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Opinion

Discipline and punish

Last summer, while casually lounging with my friends on a bench in Washington Square Park after a night of partying in New York’s East Village, I came face to face with three policemen hovering over us.

“What are you doing here?” one of them said.

“We are just sitting,” I said. It was the truth. Granted, we had probably partaken in a few slightly illegal activities throughout the night: underage drinking, a toke of a joint, and I suppose identity fraud if you want to get very technical. But now we were just sitting. Three girls chatting on a park bench can hardly even be considered loitering.

“Didn’t you see the sign? You can’t be here past midnight.”

“Sorry, we didn’t realize,” I said as earnestly as possible.

“Well you can tell to that to the judge. If you fail to show up in court by the given date, there will be a warrant out for your arrest.”

As the first cop smugly filled out my pink summons—the offence noted a “failure to obey sign”—the other two proceeded to fill out those for my companions. The following week, I schlepped myself down to the New York City Courthouse where I waited for hours and hours only to get the stamp of acquittal from a mindless bureaucrat. But as I sat in the massive room with all the other people who had—perhaps unfairly—been sentenced to a day at the courthouse for petty crimes and misdemeanors, I began to ponder what was suddenly taking place in my mind.

This was my first brush with the law, and as minor and silly as it was retrospectively was, it nonetheless left me sure that I never wanted to experience anything like it again. No longer did I look at police as my friendly neighbourhood protection, but instead walked quickly by, hoping they did not catch me in my latest “criminal” act. No longer did I feel, skipping through the city on a Sunday afternoon, that I was on the side of the law—that the police had nothing to do with, and were only there to protect, law-abiding citizens like me. In the words of Michel Foucault, I suddenly became a “delinquent.”

Although I knew there was no way I would actually be punished for this ridiculous non-crime, as I waited in that room I began to experience a lurching in the pit of my stomach as if I were a criminal awaiting the death sentence. The critical theory I had read in the classroom suddenly leapt off the pages and into my own reality. I had become acutely aware of Foucault’s obscure “Panopticon”—every act I engaged in was executed with utmost docility, in case some figure of authority was lurking around the bend. In the subsequent months, I counted my change several times before handing it to the cashier, waited for every green light (and nobody does that in New York), and even avoided going to bars until I actually turned 21.

It goes without saying that minority groups and illegal immigrants have long borne the burden of arbitrary policing and unjust state authority in ways that I, a middle-class white girl, can never begin to truly understand. It would be ignorant to pretend that my brief run-in with the law has given me any right to feel angry with my government, or to attend anti-police rallies. But I certainly now have a greater respect for groups like the ACLU that work to hedge laws like those passed last summer in Arizona, which suddenly turn innocent people into outsiders, enemies of the state and delinquents rather than fellow citizens of the world.

Sometimes it’s useful to jump off the ivory tower and into the school of life—to personalize arbitrary questions of authority and power into something rudimentary and practical. As a professor of mine once said, “You don’t have to explain the theory of communism to a factory worker.”

Opinion

The problem of carrying capacity

McGill Tribune

In the face of growing fears concerning global climate change, and the possible repercussions we may experience, the idea that the human population has grown too large is one that is gaining acceptance.  Meanwhile, politicians are playing word games, relying on semantics to assure us that this is not the case.  Consider the term “carrying capacity.” The current definitions refer to how many people Earth’s resources can support, including future generations.  There is no mention of the allowance of other ecosystems and organisms to also be supported, and only a vague reference to the other strains the human population places on the planet, outside their use of the resources. These are imprecise and ambiguous definitions, meant to instill in us the impression that we are still well within carrying capacity and that there is nothing to worry about.

