@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, "2002-11-01"@en ; edm:aggregatedCHO "https://open.library.ubc.ca/collections/Ubysseynews/items/1.0126329/source.json"@en ; dc:format "application/pdf"@en ; skos:note """ rr. / *VO*JJ^ ■ -■'■if-- - *'^;^ - "*w "»'JT'3 a.' ~ "' *'"»-' ij*irT - .' ■-J-S + !?*Sm38? ^Jb^LtSE3^ wflA. ■flvEl*'' *■ S ••*?#£■ / la- J* ■ " ■""^ ~ ** ^ ■--*-* ^'. ■#4*$^ -1 a.* * C * % rat**-.*- - 1 5 J —' ■ 'i \\ .' -:■ i **■ ";'i**,.VH* \\ \\ ■.* . * ■ • ■ " '<■'. ""jl "^i ' i f 1 » t ■ I - <\\ \\ ,\\ % ■ > ^ / J - / 7 4£> v,-'^^; U!3 tit. - s ■*.J"U JV:I-. ^A im - ■ V* ss i-** ■ I _ ^-1 ^ ■ 1 u./ *■ * "x, C THIIISSUS: CULTURE: Amon Tobln live: •3l r :or HEWS: Some of us have kids UBC-AMS Parents Association seeks recognition. Page 8. SPORTS: Athletes in action Profiles. Page 3. EDITORIAL: Go team...maybe not. Why we pay so much to sports. Page 6. Concert review inside. Page 7. '■wj i a 1 ^1' ] * i *> K-1 :-i ■'*-?■ ■*■*'•'-1 ■:! n 1 r:-A -1 ?.% \\ C_-4 -'I ^7:::; V| JT c/ ./^ ,/ f III JMu/'.C-/7lKI a I1 . • * 1. 1 . - .- ■ 7 J .•>■■-- . . . . - 2 Jm ilR^3filiiiJPPIiliW^ PAGE FRIDAY Friday, November 1,2002 APPLICANTS WANTED TO STUDY PART IV. OF THE URANTIA BOOK. EARN S25.000: For details, visit www.eventodaward.com LEARN TO TEACH ENGLISH 4 WK F/T TESL Certificate Program or Sat. P/'T Program. $885. Thousands of jobs. Ph: 604-609-0411. FREE SCREENING OF FEMME FA TALE staiTing Antonio Banderas & Rebecca Romjin-Stamos. Tues. Nov 5, SUB Norm Theatre, 9:30pm. CALL FOR NOMINATIONS: MUSIC UNDERGRADUATE SOCIETY: Grad Reps (deadline: Nov 3) & Executives (deadline: Nov 10). Info: 604-292-6667 MARXISM & WORLD REVOLUTION: Break with the Pro-Imperialist NDP! Imperialism, the Global Economy and Labour Reformism. A Spartacus Youth Club Public Class Series. Nov 5, 6pm, SUB Rm213. Readings/Info: 604- 687-0353 CALL FOR SUBMISSIONS: UPROOTED ANNUAL LITERARY MAGAZINE. Max 3 poems (max 50 lines each) & 1 short story (max 1500 words) per submission.. Your name & contact info shown ONLY on cover letter. Send to: English Student Society (Buch Tower 397, 1873 East Mall) Due: Dec 9. No email submissions. Info: Esszineubc@hotmail.com SWING DANCE! Every Sat. at St. James Community Hall on 1 Oth Ave. 4 blocks West of McDonald. Beginner lesson @ 8, Student $4 only! 822-0124. START YOUR OWN FRATERNITY! Zeta Beta Tau is looking for men to start a new chapter. If you are interested in academic success, a chance to network and an opportunity to make friends in a non-pledging Brotherhood, e-mail: zbt@zbtnational.org or call 800-431- 9674. LOW COST REPAIRS TO COMPUTERS & all electronic equipments. Free pick-up & delivery. Free estimate. Alan 604-879-0290 EAT ALL DAY & MELT AWAY. New Weight Loss Plan. Call 403-935-5539 Athletics and recreation budget revealed CLASSIFIEDS Looking for a roommate? IIS j^isometwiiji IIIy llillp^tlilaiiii announcement to make? iJf^aMlliiiiiiS |i|i|a|p||g(|g| For more information, visit (basement! or call 822-1654. FHJMSOC All films $3.00 films .1 .SI Fri Nov 1 7:00 Reign of Fire 9:30 Austin Powers Goldmember 12:00 Rocky Horror Picture Show ($5) Sat Nov 2 - Sun Nov 3 7:00 Reign of Fire 9:30 Austin Powers Goldmember WlD \\i>\\ li - I III KS Niw 7 ' im Pi simip.iI >■ v.- ■1 M) 'lll'l XSpM-Dl'l -I.} by Sarah Conchie SPORTS EDITOR Every full-time student at UBC, regardless of their athletic ability or interest, paid $154.91 directly to Athletics and Recreation this year, as well as $21.00 through the Alma Mater Society (AMS), to support the only fully independent university sports program in Canada. As an ancillary, Athletics and Recreation doesn't get any money from the university, aside from the occasional grant for special projects. Instead, funding comes through student fees, endowment funds from private donors, fundraising and user fees. When tuition was raised by 21 per cent this year, Athletics applied a 19 per cent fee increase. $76 7,000 in new revenues was collected at the beginning of the winter semester. But according to Bob Philip, Director of Athletics, it's not enough The department has recently completed a core review of its services and came up with,a plan that includes increased non-student user fees, financial support from the university, and elimination of several varsity teams and full-time staff positions in an effort to control expenditures and increase revenue. The task force report, completed in July 2002, forms the basis for a multi-year business plan that has yet to be released. "We haven't presented anything to the university yet," said Philip. "There's a task force report, and while it's gone to the vice president, it hasn't gone beyond that It'll form the basis of what we're doing right now, so we have to let them handle it before we get into it." Linda Harmon, the UBC director of business relations and chair of the University Athletics Council, said it was too early to comment on the implications ofthe report Student fees accounted for approximately 55 per cent of Athletics's total revenues this year, and although the Board of Governors approved an increase in Athletics fees proportionate to general tuition fee hikes, Philip thinks that new money should be made elsewhere. "Students are already contributing their fair share," he said. Athletics took on the responsibility of managing all of the university's assets in 1994, but the rising costs of management and upkeep have prompted the department to reassess their role. "We're totally on our own right now. I guess the case we're trying to make to the university is that we not stay only on our own," asserts Philip. "We think that we should stay an ancilliary, but we're just trying to get some help on the facilities so that we can maintain them on a better level." UBC has five buildings, 16 playing fields and one artificial turf field where varsity athletics, intramurals, community sports and fitness take place year round. Some of those facilities, like the Winter Sports Centre, are badly in need of repair. The centre was assesed a $7.4 million repair price tag in 2001, of which only $2 million has been implemented. However, should Vancouver be awarded the 2010 Winter Olympics this July, the 2010 Bid Corporation plans to renovate the facility, turning it into a 5500- seat arena, which could double as a concert (and similar events) venue after the games. Other facilities, like the Bird Coop and the tennis centre, are self- sufficient, with an operating budget of just over $ 1 million per year. Then there are are the athletes. Approximately 600 UBC students are classified as varsity athletes, and most receive scholarships. Lastyear, Athletics awarded almost $400,000 in scholarship money to players. To qualify for a scholarship, an athlete must demonstrate "good academic standing" and "athletic ability." In return, they receive up to $ 1500 a year and various perks, including gym passes. That scholarship money comes out of an endowment fund estimated at $5.5 million. The goal of the varsity program is to increase that fund to at least $10 million, in order to allow athletes "to study in Canada while training and excelling in their sport." And as for the 30,000 odd students who've never participated in any form of university athletics? "It's not an old cliche to say that if you're physically fit, it helps you study and do a whole bunch of things," concluded Philip. "I think we have to provide those opportunities on the campus, and students definitely benefit by it The question is, should they pay the whole thing? I think that's the key point, that the university is opening up for debate now and that we're willing to discuss." ♦ tdaK<_Wrr Jtf On the eve of the 2002 National Championships, three UBC field hockey players have been named AU- S»Jt.aa?