January 20 2011

the newspaper University of Toronto’s Independent Weekly

Vol. XXXIII N0. 1

January 20, 2011

Murder still unsolved U of T General Assembly set in motion Community members cite distrust in university governance, 10 years later form alternative governing body MartÍn waldMan U of T students, faculty, staff, and general members of the university community gathered on Wednesday evening at the inaugural University of To-

ronto General Assembly held at the U of T Multi-Faith Centre. Organizers state that the assembly was created out of a lack of confidence in the current governance of the university, demanding that learning

conditions, working conditions, and academic freedom are improved and respected.

Speaking prior to the event, Johanna Lewis, an undergraduContinued on page 2

the newspaper archive times in the chest, and found the following morning by a cleaning lady.

Homicide detectives interviewed 230 individuals, but the case remains unsolved.

BODI BOLD

This week marks 10 years since the death of Professor David Buller in his office at 1 Spadina Crescent.

Buller, a visual studies lecturer, was stabbed multiple

Bookmob rule

A new textbook website aims to take the financial strain off of students

BODI BOLD

anna Marszalek

The panel of the Hart House Debates Committee’s Debate on the Decriminalization of Prostitution discuss issues of sex, liberty and security in light of changes in sex trade regulations on Wednesday night. The debate was hosted by the Hart House Debates Committee, Hart House Social Justice Committee, and Free the Slaves U of T. Two panelists debate the issue on page 3.

A trip to the U of T bookstore can induce feelings of anxiety and anger, especially after the wallet-draining holidays. Although we may be halfway through the school year, the new semester doesn’t have to mean buying new, expensive textbooks.

The answer to the pricey textbook problem might be found in a new online textbook service called Bookmob, which was launched last year. Bookmob’s CEO Brad Dolan, a Carleton alumnus, is sympathetic towards the stressful lives of Canadian post-secondary students.

Dolan aims to lessen money bur-

dens and increase free time, by providing cheap and efficient ways for us to get a hold of those much needed schoolbooks.

According to Dolan, students may collect up to $500 in student savings a year. “You could find a textbook in a store for $100 and find it on our website for $30 to $40, saving anywhere from 50-80 per cent off,” Dolan said.

Bookmob has a full inventory of college and university course books, specifically concentrated on Canadian educational institutions, so you’re likely to find all your required textbooks. The company

Continued on page 2

the news

2

Bookmob

UT General Assemby

Continued from page 1

Continued from page 1

ate student at U of T an co-organizer of the UTGA, outlined some key reasons for general discontent that led to the assembly. “Being a student at U of T can be an isolating experience,” she explains, “and we have major concerns over how decisions are made. They tend to happen without consultation and feedback, and in a very topdown manner.”

Patrick Vitale, Ph.D. student and a Liaison Officer with CUPE, had similar concerns.

“The Governing Council tends to speak for themselves,” he said. “Students, staff and faculty don’t have much of a say, and there are specific limits on the number of people that can attend their meetings.” Like Lewis, Vitale believes the university administration has shifted to a top-down, corporation-style structure.

Speaking to a packed room, a facilitator began the inaugural meeting with opening remarks outlining two contrasting visions of a university: one in which various interests on campus are intertwined, respected and collectively addressed, and another which functions as a factory, a “mechanized profit machine” in which various in-

January 20, 2011

terests are in isolation. The assembly had been organized because of a general feeling that U of T has fallen into the second category.

Leslie German, a sessional teacher at the university, outlined the assembly’s decisionmaking model: one person, one vote; 2/3 majority required for all decisions to pass; that the assembly has a relation of separation from official bodies, and is not linked to any other organization; and that the assembly is open to students, faculty, staff, and the U of T community as generally perceived. Despite concerns over the nature of majority rule, the definition of what constitutes a member of the university community, and the fact that the fast pace of the votes was shutting out debate, each of the four motions passed easily. With the decision-making structure decided, the assembly broke off into nine different issue-based working groups.

The most salient concerns from the assembly revolved around university corporatization, opaque decision-making within the administration, and an overall lack of appreciation for what students, faculty and

staff contribute to the university as a whole. Following animated discussions, each working group provided possible action plans for how to influence university policies, which included improving access to public drinking water, revoking the Munk agreement, monitoring private donations, facilitating access to campus spaces, and moving towards free university education.

