored pools, many benches, and probably some sort of rollercoaster—after all, they're dropping $120,000 on it. To be fair, the university does chip in $220,000. Nice to know those tuition fees are working hard, isn't it? Of course, the courtyard is likely to be used chiefly by the people who work on the second floor, directly next to the courtyard. That would be...urn...the AMS. Yay for spending! Speaking of spending (and let's be honest—we're doing nothing if we're not speaking of spending), those of you who've prepared budgets before know the sweetness of the "Miscellaneous" line item. Well, the AMS has "Miscellaneous" down to a tee. A very expensive tee. The accumulated costs of the Miscellaneous money spent by the AMS amounts to a tidy $9,045.31. Luckily, they'd budgeted $11,944. Last year's AMS president exceeded her $100 Miscellaneous budget by about $1,070.78. Roughly speaking. What does that kind of money go towards? Burro rides all over campus? Your own personal sherpa? Diamond eyeglasses? The list goes on. The executive chairs cost somewhere around $1200 each, according to one comfortable exec. The executives themselves go for a mere $16,000 per year. Dollar for dollar, we'll take the chairs. Mind you, the Ubyssey costs you $5. But that entails a ton of benefits. Not the least of which are editorials like this one. Plus, you can win prizes. The AMS doesn't have prizes. So when you see them AMS suggestion boxes, tell 'em how you feel. Or rip those suckers off and sell 'em outside the Ivanhoe Hotel for beer money. We trust you to do the right thing.* PAGE FRIDAY COORDINATING COPY Bruce Arthur vacant DESIGN Todd Silver SPORTS Naomi Kim FEATURES Tom Peacock PHOTOS Tara Westover CULTURE NEWS Duncan M. McHugh Nicholas Bradley Jaime Tong Daliah Merzaban COORDINATORS cup Nyranne Martin web Flora Graham research vacant letters vacant 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. All editorial content appearing in The Ubyssey is the property of The Ubyssey Publications Society. Stories, opinions, photographs and artwork contained herein cannot be reproduced without the expressed, written permission of The Ubyssey Publications Society. Letters to the editor must be under 300 words. Please include your phone number, student number and signature (not for publication) as well as your year and faculty with all submissions. ID will be checked when submissions are dropped off at the editorial office of The Ubyssey, otherwise verification will be done by phone. "Perspectives" are opinion pieces over 300 words but under 750 words and are run according to space. "Freestyles" are opinion pieces written by Ubyssey staff members. Priority will be given to letters and perspectives over freestyles unless the latter is time sensitive. Opinion pieces will not be run until the identity of the writer has been verified. It is agreed by all persons placing display or classified advertising that if the Ubyssey Publications Society fails to publish an advertisement or if an error in the ad occurs the liability of the UPS will not be greater than the price paid for the ad. The UPS shall not be responsible for slight changes or typographical errors that do not lessen the value or the impact of the ad. EDITORIAL OFFICE Room 241K, Student Union Building, 6138 Student Union Boulevard, Vancouver, BC V6T 1Z1 tel: (604) 822-2301 fax: (604) 822-9279 email: feedback@ubyssey.bc.ca BUSINESS MANAGER Fernie Pereira ADVERTISING SALES Jennifer Biley ADVERSISING DESIGN Shalene Takara BUSINESS OFFICE contributions Room 245, Student Union Building advertising: (604) 822-1654 business office: (604) 822-6681 fax: (604) 822-1658 At once the roof crashed in, bringing Tom Peacock, Todd Silver and .Jenn Gardy crashing in, with a substantial amount of alcohol. Bruce Arthur was cutting Nicholas Bradley's toe hair and yelling at David Jurasek to put Ron Nuirwisah and George Belliveau onto the front burner. Tristan Winch walked in with a wrench and fixed Eve Moreau's tricycle wheel. Laura Blue (when the roof crashed) was talking to Lisa Denton about the talking gopher Dan Silverman. Sarah Morrison was drinking tequila with Duncan McHugh and shooting elastics at Lawrence Chew and Jesse Boparai. Andrea Winkler and Melanie Streich were singing the klingon opera along with Tara Westover. Doretta Lau stole Jaime Tong's hula skirt and made Jeremy Beaulne wear it and dance around Regina Yung and Mathew Smith. Naomi Kim and Daliah Merzaban were holding the blender down in the kitchen when the roof fell. PAGE FRIDAY » ■ page friday—the ubyssey magazine*friday, October? SHRUM BOWL XXII Who: The University of British Columbia Thunderbirds (3-1 in CIAU Canada West) vs. Simon Fraser University Clansmen (2-1 in NAIA) Where: Swangard Stadium When: Saturday, October 2nd. 7pm. The Dial: CiTR 101.9 The Skinny: Although this game means nothing in regular season standings, this annua! grudge-match is a game of pride, pitting the best football players in British Columbia in a battle to the finish, at least for a year at a time. The Series: 10-10-1. Last year, UBC won 11-9 at home. Over the