Latest News

Opinion

THE SITUATION: Let’s talk about the GA

In last Thursday’s McGill Daily, Sana Saeed wrote a General Assembly follow-up column in which she boiled down the cause of passions over the Middle East conflict to identity politics, and claimed that clampdowns on campus debate amount to a second front of the conflict here at McGill. I’m really happy she wants to talk about identity politics and divisions on campus. Let’s talk about it, but this time, let’s be honest. (Full disclosure: I am the president of Hillel McGill.)

Let’s talk about bringing the conflict to school. About how Solidarity for Palestinian Human Rights would not have included those references to the Palestinian Territories in their Winter GA motion “The Defence of Human Rights, Social Justice, and Environmental Protection” if their true intention was to create a Corporate Social Responsibility committee. Because if they knew so much about identity politics, they should have known the effect those clauses would have.

Let’s talk about honesty. About how the preamble of that resolution was incendiary and part fabrication: The UN Charter and Covenants don’t take positions on current events, and the resolutions they listed may have declared certain Israeli policies illegal but didn’t mention “illegal occupation.”

Let’s talk about the atmosphere on campus. About the student who wanted to ask a professor who had opened his classroom to SPHR canvassers how he felt about the motion, but was interrupted by three people from SPHR who intervened in the conversation to defend the motion. About how the student took off his yarmulke before approaching, because he thought his Judaism would be an obstacle to being taken seriously on this subject.

Or maybe we can talk about how many phone calls I received the day of the GA because swarms of walking billboards had made campus an unwelcome place for supporters of Israel. Or how passing, unsupported allegations of genocide and insinuations that every opponent of the motion was somehow linked to the deletion of a Facebook group merely stigmatize differences of opinion.

Let’s talk about bringing peoples together. About how writing an article that completely demeans one side – supposing that all supporters of Israel are passive victims of cultural determinism rather than people with legitimate opinions – is not the way to promote dialogue. How, in one hypocritical breath, a writer can ask us to close the “second front” of the conflict and engage in non-militarized politics beyond identity, and follow up by calling for struggle against the black-and-white evil that is supposedly Israel.

And finally, let’s talk about the GA. Let’s talk about how when people upset with the Israel references tried to amend the whereas clauses – because we thought it was better to deal directly with our grievance instead of bringing the whole motion down – pro-CSR students voted against the amendment. Let’s talk about how that moment shattered any illusions that the motion was about anything other than Israel. And let’s talk about how the ensuing 45 minutes of procedural wrangling and personal attacks on the speaker made us understand exactly why we didn’t want this in the GA and why we voted the way we did.

The reason we organized against this motion is also one of the reasons students like myself organize against Israeli Apartheid Week. It’s because we’re concerned about the students on this campus. My heart breaks for people suffering all across the world, but it also shatters when I see students on this campus emotionally destroyed because they feel targeted. Let’s talk about politics, but not at a GA where the stakes are too high for anybody to be frank and genuine. Let’s talk to each other, not at each other. First, let’s try seeing each other as human beings. Let’s try making our first priorities a tolerable atmosphere on campus and achieving understanding.

The problem with debate in high-stakes situations, with propaganda that takes the conflict out of a comparative perspective, and with mean-spirited op-eds is that they achieve exactly the opposite of what they intend. All they do is reinforce fear and animosity. All they do is strengthen the very thing that Saeed is trying to move past – identity politics.

Opinion

BLACK & WHITE: Halfway on humanities

Over the past four years, I have alternated between feelings of repulsion and uncertain excitement when thinking about graduate school. After attending the department of English Symposium – an event where English professors present the papers they have been working on – I experienced these feelings side by side and learned that conflicting feelings, if they had a colour, would be the baffling tint of ashy water.

I’ve also learned that thinking about graduate school – in the humanities, no less – makes you want to insert poetic flourishes wherever possible. Maybe that’s evidence that I love studying English, and that I shouldn’t stop. Or maybe it’s evidence that I should stop now.

Like many, I pursued an undergraduate degree in the humanities because the discipline allows students to study existence broadly. Humanities education can’t provide answers to my questions about death, god, or love, but it has equipped me with the skills needed to approach such complex, cloudy issues.

