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Seven students rebel against uOttawa’s U-Pass

by Kirsten Williams on

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The Student Union at the University of Ottawa might be regretting the referendum it put forth in February 2010. The referendum, which passed, required all students to pay for an OC Transpo (Ottawa’s transit system) semester pass as a part of their fees, in the process reducing the passes’ cost from $242 to $145 per semester. However, nine U of O students are claiming that the fee imposition was unfair and are suing the Union in small-claims court for $6,022.57.

While the U-Pass program has been successful at post-secondary institutions across North America, the plaintiffs are arguing that the referendum was unconstitutional. The students are arguing that because the U-Pass fee pays for a public service, it can be considered a tax and, under the Canadian constitution the Student Union is not authorized to either collect or issue a tax.

They are also arguing that the referendum question was ambiguous and that students could not understand that the bus pass would not be valid on all transit networks.

Only about 20 per cent of the student population voted on the referendum question and only about two-thirds of those, or about 15 per cent of the student population, voted “yes.” Opposition remains strong with students who live close to campus and claim that the transit pass is unnecessary for them.

“I don’t have any need for it,” said second year Economics student and plaintiff Chris Spoke to the Ottawa Sun. “I live about a seven-minute walk away and I think I’ve used the bus twice since September.”

Student Union president Tyler Steeves told U of O student newspaper The Fulcrum, “it’s unfortunate that students’ money is going to be wasted defending this thing.”

But according to Spoke, for the student minority in question, it’s less about the financial burden and more about how much student unions should be able to impose on their members.

“If you need a bus pass, you should be able to buy one; if you don’t want one, you shouldn’t,” said Spoke.

The Student Union has been granted until the end of January to file a defence. In the meantime, the nine student plaintiffs remain hopeful for a settlement.

News, SSMU

SSMU to give opt-outable groups chance to speak out

by Mookie Kideckel on

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The Students’ Society is gearing up to help opt-outable groups and services to protect their revenues. SSMU Vice-President Clubs and Services Anushay Khan announced at SSMU Council this week that roundtable discussions with several such groups—which include several SSMU services, the Quebec Public Interest Research Group, and CKUT Radio—led Khan to offer them a chance to provide more information about themselves to students. The move comes in the wake of last semester’s controversy between Conservative McGill and QPIRG.

While SSMU has always offered postering space in the Shatner Building to these groups, Khan said, this year it intends to expand their ability to reach constituents. This includes more posters in Shatner, electronic signage, and, starting next year, a chance to offer short descriptions of what they do in the first edition of the SSMU listserv.

According to Khan, the issue is  SSMU’s responsibility. Even student groups unaffiliated with SSMU are working to benefit students, she said, and many provide services that SSMU cannot offer directly. Opt-outs therefore, can pose a financial strain for SSMU.

Moreover, Khan cited a motion regarding opt-outs passed at the October 2007 General Assembly. It called for SSMU to “take every reasonable action to reclaim and protect the sovereignty and independence of all campus student groups and activities” and attempt to “put an end to the online opt-out system recently created by the University such that campus groups shall be in charge of their own opt-out process.”

Khan said this may be controversial, but it provides a clear directive for her to act upon.  

“If any other student group came to me with a request, I would have to help them too,” she said, “with SSMU’s mandate and goals in mind and regardless of my personal opinion.”

The resolution opposes online opt-outs only. Khan called the opt-out system a good idea in and of itself. Due to its easy execution, she said, opting out often results from  misinformation.

Khan’s evidence for this is the growth of “shadow opt-outs,” whereby students opt out of all possible services rather than one or two explicitly political causes. These account for the majority of student opt-outs. The solution is to either  change the system, or to create a better forum for providing information—even if only one side of the opt-out debate ends up speaking.

Access to information was the subject of another new initiative announced at council this week: a new SSMU website, with an initial price tag of $31,000. The site has been in the process of a steady overhaul since a 2007-08 redesign that first changed the site from text-based HTML to a more user-friendly and frequently updated page.

Citing concerns that what was intended as a temporary fix is still fairly unusable,  SSMU VP Finance and Operations Nick Drew plans a redesign of the website to make it a one-stop shop that will be easier to navigate.

Drew justifies the website’s cost by pointing to Plank Multimedia, Inc., the company SSMU is hiring to redo the website. The Montreal-based organization has designed websites for clients like Michael Moore, the Bell Centre, and the Canadian Medical Association. Drew explains that companies with less expensive quotes could not do what he wanted—design a high-quality site on an open source platform that would minimize future update costs—and tended to refer him to Plank as a company that could offer the level of expertise necessary.

