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“My dad can beat up your dad!” —Liam Neeson Jr. (www.newrisingmedia.com)
a, Arts & Entertainment

Taken 2: franchise taken one sequel too far

“Buddy, what’s happening? How’s the weekend?”

“Hey dude, same old. But, I did see this movie—the one produced by Luc Besson? The guy that directed Leon: The Professional and The Fifth Element. Oh, that’s what it was—Taken 2, with Liam Neeson.”

“Man, I loved the first Taken! When he plays Bryan Mills, that retired security specialist that wreaks havoc and gets his daughter back from these European gangsters? It was like watching my dad play a secret agent. I loved that!”

“Yeah, this one is kind of similar, but even more awesome. This time around though, all the leftover gangsters from the first movie want to kill Mills because he killed their gangster friends. While he’s in Istanbul with his family, they go all… well, Taken on him, and grab him and his wife, while his daughter helps out.”

“I don’t know, it sounds pretty much like the first movie… I mean, even the bad guys are the same, right?”

“Well, yeah, but this time, there are all these subplots. Like, he’s getting back together with his ex-wife, and his daughter can’t drive and has a boyfriend—so I connect with it more now. Now that I think about it, I guess they’re all pretty lame, and don’t really serve the story, but at least there’s some filler there, right?”

“Uhhh… I don’t know dude, sounds kind of weak. What about all the action, was that decent? The first one had some cool sequences, this one must have some of those too, right?”

“Oh yeah, for sure! I mean, I think it did. It was shot all shaky and close up, so you couldn’t really see what was going on during the fights and car chases. But then again, that’s what it feels like to be in the middle of the action, right?”

“Yeah… I’m not so sure. It sounds like it was just a poor call on the director’s part.”

“Well, that could be. But dude, the script was really sharp. Neeson used this really clever thing where he got the daughter to throw grenades all over Istanbul so that he could hear where they blew up and calculate where she was, so that she could find him and bring him a gun. They did that for about 15 minutes, which was a little repetitive I guess, but—”

“Wait, wait, that’s not a sharp script at all. That’s lame. Did it have any cool dialogue, at least? The first one had that awesome line that everyone always remembers, the one where Mills says ‘I don’t know who you are, I don’t know what you want, but if you don’t let my daughter go, I will find you and I will kill you.’”

“Yeah, I mean, he’s taken in this one, so he doesn’t really have a chance to make threatening phone calls. I noticed that he gives really good directions over the phone, which, you know, is super rare, so that was kind of cool.”

“Dude, my dad is terrible at directions.”

a, Arts & Entertainment

In with the old, in with the new

Carmen, Rigoletto, The Magic Flute—all these works have had a profound influence on our society. Since its inception in the late 16th century, opera has been a powerful force in the arts. Today’s youth, however, see opera as old-fashioned, imagining grandiose theatres, flashy costumes, and hours of glass-shattering vocalizations.

Nevertheless, opera companies such as the Opéra de Montréal are still mounting productions just as strong today as they did many years ago. Their goal is to show today’s youth that opera is not a boring menagerie of dated memories, but a dynamic genre that’s constantly changing and entertaining modern society.

The Opéra de Montréal is relatively young, having been established in 1980. Thirty years later, however, the company has developed into the largest francophone opera company in North America, with a total of 970 performances from a repertoire of 93 operas. They have received five Opus Awards, and were deemed one of the 15 largest opera companies in North America in 2007. They have also recently mounted sold-out performances of La Traviata—a rare occurrence in modern opera.

At present, Opéra de Montréal is focusing on the future by introducing youth to the beauty of opera with its Young Associates Committee (YAC). The committee was formed in 2009, after the founders observed the success of a similar initiative at the Metropolitan Opera in New York. YAC’s mission is to introduce students at McGill, and the rest of Montreal, to a myriad of opera-related activities.

“The first part of the mission is to bring young people to the opera,” says Jean-François Seguin, committee member and one of the YAC’s founder. “[We] always think that people who go to the opera are 60 years old and have grey hair, but it is not true. Already more than 20 per cent of the memberships to the opera are from people younger than 40.”

