January 13 2011 by The Newspaper

Look who’s eating soap this week

Two Debaters argue whether it’s right to sanitize Twain

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the newspaper University of Toronto’s Independent Weekly

Vol. XXXIII N0. 13

January 13, 2010

GC report

Among other news, students asked to pony up $40M in levy toward UTSC sports centre MarTÍn WaldMan Student groups across campus, such as the UofT Millennium Project Committee, have been showing their support for World AIDS Day 2010 by hosting unique events in the effort to raise funds and awareness throughout the university community about the growing epidemic. Participating students were asked to come to King’s College Circle at 3 p.m. wearing red to help the Millennium Project

Committee attempt the record for largest human red ribbon. “What we really wanted to focus on this year is moving beyond passive awareness and encouraging an ‘active’ and more tangible awareness program,” says Millennium Project co-director Nymisha Chilukuri. “The formation of the ribbon is simple in idea but it is powerful because by being part of the ribbon, the student is also now taking an active role in generating awareness and spirit in the issue rather than just...attending to an awareness event,” says

Chilukuri. The project also aimed to encourage students to challenge policymakers to keep their promises to foster more services for prevention strategies, proper treatment, expulsion of stigma and most of all education. “Students are such an important part in society because of their active participation in events such as these,” says Mona Younis, Logistics Coordinator for the Millennium Continued on page 2

Take note: andreW GYorkos We’ve all been there. Be it from illness or laziness, we’ve missed a class and suffered a large gap in the course-going experience. We’ve done all the necessary prep work, and downloaded the lecture skeleton from the blackboard website (if the professor’s generous enough to make it available, of course). But without the comfort of someone else’s notes, preferably notes infinitely more diligent and coherent than we could ever hope for, we’ll never be able to assuage the guilt of having missed a few hours of our pricey higher education. Sure, we could send out electronic cries for help to our peers, appealing for their precious notes with a promise to return the favour sometime down the line. But such is often an embarrassing prospect when we recall

the many times we scoff at others for making the same pleads. This whole “begging for notes” game simply isn’t cool. Thankfully, a more dignified approach has arrived, offering U of T students the ability to get the notes for the material they’ve missed without resorting to spamming desperately the inboxes of their classmates. A way to give the common ‘stay on top of coursework’ new year’s resolution a fighting chance. “That’s where NoteSolution. com comes in,” says Kevin Wu, who co-founded the project along with U of T graduate Jack Tiantai. “In essence, NoteSolution.com provides a knowledge exchange portal that allows students to find supplementary material for all of their courses. When you sign up, you gain access to all of the additional material contributed by other students.”

Currently only available to U of T students, NoteSolution. com is a website that cleverly encourages the exchange and sharing of notes between U of T students across the departments and programs of all three campuses. Using its own unique currency of credits, students can spend their initial wallet of 100 credits on downloading notes at 20 credits a pop, and earn more through referring friends to the service, submitting their own notes, or having their own notes downloaded by others. Study guides are also available during exam crunches, and surplus credits can even be redeemed for gift cards. The glaring concern with a site like this is the notion that students may use the detailed notes of others as an excuse to cut class with a clean conscience; certain professors already tend to decline making

STEPHANIE KERVIN

Notesolution.com helps students fill in the missing pieces

the news

January 13, 2011

Bartering, a girl’s best friend A neat alternative to obtain financial advice suzie balabuch

agree to, not just me preaching.” How does Simmons decide whether or not the bartering item is a fair price for her financial services? “I don’t really care”, she says, in reference to valuing the bartered item in respect to her advice. “It’s more about giving the opportunity for a person to put in their time and effort -- that’s all I care about.”