For example, my English degree has exposed me to individuals who struggled with similar existential concerns. As J. D. Salinger wrote, “Many men have been just as troubled morally and spiritually as you are right now. Happily, some of them kept records of their troubles. You’ll learn from them – if you want to. Just as some day, if you have something to offer, someone will learn something from you. It’s a beautiful reciprocal arrangement. It’s history. It’s poetry.”

Salinger’s words suggest an ambition that I believe all of us harbour: a desire to record our troubles and share them. Academia, of course, approaches “our troubles” differently than Salinger’s modus operandi – fiction – but it still provides an opportunity to engage in questions about the meaning of existence, with the hope that some answers may be found.

But I have idealized the humanities too much in my description. Many suspect that the discipline has become obsolete, that the humanities have devolved into a self-involved community of intellectuals who like to pat themselves on the back – and sometimes, in rare moments, deign to pat the backs of others.

Internationally renowned linguist Steven Pinker argues that the decline of university humanities programs is linked to the “denial of human nature” that began in the early 1900s. He describes how modern art shunned an appeal to the human senses because such art was said to be “kitsch” or “gaudy” and instead deliberately focussed attention on the ugly and the unpleasant to shake us out of our apparent intellectual complacency.

Pinker goes on to argue that humanities programs have also forgotten the human need, desire, and love of beauty. He cites literary scholar Judith Butler as an example of an academic who has ignored the importance of aesthetics in her critical writing, and instead writes sentences that disgust, repulse, and give students headaches. In 1998, the scholarly journal Philosophy and Literature even awarded Butler first prize in the “Bad Writing Contest.”

The humanities have betrayed their original purpose. The discipline is supposed to reach out to us so that we can begin to understand who we are, where we have come from, and where we are going. No other discipline focusses solely on reflection and evaluation of our lives and of the beauty around us. For such a discipline to become inaccessible, and to alienate most of the population, appears counterintuitive to its purpose – and tragic for those of us who can no longer benefit from it.

In truth, though, it would be inaccurate to declare all humanities education a failure. Clearly, I am still thankful for the opportunity it gave me to think about the world. And I was surprised when, in the Symposium, I realized that I understood and was interested in the papers that the professors presented. Here was an intellectual world I could engage in.

But still I am not sure about the humanities. And I don’t think I am the only one who worries that graduate school will turn out to be as soulless and detached from reality as I suspect it might be.

Opinion

COMMENTARY: The “P Word”

Has history not taught us anything? Aren’t we the ones who hold our predecessors accountable for the human rights atrocities that occurred due to their complicity in events such as European anti-Semitism, the centuries of slave trading, and most recently, the Rwandan and Darfur massacres? How contrite do we feel that past generations stood idly by and permitted Apartheid in South Africa?

Better yet, why do we still slip into a vacuum of radical nationalism that blinds objective thinking? It’s as though we have yet to learn that this road will only lead to self-destruction – but somehow we keep submitting to this primitive train of thought.

I sometimes wonder if the brightest minds – those who eventually go on to become influential societal figures – represent the majority of the university student body. I still subscribe to the idea that academics are the ones who most uphold the ethical and moral values that the world is sometimes devoid of. However, what occurred during last Wednesday’s Students’ Society Winter General Assembly suggests otherwise.

I would like to address, of course, the outcome of the motion “Defence of Human Rights, Social Justice and Environmental Protection.” (Full disclosure: I am the vice-president information and research for the McGill chapter of Soliarity for Palestinian Human Rights, the organization that authored this motion.) For those who are not aware, this motion called for the creation of a Corporate Social Responsibility committee in order to investigate McGill’s links to unethical corporate practices. As an example, the preamble cited the illegal occupation of the Palestinian Territories as a region where profit from human rights abuses would be deemed unethical.

Due to the fact that the motion merely mentions the human rights of Palestinians, it triggered an outcry amongst some of McGill’s Jewish community and prompted Hillel McGill to embark on a campaign fueled by radical ethnic nationalism. Under the guise of protecting Israel, masking the illegality of the occupation, they managed to rally enough students to vote to strike the paragraphs that made reference to the occupied Palestinian territories from the motion.

