The most important thing you can give to someone who has been through unbearable trauma is a voice. That was the overwhelming feeling I was left with after attend-ing A Memory, A Monologue, A Rant & A Prayer this past Friday at Hart House.

The benefi t production to raise awareness for the problem of vio-lence against women was orga-nized by V-Day U of T, a fl edgling subcommittee of the Hart House Social Justice Club. All the pro-ceeds went to the Toronto Rape Crisis Centre, the Barbra Schlifer Commemorative Clinic and the White Ribbon Campaign.

V-Day is a global movement started by the writer Eve Ensler which aims to eradicate violence against women and girls.

the newspaper got to speak with the director/producer of MMRP, Kelly Robertson-Reinhart. This 4th year Political Science and Eng-lish student describes V-Day as us-ing “creative endeavours to raise

awareness to stop violence against women,” with MMRP being one of these several Ensler-organized endeavours.

The unique element that made this particular production of MMRP so interesting is that the small group of students who audi-tioned and engineered the produc-tion were determined to present the monologues in a much more dramatic fashion, and not just as a simple reading. Robertson-Reinhart says of the choice: “We wanted performances, we wanted stories to be told with heart, and we wanted people to really connect with the stories.”

And connect with the stories we did. Ranging from the story of an unwanted fi rst kiss, to a day in the life of a working woman, to the story of a Rwandan genocide survivor, each story was incred-ibly laden with emotion, beauty and more often than not, pain. Robertson-Reinhart and her team were very careful to render the

Continued on page 4

JULIAN ASSANGEthe DEBATE

page 3Hero or Villain?

JEN

GRA

NTH

AM

February 10, 2011University of Toronto’s Independent Weekly Vol. XXXIII N0. 1

the newspaper

GeoFF vendeville

Researchers from the Univer-sity of Toronto and Cambridge University have made an ex-citing discovery at an archeo-logical dig in Jordan casting new light on prehistoric burial practices and animal-human relationships. Their fi ndings, recently published in the online journal PLoS ONE, also reveal a new contender for the title of man’s best friend: vulpes vul-pes, the red fox.

In 2000, an expedition led by U of T Anthropology Professor Edward Banning and Dr. Lisa Maher, a research associate at

LOVELY BONESU of T anthropologist unearths surprising fi ndings about pets in

the oldest Middle East cemetery discovered to date

Continued on page 2

martín waldman

The U of T Careers Centre host-ed an information session orga-nized by the Department of Na-tional Defence last Wednesday. In the lead-up to the event, an online petition had circulated, gathering signatures of over three hundred people wishing to express their “strong opposi-tion” to the presence of military recruiters on campus. Despite the outspoken opposition, and the miserable weather, the in-formation session went ahead as planned.

Also going ahead as planned was a demonstration against the information session by a group of concerned U of T students

STUDENTS ON DEFENSIVE OVER MILITARY RECRUITMENT

Continued on page 2

Demonstration targets information session by Dept of Defense

KATE

WA

KELY

-MU

LRO

NEY

V-Day gives voice

suzie BalaBuch

and other community mem-bers. With some demonstrators carrying a large white banner reading “Troops out now!” the group of a few dozen people made their concerns heard to the organizers of the event, its hosts, and its attendees.

Daniel Vandervoort, Exter-nal Commissioner for the UofT Graduate Students’ Union, be-lieves this kind of recruitment session fl ies in the face of the university’s own Statement of Institutional Purpose, which states that the university is ded-icated to the “vigilant protection of individual human rights.”

“What we’re seeing in Afghan-istan are all kinds of breaches of human rights. Thousands of civilians are being killed, there

are allegations of torture, and a respected Afghan MP, Mala-lai Joya, has said that the mere presence of foreign soldiers is the most important factor in the resurgence of Taliban.” Vandervoort also believes these sessions are giving an opportu-nity to put an artifi cially posi-tive spin on the actions of the military. “The people coming here to recruit are responsible for creating a war situation, and despite going in with the rheto-ric of liberation and democracy, what we’re seeing is the exact opposite.”

Laurie Stephens, U of T’s Di-rector of Media Relations and

The issue of violence against women and girls is explored in a creative way in

a night of monologues at Hart House

“To stop the violence”: A Memory, A Monologue, A Rant & A Prayer actors Arnold Jin, Angela Sun, and Jillian Linton take a moment to refl ect.

Arts EditorSuzie Balabuch

2 February 10, 2011

the newspaperEditor-in-Chief

Helene Goderis

Web EditorAndrew Gyorkos

ContributorsJoey Coleman, Yukon Damov, Andrew Gyorkos,

Stephanie Kervin, Geoff Vendeville, Kate Wakely-Mulroney, Mike Winters

the newspaper1 Spadina Crescent, Suite 245

Toronto, ON M5S 1A1Editorial: 416-593-1552

thenewspaper@gmail.comwww.thenewspaper.ca

the newspaper is U of T’s independent weekly paper, published by Planet Publications Inc.,

a non-profit corporation.