-.ffltfBiip...:: Canadians. Fifth-year sweeper Laura Balakshin and third-year midfielder Steph Jameson were named to the first national team, and Mo O'Connor, UBC's star midfielder, was named to the second team roster. The CIS Championships begin Saturday at St Mary's University in Halifax, where the Thunderbirds will battle to defend their 2001 CIS title. Cross country Ashland, Oregon has one of the biggest Shakespeare festivals in the world, but it's also the site of the NAIA Cascade Conference Cross Country Championships, where ten teams will run for two spots in the NAIA National Championships. UBC will have to compete with Washington's Northwest College (ranked first) and Eastern Oregon (second) to qualify for the championships, as well as SFU. UBC is currently ranked tenth in the confer- Volleyball After winning the first two games of the season, the women's volleyball team is ranked number one in the country this week. Longtime rivals the UVic Vikes are nowhere to be seen in the national coaches' weekly poll. Both the men's and women's teams open at home against the number two Manitoba Bisons, 6pm and 8pm Friday. ♦ #ft* UBYSSEY The sixth annual Vancouver Asian Film Festival is happening November 1-4 at Tinseltown. Showcasing more than 30 films from all over, there'll be something for everyone, we assure you. Check out the schedule at www.vaff.org. HALLOWEEN'S NOT OVER Hear chilling tales of Vancouver's ghosts with the Vancouver Museum's Haunted Trolley Tours until November 2. Ghouls for the whole family. Call 861- 6508 for details. A NICE THING TO DO Don't know what to do with your fairy wings or pumpkin costume? Green Thumb Theatre for Young People is collecting old Halloween costumes for adults or children to use in their theatre productions. Green Thumb is a local charity that tours BC elementary and secondary schools and performs plays about social issues such as bullying and racism. Costumes can be dropped off Monday to Friday, 8:30am-4:30pm at 1885VenablesSt MUSIC Local alt-folk-ish bands Jon Rae and the River and the Olden Days open for Winnipeg indie star Greg MacPherson. Pat's Pub, 403 East Hastings, November 2. Check for events listings every issue of Page Friday, the Ubyssey Magazine. PAGE FRIDAY Friday, November 1, 2002 by John Moon SPORTS WRITER Most would-be players who fail to make the team accept their fate and fade into the background. Not Ben Feist. When Feist first came to UBC, Coach Dale Ohman invited him to try out for the volleyball team. It wasn't a storybook beginning—Feist was cut and relegated to the junior league. Unsatisfied, Feist and a few other junior league players formed a group to practice harder and make the varsity team the next year. Amidst fierce competition, (only fourteen players made the team that year (compared to the current roster of eighteen). After a year of intense practice, just two juniors made the team: Tom Booth and Ben Feist. "We were just ecstatic," Feist recalls, at a loss for words. It was one of the greatest steps forward in his volleyball career—he had proven, to the coach and the team, but most importantly to himself, that he had the discipline and ambition to achieve his goals. That first, hard-won year on the team was a learning year. "A situation presented] itself, and I didn't know what to do," Feist admits. "I learned something at practice every day." Born in Saskatoon, Feist soon relocated to Kelowna. He grew up with two brothers and amicably divorced parents, alternating houses on a weekly basis. In high school, Feist played basketball, soccer and volleyball. In grade eight, by his own admission, he was the worst player on the team. But he worked at his volleyball, improving little by little every year, and by grade 12, Feist was one ofthe top players. "That's when I knew I had a future in vol- for leyball," Feist recalls. At the end of high school. Feist was still torn between basketball and volleyball. They were both sports that he loved and excelled at, but he also knew that at ,the college level, he could only commit himself to one. This decision was made easier when he took off for Okanagan University College. The volleyball program there was far better than the basketball program, and Feist chose volleyball. It wasn't a rash decision—Feist has no regrets about choosing the bigger nets. He still loves to play basketball and admits the call of the hoop is strong sometimes, but he has committed himself to volleyball and is determined to see it through. Initially impatient and eager. Feist has settled nicely into his position as power on the team. "It's not [important] what I do," he emphasises. For Feist, it's the team that matters. Right now, there are two other players competing for his position, both of whom are performing better than he can. Feist has no problem with this. "The goal is to win," he says. His participation in that winning aim, however, is often compromised by a recurring injury. Instead of gliding smoothly over the thighbone. Feist's knee cap rubs against it This causes intense pain and may even contribute to permanent damage. Feist has to keep it in check through physiotherapeutic exercise regimens. For an ambitious and driven player like Feist, taking time off from practice is not an option, though. "He tries to tough it through," Coach Dale Ohman remarks. "He wants to do so well." It's no coincidence that Feist's personal strengths also characterise the entire team. Feist brings cohesion and determination to the Thunderbird court, and as Ohman says, "Feist is one of our most supportive players. He helps run the team from the inside." Because of his knee. Feist is only expected to play occasionally in the next few games, putting in a few serves towards the end, but he wants the other players on the team to see the satisfaction he derives from contributing even that small amount. He also wants them to have confidence in their own contributions. "You can't do it without everybody," says Feist. But in his fifth and last year on the team, that sentiment can be extended, the team couldn't do it without Feist Each advance he has made in volleyball, from high school to college, junior to varsity, have served to make him one of the most mature and driven players on the roster. Cell biology and genetics seem far from Feist's mind as we turn to the topic of his future. Like many students at the end of their undergraduate degree. Feist is more than a little tired of school. Right now, he is contemplating going to Australia to play beach voEeyball professionally for a few years. And why not? At 23, Feist is at the peak of his career, with most volleyball players retiring around 2 7. After getting paid to play the game he loves for a few years, he is considering returning to school for his MBA, and maybe even getting into the business aspect of the biotech industry. What is most amazing about Feist has Utile to do with his sport, or his professional aspirations. His pure ambition reflects and rubs off on the team as a whole, and it is this * ■ / x- POWER PLAYER: Feist has spent five years on the volleyball team, nic fensom photo stmbition that Feist lives for. Feist fiedyet knows he has to set realistic goals, "Some day," concludes Feist, but in the back of his mind, that his "I'm going to be as good as I want goal for perfection hasn't been satis- to be." ♦ Full circle: UBC's biggest post returns by Rob Nagai SPORTS WRITER The Suave Dog Imperial is what he calls himself. Sitting in the stands ofthe War Memorial Gymnasium covered in sweat from practice, Brian Host recounts tales of basketball, academic misfortune and growing up in the suburbs of-'R- Town.' Host barely fits in the small plastic seat. At 21, six foot ten, and two hundred and fifty-five pounds, Brian Host towers over most—including his teammates on the varsity basketball team. His whole life has been about size. When he tried baseball and then football, nicknames like "butterfingers" seemed to be the only thing that stuck. But he started playing basketball in grade six with Athletes in Action-a Christian organisation, and hasn't looked back since. His first years of high school were at Palmer Secondary in Richmond—'R-town' as he puts it By grade eight he was six foot four. In grade ten he moved to Richmond Senior Secondary, and naturally played for the school basketball team, the Colts. Despite four years of experience, he didn't feel he was good until grade ten. "That's when I stopped growing an inch every five months. My feet stopped grow- t \\ \\ I* ' 1 ■* J*. > ! "*^ ■ ■ • i l.l' i' t / 3»r .