It is not unusual that criticism of Israel will hit a nerve amongst some proponents of Israel, but that does not make it morally acceptable. As an Arab-Canadian, I feel compelled to explore the wrongdoings of Middle Eastern countries, not defend them blindly. I am fervently opposed to the plethora of human rights violations across the Middle East – from women’s rights in Saudi Arabia to the inhumane treatment of migrant workers in the oil-rich Gulf. I am even more critical of the Canadian mining industry’s involvement in human rights abuses in places such as the Porgera gold mines in Papua New Guinea. Violations such as these, and those occurring in the occupied Palestinian territories, should invite constructive criticism, not defensive complicity and dismissiveness.

Nonetheless, I am satisfied with the eventual creation of the CSR committee. But the manner in which the motion was passed, the nationalist radicalism displayed on a university campus, and the eventual silencing of any mention of Palestine is disappointing. Actually, it’s deplorable.

It’s clear there is radical antipathy to the word “Palestine.” However, instead of remaining silent on this horrid issue that inexplicably causes discomfort and sensitivity, perhaps a medication of some logic and reason is needed. We are university students after all. We only diminish our role as young citizens by inciting ethnic divide whenever this issue arises, further contributing to the dehumanization of Palestinians.

In closing, I would like to congratulate Hillel on a successful campaign against “demonizing Israel.” Well done. Hopefully we will not fall into the same category as our parochial predecessors. Also, rejoice – the mention of the occupied Palestinian territories will no longer offend your eyes and ears in regards to that motion. Unfortunately, though, it is still a stark reality that persists.

Jamal Daoud is a PhD candidate in biomedical engineering and the VP information and research for the McGill chapter of SPHR.

Letters to the Editor, Opinion

LETTER TO THE EDITOR: The weekly letter about Brendan’s column

Re: “Right Minded: An offensive motion” by Brendan Steven (09.02.10)

Columnist Brendan Steven makes an argument that the upcoming (as of this letter) General Assembly motion on discriminatory groups constitutes a vote on freedom of speech. However, his analysis is significantly misguided. Historically, as well as in the Canadian context, constitutional freedom of expression ensures protection from government censorship. It does not, however, necessarily apply to private situations. Telling a friend to shut up, for example, is not a violation of their freedom of speech. In another classic example we see that individuals are not free to yell “fire” in a crowded room, lest they desire being arrested for inciting a riot.

Obviously this distinction becomes cloudy when dealing with private-public enterprises, such as Canadian universities. However, it is the Students’ Society, and not the university itself who would be called upon to censor, should the motion pass, certain groups and their ability to express themselves through the machinery and institutions of SSMU. Because of this, this motion does not constitute a violation of freedom of speech, but rather a decision internal to a private organization (SSMU) in regards to whether it will allow its money to be used by groups who express themselves in a way displeasing to some.

Now, Mr. Steven may be right in calling this a silly and disheartening objective. Personally, I think the motion is wrong, and am planning on voting against it. This is because I believe there is normative value in allowing groups with relatively extremist views to express themselves as they see fit within the framework of our Students’ Society. However, this has nothing to do with constitutional rights to freedom of expression, and Mr. Steven is wrong in considering it so.

– James HirschU2 Political Science & N. American Studies

Recipes, Student Life

Hot toddies for cold nights

Despite sounding like the stage name of a male stripper, the hot toddy is a classic hot beverage that’s perfect for cold weather. Whether you’re in the damp climate of Scotland (the toddy’s oft-cited birthplace) or enduring a – 30 degree day in Montreal, the hot toddy is the perfect way to prepare yourself for the chilly walk to the bar. Bourbon and tea has been used as a cure for a sore throat or a cold in the past, but doctors have recently noted that the alcohol causes dehydration, which is particularly dangerous if you’re sick. Let’s not forget that applying leeches used to be thought of as a cure for illnesse, too.