What remains unclear is how the assembly will impact decision-making within the university.

Despite rousing debate, the action plans presented by the working groups resembled goals, rather than concrete plans of action. The success of the assembly’s first meeting will be depend on whether the momentum gathered on Wednesday can carry forward into future meetings, and eventually give the U of T General Assembly a robust and influential position within the university.

charges a flat shipping fee of $6.99, while return shipment is completely free. Bookmob also guarantees a fast delivery of 1-2 business days and has a 45-to-120 day take-out limit.

Another option to consider is SLURP - Save Lots at the UofTBookstore Rental Program - where students can get a slightly lower 40-60 per cent off. SLURP’s rental period has fixed deadlines that conveniently align with the end of term dates. Students also have the choice between shipment, at $12, and picking up their orders for free after a day or two of placing them.

Some students find renting books too impersonal; you can never re-

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ally make them your own through creative margin notes, dog eared bookmarks and doodles. Bookmob allows renters to highlight text only, while SLURP gives students permission to make both highlights and notes on the pages.

For those who’d rather own their textbooks, don’t fret. Be sure to visit online shopping sites, such as Amazon.ca and Indigo.ca, for both new and used discounted books.

In any case, students should browse all of their renting and book seizing options well before the beginning of classes to ensure accurate information, smart decision making and lowest prices for the best personal fit.

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the news

January 20, 2011

The Debate

3

Decriminalizing prostitution

The pro

The con

julie grant

Julie Grant is the Member at Large of Sex Professionals of Canada

As one of the interveners in the legal challenge to Canada’s prostitution laws, REAL Women of Canada believes that prostitution has many harmful effects on the prostitutes themselves, clients and their families, the business milieu in which this occurs, and society as a whole.

Allowing the customer to buy the right to treat another person as an object demeans the dignity of women and men. Studies have shown that prostitutes, the majority of whom want to exit the trade, are most frequently victims of drug addiction, violence and post-traumatic stress syndrome. We therefore support the present laws against keeping a common bawdy house, communicating and living off prostitution. In fact, we believe present laws should be strengthened to make prostitution itself illegal since it is inherently harmful to women, men and their families.

Attempts to remove prostitution from the Criminal Code by Parliament has had very little support from elected representatives. Changing legislation by way of court challenges is a more attractive option since it bypasses the extensive public debate by concerned Canadians required in the democratic process.

Using the vague language of the Charter of Rights and Freedoms as an instrument in making national social policy, one single Judge, Madam Justice Susan Himel, struck down Canada’s prostitution laws in September. Her decision was deeply flawed because her conclusion was reached solely on uncertain and often contradictory social science evidence. Using this evidence, Himel claimed there was more “harm” to prostitutes working on the streets than those working in brothels. She also ignored a previous 1992 decision by the Supreme Court of Canada stating that prostitution was a complex social problem requiring criminal code prohibitions to protect Canadians, and not a mere “social nuisance,” as Himel claimed.

In countries which liberalized their prostitution laws in the 1990s, such as the Netherlands and Sweden, legal as well as illegal prostitution increased, as did the trafficking and exploitation of vulnerable women from third world countries, and child prostitution. Both countries subsequently increased restrictions against prostitution.

In Spain, it is estimated that less than 10% of prostitutes are Spanish and the rest are victims of cross-border human trafficking.

On one hand, drug trafficking brings in a profit from approximately $10,000 to $40,000 per kilo, whereas human trafficking brings in a profit for criminals, who face little jail time, of approximately $280,000 per year, per victim. Human trafficking is such a lucrative business that legalized prostitution will only exacerbate this problem.

The sheer profitability of human trafficking (and of its byproduct prostitution) is why Canada has joined most other civilized countries in signing United Nations conventions to end the practice. We should continue to honor these international agreements.

A better solution to what has been called a modern form of slavery, would be to help women and men exit this way of life through safe houses to protect them from their pimps, provide drug addiction treatment, skills training and counseling.

MAY ARIDA

On September 28, 2010 Justice Himel of the Ontario Superior Court struck down three provisions of the criminal code as they pertain to prostitution.