The website will also spell the end of SSMU’s short-lived Book Bazaar. Drew plans to save money by moving it completely online as of next year as part of a broad online marketplace. While this will overlap with existing services like McGill Classifieds and MUS Classy, Drew posited that this will be more advanced than such rivals and more trustworthy than sites like Craigslist and Kijiji.

“We’re looking to do something more dynamic,” he said, “with pictures and a more appealing look so students know exactly what they’re buying.”  

The site will also feature an “auto-expire” feature that removes items when they are no longer available, and will be limited to student buyers and sellers.

News

Concordia president steps down, personal reasons cited

by Tori Crawford on

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Marc Bourcie

After serving less than half of her five-year contract, Concordia President Judith Woodsworth resigned from her position on December 22. While Woodsworth cited “personal reasons” as the motive for her sudden departure, confusion and speculation has recently arisen about the details behind the situation.

According to Lucie Lequin, president of the Concordia University Faculty Association, there is a perception in the Concordia community that Woodsworth was pushed out of her position by a faction of external representatives on the university’s Board of Governors.

“We have to stop this pattern,” she said. “The external members of the board have to stop thinking that they can fire people over and over, or that they can encourage people to leave.”

Chris Mota, director of media relations for the university, said that Concordia stands by its statement that Woodsworth stepped down for personal reasons. Despite the departure, Concordia Board of Governors Chair Peter Kruyt said in the initial press release that “Concordia has thrived under her direction, with significant progress and an enhanced reputation on the local, provincial, national, and international scenes.”           Woodsworth is the second president in a row to leave the university before the end of theircontract, following the same route as her predecessor Claude LaJeunesse. In addition, five vice-principals have resigned in the past five years, including Michael Di Grappa, now vice-principal (administration and finance) at McGill.

In a press release issued Monday, Kruyt defended the board, saying that all members take their responsibilities seriously and have only the best interests of the university in mind. Kruyt also rejected any speculation that Woodsworth or her husband misused the university’s funds.

Lequin, however, also expressed concerned regarding the transparency of the situation, and said many members of her organization were shocked to learn the news on December 22.

“There’s a need for a much more transparent board, because we cannot function this way. It’s bad for the university and it’s bad for morale,” she said. “What about recruiting young faculty members? Will Concordia remain the preferred offer? Or will they look somewhere more stable?”

Concordia Student Union President Heather Lucas echoed this sentiment.

“Students feel that the timing of how this came about was not what they were expecting,” she said in an email to the Tribune. “The students want a response and there needs to be more accountability.”

Despite these concerns, Kruyt maintained that “the teaching, research, and community service activities of the university continue uninterrupted and unaffected during this transition phase.”

As for Woodsworth’s replacement, Mota said Bram Freedman, vice-president (external relations) and secretary-general, is currently the acting president, but will soon be replaced by an interim president. Following this appointment, the search will begin for a permanent replacement.

“[The selection committee] includes all constituencies, including students, staff, and members of the external community,” she said. “Then the board will decide whether to go ahead with their suggestions. It’s a process that could take months.”

Lucas said she hopes to play a role in the selection process.

“As a proud board member I take this position very seriously,” she said. “I will do my best to ensure that the interim president is qualified for the position, and that the process of this selection is held to a higher level of transparency.”

Arts & Entertainment, Theatre

The Tempest

by Brahna Siegelberg on

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aceshowbiz.com

Modern adaptations of Shakespeare often face a dilemma: to remain true to the original play or to adapt the story for a modern audience? While adaptations like 10 Things I Hate About You and She’s The Man have taken the “modern” to the extreme, the visionary Julie Taymor leaves the latest adaptation of The Tempest in its proper 17th century context, but artfully manipulates its themes to raise questions that are more timeless.

In Shakespeare’s play, Prospero, the former Duke of Naples, is banished from the kingdom by his brother and exiled to a remote island with his young daughter, Miranda. A skilled sorcerer, Prospero is able to exploit the natural resources of the island—including a deformed creature named Caliban, and Ariel, an ambiguously formed spirit who creates the tempest that shipwrecks the Duke and his fellow courtiers on the island. With the traitors now stranded, Prospero can at last exact revenge.

In Taymor’s version, Prospero is Prospera—a ruthless female figure (played by the always-domineering Helen Mirren) who must negotiate between acting as a strong model for her daughter, and realizing her long-fantasized revenge. By positioning the character of Prospero as a woman, Taymor subtly reclaims the female experience; after all, a 17th century woman practicing magic would likely have been persecuted for witchcraft. Similarly, by casting African actor Djimon Hansou as the morally ambiguous Caliban, Taymor enlivens the inherently colonialist subtext of Shakespeare’s play. The Tempest is a fresh look at a classic play that exposes issues of race and gender with which we continue to grapple.

