February 3 2011 by The Newspaper

the arts

Gallery review: Nocturne

page 6

the newspaper University of Toronto’s Independent Weekly

Vol. XXXIII N0. 1

ANIMAL HOUSE NO LONGER

HIGH-RISE RES WON’T BE CHEAP

New city zoning bylaw hits frat boys where it hurts... their pockets

U of T turns to private enterprise to provide residence needs sANDRA DeGRANDIs

The Greek community at U of T has recently been hit hard with a new zoning regulation from the City of Toronto. Following several complaints filed by residents on Prince Arthur Avenue, an area populated with posh homes and some of U of T’s fraternity houses, Councillor Adam Vaughan has decided to act and hit the fraternities and sororities where it really hurts: the finances. Although not officially recognized by the university, the fraternities and sororities have been around since U of T was founded. Apart from the financial support received from past alumnae, many frats also bring in revenue by renting out their properties to film companies for a tidy profit. The city has not only introduced a zoning bylaw classifying fraternity and sorority houses as “rooming houses,”

Lack of student living space is a perennial problem at many universities, and especially so at U of T. In order to accommodate more students, U of T has decided to lease some of its land on College St. to a private company, Knightstone Capital Management, that will build the first for-profit residence on university property. This will not be the first privately owned residence at U of T. Tartu College, St. Vladimir’s, Campus Common, and Campus Co-op are all privately owned and operated residences. However, while these residences might be removed from the STEPHANIE KERVIN

GeoFF veNDevILLe & sUZIe BALABUch

Continued on page 2

February 3, 2011

U of T frat houses have recently become the subject of complaints from neighbours living in the Annex, who are upset about the constant ﬂow of vomit on their sidewalks, crap on their lawns, garbage in the street, and beer in general (surprise!).

university, this new residence is located on university land, allowing for a more confident association between the university and the private company. One genuine concern about the project is that it might cause an onslaught from other private companies seeking to make a tidy profit by taking advantage of poor funding for building university-owned residences. Lucy Fromowitz, Assistant VP of Student Life, insists it is not all about profit, but about supplying students with the best possible services. “Because a portion of the property is owned by U of T, we have deContinued on page 2

CRTC TAKES CKLN OFF AIR CKLN already planning appeal

BODI BOLD

MART´IN WALDMAN

The Faculty of Music’s resident Gryphon piano trio perform Brahms and Schonberg at Walter Hall on January 31. The Gryphon Trio has been dubbed the “king of archdukes” by the BBC Music Magazine for their first-class Beethoven recordings.

More than a year since initial complaints were made, and after two public hearings, the Canadian Radio-television and Telecommunications Commission (CRTC) has decided by a majority vote to revoke the broadcast license for CKLNFM, also known as Ryerson Community Campus Radio. The CRTC decision outlines the process for revoking CKLN’s license, and the main reasons for doing so. In the summer of 2009, complaints about its governance structure and day-to-day management had come forward , and last February, the CRTC stated that CKLN was not op-

erating in compliance with the commission’s broadcasting standards. This included their failure to file annual returns and other necessary paperwork, not responding to information requests for several months, and failing to meet programming standards for communitybased radio. Two public hearings on the matter were held in May and December of last year, leading to the commission’s final decision. In the CRTC report, commissioner Louise Poirier gives her lone dissenting opinion. She says non-compliant licensees are usually given a warning before their license is taken away, Continued on page 3

the news

Frat boys

February 3, 2011

U of T leases land for res

Continued from page 1

leading to the problem of licensing, but has also prohibited the practice of renting out Greek community properties for movie shoots. Adam Vaughan, Councillor of Ward 20, Trinity-Spadina, emphasizes that the city knows not all of the fraternities are guilty of such shenanigans as excessive noise, street bonfires and front-lawn defecation. He says, “It’s a small group of frats that are the problem, and we just want them to grow up.” According to Councillor Vaughan, the renting out of fraternity and sorority houses supplies funds for excessive parties, which then lead to complaints from non-university residents. “They can earn up to $6,000$7,000 per day for hosting these kinds of productions, and then decide to have a big party af-