Alcohol served hot is a whole new animal. The combination of the fumes and the slight burn in your throat can make for a truly intoxicating experience. While several variations of the hot toddy recommend the use of cloves, cinnamon sticks, nutmeg, maple syrup and so on, in my experience hot toddies are best kept simple. However, it is important to use bourbon, not whiskey, scotch, or rum (I would particularly advise against that last one) – and no, Jack Daniels does not count as bourbon. Jim Beam bourbon is available amongst the notoriously limited selection at some SAQs – though it only comes in 40 oz. bottles – so either go big or return to your place of residence. But if you want the best toddy possible, it’s worth the extra money and effort to get the real thing.

Ingredients

  • 2 oz. bourbon
  • 1 tea bag (I recommend black tea: orange pekoe, English breakfast, or otherwise)
  • 1 tbsp. honey
  • 1 lemon
  • Directions

    1. Boil water and allow tea to steep separately for three to four minutes.
    2. Cut lemon into wedges (use one-eighth of the lemon if you want to get technical)
    3. Add honey to your mug first.
    4. Pour in two oz. of bourbon.
    5. Pour tea into mug and stir thoroughly to to dissolve the honey
    6. Squeeze lemon into the mug and toss it in.
    7. Take a sip and swear you hear bagpipes playing in the distance.

    Recipes, Student Life

    A rustic blood orange tart, made simple

    Blood oranges are bright, aromatic, and have a rich citrus flavour. This rustic tart exploits their beautiful colors and sweet juices so that by the time it’s out of the oven your house will smell and feel like summer. Although the recipe is a slightly laborious process, think of it as an excuse to stay inside. The result is a flaky, buttery crust that enrobes slices and segments of sweet blood oranges whose juices have bubbled just enough to be syrupy, but not so much that the fruit loses its integrity. In between midterms, essays, and the cold we all deserve a good break. And nothing is more satisfying than sitting down to a wedge of sunny, homemade tart.

    Ingredients

  • 1 cup all-purpose flour, plus more for dusting
  • 1/4 cup plus 2 tbsp. granulated sugar
  • 1/4 tsp. baking powder
  • 1/4 tsp. salt
  • 1 stick plus 1 tbsp. unsalted butter, the stick cut into 1/2-inch pieces and chilled
  • 3 tbsp. ice water
  • 7 to 10 blood oranges (about 5 oz. each)
  • 1 large egg yolk mixed with 2 tbsp. water
  • Directions

    For the dough

    1. In a food processor, pulse one cup of flour with two tablespoons of the sugar, baking powder, and salt.
    2. Add the stick of cold butter and pulse several times, just until it is the size of peas. Sprinkle the dough with the ice water and pulse until the butter-moistened crumbs form.
    3. Turn the crumbs out onto a work surface, knead once or twice and pat the pastry into a disk. Wrap the pastry in plastic and chill for 30 minutes.
    4. On a floured work surface, roll out the pastry to an 11-inch round, about 1/4 inch thick. Transfer the pastry to a parchment paper-lined flat cookie sheet and refrigerate for 15 minutesNote: if you do not have a food processor, store-bought crust or pastry will do.

    For the oranges

    1. Peel the blood oranges, removing all of the bitter white pith.
    2. Thinly slice two oranges crosswise, remove the pits, and transfer the slices to a plate.
    3. Working over a sieve set over a bowl, cut in between the membranes of the remaining oranges, releasing the sections into the sieve. Remove the pits and gently shake out as much juice as possible without mashing the sections; you will need one cup of sections.
    4. Arrange the orange sections on the pastry, leaving a two-inch border all around. Sprinkle the remaining two tablespoons of the sugar over the oranges. Using a paring knife, thinly slice the remaining tablespoon of butter over the oranges.
    5. Fold up the pastry over the oranges, leaving most of the oranges uncovered.
    6. Brush the pastry with the egg wash and sprinkle one tablespoon of the sugar over the top.
    7. Arrange the orange slices on top of the sections, leaving a one-inch border of pastry all around. Sprinkle the remaining tablespoon of sugar over the slices.
    8. Freeze the tart until solid, for at least four hours, but preferably overnight.
    9. Heat the oven to 375°F and position a rack in the center. Place a baking sheet on the rack below to catch any drips. Bake the tart directly from the freezer for 75 minutes, until the fruit is bubbling and the pastry is deeply browned.
    10. Transfer the cookie sheet to a rack and let the tart cool for 30 minutes. Carefully slide the parchment paper onto the rack and let the tart cool completely.

