nexus newspaper june 12, 2013

camosun’s student voice since 1990

june 12, 2013issue 16 | volume 23

nexusnewspaper.com

Golden girls play showcases beauty of all agespage seven

Jimmy Eat World talk meaning behind their name, get ready for Victoria debut page eight

June 12, 2013�

Vishal PandeyContributing writer

On my first orientation day at Camosun, I met many students preparing for “university transfer.” It got my attention; I researched, interacted with many UVic stu-dents; they shared their experien-ces. It made me think about transfer options.

Two weeks at Camosun com-pletely changed my mind about the university transfer. Is university what I really wanted?

I was surprised, but my conclu-sion was a big “NO.”

People who think university is such a big deal should really research a bit. Gone are the days when being an Ivy League graduate meant everything. This is the new world. Colleges are the order of the new world.

Would you like to be appreci-ated in front of a crowd of 50 or lost in a crowd of 250? What is better: studying in a class of 50 or 250? The books are the same, the instructors are different. Everyone knows this, don’t they? So why is it that students still tend to lean towards universities?

A better-paying job? Better-quality education? Well, let me wake you up from the deep sleep, my friends: it’s nothing but a myth.

The company that hires a uni-versity grad will kick him out on his second day at work if he knows nothing. You might think, but why

would he know nothing? He was a university graduate, right? Well, he was in a class of 200 and the professor didn’t spend much time on every individual. So, he learnt nothing.

Another argument: some say studying with more students means more competition, so the best will succeed. But what about the rest? Isn’t it a better feeling when you earn something, as opposed to it being given to you? Colleges provide opportunities and are supportive because it’s a small community. People care about the students at colleges, especially at Camosun. This is what makes a better learning environment.

When it comes to employers in the workforce, they don’t care where you studied, as long as you make them profit. I know people who are college graduates who earn more than some university graduates. College is pocket-friendly; paying a university fee isn’t. With ever-increasing rates of student loans, a college is a wiser option. You start a degree in a college, finish it there, it wouldn’t hurt.

Actually, it’s better than trans-ferring to university.

The time has come for the myth of universities to be broken. So, my friends, open your eyes, listen to the order of the new corporate world: they want talent, innovation, mo-tivation, passion, knowledge, and not just a university degree.

Oh, the hours I’ve spent wondering what the connections are between middle-aged nudity, summer concert festivals, and tuition-fee raises. Let me save you the agony: there is no connection. However, they’re all interesting stories, and we’ve got them all here, and so much more, in our second issue of the spring semester.

Head over to page 6 to get an in-depth feature story looking at the impact of mainstream music festivals: are they bad or good for music? Find out the answer to that, and so much more, in this fun and compel-ling feature story.

On page 3 you can read about tuition-fee raises... because we know how much you love reading about tuition-fee raises. But this time there’s good news... for Camosun, at least. Read on to find out what we’re talk-ing about.

Speaking of good news for Camosun, and colleges in general, contrib-uting writer Vishal Pandey makes a heck of a debut here with an opinion piece right beside this column. “The end of universities” claims that the day of the university being the be-all-end-all of higher education is done and gone. In its place: college. What do you think? Read it and let us know if you think universities are losing their prestige.

We’ve also got pieces on Camosun’s interesting new international film series (page 4), a lost Victorian short film from decades past (also page 4), sensitive-dude rockers Jimmy Eat World (page 8), and so much more.

We know those three-hour classes are tough, so unwind with this latest issue. See you in the summer semester!

Oh, uh... this thing still on? Alright, it’s a good time to remind you that we’re always happy to get new volunteers. No experience necessary! Interview your favourite bands; check out plays, movie screenings, and concerts; write a scathing opinion piece. There’s no shortage of great opportunites here, so drop us a line at the email below and get things started!

-Greg Pratt, [email protected]

Next publication: July 17, 2013

Deadline: noon July 10, 2013

Address: 3100 Foul Bay Rd., Victoria, BC, V8P 5J2

Location: Lansdowne Richmond House 201

Phone: 250-370-3591

Email: [email protected]

Website: nexusnewspaper.com

Publisher: Nexus Publishing Society

NEXUS PUBLISHING SOCIETY

STUDENT BOARD MEMBERS

Ryan BrezziJuliana CooperNickolas Joy Insu KimMarielle MoodleyStacey Young

EDITOR-IN-CHIEF

Greg PrattMANAGING EDITOR

Jason SchreursADVERTISING SALES

Jason Schreurs250-370-3593FREE Media (national)[email protected]

CONTRIBUTORSPedro BanmanAdrian BehennahRachael GrantPatrick HallihanInsu KimMarielle MoodleyVishal PandeyStacey Young

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All editorial content appearing in Nexus is property of the nexus Publishing Society. Stories, photographs, and artwork contained herein cannot be reproduced without written permis-sion of the nexus Publishing Society. the views and opinions expressed herein are those of the authors, not of Nexus. Nexus has no official ties to the administration of Camosun College. one copy of Nexus is available per issue, per person.

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Send a letterNexus prints letters that are 250 words or less. Nexus reserves the right to refuse publication of let-ters. Letters must include full name and student num-ber (not printed). Nexus accepts all letters by email to [email protected]. we reserve the right to edit all letters.

oVerHeArD At NEXUS: “[Coughing, hacking, followed by incoherent mumbling to self.]”

by Insu KIm

Do you enjoy going to music festivals?

Jacqueline christie

“Yes, totally. Music festivals create local community by collaborating with many different groups and bringing different kinds of music.”

The end of universitiesLarger than the parts

dan Knoll

Yes, they get people together. i like drinking at music fests.

andraya aVison

“Yes, music fests are really fun. i’ve been to the electronic music fest.”

yisong Wang

“i haven’t heard about any music fests yet.”

editor’s letter open space

Something on your mind? Send Open Space submissions (up to 400 words) to [email protected]. Include your student number. Thanks!

anthony gibbons

“i enjoy music fests. rifflandia and Ska Fest and also Jazz Fest are all within the city and lots of fun.”


cindy sio

“Yes, music fests bring many different people, so it’s a good place to meet people. i’ve been to the Victoria symphony; i really enjoyed it.”