These numbers continue to grow. Over the past three years, the committee has been able to introduce 500 young professional performers to the opera community, and numerous new young faces to many of its activities.

Neverthelesss, the job is not done, and there are many new events organized by the YAC to make opera a worthwhile experience for young Montrealers.  Apart from cheap tickets and special discussion, the YAC has created a Youth Ambassadors Program, which connects the Opéra de Montréal to university students.

“The Opéra de Montréal wants to reach out to students more to give a better understanding and a more enjoyable experience at the opera,” says Caitlin Hammon, the Ambassador of the program for McGill and a first year graduate student at McGill’s Schulich School of Music. “Opera has always been for the general public … and people have a lot of misconceptions about opera.”

Hammon and other ambassadors are already preparing a slew of activities, such as a Halloween picture contest for the next opera, Wagner’s The Flying Dutchman, and cocktail sessions to help students better appreciate the art form.

“[The grandness of opera] is something that’s kind of hard to find these days,” admits Hammon. In a world of iPods and personal computers, opera has remained a strong beacon, constantly modernizing itself. It’s up to the youth of Montreal to rid themselves of the opera stereotypes, and to try to understand the complexities of the art form. With the help of the Opéra de Montréal’s YAC, and Youth Ambassadors such as Hammon, opera is sure to continue as an influential force in society.

Youth tickets are available for $30 with the purchase of at least two shows. Ticket buyers can also join the newly formed membership program for $20-25, which grants them privileges such as opportunities to meet with performers, join closed discussions, and attend Opéra de Montréal balls. 

For more information, visit www.operademontreal.com/en

a, Arts & Entertainment

Could be Good

Poetry Reading: Bowering and Shikatani

 Hungry for a dose of delectable poetry? Missed out on 4Floors tickets? Thursday night, the literary worlds of Vancouver Island and Ottawa come together at the Atwater Library for live readings by Marilyn Bowering (2008 Fulbright Scholar) and Gerry Shikatani (Spanish Officer’s Cross of the Order of Civilian Merit).

Free admission. Reading takes place at the Atwater Library Auditorium, 1200 Atwater Avenue, 7:00 p.m. on Thursday, October 25, 2012. For further details, visit www.atwaterlibrary.ca/events/atwater-poetry-project

Public Lecture: Barbara Sternberg

Video artists extraordinaire Barbara Sternberg comes to Concordia as part of the Conversations with Contemporary Art series, occurring every second Friday. After a career spanning five decades, Sternberg received the 2011 Governor General’s Award in Visual and Media Arts for her “daily, observational, and messy” films.

Free Admission. Take part in the conversation at Concordia University’s Visual Arts Building, 1395 René Lévesque Blvd. West, on Friday, October 26, at 5:30 p.m. 

Film: Heart Child

 Skateboard documentary-maker Ben Duffy, who has worked on films since his teenage years, turns his lens to the lives of 29-year-old Crys Worley and her nine-year-old autistic son Sasha. Duffy follows the pair’s struggles, and films Worley as she tries to establish A.Skate, a non-profit foundation for autistic children. Duffy and Worley will both be in attendance.

Admission $11.25. Heart Child’s world premiere will take place at the PHI centre, 407 St. Pierre St, on Thursday, November 1, at 7:30 p.m. 

Theatre: Human Cannon

The National Theatre School (NTS) of Canada mounts its production of Edward Bond’s Human Cannon, a confronting drama dealing with the carnage of the Spanish Civil War. Don’t miss this rare opportunity to see a radical playwright explore fear, brutality, and delusion, with the help of this year’s NTS graduates.

Admission $9. Human Cannon runs nightly, at the Studio Hydro-Québec of the Monument-National, 1182 St. Laurent Boulevard, October 23 to 27, at 7:30 p.m. For tickets, call (514) 871-2224

Workshop: Get Animated

 The National Film Board (NFB) of Canada is hosting an animation workshop to encourage some fresh faces to join the trade. Each workshop will be followed by a set of NFB shorts, giving attendees a taste of prior work.