Invalidated were sections 210 -bawdy house, 212(1j) living on the avails, and 213(1c) communicating. She found that “The effect of the impugned provisions is to force prostitutes to choose between their liberty interest and their own personal security.” And she is right!

Prostitution itself has never been illegal in Canada. How can it be illegal to discuss the price of a legal transaction in public? The hypocrisy of this is undeniable.

Beyond hypocritical, it is life endangering. One of the primary causes of conflict in a prostitute-client transaction is a dispute over prices. If that is not agreed upon in advance problems are sure to follow.

If one can’t “communicate” (s213(1c) about this because they are in public, they are put in harm’s way. Being able to assess a potential client is critical.

This law limits that ability.

After 1985 when the “communicating” law was created the amount of violent victimization of street workers dramatically increased.

All three applicants in the court challenge were street workers in their pasts. All three moved indoors from there. Indoor work is safer but it is also illegal under the bawdy house provision (s210). We need to be able to work together indoors without threat of arrest.

Prior to Himel’s decision (and until the stay is over on April 29, 2011) the only way in which one can legally prostitute in Canada is to work in absolute isolation. That is dangerous. That is why people work together. And when people “work” they need to be paid. It is illegal to have security or to work with others.

No one else can “live wholly or in part on the avails of prostitution”(s212.1j).

Section 212.1j (living on the avails) is one tiny element of the procuring law that was challenged because it is so vague as to include any adult who benefits financially from your sexwork. This can include support staff, offspring, relatives, significant others or any adult you may live with.

If the law means to target coercive “pimps” it should do so instead of having this undefined, open to interpretation clause that leaves us at the mercy of an individual police officer’s discretion. Justice Himel explains that there are many other legal remedies available to deal with such exploitation and she lists them.

Sex work is work. It is not inherently violent. Dangerous situations are created by criminalizing workers and driving us underground. Problems associated with prostitution are far more easily addressed when there are rights and standards.

As consensual adult sexworkers, we must be afforded the same rights as other workers. We must have our autonomy respected. Our security has been compromised simply because many see this work as unworthy and unwanted.

We beg to differ.

This decision moves towards protection and equality and away from punishment.

We are delighted.

C. Gwendolyn Landolt

C. Gwendolyn Landolt is a founding member and National Vice President of REAL Women Canada.

4

the inside

January 20, 2011

Percussionist’s performance makes the heart beat like a drum Dong-Won Kim’s last concert exudes harmony and detailed beauty

suzie balabuCh For his last concert in Toronto, Dong-Won Kim treated the audience to a feast of driving rhythms, haunting song, and lively group dance. The renowned Korean percussionist and singer, who was supposed to pursue a career in technical engineering before discovering music, has been at the University of Toronto for the past semester as the Faculty of Music’s Artist in Residence. Mr. Kim gave his final performance at the MacMillan Theatre, surrounded by his students and by his dear friend Josh Pilzer, fellow musician and professor, and the person who brought about Mr. Kim’s residency.

The title of the concert, “Chaosmos”, represents the fundamental basis of Korean philosophy in life, and in music as well.

Chaos and order must exist together, because you would not have one without the other. The recurring theme of opposites yielding to harmony were even apparent in the instruments themselves. In an interview with the newspaper, Mr. Kim touched on the dual nature of his favourite drum, the janggo.

The hourglass-shaped drum is the most popular Korean percussive instrument, and produces a captivating contrast of sound from its two leather surfaces.

“The lower sound is the yin.

The energy of a yin is like a mother’s hug, which is lower, which embraces the rest of it, and which protects you, and provides everything to you… the sound from the higher pitch leather, we say yang, is like a father’s strong arm. The father goes out, working outside, and hunts, and farms, and protects and provides for you, but is more aggressive, more sharpened, more remarkable.”

This exceptional instrument was the focal point of many of the numbers in “Chaosmos.”

Among them was a piece called Hae Maji Gut (by composer Joon-Il Kang), the first piece Mr. Kim ever played with world famous cellist and Silk Road creator, Yo Yo Ma. The piece features a trio made up of a piano (played by Mira Jung), cello (Andrew Ascenzo), and janggo (Mr. Kim). Hauntingly beautiful, the piece explored the connection all types of music can have to each other, if created

piece in particular was something Mr. Kim never conceived of happening. “Sometimes it just happens without imagination or without preparation, but the way it happens is really, really beautiful.”

