January 27 2011

The rise of the musical underdog

The ukulele comes to serenade U of T

page 5

the newspaper University of Toronto’s Independent Weekly

PanAm Games budget doubles

Why the UTSC aquatic centre is costing an extra $23 million MartÍn WalDMan A staff report released at City Hall last week showed that the cost of the 2015 Pan-Am Games in Toronto will not only exceed the city’s initial $49.5 million budget announced in February of 2009, but will in fact be nearly double that, at an estimated $96.5 million.

A major factor in the budget increase is the excavation of a former landfill at U of T Scarborough North Campus, the planned site of the Pan-Am Games aquatic venue.

To make construction viable, the land has to be remediated, at a cost of about $23 million.

Mayor Rob Ford and members

Vol. XXXIII N0. 1

January 27, 2011

Great Minds brainstorm corporate takedown

MartÍn WalDMan

of the city Executive Committee expressed shock at the figures before them, and promised that Toronto would not be on the hook for any further “surprise” expenses that appeared between now and the event itself.

The doubling of the Pan-Am price tag does not come as a surprise to community groups such as No Games Toronto, which provided some of the most vocal opposition to the event in the months leading up to Toronto’s selection as the host city. Their central criticisms revolved around the inevitable cost overruns that the municipal and provincial governments would be saddled with. Citing

This past Saturday, Sidney Smith Hall hosted Great Minds for Whose Future?, an anticorporitazation teach-in that was the latest event in a growing overall discussion about corporate influence at U of T. A panel of speakers discussed the effects of corporatization and how to combat its ongoing influence, and while much discussion with respect to U of T was centred around the role of Peter Munk and Barrick Gold, panelists also included an organizer in similar anti-corporatization campaigns at the University of California at Berkeley, as well as a speaker from the the Extractive Industries Research Group at York University.

The ongoing trend of universities seeking out private donations is certainly not a new phe-

Continued on page 2

Continued on page 2

Reclaiming U of T campaign aims at private donor influence on campus

U of T library embarks on massive digitization project 130,000,000 pages and counting

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sanDra DeGranDis

Digital archivists work in a silent atmosphere on Robarts seventh floor, archiving documents for U of T’s new library digitization effort in collaboration with Internet Archive Canada.

With Google books and devices like Kindle giving people the opportunity to access reading material online, it is no wonder that the digitization of books and other documents is gaining popularity. Many European nations have made great efforts to digitize historical documents including books, photographs, newspapers and even broadcasting material. Though Canada does not yet have a cohesive national plan to digitize its print and historical documents, U of

T has been working in partnership with Internet Archive Canada in order to digitize about 300,000 public-domain books.

While digitization of printed material has its supporters and dissenters, the benefits from such a process seem to outweigh the cons. Most books or other historical documents are only available in specific libraries and only to the people that have access to them. Likewise, out of print materials are hard to come by. Through digitization, these and other types of mateContinued on page 6

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PanAm budget doubles Continued from page 1

the experiences of Pan-Am and Olympic Games in Winnipeg and Vancouver respectively, No Games Toronto considered the promise of jobs, infrastructure projects and affordable housing to be of little substance, and were critical of hosting a onetime large-scale sporting event in the midst of an economic downturn.

Andrew Arifuzzaman, Chief Strategy Officer at UTSC, notes that the planning for the aquatics centre was by no means a hasty process. Discussions about building a new facility first started over 6 years ago.

Currently, the UTSC Athletics Centre is designed for 4,000 people, and had very limited facilities considering the student body at UTSC has grown to 10,000 people. According to Arifuzzaman, “expanding the way U of T Mississauga did wasn’t really an option, we needed a new facility.”

Arifuzzaman explains that after being approached by the city

as a potential site for the aquatics centre, the opportunity to leverage provincial and municipal funds towards the construction of the “crown jewel of the PanAm Games” was impossible to pass up. “Of course we want to attract the best students, give them the opportunity to train in an excellent facility while at U of T, and also address some student experience concerns that are going on.”

The excavation and remediation costs for UTSC North Campus were not clear until recently because an exact location for the aquatics centre, which will be over 32,000 square metres (roughly the size of five football fields), had not been finalized. The fact that none of the remediation costs, which equal roughly half of the original city budget, had been factored into the Pan-Am Games price tag, shows that the concerns expressed by No Games Toronto might have been justified after all.

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January 27, 2011

Continued from page 1

nomenon in Canada or abroad, but according to Zexi Wang, UTSU VP External, U of T is beginning to emerge as an especially bad example.