- '■: -4 -V.. -'I - jf- -.-. ♦^ /"" \\ <. * BRIAN'S BACK: Host is up to his old tricks after a two year hiatus, nic fensom photo ing and I was able to wear in a pair of shoes." Currently he wears a size 15. Host is not new to UBC. After starting in 1999 and playing two seasons for the Birds, Host took a brief academic hiatus before returning to this year's basketball lineup. His rookie season, under then Thunderbirds Coach Bruce Enns, showed promise. Host talks about Coach Enns as if he is talking about a would-be father. Enns convinced him to come to UBC. "He's the main reason I came to UBC," Host says. "Bruce is an instantly likeable guy, really personable." And while Host recieved offers from several places in the United States, he was wary of getting a basketball-only scholarship, opting for the academic nature of UBC's athletic program. When Kevin Hansen replaced Enns behind the UBC bench, the atmostphere changed. Host describes Hansen as "all about winning," but says Hansen has breathed new life into the team. Host willingly follows Hansen's direction, but admits that there have been some rough patches. "Coach Hansen and I are working on our relationship. We had some personality clashes in my first season. We've.all got a lot to learn from him. He's our leader. Every time he steps on the court he is leading us. At the same time he has a lot to learn from us." At practice, Hansen is showing Host the T>aby hook.' It's clear that Host's size will be an advantage to the team, and he eagerly accepts his new role. "I have a job in here. It's to bang inside, score ten points, and free up guards [for shooting]." He grins, and puts on his game face. "Don't come in my house. I own the lane." >;•.■■ It hasn't always been so clear. At the end of his second year, Host was benched. His injury was not on the court, but rather in the classroom. After flunking a biology class, the university put him on academic probation, making him ineligible to play. That summer, Host reunited with an old crush from highschool. Sandra Gin had always liked Host, but felt their height difference, (she's five feet tall) was a little unsettling. A year later, it is Gin who has helped to provide an anchor in Host's life. She has helped him study through his harder classes and even taken classes with him. As Gin puts it, laughingly, "He does a lot better in the classes I take with him." Gin also introduced Host to Christianity. The two pray and attend church together and often after teaching Sunday school. Host teaches basketball moves to the students. As a member of the UBC Cheer Squad, Gin will watch most of Host's games this season. "Separation makes the heart grow fonder," says Host of his hiatus from school. "I was dying for a place to play ball. There are no gyms when you don't have a team. And you start to realise what you have lost That was one ofthe major reasons I started concentrating on my academics really seriously." The love for the game is clearly in Host's voice when he describes his time off. Brian Host has got a lot to concentrate on this year: a full course load, a season with expectations for the team to make the playoffs, and his loved ones. He also works part-time, at (where else?) Mr. Big & Tall, a clothing store for large-sized men. Whether you see him on campus battling underneath the boards, holding hands with his girlfriend, or studying when he gets the chance, Host is back at UBC for good. At six ten, he's hard to miss. ♦ k HfffWfe'saaBi^^ -j THIyUBYSSIY GIVEAWAY What is Dame Edna's real name? Answer this question and win a compliintaitary ticket to see: A NIGHT WITH DAME EDNA on FRIDAY, NOVEMBER 1, AT 8PM Come Lo die Ubyssey Office (SUB Room 23, in the basement) with your answer. i ve fpissed yen K^SUMS, don't ■#-J:.-Vr/s:.t4.».;la ;; *. r>.- x~. ■»' "» *■ "* ,. ?-"- -«»ft ■ --. ,i^\\p f'-y. . \\ .i,-**v» * *a* • '.. tit Mimiel Mgs' debut release .in the world-famous soul- fiil house label, Med Music. Migs* music leaves llie listener with an uplifted spirit^ a positie feeling or an expanded mind. Come to the Ubyssey Business Office for your chaflce to win a tad new CD by Miguel Migs! SUB Room 23 Behind the Arcade THEUBYSSEY GIVEAWAY La Serpenta Canta the legendary dlamanda galas returns to vancouver Saturday 9 November 2002, 8pm at the Vogue Theatre (918 Granville St.) To receive a COMPLIMENTARY TICKET, come to the Ubyssey Office (SUB Room 23. In the basement)! » IT » ^S\\ /••if*'«.;,"=..! .' ; the right way /?(/S & TUG in theatres now by Greg Ursic CULTURE WRITER Everyone, whether they want to or not, remembers their first job: trying to figure out what to wear to the interview, being worried about doing the wrong thing or having no clue about what to do. Now imagine the stress level for a bookworm with limited social skills, in a first job that involves managing sex trade workers. For Conrad—former professional student and recent university grad—having a job has, up until recently, been a novel concept. Determined to learn all he can, he decides that a great way to learn about business and develop his people skills is to manage a massage parlour. After all, how difficult could it be? All he has to do is answer the door, treat the customers nicely and ensure that the women follow the rules. Unfortunately for Conrad, the women have other ideas. In the battle between book smarts and street smarts, there are bound to be some nasty casualties. Before I proceed, there's a dirty little secret that has to be revealed—this is a Canadian film. But put your fears to rest— this isn't some esoteric bouncing handy- cam feature that can only be understood by fine arts post-docs. The title alone should be enough to pique people's interest and dispel anyone's concerns: the name refers to the service provided at the full-body massage parlours, or as it's known in the trade, 'a massage with a happy ending." Don McKellar, Canada's hardest-working actor, is brilliant as Conrad, deftly capturing the character's blunt shell-shocked naivete both in speech and actions. Conrad is so clearly out of his element that it is painful to watch as he stumbles from one situation to the next, clearly unaware of what he's supposed to be doing. One of the film's funniest moments is a take on DeNiro's classic "you talking to me?" tough-guy scene. McKellar (for whom the role was written) also manages to make Conrad's gradual transformation believable. Thankfully, the supporting cast does a terrific job as well. Tara Spencer-Nairn is commanding (think dominatrix) as Betty the brassy busi- ness-sawy street-smart leader of the group. While we get to see her tough exterior (figuratively speaking), Betty's soft and silly sides also peek out. Lindy Booth's Lea defines quirky as the happy-go-lucky member ofthe group whose interest in the business is driven more by her desire to feel a "skinship" with the patrons than cash. The last member of the group is Cindy, the newcomer played with a fresh wide-eyed innocence by Kira Clavell. Rounding out the players is the collection of customers who infuse the film with ribald humor. The interactions between the characters feel natural, which