In today’s current economic climate, it is increasingly common to hear young people, and especially young women, fret about their finances. Student loans, high costs of living, and uncertainty of how to manage money in general are worries that pervade the lives of young women. Enter Shannon Simmons, a CFP and CIM who left her highrolling job at a wealth management firm to pursue a higher calling: helping out young women in dire need of financial advice. The icing on the cake? Ms. Simmons does not charge “astronomical fees” for her services; she prefers to barter. The idea for this year-long undertaking, the Barter Babes project, came about after Simmons overheard two twentysomethings at a bar discussing

the impossible financial situation they found themselves in. The financial guru gave them some financial words of wisdom, and was rewarded with a drink. From that point on, Simmons

the newspaper

has been bartering with young ladies all across the GTA in exchange for financial advice. It’s not uncommon to hear about young women struggling financially, but it is uncommon to hear women express confidence in their money management. Simmons says, “I think that it’s a lack of confidence… it’s not that we struggle with the actual financial plans themselves, we lack the confidence that we’re doing it correctly.”

The Barter Babes’ Money Map is “…a tool for life” that includes an in-depth analysis and “inperson meeting with every single girl.” Simmons emphasizes the point that these advice-seeking ladies are responsible for putting their financial plan into place: “They have to be motivated to actually take action, so it has to be something that they

Eager to highlight the benefits she has reaped from her bartering system, Simmons describes the perks on her Barter Babes blog. Apart from offerings of amazing brownies and lasagna, Simmons has been provided with circus lessons, a private guided tour of the AGO by a Barter Babe who works at the gallery, and a philosophy salon in her own home. As for students who might be in need of financial advice, but feel they have nothing to offer, Simmons shares this thought: “Anything that can help to decrease my cost of living.” So for all the female student bakers, cooks, dog-walkers and circus performers out there, put your skills to good use while educating yourself about your finances, all without added financial stress.

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the news

January 13, 2011

The Debate

SANITIZING TWAIN The con

Censored version caters to the young reader market

Changing the language takes away from the lessons of history

GEOFF vendeville

aaron zack

A new edition of The Adventures of Huckleberry Finn in which the “n-word” is replaced by “slave” and “injun” is changed to “Indian” is due to be published next month. The editor of the new version claims the changes will make the novel more accessible to young readers. As might be expected, the book has elicited a wave of controversy. Its critics, including professor of American Literature at U of T Alan Ackerman, argue that the n-word is central to Twain’s message. They point out that the word “slave” isn’t as jarring, and doesn’t convey the brutality of racism. Yet, even without racial slurs, Huck Finn still demonstrates the inhumanity of slavery. For example, after Jim learns about the reward for his capture, he says “I’s rich now come to look at it. I owns mysef, en I’s wuth eigh hund’d dollars. I wisht I had de money, I wouldn’ want no mo’.” The passage contains neither the “n-word” nor “slave,” but still illustrates the immorality of putting a price on a human being. As the Economist argues, even with the expurgated version “you’d have to be an idiot not to notice how widespread and evil slavery and racial prejudice were.” An advantage of using the edited version of Huck Finn is that it might spare the feelings of young readers who would otherwise be offended by the “n-word” (which appears 219 times in the novel). In the New York Times, Paul Butler, a law professor at George Washington University, recalls “suffering through” Huck Finn in high school, “with the white kids going out of their way to say ‘Nigger Jim.’” This experience led Butler to question whether it should be read in schools at all. Although, ideally, the novel should be read in its original form, not all young students are mature enough to understand the deeper social context of Huck Finn. If the “sanitized” version of the novel leads more young readers to develop an appreciation for Twain’s writing, then surely it is not a bad thing. Hopefully, they will also be encouraged to read the unexpurgated text later. At the very least, the substitution of the “n-word” in the soon-

DAVE BELL

The pro

to-be released edition of Huck Finn has given rise to a valuable discussion on the nature of censorship and the meaning of the novel. Always a contrarian, Twain would probably be glad to know his books are still generating controversy a century after their publication.