“The U of T administration seems particularly unreserved about partnering with corporations and the university itself increasingly operates like a corporation,” Wang explains. “Students, for instance, are referred to as Business Income Units (B.I.U.s) in Governing Council documents. Fourteen of the 50 seats on Governing Council... are reserved for government appointees, most of whom are business leaders.”

Peter Munk’s donation and influence at U of T has become the key target of anti-corporatization on campus. Sakura Saunders, Editor of ProtestBarrick. net and member of the Mining Injustice Solidarity Network, as well as an organizer of Saturday’s event, notes that Munk’s company, Barrick Gold, is accused of human rights abuses, environmental violations, and corrupt practices at many of their operations around the globe. Saunders also outlined

the major problems with Peter Munk’s agreement with U of T, and why it represents a “worst case scenario” for corporate control. “Munk’s influence in the School [of Global Affairs] is especially troubling as the school’s area of study, International Relations and Global Policy, are areas in which Munk has vested business interests.”

In the face of inadequate funding from the provincial government, university administrations are often left in a difficult situation, faced with few options to avoid budget shortfalls. At press time the Office of the Provost had not responded for comment, but it is important to note the essential role that private donations can play from the perspective of a university administration.

However, Angela Regnier, UTSU Executive Director, points out that these donations can open the door for interference in academic freedom, something that is already happening at U of T. “Research contracts frequently include nondisclosure agreements which gag scientists from being able

to publish results which might be unfavorable to the sponsor - such as the case of Dr. Nancy Olivieri.” According to Regnier, “academic integrity has long been compromised because private companies have research goals and values that are simply incongruent with the purpose of the university - to foster critical inquiry, support human rights, and produce knowledge for the common good.”

Organizers of Saturday’s teach-in, such as Zexi Wang and Sakura Saunders, were encouraged by the turnout over the weekend, as well as the mix of students, staff and faculty at the event. Asked if anti-corporatization initiatives are truly gaining momentum at U of T, Saunders seems optimistic. “With events such as the General Assembly, and with more events discussing the corporatization of U of T, I feel like awareness will spread... [T]he events in this last week were a strong beginning to a campaign that aims to scrap the Munk contract as it is currently written, and spread awareness about the impacts of such agreements.”

U of T General Assembly facilitator Leslie Jermyn was mistakenly identified as Leslie German, a non-person.

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January 27, 2011

the inside

4

January 27, 2011

Ukulele rising The ukelele makes a strong comeback on the contemporary music scene

What did you think of when you saw Ryan Gosling serenading Michelle Williams with a ukulele in the Blue Valentine trailer? Certainly not a beach somewhere in Hawaii, with girls in grass skirts dancing in the background.

The charming four-stringed instrument is poised to make a comeback, and be taken seriously this time around. The ukulele has made a recent resurgence into music and pop culture, rising like a cutesy phoenix from the ashes, charming the pants off many and converting nonmusicians to seasoned pluckers and strummers.

Contemporary artists like Ingrid Michealson, Jason Mraz, Sara Bareilles, and Nellie McKay have all fallen in love with the conveniently sized instrument.

Michaelson’s sublime uke rendition of Radiohead’s “Creep” has 85,000 hits on YouTube.

Nellie McKay reworks old jazz standards like “If I Had You” into beautifully arranged uke pieces that obliterate the old stigmas that the ukulele has faced in the past.

The realization of this musical/pop culture phenomenon occurred to this writer after attending three concerts (not weird ones in a meadow, I swear), in which the ukulele played an important role.

Now, the ukulele phenomenon has touched down at U of T. Starting January 30, Hart House will be offering a class called “The Lover’s Ukulele”, taught by avid ukuleleist, teacher and ukulele instrument salesman Thomas Dean. The class is a 3-week journey ending on February 14 which aims to get participants to compose and play their own love song for their valentine. the newspaper got the chance to speak with Dean, who thinks that the ukulele phenomenon can be explained in many ways.

Firstly, the quality of the instrument has improved, lending the uke a richer sound. “One of the reasons is it’s now being manufactured in such a way that it is not a toy. That means it can actually be taking seriously,” says Dean.

Also, the ukulele has experienced a boost in popularity due to star power. Many celebrities,

MAY ARIDA

suzie balabuch

not normally music-affiliated, play the ukulele, and they play it well. Warren Buffett taught Bill Gates how to play, Steve Martin is an enthusiast, and Marylin Monroe and Lucille Ball were uke players as well.