ter. We want to show that they won’t be able to continue that practice if they don’t start to change how they act in their neighbourhood.” Mark Vukman, the VicePresident of Phi Kappa Sigma, refutes claims of any film shoot income being spent on lavish parties. “That’s absolutely untrue. Whenever we make any additional revenue it goes directly into the house. This house was built in 1899. It requires constant maintenance. Myself and another brother are gonna fix that mantelpiece over there. All these [frat] houses are old.” As for the constant complaints from neighbours, Vukman says, “I give them my number and tell them to call whenever we’re too loud. It’s a community-based solution. They call me if I’m too

loud and I shut my boys up. As for the allegations of bonfires in the street and girls shouting rape, that had nothing to do with us. That doesn’t represent my organization.” the newspaper also spoke with an anonymous executive/property manager of another fraternity who did not want his name or his fraternity’s name printed. Striking down the reputation of fraternities causing problems in their neighbourhoods, he says “Noise complaints, if they’ve increased, it’s only about by 1 or 2. They were never a high occurrence and they’re not now.” Careful to label any film shoot opportunities as a “bonus” and to emphasize their philanthropic achievements, the fraternities at U of T are clearly on the defense in this issue. Councillor Vaughan just wants peace in his ward: “We just want to ask, if the other fraternities can be good neighbours, and can have big parties without trashing their houses, why can’t you?”

veloped a positive relationship with the group. They are interested in building and providing quality student housing, and we are interested in quality student housing being available for our students who wish to live off campus.” Although the company is planning to build a residence, they are located off-campus, and will operate according to how the company sees fit, including services and costs. Fromowitz says: “We have viewed some of the residences that this company has built and operated elsewhere and all of them provide a wide variety of

services that meet the needs of their populations…RA’s, student res committees, study spaces, common spaces, laundry facilities, etc. They are very interested in serving the needs of university students and creating a community rather than just “housing” students. They will determine their own rates.” While the company appears dedicated to providing quality services to students, one thing that may potentially stand in the way is cost. Housing fees have yet to be determined, and it remains to be seen whether many students could afford to call such a place home.

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CKLN LICENSE REVOKED Continued from page 1

why the broadcast license was revoked. Nebout did, however, explain that CKLN will have a month to appeal the decision, and for the time being the frequency will become “free”, or part of the pool of frequencies that can be bought and sold. This kind of purchase would be subject to proposals and other processes, but as Nebout explains, “if CKLN did choose to appeal, those processes would be put on hold.” The appeal process will certainly be watched closely by the many who worry that Toronto’s radio dial may soon have one fewer venue for non-commercial, community programming.

KATE WAKELY-MULRONEY

and revoking it immediately is not standard practice. As reported in Tuesday’s Eyeopener, CKLN’s directors, with the support of Ryerson students and community members, are planning to appeal the CRTC’s decision. Their immediate options are to find legal counsel to stay the decision, or to send a document to the CRTC which would outline their plans to fix the current problems at the station. For their part, the CRTC is not currently giving interviews on the topic of CKLN. Peggy Nebout, a spokesperson for the CRTC, said their press release and the written decision on the matter adequately explain

CKLN listeners find themselves stranded with no radio after the CRTC’s decision to revoke CKLN’s license.