past four years, UBC and SFU have each won a game at home and away. The Rule Book: This year's Shrum Bowl will feature American (four-downs) football ruies. The rules alternate according to the venue. Key Players for UBC: Defensive end Tyson St. James, who leads the CIAU in sacks and safety Dan Rootes, who leads the CIAU in tackles, are both worth watching. Linebacker Stewart Scherk, who has been out since the beginning of tlie season with a bad knee, will also be a welcome return in his first game back. Key Players for SFU: Quarterback Terry Kleinsmith and linebacker Kent Ring, come with experience, having sent SFU to two Shrum victories in the past three ^^^^^^^^^^^^^^^^^^^^^^^^^^ The Prediction: SFU is sure to want the trophy back from UBC, but UBC is on a roll. The only question is how much UBC will win by. UBC 18 SFU 9 "Charity" Cup is anything but HARD-FOUGHT ALL THE WAY but UBC's game ended early, tara westover photo by Naomi Kim Unlike the name of the game, the 16th annual Charily Cup soccer match between UBC and the Simon Fraser University Clan promoted more negative feelings than anything else. A questionable red card given to midfielder Aaron Keay for a dangerous tackle at only 9:14 into the game marred what could have been an exciting game at Swangard Stadium on Tuesday evening. The SFU Clan ended up winning 2-0. "It pisses me right off that we lost," said visibly upset UBC head coach Mike Mosher. "The referee ruined the game within the first 10 minutes...[The penally] certainly wasn't a red card." And except for the referee, the views of the call, in which Keay was deemed to have intentionally brought up his cleat in the tackle, were unanimous on both sides of the pitch. SFU head coach Keith Watts agreed with Mosher. "From my viewpoint, I'd say it was a yellow card or a caution at worst. It would have been quite a game had that not happened." From the start, UBC pressured the Clan and owned the first half. Playing to the familiar sounds of UBC hecklers, provided by the women's soccer team, UBC kept SFU goalkeeper Steve London busy with several solid shots. Dangerous up the sides were the speedy striker David Wong, who led the team with 4 shots, and midfielder Kasra Haghighi. "They played better than we did. Seriously," said Watts. "I told my players that at halftime." SFU took their time with the ball, executing sloppily at times, but after intermission, SFU's patience was rewarded with a free kick just outside the 18 at the 53rd minute which resulted in the first goal of the game by SFU nrdfielder Neal Yeung. SFU picked up their" game from there and although UBC physically controlled the game and continued several good plays up the field, they couldn't quite make it to the net, registering only 7 shots in the second half compared to the 11 by SFU. "When you score, it settles you down," said Watts. SFU forward Tomas Ernst made it 2-0 in the 83rd minute off a rebound from Yeung. The Charily Cup is the only meeting between SFU and UBC for the year, a game which means more than just winning and losing. "[The game] means a lot for pride without a doubt, playing against crosstown rivals," said Mosher. The early penalty put a shadow over the game which showcased "one of our best efforts as a team this season," said Mosher who made six substitutions throughout the game because the players were running so hard. "The only silver lining is that it might have brought us closer together as a team." The Thunderbirds, 3-1 in Canada West play, continue their regular season play on the road against the University of Victoria Vikes on Friday.* Shrum XXII matches Prepchuk's past and present by Naomi Kim SFU and UBC. One on the hill, the other on the point. One in the National Association of Intercollegiate Athletics (NAIA) league, the other in the Canadian Interuniversity Athletic Union (CIAU). One coach in his 17th year, the other—a former SFU quarterback—in his first. One team uses American rules, one uses Canadian. One team finished last season 3-6, the other 6-3. Only one annual meeting between these teams, and the all-time record is deadlocked at 10-10-1. It couldn't be any better—or any closer. Shrum Bowl '99. Let the action begin. The 22nd annual grudge match, otherwise known as the Battle for BC, takes place this Saturday at Swangard Stadium, the home of SFU football. But this site is not a disadvantage or unfamiliar territory for the Thunderbirds. Although the rules change every year depending on the location—American rules at Swangard, Canadian rules at Thunderbird Stadium—UBC has fared quite well away from home, winning two of the last three meetings at Swangard. But history and records mean little—the coveted Shrum Bowl trophy has jumped from one team to the other regardless of where the game was held. And this year is no different. This will be UBC's quarterback Shawn Olson's fourth Shrum Bowl, and he's not too worried about SFU's home advantage. "Other than the rule changes, I don't think it's going to be a big difference where we play. It's still in BC, we're still going to have a lot of fans there and it's kind of