CoVer PHotoS:golden girls: ProvidedJimmy eat world: Provided

when it comes to employers in the

workforce, they don’t care where you

studied, as long as you make them profit.

[email protected] House 201, Lansdowne

Call, email, stop by.We want to hear your story tips.


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rachael grantContributing writer

With UVic and Camosun both raising tuition by two percent in Sep-tember, the college’s smaller class sizes and lower tuition costs across the board could give Camosun a competitive advantage, according to administration.

Both the university and the col-lege announced the tuition raises recently, but UVic also included that “larger class sizes and reductions in teaching assistants, academic advising programs and field-based learning experiences are expected” in their announcement.

“Camosun offers smaller class sizes than universities,” says Camosun marketing and com-munications strategist Michelle Tinis, “usually around 40 students max per class.”

With tuition increases at both postsecondary institutions in Vic-toria, students are left weighing the pros and cons.

Gina Marrelli, a third-year soci-ology student at UVic and former Camosun student, says she isn’t heading back to Camosun, despite the lower tuition.

“I’ve already spent two-plus years at Camosun,” says Marrelli. “By the time I had transferred over to UVic I was really looking forward to being in a different environment. That was more important to me than the fact that tuition fees were higher.”

But students such as Kimberly Collis, a fourth-year child and youth care student at UVic, are far more concerned about the overall price tag that comes along with advanced education.

“The right time to make educa-tion accessible to anyone and every-one is now,” says Collis. “There is no individual who cannot benefit from knowing more tomorrow than they do today. Who does it help when the cost just keeps going up?”

Katie Marocchi, chairperson of the BC Canadian Federation of Students, agrees that education needs to be more accessible.

“Public education is for the pub-lic good,” says Marocchi. “Higher learning enhances and enriches our society, and builds a workforce capable of competing in today’s economy.”

Marocchi says that grade school education, which is free, is the basic standard for education in Canada, but with shifting economies and modernization, higher learning has become the new basic standard

required for most to participate in the economy.

“So, for more than just the prin-ciple of public education, post-sec-ondary education should be made universally accessible,” she says.

Tuition fees are the number one barrier to accessing postsecondary education, says Marocchi.

“By keeping tuition fees high, government is choosing to keep families that cannot afford the high cost of postsecondary education out of the system. It is fundamentally unjust that socioeconomic back-ground is the primary determining factor in whether one can acquire a postsecondary education,” says Marocchi. “Average student debt upon graduation is $27,000. No generation before ours has been asked to shoulder this student debt for a public education.”

newS

Tuition increases at University of Victoria could potentially benefit Camosun

education

CAMoSun CoLLege AV SerViCeS

CAMOSUN BRIEFS

Camosun scientist makes pesticide progress

Blair Surridge, a Camosun re-search chemist, has been hard at work making new methods to detect pesticides in fresh produce. The two-year project is still in early stages, but things are looking good that the end result will be new meth-ods to detect even smaller amounts of pesticides on produce. Everyone wins, including the consumer when they don’t grow a third arm. Sur-ridge presented his findings so far at the annual Western Canada Trace Organics Workshop in Vancouver in April.

Camosun alumni award recipients announced

John Boehme is the recipient of the Distinguished Alumni Award and Avery Graham the Promising Alumni Award for 2013. Boehme is prominent in the local arts scene and is also known for his teaching, while Graham is a recent business graduate who has been turning heads in the business commun-ity. The two will be receiving their awards at the 2013 Camosun Col-lege Graduation Ceremonies at the Pacific Institute for Sport Excel-lence over at Interurban on June 13 and June 14.

-greg PrattGot a news tip? Send an email to [email protected] to

let us know what you know!

STUDENTS!Want to write for Nexus over the spring and summer semesters?

We’re especially looking for news writers, so if you’ve made it this

far into the news page, we want to talk to you. Get in touch!

Camosun’s Michelle Tinis.

“the right time to make education

accessible to anyone and everyone is now.”

Kimberly collisuniVerSitY oF ViCtoriA

StuDent

Nexus newspaper201 Richmond House Lansdowne campusVictoria BC, V9B 5J2250-370-3591

Hey, students!come have fun with your ngers:write epic storiesgain killer experience beef up the Nexus crew

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June 12, 2013� CAMPuS

greg PratteDitor-in-CHieF

Know Your Profs is an ongoing series of articles helping you get to know the instructors at Camosun College a bit better. Got someone you want to see interviewed? Email [email protected] and we’ll get on it! This issue’s victim... er, subject: Camosun anthropology instructor Tara Tudor.

1: What do you teach and how long have you been a teacher at Camosun?

At the moment I teach the introductory anthropology course (ANTH 104); cultural anthropology (ANTH 220); a course about culture, health, and illness (ANTH 270); a course about culture, language, and communication (ANTH 232); and a course about gender in cross-cultural perspective (ANTH 110). I have been teaching at Camosun since 2001.

2: What do you personally get out of teaching?

I g e t s o , s o m u c h o u t o f teaching. The biggest thing is inspiration. Our students are awe-some, and I feel optimistic for the future of Canada knowing they are going to be our future teachers, policy makers, lawyers, nurses, business people, parents, etc… I feel incredibly blessed to have a job that allows me to read, write, and think about why people do the things they do, and think the way they think, and to share and discuss such understanding with the students.

I know most of the students in my classes will not major in anthro-pology, but if they can leave my class with one theory, or one insight that helps them later in life, then what I have done is meaningful.

3: What’s one thing you wish your students knew about you?

That I think they are amaz-ing, and I care about them. I know this sounds cheesy, but it’s true, and I think all faculty members at Camosun feel this way about their students.

4: What’s one thing you wish they didn’t know about you?

Not sure.

5: What’s the best thing that’s ever happened to you as a teacher here?

There are so many fantastic mo-ments that I can think of, but they all have to do with making a differ-ence in the lives of students. Some-times it is personal, sometimes it is academic.

I also love hearing about what former students are doing, whether it is continuing their studies in an-thropology, or finding meaningful jobs outside of academia.

6: What’s the worst thing that’s ever happened to you as a teacher here?