All U of T community members, including students, staff and faculty, are encouraged to contribute to the newspaper.

Business ManagerTaylor Ramsay

ads@thenewspaper.ca

the news

News EditorMartín Waldman

Contributing EditorDiana Wilson

Photo EditorBodi Bold

MILITARY RECRUITMENTContinued from page 1

Stakeholder Communications, explains that this information session is part of the Career Centre’s responsibility to give students a broad spectrum of career options and opportuni-ties. “Each year, more than 135 employer information sessions are held on our campus. Partici-pating companies include major banks, accounting firms, manu-facturing companies, govern-ment and not-for-profit groups. The Department Of National Defence is one of these par-ticipating employers and their sessions are of interest to our students.” Stephens adds that many students appreciate the convenience of having employ-ers on hand to answer and ques-tions they may have, and notes that Wednesday’s information session was aimed at PhD and Masters students seeking policy analyst positions.

That fact is of little consola-tion to one of the protest’s or-

ganizers, U of T Grad Student Jacob Nerenberg. “The idea is that these recruits would work in Ottawa at the Department of National Defense. This definite-ly entails being part ongoing plans for the war in Afghani-stan. It’s an ethical and political issue, because we’re supposedly part of an institution that be-lieves in the protection of hu-man rights.”

Nerenberg points to a gradual shift in ideology in government as a main reason for the re-cruitment session.“The Harper years are seeing an increasing militarism, and general right wing politics across the board.” he explains. “We’re being told that we’re in an age of auster-ity, but defence is doing very well thanks very much. Soci-ety is getting more militaristic, we have to choose some places to stand up and say that this is problematic.”

Associate News EditorGeoff Vendeville

Continued from page 1

Cambridge who also has aca-demic ties to the Uof T, discov-ered a 16,500 year-old burial site, the oldest known cemetery in the Middle East, at ‘Uyun Al-Hammam in northern Jordan.

While excavation is still un-derway, so far, they have found the remains of 11 people, an array of “grave goods,” such as worked bone tools, and the bones of a fox buried alongside those of an adult human.

What makes this last find so remarkable is not simply that animal and human bones were buried together. Incomplete skeletons of other animals, in-cluding deer, gazelle, aurochs, and a tortoise, were found at the site, too. Rather, the fox bones are notable because they were “treated in a different way from [those of] any other animals at the site, and really in a manner more similar to humans” said Maher.

The fox-human burial at ‘Uyun al-Hammam predates similar, better known burials of dogs and humans from the Natufian (14,500-11,600 BC) and Neolithic periods by per-haps thousands of years. Most interestingly, the fox bones appear to have long ago been

PET CEMETERY

moved together with those of its human companion to another grave at the site. This suggests that the human in this grave once felt an emotional, maybe spiritual, relationship to the fox, and “these links were remem-bered and bones moved so that the dead person would continue to have the fox with him or her in the afterlife.”

“This represents,” Maher said, “a significant social relationship – something that clearly goes far beyond the domestication of animals as livestock. Foxes are relatively easy to tame, and can live quite well in close prox-imity to humans. It is not in-conceivable that this may have been a tame fox that was a pet or that foxes had some spiritual significance. We believe that human-animal relationships in prehistory had much more to them than an economic or sub-sistence basis.”

Nevertheless, Maher and her colleagues recognize that there are other plausible explana-tions for the fox-human burial. “While it is entirely possible that this fox was a pet in the same way as dogs were later on, this is only one of several possi-bilities – and we certainly don’t

want to impose our own West-ern beliefs about human-animal relations onto the past.”

The importance of these find-ings is by no means limited to the discovery of the fox and its “owner.” The site is unique in itself. Excavators at ‘Uyun al-Hammam have unearthed the remains of 11 people thus far – “more than known from all oth-er sites of this kind combined,” said Banning. Moreover, Maher claims their discoveries provide “clear evidence that these burial practices, and even the use of cemeteries, have a longer time depth than we previously as-sumed.”

THE GUEST OPINION

“UTSU’s Waste Of Student Fees Must End”

In characteristically ironic fash-ion, the keynote speakers for the UTSU’s Expression Against Oppression Week would be bet-ter advocates for tyranny. An-gela Davis and Ward Churchill spoke on February 2nd at Con-vocation Hall with the blessing and support of our Students’ Union.

Angela Davis has a sordid record with regard to human rights and the rule of law. In 1970, guns which Davis had purchased only two days be-fore were used in a California courthouse kidnapping which left four dead, including a fed-eral judge. A warrant was is-sued by the FBI, to which Davis responded by fleeing justice for two months. She was eventu-ally acquitted. Davis took her release as a signal to move to Cuba, where her support for the authoritarian Castro regime led to her being awarded the laugh-ably named Lenin Peace Prize by the East German government. Both of these governments vi-ciously suppressed free speech, repeatedly broke international standards of human rights, and continually opposed grassroots democratic movements within their own borders. Are these not the very characteristics of an oppressor?