    For more recipes, visit www.frenchietbd.com

    Editorial, Opinion

    EDITORIAL: Buying Haven Books was a costly, irresponsible mistake

    Haven Books was doomed from the start.

    In March 2007, the Students’ Society paid approximately $40,000 for a consignment bookstore in a poor location, with an unmemorable name and a bad business model. They did so despite a Memorandum of Agreement with McGill that prevented SSMU from advertising the bookstore on campus, and a report from their auditing firm that showed Haven had lost about $95,000 in the previous year.

    It was an illogical and irresponsible decision to buy Haven. It is notoriously hard to profit off of student-run businesses (see: Gert’s, Sadie’s Tabagie, etc.), so the issue becomes one of “acceptable” losses. For the services Haven provided, the losses were far too great. While a student-run consignment bookstore may have been a good idea in theory, Haven’s spectacular failure should temper any of SSMU’s future business ventures.

    This has not been a cheap experiment. Haven Books will have cost McGill undergraduate students over $250,000 by the time the store closes in April. For that money, a small percentage of the student body has had a portion of their book costs covered – an unequal and uneconomical way to distribute benefits.

    Closing Haven was clearly the right decision – one the Tribune applauds SSMU Council and the Operations Committee for making. SSMU should be able to offer a service similar to Haven during add/drop period at a consignment book swap in the Shatner building, or students can sell textbooks over McGill Classifieds, Craigslist, or other online services. Overhead costs killed this venture – which is ironic, since there was no need for to pay for year-round store space in the first place.

    Finally, we hope that SSMU councillors are paying attention. The acquisition of Haven was passed through an apathetic Council at the end of 2007, and was the subject of very little debate in the proceeding years – when Haven was losing hundreds of thousands of dollars. Council should have done its job and protected students from this bad business decision. We’re glad they finally pulled the plug on Haven, but we’re disheartened that they didn’t do so sooner.

    Features

    Audiophile

    No more than two dozen patrons have filed into the upstairs concert hall of Montreal’s La Sala Rosa for an evening of live jazz. Among the dedicated few sits Mark Crawford, a beer in his right hand and a focussed yet unassuming countenance on his face. Positioned front and centre, Mark is preparing a medium-sized microphone stand that is wired through a pre-amplifier, digital to analog converter, and power supply into his digital recorder. Mark will leave the show with a personal recording of the performance.

    Mark is a member of the small-yet-vigilant Montreal “taper” scene. He has been trading live concert recordings since the late eighties and has recorded performances at Metropolis, Le National, and Le Divan Orange, among other venues in Montreal and across North America. He claims that the Salle Wilfred-Pelletier theatre at Place des Arts has the best acoustics in the city.

    “I have a need to hear bands evolve, a need to hear the bands I like explore,” Crawford says.

    A taper profile

    The tapers comprise a subculture of music fandom. A mix of obsessive-compulsive music documenters, former party animals, tape collectors, and hobbyists, it’s difficult to pin down the taper subculture to a single personality type. The lowest common denominator is simply a true love for music.

    Most tapers arrive at the show early enough to be the first admitted, gear in hand and mind focussed on constructing their rig. While the band is finishing its sound check, the tapers are busy searching for the room’s “sweet spot,” assembling and stabilizing their microphone stands, clamping and connecting cables, and making sure their recorders are fully charged for show time.

    A taper might invest over $10,000 in equipment. A set of high-end Schoeps or Neumann brand microphones cost about $5,000 alone. Factor in preamplifiers running as much as $6,000, digital recorders for up to $2,000, digital to analogue converters, power supplies, cases, cables, and clamps, and most tapers have gear valued around the price of a well-running used car. Some, like California-based taper Ian Stone, have gone as far as running their own private server.