nto Students’ Union University of Toro Federation of Students

the news Angela Davis returns to Con Hall for eXpression Against Oppression Week MART´IN WALDMAN Professor Angela Davis spoke at Convocation Hall on Wednesday night, the keynote speaker of UTSU’s eXpression Against Oppression week. Before Davis’s presentation, writer-activist Ward Churchill spoke on the power of communication and galvanization, and emphasized the importance of using appropriate language to refer to social injustices. He noted that words such as “genocide” or “apartheid” are often met with resistance, but must be said to avoid a “process to expunge our language of anything that makes things clearly understood.” Returning to eXpression Against Oppression by popular demand, Professor Angela Davis began her presentation with a criticism of increasing private influence at U of T, despite its official status as a public university. According to Davis, private influence on university campus leads us quickly towards “the kind of academic freedom that suits corporate interests and oligarchies.” The most salient points of Davis’s address revolved around

orities. Davis closed with a brief mention of the uprisings in Egypt, which she viewed as closely connected to issues of Palestinian liberation and anti-Americanism. Citing Martin Luther King Jr.’s reference to himself as a “disturber of the peace”, Davis asked of the audience “how can we all become disturbers of the peace, and dedicate ourselves to transformative action?”

G IN R P S 1 1 20

e c i t o N s n o i t Elec Local 98 • Canadian

the prison industrial complex in the United States, and its gradual development in Canada. Davis discussed the way that massive investment into prisons throughout the United States has coincided with a severe decline in public education and social services. A $2.1 billion investment by Canada’s Conservative government in prisons across the country demonstrates similarly skewed pri-

BODI BOLD

February 3, 2011

undergraduates at St. ion represents all full-time es such The U of T Students’ Una campuses. U.T.S.U. provides important servic d TTC ug nte ssa cou ssi dis Mi d d an an g e din org Ge book bursaries, clubs fun tral U of as Health & Dental Plans,nts’ Union also represents students to the cenconnects d de an Stu , r hts students’ rig Metropasses. You d social vernment, advocates for T administration and gopuses to work on common goals, campaigns an cam all oss acr students programming.

The University of Toronto Students’ Union is holding its Spring 2011 Elections to fill the following positions: Position

Seat(s)**

Division I Victoria College University College Innis College St. Michael’s College New College Trinity College Woodsworth College At-Large Arts & Science

2 2 1 3 3 1 3 2

Toronto School of Theology

Faculty of Music Faculty of Dentistry Faculty of Nursing Faculty of Medicine Faculty of Pharmacy Faculty of Law Faculty of Applied Science & Engineering Faculty of Physical Education & Health At-Large Professional Faculty

1 1 1 1 1 1 3 1 2

Division II

Division III * Mississauga campus

Executive President Vice President Internal & Services Vice President Equity Vice President External Vice President University Affairs

* cross appointed to the Board of Directors of the UTMSU ** seat numbers may change upon confirmation of enrolment and in accordance with the Elections Procedure Code

1 1 1 1 1

Important 2011 Dates:

Election Nominations (All Positions) Election Campaign Period Election Voting Period Election Results

Tuesday, February 15 at 09:00 to Friday, February 24 at 16:00 Monday, Febuary 28 at 9:00 to Thursday, March 10 at 18:00 Tuesday, March 8 to Thursday, March 10 From 9:00am to 18:00 Tuesday, March 22, 2011

Nomination Pick-up and Drop-off Locations: St. George campus:

Mississauga campus:

12 Hart House Circle hours: Monday - Friday, 09:00 to 16:00

UTMSU Ofﬁce UTM Student Centre, Room 100 Hours: Monday - Friday, 09:00 to 12:30, 13:30 to 17:00

To run for a position, pick up a nomination package during the nomination period at the U.T.S.U. or UTMSU office. Please keep in mind the dates and deadlines. For more information, visit our Students’ Union website at www.utsu.ca or contact cro@utsu.ca Please note that, at the time of this publication, “University of Toronto Students’ Union” and/or “U.T.S.U.” refers to the Students’ Administrative Council of the University of Toronto, Inc. (“SAC”).

the inside

February 3, 2011

Infinity in the 3rd dimension Hart House hosts a night of literature, visual art and 3D creations