Other memorable numbers included Mr. Kim’s improvisation collaboration with jazz students playing saxophone, guitar, bass and piano, using “Korean traditional musical principles as an anchor.”

and performed in a genuine way.

The idea of the connection of cultures is important to Mr. Kim not only in music, but in the community as well. As someone who was once arrested and imprisoned for drumming in a protest, Mr. Kim clearly ascribes to the fundamental principles of peace, unity, and diversity. “Cultural diversity is huge and beautiful, but among the diversity, there is something common we can share. For ex-

ample, if I sing a sad melody, something very Korean traditional, Jewish people, European people, African people, they can recognize that it’s not familiar, but the emotion of the music, they can recognize it.”

As someone so attuned to the necessity and beauty of diversity and harmony in music, Mr. Kim was also quite taken with the diversity of the city of Toronto, a place he would very much like to return to one day.

“I love the cultural diversity in

Toronto. It’s wonderful, excellent. The people I’ve met, all of them represent the cultural diversity.”

Mr. Kim is not only intent on the performance aspect of his music career; he is also a music educator. This fact was abundantly clear in most of the night’s numbers, as his many students and friends joined him on stage for such numbers as Gamelnori, a collaboration between Korean percussion and Balinese instruments. This

“For me, the different types of music, or different music styles, doesn’t matter.

What matters to me, is how can I make a decent and genuine musical conversation with other music.”

-Dong-Won Kim Perhaps the most electrifying performance of the night was the Pangut, a traditional farmers’ drumming and dance connected to Korea’s very long agricultural history. Mr. Kim explains: “Working in the rice fields is really hard work. So, drumming was a kind of encouragement.” It was a sight to behold: a large group of students, with Mr. Kim, at the helm, danced, jumped, and weaved their way around the stage while singing out phrases. Mr. Kim ended the night with an interactive encore, something unplanned yet really beautiful. The audience sang back to Mr. Kim, and his students joined in with their various percussive instruments.

The encore really summed up Mr. Kim’s philosophy as a musician and teacher: “For me, the different type of music, or different music style, doesn’t’ matter. What matters to me, is how can I make a decent and genuine musical conversation with other music.”

the inside

January 20, 2011

5

THE ROOTS OF RAP Anthology of Rap takes us from our computer screens to the Bronx circa 1975

early years and the foundation of rap, why the choice to focus less on “New Millennium Rap” and more on the guys who really laid the foundation of the genre.

jess stokes People of our generation often get caught up in new music, forgetting about the roots that were laid in a foundation of ideas and messages fueling the evolution of a genre. If you’re like me, your older siblings or parents introduced you to the psychedelic sounds of classic rock like Pink Floyd or the poetic genius of Bob Dylan. But when it comes to rap, no one was schoolin’ me on smooth sounds of De La Soul and I wasn’t watching Grandmaster Flash on Beat Street. I’ve been looking for a book to fill some gaps in my knowledge so I might gain a greater appreciation for a genre of music I spend so much time YouTube’ing. Solution? The new “Anthology of Rap” edited by Adam Bradley and Andrew DuBois.

Andrew DuBois is none other than a U of T prof based out of the Scarborough campus. Originally from the Southern US and armed with a PhD from Harvard he breaks down thirty years of history into an accessible book that contains nearly 300 lyrics.

The book is separated into four sections: The Old School, The Golden Era, Rap Goes Mainstream, and New Millennium Rap. Although a comparable volume of lyrics are found in each section, the authors focus heavily on the early history of rap music and the influence earlier artists had on the development of the genre. In the first section, the stage is set: it’s 1975 and DJ Kool Herc is spinning in the Bronx. The book is evokes strong visual images like this based on a rich historic timeline throughout making it captivating for interested parties.

One slight drawback to The New Millennium Rap chapter was that it felt a little lacking in terms of making the reader feel for the story during this time in raps history. This of course could just be a case of the novel stimulus. For most of us born in the 80s, we are all too familiar with current artists and their histories. Movies like Notorious let us peak into rap legends like Biggie giving us deeper

Illustrations by Kate Wakely-Mulroney understanding of the music as both a culture and art form.