    “I was going to Rochester Institute of Technology in New York and I had just gotten a new computer. I had a T1 Internet connection in my dorm room, so I took advantage of it,” says Stone.

    The tape collections range into the thousands, often consisting of several hundred recordings documenting a taper’s favorite acts. Crawford estimates that he owns between 600 and 800 recordings of the recently reunited improvisational rock band Phish alone.

    “There are some people that don’t care if they tape the show, because they are happy playing their CD 50 times in a row and waiting until next year to hopefully see the band again,” says Crawford.

    The word “dedication” as a description is an understatement. New York-based taper Ray Ackerman recalls a stealth taping experience that required some smooth talking and a disguise. The show was a 1985 Neil Young concert at the Rochester War Memorial, a minor league hockey arena in upstate New York.

    “I basically dressed up like I worked for a television station to get my equipment in,” says Ackerman, who has taped every concert that he has attended since 1983. “I quick-talked the person at the door and they let me come in with this giant hard shell case with all of my recording equipment in it, and then I set up my stuff from my seat to record the concert.”

    A document of everyday life

    Speak with any taper who has been at it for more than 20 years and odds are they will tell you that it all goes back to one band – The Grateful Dead. Although the Dead allowed its nomadic fan base to record as early as the mid-sixties, on October 27, 1984, the band officially created a special area of the audience known as “the tapers’ section.” Generally positioned adjacent to or behind the soundboard, from this point on tapers could freely transport and set up their rigs without hassle from venue security. As a result, taping emerged from the shadows and into the public eye.

    “[The Deadheads] were really the hardcore music fans,” says Ackerman. “The Grateful Dead were really one of the only bands back then that were constantly improvising so that every show was different.”

    These recordings provided free publicity for the band, as well as a method for fans to document the show. It was a way not only to collect, compare, and share the music, but also to revisit the concert experience from the night before.

    So it should come as no surprise that a taper will opt for an audience tape over a doctored soundboard recording without question.

    “There is something about a good audience tape that makes the perspective a lot better. You get a less sterile, more venue-oriented sound,” says Crawford. “You can get it in your mind exactly where the mics are in the room. You actually know how the sound is bouncing off the seats; you get the whole feeling of how the sound was in the venue – more of the way that it is supposed to be portrayed. The whole recording idea is to capture the show exactly as your human ear would capture it – it’s getting exactly what the band is trying to throw out into the particular room.”

    The tapes provide more than just the music. The listener can gauge the audience’s energy and other sounds that are normally undetected by a soundboard recording.

    “It’s cool getting the ambiance in the room – hearing the tinkle of the bar glasses or hearing people slam the door, or playing pool in the background. You get more of a feeling or picture of what the night was other than just the sound,” says Crawford.

    A community culture

    While the technical jargon can be daunting, the taper section is a tightly knit community within music fandom that looks out for one another and is generally willing to lend a helping hand to the “newbies.”

    Before making a major investment, most tapers learn the hobby by purchasing only the recorder and “patching in” – a practice where one taper, most likely the most experienced and invested, allows other tapers to patch in to their microphone rig. This creates a chain of recorders all stemming from the single microphone configuration. Tapers must beware, however, because if one battery in the chain dies, all of those following it also lose their connection.

    “For the most part, everyone knows each other … we are all in it together – we are all going to protect the gear together and keep the drunks away,” says Stone, who by his own modest estimation has taped approximately 2,500 sets of live music. “It’s a bonding thing – you can talk about the gear that you have and say ‘Oh hey, I think I saw you at this show or that show.’ It’s kind of a hidden connection that we all share.”

    Even with the community-oriented attitude, taping still benefits from healthy rivalries.

    “It’s more or less friendly competition, but we are all trying to make the best recording,” says Crawford. “Sometimes we tease each other like ‘Oh man, your recording was a little left channel heavy, what the fuck are you doing?’ But that comes with the territory. Most of the time it’s all for fun.”

    A hazardous hobby

    Safety is always a concern in the taper’s section. With several thousand dollars worth of equipment set up in the middle of 20,000 dancing fans, the tapers watch protectively over their gear.