is essential, given the comedic nature of the film—if situations seem forced, they won't achieve the desired effect. Soo Lyu, the film's writer/director, achieved this through a well-written script and by allowing the actors leeway to improvise. As most ofthe action happens indoors, you would be hard pressed to guess that this film was made on a limited budget: the production values are solid, the editing is tight and the story is evenly paced. Add a lively soundtrack (with a touch of porno chic), punchy writing that flows well, interesting subject matter with a side of voyeurism, and you have the ingredients for a thoroughly enjoyable film. ♦ A story %& It wasn't easy, but director Soo Lyu is finally able to enjoy the "release" of her debut feature film, Rub & Tug. by Greg Ursic CULTURE WRITER Every screenwriter (indeed, probably most of the public at large) has what they think is the perfect idea for a film. Of course, putting that idea to paper, fleshing it out and actually getting someone to look at it is something altogether different. If you are a novice screenwriter who is lucky enough to get approval to turn your script into reality, you'll discover that that's when the real work begins. It is only natural to wonder how Soo Lyu, by all appearances an innocent, fresh-faced idealist, chose to do a comedy about the sex industry. It was pure chance according to Lyu, the writer and director of Rub & Tug, opening today. "I just accidentally walked into a 'rub and tug' [where male clients get a 'rub' (massage) and a 'tug' (hand job)]. I mean, I was looking for a Shiatsu massage and then I realised, I was in the wrong place and that's how it all got started." Lyu briefly talked with some of the women and knew she had to find out more about the business. Soon after, she discovered an acquaintance who knew an owner of a rub and tug, and she asked to speak with him. The owner, whose main business was a coffee shop, peppered his discussion with phrases like, "These fucking bitches, no fucking respect for me. Oh wait, I don't mean it that way, but these fucking bitches..." Lyu soon understood his comments: this could be the only segment ofthe sex trade where the power dynamics were reversed—the girls supplied the services and had the owner at their mercy. Lyu knew that the reversed viewpoint she had found could make a great film. "I realised it was film-worthy, that it was a new refreshing angle for the viewers," she said, "so that's what really got me started." In order to give the characters added dimensions and ensure that the story rang true, Lyu spent a year interviewing women who worked at massage parlours. "They need ed to know that I wasn't an underco i they could tell from the way I loo- ■ 1 wasn't." Once they knew her plans, the ■ i became excited. "I would call them up : if I could come watch them work i . • were like, 'We'll order some Chinese ' talk and talk,' [and] they keep tellii -' jokes," Lyu told me. "It was such aw ' ' I and amazing time I had doing the views and research." - While it was fun, the preparation ,.u ...„ an eye-opener. The more research Lyu did, the more surprised she was by what she learned about the business: neither the places nor the women fit anyone's stereotypes. First, most people would be astounded to know how prevalent the parlours are, Lyu told me. Second, virtually every place that Lyu visited (in Toronto) had legitimate business licenses and were registered with the city. Third, there were no bouncers or other security as 99 per cent ofthe time, the clients are there to get the service and get the hell out," Lyu said. This is the main reason the owners want to ensure that 'full-service' (sex) does not take place, as that attracts both unwanted elements and police scrutiny. Fourth, while Lyu saw a few women smoke pot, drugs did not play a role in any ofthe women's fives. Finally, all the women were there voluntarily and many had a clear plan when they went into the business. "[The] women are really business- savvy, and they do fids because they know it's really quick money." Once Lyu felt she had gathered enough material, she and Edward Stanilus—the film's co-waiter and producer—began the task of sifting through the research, pitching ideas and writing a treatment. This proved more challenging than they first thought. "We had so much material that I'd like to use but couldn't because it's such a disciplined art form," she said. When they were satisfied with their finished product they submit- *lt is only natural to wonder how Soo Lyu, by aU appearances a fresh-faced idealist chose to do a comedy about the sex industry. ted the final draft to Telefilm, and received funding in a record three months. They also pre-sold the Canadian rights to the Movie Channel and the Movie Network to secure additional funding. With a $400,000 micro-budget, they had to be creative. (By comparison the runaway indie hit My Big Fat Greek Wedding was made on a US$5 million "shoestring" budget according to the trades ads.) There was a running joke about the film becoming a Canadian- Lithuanian co-production—Stanulis' background is Lithuanian and using his contacts they were able to use a Lithuanian cultural centre for several scenes: the wedding, airport and detention center. Furthermore, the food was catered by his mother, the musicians for the wedding scene came from the centre, and the filmmakers borrowed props from the cen- they couldn't find the prop they needed. "We realised that this couch isn't working and we need another one, and we're shooting in two hours." So, they drove over to his parents' house and took their couch. They couldn't, however, borrow actors. Given their budget limitations, it would normally have been impossible to afford professional actors. How then were they able to use such established actors as Don McKellar and Lindy Booth? Stanulis explained: "ACTRA [Alliance of Canadian Cinema Television and Radio Artists] has a new program called CLIP where first-time directors can get union actors for as little as $10 a day." The actors in Rub & Tug earned $ 100 per day, with the program stipulating that the actors will receive a portion of the film's revenues. While this helped secure the talent (along with lots of begging to woo McKellar over to the project), it meant lengthening the shooting schedule from 18 to 24 days as one ofthe restrictions ofthe CLIP [Canadian Low-Budget Incentive for Writers and Producers] program is that shooting is limited to twelve hours per day. Even though the actors didn't have any of the perks they were normally accustomed to- all the actresses shared one dressing room- no one- ever complained and they remained consummate professionals. Indeed, Lyu feels that being in such close quarters may have helped with their performances as "they became good friends, and their chemistry came alive [on screen]." The finished product is a testament to their tribulations. I was curious as to how Lyu, who graduated from Ehwa University in South Korea with a degree in political science, got interested in filmmaking. "I got the first degree to make my parents happy and got it out ofthe way. And I thought, it's about time I did something to make me happy," she said, laughing. To that end she asked her two brothers, both studying in Toronto at the time, to take a look at film schools in Canada. "They did some research for me and [said] that Ryerson is apparently the best school, so go to Ryerson." She submitted a storyboard for an idea she had (she was an accomplished artist having inked a comic strip in Korea) and was accepted into the program in 1991. Lyu's transition was not an easy one, as language initially posed a formidable barrier. But not for long. Stanilus noted that "[in] her first year at Ryerson, no one wanted to work with her on her films, but by fourth year she was winning all the awards and everyone wanted to work with her." She has continued to win, as the only graduate of her class to complete a feature. Rub & Tug has played to sold out audiences at the Toronto, Calgary, Vancouver and Sudbury film festivals—extra shows had to added to meet the demand. It won Best Feature at the Sudbury International Film Festival and was voted as one ofthe most popular films at the Vancouver International Film Festival. ♦ 2*v •* jsjr. r^.