What the Earth can or cannot support is a complex issue and one that is not simply boiled down to resources, finite or not. An improved definition—one which drives a new comprehension of the human relationship with the environment—is needed so as to truly understand how we can live sustainably on the planet. This definition must include the carbon dioxide emitted, not only from industrial uses and technology, but from the breath of six billion people, their pets, and the livestock needed to sustain them.  It must include the other natural consequences of supporting these people, such as the waste and runoff from the livestock and agriculture. It must also include the ability of Earth to sustain not only the human population, but the populations of all other organisms in existence. It must make clear that humans have to coexist with all other species, and not continue to act as the dominant, subjugating power.

According to the existing definition, in all its infinite wisdom, scientists have been able to determine that Earth can support anywhere from two to forty billion people.  Some have realized how incredibly laughable that is and have kindly narrowed it down to ten to twenty billion people. All seem to be in agreement that we are still within carrying capacity. But what would the consensus be if we were to redefine carrying capacity, clarify its terms, and be realistic? The answer is that we would find that we, to understate it, are in a slight bit of trouble.

Opinion

QPIRG abuses its mandate

McGill Tribune

Walking through the Quebec Public Interest Research Group building is like stepping into a different world. Posters entitled “No Olympics on Stolen Land,” “No to Canada-U.S. Imperialism,” and Middle East maps without Israel deck the walls of their hallways.

QPIRG is a student-funded organization that collects tens of thousands of dollars in fees from McGill University students. It is supposed to be pursuing the “interests of students on issues of public concern.” But QPIRG doesn’t focus on mainstream issues of public concern. Instead QPIRG takes stands on issues that the majority of McGill students either oppose or are indifferent to.

This is especially true for QPIRG’s interest in foreign affairs, which manifests itself in support of groups that commit violence and terrorism. For example, QPIRG funds “Tadamon!,” an anti-Israel organization that supports de-listing of Hezbollah, which has pledged to annihilate every single Jewish man, woman, and child on Earth, as a terrorist organization. QPIRG also funds “Students Taking Action in Chiapas,” an organization which actively supports the violent Mexican Marxist Zapatista rebel movement, and seeks to bring “the struggle back home” to Canada.

But QPIRG does not stop there. QPIRG also considers Canada an apartheid state and marks “Anti-Canada Day” on July 1 as well as FLQ bombings in its published “School Shmool” organizer (printed with student money).

There are currently two sets of rules for student political organizations at McGill: one applies to QPIRG, and the other to everyone else. For the latter category, campus political groups such as Liberal McGill apply for funding through SSMU. They are accountable to SSMU equity policies, and receive a few hundred dollars. Each political group gets approximately the same funding. However, QPIRG operates by different rules. Instead of having to apply for funding, they are able to directly levy students and raise over $125,000 for their own campaigns. They are not subject to SSMU equity policies, and are not accountable to anyone but themselves. This allows them to outspend every single other political group by a ratio of 100:1. If QPIRG was truly a student group, the levy could be justified; however, considering that they are an explicitly political organization that uses student money to conduct fringe political campaigns, it is wrong for them to directly levy students.

None of this is to say QPIRG does not do any good in the world. They do provide support to the gay community, for example, and that is an effort that should be commended. But they undermine all the genuine good they do by abusing their mandate to pursue the petty political causes of their directors and motivated interest groups.

If QPIRG wants to undermine the Opt-Out Campaign, don’t rip apart their flyers. Don’t attack their tables. Instead, be a student organization for all students. Commit yourselves to academic debate; not one-sided propaganda events like “Culture Shock,” which refuse to entertain opposing views. Stop funding extremist groups and get back to what really matters: support for charities, support for students who feel marginalized, connecting McGill students to the city of Montreal, and support for truly academic research.

Spencer Burger is U3 Joint Honours History and Political Science student. He is currently the Arts Councillor to SSMU, and a member of the Opt-Out Campaign

Joke

WebCT stupidity of the week

Computer Science

Assignment submission problems

“Same here. When push comes to shovel, I’ll overwrite my previous submission with a new version that includes question 3.”

 

Psychology

Essay writing hints

“11. Correctly making of the grammar will receive marks highly.”