Hold on to your horses! It is likely that my opponent has argued that there is no difference between eating cows and eating horses. But I suggest that there are discernible advantages to eating cows, chickens, turkeys, and pigs. All of these farm animals (everyday dinner meats) are low input consumers that produce large quantities of meat. Cows and chickens are multi-use: they produce milk and eggs and are also edible. We don’t eat dairy cows typically but that doesn’t mean that humans never have, or that we shouldn’t. These delicious animals are tame, relatively gentle, and flightless, making them easy to farm. Why do we eat farm animals? Once humans concluded which animals can be domesticated, each animal was put to its best use. Horses are much more valuable to us as transportation, despite their hulking size. In this sense, the question of this debate could be: why do we not ride cows? Of course, these arguments relate to the productivity of horses and farm animals, not the ethics of consumption. If my opponent argues for universalizing meat consumption (why not humans then?), I am left with two options: if I must disagree that all meat should be eaten, then I could argue that 1) no meat should be eaten at all, or 2) only some meats are ethically edible. Assuming that you have already heard all the arguments for the vegetarian lifestyle (no meat), I will argue that there is an ethically relevant difference between horses and cows (some meats). Is there ethical purchase in the disparity in taste? Horses are apparently less flavourful then farm meats. But it may not be unethical to eat bad tasting food (case in point, Wendy’s hamburgers, Peeps, certain flavours of Doritos, corn dogs, Mountain Dew, gyros, sheep’s eyeball, sliders, anything under hot lamps at 7-11, flesh of the undead, overripe bananas, fish that is slightly too salty). But it may be wrong to consume animals that could be better put to use alive. If we consider maximizing happiness for the greatest number of people as the morally right position, then we could argue that horses are

the inside

January 13, 2011

Music and lyrics…and laughs and intrigue too Hart House Theatre stages Dirty Rotten Scoundrels, a musical that promises to take us away

With winter weather finally making its unwelcome comeback in the past few days, it seems as though everyone is in need of some sunshine in the form of a little musical entertainment. The Hart House Theatre has just the thing for a case of the winter blues: running from January 14 to the 29th, the Hart House Theatre is putting on a production of Dirty Rotten Scoundrels. A Tony award winning musical based on the 1988 film of the same name, the film and resulting Broadway show have delivered big laughs, extravagance, and frivolous fun, and the upcoming Hart House production is looking to do the same. The musical tells the story of two rival con-men, Lawrence Jameson (played by Neil Silcox) and Freddy Benson (Evan Dowling). The two smooth-talking crooks duke it out over territory on the beautiful French Riviera, vying for first the fortune, and later the affections, of the lovely Christine (played by Ashley

STEPHANIE KERVIN

suzie balabuch

Gibson), who is rumoured to be a soap company heiress. Jeremy Hutton, the director of the Hart House production of Dirty Rotten Scoundrels, spoke with the newspaper about the show.

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“It’s big---it’s really big---and it’s fun and has all the qualities of a golden age of musical theatre; this is more rare nowadays.” Hutton praises the clever writing of the show, the “old big Broadway sounding score,” as well as the way the two are married in a seamless and successful way. “What makes it particularly great is that the music is really detailed and fantastic. It’s just rare to hear that kind of fun writing in the music itself.” Hutton also admires the film version; it would be hard not to

with such legends as Steve Martin and Michael Caine playing the two colourful main characters. “There’s definitely an element of knowing the material you’re working from. There are times when you want to pay homage, there are certainly moments you want to keep in there and stay true to.” Hutton is intent on keeping the larger-than-life spirit of the show alive, but is aware of some of the limitations of the theatre itself. The Broadway production often featured huge, elaborate