As a teacher, fortunately, noth-ing awful has happened. I have had challenges with helicopter parents, but you know they are acting the way they are because they love their kids, so it is easy to get over. I could tell you a couple of non-teaching things that have happened that have sucked, but that wasn’t your question.

7: What do you see in the future of postsecondary education?

In terms of government fund-ing or in terms of pedagogy? In terms of the former, I think it is highly dependent on which party is in power.

Given that the BC Liberals have

just been re-elected, I think we can expect more budget cuts, which translates into colleges and universi-ties having to consider new revenue streams—tuition hikes, larger class sizes, reduced student services, and less course offerings, none of which are beneficial to students. In terms of the latter, there is a great deal of discussion about current teaching methods as being outmoded.

Every year, new ideas are intro-duced—experiential learning, competency-based learning, more technology in the classroom, less lecturing, and so on. It is always good to reflect on what we are doing in the classroom, and consider what works and what doesn’t.

However, I also think that it is important not to view all “old school” teaching methods as need-ing to be abandoned. For example, I am going to continue to assign my students long academic articles. I don’t mean jargon-filled, inaccess-ible academic articles, but full-length articles.

Students will complain, and I will keep hearing that students no longer have the attention span to read long articles so we should give them shorter ones, but I see value in reading lengthy pieces, as well as spending time discussing and deconstructing them during class time.

The other thing is that funding and pedagogy are not separate issues. Reductions in capital spend-ing for postsecondary institutions is going to put a significant damper on innovative teaching.

8: What do you do to relax on the weekends?

R e l a x ? W h a t d o e s t h a t mean? I’m kidding—I like to go for a trail run, play ultimate, or wrestle with my kids.

9: What’s your favourite meal?Fish tacos. Yum!

10: What’s your biggest pet peeve

Related to teaching? Or in gener-al? At the moment, I would probably go with the Harper government’s desire to destroy the environment and muzzle scientists.

camosun

Know Your Profs: Tara Tudor

Camosun anthropology instructor Tara Tudor.

PHoto ProViDeD


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Like everything else in 2013, Camosun’s International Film Ser-ies started with an email.

After a visit to Brazil in Novem-ber 2012, Tom Roemer, vice pres-ident of strategic development at Camosun, sent out the idea to some peers: a series of events that screen films and have a follow-up lecture teleconferenced between Camosun and a school in Brazil.

It didn’t take long for the idea to take off. The first event happened on May 17, where students watched a screening of The Clown; on June 7, it was New In Town. Next up: The Gods Must Be Crazy on June 21 and Intouchables on July 5.

“I expressed interest and signed up to work on the project,” says Camosun ESL instructor Bruce Mc-Cormack, who was soon involved in the process of selecting the films to be screened at the series.

“The process we went through to select films was quite a lengthy one,” he says. On the one hand, in keeping with the theme of the pro-ject [movies, culture, and work], we needed to choose films whose main characters are involved in work of some kind, so that the lecturers could discuss the challenges and rewards involved in doing such work. We also needed films that are readily available in both Canada and Portugal, with English subtitles for us and Portuguese subtitles for those in Brazil.”

McCormack says that because of this, a number of Canadian films that would have been chosen were not.

“In the end, we opted for a movie filmed in Brazil, The Clown—in Por-tuguese with English subtitles—a movie filmed in Canada, though set in Minnesota, New in Town, and several additional movies set in two other cultures—The Gods Must Be

Crazy and The Intouchables.”The other school that will be

involved in these events is Instituto Federal Rio Grande Do Sul (IFRS) in Porto Alegre, in southeastern Brazil.

Professor Cláudia Estima, an ESL teacher at IFRS, was already in the process of getting a series started entitled “Movies, Culture and the World of Work” and was looking to have her students watch the movies and then interact with students at a school on a different continent.

Enter Camosun, who were ex-cited to be involved, even though it hasn’t been smooth sailing every step of the way.

“Here at Camosun, we’re very fortunate to have faculty member Mice Albano on staff and working on this project,” says McCormack. “Mice, another ESL instructor in the ELD department, is originally from Brazil and is, therefore, fluent

in Portuguese. Mice’s participation in the project has been invaluable in helping to smooth out the inevitable linguistic challenges that arise in coordinating a project that involves two languages.”

For Albano, the challenge wasn’t just translation. It was going beyond translation.

“Whenever we are dealing with two cultures, we use translation but we also interpret,” says Albano. “I see this challenge of dealing with two languages more like an exciting experience because we are looking at the movies from different cul-tural perspectives. We had students from many different countries in the audience and they were able to bring their perspective into the discussion.”

Albano says that because of where the movies are set, the stu-dents are able to offer a lot of insights in the post-movie discussion.

“We were able to discuss the

universal issues and the specific issues for different cultures,” she says. “For me, it is always a rich learning experience to listen to students bring in their interpreta-tion, too. Some of the students from the Philippines found the setting and the relationships in The Clown very similar to some in their home country.”

Finding commonalities and exploring and understanding differ-ences is at the heart of this series, a unique idea that Camosun students should be proud that their school is involved in.

“This event will bring movies from different countries,” says Albano. “The discussions are what make them even more special.”

screenings

Film series connects Camosun students with Brazilian students

FiLM

Camosun students and staff connect with Brazilian students and staff during a movie screening.CAMoSun CoLLege AV SerViCeS

“i see this challenge of dealing with two

languages more like an exciting experience

because we are looking at the movies from different cultural

perspectives. ”mice albano

CAMoSun CoLLege

International Film Series3 pm June 21 and July 5

Library multipurpose room 151, Lansdowne campus


Lots of crazy stuff was going down in 1983, not the least of which was a film entitled A Post Card from Victoria. The short was made by Montreal artists Lorraine Dufour and Robert Morin, and is now being brought back to life as part of the Art Gallery of Greater Victoria’s 2013–14 LAB series, which gives space to projects that are more dynamic and experimental than what you might normally find at the gallery.

The project was inspired by Michael Turner’s residency at Van-couver’s Western Front; he came across the video, started asking questions, and then the rest of the pieces just fell into place.