Ward Churchill, unlike Ms. Davis, does not even have the semblance of a respectable aca-demic record. While once a Pro-fessor at the University of Colo-rado, he was forced to step down as Chair of the Ethnic Studies Department and was subse-quently fired for plagiarism and the falsification of research. He is most infamous for claiming that the office workers killed in the Twin Towers on 9/11 were morally equivalent to the ar-chitect of the Holocaust, Adolf Eichmann. This is how he jus-tified their murders. Churchill has also called for the killing of those he terms “colonizers.” Presumably he means police of-ficers, judges, politicians, and anyone else whom he imagines form a part of the ‘system’. This

is especially disturbing con-sidering he admits to having taught the terrorist group the Weather Underground how to build bombs.

This is not a ‘left vs. right’ is-sue; this is an issue of human decency. Calling for murder, as Churchill has done, or lending support to oppressive states, as Davis has done, is not ac-ceptable; not at this University, not in this country. Freedom of speech must be respected. But UTSU should not be spending any of the $2 million in student fees it collects from us every year to promote such a hateful message.

Maxwell Trower & Graeme Maitland

Finest Cutting and StyleColour and Highlights

7 HART HOUSE CIRCLEMONDAY TO FRIDAY, 8:30 - 5:30

SATURDAY, 9:00 - 5:00For Appointments Call: 416-978-2431

EXCELLENT WORK & REASONABLE RATES

HART HOUSE HAIR PLACE

3February 10, 2011 the newsMILITARY RECRUITMENTContinued from page 1 JULIAN ASSANGE

martín waldman

The sudden emergence of WikiLeaks as an international force, capable of releasing ex-tremely sensitive, embarrassing and confidential information to media outlets and into the pub-lic sphere, seems to have brought about as many differing opinions as leaked cables. Many people seem to be optimistic for a new era of government transparency, and are singing the praises of founder Julian Assange for having the courage to publish such an im-mense amount of formerly confi-dential information.

Leaving aside Julian Assange’s enigmatic personality and pend-ing criminal charges, dumping a massive amount of unseen dip-lomatic cables into the hands of eager major media outlets may re-quire a great deal of audacity, but it is hardly the action of a heroic humanitarian journalist. Assange has devised a clever way allowing people with any sort of sensitive in-formation to anonymously release it for publication and internation-al scrutiny. What he hasn’t done is uncover some sort of massive in-ternational conspiracy, or inform the public of a rough equivalent of, say, the Watergate scandal. The cables that were leaked have, so far at least, not shown the poten-tial to exact any major change in governments across the world, or reframe political debates to focus on matters that are truly press-ing: environmental issues, cuts to social programs, or the widening economic disparities between the world’s wealthiest and poorest countries.

In fact, that content of the leaks has been mostly just embarrassing, giving us glimpses of diplomatic conversations that, for example, refer to North Korea as a “spoiled child,” and notes China’s growing annoyance with the country that counts them as their only international ally. Or there is the example of a US diplomatic referring to German Chancellor Angela Merkel as “risk-averse and rarely creative.” Generally, the leaks confirmed suspicions that most people already had (“you mean the Afghan government is corrupt?!”), or gave us something to point and laugh about, knowing that, somewhere, a diplomat with a cushy job was burying a red face into his or her hands.

What the leaks could do, however, is to ensure that government officials are even more tight-lipped than before, and guarantee that even less of the “confidential” information that could actually provide a platform for change will reach the gen-eral public.

Late in 2010, a leaked cable reached the media stating that former Environment Minister Jim Prentice had discussed the possibility of bringing in tighter regula-tions for the Alberta oil sands, in response to worries over Canada’s green repu-tation internationally. Shortly after the date of the leaked conversation, Prentice resigned his post to become Vice-President of CIBC, and was replaced by John Baird, and, eventually, Peter Kent. This points us towards what seems a logical conclusion, that Prentice’s own concerns on the environment led to him being ush-ered out the door. Rather than causing a public outcry, this story appeared on the media radar, and faded just as quickly. Taking this example into consideration, I would argue that WikiLeaks will provide us with more in allowing us to reflect on our own apathy and jaded view about politics themselves, than it will by exacting any direct and meaningful change.

diana wilson

Julian Assange, founder of Wikileaks and source of top-secret government information leak, was jailed yesterday in London after an extradition hearing on allegations of sexual assault. Re-viled by governments and revered by supporters, Assange has become the poster boy for the penetration of the security that once defined the privi-leged information of the American government.

There are two ways to look at the moral status of Julian Assange. If you have faith (even carefully reasoned faith) that your government acts justly when it declares a document “confiden-tial”, then it is simpler to argue that Ju-lian Assange was wrong for publicizing the thousands of diplomatic cables and hundreds of thousands of military dis-patches now known as the Wikileaks documents. If, however, you believe that certain principles supersede the declarations of a government, then you may be inclined toward my position. Not only did Julian Assange not break any laws in his home country, but ac-tually he was right to give access to secretive information that offered im-measurable insight into the operations of governments all over the world.