sets, which made Hutton want to maintain the “magical” and “Old Hollywood” aspect of the show, albeit on a smaller scale. “The real challenge was trying to create a space that was really inventive and really captured the spirit of the show without being able to do what they did on Broadway.” Hutton has real confidence in his cast and crew, proclaiming his work with them as his favourite part of the process. “The cast is really, really talented. The leads in particular are very inventive. Probably my favourite part is just seeing what they come up with as all of them play all these different characters; it’s just really fun to watch them.” His enthusiasm for their work is infectious, and it is always reassuring to see a director so dedicated to the show as well as the talent. Hutton ultimately hopes that theatregoers fall under the spell of Dirty Rotten Scoundrels as well. “I hope that the audience comes and has a blast and falls in love with these characters and leaves the theatre singing the tunes.” With the end of winter nowhere in sight, a little time on the French Riviera is just the thing. Hutton sums up the production perfectly: “It’s like taking a holiday, and just having a couple hours of a great time.”

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the inside

January 13, 2011

Drawing out the faces behind the bylines U of T Alum Tom Rachman produces a behind-the-scenes collage filled with mystery and beauty suzie balabuch Bewitching, amusing, and ultimately revealing of the human condition, The Imperfectionists, Tom Rachman’s first foray into fiction is a quiet triumph. In “the realization of a longheld aspiration,” Rachman’s impeccable writing style shines through, sharing the spotlight with the novel’s complex, yet relatable characters. Rachman’s novel about the history and inner workings of an English-language international newspaper based in Rome (with correspondents in Paris and Cairo) is structured wonderfully. Rachman reveals each character and advances the plot by devoting a chapter per character, titling each segment with catching headlines. In an email to the newspaper, Rachman says “I hoped to produce a collage effect with it, to depict the entirety of the enterprise through its parts.” He achieves this goal, because the details of the collage-like structure form a beautiful picture. Apart from his promising career in literature, Rachman, a U of T graduate, has worked extensively for newspapers across the world, and was at one point

stationed in Rome. It is evident throughout the novel that the author truly writes what he knows, and writes it well. Rachman says of the novel’s setting, “It was a place where I’d worked and lived for four years, a place I loved, and that I could describe intimately. Also, I’d worked at the International Herald Tribune in Paris -- had I set the novel there, people would have assumed it was a portrait of the Trib, which it isn’t.” True to life or not, Rachman’s portrayal of Rome and of the life behind the scenes of a newspaper are authentic. No matter the personal strife faced by each of the newspaper’s employees, their city is positively portrayed, always there outside the doors of the scraggly grey building where the newspaper’s faded offices are located. Apart from the intimacy of the segmented structure and description of Rome, Rachman intersperses his chapter with a sort of historical reference of the 50 year old newspaper, quick glimpses into the mysterious life of Cyrus Ott, the sugar refinery magnate who decided to found a newspaper, for reasons that do not become clear until much later

“

The mystery assigned to the life of the first Ott does not always apply to the other characters of the novel. The reader comes to know, love, and sometimes pity characters like Arthur Gopal, the underachieving obituary writer who, faced with tragedy, rises to the top of the paper food chain. Or Katherine Solson, the ambitious, careerdriven top editor hardened by choosing her career over love. Cyrus Ott’s story maintains its mystery the longest, mostly owing to the fact that it is dispersed between chapters packed with intimate details about the other characters. The Imperfectionists does not disappoint. Just as you are beginning to feel sad that one character’s story is over, another rich, interesting, and sometimes tragic story unfolds. It is really wonderful to see such indepth character development married with a strong writing style. As the novel comes to a close, many questions remain unanswered, yet perhaps this is what makes the novel so captivating. It is like the novel that got away, the one you never really forget. If this is just the first effort from Tom Rachmann, this editor cannot wait for more.

the campus comment

”

the newspaper asked: what did you get up to over winter break?

Ting Ting Zhang, 4th year Psychology

Jennifer Galley, 4th year humanities

Nanamoye Ascofare, 2nd year Equity Studies

Shayna Moor, 3rd year Visual Studies, Geography

Martín, newsie

Gargy, too many years to count

“I put hot sauce in my cousin’s potatoes, he smashed them in my face and we ended up having a food fight on Christmas day. We have an ongoing rivalry.