*5* Name another movie that Rebecca Romyn-Stamos has starred in and receive a COMPLIMENTARY DOUBLE PASS to a preview screening of: Femme Fatale showing Monday, November 4, 2002 at 7:30pm at Tinseltown. Come to SUB Room 23 (in the basement behind the arcade) with your answer. UBYSSEY Giveaway THEUBYSSEY GIVEAWAY Where and when did Porgy and Bess first open? Answer this question and win a complimentary ticket to see PORGY AND BESS on FRIDAY, NOVEMBER 1, AT 8PM. Come to the Ubyssey Office (SUB Room 23, in the basement) with your answer. wmmimmmmmmmm. •.7^7 - V . ' - -.*,"-?X,fc?xSS © THEUBYSSIY FRIDAY, NOVEMBER 1, 2002 VOLUME 84 ISSUE 17 ^tifMfisfi:^i||xliiY PAGE FRIDAY Friday, November 1,2002 EDITORIAL BOARD ACTING COORDINATING EDITOR Michael Schwandt NEWS EDITORS Kathleen Deering Chris Shepherd CULTURE EDITOR Michael Schwandt SPORTS EDITOR Sarah Conchie FEATURES/NATIONAL EDITOR Duncan IV). McHugh COPY EDITOR Anna King PHOTO EDITOR Nic Fensom PRODUCTION MANAGER Hywel Tuscano COORDINATORS VOLUNTEERS Jesse Marchand RESEARCH/LETTERS Parminder Nizher The Ubyssey's the official student newspaper of the University of British Columbia. It is published every Tuesday and Friday by The Ubyssey Publications Society. We are an. autonomous, democratically run student organisation, and all students are encouraged to participate. Editorials are chosen and written by the Ubyssey staff. They are the expressed opinion of the staff, and do not necessarily reflect the views of The Ubyssey Publications Society or the University of British Columbia The Ubyssey is a founding member of Canadian University Press (CUP) and adheres to CUP's guiding principles. All editorial content appearing in The Ubyssey's the property ofThe Ubyssey Publications Society. Stories, opinions, photographs and artwork contained herein cannot be reproduced without the expressed, written permission of The Ubyssey Publications Society. Letters to the editor must be under 300 words. Please include your phone number, student number and signature (not for publication) as well as your year and faculty with all submissions. ID will be checked when submissions are dropped off at the editorial office of The Ubyssey, otherwise verification will be done by phone. "Perspectives" are opinion pieces over 300 words but under 750 words and are run according to space. - "Freestyles" are opinion pieces written by Ubyssey staff members. Priority will be given to letters and perspectives over freestyles unless the latter is time sensitive. Opinion pieces will not be run until the identity of the writer has been verified. It is agreed by all persons placing display or classified advertising that if the Ubyssey Publications Society fails to publish an advertisement or if an error in the ad occurs the liability of the UPS will not be greater than the price paid for the ad. The UPS shall not be responsible for slight changes or typographical errors that do not lessen the value or the impact of the ad. EDITORIAL OFFICE Room 24, Student Union Building 6138 Student Union Boulevard Vancouver, BCV6T1Z1 tel: 604-822-2301 fax: 604-822-9279 web: www.ubys5ey.bc.ca e-mail: feedback@ubyssey.bc.ca BUSINESS OFFICE Room 23, Student Union Building advertising: 604-822-1654 business office: 604-822-6681 fax: 604-822-1658 e-mail: advertising@ubyssey.bc.ca BUSINESS MANAGER Fernie Pereira AD SALES Karen Leung AD DESIGN Shalene Takara Halloween night and a]l is calm and sweet except lor the grizzly annual meat-beating in tlie basement of Hie SUB. This year Duncan M. McHugh jerked himselT diy as Chris Shepherd screamed in pain, wishing he had used hand lotion, or something. The Gonchie looked on in disgust as Anna King muttered away at her privates. Hewie Tuscano and Mike Schwandt pulled each other, chaffing bloodily with every stroke through the glory hole. Jose Velasquez bumped his head forcefully against the counter until it swelled and pulsed. Meanwhile, Nic Fensom played eerily with himself in the corner, while Sara Young watched on and rode herself raw. No one expected it, but during the kafuflle, Kathy Deering managed to rub Greg Ursic—the only witness to her crime—into a coma Rob Nagai was a really bad boy (I can't even tell you what he did), but Celine Asril and John McCrank were perfectly behaved in ihe midst of depravity. Through his bloody orifice, Tejas Ewing asked John Moon what the Dang he was doing with lhat cbainsaw. Unfortunately, Parm Nihzer and jesse Marchand would live to miss the whole event, or would they? MWAHAHA!!! Canadian University - Press Canada Port Saks Agmmant Nitpnbor 0732144 u 0) y? b \\>_Y UBC ATHLETICS BWD6ET COMMITTER 3J Go team.. .maybe not Is school spirit and funds forless than two per cent of the student population really worth $176 to each and every one of UBC's almost 30,000 full-time students? It sounds reasonable. Each student pays a little bit to maintain UBC's reputation as a top-notch athletic school. Each student provides a little bit for those who possess a certain kind of talent. We all pay a little extra to send the athletes on the road to represent UBC, and put money in the athletic coffers to participate in the myriad of intramural activities that happen every week. And the UBC Athletics and Recreation . Department is unique. It not only provides over 600 student athletes with training facilities, gear and the opportunity to compete and pursue school at the same time, but it also manages all of the university's recreational assets, paying for plant operations, upkeep and staff. And we can't forget about intramurals, which provide casual athletes and sports enthusiasts with the chance to get involved and stay fit. Athletics, in response to student demand, devoted an extra $ 115,000 to the intramurals program this year. With a budget of $1.1 million, intramural programs reportedly draw over 45,000 participants per year But $600,000 comes from student fees. And when $ 15,000 of that money goes to one-off events like a beach volleyball tournament, we start to wonder. Those same students that forked over the initial fee still have to pay admission to rah- rah varsity games like football and basketball. They also still have to pay substantial entrance fees to participate in intramurals, and drop cash to use facilities like the Tennis Centre and the 'Bird Coop.' (This is especially frustrating when the Aquatic Centre has a free gym and, despite being financed almost completely by student money, the Tennis Centre is used mainly by non-student residents of Hampton Place.) When it comes to performance, money doesn't seem to translate into winning teams. At the University of Victoria, students pay $48 per term. Along with Simon Fraser University (which has switched over to the CIS league from the NAIA for most of its major teams), UVic has remained a dominant presence in the Canada West Conference of Canadian Interuniversity Sport competition, often surpassing UBC teams. Other athletic powerhouses, such as the University of Calgary, give free access to all varsiiy games and most fitness facilities. In fact, out of 48 schools surveyed by a UVic graduate student, UBC is in the top quartile of the fee bracket, but is one of the only schools that still charges its students admission to varsity events and asseses extra entrance fees for intramural activities. So where is that