Renowned musicians have been carrying on a secret love affair with the ukulele for years.

For instance, all of the Beatles played the ukulele. George Harrison, or “the godfather of the ukulele resurgence”, as Dean calls him, would compose almost all of his songs on the uke

and then write them for the guitar and other instruments.

Another reason for the popularity of this amazing instrument is that it is very versatile.

The uke is not restricted to Hawaiian folk-songs only. It is possible to play any genre of music on the ukulele, be it classic rock or classic renaissance music.

The most fleeting reason of them all is that the ukulele simply seems to make people happy. Dean tells a story of a friend of his who “strummed her way out of depression.” Its friendly

sound is undeniably soothing, even if hearing it for the first

time. Dean says, “The ukulele brings a lot of stress relief. You just feel good playing the darn thing. You don’t even have to be very accomplished.” Ukuleists may be “fierce individualists” according to Dean, but they also have a very strong sense of community. As abundantly clear in the trailer for the documentary, The Mighty Uke, the ukulele brings people together from all over, like a “social sport.”

Toronto is lucky enough to possess its own ukulele collective, the Corktown Ukulele Jam, meeting every Wednesday. the newspaper spoke with performer and Corktown member Ukulele Gaga (aka. Victoria Dobbs, a U of T alum). “For two years its founders have worked nonstop to providing free weekly workshops, group jams, open mics, and more, and what’s developed is a community of people of all ages and skill levels working together to learn and play ukulele. Having the opportunity to become a part of that community has been above all my favourite part of this musical adventure!”

Like Ukulele Gaga, Dean has been part of a tightknit ukulele community for some time. He concludes, “For some reason, even though people like to play it on their own and make up sons, the cool thing about it, is that they love to be together. They’re learning from one another and sharing, and that makes people feel good.”

For more information on “The Lover’s Ukulele” at Hart House, visit http://www.harthouse.utoronto.ca/class/lovers-ukulele-2903.

To find out more about the Corktown Ukulele Jam , visit http://www.torontoukes. com/.

the inside

January 27, 2011

5

DJ MacBook Pro Jess stOKes

STEPHANIE KERVIN

If you’re anything like me, you spend a lot of your time in shitty dive bars listening to your friends or random people play music off of laptops. Some people call these people Laptop DJs or DJ MacBook Pro, jokes meant to marginalize the legitimacy of playing music off of programs, such as iTunes, as a musical art form. In a time when everyone seems to have laptops and there is endless access to vast archives of free music, what makes an individual more qualified to quench a crowd’s musical thirst? Can these people call themselves DJs or does the absence of turntables and mixing equipment makes them just another dude playing some songs in a bar?

Patrick McGuire is an up and coming Toronto DJ who spends a lot of his time playing music in bars and galleries throughout this concrete playground.

Over the past three years he’s been instrumental in the creation of hip-hop parties in Toronto (White Girl, First World Problems, Bad Taste), filling a much-needed niche for those of us who just can’t handle anymore house and dubstep in our lives. “We started because a friend of mine who I was in residence with, James and I, were the only skinny white people we knew that were obsessed with hip-hop. We were obsessed to the point were went out and we couldn’t really enjoy ourselves because we thought we could do it better.” He’s interviewed a range of popular hip-hop artists from Clipse to Kid CuDi. This Friday he’ll be opening for the sold out Das Racist show at Wrongbar (FYI 50 door tickets left) – his largest venue yet. I checked in with him at home to get thoughts on the legitimacy of laptop DJs, the Toronto hiphop scene and the art of hyping a crowd.

Toronto DJ Pat McGuire schools us on the legitimacy of laptop DJing

When asked how he responds to people who think playing music on computers in bars is not a legitimate art form, Pat’s reply is straight forward: “I think those people are really bitter and I think a lot of people who do say stuff like that are traditionalists of something that’s just not even worth being traditional about.

One of the classic debates on this subject is whether Serato is a viable way to DJ… if you’re a good DJ it’s because you know the music you play really well and which song will work with

“

the next song. If you really want to use vinyl than have fun lugging 200 pounds of wax with you but if you are going to do that four times a month in dives bars than I think you’re kind of a loser.”