A democracy thrives on information. The heart and soul of a democratic sys-tem is its ability to debate, to engage, to persuade, and to inform. While some politicians prefer to think that the populace must only make choices come voting time, a healthy democracy makes an informed choice.

The Wikileaks docs are information. It may not seem that this needs to be said, but I want to distinguish these documents from their typical qualifi-

er—classified. Yes, they are (were) classified information. But it is that very word that is in question, so be careful not to reason backwards: the fact that the informa-tion is (was) verboten, does not change its status as information.

Is all information need-to-know information? When asking yourself this, it is important to wonder whom the secrecy benefits. I think this is the crux of the ques-tion: if the secrecy protects us from our enemies, then we should welcome it. If the secrecy protects our government from us, there is a more sinister agenda afoot. Or perhaps the secrecy protects us from our enemies, and also protects our govern-ments from us (who, presumably, we have the power to dispose of).

For the sake of the most alluring debate, let’s assume that the third option is cor-rect. Our governments are secretive to keep our enemies at bay. But they are also keeping us at bay. If by informing ourselves we also inform our enemies that is a small sacrifice for a larger good.

Furthermore, our enemies are not merely factual entities. While sometimes they alert us to their presence with threats or attacks, who they are is largely identified and characterized by our governments. Then those same governments tell us that they must keep information about their international operations confidential, so as not to alert enemies that they have, at least in part, defined.

So far, I have been generally arguing from an American perspective. All these documents were the property of the US government who applied the “confidential” label. But we have already seen dramatic changes internationally as citizens rec-ognize their own suspicions in a diplomatic cable. While it is not certain that the Wikileaks info-dump is causally linked to the revolutions in Tunisia and Egypt, speculations abound. At the very least, the documents gave Canadians a chance to snicker into their sleeves about American diplomats snitting over anti-American television programs.

He gave us that, at least.

HERO OR VILLAIN?

KATE

WA

KELY

-MU

LRO

NEY

performances as real as possible, creating backstories about their characters so that, apart from the critical topic at hand, the human-ity of the characters would shine through. Robertson-Reinhart says, “We’re seeing these people in the worst moments of their lives, and we’re being introduced to them. I wanted to re-introduce the charac-ters in a different moment of their life.”

One memorable monologue per-formed at MMRP was “In Memory of Imette,” written by Periel As-chenbrand and performed by the unforgettable Angela Sun, a 3rd year Political Science and English student at U of T. In a monologue retelling the horrible rape and murder of college student Imette St. Guillem intermingled with the author’s fear of rape as a possibil-ity for every woman, Sun was able to get some real laughs out of the audience in her authentic and memorable performance, despite the weighty subject matter.

Another touching performance came from U of T student Jillian Linton. In her piece, “Dear Ama,” written by Sharmeen Obaid Chi-noy, Linton channeled the sweet

sadness of her young Muslim character about to be married off to a much older groom. The piece was so heart-breaking be-cause it impossible not to relate to the character.

In this way, the mission of V-Day at U of T was achieved, as each of the monologues’ messages

attached themselves to the audi-ence in a way I never anticipated. In this vein, MMRP did something ingenious yet really quite simple to bring even more awareness and to inspire more dialogue on this important issue. Out of the eleven monologues performed on Friday, three were performed by men. All

were sad, touching, and very mem-orable. Although these re-tellings of experiences of abuse witness, rape and degradation were told by men who did not actually physi-cally experience the abuse them-selves, they were still profoundly affecting.

In one particularly moving piece

entitled “Rescue,” written by Mark Matousek, the character (played masterfully by Richard O. Kirwin) realizes that he does not just live in a household of women, he lives in a household of raped women, each one having been deeply affected by this horrible crime.

MMRP’s director knew from the beginning that the dialogue sur-rounding this event, and in fact the issue as a whole, could not be re-stricted to women. “It was funda-mental. We were not moving for-ward unless we had men involved.You can’t stop violence against women by only focusing on wom-en. Violence, and miscommunica-tion and oppression all happen in relation to one another.”

If a small production consisting of a dozen or so dedicated people can do this much to bring aware-ness to such a critical issue, it will be amazing to see what V-Day U of T will accomplish as it continues to grow as a group and a movement. Robertson-Reinhart sums up: “We’re all in this together and if we all want to have a different picture of the world, we have to create that together.”

To find out how you can join V-Day, visit their “V-Day UofT” Fa-cebook page.