The intricate, winding patterns woven into a Persian rug or carved into the wall of a mosque may appear unique to Islamic art. Yet, as author Laura Marks claims in her latest book, Enfoldment and Inﬁnity, Islamic aesthetics are common to western art, from the paintings of Henri Matisse to contemporary digital art. Last Friday at Hart House, Marks’ book launch, followed by acclaimed media artist Willy Le Maitre’s 3D video presentation, attracted art amateurs and experts alike at “Seeing and Believing: Books, Art, and 3D Cinema”, an event co-sponsored by This Is Not A Reading Series and Subtle Technologies. Marks showed slides documenting her research, an eightyear process that took her from the MET in New York City to mosques in the Middle East. Contrasting western art, such as the psychedelic art concert posters of the 1960s, to Islamic tapestry or architecture, she drew attention to their “algorithmic construction” and similar “enfolding-unfolding” aesthetic. Basing her argument on the work of French philosophers Foucault, Deleuze, and Guatarri, she argued that images “unfold” (or, are conveyed) from an infinite “universe of images” through the medium of information. Marks also commented on the western and Islamic traditions’ “common heritage.” Western art and the field of new media in particular, she said, owe much more to the Islamic world than is commonly known. However, her focus was artistic rather than historical: “I wanted to bring things together in order to create something productive and new. If the result of crashing Islamic art and philosophy into new media art proves

KATE WAKELY-MULRONEY

GeoFF veNDevILLe

inspiring, and if interesting results arise from the relationship, then it begins to create a link that has the strength of a historical link.”

Willy Le Maitre’s Edia illustrated some of Marks’ ideas. Through the lenses of their 3D specs, the audience saw spheres of different sizes and

colours spinning and “unfolding” towards them, often superimposed over an abstract, outer space-like background (excerpts of the video are view-

able online via Le Maitre’s website). Le Maitre said he found inspiration for Edia in the pages of popular science journals, attesting to the influence of science on contemporary art. Although Edia’s meaning was not immediately obvious to an uninitiated observer, Le Maitre said it is meant to show how “one’s sense of self is only fulfilled by interaction with other people, by dialogue.” Co-sponsor of the event Subtle Technologies, a charity/arts organization, puts on workshops and organizes a festival every summer with the intent of introducing artists to new scientific concepts. For example, last year Subtle organized a visit to a tissue lab. “For artists,” said Jenn Dodd, managing director of Subtle and physicist, “it’s an opportunity to engage in the forefront of our scientific knowledge and to incorporate it in making a piece. It’s a creative spark.” Technology such as 3D video has enabled artists to engage audiences in new ways. Marc Glassman, director of This Is Not a Reading Series, compared new media art to the “feelies” in Alduous Huxley’s novel Brave New World: you don’t simply watch it, it “envelops you and you experience it.” A former bookstore owner, Glassman said “although text is something we’ll love and need as a form of art, people are becoming more and more sensitized to the visual.” On February 15 at the Gladstone, This Is Not a Reading Series will be holding a book launch for Matthew J. Trafford’s collection of short stories, “The Divinity Gene,” featuring an interview with author Sarah Selecky and the comic stylings of the Ghost Jail Theatre.

BODI BOLD

the campus comment ” “ the newspaper asked: tell us a story from a party you’ve been to on campus.

Lewis Deville, 2nd year, Computer Science

“Our friend took 28 shots on his birthday, threw up into several plastic bags that ended up freezing on his front lawn.”

Arun, 3rd year, Astrophysics “First year during frosh week we had a party and had to watch a girl jump on our roommate on the couch. Clothes starting coming off and everyone was watching.”

Helene, newsie

“One particularly lively co-op party comes to mind. An unlucky attendee had to write out a $200 cheque, the memo of which read: “for fucking shit up.”

the inside

February 3, 2011

Crooks, constables, beggars and whores The UC Follies stage an imaginative production of a well-known classic

BODI BOLD

“The Threepenny Opera, in its style, set the precedent for what musical theatre has become.”