For those that think scratching is a more legitimate art form, I’d say that the two forms of musical expression cannot be compared. We agree they are different creative processes meant for different sized venues and musical genres. Pat adds “Yeah I think there is a lot

of incredible technical skills to DJing and being able to juggle records, mix well and scratch is really credible but if you’re doing that you’re probably playing bigger venues not small bars. I just think it’s a completely different thing and honestly, if you play house music you can come off as a lot more technically adept because a lot of house music sounds the same. The bpm’s for hiphop is all over the place and it’s a lot harder to mix songs together.”

Anyone can drag and drop

the campus comment

songs onto an ITunes playlist, an argument often cited as the main criticism of laptop DJing.

But not everyone has an equal ability to draw out a crowd or play music they’ll all want to hear. McGuire point’s out that if you’re rocking a playlist and “you still have 60 people coming out to your night at 751 every week [shouts to Dan Arget] than you are obviously just attracting people because they like you, think you’re cool, and they don’t give a fuck whether you’re mixing or not.” In this digital age music is so freely available now that anyone can have an extensive music collection without spending all of his or her time and money on it.

The playing field has been leveled, Pat says, arguing that the “differences are now made by people who A) legitimately love the music they’re playing, B) have some or great technical skills at playing it (because I think they standards for technical skills have gone down an C) have any social ability and pull to bring people out. If you’re able to do those things that you’ll rise above some kid that’s doing it for the first time.” He points out that radio jockeys are called DJs only what they play is mostly prescribed. At the very least, laptop DJs can use mixing programs and generate their own style.

These people often don’t just stop at playing music off their laptops; they create digital booklets and mixtapes, use tmblrs and blogs to creatively express their own personal style and musical taste. McGuire adds, “anytime you can make a visual component to accompany music that you may not have ever made it just shows more interest.”

Check out Pat McGuire’s mixtapes at http://rooflyfe.tumblr. com/ and Youtube his name for interviews with current rap artists.

”

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

Milca Kuflu, 4th year, Poli Sci “Went to a lingerie fashion show party and was surprised to see the lack of lingerie on girls. Feathers aren’t lingerie, right?”

Morgane, 2nd year, Psychology

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

Wandering Jew & Kimberly, 4th year,

Philosophy and English “Smoked cigars in the ladies’ bathroom in one of the engineering buildings”

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the arts

January 27, 2011

History in blood

Acclaimed historian and professor speaks about his unprecedented book on the fragmented history of WWII suzie balabuch In October 2010, renowned historian and Yale professor Timothy Snyder released a groundbreaking historical book entitled Bloodlands: Europe between Hitler and Stalin. Sponsored by the Centre for European, Russian, and Eurasian Studies, Petro Jacyk Program for the Study of Ukraine, Ukrainian Canadian Research & Documentation Centre, Polish Cultural Institute, Ukrainian Jewish Encounter, Prof.

Snyder and three discussants, Professors Bergen, Wrobel, Magocsi will hold a talk at the St. Vladimir Institute (Wednesday, January 26, 7-9 pm) and at the Jackman Humanities Building (Thursday, January 29, 4-6 pm). the newspaper interviewed Mr. Snyder the week of his visit to U of T to speak about his book.

What was the original inspiration behind the undertaking of this book?

At a certain moment I realized that an enormous catastrophe, that one could see the deaths of 14 million people in a very small place, over a very short period of time, as a single event, and that no one had written a history of the event.

How did you come up with the title Bloodlands?

I wish there were a story’ The book is geographical in its scope. I’m trying to emphasize that. The book begins from the observation that almost all the people killed by Hitler and Sta-

lin were killed in the area that I describe, which is called the Bloodlands. I don’t have any clear answers of how the term came to me. There are various things in the book which are suggestive of it. For example, when the Germans shot Polish hostages in public in Warsaw, sometime women would collect the dirt soaked with blood, put in jars, and take it to the church.

There are various things like that which are throughout the book, but I don’t’ have a story to tell you. It just came to me one day.

Recently in class, we were asked to choose who was worse, Hitler or Stalin, based on the atrocities directly stemming from their policies. Many people distinctly chose one or the other. Do you think it is possible to maintain a balanced perspective of Stalin and Hitler?

Well, if by balance perspective you mean, are they the same, then the answer is no. They were pursuing goals which are comparable, but which were nevertheless different. I think it’s legitimate to compare them.

One of the things I find in my book is that you actually look at the comparisons, you realize that the Nazis actually killed more people than the Soviets, the opposite of what most people would think.

Another thing I turn my attention to in the book, which has been I think overlooked in the past, are the times and the

places where German power and Soviet power overlapped.