4 February 10, 2011

Violence against women and girls is explored in V-Day monologues at Hart House

The University of Toronto Students’ Union is holding its Spring 2011 Elections to fill the following positions:

Position Seat(s)**Division I Victoria College 2 University College 2 Innis College 1 St. Michael’s College 3 New College 3 Trinity College 1 Woodsworth College 3

Toronto School of Theology 1

At-Large Arts & Science 2

Division II

Faculty of Music 1 Faculty of Dentistry 1 Faculty of Nursing 1 Faculty of Medicine 1 Faculty of Pharmacy 1 Faculty of Law 1 Faculty of Applied Science & Engineering 3 Faculty of Physical Education & Health 1 At-Large Professional Faculty 2

Division III * Mississauga campus 7

Executive President 1 Vice President Internal & Services 1 Vice President Equity 1 Vice President External 1 Vice President University Affairs 1

* cross appointed to the Board of Directors of the UTMSU** seat numbers may change upon confirmation of enrolment and in accordance with the Elections Procedure Code

2011 SPRING

Elections NoticeUniversity of Toronto Students’ Union

Local 98 • Canadian Federation of Students

Important 2011 Dates:Election Nominations (All Positions)

Tuesday, February 15 at 09:00 to Thursday, February 24 at 16:00

Election Campaign Period Monday, Febuary 28 at 9:00 to Thursday, March 10 at 18:00

Election Voting Period Tuesday, March 8 to Thursday, March 10From 9:00am to 18:00

Election Results Tuesday, March 22, 2011

Nomination Pick-up and Drop-off Locations:

St. George campus:

12 Hart House Circlehours: Monday - Friday, 09:00 to 16:00

To run for a position, pick up a nomination package duringthe nomination period at the U.T.S.U. or UTMSU office. Please keep in mind the dates and deadlines.

For more information, visit our Students’ Union website at www.utsu.ca or contact cro@utsu.ca Please note that, at the time of this publication, “University of Toronto Students’ Union” and/or “U.T.S.U.” refers to the Students’ Administrative Council of the University of Toronto, Inc. (“SAC”).

Mississauga campus:

UTMSU OfficeUTM Student Centre, Room 100Hours: Monday - Friday, 09:00 to 12:30, 13:30 to 17:00

The U of T Students’ Union represents all full-time undergraduates at St.

George and Mississauga campuses. U.T.S.U. provides important services such

as Health & Dental Plans, book bursaries, clubs funding and discounted TTC

Metropasses. Your Students’ Union also represents students to the central U of

T administration and government, advocates for students’ rights, and connects

students across all campuses to work on common goals, campaigns and social

programming.

the inside

Continued from page 1

JEN

GRA

NTH

AM

5February 10, 2011 the inside

APPROBATIONSCLIENT CRA DIRECTEUR DE CRÉATION SERVICE À LA CLIENTÈLE

NUMÉRO D’ANNONCE 9

NUMÉRO DE DOSSIER 3934 DIRECTEUR ARTISTIQUE CLIENT

FORMATS 10" X 15"

PUBLICATION/PROJET Campus plus - Campus Network RÉDACTEUR STUDIO

CRÉÉ PAR Mélanie

K

Buying contraband cigarettes costs more than you think. It fuels other criminal activities, such as the traffi cking of drugs and guns. Individuals caught in possession of contraband cigarettes face serious consequences ranging from a fi ne to jail time.

contrabandconsequences.gc.ca

L’achat de cigarettes de contrebande coûte plus cher qu’on le pense : il alimente d’autres activités criminelles comme le trafi c d’armes et de drogues. Les individus pris en possession de cigarettes de contrebande s’exposent à de graves conséquences, allant de l’amende jusqu’à l’emprisonnement.

consequencesdelacontrebande.gc.ca

CRA-3934-BE-9.indd 1 11-02-01 10:06

THE SUCCESS OF THE SUCCESSOR6 February 10, 2011

Wiz Khalifa intrigues with his

one-of-a-kind sound

“ the campus comment ”the newspaper asked: what question would you put to U of T (be it students, staff , faculty, or The Man)?

Dr. Chuckles, upon defending his PhD in Genetics“U of T, why did your tuition put me so deeply in debt?”

Silverstre, Caretaking “After 4 years at U of T, how many pints did you drink?”

Taylor, 6th year something or other“Why do you offer so many useless majors?”

HEL

ENE

GO

DER

IS

Kevin, PhD candidate, Molecular Genetics “U of T, why are you so uptight?”

Two plumbers from Local 46 (who’ve been waiting for new contracts for nearly a year)“When do we get a new contract?”

Sathiya, 3rd year, BioChem “What’s your favourite course?”

If you saw Super Bowl XLV on Sun-day, then you are most likely all too familiar with the Pittsburgh Steelers’ unoffi cial anthem Black and Yellow. Released in September, the song is the fi rst single from Wiz Khalifa’s next album Rolling Papers, dropping March 29. At fi rst glance, one might write Khalifa’s music off as just weed rap, but the smooth sounds of tracks like “Roll Up” and the most recent release On My Level appeal to those of us looking for mellow rap songs that are easy on the ears.