Look out, U of T: old Mackie’s back in town. The title character of the classic tune Mack the Knife will be making his presence known at the UC Follies production of The Threepenny Opera at the Hart House Theatre from February 3-12. The Threepenny Opera, written by Bertolt Brecht and Kurt Weill, was first staged in Germany in the late 1920s, and is such a landmark piece of musical theatre history that it has since been translated into 18 languages and is still performed around the world today. The story of The Threepenny Opera revolves around the lead character of Macheath (played by Michael-David Blostein), an atypical hero who falls for Polly Peachum (Nicole Stowikowski), the daughter of the leader of the beggars of London. Under the threat of death by Peachum, Macheath (or Mackie) must escape the city with the help of his friends in order to avoid execution. The plot is fairly entertaining and straightforward, but it

is really the show’s origins that make The Threepenny Opera so timeless. Written in inter-war Germany, the show was the first to introduce jazz as its underlying genre of music, providing musical theatre with a dramatic turning point. the newspaper had the chance to speak with the show’s director, Viridi Odern. Describing

the show as “less a musical then it is a play with music,” Odern continues, “The Threepenny Opera, in its style, set the precedent for what musical theatre has become. Prior to this, it was more operatic in style. After this, it became raunchier, grungier, rawer, and you started getting shows like Sweeney Todd, Cabaret, and Chicago, which

just revel in the darkness of the music.” The UC Follies plan to continue the show’s history of ingenuity and intrigue. Odern says: “This is a very unique, stylized and unleashed production of The Threepenny Opera. One of the advantages is that there is no film version, no definitive version that you have to always

work under. There’s so much room for creativity, and what we have put together is startlingly original and very pregnant with meaning.” This UC Follies production is also the first to feature all U of T students. Sarah Thorpe, who plays Jenny, a former lover of Macheath’s, praises Kurt Weill’s “delectable score,” but above all voices her sadness for what will come when the production wraps. This feeling echoes that which Odern considers to be the best part of this rewarding, yet exhausting creative process. “My favourite part was being able to bring in so many talented artists and just expose them to each other and allow them to work off of each other, and to foster all of their creative impulses.” With a dedicated director, a tight-knit cast and a 10-piece jazz band, the UC Follies production of The Threepenny Opera cannot be missed.

BODI BOLD

sUZIe BALABUch

For more information on showtimes and tickets, visit www. ucfollies.com

the arts

February 3, 2011

We can only assume this is Carlos’ better half

dan christensen The infamous Venezuelan terrorist and murderer known as Carlos the Jackal was responsible for many heinous deeds, including multiple public bombings, an OPEC delegation raid that resulted in the deaths of three parties, and the murder of three French police officers and an informant in cold blood. However, the biggest crime of all is that people across Canada won’t see Carlos, the Golden Globe award-winning miniseries chronicling his “professional” life up until his 1994 arrest – at least not in its entirety. Alright, I’ll admit that might be an exaggeration, but the tragedy of its lack of exposure cannot be exaggerated. The film is only playing in one theatre in the whole city (AMC Yonge & Dundas), with three showings per day on the week of the Toronto theatrical release. Not to mention, but three days after its release, I was accompanied to the screening by only four other movie-goers. So what happened to this film? Firstly, it is not really

properly a film. As mentioned, it initially broadcast as a threepart miniseries on the French premium channel Canal+, with each part running around 100 minutes. Hence the applicability of the Golden Globe consideration, but not for the Oscars, who require the initial release to be theatrical. It then was stitched into its first theatrical cut, with a whopping five and a half hour running time, which premiered at Cannes. It was finally edited down to an under-three-hour version which has received wide distribution, and which is showing at the AMC. This raises a curious question: is it possible for a film to be nearly three hours long, yet not nearly long enough? Yes indeed, and Carlos has proven this decisively. The film feels as if it is a Cole’s Notes version as you watch it, with scenes ending abruptly, character motivations glossed over, and references to absent (or thoroughly underdeveloped) plot points appearing in scenes. At one point, Carlos and his wife, the latter exhausted from