There are important cases where it’s hard to say, whether a giver person or even a given hundred thousand people were victims of just Hitler of victims of just Stalin. In some sense, they were victims of both.

Among many others, you reference Marek Edelman in the chapter entitled “Resistance and Incineration”.

In research for your book, did you get to meet Mr. Edelman or many other survivors of the war?

That’s an interesting question. I knew Mr. Edelman very slightly, but I never spoke to him about these issues. I knew Wladyslaw Bartoszewski, who appears in the footnotes of the book. I know a few people who appear in the book, but it’s not an oral history book in that sense. I did use a lot of testimony material, video testimonies or written testimonies, but I did not actually talk to people. I consciously chose not to talk to people about their own experiences on my own. If they left some kind of written record, I used that. I tried to separate this from my private life, if you see what I mean. But, i would emphasize that there are thousands and thousands of excellent video-recorded and also written primary source materials by Jews and by others, and that those were extremely useful to me. I encourage everyone to use those.

In your book, you juxtapose

the mind-boggling statistics of the war with often horrifying personal accounts.

How were you able to cope with the emotional aspect of this undertaking?

You’re assuming that I did cope with it. The simplest answer is the true answer: it was very hard to write. But every day, when I got up at five in the morning, I had the sense that I was doing something worthwhile, and that was really sustaining.

You answer a lot of questions specific to people coming from the countries within the Bloodlands.

Did you have a readership in mind when writing the book, and did that readership include people from those places who might be on a search for answers?

I was trying to write the book so that people who had very specific knowledge of some of the events would be able to understand the others. I was also trying to write so that people who were just interested in the history of the 20th century would have access to all the events.

I was writing in English so I had in mind, North Americans, and Australians, and the British of course, but my life and my mental life also encompasses places like Israel, and RUssia, and Ukraine and Poland, and Germany, probably above all.

I was assuming that people in those countries would be reading the book as well. Now the book has been translated to 15

or 16 languages. The discussion will be taking place in all those settings as well. I wanted friends and colleagues and people who I don’t know as well in all these countries to be able to read it. I was thinking of an international readership.

The implications of your book are manifold. What do you think or hope, will resonate most with the average reader, someone like myself?

Two things: the first thing is that I think the central event of European history has been overlooked. I think it’s been fragmented. The individual things that make up the book are terrible enough that we haven’t actually had the courage of the patience to bring them all together and understand just how black the centre of European history in the 20th century was.

We think we know that, but we don’t know that.

The second thing would be that we should use history to reach to the depths of these black events. It’s natural that we memorialize, it’s natural that we try to explain things in psychological terms. It’s natural that we care about individuals that we know who were in some way involved, but I think it’s very important to try to use the scholarly tools of history to try to make sense of these things, because if we understand that it’s history, then we understand that it’s human. If we understand that it’s human, then we have a chance of seeing how it relates to our own experiences.

Library digitizes Continued from page 1 pages per hour,” says Meikle.

The books are selected and then sent to the Internet Archive Digitization centre which is located in Robarts Library.

Internet Archive staff members examine the books to make sure they are in good enough shape to be scanned. Books that are either too delicate or in copy are examples of what cannot be scanned. Scanning occurs twice a week between Monday-Friday and there are 18 stations operating. The scanned material must also go through a verification process before it can be put on the Internet Archive website.

According to Meikle, over 270,000 volumes, or roughly 103,000,000 pages have been

scanned so far. Aside from the ongoing process of digitization, U of T library is hoping to collaborate with various other associates and the U of T Bookstores in order to give people the opportunity to have a physical copy of the digitized books at a low price through a “Print on Demand” program.

To find out more about this process, visit The Internet Archive website at http://archive. org and http://main.library. utoronto.ca/eir/resources.cfm to connect to online materials at U of T. BODI BOLD

rial are available to the public that otherwise would not have been available before. Digitization serves an important role in preserving historical and artistic information that is central to Canada’s cultural identity.

“By scanning them and making them freely available online, we aim to make the knowledge residing in these books available to a far wider community…

This project is about lowering the bar for access to knowledge,” says Sian Meikle, Digital Services Librarian.

The process of converting print material online is quite a tedious task. “Going full pace, an experienced Internet Archive staff member will scan 475-500

the arts

January 27, 2011

Electronic kiss, acoustic hugs

7

Iron and Wine’s new album pleasantly blends old and the new

suzie balabuch For fans of Iron and Wine’s music, it will be noticeable right from the start that the act’s sole member, Sam Beam, has decided to make a change from his last album, Kiss Each Other Clean. If his previous work tiptoed into the electronic music realm, his newest effort takes a dive into the deep end.