Khalifa identifi es legend The No-torious B.I.G. as one of his strongest infl uences. Yet while sampled tracks suitable for easy listening resemble a few of Biggie’s songs, such as Hypno-tize, his style is certainly not gangster rap. The persona he’s trying to proj-ect is refl ected in his stage name – Wiz is short for wisdom and Khalifa refers to the Arabic word for “suc-cessor”. In an interview with Hard Knock TV, he makes it clear that he doesn’t want to model his career af-ter that of any other artist. Khalifa is attempting to carve out a new but popular niche in the hip-hop game, and it seems to be working; his latest mixtape Kush and Orange Juice re-leased last April was the number one Google hot search trend and Twitter

trending topic at the time of release.One aspect of his character that

attracts me to Wiz (other than his full body tattoos and amazing taste in eyewear) are his non-violent lyr-

ics. I mean sure, critics might say he focuses too heavily on marijuana in his songs, tending to avoid deeper issues. But really, who would you rather be? Lil Wayne, driving around

in tour buses from city to city with a trunk full of automatic weapons, or Wiz, who was arrested in November for just two ounces of the green god-dess? Yeah, that’s what I thought.

His lyrics are clever and his de-livery is melodic, soothing even. Almost every track Khalifa has put out in recent months has been sol-id, particularly those produced by Grammy-winning Norwegian pro-duction team Stargate. One notable exception can be made with the re-cent track Taylor Gang, produced by Lex Luger. Can we please refl ect on the epic failure that was H.A.M. in January? Another track with heavy weight rappers that failed to deliver, once again produced again by Lex Luger. Somebody please get this guy a different job.

His music alone is enough to sell you on his legitimacy as an artist, but even more, he’s no sell out. Instead of jumping on the Young Money train, he turned down the opportunity to tour alongside Drake to do a larger 50-city tour with the lesser-known Yelawolf. But if you’re looking for straight goods, check out the track Scaling the Building with Curren$y on YouTube. Pretty much any track Curren$y and Khalifa have thrown in the past year has been great (download their collaborative mix-tape “How Fly” if you’re skeptical).

Like the Burj Khalifa in Dubai, the tallest man-made structure in the world, , expect Wiz Khalifa to loom large in the music industry in 2011. He’s one of the feature artists on Snoop Dogg’s upcoming album Doggumentary (dropping the same day as Rolling Papers) and was titled 2010’s MTV’s Hottest Breakthrough MC, a title he achieved by a landslide victory of 70, 000 votes. He’s fresh, he’s talented and if you’re into skinny dudes, he’s pretty easy on the eyes.

jess stokes

STEP

HA

NIE

KER

VIN

the inside

U of T dives headfi rst into the comedy of life with an improv revival

Live from U of T, it’s improvisation!

hamdi aBdi & suzie BalaBuch

Life’s funniest moments are of-ten unplanned. This couldn’t be more true for the renegade art form of improvisation. By its defi nition, improv is impromp-tu drama. A group of individu-als, be they well-trained or well-meaning, get together and create moments that often turn into comedy gold.

Luckily, U of T has recently experienced a resurgence in improv’s presence on campus. There are classes, workshops and teams accessible to all im-provisers of all levels.

Spending a Saturday evening at an improvisation class might seem like a bit of a stretch for many, but considering the turn out at the Arbor Room for Hart House’s “Improvisation” class, it might lead you to reconsider.

Julian Frid, a U of T philoso-phy students, master impro-viser and class instructor, is a high-spirited individual with a personality that makes every single one of his participants comfortable and at ease. The premise of this class is to ex-plore the fundamentals of the burgeoning art form of improv.

Described as a learning envi-ronment that is both casual and supportive, participants are en-couraged to lose all inhibitions and critical thinking and just go with the fl ow.

“Improv treats every inter-action as a game,” says Frid, and this was exemplifi ed in

the many improv challenges of the afternoon. The partici-pants were split into groups and asked to take part in story telling games, in order to help the classmates make the most of what they were given and work as a team. These sorts of interactions forced participants to think spontaneously and cre-atively.

A majority of the class were grad students, who enrolled for similar reasons. “I want to work on my social skills, I fi nd myself getting stuck in conversations,” one participant said. Another stated, “As part of my New Year’s resolution, I wanted to do something I would never usual-ly do.” Frid’s engaging teaching approach emphasizes a relaxed atmosphere, and above all, fun.

Fun and laughter are the cornerstones of another im-

prov presence on campus: the recently revitalized U of T Im-prov. Team president Frannie Heeney described improv as a sort of school of life.

“Improv is great because it re-lates to so many parts of life, not just being on stage. Improv is an opportunity to really work your brain in a new capacity, work quickly on your feet, increase your ability to react quickly, speak in public (with no fear) and, most importantly, it is re-ally an opportunity to have a lot of fun.”

U of T Improv is structured in such a way as to be acces-sible to people of all improv backgrounds. The General Club is open to all, “no matter your experience level with Impro-visation,” whereas the Perfor-mance Team, consisting of 10 members, performs at monthly

shows and various competitions across Canada, next taking part in McGill Improv Summit on February 12th.

Heeney describes the month-ly open club workshop as “jam sessions which offer a friendly environment for anyone to learn the basics of improvisa-tion.” For people new to the art form and not yet ready to come out of their shells, U of T Im-prov holds monthly shows at Sammy’s at Hart House.