Nevertheless, when we have artists like Justin Bieber peddling Proactive acne cream and 50 Cent selling us our hangover remedies in the form of vitamin water, The Golden Age of Slick Rick and Run-DMC might seem more romantic.

Overall the book is a must for any reader interested in a comprehensive but approachable guide to the evolution of a genre that has had a massive impact of global popular culture in the past thirty years. It does an elegant job of balancing an impressive anthology of lyrics with a highly engaging history of an art form. Check out the interview below with Prof.

Dubois for his thoughts on new rappers, his love of poetry and oh yeah, his book.

taken to this music that was born in a very specific time and place. Rap as an art form has grown very quickly and is important to modern American social and cultural history.

As a poetry critic and teacher, I’m interested in poetry in all of its manifestations. But in recent years I’m becoming more and more interested in popular poetry. So to find a form of poetry that speaks across all demographics and yet still maintains so much density, variety, and artistic integrity I think is pretty amazing. I would say it’s the most important form of popular poetry in my lifetime.

What do you think the history of rap in terms of its rise as an art form?

How do you feel about the evolution of the genre in terms of its birthplace in Bronx and the political and social atmosphere at that time and how the ideals and messages that artists are rapping about has changed dramatically?

The history of rap music is absolutely fascinating from the perspective of the cultural history and the rise of an art form.

I’m American, as you can probably tell from my accent.

Rap music is such an important American contribution.

People all over the world have

I would say in the earliest stage, there was a range of messages being expressed. Yes Afrika Bombattaa had a range of political messages, but even in his music there are songs that are just good times party music. I remember the first time I heard “Planet Rock” and “Looking

for a Perfect Beat” when I was a little kid at the skating rink.

For us that was something you could move around the rink to.

What do you think would be an example of a rap artist today that transcends this need to endorse products [I’m looking at you vitamin water and 50cent] and the commercialization of an art form?

Let’s say somebody for a certain demographic is considered the hottest thing going and is not for another demographic. Take Drake for example, or even better Lil Wayne. No one could be more commercially pushed than Lil Wayne, but I love Lil Wayne. He’s got a lot of artistic integrity. He’s an example of someone who can operate both in a quasi-underground and mainstream artist. He’s flying below the radar putting out mixtapes that only insiders would know about and at the same time putting out tracks for the mainstream.

I was mostly interested in the early chapters because I knew less about the birth of rap and more about the last twenty years. The book focuses very heavily on the

That’s a good question. The disparity isn’t based on actual page allocation, each of the four sections have more or less the same pages and number of lyrics. I don’t think anyone else has noticed this so I’m glad you mentioned it. This was very deliberate. We wanted to try to draw out more history from earlier artists that a lot of our readers might not have heard about. If we had just put the raw lyrics on the page people might start to zone out, at least I think so. So we tried to draw out some of the stories of some of the early artists and I think that explanatory material gets less verbose in chronologically because of methods of dissemination. The fact that rappers and hiphop artists are constantly in the news, magazines and are especially accessible with the internet leading to substantial exposure. So I don’t sense that people now, like you, need or want to hear about the story of Jay-Z because you probably know it. Buy you may not know about Funky Four + 1 even if they’re on your radar. This is also a labor of love so for me personally it was really fun. I first started listening to the music in the early 80’s so it was like going back to my childhood.

Runaway?

Yeah! I just tossed the booklet to the side, played the track over and over, until apparently I was told I that I was singing it in my sleep! Nicki Minaj from what I’m hearing is doing something really interesting. She brings a very interesting kind of monstrosity to some of her manipulations of voice, which I think it both meant as an aggressive tactic but also an ironic response to some of the more aggressive posturing that might go on. So I’m very interested so far. But I’m listening to a lot of things these days.

the arts

6

January 20, 2011

No Dilemma here Save this one for the plane dan christensen

Films for change Join Hart House on a six-week cinematic journey of social involvement geoff vendeville This spring, Hart House will be screening six award-winning documentaries as part of the “Conscious Activism” film series. Organizers Zoe Dill and Day Milman say the films invite viewers to reflect on the role of documentaries as a “tool for transformation.”