extra $767,000 from this year's 19% fee increase going? $ 150,000 has been applied to salaries, including the hiring of two new high-profile coaches. $63,000 has been allocated to increased travel costs, specifically in women's hockey, so that the team can play a full complement of season road games. The Bird Coop, perpetually crowded and out of the price range of most students, is slated for expansion. And $60,000 is earmarked for a one time contractor to assist in finance and marketing, especially in promotion and sponsorship of varsiiy events. In short, the benefit of Athlethics to school spirit and fitness aside, how many students actually care about varsity sports? How many students follow the Thunderbirds, have attended a game or have a stake in how those teams do? More importantly, how many students would rather save some money? Having winning sports teams is nice, but—especially given what the majority of Canadian universities are able to do with lower fees—we reckon most students would rather pay for their textbooks, cover rent or buy a nice new pair of shoes, than support varsity sports or the facilities they're played in. enmusiasis wiin uie cnance io gei involved mieruniversiiy apori competition, oiLen sur- wuuiu rauier save some moneyr navuig wui- and stay fit. Athletics, in response to student passing UBC teams. Other athletic power- ning sports teams is nice, but—especially demand, devoted an extra $ 115,000 to the houses, such as the University of Calgary, give given what the majority of Canadian universi- intramurals program this year. With a budget free access to all varsiiy games and most fit- ties are able to do with lower fees—we reckon of $1.1 million, intramural programs report- ness facilities. most students would rather pay for their text- edly draw over 45,000 participants per year. In fact, out of 48 schools surveyed by a UVic books, cover rent or buy a nice new pair of But $600,000 comes from student fees. And graduate student, UBC is in the top quartile of shoes, than support varsity sports or the facil- when $ 15,000 of that money goes to one-off the fee bracket, but is one of the only schools ities they're played in. ♦ rm\\mmmw^^4immm^fW^msmmmMmgmm „ i p . i., | sentences and paragraphs, but , a TUCK yOU, teatUreS editor! must be expressed through a medi- , ^ um with a greater capacity for pas- . ■. / '^^^^^^^^^^t''l*\\* ■ >» The editorial contained in the sionate discourse: poetry. The fol- 1 / ^^^^^^^^^^^m October 29 issue ("The hottest cos- lowing is an acronymistic and sub- ' '„'t * /* .>_*■!,. '■.j'-^Wi1:! vr-..'.''..i:u.' -V- ^..- *■: ti :■_■.•.* i !■ •*■*«..:. ......-u. ,:■.■> V i'I; j.vf.iy* 1 / Amon Tobin gets smart AMON TOBIN with Bonobo, Prefuse and DI P-Lc. a i ■ ■ i i I, at the Commodore Ballroom '-il ■» ;■) Oct 24 '■ ■ i . ,.i by Tejas Ewsn3 i- v • i ■■• CULTURE WRITER 1 ■] i ■ . It's hard to write a short review of an Amon Tobin presentation. Tobin is on the cutting edge of electronic music and this was not your pedestrian Paul Oakenfold-style DJ set. In fact the entire concert, supporting acts included, reflected the term often applied to Tobin's work: intelligent dance music. Although Tobin rejects the term, it is an evocative description of what he and his guests try to do. The number of genres and styles of music fused together in Tobin's work supersedes the category of drum and bass that he is often included with, and force the audience to think about what is being presented to them. As a result, the evening took on a more experimental tone than most ofthe Ii i I ' i p • '. I ■'! ' pp- I -■ ■ ■ 1.- .1 1 .:, I I "■ I ■. I ■,. li .1 I l,p r ■■ i, ii ■ i , i * ■ i ■ . ■■■ .. f |! . . , :- 1.1 ... I \\ _ I' I. j. It started with Bonobo playing a very upbeat, sample-heavy set of recognisable tunes, including some by Tobin. This got the knowledgeable crowd excited, and filled the dance floor. However, the next act, Prefuse 73, played a listening-oriented set, consisting mostly of original synth music played over slower drum and bass beats. This resulted in the dance floor population first becoming motionless and then diminishing noticeably. Next came DJ P-Love, performing some scratching including a good mix of DJ Shadow's "Organ Donor.' His performance was no better for dancing, though, and was marred with technical difficulties, so it further emptied the dance floor. The crowd clearly appreciated these acts, but the energy v -'-7-.----/- *- ♦agegMMSsp'- '--..'E»iitfM" HEY DJ! Brazil's Amon Tobin keeps the dancefloor moving, robin turner photo levels were affected. Amon Tobin may be unique, but. his music is eminently dance- able, so it would have been nice to see the opening lineup order reversed so that Bonobo led into Tobin. This would have filled the floor and improved the atmosphere for Anion's appearance. As it was, Tobin got a lukewarm reception and had to work hard to get the crowd involved. Did he ever work hard, though. He upped the energy right away, with a fast piece, sam pling "Survivor" by Destiny's Child. Once he moved on to a heavier version of Lemon Jelly's "In the Bath' the crowd was hooked, and the previous mistakes were forgotten, Tobin certainly lived up to the hype, providing a complex multi-faceted set of music that you would not hear from anyone else. The crowd was expecting as much, and they react ed with great enthusiasm, packing the dance floor and keeping the energy high until the very end. It was certainly worth the wait ♦ Joseph Naytowhow: Storytelling Festival to enrapture with an ancient art VANCOUVER STORYTELLING FESTIVAL at various venues Nov. lto3 by Michael Schwandt CULTURE EDITOR The act of telling stories is perhaps the oldest of humanity's art forms. Although declining in prominence with continuous advent of new artistic forms, the ancient craft of live storytelling is a craft that still has countless active artists worldwide. The Vancouver Society of Storytelling organises an annual storytelling festival that brings together audiences and artists from all over the world. This year's festival, the 11th that the society has presented, will feature dozens of performers, including Joseph Naytowhow, a singer and storyteller who will be joined on stage by Cheryl L'Hirondelle. His career as a storyteller began over a decade ago, when Naytowhow worked as a career counsellor for First Nations communities. "I was trying to self-identify with the Cree tradition I was born into," says Naytowhow, who as a child was placed in Saskatchewan's residential school system. "I had this big gap in my mind, of some part of me that was missing, so I started to journey into the community, visiting elders and going to ceremonies, trying to recover the knowledge, the history and the teachings. That's where the stories came in.' Naytowhow found his love for storytelling and begin using the art both to educate arid entertain those around him. Incorporating song -7:£v \\ _.' into his performances was a natural step for him. "It came as a cathartic experience. I didn't realise it at the time, but it was basically helping me to bring out the voice and sound in my body that was, in a lot of ways, pushed down. This was the perfect medium." The ■ stories that Naytowhow- tells encompass accounts of his own experiences, as well as tales passed to him oyer the years. "I'll tell stories from elders that I've visited. Some of them are about hard times, some of them are about prophecy, some of the them are teaching about conduct," he explains. "There are certain laws within the stories to be told." Joseph Naytowhow and Cheryl L'Hirondelle, who perform in both English and Cree, will be on stage November 2 at the UBC First Nations House of Learning (8pm) and November 3 at the Vancouver Museum (lpm). In addition to Naytowhow's songs and tales, the Vancouver