“Michael was curious if this had even been screened in Victoria,” says Art Gallery of Greater Victoria (AGGV) associate curator of con-temporary art Nicole Stanbridge, “and proposed an installation for the LAB space around the concept

of this video work.”Turner, who will be guest curator

for the exhibit, was so intrigued by the 14-minute video when he found it that he had to bring it to Victor-ians. The film shows an interesting perspective of Victoria, something that people who go see the exhibit will enjoy exploring.

“As a reflection of Victoria from an outsider’s perspective, certain clichés about the city arise,” says Stanbridge. “It is interesting to dis-cuss the perceptions and stereotypes of a city, how it is perceived and how its history contributes to its current profile.”

The film deals with elements of belonging and authenticity, but also class issues. It deals with a lot of things that Victoria’s history dealt with, and that Victoria’s present continues to deal with. For Stan-bridge, the film works as a good first step to further discourse.

“Investigation and dialogue are valuable activities to pursue,” she says, “and I think this project allows

for that to take place.”Something else the multi-media

exhibit (yes, there are also actual postcards involved) allows for is a chance for people (visual arts students, we’re looking at you!) to witness artists interacting with each other, through their art.

“The exhibition is an opportun-ity for students to see how artists can respond to each others’ work,”

says Stanbridge. “The artists com-missioned to produce the original postcards for the exhibition—Ray-mond Boisjoly, Geoffrey Farmer, and Julia Feyrer—responded to the video work in the exhibition to produce their images.”

And as for why now, the answer is simple: it’s that time of year.

“As we near our busy tourist season it is interesting to think about

what draws people to the city,” says Stanbridge, “and the characteris-tics that distinguish Victoria as a destination.”

multimedia

New exhibit revives forgotten short film about Victoria

weStern Front

A Postcard from VictoriaUntil July 7

Art Gallery of Greater Victoriaaggv.ca

June 12, 2013� FeAture

Jason schreursMAnAging eDitor

Everyone has a habit. For many music fans, the one they can’t seem to shake is attending massive festi-vals. Coachella. Bonnaroo. Bum-bershoot. Sasquatch. These are all established music festivals that draw tens of thousands every year. They’re physically and financially taxing and feature countless artists in often-conflicting time slots. The talent play festivals because they find it difficult turning down an opportunity to expose themselves to a larger audience. Plus, under the right circumstances, they can be fun as hell to play.

Not everyone can afford to go to big music festivals like Coachella in Palm Springs, Bonnaroo in Ten-nessee, and Sasquatch, which takes place closer to home at the Gorge Ampitheatre, a couple hours east of Seattle, WA. But those who do attend get a mixed bag of artists to choose from, unpredictable outdoor weather and sound conditions, and an experience they can talk about until the next music festival comes along. Those playing the festivals usually roll in and out of the sites, secretly hoping their short time on stage will be somehow transcend-ent and not end in total disaster, and that they’ll come away with a smattering of new fans.

The 24,000-plus who attended the recent Sasquatch Festival each left the battered Gorge campgrounds with their own impressions, good and bad. Some finally saw their favourite band play at the stunning Gorge Ampitheatre main stage (Macklemore, Arctic Monkeys, Bloc Party, Sigur Ros, and Mumford and Sons were highlights), just as the sun went down over the Col-umbia River. Others were exposed to amazing bands on the number of side-stages; bands they would search out after the festival was over and add to their playlists.

And, of course, some festival attendees would walk away from Sasquatch disgruntled; complain-ing about bad sound, not being able to see everyone they wanted to, an ultimately weak lineup, or those loud camping neighbours who wouldn’t let them sleep all weekend. Artists (hopefully fed and paid well) would leave Sasquatch with the same mixed results.

Yes, the model of cramming as many bands onto as many stages

for as many days as possible is flourishing. The question is this: are mainstream rock festivals good or bad for music?

Do they strengthen the music scene and expose more people to more bands? Or does the whole experience of seeing hundreds of bands over the course of a weekend cheapen the experience, watering down the music scene by applying a lowest common denominator to sound, talent, and logistics?

Bigfoot vs. SasquatchSasquatch’s second stage, aptly

titled the Bigfoot stage, features big-name acts throughout the fes-tival. When everything is in synch, it sounds and looks amazing: a perfect place for a medium-sized act to raise their profile, or for an established band like Primus (who closed one night with their amazing 3D show this year) to prove that they still deserve to be playing to huge outdoor crowds.

But when festival sound goes bad, it can be a complete disaster for artists. Much-anticipated sets by the likes of Grimes, Tame Impala (who were forced to move to a dif-ferent stage), Earl Sweatshirt, and The Japandroids were rendered inaudible by bad sound and even worse recovery times.

“We couldn’t hear ourselves in the monitors at all,” says Japan-droids vocalist/guitarist Brian King after their disappointing set. “It was really frustrating because we’ve been looking forward to playing Sasquatch.”

Sasquatch festival organizers spend every waking moment lead-ing up to the festival to ensure that everything runs smoothly. Which makes you wonder why the festival’s second-largest stage could sound so bad, while the flagship main stage was practically flawless in its execution.

And then there’s a festival’s lineup. Often a mixed bag of reli-able headliners, buzz bands, and some homegrown talent, the pro-cess of solidifying a festival lineup like Sasquatch’s is a full-time job. There’s no way to please everyone, the result being the classic case of trying to make everyone happy with big-name acts that appeal to the masses and smaller, up-and-com-ing bands who may have developed some chatter around a hit song or two. Yes, the “Harlem Shake” guy played Sasquatch this year: any-thing to make that lineup just a little more appealing for ticket buyers.

How did we get here?Portland rock/metal band Red

Fang made the best of their 5 pm slot on the opening day of Sasquatch. Before the sound on the Bigfoot stage took a huge dump for the rest of the weekend, these hirsute rockers pounded out a set of mostly new material on an unsuspecting festival crowd.

“It’s a little less stressful play-

ing a festival because we can just say, ‘Fuck it, let’s try out some new shit. And if we fuck it up, they won’t know, because they’ve never heard us before,’” says Red Fang drummer John Sherman.

Despite the non-traditional out-door environment for a band that’s used to playing dingy, dark clubs, Red Fang have gotten over their initial trepidation of playing large outdoor festivals. With a sound that is pure animalistic power, the band wins over new fans every time they play another festival: like the guy that ran over to the band’s merch booth after their show, bought a T-shirt, and didn’t take it off the whole weekend.