Such films might strike a chord with students, because, as Milman points out, “When you’re young, you think your actions can’t make a big difference.

These films show how people with limited means can change things.”

Inside Disaster: Haiti (dir.

Nadine Pequeneza) – January 26, 6:30 p.m.

Since the 7.0-magnitude earthquake more than a year ago, roughly 1m Haitians have been living in tent camps. Rebuilding seems a distant dream. Inside Disaster follows the Red Cross on its largest relief operation in history, shedding light on the obstacles to reconstruction. There will be a panel discussion after the film featuring director/writer/producer Nadine Pequeneza, the Haitian assistant consul-general, and a spokesman for the Red Cross.

The Socalled Movie (dir.

Garry Beitel) – February 2, 6:30 p.m.

“Frankly, there’s nothing so unusual about bein’ a Jewish cowboy,” begins You Are Never Alone, the 2007 single by Montreal-based musician, producer, composer, and magician Josh “Socalled” Dolgin. From the sound of his music, neither is there anything too unusual about blending hip-hop and klezmer, folk music and drum & bass. “Socalled Movie” shows how music offers almost endless possibilities and can bring people of diverse backgrounds together.

Taqwacore: The Birth of Punk Islam – February 9, 6:30 p.m.

Never mind the bollocks, here’s the Kominas, one of many Muslim punk bands featured in this documentary. The film follows these mohawked Muslims on their first US tour and to Lahore, Pakistan, accompanied by Michael Nathaniel Hall, whose 2003 novel The Taqwacores about Muslim punk houses “inhabited by burqa-wearing riot grrrls and straightedge Sunnis,” inspired the real-life movement.

Their music challenges ethnic stereotypes and Islamic traditionalism alike. The shareef don’t like it, but you certainly will. Join author Hall for a Q&A after the screening.

Sounds Like a Revolution – February 16, 6:30 p.m.

The sounds of this revolution range from the Dixie Chicks’ warbling, to punk bands AntiFlag and NOFX’s power chords, to rapper Paris’ rhymes. Although their styles differ, they all agitate for free speech and speak out against corporations preventing political artists from reaching the mainstream. The film also features folk singer Pete Seeger, David Crosby, and Jello Biafra (of the Dead Kennedys).

Soundtrack For a Revolution – March 2, 6:30 p.m.

Many pictures have become icons of the civil rights movement, photographs of Martin Luther King on Capitol Hill, for example, or of black children in Little Rock, AR being escorted into a high school by national guardsmen. Less well known are the songs that made up the “soundtrack” of the movement, covered in this documentary (shortlisted for the Oscars) by contemporary groups such as the Roots, Wyclef Jean, and TV on the Radio. As program coordinator Dill says, “these songs still resonate strongly today.”

Illustrations by Dave Bell

When I saw the trailer for this film, I was geared for simplicity.

They called the movie The Dilemma for crying out loud, and I already knew what the dilemma is! How complex could it be?

In the film we’re presented with an extremely simple premise: a man sees his best friend’s wife cheating on him and must decide how to respond. But this is just the beginning – or just the twenty-minute mark I should say. Before it gets to the point, it must set up a variety of other plot points, the resolutions of which manage lengthen the film to its flabby two-hour running time.

By the time the end credits roll, though we’re able to recall a number of humourous, memorable scenes (especially considering we also saw them in the trailer), we find ourselves wondering why they were in the movie.

For example, Queen Latifah appears in the film in a vaguely humourous and by all accounts bizarre role as an executive at Chrysler – the company to which Ronny (Vaughn) and Nick (James) are pitching their idea – who makes an overly forceful attempt to ingratiate herself with them and convince them that she was simply one of the guys.

Also, whenever Ronny narrates an event that never happened, director Ron Howard curiously employs a flashback depiction of the event in which the colour is washed out, to fill in the details of the lie. The inclusion of these scenes confuses me still, as they neither clarify Ronny’s stories nor add humour by exposing their absurdity.

The story is stuffed with so many superfluous details (Ronny’s commitment issues and gambling problem, Nick’s dream of scoring on centre ice at an NHL game) that even the film’s music was crowded. The

myriad of soundtrack considerations distracts from the drama of the scene at hand, and the comic tension of Vaughn’s performance, which drives the picture.