Free admission. Try your hand at animation on Saturday, October 27, from 10 a.m. to 12:30 p.m., or 1 p.m. to 3:30 p.m. For further info and registration, call 514-283-9000

a, Arts & Entertainment, Music

The Rise and Fall of Ziggy Stardust and the Spiders from Mars

To celebrate the 40th anniversary of David Bowie’s legendary 1972 album, The Rise and Fall of Ziggy Stardust and the Spiders from Mars, Toronto’s Paper Bag Records (PBR) recently released a free cover compilation by multiple artists from the label. For Bowie fans, this may appear to be an exciting event—except for the perennial issue that arises whenever bands attempt Bowie covers. These re-imaginings often end up sounding like mediocre karaoke, because any given Bowie song is already so expertly crafted and timeless that even the most promising modern bands usually produce something flat and uninspired by comparison (e.g., War Paint’s “Ashes to Ashes”).

Unfortunately, PBR’s rendition largely failed to dispel this stereotype. The approach most artists took to covering these epic songs was to mumble lyrics over synthed-out versions of the melody. In nearly every case, this is monotonous, and simply makes the listener long for the original.

However, among all the warbling were a few bands who opted for  more interesting interpretations. These are the covers that are worth a listen, and include The Rural Alberta Advantage’s high-energy, post-punk version of “Starman,” as well as The Luyas’ appropriation (it can hardly be called a “cover”) of “Lady Stardust,” in which the vocals are spoken (not sung) entirely in French.

If you are a huge Bowie fan, tone down your expectations for this release. And if you are only a modest fan, or are unfamiliar with Bowie’s music, get your hands on the original first.

a, Arts & Entertainment, Music

Golden Boy: Blue Swan Orchestra

Blue Swan Orchestra is the re-release of the Golden Boy’s 2003 debut album, and their latest since 2011’s Sleepwalker. The soft-rock/indie-pop band’s re-mastered album also features two bonus tracks, “Blind” and “Windows.”  The album’s greatest strength is the blend of the familiar sounds of indie and pop with uniquely evoking lyrical timbres. On the whole, it’s great easy-listening material with some truly joyous guitar riffs that you can’t help but tap your toes to.

The opening track, “Wild Was the Night,” with its balanced texture and soft vocals, leads listeners into what promises to be a rewarding record. The following “Babydoll” is one of the songs that make the album worthwhile—its controlled falsetto, cute piano, and background voice samples make this somewhat clumsy song fit well into the overall musical design.

The Blue Swan Orchestra winds down with “Almost Perfect.” It is a simple song with its repetitive guitar riff, droning synth notes, and quirky vocals. There is nothing grandiose about it—yet somehow, it is an almost perfect way to close the album.

Aside from the extra tracks, Blue Swan Orchestra doesn’t provide anything new. The album is a nice gesture towards the fans, but perhaps the time that went into the release would have been better spent  on promoting Golden Boy’s upcoming album, The New Familiar, to be released next month

a, Arts & Entertainment, Music

Jack Davey: LO-F! Side A

Jack Davey, frontwoman for the Californian electro-soul duo J*DaVeY, has gone solo. But for a singer who has opened for Prince, the Roots, and Janelle Monáe, the five-song EP falls distinctly flat. Davey’s voice, sultry, breathy, and deep, is wasted on what she calls “stripped-down grunge” and her attempt at “introspective” songwriting. The sound is whiney, messy, and simple, and seems more fitting to a debut album than an EP by a relatively successful artist striking out on her own. Not only does it sound unprofessional, but she proudly proclaims that it was “literally recorded [in] the walk-in closet in my Koreatown apartment.” In the case of L0-F! Side A, this is not an accomplishment.

Though Davey touts her EP as being a five part song, each part is indistinguishable from the next. The second track in particular, “Howl at the Moon” (the unfortunate highlight of the EP), is an especially poor use of her voice; Davey’s airy attempts at howling along to the tune, and any tolerable musical motifs she managed to compose, are overshadowed by poorly disguised distortion and computer-generated modifications. Very little praise can be given to her lyricism, which is pretentious, unnatural, and forced (think back to the emotive poetry you may have written in middle school), and fails to stir the slightest emotion in the listener.