“When we first started doing bigger festivals we were scared because we were playing in the sunlight,” jokes Sherman, “but it’s actually fucking great because you get to play in front of a lot more people than you normally would, because it’s not just your fans, it’s everyone, so you get exposed to new people.”

Unlike some acts that could suffer from an evening time slot, Red Fang take an early set time as a challenge and see it as an opportun-ity rather than a burden.

“A 5 pm set? Ah man, that’s nothing,” says Sherman. “We just played a festival in Europe where our set was 11:20 am to noon. We were done at noon.”

Attention Deficit Fest 2013Akron/Family drummer Dayna

Janssen admits that his experi-mental band needs to dumb down its sound, or at least its song choices, a little in order to play a festival like Sasquatch. The notoriously all-over-the-place band can’t exactly bust out a set of folk-noise like they would in a metro-area club, but they can do their best to grab the attention of a guy in a bear suit on his way to the beer garden, or that group of cos-tumed festival warriors walking past on their way to the mainstage.

“Festivals are very short atten-tion span, by nature, so I feel like you have to capture people as best you can with energy,” says Janssen, “because people are so excited to see all the bands that they like.”

Bands such as Akron/Family are a bit too weird to appeal to the masses, and that’s how they seem to like it, but it creates a situation where they can’t truly be themselves on a festival stage. Most bands play it safe when they get booked to play big festivals, but the only way a band like Akron/Family can really get noticed is by balancing the noisier, more experimental aspects of their sound with something that festival goers can latch on to.

“It’s so much easier when people know your songs, versus trying to convince people that you’re valid,” explains Janssen. “We’re not a hip band, we’re not the youngest, most attractive people in the world, you know, so it’s the music that speaks for itself.”

Risk rewardsMinneapolis rapper P.O.S. (real

name: Stefon Alexander) was one of a number of really great hip-hop artists to play Sasquatch this year. Sasquatch devotes an entire stage (albeit the much smaller Cthtulu stage) to hip-hop and highlighted rap artists such as Killer Mike, Death Grips, and Earl Sweatshirt on their bigger stages.

Macklemore and Ryan Lewis, one of the world’s biggest hip-hop artists, closed the main stage on opening night.

Perhaps the key to valuable music festivals could be taking these kinds of risks. By putting to-gether more eclectic bills and mixing musical genres, festival organizers can feel they are providing interest-ing options. For every radio-fed mob there to see Macklemore, maybe a few people will latch onto someone like P.O.S.

“A lot of it was trying to catch people and bring them in,” says P.O.S. after his rousing afternoon set. “So you have some people at first, and their energy is going to draw more and more people in, and it changes the dynamic by the end of the show. It’s a lot of fun.”

Fresh from a sold-out rap fes-tival in Minneapolis, P.O.S.’ set at Sasquatch was proof of how mainstream music festivals can be a valuable entry point to richer, and more underground, music scenes.

“It’s easy to gauge your audience at a club, because you look out at the room and base it on the capacity, it either fills up or it doesn’t fill up,” explains P.O.S. “But a festival is more of a nebulous thing. Someone might just walk by and hear a beat and they might like it.”

Death Grips, an experimental hip-hop group from Sacramento, commanded the audience on the last day of Sasquatch. Uncompro-mising, dangerous, and scary, they were the kind of festival act that you can’t look away from.

Want the kind of adrenaline rush of a group like Death Grips to last a whole festival? Go to a genre-specific festival like Rock the Bells (rap), The Fest (punk), or Heavy MTL (metal). But that’s not the point of bigger music festivals.

Mainstream festivals aren’t ruining music: they’re just appeal-ing to its universal nature. And perhaps something for everyone, in the context of the 24,000-plus that attended Sasquatch, makes perfect sense when compared to the option of everything for someone.

Turn to page 11 for festival listings.

festivals

Music en masseAre mainstream festivals like Sasquatch good or bad for music?

Japandroids were plagued with bad sound during their Sasquatch set.JASon SCHreurS/NEXUS

“when we first started doing bigger festivals

we were scared because we were

playing in the sunlight.”

John shermanreD FAng

“Festivals are very short attention span,

by nature, so i feel like you have to capture

people as best you can with energy.”

dayna JanssenAkron/FAMiLY

nexusnewspaper.com �ArtS

insu KimContributing writer

The latest production at the Langham Court Theatre is the sim-ple story of a group of middle-aged women making a nude calendar. If it sounds familiar, it’s because it is.

Calendar Girls, also a major motion picture, is based on the inspiring true story in England. A number of women belonged to the Women Institute in England, a club that started in 1915 and did a lot of charitable work.

“In 1999, one of the women in the group, her husband died,” says director Michael King. “They were

going into hospital every day. There was a family room in which families could spend time. The settee and the chesterfield in the room were worn out. They decided to buy new ones for the hospital. They started out by making a nude calendar [to raise the funds].”

When the women in the story originally made the nude calen-dar, their goal was very modest and humble; however, something magical happened to them.

After much media and public attention they ended up raising a lot of money, almost $3 million in total. They became a spectacular

phenomenon around the world and their story became a movie and a play.

“In the play, there is tragedy of losing a loved one to cancer. There are a lot of life lessons in there. There is the friendship tested by various things: tragedy and fame,” says King.

Nudity is not easy for every-one, regardless of gender and age. In particular, nudity on the stage would be a difficult decision for middle-aged women because of the social convention that dictates that old or middle-aged women aren’t attractive.

“In our show these six women actually do take all their clothes off on the stage in front of the audi-ence every night. There is a certain amount of bravery in that,” says King. “I think all the women are very beautiful, but they are not young. They are 50, 60, 70 years old... It took bravery for the original women to do this calendar, and it takes bravery for every woman who does the show to get up the stage in front of a group of people every night to take their clothes off.”

King says that Calendar Girls is a reminder for us to break our stereotypes of women’s bodies.

“Our show goes against stereo-types. We see the mainstream media every day. There are people out there; especially, a lot young women who see this stereotype and think, ‘I have to be that thin and that beauti-ful. They end up with eating disor-ders and body image problems,’” says King. “Even if one person comes to the show and sees how beautiful these women are at their age, it would’ve been worth it.”