Arts & Entertainment, Theatre

Leaping and soaring to Chopin

I have only experienced a few perception-altering performances in my life, and Friday night’s National Ballet performance of Marie Chouinard’s 24 Preludes by Chopin and Crystal Pite’s Emergence was one of them.

Prior to the performance, I was certain I was not a person who could enjoy contemporary ballet. I grew up around dancers and always felt I had to hide my dislike of contemporary dance. The problem with the shows I saw growing up was that there was nothing for me to connect to. 24 Preludes by Chopin managed to change my views, helping me to appreciate dance in a way I never have before.

The accessibility stems in part from the tonal accessibilty of Chopin’s preludes. Chouinard’s choreography moved the dancers with the music in a way that can only be described as awe-inspiring. The dancers animated the preludes, giving meaning and emphasis to every subtle turn of the music. Every move looked and felt right, as if satisfying an organic choreography invisible to the human eye. The dancers altered their bodies to emulate animals, pendulums, and fantastic creatures, all dancing to the intrinsic sounds of the preludes. Furthermore, creative lighting added to the tone and mood to the piece, and highlighted specific choreography. For example, one prelude used a strobe light to turn the simple gesture of three swinging arms into a mysterious blur of mechanical flesh. 24 Preludes by Chopin was art at its finest: moving, honest, open, thought-provoking, and unequivocally beautiful.

Crystal Pite’s Emergence was a more difficult piece, but equally rewarding. Pite is a dance genius. Arguably one of Canada’s most valuable dance exports, Pite has been branded a star of modern dance choreography. When legendary dancer Karen Kain became artistic director of the National Ballet of Canada in 2005, Pite was one the first people she called. Kain’s invitation for Pite to work with the NBC was more than just a savvy artistic move; since founding Kidd Pivot, her avant-garde dance troop (in the vein of La La La Human Steps), she has won a plethora of awards, including four Dora awards, the 2006 Alcan Performance Arts Award, and the 2008 Governor General’s Mentorship Award. Her choreography is striking a chord with audiences across the globe, bringing the magic of contemporary ballet to the masses.

Initially, Emergence fit the image that many of us have of contemporary ballet: dancers writhing on the floor, with spastic motions and quivering, alien-like poses—in other words, inaccessible. However, the piece became much more enjoyable as it unfolded, as the performance’s complexity became apparent. That’s not to say that watching the piece is a comforting experience; I had my toes curled in agony and ecstasy for the majority of the 25-minute running time.

It was, however, overwhelmingly original and refreshingly innovative. Dancers emerged from a dark hole at centre stage, and led the audience into a secret world of complex structure with insect-like motions. In one particularly striking moment, a group of male dancers crouched on the ground, arms raised, imitating flying insects. While I initially interpreted the piece as a descent into hell, the opinion of a friend told me to view it as a rare glimpse into the secret life of insects.

With choreography so intriguing, there is hardly an excuse not to see the ballet.   

For information about other National Ballet shows, visit http://www.national.ballet.ca/

Arts & Entertainment, Music

Dan Mangan is nice, nice, very nice

bcscene.ca

It’s challenging to listen to Dan Mangan’s song “Robots” without singing along with the refrain: “Robots need love, too / They want to be loved by you.” Those words may or may not be true, but you believe them when you hear them.

Perhaps Mangan, the 27-year-old singer-songwriter from Vancouver, isn’t really singing about robots. But your interpretation, he says, is as good as his.      

“I think the truth is that once you’ve written something and you kind of put it out there into the world, it’s going to take on different forms to you,” Mangan says. “I like the idea that songs are ever-changing and are never actually finished.”  

Having just returned to Ottawa from a three-week European tour with his band—including guitarist Gordon Grdina, drummer Kenton Loewen, and bassist John Walsh—Mangan will begin a month-long tour of Canada, entitled “Peculiar Travel Suggestions,” on October 25.  

“We’ve done a lot of touring in bars,” Mangan says. “This tour does have some bars on it, but we’re also doing some churches and halls, some places that are a little bit less chaotic.”