While she gets points for trying, Davey should leave the creative process to the other half of her original duo. There isn’t much else to say except that sometimes sticking to what you know is the way to go. Save your iTunes credit; there are fledgling bands on MySpace with better EPs.

a, Opinion

Students’ reach shouldn’t exceed their grasp

Many may be familiar with the story of Icarus. His father, Daedalus, built him wings to soar through the sky, leaving just one word of warning: go too high, too close to the sun, and the wax affixing the wings to your body will melt. We know how the story ends. As a child, I remember being absorbed in this tale of hubris and humility.

Last Monday, SSMU held the first General Assembly (GA) of the academic year. Two motions concerning a climbing wall and a room re-naming were passed before quorum was lost (which, set at 100 for a body representing over 20,000 students, is not a particularly high bar). However, debate raged on, and though the resulting motions were non-binding, they will be revisited at the next SSMU Council meeting, where presumably they will become binding regardless.

One of these motions concerns SSMU’s official policy in the event of a Canada-Iran war. As an editor, what struck me first was the misspelling of “defense” [sic] in the version on the SSMU website; the Americanization was sadly appropriate in a document that hints at a fallacious equivocation between our two countries. As a student, what struck equally hard was the existence of such a motion in the first place.

The modesty necessary to limit the motion’s scope to one commensurate with its setting eluded our illustrious representatives. To be fair, clauses expressing concerns over McGill’s research for defence industries—though dubious in their ability to actually impact policy, while also being a dead horse of a debate from three years ago—are at least fairly relevant. It remains to be seen whether the nation of Iran has simply been opportunistically hijacked by students yearning to proclaim their non-militancy, or whether commenting on a hypothetical war between Canada and Iran was a moral imperative for campus politicos.

The question isn’t whether one ought to “firmly oppose Canadian aggression towards Iran and oppose any military action that may be taken.” The question is why our student activists and leaders even debated it.

Does anyone truly believe such clauses, in this context, are anything more than impotent strings of words?

Let us remember that this is the GA of the Students’ Society of McGill University—a group of (now less than 100) students, moving to “create a policy opposing military activity.” This is a motion SSMU’s own Steering Committee deemed well outside its authority. One can almost see melting wax and feathers dripping onto these pages; in the corner are Daedalus and Common Sense, crying on each others’ shoulders.

But aren’t these clauses simply symbolic?

Yes—but they are symbolic without merit. Many motions passed in the history of SSMU, such as 2011’s Motion Regarding Accessible Education are also symbolic, but that subject matter at least stays within the purview of SSMU as an entity of McGill. Comments on non-existent wars lie far outside this modest jurisdiction. Insofar as they deal with hypothetical events that student leaders will in no way influence, such clauses amount to little more than self-worship and self-deception.

So maybe they’re pointless, but what harm could they do?

The answer to this lies in the long-term. Campus leaders cannot lament general apathy towards student politics, yet simultaneously bring forward motions that undermine our faith in student politics. One proposed amendment to the Iran motion called upon SSMU to venture into questions of regime change, and proudly proclaim that our noble association will only stand for revolution if organized at the grassroots by the Iranian people. I’m sure the people of Iran are flattered. But we should not confuse a GA of SSMU with a GA of the United Nations. In seeking solidarity with the citizens of Iran in such a context, these students are losing the solidarity of their peers at home.

Our time sees humility as a forgotten virtue; over-ambition is no longer a vice. Unfortunately, the Iran motion is indicative of a prevailing attitude, one particularly virulent on this campus; an attitude that is the result of comparatively privileged upbringings; that expresses in form what it lacks in substance; a magical elixir that, once imbibed, renders its drinker immune to the possibility that one’s reach may exceed one’s grasp.