Arts & Entertainment, Film and TV

True Grit

by Alex Shiri on

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movies.ign.com

Even if you’re not generally a Coen Brothers fan, True Grit is a must-see. The directing duo’s latest film stars Jeff Bridges, Matt Damon, and Josh Brolin and introduces 14-year-old Hailee Steinfeld as Mattie Ross, the narrator of the Western. When Mattie’s father is killed by villain Tom Chaney (Brolin), she hires U.S. Marshal Rooster Cogburn (Bridges) to track him down and avenge her father. Texas Ranger LaBoeuf (Damon)—pronounced humorously as Le Beef—is also on the hunt for Chaney. Although True Grit was snubbed at the Golden Globes, it has far surpassed the Coens’ 2007 “No Country For Old Men” in box office revenue, and the buzz has only increased as Oscar season starts. A masterful reimagining of the 1969 original—which starred John Wayne as Bridges’s character—the film, along with its many talented actors, is sure to win some Oscar gold. Be sure to get your cowboy boots on before catching it in theatres, ‘cause this one’s got some kickback.

Arts & Entertainment, Film and TV

The Fighter

by Lane Cameron on

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indiegeniusprod.com

David Russell’s The Fighter is based on the true story of a struggling boxer and his colourful family. Starring Mark Wahlberg as up-and-coming fighter Micky Ward, the film centres on Micky’s struggle to make it in the ring, while surrounded by his trainer and half-brother Dicky (Christian Bale), and his domineering mother and countless sisters. Fed up with his constant losses in the ring, Micky leaves his family behind for a more professional training regime, with the help of his girlfriend Charlene (Amy Adams). As Micky pulls away from his family, his brother Dicky, a one-time hometown hero who constantly touts his former glory, becomes increasingly unreliable and falls deeper into his crack addiction and criminal tendencies.Wahlberg easily endears audiences who are eager to see the conclusion to Micky’s story, and Bale as his washed-up brother shows his chops and versatility as an actor. Adams’s Charlene is also a force to be reckoned with, as demonstrated in scenes of harsh exchanges with Micky’s mother and sisters. Overall, the combination of impressive acting, authenticity and detail, and high entertainment value make The Fighter a film that will impress at the Oscars this year.

Arts & Entertainment, Film and TV

Tangled

by Emma Hambly on

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diggapic.com

  Although some have objected to the latest Disney flick’s name, Tangled is more than a movie about a girl with extra-long hair. It re-imagines the classic fairy tale “Rapunzel” by following the princess on her first day out of the tower. The film switches up the tried and true princess story by reversing stereotypes, featuring cupcake baking pirates, a scoundrel for a love interest, and an unexpected twist.

      As the voice of Rapunzel, Mandy Moore is enchanting yet relatable; she’s simultaneously anxious and creative, restless and hopelessly indecisive. Her relationship with bad boy Flynne (Zachary Levi) is heartwarming, heartbreaking, and strikingly modern. Tangled also moves beyond traditional Disney artistry with its breathtaking animation and influence from the Rococo painting “The Swing,” which harkens back to the Golden Age of Disney when backgrounds were painted by hand in rich oils. However, the use of 3D lends splash of realism to backgrounds, characters, and swashbuckling scenes. The animation featured in Tangled mirrors the movie’s greatest strength: the ability to be old yet new again. It brings you back to the good old days of Disney on VHS, while taking a solid step into the 21st century.

Arts & Entertainment, Film and TV

The King’s Speech

by Manisha Aggarwal-Schifellite on

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aceshowbiz.com

The King’s Speech has garnered considerable Oscar buzz since its release in December, and not without merit. The film is one of the most compelling of the year, and has been commanding audiences with an interesting storyline, superb acting. and beautiful cinematography. The King’s Speech follows the Duke of York (“Bertie” for short) who unexpectedly assumes the throne following the abdication of his older brother Edward, and must overcome his fear of pubic speaking resulting from his debilitating stutter. The film follows Bertie (Colin Firth), as he navigates the rigid boundaries of royal life in the years leading up to his coronation and the onset of the Second World War. It centres on the relationship between the King (known as Prince Albert prior to his coronation) and his eccentric speech therapist Lionel Logue (Geoffrey Rush), whose unconventional treatment methods push Bertie to go deeper into his personal history and childhood experiences to determine the real reason for his speech impediment.