Play celebrates middle-aged nuditytheatre

...and after. The ladies of Calendar Girls.DAViD LoweS

Calendar GirlsJune 13 to June 29

Langham Court Theatrelanghamtheatre.ca

Before...DAViD LoweS

June 12, 2013�

stacey youngContributing writer

Before she was known as Chris-tina Maria (no, not the Kristina Maria who sings “Karma” and “Let’s Play,” so maybe that ex-plains the name change): now she is known, simply, as Rykka.

The Vancouver-born musician recently played the Solstice Café while touring across Canada to per-form songs from her latest album, Kodiak. This disc is completely dif-ferent compared to her previous per-sona. Say goodbye to Maria’s folk melodies and hello to Rykka’s new, rocked-out sound and…. songs writ-ten from an animal’s perspective?

“It gives a different point of view of the world,” she explains, matter-of-factly.

Rykka claims her voice trans-

formed as she recorded Kodiak and she decided that this was her new calling.

“I decided it was such a differ-ent sound,” she says. “It’s more of a rock thing now, opposed to a folk thing.”

She says the concept of writing Kodiak from an animal’s perspec-tive was an awe-inspiring twist of sorts. She uses the unique approach to focus on the environmental issues that have consequently harmed the land and affected nature.

“I wrote an album from the perspective of animals to try to bridge the gap between humans and animals,” she says.

The album gives listeners a chance to look beyond themselves and view the world from a different perspective, she says.

Rykka’s new single, “Blackie,” is one of her many unique songs that has a special element to it. In the song’s video, Rykka uses a technique that isn’t used very often: as she sings the chorus she hits her chest and gives her voice a deeper, resonating sound.

Rykka explains she was daz-zled by the French Canadian artist Camille, who used a similar tech-nique on stage.

“I saw her on stage, on YouTube and stuff,” says Rykka. “I saw this guy hit her back as she sung, and I thought, Whoa! That was really cool.”

ArtS

marielle moodleyContributing writer

Choosing your own band name can be liberating: musicians have the opportunity to create their own image with what they name their group. In Jimmy Eat World’s case, they didn’t choose their name based on their musical capabilities; they chose it because of a hilarious mo-ment in time, long ago.

Some may speculate whether the name is in reference to vocal-ist/guitarist Jim Adkins, but, in fact, the “Jimmy” in the band name is in reference to guitarist Tom Linton’s little brother, Jim.

“When we were trying to fig-

ure out our band in 1993, my two little brothers Ed and Jim got in a big fight,” says Linton. “Jim, who was a bit larger at the time, won and locked himself in his bedroom afterwards, so Ed drew a picture of Jim eating the world and wrote ‘Jimmy Eat World’ on it.”

Jimmy Eat World have been around for more than 20 years now, but the band members were connected far before that.

“[Bassist] Rick [Burch] and I met when we were 12 years old, and Jim and [drummer] Zach [Lind] met when they were in preschool,” says Linton. “Although we were each connected in some way or another, it wasn’t until outside sources con-nected us in high school that we formed as a band.”

For each album Jimmy Eat World puts out, they have differ-ent goals making it unique from the last. Right now their main goal is to write and produce music faster than ever.

“Even though our lifestyle is pretty busy on the road, usually en route to the next destination right after a concert, we’ll most likely write a lot of music for our next album while we’re on the road,” says Linton.

Some of the bands that first in-fluenced Jimmy Eat World’s sound are Duran Duran, NOFX, and Sonic Youth, although all of the music they listen to helps them define

themselves.“Basically every musician we

listen to and every interaction we encounter in life influences our writing,” explains Linton. “Lots of our lyrics reflect conversations we’ve had or overheard.”

Jimmy Eat World has had many pivotal experiences as a band, from their first show to their first album, and, eventually, their first festival.

“I love playing at festivals be-cause it gives us a chance to share and experience other bands. When we play alone we don’t get that same opportunity, so festivals always excite us,” says Linton.

For the upcoming Rock the Shores festival, Jimmy Eat World will be reunited with Weezer, a band that were on the same bill as Linton’s most memorable concert.

“When our album Bleed Amer-ica came out, we went on tour with Tenacious D and Weezer,” says Linton. “This was a big deal for us as it was one of the first really big shows we played.”

Looking back with Jimmy Eat Worldmusic

This July will mark Jimmy Eat World’s first appearance in Victoria.PHoto ProViDeD

Rock the ShoresJuly 13-14

Juan de Fuca Rec Centrerocktheshores.com

“every musician we listen to and every

interaction we encounter in life influences our

writing.”tom linton

JiMMY eAt worLD

“i wrote an album from the perspective of animals to try to bridge the gap

between humans and animals.”

ryKKaSinger-Songwriter

music

Vancouver’s Rykka embraces her inner animal

Vancouver singer-songwriter Rykka brought her animal pop to Victoria recently.PHoto ProViDeD



Wandering through the jam-packed Save-on-Foods Memorial Centre before legendary comedian Jerry Seinfeld performed back in May was a surreal experience: as I pondered whether or not to buy a beverage to enjoy with the show, I stumbled into a tall man wearing a

Hawaiian shirt; another, with zany hair; another, wearing ill-fitting clothes.

The thing is, no one was trying to look outrageous, rather, it was the result of getting thousands of people who grew up watching Seinfeld in one room together. The subconscious impact of growing up with the characters in that show was

extremely obvious taking one look around that line.

And it was me, too, as I stum-bled into the other Kramers and grumbled, Costanza-like, about the price of beer to no one in particular. Chuckling, I wondered how much we informed Jerry or how much Jerry informed us, really.

His act? It was exactly what

you’d expect, and it was hilarious.As everyone staggered out of the

arena, there wasn’t a dour face to be found, as Seinfeld had done his job, and even though he only made one quick reference to his old television show, it was obvious looking around that we were all George, we were all Kramer, we were all Elaine.

We were all Jerry.