Storytelling Festival will include storytellers representing an array of cultures that span the Americas, Europe, Asia and Africa. See www.vancouverstorytelling.org for more information. ♦ v- \\ p Peaches and the Electroclash tour stopped by Sonar last week. Peaches, who's originally from Toronto but now lives in Germany, had a set riddled with technical problems, despite the efforts of a muNeted roadie. Ever the entertainer. Peaches persisted and did her best to keep her socio-political skin show going. At one point, while crowd- surfing, she even sat on R.E.M. lead singer Michael Stipe's head. How cool is that? The whole 'electroclash' moniker was a bit of a scam. Peaches, along with her tourmatesTracy + the Plastics and Chicks on Speed {and, well, W.I.T., but we don't talk about them), were established long before electroclash became the 'it' thing. Plus, they're all feminist and queer-friendly, whereas electroclash emphasises 'fun,' not politics. Bullshit. SARA YOUNG PHOTO Weary of fear Play less than terrifying THE WEIR at the Arts Club Theatre Granville Island Stage until Nov. 16 by Jesse Marchand VOLUNTEERS COORDINATOR As I drove to Granville Island, a thick fog was slowly enveloping my car. By the time I emerged on foot from the covered parking, the moist air had surrounded everything, creating a cool and eerie atmosphere, an atmosphere that uncannily complimented the eerie play in which five characters gather in a small Irish pub to tell ghostly tales. Once I took my seat and looked at the stage, I found the atmosphere inside the theatre was just as fitting. The set was marvellously constructed to look like an Irish country pub, and as the play began the sound effects calmly hissed out a unforgiving wind and the soft hum of traditional Irish music. Enter Jack (played by Henry Woolf). He was quite possibly the strongest actor in the play, written by Dubliner Conor McPherson. His learned Irish accent was sometimes so strong that I could barely understand anything he was saying. Although he is a short man, his presence on stage is magnanimous and he easily endeared his character to the audience in the first five minutes, during which he didn't say a word and simply moved about the pub. Once Brendan (played by James O'Shea) came in. however, the dialogue seemed a little forced and his accent faltered. I haven't looked at the script but it seemed like Oishea had some trouble remembering his lines. I wouldn't hold it against him though, as it seemed like little more than opening night jitters. His performance through the rest of the play was bang on; you couldn't help but like his character. In fact, all the actors were quite good. Jim (played by John Huston) was so great in telling his spooky tale that he had me feeling a little uncomfortable in my seat. The nature ofthe tale was far from everyone's comfort zone. Finbar (played by Stephen Dimopoulos) also told a tale, involving a Ouija board—which only managed to endear his character to the audience, rather than scaring them. Perhaps he was just too likeable. Another star of the play was Valerie (played by Jennifer Wynne Webber). Not only was her Dublin accent right on, but she was so into character that it was hard to imagine that she was acting. Her tale was not as spooky as it was sad, and she nearly brought the audience to tears. Acting aside, however, the play seemed to be lacking something. It was funny, scary and sad, but the events ofthe first act seemed longer and stronger than the second. I guess I was expecting a lot more scary stories than there were. The play was good, but at times the plot lagged and if it wasn't for the comedic relief of Brendan and the arguing between Jack and Finbar, the heavy subject matter would have weighed a. little too heavily. The thing is, it's not the sort of play that leaves you thinking like most ghostly tales should- Once I left I really didn't have much to say about it Like the woman beside me said, "it had its moments,' but the dialogue didn't always hold the audience's attention. Nevertheless, the moments are worth seeing if you like a good evening at the theatre. ♦ mw^fy^m^^m^^m^^m^m^wmmmM E£&L5SR^ ■ai~j Parks privatisation called in question Thirteen environmental groups vie for public awareness by John McCrank NEWS STAFF A campaign called "Save Our Parks" has recently been launched by a coalition of 13 environmental groups, who say the provincial government is about to drastically reduce the enjoyment British Columbians experience in parks. "There's a definite move towards private control, user fees [and] commercialisation in parks," said Sarah Pugh of the Valhalla Wilderness society. "And we think that the broader public doesn't know about this, and that's what this campaign is all about" The campaign is composed of television ads on CTV that started on October 14 and run until the first week of November, and the website "saveourparks.ca" that articulates the positions and arguments ofthe coalition, as well as provide links to other sources of information. Nobody at the BC Ministry of Water, Lands, and Air Protection would comment on the campaign or on any of the issues involved. However, a draft report by the government-appointed Recreation Stewardship Panel has been posted on the ministry's website since September 15. This report makes "recommendations to improve the management of British Columbia's fish, wildlife, and parks recreation services." Some of the recommendations by the Recreation Stewardship Report are for "new user, license and permit fees," permitting "a limited number of new intensive, revenue- focused, recreation locations that provide facilities and services," as well as partnerships with private for-profit businesses in the management of the parks. The Recreation Stewardship Panel is headed by former Social Credit Environment Minister Bruce Strachen. Strachen said that the panel is still analysing all of the submissions, including public concerns, generated by the draft report between September 15 and October 15, and will be presenting a final report to government on November 29. "Our mandate is to provide continuous services with less funding from the government, so we have to overcome a shortfall," said Strachen. But Pugh said a report titled "Economic Benefits of BC's Provincial Parks" refutes the government's claims that parks don't pay for themselves, and need to pay for themselves. "And what they're looking at in order to do that is...gouging the pockets of park visitors in the form of user fees, and...letting private businesses into the parks with money making enterprise^]," she said. This Ministry of Water, Lands, and Air Protection report from September 2001 was done in conjunction with Price Waterhouse Cooper, and estimates that provincial parks contribute about $420 million into the provincial Gross Domestic Product and generate $ 170 million in tax revenue. Andrea Reimer, from the Western Canada Wilderness Committee, said that public parks should remain public. "The economic study that the government did last September shows clearly that parks make BC money," Reimer said, "and it just doesn't make sense to have that money going into private profit' "The key finding ofthe report was that for each dollar invested by government in the protected areas system, there is about ten dollars return in visitor expenditure,' she added. "I know there's been lots of concern that we're going to privatise parks—that is not in our mandate, we are not about to do that,' said Strachen. Admitting Reimer's argument was sound, he went on to say, "...we will be recommending that we expand [private enteprenurialship and user fees within the parks].' According to government figures, there were a total of 23,522,040 park visits in 2001, and about six out often residents of BC using provincial parks each year. The Recreation Stewardship Panel report estimates that with the new fees, the government could generate somewhere between $10.4 million and $ 16 million in new revenue. Shirley Wasswa-Kintu, a second-year biology student at UBC, worries that these changes would have a negative effect on the quality of life in BC. "I believe,' said Wasswa-Kintu, "that for governments to privatise parks would make it inconvenient for families or couples or whoever—if they just want to go to the park to enjoy nature, sit on the grass, have a picnic or whatever, it's inconvenient to come up with the money.' "People in the future are going to pay for this,' she said. Some people, such'as Mike Apperly, a first-year forestry student at UBC, think that if the government were to redirect the money into the bash-strapped social system, the new fees might be worth it, ' "t believe it could be a beneficial idea,' said Apperly, 'depending on whether the government manages it properly and whether or not they aire going to expand other public service's with the added money.'