a life on the run, argue over his entitlement to their daughter and the amount of care and attention he shows her, when the daughter, around seven years old, was only introduced three or four minutes beforehand. Furthermore, the first two thirds of the film have major political underpinnings, as through his career Carlos acts as a militant for the Palestinian cause. However, the depth at which these diplomatic considerations are examined is impossible to condense without a serious loss of clarity and comprehension on the part of the audience. It is easy to understand how the full version would be a mas-

terpiece of a three-part series. Even this cut has three definable acts – his early terrorist career, culminating in the assassination of the French police officers; the attack on the OPEC conference and resulting hostage situation; and then his evasion of authorities in his later life. This is of course not to speak of the arresting production quality (no pun intended) and stalwart performances. The art direction, costume work, and cinematography all exhibit a high filmic standard, with the distinctive music selections adding a delicious accent. The captivity of the OPEC meeting was especially well-realized,

with the fast-paced actions sequences not suffering a break in the high level of artistry. Beyond this, it is simply a fascinating study of this notorious criminal and the ego that drove and eventually overtook his career. Through its depiction of the historical events and Edgar Ramirez’s subtle lead performance, the film argues that Carlos’ actions betray his greater care for his own self-aggrandization than for the causes he purports represent. The only misfortune of sole television dispensation would be that the fine, detailed work of the filmmakers could not be enjoyed, as it should, on the big screen. Despite this, if there were a means to watch the complete five hours of the miniseries in Canada, it would no doubt receive my most enthusiastic recommendation. As no means seems to be appearing soon though, and especially if you missed 2008’s Che and have been jonesing for an extremely long biopic of a South American militant revolutionary ever since, it would be a big mistake to pass this one over in theatres.

Light and darkness in Dorland’s ‘Nocturne’ Evanna Folkenfolk In the chilly whiteness of Angell Gallery on Ossington, and in contrast to its stark featureless walls, the artist Kim Dorland exhibits his latest collection of paintings fittingly named ‘Nocturne.’ Hanging beneath bright fluorescent lights, Dorland’s paintings appear dark and menacing, drawing light inward and echoing it in ominous glow. Ghouls and ghosts flutter across his canvases, peering from behind heavy layers of texturized paint, amid dark forests found only in the most frightening of childhood dreams. But Dorland’s creations are as beautiful as they are revolting, tender and haunting, like the characters of a Burtonian fairytale, too infused with love and sense to be truly terrifying. Escaping their habitual realm of bedtime stories and campfire tales, Dorland’s creatures stand out in the decidedly adult gallery and its pristine white walls. They have at once both youthful rebellion and innate wisdom, amusement and gravity alike swaying upon their canvases. Their presence is a reminder that we have not changed so very much since childhood. When asked what he believes to be the role of art in our lives, Dorland argues its function is to transport us from the utter

Midnight, by artist Kim Dorland, hangs at the Angell Gallery on Ossington. dreariness of our daily lives, to help us escape the seemingly endless grind of routines and obligations. His answer intimates a transformation, or rather subsumption, of our childhood fears which nonetheless exist as a part of our consciousness, a part of the way in which we wake and live and give in to sleep again. The fear of ghouls and golems has since been replaced by mature fears that are both less definable and infinitely more real; fear of the faceless unknown, the worries that plague us and

serve as the foundation of existential crises that have spiraled modern society into unprecedented rates of anxiety and depression. Through his paintings, Dorland personifies these fears into their child-like counterparts, lighting them up with the dreaminess of childhood. Through his morbid imaginary creatures, he invokes both the innocence of initial waking moments where reality has not dug its claws, as well as the sheer and unadulterated terror with which children react to the un-

known. His use of dark and liquid mirror paint, which produces a fluorescent-like glow to his canvases, bolsters this effect of supernatural divinity. In this manner, Dorland wills his paintings to speak to us, to reflect light back to us, our own images distorted through his dark fearful colors and warped uncanny creations. It is fitting that the inspiration for the first painting of the series, and of ‘Nocturne’ itself, was a dream his wife had of being trapped inside one of Dorland’s canvases, in a dark gloomy forest that