We are all Seinfeldreview

ArtSNew Music Revue

Alice In ChainsThe Devil Put Dinosaurs Here(Universal Music)4/5

I love that odd album title, and I love the fact that these guys are proving, like Soundgarden and Pearl Jam, that they’re not just grunge revival (ugh, sorry ‘bout that). Instead, AiC are as heavy as ever, exploring a sound here on their second album with vocalist William DuVall that is as firmly rooted in dirgey, doom-y metal as ever.

He’s proven it by now, but it should be reiterated: DuVall has done an excellent job at replacing the deceased Layne Staley behind the mic.

The CD is dark but not inaccess-ible, as the soaring chorus of opener “Hollow” proves. The band man-ages to sound prickly and unlikable while maintaining a toe-tapping, well, likeability.

At the core of the band’s sound, once past those depresso vocals that just make you never want to stand upright again, are the riffs. Check out the main one on “Stone.” That, in a nutshell, is what loud guitar-based music is all about, and the reason why, even though this band was lumped into a time and a place pretty hard, they’re craft-ing timeless tunes, on this album just as good as they ever did, if not a bit more obtusely and off the commercial path. More power to ’em for that.

-greg Pratt

Chris PiccoThe Beach(LDR Music)3.5/5

Recorded live in Newfound-land (hey, wait, no you don’t know what it sounds like!), this acoustic singer/songwriter guy has a bit of indie swagger, country drawl, and some maritime fiddle accompani-ment. But the maritime vibe only lasts for the first song.

This 32-minute disc is warm and inviting, with a production sound that brings out every wonder-ful inconsistency and human touch, while Picco’s voice is likable in its plaintive way.

Picco’s strength lies in his bal-ladeering: the sobre “You’re So Real” trounces all over “Real Estate Man,” which comes across not as Dylan homage but as Dylan parody. The title track packs an amazing, lonely punch.

The songs will stick with the listener, best exemplified in opener “Rodeo Girl,” but found all through-out this disc, which would work just as good on a warm summer night as it would a dreary, wet morning. From one coast to ours, this is Canadian music. It’s not timeless, but Picco has the goods to keep making above-average tunes that will appeal to many.

-greg Pratt

FREE WIFi “Maude HUNTERS PUB”

maudehunterspub.ca 250-721-2237

3810 Shelbourne St at Cedar Hill X RdSUNNY PATIO! On Bus Routes

27 and 28

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$2 Taco TuesdaysColoring Contest at 7 PM

$7.95 Burger and Fries

Wings + prawns

MUSIC BINGO7:30 PM $5.50 martini

MONDAY

tuesday

wednesday

thursday

SATURDAY & SUNDAYBRUNCH 11am unTIL 2:30PM

*some conditions apply

June 12, 201310 CoLuMnS

Stigma is a damaging force to those struggling with their mental health. It destroys families, friend-ships, and, for many, the will to persevere. Take a closer look at this destructive phenomenon and misinformation, ignorance, hatred, fear, and frustrations are but a few of the ugly pieces to the puzzle.

It’s time to deconstruct stigma, examine its components and adjust our attitudes and actions around mental illness. This means re-educa-tion, a healthy dose of compassion, and an adjustment in perspective for us all. The “not in my backyard” mentality is deeply ingrained within our society and desperately needs to be addressed for the sake of our collective sanity.

For anyone or anything to flour-ish, nurturing and encouragement

is essential, and yet our culture practices a damaging routine based in the shaming of those perceived as lower. Let’s own the fact that it’s common that the rights of others are denied based on a perceived lack of ability, and at the same time acknowledge how incredibly damaging it is to self-worth. How dare anyone deny the right to love, the right to independence, or the right to empowerment?

That kind of power is not given, but taken.

The fight against the way of thinking that we each have been taught is painful. It’s incredibly difficult to cultivate a new frame of mind. Imagine a culture of support and understanding over one of div-isions and misinterpretation.

End the lie that is inequality.

The truth about stigma

Ability’s Muse by Rachael Grantcamosun college students with (dis)abilities collective

Good day, Camosun foodies! Today I’m coming at you with another restaurant review: Adriana’s the Whole Enchilada. Adriana’s is an authentic Mexican-style restaurant, located, conveniently, outside my work at 2140B Keating X Road in Saanichton, which is why I eat there constantly.

Adriana’s is decorated with paraphernalia themed from Mexico, and the place is quite colourful, albeit a bit small. There are a 4–5 stools to sit and eat, but otherwise this is not a “sit down and eat” place, and is more “grab and go” style. I would actually advise against eating inside during the lunch hour, as the place gets packed up to the door. The staff are consist-ently friendly and speedy, with Adriana herself usually running around.

While the entire menu is always available to those who can wait, I would advise ordering from the daily specials, as they will be prepared and ready to eat much faster. In fact, I almost order exclusively from the daily special. Staples of the daily special menu are tacos de calle, the super taco, and taquitos. The specials range in types of salsa and veg, as well as meat (pulled pork, beef, chicken, or all three).

Today I had the polo loco taco de calle, which was

delicious, as most things there tend to be. Basically, it was a sort of barbecued chicken with coleslaw and chipotle salsa in little tacos: it was awesome. Some of my other favourite items are the chicken enchiladas, chicken chorizo super taco, and the empanadas.

So why do I like Adriana’s so much? Truth be told, I’m actually not a huge Mexican food fan. Having said that, Adriana’s really delivers on quality with their in-house made foods. They make their own taco shells, chips, salsas, meats, cookies… just about everything. The chipotle aioli is especially amazing and can be purchased in a small container.

Adriana’s the Whole Enchilada is an awesome little restaurant with awesome food. Most of the specials run around $6-$8.50 (includes tax) and typically comes with a free homemade cookie and salsa. My only real com-plaint is that the restaurant can get very cramped very quickly, so going between 12–1 pm isn’t advisable.

So, if you’re near Keating X Road, go to Adriana’s for lunch. Even if you’re not the biggest Mexican fan I can almost promise you’ll still love it. And for those that shy away from spice, don’t worry, most of the food is fairly mild and the staff typically warns if something is especially hot that day.

A little taste of Mexico

Noms! photo and words by Patrick Hallihan

You draw comics

and we know it!

If you think you might be able to make folks laugh with a short comic every other week, then we’d like to

see your work in print

Submit samples to: Nexus, 201 Richmond House, Lansdowne Campus, or email:

[email protected]


(Don’t ask how.)