Yes, principles and aspirations are important. But take yourself too seriously, and no one else will. Surely there is a happy medium.

a, Opinion

An opportunity to reflect on female political representation

On Oct. 18, 1939, five women  challenged the Canadian Supreme Court for the right of women to sit in the Senate—and won. The day is now celebrated nationwide as Persons Day, after the clause in the British North America Act which stipulated that any person may sit in Senate. Before that day in 1939, women were not legally recognized  as “persons.”  Last week’s celebration came just one day after Mitt Romney’s “binders full of women” comment, which itself brought the issue of gender equality in pay and representation of women in politics to central focus in national and American media.

Internet memes aside, Persons Day and the discussion ensuing from Romney’s comment offer an important opportunity to examine the progress that women have made in Canada. Low female representation in public office remains problematic for most democracies, including this one. In 2008, just 22 per cent of seats in the House of Commons were held by women. While this is more than double the 9.6 per cent of seats that were held by women in 1984, the improvement seems to have stagnated. The rate has hardly changed since the late 1990s.[pullquote]There seems to be a clear disconnect … between female representation among leadership in academia, community,  and business, and female representation in public office.[/pullquote]

At a time when women are increasingly claiming top leadership roles education and the corporate world, this underrepresentation is surprising. What’s more, in post-secondary education, representation of gender exhibits a reverse trend. Last year, McGill’s undergraduate population was 58 per cent female. There seems to be a clear disconnect, then, between female representation among leadership in academia, community,  and business, and female representation in public office.

Part of this problem stems from a lack of female role models in politics, especially those who place value on making their work visible to young women. Female political leaders who put women’s issues first, even when it is politically inconvenient, are few and far between.  It’s even worse when female politicians do the opposite. Rona Ambrose, Canada’s Minister for the Status of Women, voted recently with her party to investigate the question of when life begins, which many see as a move to reopen the abortion debate.

Above all, girls need female elected officials who they can look up to and aspire to be like. Programs like the McGill’s “Women in House” program—a student-run, two day trip to Ottawa during which participants shadow a female MP or Senator—are a laudable start to tackling this complex issue.

The most fundamental problem, though, is that girls growing up who aspire to enter politics can easily be dissuaded by the depressing proportion of women in the field, and the lack of public role models. There needs to be a more concerted effort,  on the part of established politicians, to encourage girls interested in politics from a young age. Young people need to be aware that they represent the future, and that they can—and will—change the inequity.

Each year, Persons Day serves to remind us that while we have made large steps towards gender equality, there is still more to do.

a, Opinion

De-growth and the need for community participation

Last Monday, activist David Suzuki and economist Jeff Rubin shared the stage at McGill for The End of Growth Tour. The two explored the future of environmental sustainability and existing development trends. Suzuki focused primarily on the societal influence of development on the environment, while Rubin analyzed macro growth trends and the nominal price of energy for production to discuss the relationship between growth and sustainability. While each renowned speaker had slightly different interests in sustainability,  both stressed the need to reverse recent growth trends and reduce our environmental footprint. What wasn’t directly explored during Monday’s event was our own individual roles in the process of de-growth. In the aggregate, we need to diminish production and growth—but, as individuals, how can we all participate in this shift?

When it comes to sustainability in general, institutions like McGill can play an essential role in community integration, which can better serve our collective ideals.

While personal initiatives in sustainability are hugely beneficial, the radical change that Suzuki and Rubin demand cannot be initiated without larger-scale implementation. McGill has the opportunity to move concepts like de-growth and sustainability beyond individualistic projects and into more mainstream action. In fact, resources exist at McGill already that support the ideas heard on Monday. Students themselves already have access to student initiatives that promote sustainability for the McGill community. In addition to these established projects, the university can, by virtue of its size, be an effective promotion tool for developing sustainable initiatives that move towards reduced consumption. Campus entities such as the Office of Sustainability, or the Students’ Society of McGill University (SSMU),  can very effectively provide access to expansive resources and like-minded individuals.

The overarching concept of de-growth is fundamentally based on the idea that yesterday’s economic expansion and environmental degradation are not feasible for tomorrow. Whether a shift is brought about by conscientious policy-making or by economic necessity, it will bring about stagnation in growth. For the speakers at Monday’s event, this is a good thing. The global economy is heavily dependent on the cheap production of goods and hyper-consumption of materials in a way that cannot be continued indefinitely. A move away from this—as radical as it may seem—is more than feasible with the participation of the larger community.