nice to play somewhere different than Thunderbird every single second weekend." Though this will be UBC head coach Jay Prepchuk's inaugural Shrum Bowl as the head of UBC football, he isn't a rookie with American football rules, SFU football, or even the Shrum Bowl. Firstly, Prepchuk's high school coaching experience comes as a major asset: high school football uses the four-down American rules. Secondly, although Prepchuk has yet to make a mark in UBC football, he is listed several times in Simon Fraser's football history. He quarterbacked for the Clan from 1979 to 1982, and nine of his school records, including the mark for total offence in a single season, still stand. His many awards include being named a 1982 NAIA All- Star and the 1980 Shrum Bowl MVP. On the other side of the gridiron, SFU head coach Chris Beaton is also prepared for the game. He is entering his 17th year as head of SFU football and he has been involved in all but one Shrum Bowl since it started in 1967. And looking back, Prepchuk isn't unfamiliar to him either. "I was an assistant coach at Simon Fraser in '79 when he first came to SFU as a recruit out of high school...I remember helping to recruit him." But shared ties have nothing to do with this year's Shrum Bowl. "This game is about the players and the teams," said Beaton. "It's really got nothing to do with Jay or myself. It's the players and the universities. So that's what it's all about." Both SFU (2-1) and UBC (3-1) are coming off road wins, but it should also be noted that both teams still have tougher teams within their respective regions to face. UBC's next two Canada West games include the 3-1 University of Manitoba Bisons and the conference-leading 4-0 University of Saskatchewan Huskies. These upcoming games for UBC, as well as tougher games in store for SFU, may serve to moder: ate the intensity to which the two teams will play. Besides, both teams insist that despite its grudge match status, this is just another game. But this game is not just another game. "Everybody gets up for this one a little more than any other game just because it's a crosstown rivalry," says SFU fourth- year quarterback Terry Kleinsmith. As for this year's SFU team, they're "looking good so far...but [UBC] will be our biggest challenge to date," says Kleinsmith. Coming off of a huge 43-9 thumping of the University of Calgary Dinos last weekend, UBC has high expectations. "We're going to be coming in on a high and it'll hopefully carry over to the next few games and we'll put some major points on the board," says Olson, who despite being at four Shrum Bowls, has yet to play an entire game. It's been close so far, and it'll likely be close again. In records, between coaches, between players. And as for the game...well, see you on Saturday.* UBYSSEY winter voters: Brace AVrftair; Todd Silver, Tristan winch,Daliah Merzaban, Jaime Tong, Tara Westover, Naomi Kim, Nick Bradley, Duncan McHugh,Tom Peacock, Eric Jandciu, Cynthia Lee, Julian Dowling, Melanie Streich, Laura Blue, Lisa Den-ton, Michelle Mossop Copies Plus COPY B IMAGING CENTRE - Brilliant • High Res g-~ nruuam ftery Colour Laser Output Syalir£;£%soi%?^%ss from Windows QL Mac ll|i.l.UW.IMLJ.l«.l.».lll,Mai!IIJ!«.IIIHLAJil.l.l.lJ«U.l.LJI 1111.111-1 $1.75 ea.page in file [8''.x 11, each side] 90 ea. addtn 'I prints STOP! DON'T GO ELSEWHERE Discover the Friendly Competition! @ 2nd Floor, 2174 Western Parkway (above UBC Pizza) tel: 224-6225 U2LI ^October 1, 1999 • page friday—the ubyssey magazine - Featur Write Sub2 s are cool! one! SeeTom! I the.g ubyssey Over sized? That's OK. If you're ripe and ready then you're my main squeeze. For lemons only. laic's lemo mike shardlemonade. c om an opinion? we want T66Q"" back@ ubyssey .be .ca The Big Heat The 200-Year Story of Global Warming David Suzuki The author of TTie Sacred Balance and You Are the Earth. Gale E. Christianson Author of Greenhouse: The loo-Year Story of Global Warming Most people today consider global warming a contemporary phenomenon. For Gale Christianson and David Suzuki, it is not a recent development at all but rather an absorbing historical and scientific process intertwined with some two centuries of civilization and 300 billion years in the life of the planet. By illuminating how a scientific idea has gradually taken shape, they allow readers to make up their own minds as to its causes and consequences. Friday, October I5thr 7 pm Pacific Space Centre, 1100 Chestnut St. Tickets are $5.00 each. Advance tickets are available at the UBC Bookstore or at the door. Co-sponsored by: GREYJTONE BOOKS ^a^ UBC BOOKSTORE David Suzuki Foundation student tf1 <*<*<* you'll never look at a can of instant food ihe same way again *-§iliPi WHAT I DID ON MY SUMMER VACATION at the Design Arts Gallery Sept. 21 Oct. 1 by Regina Yung Hidden in the newly chartreuse bowels of Main library, the Design Arts Gallery is currently hosting one tast burst of summer inspiration. The title constant in a wildly diverse collection: all projects were done over the summer that were free of constraints imposed by class curricula or any