The King’s Speech depicts British history from a unique perspective, with director Tom Hooper focusing on the personal relationships and royal family dynamics that are often mocked or ignored in films about the monarchy. Firth, Rush, and Helena Bonham Carter as Bertie’s wife, Elizabeth Bowes-Lyon, bring this personal story to life, and supporting cast members Guy Pearce and Michael Gambon add depth to Bertie’s brother and father who have stifled Bertie for the majority of his life. The film is also aesthetically pleasing; the cinematography and set design are rich with depth and colour and show the stark contrast between royal and common life in the Great Depression. The King’s Speech is a memorable portrayal of a reluctant king, whose perseverance in overcoming personal obstacles was essential to his status as a beloved historical figure in wartime Britain.

Arts & Entertainment, Film and TV

Black Swan

by Liya Adessky on

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daemonsmovies.com

Darren Aronofsky’s Black Swan, likely to be a strong Oscar contender, was one of 2010’s most exciting films. A psychological thriller set in the dramatic world of ballet, the film stars Natalie Portman as Nina Sayers, a tortured ballerina on her descent into madness after winning the star role in a production of “Swan Lake.”  The film is smart and sexy, showcasing Portman’s incredible talent. Mila Kunis, Vincent Cassel, and Barbara Hershey round out the stellar cast. The film also contains elements of a sexual thriller. Portman plays a shy, timid dancer who becomes mentally and physically corrupted by her new role in a premiere ballet company with an overtly sexual director, played by Vincent Cassel. Kunis is the beautiful temptress who stands to take Portman’s place if she falters, and Hershey plays Portman’s mother, an overly protective and frightening woman with hints of an incestuous crush on her daughter. The film highlights the darker side of the dance world. Without being too cliché, Aronofsky crafts a stylish and haunting fishbowl of passion and cutthroat competition that finds its protagonist losing her sanity to the art form to which she has dedicated her life. The film challenges the audience to toe the line between reality and total madness, guessing which parts of the film are genuine and which are only happening in Nina’s head.  Abandon all hopes for a storyline that makes much sense, and go see Black Swan for its twisted beauty.

Arts & Entertainment

Preserving the art of Michael Jackson

by Liya Adessky on

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Michael Jackson was no stranger to controversy. While the man revolutionized the world of pop music through his timeless songs and innovative dance style, he was plagued by an abusive father, a jealous family, and claims of child molestation in his adult life. Since his death in 2009, though, most people have chosen to remember him as a pop legend who reshaped the course of music history.

     Yet even in death, the proclaimed “King of Pop” could not escape the harsh glare of the media spotlight.  Inquiries into his suspicious death, financial issues, and the mysterious conceptions of his children dominated headlines for many months following his death. And just when it seemed that most of the world had moved on, it was announced that a new Michael Jackson album, titled Michael, would be released in late 2010. Following the release of This is It, a movie compiled of rehearsal footage for the concert that never happened, the album was touted as an introspective look at the mystery behind Michael Jackson. The question can then be raised: Was it ethical to release a posthumous album of Michael Jackson songs?

      As always, there are two sides to this story. One side claims that Jackson would have released these songs anyway; that sales of a new album would greatly benefit the children he left behind; and that, most importantly, this is what fans wanted. The contributors to his album defended its release, claiming that many of the songs were nearly ready for circulation. Lastly, let’s not forget how some people—say, Akon—claim that this album only helps to keep Jackson’s legacy alive. It went to the top of the charts soon after its release, and isn’t that exactly what Jackson would have wanted?

     Despite these admittedly valid points, it isn’t a stretch to call this album a cash grab by people who didn’t really care about Jackson’s legacy. Jackson had always been a perfectionist with his music, and to release an album posthumously that wasn’t given the final once-over by the man himself not only screams pure greed, but also disrespect. With all the media attention Jackson faced in both life and death, as well as the overall financial success of a concert movie and DVD (other Jackson products that have faced some backlash), it was no surprise that Sony took advantage of their collection of unreleased tracks. And while the album has sold moderately well, it has also faced some poor reviews, reinforcing the fact that Jackson would never have wanted to release these unfinished and unpolished songs.

     This is It, the movie (and eventual  DVD) of Jackson’s rehearsal footage for the concert that was cancelled following his death, met some criticism as well. Would Michael Jackson, a renowned stickler for perfection, have wanted his fans to see him rehearse? The concert itself was a hard pill for some fans to swallow, as they saw Jackson as being too frail for the concert in general but being forced to go through with performing due to money problems and pressures from Sony and AEG. However, at the very least the film was a heartwarming tribute to the icon; according to many critics, the Michael album only feels rushed and incomplete, something the pop star would have been disinclined to release. Say what you will about Michael Jackson and his dubious lifestyle, the release of Michael is just another case of money running the show.

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