slowly began to consume and erase her. This effect is continually found in his paintings, whose dark coiled tree branches fill the canvas and reach out to the viewer with the magic sway of fairytales, begging us in, our fears at least for a fleeting moment replaced as we lose ourselves in mazes of coiling branches and twisted figures. Dorland’s art is transcendent, as he believes art to be; it both displays and dispels, putrefying and beautifying his subjects, and making his art into revelation, catharsis, and solution. His dark room, employing abundant amounts of liquid mirror paint, is saved for last as a cherry on top of the mystical sundae, its effects so indescribable, they are best seen with one’s own eyes. As those present at the exhibit’s opening mingled and collided before paintings that seemed as private as the fuzzy outlines of memories we cling to when we wake, the owner of Angell Gallery, Jamie Angell himself, shared a friend’s reaction to the exhibit: “The paintings taught me things about myself I didn’t even know.” Kim Dorland’s ‘Nocturne’ is running from Jan 22 – Feb 19, 6-9pm at the Angell Gallery, 12 Ossington Avenue.

the arts

CAF10102_10_EO_BE_02_05.indd 1

dossier : CAF-10102

11-01-21 15:42

sc/client

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100%

publication : EO BE

« Donner des ordres, ça ne suffit pas à donner confiance à un groupe d’hommes et de femmes qui doit se frayer un chemin à travers un terrain miné. Prendre les bonnes décisions, gérer les situations de stress et combattre aux côtés de mon équipe, c’est ça, le véritable leadership. » Capitaine MICHAEL GODARD

OFFICIERS DU GÉNIE

titre : « WANTED / RECHERCHONS »

“It takes more than orders to command a group of men and women to bridge a gap. Making the right calls, working in stressful situations and fighting alongside my team, that’s real leadership.” Captain MICHAEL GODARD

ENGINEERING OFFICERS

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February 3, 2011

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February 3, 2011

Across

Down

1. ___ Mahal 4. Persperation 9. The lonliest number 12. Sandwich cookie 14. Nab 15. Declare 16. Greyish pale yellow shade 17. Speak grandiloquently 18. Deceptive plan 19. Garment which hangs from the waist 21. Spacious 23. Swift, narrow current 27. Hawaiian island 30. Three on a sundial 31. Jewish minister 35. Era 36. Teachers 39. Automotive dashboard counter 40. Milk maker 41. Mate 42. Haul off, as a broken car 43. Ontario museum 44. Before, poetically 45. Common cooking herb 47.Neither... ___ ... 48. Tempts 50. Fraction of a minute 51. “Play ___ for Me” (1971 Eastwood film) 53. Playboy 56. Gesundheit! ___ you! 58. Foolish 61. ___ Quebecois 62. Ballsy poker play 66. High 68. Passion 69. Ancient Italian 70. Watson or Stone 71. Golf peg 72. Bright 73. Clairvoyance

1. Foot digit 2. Geometry curves 3. Rude person 4. Author F. ___ Fitzgerald 5. Battle 6. Greek character 7. Play division 8. Not here 9. Egg 10. Curious 11. Female sheep 13. ___ board (Superstitious game) 15. Scent 20. Force something unwelcome again 22. Female paddlers 24. Without fault 25. “___ for tat” 26. Pearl Jam album 27. Secretly added more chemicals 28. Marketplace 29. More recent 32. ___-Dicke theory of gravitation 33. Bring about 34. Piano key material 37. Hearing organ 38. Howard or Jeremy 46. Versatile exclamation 49. Pop out a disc 52. Angry 54. Russian monarchs 55. Aluminium like 56. Sad 57. Meet defeat 59. Title 60. Decorative trees 61. Classic sandwich 63. Reed or Gehrig 64. “... J K ___ O P...” 65. Bond author ___ Flemming 67. Race division