Not that he was casting any judgment on chaos.

 “I really enjoy playing bars,” he says. “You’re helping to kind of create a party.”  

But with the success of his most recent album, Nice, Nice, Very Nice, which was nominated for the 2010 Polaris Music Prize, Mangan has more freedom to write his own ticket.

“There are aspects of playing shows in more kind of civilized places that you feel like you can come across with a real concert from start to finish,” Mangan says. “It can be a more cerebral experience. For the time being I’m excited to take it into more intimate venues.”

Having spent about two months on tour with his band, Mangan is happy to feel less like a solo artist, which is how he first started touring, and more like a member of a tight, cohesive group.  

“I feel less and less like I’m writing songs and then having people play along,” he said, “and more and more like I’ve got a bunch of songs that are mostly written and then bringing them to the guys and saying, ‘What do you guys want to do with this?'”

Mangan feels he can rely on them to do something he would not have foreseen: Grdina and Loewen are jazz musicians, while Mangan’s music is more indie folk.  

 “It’s nice because they bring out all kinds of flavours that other musicians might not, and I get to drag things out of them that they might not normally do as well,” he says.

He and his band have been working out about three or four new songs while on tour and will use the upcoming shows to hone them on stage. Mangan plans on cutting a new record with the new material in December when he returns to Vancouver. Still, he doesn’t regard his other songs as essentially complete.  

“[It’s not good] if you can’t find anything relatable in the song each time,” he says. “I think that’s the most important thing—to just try and live a song every time that you play it.”

Dan Mangan plays La Sala Rossa, October 25. Tickets are $18.

Arts & Entertainment

Literary launch lacks laughs

Local literati were out in full blazered regalia on October 5 for the re-launch of Montreal humourist Jonathan Goldstein’s first novel, Lenny Bruce is Dead, originally published by Coach House Books in 2001. The 41-year-old Goldstein, author of two books, contributor to Chicago Public Radio’s This American Life, and host of CBC’s popular radio show Wire Tap, read selections from the novel, which came out this month. The event also featured a jazz set and musical interludes from three members of the local band Nutsak, whose drummer, Howard Chackowicz, later recorded a scripted segment with Goldstein for Wire Tap.

The back room at Casa del Popolo, where the reading took place, was filled completely, and included several potential contestants in a Jonathan Franzen look-a-like contest. The audience hummed and drank until a woman from Mile End bookstore Drawn and Quarterly asked for quiet and introduced the band and the author to enthusiastic applause, and even a few rowdy cheers.

The Brooklyn-born, Montreal-raised Goldstein (pronounced “Goldshtyne” by the Nutsak bassist) approached the stage in a Yankees cap and, of course, a blazer, nursing a half-finished pint of beer in his hand. He propped up his notes and stood before his ogling, cheering audience, sticking out his belly as if sporting a phantom paunch. He read 15 brief sections from his novel, counting them down one by one so that the audience wouldn’t fear it might go on forever. Between each segment Nutsak played an reinterlude, providing colourful and often comedic emphases at the end of each story (often not more than three sentences long), achieving an effect much like that in This American Life. Goldstein joked  that the four performers used to be in a spoken-word band that broke up over “creative differences.” He said, however, there was “still that same energy.”

Most of Goldstein’s stories, however, were short, forgettable vignettes, reminiscent of the first scene in Woody Allen’s 1979 movie, Manhattan. Woody Allen’s character is trying to to begin writing the first chapter of his autobiographical first book after the iconic black-and-white footage of Manhattan, which is accompanied by George Gershwin’s jazz symphony “Rhapsody in Blue” and an eruption of fireworks over Central Park.

He read aloud and repeatedly dismissed his own ideas: “Ah, too corny. Too corny for a man of my taste.” Another idea is “Too angry, I don’t wanna be angry.” And another: “No, it’s gonna be too preachy. I mean, face it, I wanna sell some books here.” He finally settles on an idea, and it works perfectly.