That being said, Iron and Wine’s trademark lush vocals and instrumentation are, fortunately, still present on the album. “Half Moon” recalls Iron and Wine’s earlier work, blending a lovely melodic line with retro pop back-up vocals and a twangy country guitar.

“Tree by the River” is by far the most enchanting track on

the album, once again making use of relaxing background vocals and the sweet sounds of a glockenspiel.

“Monkeys Uptown” is an example of Beam’s growing interest in electronic music, overlaying a funky bass guitar line with chirpy, rhythmic beats. Despite the electronic aspect to the album, the themes of memory, love, and Iron and Wine’s musical journey are present.

Kiss Each Other Clean is a satisfyingly eclectic mix: every song tells a different story, and every song provides the listener with a different mood that can be really captivating. Although it may not be the best Iron and Wine album ever, it is the perfect listen for a lazy Sunday afternoon, and that’s saying a lot.

Not quite N’SYNC, but No Strings Attached might still get you laid cara sabatini Natalie Portman did not win the Golden Globe for her performance in No Strings Attached.

As novel as the notion, “friends with benefits,” struck the film’s leading characters, the premise had all the originality of its categorical cohorts. Fortunately, people do not watch romantic comedies to see an original plot unravel.

Ivan Reitman’s film was true to its genre, delivering 117 minutes of mildly entertaining sequences, which included a sexy montage of casual cavorting and other more-than suggestive scenes between Portman and Kutcher to merit its R-rating.

Given the actors’ good looks, an absence of chemistry would have been shocking, if not impossible.

A twist to the typical romcom recipe, the gender reversal of lead roles left Kutcher playing the affectionate Adam who, despite having complied with a strictly sex/no romance policy, finds himself falling for the aloof and romantically re-

served Emma Kurtzman (Portman). The apparent deviation promptly resolves itself into the predictable pattern of boy meets girl, boy loses girl, boy’s ex-girl sleeps with boy’s father, boy tries desperately to get girl back.

Kutcher’s charmingly naïve

character effectively juxtaposed (in a variety of positions) the clinically cynical Emma. Reitman’s Adam achieved a puppy dog persona, baring just as much backbone as he did backside (some, but not much).

Portman’s portrayal offered a depth that frankly seemed out

of place adjacent to her co-star and film’s minor characters.

Kutcher’s company included Kevin Kline playing Adam’s immature, self- (and sex-) absorbed father, who delivered well-timed one-liners, and Ludacris as a level-headed bar owner, despite uttering the

dreadful, “happy HO-lidays.”

Lake Bell sublimely executed Adam’s colleague as a sincere but chatty neurotic on a Glee knock-off series.

Among Portman’s crew were Greta Gerwig and the Office’s Mindy Kaling as Emma’s romantically challenged roommates. Along with Bell, Gerwig and Kaling produced an enjoyably self-mocking tone, missed throughout the rest of the film.

The screenplay included numerous witty exchanges, though the occasional gauche line fell short of screwball and hung at awkward. Rather than inducing sincere sympathy during more poignant parts of the film, pathos for the protagonist came with having to hear Kutcher deliver lines like “you fight like a hamster.”

Reitman’s title is fitting for a film whose tone was as inconsistent as its plot was predictable.

Its entertaining inconsistencies were evidence of Reitman’s ambition to break the rom-com mould, but No Strings Attached was just a loose thread in Ashton Kutcher’s loincloth.

the backpage

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January 27, 2011

Across 1. Metric unit 4. Not true 7. Attempt 10. Excellent 11. Soul 12. February break 15. Spiritual attribute 19. Comforts 23. Sanction 26. Goof 29. Study of material remains 33. Spoiled 34. Polished 35. Colour 36. Intelligent 37. Feet counterparts

Down 2. Professionals 3. More than necessary 5. Microsoft rival

6. Football position 8. Destroy 9. Pressure 10. Self-reproach 13. Frozen water 14. 4.0, for example 16. Drain 17. Make a mistake 18. Toronto television station 20. Sun 21. Colourful card game 22. Ram partner 23. Dress 24. Spectre 25. Greek letter 26. Male sibling 27. Dead tree sheets 28. Stretch 30. Transparent 31. Not difficult 32. ___-Loompa

HART HOUSE HAIR PLACE Finest Cutting and Style Colour and Highlights

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