The art of improvisation in-volves a lot of venturing outside one’s comfort zone, but Heeney promises the hard work to be worth every nervous sweat drop. “Training your brain to think quickly, make connections in related, and sometimes unusual ways as well as learning how to listen to those around you, are skills that are important for life,

BOD

I BO

LD

BOD

I BO

LD

not only improv.”A misconception about im-

prov is that it requires no prac-tice, and is basically a lot of fun fooling around. On the contrary, says Heeney. “The more improv you do, the more naturally you can follow your impulses and the better your reactions be-come, and of course, practice makes perfect.”

Perhaps the most enduring part of involvement in improv is the people you meet. It’s easy to get lost in the crowd at a huge university like U of T, but small, tight-knit communities and classes can provide a safe haven for lone wolves seeking a dramatic outlet. Heeney elabo-rates, “Improv forms a com-munity that is very particular and fantastic. This is because when you are improvising, you drop your barriers, you don’t worry about appearing the fool and you go with your impulse. When you get a group of people together experimenting, mak-ing mistakes and having a good time, you can’t help but to form a fantastic community. By be-coming involved in improv you will have so many opportuni-ties, and really, there are no downfalls.”

For more information on how you can get involved in improv at U of T, visit U of T Improv’s Facebook page. For more infor-mation Hart House’s “Impro-visation” class, visit harthouse.utoronto.ca, and click on “Rec-reation.”

7February 10, 2011 the inside

HEL

ENE

GO

DER

IS

Music is a great de-stresser, especially when it comes to the kind of stress involving all-nighters and essays. So, if you’re worried about mid-terms, sit back, relax and watch the Cana-dian Opera Company’s produc-tion of Mozart’s beloved classic The Magic Flute.

Split into two acts, the produc-tion takes the audience by the hand in this take on the classical theme of overcoming challenges in the pursuit of true love.

The first act opens with the main play taking place on a stage set within the stage set as the “actors” perform for assem-bled guests. The play quickly moves from the small set and the assembled guests become actors themselves. It’s rather confusing to understand at cer-tain points, unless you’re famil-iar with The Magic Flute story, yet this confusion intrigues the viewer drawing them further into the story.

We follow Prince Tamino, played by Canadian tenor Mi-chael Schade, as he coura-geously sets to rescuing his love Pamina, played by Canadian soprano Isabel Bayrakdarian, the classic damsel in distress. Funnily enough, Pamina’s pink dress makes the video gamer in

this critic draw comparisons to Princess Peach Toadstool from the Nintendo Mario series of video games.

It’s with the entry of this story’s “Luigi” Papageno that the show really takes off. The natural comic relief, and supe-rior embodiment of this role by Pogossov, sets the light-hearted fun, steady paced tone of the production, partnered with the show-capturing performance

of Russian baritone Rodion Pogossov as comic bird catcher Papageno.

Papageno’s acting truly cap-tures the show, from his jumps of happiness to his inquisitive gestures when providing comic relief lines. The orchestra’s per-fect coordination with this char-acter perfects the performance. When Papageno moves the Magic Flute along his lips, the keyboardist in the Orchestra pit

- who cannot directly see the on stage performance - strikes her keys in perfect coordination. Credit for this feat must go to COC Orchestra under direction of Johannes Debus.

The Queen of the Night, per-formed by Canadian soprano Aline Kutan, sends the prince and Papageno on a quest to save the princess from the evil clutches of her abductor Saras-tro, performed by Russian bass

Mikhail Petrenko.In Act II, we discover all is not

what it seems. Good vs Evil flips and our heroines must navigate a a masterfully staged labyrinth to save the princess. Along the way, the crowd favourite Pa-pageno finds his true love; the lovely Papagena. The role of Pa-pagena is played by Canadian soprano Lisa DiMaria.

With stunning musical per-formances by the Canadians on stage, the COC performances displays the best in our nation’s opera talent. The iconic colora-tura aria performance in the second act by Kutan granted her the loudest applause at the end of the show.

Along with amazing cast wardrobes, stellar supporting roles, and the stunning cos-tumes created by Myung Hee Cho for the forest animals in the play, The Magic Flute offers something for everyone.

Playing at the Four Seasons Centre, this is a performance designed for the stressed stu-dent looking for a study break. While the $22 Opera for a New Age tickets are all sold out, same-day tickets at the box of-fice start from $12 for standing-only spots and $22 for seats. Tickets go on sale at 11am on show days. Check www.coc.ca for show times.

joey coleman

8 February 10, 2011

The COC stages a student-friendly pricing production of The Magic Flute

the arts

yukon damov

What do The Social Network, True Grit, Winter’s Bone, 127 Hours, and Toy Story 3 share in common? They are the nomina-tions for Best Adapted Screen-play -- five of 10 Best Picture nominations have adapted their scripts from a literary source. And often Best Picture nomina-tions have had adapted screen-plays. Yet, the topic of adapta-tion itself is seldom considered a crucial part of movie-making. But, for the movie-goer-and-book-lover, the TIFF Bell Light-box is delving into the subject of adaptation over the coming months in its “Books on Film Club.”