Adriana’s brings Mexico to... the Keating Cross Road area.

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up at nexusnewspaper.com.Scan below to check it out.


nexusnewspaper.com 11CoMiCSPablo By Pedro Banman

Until Tuesday, June 25

Photos of thingsMan, the hardest part about writing these listings is coming up with “clever” headlines for each one. take, for example, this listing, for the photo exhibit People & Places, by Helene Cyr, happening at Dales gallery, 537 Fisgard. the best i could come up with, after thinking about it for two straight minutes, was “photos of things.” Still, made you read this far, i suppose. exhibit looks good, too. nice photos.

Wednesday, June 12

FredYthat wasn’t funny, sorry. wait, June 12: that’s, like, tonight if you grabbed this issue the day it came out. if you didn’t, this has already happened. So, we’ll keep it quick: teDxVictoriaLive, a free simulcast of teDglobal 2013: think Again is going down from 9 am to 7 pm in the Quarterdeck of the grant building at royal roads. Quick, get over there! or, you missed out! one or the other.

Wednesday, June 12 to Sat-urday, June 22

Next-level theatreHead over to the uptown Mall upper level to check out a new “immersive theatre project” called From the Heart: Enter Into the Journey of Rec-onciliation. what does it all mean? i have no idea.

Friday, June 14

Stomping stigmathe second annual Stigma Stomp Day is happening from noon to 3 pm at Centennial Square. Come enjoy music, speeches, face painting, and get there early for a free shirt. Stomp stigma with this event, put on by the bipolar Disorder Society and bipolar babe Project.

Friday, June 14

Next up: Suburbaniteif you’re over 19, head down to the Art gallery of greater Victoria for their annual urbanite night from 8 to 11 pm on June 14. Live music (with

an “extreme fiddler”!), cocktails, storytelling, and exhibition tours. Lots of talk of “storytelling” these days, no? Here’s a story: the photo of the fiddler looks awesome. there are chains involved.

Wednesday, June 19

Techtoria reigns supremeHead down to the Pacific Forestry Centre (506 west burnside road), between 9 am and 3:30 pm to see the Capstone Symposium, showcas-ing a ton of tech talent from our own! Yes, Camosun students will be show-ing off their mind-warping inventions and ideas, including automated weather stations, aerial drones, and much more. Yowza!

Thursday, June 20

Get Tec-edthe annual ViAteC technology Awards are going down at the Victoria Conference Centre on June 20. the awards celebrate local tech companies, who are currently enjoying the boom of a rapidly expanding local industry. Check out viatecawards.com for more info.

Friday, June 21

Artsy happeningstwo exhibitions are opening on June 21 over at the Art gallery of greater Victoria. Fanciful Banko: Japanese Ceramics and Masterful Images: The Art of Kiyoshi Saito. the former until September 22, the latter until nov-ember 3. both with colons in their names. one about ceramics. Also, until September 8, head over to the gallery to check out Black Ice: David Blackwood Prints of Newfoundland, as well as new programming in the emily Carr exhibition.

Friday, June 21—Sunday, June 30

It’s not really all jazzthat’s what no one gets. why is Jazz Fest called Jazz Fest? will anyone ever really know the answer to this question? Head over to jazzvictoria.ca for lineup info. Spoiler: it looks good.

Sunday, June 23

Take a cosmic rideActually, don’t take a cosmic ride. that sounds super lame. it’s just what the press release about this concert said, and we thought it was funny. but, to the best of our know-ledge, most reputable folks stopped taking cosmic rides a good decade or so ago. Anyway, if you want to take a taxi ride down to the Copper owl on June 23, do it, and check out toronto psychedelic rock folks the Highest order, who would probably dispute everything i just said about cosmic rides.

Sunday, June 30

Pickled pepper pushbackPick a Piper is the new project from a dude from Caribou. Playing the Copper owl on June 30. remember that time in elementary school when i entered a talent show and recited tongue twisters? no? that’s because you didn’t know me then. but i did. Can’t remember how that went, but it sounds pretty absurd. i’m still not half-bad at that stuff. not the seashell one, though. that one is super tough.

Saturday, July 6, Sunday July 7

Skam artiststheatre SkAM’s bike ride is going down on these days, and also again on Saturday, July 13 and Sunday, July 14. 13 short shows along the galloping goose trail. Zany! Head to skam.ca for the lowdown on this cool event.

Wednesday, July 10

UVic is a battlefieldAt least it will be on this night, when ’80s icon Pat benatar brings her hits to uVic. what is the audience going to be for this? that’s worth the ticket price alone. Plus, “Love is a battle-field” is just a really, really good song. And remember “Hit Me with Your best Shot?” oh yeah. tickets are $55–85, and the fun starts at 7:30 pm at the Farquhar Auditorium up at uVic.

Wednesday, July 17

Best event evernew issue of Nexus is on stands!

eventsby greg pratt

festivalsby jason schreurs

our feature story (page 6) get you in a festive mood? Here are a few fes-tival options for this summer that are pretty close to home and a bit more genre-specific.

Tall TreeIndie rock, DJs, and hip-hop on outdoor stages.June 28–30, Port Renfrewtalltreemusicfestival.com

Victoria Ska FestSka, reggae, dancehall, and punk on a combination of club and out-door venues.July 9–13, Ship Point, Sugar, Club 90ne9, Victoria Event Centrevictoriaskafest.ca

Rock the ShoresBig rock bands, mostly Canadian, play an outdoor stage.July 13–14, Juan de Fuca Rec Centre, Lower Fieldsrocktheshores.com

Rock of the WoodsIndie rock, folk, and rock and roll on an outdoor stage.July 26–28, Glenora, Cowichan Valleyrockofthewoods.com

ShambhalaMany different forms of electronic music, and some hip-hop and indie rock, on a number of outdoor stages.August 7–12, Salmo, BC (outside Nelson)shambhalamusicfestival.com

RifflandiaMany different genres on outdoor stages and indoor venues.September 12–15, Royal Athletic Park, downtown Victoriarifflandia.com

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Ski Ninjas By Kyle Lees

Ski Ninjas By Kyle Lees

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