The segments Goldstein tonelessly read were almost all what Woody Allen, or really anybody, would have dismissed as a series of first-draft sketches that should have immediately been tossed aside. Goldstein didn’t toss them aside, but rather convinced some gullible schmuck to publish them—now, twice—in a volume described by one reviewer as containing “almost as much white space as there is type.” The label “experimental” can only be taken so far before it stretches into an epithet, a line Goldstein seems to have crossed without ever realizing it was there.

Arts & Entertainment, Music

Bonjay : Broughtupsy

Broughtupsy is the fresh debut album from reggae/dancehall duo Bonjay—and fresh is exactly what it is. Fronted by singer Alanna Stuart and produced by beats/effects master Ian “Pho” Swain, Bonjay brings an invigorating mix of dancehall rhythms and crisp hooks to the floor, displaying ample evidence that these two have the savvy and experience needed to pack a club. Their influences are harder to pin down. In addition to their aforementioned reggae roots, they incorporate a blend of R&B, soul, and hip-hop, cemented by an indie rock songwriting sensibility.

Broughtupsy brings the jungle to your living room. At only six songs that play in just under 20 minutes, the album is short, but it’s the kind of record that can and should be listened to more than once. From the background chanting of the persistently groovy “Stumble” to the slick, eerie piano riffs on “Creepin,” Broughtupsy remains consistently enthralling, even on the short interlude track “The Small Hours.” Much of the credit should go to Stuart’s varied vocals, which keep the tracks fresh when they’re in danger of becoming repetitive. The dub horn is admittedly overused and the stream of beats barely leaves the listener time to breathe, but that’s all part of Bonjay’s charm.

Arts & Entertainment, Music

The Postelles : The Postelles

The Postelles are an English accent and a few cheeky lyrics away from being a full-fledged Arctic Monkeys knockoff, but unfortunately their debut lacks the complexity of a Monkeys tune. Instead, it’s pretty straight pop. The instrumentation is minimalist at best (though not at it’s best when it’s minimal), with the light guitar lines and virtually fill-free drums taking a backseat to the vocals.  

The album picks up a smidge on “Boy’s Best Friend,” a nicely structured song with the welcome introduction of backing harmonies. However, its novelty is short lived, as the following tracks show little variation on the vocal driven “hit you over the head with pop hooks” theme. This homogeneity leads to the album’s biggest problem: it’s forgettable. The songs are too similar, and for what it is, it’s simply not grabby enough; I couldn’t even pick out the single, but the Internet told me it’s the opener, “White Night.”  

The album feels like an EP rather than a full-length. It’s got some good ideas, but the execution isn’t fully thought out. There’s potential here, sure. But in the wake of so many emerging indie pop bands, it’s hard to know whether or not the Postelles will get a chance to come back swinging.

Arts & Entertainment, Music

Ice Cube : I Am the West

“Ice Cube is the West Coast” is the mission statement for his new album. But after 16 tracks loaded with self-indulgence, Cube and his small posse of gangster no-names, has-beens, and never-weres can’t give a decent reason for why he deserves the title of “Best in the West.”

The album isn’t all bad. Tracks like “Life In California,” “Y’all Know How I Am,” and “I Rep That West” have strong, quick hooks over catchy beats, but it’s the lyrics that drop the album from tolerable to vapid. The first half dishes out the phrases “West Coast” or “California” ad nauseam, while the second half bashes Kanye West, Lil’ Wayne, Eminem, and sends a huge “F-you” to the American system that took Ice Cube out of the slums of L.A. and made him a multimillionaire.

There was a time in the early 1990s when Ice Cube could have said he was the best in the West and all of California would have believed him. But it’s 2010, and he just doesn’t have the same storytelling style or energy he had on his ‘91 classic Death Certificate. The concept of representing your side of the country is irrelevant today, and it makes Ice Cube sound bitter, cranky, and short on material. If he doesn’t realize this soon, he’s going to wonder why the incessant gratitude and appreciation he shows for California isn’t mutual anymore.

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