“I climbed up a galloping camel.”

BODI BOLD

“I shaved my cat.”

“I danced the Macarena on stage at a piano bar. The crowd laughed and insulted us.”

“I had a spiced rum and RISK theme party. I don’t remember who won.”

the arts

January 13, 2011

The film review

Post-Notebook Gosling romance gives you the blues DAN CHRISTENSEN With the joys of the Christmas season behind us and the thrill of the New Year wearing off, a film arrives just in time to point us towards the next holiday benchmark of the year – that cupid-covered romantic wellspring that falls on the fourteenth of February. However, it’s my recommendation that you observe this film long, long in advance if you plan on observing that holiday. You have to give its misanthropic view to the fate of couplehood ample time to wear off if you wish to avoid dooming your relationship to death by ruminations of gloom: Blue Valentine will not fail you in cutting to the tender heart of what it is to be in love, and drawing out the most crippling despair that lays therein. We are presented with Cindy and Dean (played by Michelle Williams and Ryan Gosling respectively), who are both working parents of a elementary school-aged daughter, and whose marriage we watch cough and sputter into its inevi-

table tailspin with breathtaking detail and precision. However, intercut with this story throughout the film is that of the initial stages of their relationship, chronicling their courtship from a love-at-firstsight meeting to their town hall

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marriage, complete with their future daughter on the way. If by this editing technique, the film attempts to simultaneously demonstrate the joy and pain of a budding and then crumbling romance, then it does succeed, but only just. It is impossible to fail to be drawn into the effortless beauty of Cindy and Dean’s ecstatic first affections. This rapture, however, does a much stronger job of throwing their break-up into relief, reminding us that there can only be one first time for the magic moments of a relationship’s birth, while it can sustain blow after dreadful blow before finally breaking apart for good.

Cake brings the old favourites, with some new icing suzie balabuch

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The power of these scenes can be attributed to the impressive immediacy of the performances. Gosling must be the most charming man on the face of the planet – he is an absolute magician. He doesn’t simply seduce you with his performance, he makes you fall right in love with him, convincing you doubtlessly of the sincerity of his love for his daughter. Meanwhile, the fragility with which Williams is able to imbue her character makes you feel emotionally vulnerable just for watching it. Both performances are so captivating and true that you have no doubts that this could happen to anyone. This fact sets Blue Valentine

it apart from its recent filmic counterpart, Revolutionary Road, and is what makes its viewing so miserable. There we had an intelligent, articulate couple, somewhat despicable in their mutual deceptions, from whom we were distanced by the restrictive social mores of the 1950s, upon which we could pin the blame for their romantic failures. Here though, we have not any such benefit of hindsight, and are faced with characters who are not despicable by any means. Our ability to relate to Cindy and Dean makes watching their tragedy all the more painful. Writer/director Derek Cianfrance’s crafting of the film cannot be overlooked either. His selection of scenes from the couple’s life to examine is essential to our insight. He even arranged for Gosling and Williams to live together in their house for a month - time that makes itself known in the final product. The passion between the two actors was so strong in one intimate scene, in fact, that they were forced to appeal an NC-17 rating to an R rating, in order to save the film’s commercial viability. A soundtrack from Grizzly Bear serves as a welcome accent to this meditation on love and its curses. If you attend Blue Valentine, be warned: not only may you struggle to see love the same way any time soon, you may also struggle to find better acting any time soon.