    On the jamband scene, this means looking out for the Wookies – a Star Wars reference affectionately reserved for dreadlock-sporting neo-hippies with a striking resemblance to Chewbacca. An umbrella will stop the rain, but sometimes nothing can stop a Wookie.

    “Wooks are always the ones that want to do the most damage and they will be the most ambivalent to what you are doing,” Crawford says. “They are so spun out that they won’t realize what the hell is going on.”

    Most tapers have their share of horror stories. They offer tales of 10-foot microphone stands and several
    thousand-dollar pieces of equipment that come crashing down from above into a puddle of mud, spilling entire recording decks across the ground.

    So a good taper can’t go far without a flashlight. Tapers shine a light on the gear to let passersby know they are there in order to avoid catastrophe.

    The golden rule

    The tapers know that recording the shows is a privilege. Therefore, there is one sacred rule that trumps all others in the taping world: tapers do not profit monetarily from any of their personal recordings. Respect the band’s wishes and the band will help accommodate you.

    “I think that most of the bands that allow taping do so with the implication that people are not going to sell it or profit off it in any way,” says Stone. “And that’s an important thing to think about – tapers out there do this for non-monetary gain. They do it because they like it. They share it with others because they are generous and they like the bands enough that they want to help promote them.”

    As a result, tapes are traded or offered to others simply as a gift. Today many tapers will put their recordings up for download on websites such as archive.org or etreee.org, but there was a time when tapers would connect exclusively through the mail, arranging trades at concerts or by responding to want advertisements in the back of fan magazines.

    Crawford remembers when his wife arrived at work one morning to find several Grateful Dead tapes in her desk, a kind gesture from her boss after he noticed the Grateful Dead tattoo on her leg. “A couple shows from Santa Barbara in ’78 – a really smokin’ soundboard version on cassette,” recalls Crawford.

    Eric Kushmeder, a taper from Western Pennsylvania who records mostly bar bands, tells people to e-mail him and he’ll send the recording, free of charge.

    “Most of the time they don’t even get back to you,” says Kushmeder. “But if they do, I say, ‘Hey, give me an address, I’ll send you a couple disks in the mail, on my dime.’ Two dollars worth of CD-R and postage – it goes a long way to put a smile on somebody’s face – to know that they are going to enjoy listening to that show.”

    With the free trade emphasis, the word “bootleg” has become the most dreaded term in the taper’s vocabulary. An expression that originally surfaced during the American prohibition to describe how one might smuggle liquor by strapping it to their “boot leg,” bootlegging indicates that the recordings are illegal and being sold for a profit.

    A real change

    On February 4, 2008, Bob Weir, Phil Lesh, and Mickey Hart, three surviving members of the Grateful Dead, reunited for a show at the Warfield in San Francisco to support then Democratic presidential candidate Barack Obama. Ian Stone taped that show, and a few weeks after uploading it to the archive.org, found that over 100,000 people downloaded it.

    HeadCount, a voter-registration organization focussed on mobilizing fans of live music, came to mind as a potential outlet for putting the new found exposure to good use.

    “I just started thinking about the possibilities and HeadCount is an organization in our scene – they didn’t have any download service – so wouldn’t it be cool if 100,000 people were going to HeadCount’s website, and what if 50,000 of them registered to vote because of this one show?”

    After using some connections and pitching his idea, Stone has since become the official HeadCount taper, with responsibilities that include maintaining a blog and offering free monthly recordings to registered HeadCount members – compliments of his personal collection.

    A final encore

    “There is no profit in it – there is no fame in it,” says Stone. “So regardless of whether 100 people download it or 1,000 people download it, those tapers will still be there doing their thing.”

    For the tapers, everything about the practice always returns to the music. In a music world of major record labels and high-powered management, the tapers exist in an industry grey area by supporting the bands through unconventional means.

    It makes no difference if the recording is of an international touring act or a bar band that may never leave its home city. If the music sounds good, the tapers believe that it is important to document and share it.