Institutions like McGill can facilitate this first and essential step for a national and global shift prescribed by the likes of Suzuki and Rubin. As students, we have the opportunity to make use of the available community and access to resources to realize our individual conceptions of de-growth. If we accept Suzuki’s and Rubin’s initial premise as presented at The End of Growth Tour, McGill will prove an essential proponent, and promoter, of change for our sustainable future.

Any idea, in and of itself, is beneficial for the process of de-growth. If more people have the opportunity to discuss sustainability in meaningful ways, the community at large will be more receptive to change.

a, Opinion

Steps towards a functional General Assembly

Last Monday Oct. 15 marked the SSMU’s fall General Assembly (GA). In spite of recent reforms intended to make the assembly more appealing and accessible to general membership, it was only able to pass two motions before losing quorum. The centerpiece of these reforms,  passed by referendum last semester, mandates that any motion passed by the assembly must now also be put to an online vote for ratification. Other changes include an enhanced webcast, as well as workshops held beforehand to explain the best practices for debating and how the GA operates.

The implementation of an online vote is a positive preliminary step towards making the GA more democratic and giving it a stronger sense of legitimacy. Ideally, its goal of involving a broader range of participants could also heighten awareness and interest in the assembly. However, last week’s assembly—especially the loss of quorum—was a stark reminder that this will not necessarily be the case. The next test of the reforms will be the online ratification process. The two motions must pass with a quorum of 10 per cent of SSMU’s membership of over 20,000 students. It’s hard to say whether or not the online vote will reach quorum. Recent SSMU winter elections have drawn 25 per cent voter turnout, and it seems unlikely that less controversial issues would raise the same levels of interest. But if membership does fail to bring in the vote, it will raise a significant problem for SSMU beyond underrepresentation.

Democratic values are a crucial aspect of any governing body’s legitimacy, but they must be balanced with functional capacity. If it is not being actively put to use, democracy is useless. If the online vote cannot reach quorum, it will act as an effective blockade rather than a democratic check. In other words, it will prevent a small number of students from passing motions on behalf of the greater society. Even if the ratification does reach quorum, it cannot necessarily represent the will of the student body when motions were voted on consultatively as they were on Monday. While increasing participation and voter turnout is undeniably important, SSMU must find an ongoing way for the General Assembly to have some sort of voice in spite of the problems it currently faces.

There are a number of solutions for SSMU. One of these, already being pursued by this year’s executive, is the use of technological resources and social media as a tool to introduce newcomers to the process and give them a feel for the assembly. In addition to observing the proceedings, students could also interact with the GA and engage in the debate remotely—even if their input did not come in the form of a formal vote.

Alternately, reform could be more structural. One option is to institute a sliding relative quorum between the assembly and the online vote. The minimum quorum for the GA should be reduced, but if fewer people showed up for the assembly, more votes would be required to ratify those same motions online, and vice versa. This prevents a fractional minority from being able to make a binding resolution on the majority unchecked, but also gives motions a higher likelihood of actually making it past the assembly.

Another option is for motions to be categorized based on their potential impact and level of controversy. Different categorizations would require specific quorum levels to move past the GA. The categorization itself could prove to be a controversial process, but certainly not insurmountably so.

While the above  would work towards keeping the SSMU General Assembly responsive and functional in spite of its problems, the proposals can really only treat symptoms. The real issue here is McGill’s culture of inaction and stagnancy when it comes to student politics. It’s an environment where information on elections and referenda get lost in a flood of listservs—I’ve received 16 last week—and where a 20 per cent election turnout is considered a success. Students fail to recognize, or are unaware of, the successes and challenges facing their governing bodies. This is a complex problem, and addressing it will require much more than the restructuring of a ratification system. Though there is no easy solution, it all begins with better communication to foster student awareness of what is being discussed, what is at stake, and why it matters.

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