After six long years, the alternative 90s favourite Cake has released a new album, Showroom of Compassion. Fun and friendly, this album is an easy listen, and it’s hard not to want to sing along with quirky lyrics like “It’s been a long time since you wore your pillbox hat” from the track “Long Time.” “Sick of You,” the first single released, is tight, fun and a little weird, which is what Cake is about, but the following tracks don’t really measure up. “Mustache Man” is an upbeat track in the vein of older Cake

songs, and the country-infused “Bound Away” is surprisingly nice in its simplicity. The band does make a bit of a departure in terms of the actual instrumentalization. Luckily, Vince DiFiore’s recognizable trumpet sound and super catchy bass lines that made “Short Skirt/Long Jacket” so awesome remain in this album, but once the band tries their hand at further instrumentalization, like in “The Winter,” the album descends into a weird melancholy that makes you hark back to the days when lead singer John McCrae sang about how he likes

his girls. This trend does not improve, as another ballad-like, more heavily instrumentalized song, “Teenage Pregnancy,” just falls short, sounding a little amateurish. Every band has to evolve, but the new direction Cake is taking does not really seem to work all the way through, making their newest effort likeable, but uneven.

the arts

January 13, 2011

The rap

Baste your H.A.M. with Southern Comfort, garnish with Kush Hip hop veterans and newcomers offer up new tracks for the new year

With the New Year comes new music and so far I am not impressed, people. I know I am always giving big ups to the Young Money crew, but 2010 was definitely their year. The January 11th release of H.A.M. (Hard as Motherf**ker) was disappointing to say the least. As the first track from Jay-Z and Kanye’s upcoming collaborative album “Watch the Throne”, my expectations for the CD have been respectfully lowered. The track is overproduced and the subpar mixing results in what sounds like Soulja Boy with Operatic overtones. Either way, it’s a weak start. I’m going to try to shake things up this year and school ya’ll on some different artists

by taking a break on the Young Money coverage. Specifically, I want to introduce you to my new favorite Eminem replacement. While I respect Eminem’s body of work, I feel like every track in recent years that he has somehow got on to is weaker just because he’s on it. My solution? Meet Yelawolf: the southern mixed Caucasian-Cherokee rapper straight outta Alabama. Awesome. Like Eminem he grew up in impoverished conditions, only his southern style is a dichotomy from the grimy Detroit feel of Eminem’s first albums. In all honesty, he’s not nearly as talented [YET], but I prefer Yelawolf’s vibe to other white rappers’, like Novi Novak. With a little time, tracks like “Pop the Trunk” will be a thing of the past. The remix of “I Wish” featuring CyHi and

Pill are a better representation of Yelawolf’s skills and pays respect to his skateboarding roots. To finish off, I just want to mention how amazing it is that Snoop and Dre are still churning out dope beats. And I won’t listen to haterz on this one. You should go YouTube the videos “Kush” (especially you Akon lovers… warning not quite as good as “I Just had Sex”) and “Wet” right now. While I don’t see much evolution in Dre’s new music and the track is definitely no “Still D.R.E.”, I have to appreciate the old school sound (as in the last decade). The track is so 2001, I feel like I’m at the Up in Smoke Tour all over again. “Wet” is vulgar like only Snoop can do, but I just dig how he’s all about the pussy. Call me a feminist.

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the backpage

January 13, 2011

Across 1. Shirt sleeve segment 6. Little devils 9. National tunes 11. Speed competitor 12. Potato state 13. Reflective surfaces 16. Scant few 19. Cannabis resin 21. Foot warmer 22. Mediocre 23. Bounty hunter 25. Behold 26. Small talk 27. Ginger cookie 30. Faucet problem 31. Reverberation 32. Epic narration 33. Add 35. Meditative exercise 38. Do surgery 42. Beeper 43. Opera solos 44. Hues 45. Largest continent 46. Sunbathes

Down 2. Stomach or mouth malady 3. Rural estate 4. Big ball of gas 5. Try again 6. Egyptian goddess 7. Designer brand 8. Streetcar 10. Decadent 14. Imperial measurement 15. Chess piece 17. Endless 18. Flees 19. Vacation 20. Enjoying a cigar 24. Irate 28. Cut 29. Tirade 33. Young dogs 34. Implores 36. Tear inducing vegetable 37. British bottom 38. Killer whale 39. Fitzgerald of jazz 40. Computer brand 41. Not west

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the comics

by Mike Winters