    “I see nothing but good coming from getting the music out there,” says Crawford. “It is important for our culture to have memories of what has been produced and the better parts of our culture are song, dance, and music.”

     

    Student Life

    Tips from a personal trainer

    Staying in shape and keeping up a regular fitness regimen in winter can be a challenge. But rather than staying in bed or camping out in the library, grab winter by the horns – or rather, the icicles – and embrace it. Many people opt to stay in, make a nice cup of hot chocolate and a snack, and let the nostalgic TV reruns roll. However, on average, people gain about five pounds during the holidays alone. Those who don’t fulfill gym-going New Year’s resolutions will continue to gain even more weight throughout the winter season. This year, consider doing something different.

    “Winter is that time of year where most of us are going to wear many layers and sometimes forget what we’re hiding underneath it all,” says Adam Bronk, a personal trainer at Monster Gym. “By spending more time inside, we are given that much more time to eat in larger amounts, and usually fattening sugary foods.” Bronk explains that this – along with a lack of interest in exercise in dreary weather conditions – could lead to “winter fitness blues.”

    Here are a couple of tips you should keep in mind to ensure continuous motivation:

    Get active with a friend or a group. It’s okay to make exercise a social activity if it’s going to get you moving.

    Set small goals – once you’ve reached them, make sure to reward yourself appropriately. “This will help you attain your goals and allow yourself to have fun with it too,” says Bronk.

    Stay organized and allot a specific amount of time for exercise. Also, don’t make excuses. Bronk suggests creating a proper schedule that regularly incorporates 30 minutes of exercise into your daily routine, four times a week.

    Exercise doesn’t need to happen in a gym. Explore the opportunities for activity in the outdoors through activities or sports you enjoy. If staying home is more your scene, use this to your advantage: your stairs and a couple of dumbbells could be your new best friends.

    If you find yourself loving your kitchen more than the outdoors, switching up foods and snacks in your cupboard can help. Fruits and vegetables are more expensive in the winter, so try looking for what’s in season. “There are also many good snacking alternatives, like whole grains and a variety of nuts [like Brazil nuts and walnuts]. Mix up your meals by eating sweet potatoes instead of regular potatoes and include leaner meats like chicken breast or tilapia.” Bronk also says that keeping busy will prevent snacking on foods that you may regret later on.

    Think you’re ready to take on a winter wonderland? Luckily, Montreal has plenty of activities and events to keep you going with your fitness endeavours. If you’re not an avid skier, skater, or snow-shoer, there are tons of beginner lessons available for you to try. There’s also new upbeat classes available at gyms throughout the city like intense spinning, Zumba, and boxing classes.

    Although we’re in a city with cold temperatures on most days, take a breath of fresh air and realize that it’s much easier to grin and bear it this winter and try something new. You may actually find yourself loving the challenge.

    Arts & Entertainment, Music

    CD REVIEWS: Hot Chip: One Life Stand

    Hot Chip’s soft electropop is anything but middle of the road – it’s love or hate. One Life Stand is their fourth studio album, and is a mixed bag of standout tracks and one-listen flops.

    The album begins with a strong opening track called “Thieves in the Night,” which starts off sounding like Coldplay’s X&Y era. However, it turns into a pop song with a lot of effects piled in the background that play off each other nicely. The good times continue with the second track, “Hand Me Down Your Love,” which features some staccato piano layered over a driving drumbeat (including MSTRKRFT-like hand claps) and ambient effects (including strings) – not to mention vocal bridges reminiscent of Sgt. Pepper’s Lonely Hearts Club Band.

    The title track is disappointing, as the repetitive beeping in the background begins to drive you insane when you inevitably realize that it’s been there the whole song and it hasn’t changed. “Slush” is an interesting departure from the electronic effects, as it is constructed as a pretty straight song made up of piano, soft percussion, and layered vocals. But the biggest problem is “We Have Love,” since anyone who thinks that the chipmunk-voice is a good choice in modern music deserves a punishment unfit for print.

    One Life Stand is hit-and-miss, so if you’re thinking about buying it from iTunes, choose your songs carefully.

    Read the latest issue

    Read the latest issue