required references to Seurat and Gericault. Everything from paint on canvas and 3-D pieces to a website and a 15-minute installation is present in the exhibit. Deciphering someone else's thought processes has never been simple, and trying to dig up every morsel of meaning in each work would be a major undertaking. Nonetheless, a few pieces stood out for me. Hyedie Hashimoto's "In Flight", at first IN FLIGHT: Hyedie Hashimoto does for butterflies what Hitchcock did for birds. glance a chaotic jumble of tiny squiggles and thick curves, resolved suddenly, miraculously, into butterflies. Rocky Huang's installation piece conjured images of zoos, while Grace Chan's live f.omic strip made an accessible memoir. Heather Passmore's crumpled black and white prints captured the incoherent emotions lying just beneath the women's expressionless face in "Making dinner for my ex-fiance"; the connotations in her can of instant food were powerful. Rob Sunderland's" digitally rendered playful gods and political rants, sadly not side by side for better comparison, wore a favourite. I like the layers of meaning he made through the juxtaposition- Wmdi^§t§0eM^^^^j§^ Art cm be difficult tu express. But from the evidence of these pieces, I would say the muse is alive and well somewhere in West Point Grey. Most were quixotic and a few were incomparably strange, but some had power, and long after I left Main they lingered, deft as butterflies in my mind.*» • • • •a-. I« •, » • ••■ ••• • « • «• • • toofr out, he's got a mile! poetry, music, and open miire night in the nation's artistic mecca, East Vancouver TONGUE STOMP at The Grind Coffeehouse Sunday Sept. 26th by Matthew Smith What do you get when you bring together a group of talented people for an evening without the restraint of competition, the clash of egos, or the desire to make money? An eclectic, collective exchange of ideas, that's what. Celebrating their one-year, one-month anniversary, the Tongue Stomp (on the last Sunday of every month) aims to provide a comfortable space for poets and musicians to come together and share their expression. The evening began with the poetry of Suzzee, who carried listeners halfway round the world. Each §||f poem wove together the story of her travels with voyages of self-discoveries. She expressed with herlfl HI words but equally with the emotions behind them and a stage presence that invited you into her world. With this, the evening was started on an open note and rolled forward. Hannah followed by reading some excerpts from her work in progress about the intimacies of male tofj I male friendships (thereby appropriating the male voice, as she called it), after which a band called Joe played! f two songs that shook the building with plugged-in acoustic guitar, drum kit, bass, and keyboard. The strong fvoice of the lead singer sailed clearly over the instruments that sounded like they were playing tag or hide-! land-go-seek together. The organiser of the evening, Jen Lamm, took to the stage next, bubbling with excitement that she could n't contain and released by constantly moving around the stage. She told the crowd that she had just learned § I to rhyme, which I and everyone there was oh-so-glad to hear. Her poetry rolled off her tongue and to your J§ ||ear with its own self-contained beat that made you want to get up and boogie, but then she would break HI into sweet lullaby. The band Perpetuem, minus one of their members, followed with an unplugged duo of cello and acoustic guitar. Their first song was a cover of "Only You," though they didn't know who originally wrote the song. They performed it beautifully, with Christina plucking her cello and Yaul's incredibly strong voice. They performed three other songs, each combining cello, guitar, and vocal talents. After a short break the stage was handed over to the open mike. This provided a collage of different styles, ranging from the pain and hope of the Downtown Eastside, to a tribute poem for Leonard Cohen's 65th birthday (which included the description of a sexual fantasy between the poet and Mr. Cohen). The open mike poets also ranged in degrees of stage experience, some commanded the stage while others stuttered with shaking hands. But no matter who it was on stage, they all felt the warmth of , the crowd and did what they love to do: express themselves. ♦"""@en ; edm:hasType "Newspapers"@en ; dcterms:spatial "Vancouver (B.C.)"@en ; dcterms:identifier "LH3.B7 U4"@en, "LH3_B7_U4_1999_10_01"@en ; edm:isShownAt "10.14288/1.0126249"@en ; dcterms:language "English"@en ; edm:provider "Vancouver : University of British Columbia Library"@en ; dcterms:publisher "Vancouver : The Ubyssey Publications Society"@en ; dcterms:rights "Images provided for research and reference use only. Permission to publish, copy, or otherwise use these images must be obtained from The Ubyssey: http://ubyssey.ca/"@en ; dcterms:source "Original Format: University of British Columbia. Archives"@en ; dcterms:subject "University of British Columbia"@en ; dcterms:title "The Ubyssey"@en ; dcterms:type "Text"@en ; dcterms:description ""@en .