Though we might expect much of the comedy to derive from the dramatic irony of Ronny’s actions appearing crazy to those who don’t know the infidelities committed by Nick’s wife Geneva(Winona Ryder), instead Ronny seems to actually become crazy in his attempts to expose her wrongdoing.

This would be okay if only his descent into madness was properly motivated, and our attention could be focused exclusively upon the development of the bizarre circumstance he must endure.

While the film brings a number of laughs, and it is reliably carried by Vaughn, I came hoping to find out about the character I met in the trailer and his problem, but I really didn’t need all of his life details.

Green Hornet lacks sting The long-awaited re-working of a popular hero-sidekick story isn’t worth the buzz suzie balabach

For a movie that was in development for so long, going through various writers and directors, The Green Hornet is a letdown.

This film was much anticipated, if not for the fact that it’s based on a classic TV show of the same name, then for the fact that its Canadian star, Seth Rogen, transformed himself from schlub to stud in order to play the title role.

Rogen’s character, Britt Reid, is the spoiled party-boy son of a cantankerous, albeit respected publishing magnate (played very effectively by Tom Wilkinson). After his father’s untimely death from an allergic reaction to a bee sting, Britt’s world is turned upside down as he copes with the loss of a father he never really knew and his new role as the owner of his father’s newspaper.

After a hilarious encounter with a terrible cup of coffee that the spoiled Britt is not accustomed to, he befriends his father’s mechanic/master coffee maker, Cato (Jay Chou, an uberfamous Korean popstar).

The duo fall into the crimefighting business almost by accident, and with Cato’s amazing

mechanical skills and general awesomeness, they take the LA crime world by storm.

The buddy element to this movie is the best part of this movie; Rogen’s and Chou’s exchanges are almost always either hilarious, quarrelsome, and often both. Rogen’s true talent, the awkwardly, boisterously funny one-liners are sadly few and far between. Chou, however, saves the day with his martial arts skills and general mystique, making this movie a somewhat good time.

Unfortunately, not much else can be said beyond the good chemistry between the film’s two stars. Cameron Diaz has a minor role as the crime-fighting duo’s whip-smart secretary, but her part is almost superfluous.

Sadly, Christopher Waltz, who

plays the movie’s awkwardly named villain Chudnofsky, is woefully underused. After seeing his work in Inglorious Basterds, it is disappointing to see such a talent utterly wasted.

The storyline is simple and should be easy to follow, except for the fact that it often feels very choppy. It’s like director Michel Gondry (Eternal Sunshine of the Spotless Mind) either became distracted by the admittedly stunning action scenes, or simply confused by the mediocre script.

The over-stretched ending of this movie leaves open the possibility of another Hornet movie, but if the sequel is anything like the last one, it is perhaps better to just stay home and enjoy watching the original TV series.

the arts

January 20, 2011

7

Great art for a great university UTAC’s latest exhibit showcases incredible Canadian talent In a corner of one of the oldest buildings in downtown Toronto, hidden behind the nondescript white walls usually reserved for office buildings and community colleges, lies a visual art gem virtually unknown to the people of Toronto. The University College building, erected in 1859 as the very first entity in what later became the University of Toronto, is evidently home to more than the infamous Junior Common cafeteria and its obscenely large and criminally luxurious leather couches. The stoic structure also holds at its northeast corner the University of Toronto Art Centre (UTAC) and in it, the “Great Art for a Great University” exhibit.

Filled with the likes of some of the biggest names in Canada – a certain seven of them – the modest but elegant gallery is all sparkling hardwood floors, walls of gleaming white, and vivid artwork at every angle.

Walking in is like easing into a warm shower – clean and precise, yet peaceful and rejuvenating.

As the director of the gallery, Niamh O’Laoghaire, walked me through its four distinct rooms, it was obvious that there was an

BODI BOLD

evanna folkenfolk

objective to the exhibit beyond mere artistic display. For the location of the gallery – and of the glossy exhibit itself – was no coincidence. With a name like “Great Art for a Great University,” the exhibit bordered on a somewhat self-congratulatory celebration of the University.

The smug self high-five was left bouncing off the walls of the first room, filled entirely with the depictions of and paintings by (and aptly named) ‘University College People.’