♦ Representing parents at by Celine Asril NEWS WRITER Students with families at UBC have created the UBC-AMS Parent's Association (PA) to represent their needs, which they feel are not adequately dealt with by existing organisations. Most parents who study at UBC are faced with a lack of recognition and thus help, Jennifer Upsdell, vice-president of the PA, noted. For example, there is a general notion among parent-students that the priority for obtaining daycare services (on campus) is given to those who live on campus itself. Jim Ferguson, a clerk at the UBC Child Care Services, said that there is no preference given to students who five on or off campus. The PA aims to eliminate such misunderstandings, said Upsdell. The PA hopes to create a central hub of information that links all the services available to parent- students in one easily accessible place. Upsdell estimated many students at UBC (graduates and undergraduates, full and part-time) are parents or are respon sible for at least one dependent. The PA is currently working on trying to implement an additional line of code on the university registration form that would set up an extra parameter asking if the student applicant has dependants, because right now there are no official statistics on the number of student-parents at UBC. But according to Maggie Hartley, assistant registrar in the registrar's office, information regarding marital or family status is not collected because of the provincial Freedom of Information and Protection of Privacy Act. "It basically says to only collect information related to the business that you do," said Hartley. Brian de Alwis, president of the Graduate Student Society (GSS), feels that the GSS has been dealing with some ofthe issues facing parent-students on campus. The GSS formed a campus planning group and one ol the issues that group is dealing with is the lack of family housing. "It's grossly less than demand,' said de Alwis of the current availablilty for family housing. There are now 531 units for student families at UBC and there are 475 student families on the waiting list for family housing. The PA is only at its fact-gathering stage, said Upsdell. Before the group can carry out any substantial action it must increase its membership or change its status into a resource group or service. By increasing its membership the PA would show that they represent a large number of people and that the requests they make would be for a large number of people. But it is difficult to get the message out to student-parents that the PA even exists. The struggle to balance family, student and social life is evident, said Upsdell. "Many do not even have the time to go to Club Days or read the campus papers." If the PA becomes a resource group or service (which an AMS club can attempt after existing for two years) they would not have to maintain a high membership but would still be able to provide a service to parent-students. For information regarding the PA, you can contact Upsdell through email at ubc- parents@hotmail.com. ♦ Ikillowoon 3oJr1<; in t *_r- -"--■'. * *&**' —*-» if T-l "•/ * I r. 7— ■-'/.:■ ' i_\\f *.:<&■■ ■* ' ^ - "i "«a- i ■ X-. ' '.s ■ .*" * .' -V -;--/ ■ * « - J - t -v, ---..-.■~r\\ y " '' -.J * ■*■'.V ■' i-r^J - - ' "/ *.■.■:'* J .-■ '■ ' IK.:-. .."r - ■■"I. ft; \\ \\ s COWGIRLS AND PRINCESSES: Adrienne Coatla and Jenny Ellis work and play hard at SUBcetera. nic fensom photo Undergrad publications invade SUB basement by Chris Shepherd NEWS EDITOR Several campus undergraduate society papers will be moving into one office in the SUB basement next summer, when a new inter-faculty publication office (IFPO) is approved by the Alma Mater Society (AMS) Council. The creation ofthe IFPO will be a part of a bigger project that will see a large part of the SUB basement become a social space for students. The office will fill some of the area currently occupied by the SUB arcade and will be the centre for producing the Engineering Undergraduate Society (EUS), the Science Undergraduate Society (SUS), and possibly the Commerce Undergraduate Society (CUS) newspapers. Currently the nEUSpaper (the EUS publication) and the 432 (the SUS publication) use space in the SUS office in the Leonard S. Klink Building. While the current office used by the nEUSpaper and the the 432 serves their needs, the papers are looking forward to the new space. "(The current office] is less than optimal," said Jen Ross, who is co-editor-in-chief of the nEUSpaper. "We only have access to the facilities when we're publishing.' Ben Warrington, editor of the 432, agrees that the current situation is not perfect "There hasn't been too much trouble because the papers are generally done on the evenings and weekends, so it doesn't get in the way of SUS business.' The AMS and the founding papers hope the IFPO will be a resource available to smaller pubfications just starting on campus. Ross cited benefits such as a broader base of writers for the papers to draw on and being able to hold workshops to improve various skills involved in making a paper. The Arts Undergraduate Society paper, the Underground, is not considering joining the office because their paper will be getting an office in the new Arts space being built in the D block of Buchanan. That location is scheduled to be finished at the end of November. The papers still have many details to sort out regarding the office. Scheduling usage, issues of access to the SUB and to the office itself and dividing costs associated with the office will be dealt with in meetings held over the next few weeks. No rent will be charged for the space, however, because students using the office all belong to groups that fall under the AMS organisation. Currently the only costs for the papers are those associated with building the office. Funding is being sought from various grant sources to help pay for those costs. The AMS does not plan to be involved in the content ofthe papers. "I personally don't think that's our job,' said Oana Chirila, vice president, administration for the AMS. Chirila added that there is specific AMS code that states that contributors and editors with a paper are wholly responsible and liable for all material appearing in their pubfications. Because the papers are not owned by the AMS, the organisation is not concerned. The work on the IFPO will begin once the plans for the renovations of the SUB basement are accepted by the AMS Council. The office is expected to be ready for use in the summer of 2003. ♦"""@en ; edm:hasType "Newspapers"@en ; dcterms:spatial "Vancouver (B.C.)"@en ; dcterms:identifier "LH3.B7 U4"@en, "LH3_B7_U4_2002_11_01"@en ; edm:isShownAt "10.14288/1.0126329"@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 .