Bypassing the dull and uninviting Barker Fairley land-

scapes, I found solace in front of his portraits which, with sallow orange skin-tones, murky browns and melancholy blues expressed the solemnness of academia in a way only an academic-turned-artist could. Beside his solemn portraits hung the pencil sketches of Phil Richards, whose subjects emanated from the canvas in such detail, it was at first impossible to distinguish them from photographs.

The next room, titled simply ‘Landscapes’, held the greatest variety of talent and some of the biggest names. O’Laoghaire

explained that this component of the exhibit was not curated chronologically, as is often the case, but rather by content. The result was a striking display of the diversity of Canadian landscape artists, ranging from the vivid and geometric greens of Kazue Nakamura, the autumnal warmth of Franklin Carmichael and Lawren Stewart Harris, to the eerie sundown of Arthur Lismer’s Evening Silhouette Georgian Bay. Cradling the ‘Landscape’ room on either side was ‘Abstraction’ to the right, and ‘My-

thology of Life and Culture’ to the left. Both modern in their own right and unconventionally Canadian, they could not have been more different, or more unexpectedly representative of the multiplicity of Canadian artists in their content, form and mood.

In ‘Abstraction’, the sinister and sexual energy of Quebecois artists such as Paul-Emile Borduas and Jean-Paul Riopelle could be felt on the far wall, juxtaposed against the serene pastels of William Perehudoff and John Golding of the prairies whose abstract landscapes, while calming to the eye’s first glance, unnerved in a way that only a placid but bottomless ocean could.

In the ‘Mythology’ corner, the airy colored stencils of Joyce Wieland competed against the aggressive black-and-blue oils of Charles Pachter’s Rite de Passage, and every painting in between showcased an entirely different style and sensibility, as though the room itself, and the gallery at large, was trying to fit the very essence of Life and Culture into its tiny confines.

Walking out of the small and discreet gallery, the reigning emotion was on of the absolute largeness of Canadian talent.

From the classroom to the runway The Visual Arts program’s thesis class puts on a one-of-a-kind show suzie balabach This Friday, January 21st, U of T’s Visual Arts thesis students will be putting on a very unique fashion show in the Debates Room at Hart House.

The uniquely named show, Coat of the Cat, will showcase student designs by Bolt, Junkyard Judy, Maymay, Root of Ten, Fabian Mosquera, and Leon&Mathilda.

The entire class is taking part in some way, making this a true team effort, yet also underlining the fact that visual arts students at U of T are often left to fend for themselves when organizing important events like this to raise money for their woefully underfunded program.

This year the thesis class number was increased from 15 students to 21, which is a “huge strain” on resources, says the-

sis class member Courtney Kursyn.

Kursyn and classmate Carlo Schefter are the MCs for the event, and they have high hopes

for the show. Schefter hopes that Coat of the Cat will get people to “take away that the art program at U of T actually exists, and that it’s filled with people who

are working really hard in conditions that are less than ideal and we’re succeeding.”

Amy Wong, designer of the line Leon&Mathilda, and origi-

nator of the idea for this firsttime fashion show wants to show that her classmates’ “artistic skills are vast and they’re not only in the mediums we’re using for thesis.”

Apart from the unique charming designs, the show will also be featuring art installations, art videos, and live music by Afi Babybrown and the Voodoo Children from Saturn. Even more exciting is the opportunity to buy some of these original designs at the show’s shop, with prices ranging from around $10 to $50.

Above all, The Visual Arts thesis class is simply hoping for some much needed love and support.

Katherine Tucker, class member and model for the show sums up, “I just want a lot of people to come and have fun, seeing the designs, taking interest and supporting us.”

the backpage

8

“

January 20, 2011

”

the campus comment

the newspaper asked: who If you had to get in a fight, who would you want to be beaten up by?

Ian, 1st year, Electrical and Computer engineering “The composer John Williams”

Jessica, 2nd year Life sciences “The Teenage Mutant Ninja turtles”

Maya, 1st year, life sciences

Yuka, 2nd year, Psychology

Suzie, newsies

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Del, 1st year, Ethics, Society and law “My Dad”

“The multi-talented Natalie Portman”

“My friend Janet”

“Beyonce, because she can kick real high.”

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