Hosted by CBC Radio’s El-eanor Wachtel, who has in-terviewed directors such as Bernardo Bertollucci, Agnes Varda and Werner Herzog, the series is in capable hands. The first intalment features Adap-tation, followed by Mansfield Park, Feb. 28; Lolita, Mar. 4; The English Patient, May 9;

Double Indemnity, May 30; Breakfast at Tiffany’s, June 27. Wachtel mentions that choices were constrained because each corresponding novel needed to be available though Random House, the series’ sponsor. All of the choices are fine movies, however, and with the decline of publishing, the constraints can be overlooked.

Perhaps it is a beneficial ar-rangement, too, as three of the guests have books published by Random House: Michael Ondaatje will discuss The Eng-lish Patient; David Thomson, film critic, regular contributor to The New York Times and Film Comment, will discuss Stanley Kubrick’s adaptation of Vladimir Nabokov’s Lolita; Judith Thurman, columnist for The New Yorker, will discuss Blake Edwards’ version of Tru-man Capote’s Breakfast at Tif-fany’s.

The other guests include di-rector Patricia Rozema, who will speak about her film, Mansfield Park; Jonathan Rosenbaum, a film critic highly praised by

Jean-Luc Godard, will discuss Billy Wilder’s adaption of James M. Cain’s Double Indemnity, and Linda Hutcheon, a retired U of T professor, who was there on Monday for Adaptation.

Adaptation, directed by Spike Jonze and written by Char-lie Kaufman and his fictional brother in the movie, Donald Kaufman, was a perfect choice for the series’ inauguration. “I deliberately wanted to start with a film that would embody the subject of the series and at the same time, subvert it. Ad-aptation is easily one of the most deviant, most inventive of adaptations,” said Wachtel. It is a story about Charlie Kaufman, played by the enigmatic Nicolas Cage, a screenwriter who has been asked to make a screen-play out of the The Orchid Thief, which is “a meditation on obses-sion, beauty and flowers,” says Hutcheon. As Charlie struggles with depression, self-loathing, frustration and a desire to stay honest to the non-fiction book that is full of facts and short on “conflict” and characters (writ-

ten by Susan Orlean, a writer for The New Yorker, in that sprawling way that is typical of the magazine), his brother and doppelganger, also played by Cage, Donald, decides to write a script according to the writing principles of real-life screen-writing guru Robert McKee.

The talk between Hutcheon and Wachtel after the screening informed our thoughts engag-ingly back into the movie we’d just seen. They discussed how the book and the movie inter-act -- mostly the movie’s dif-ferences and similarities to the book. Then Hutcheon brought up what English students at U of T learn in a 300-level Critical Methods class: that this busi-ness of “fidelity to the original” is hogwash because “original sources” don’t exist because no story is original, but is always changing through repetition and variation.

They also talked about how Adaptation subverts its genre and conventional screenwriting. Both by making the protagonist a screenwriter, who is usually a

marginal character power-wise in the real process of making a movie, and by writing himself into the movie, Kaufman makes a simple genre classification elusive and he undermines the way movies usually work.

Within the movie itself, Kauf-man cannot restrain from ex-plicitly violating the “rules.” While attending McKee’s screenwriting seminar in des-peration, Charlie’s voice-over is interrupted by McKee stating that voice-overs don’t work. It is this self-consciousness, too, that separates Adaptation from the usual Hollywood fare.

If the rest of the series is like Monday was, then one can ex-pect an engaging experience: a worthwhile film and a thought-ful and thought-provoking dis-cussion to follow.

For more information visit www.tiff.net. A subscription to the five remaining events, plus one guest to any film in the series, costs $180. Indi-vidual prices are $35 ($28 for students).

Books on Film: TIFF Bell Lightbox presents a series that weaves two art forms together

The film

A drowned disappointment

dan christensen

Here is an excuse to make a movie if ever there was one. Writer An-drew Wight once became trapped in a cave during a storm with four-teen others, lived to tell the tale, and decided that this premise would make a fantastic motion picture.

The only problem is he forgot some key elements, such as inter-esting dialogue and memorable characters with meaningful rela-tionships.

Frank (Richard Roxburgh), a professional cave diver, is on an ex-ploratory expedition of a massive cave network in Papa New Guinea. His son Josh (Rhys Wakefield), an expert climber, is helping out on the mission, though the two have a tempestuous relationship, the latter resenting what he sees as his father’s rugged commitment to the expedition at all costs.

They are accompanied by George (Dan Wyllie), a compan-ion of Frank’s with the bends, as well as Carl (Ioan Gruffudd), the enterprise’s petty financier, and his flimsy girlfriend Victoria (Al-ice Parkinson), when they become trapped deep in the cave network during a nasty storm.

Left to die by teammates and with the rising water threatening to drown, they must search through the uncharted caverns, in hopes to following the water flow to a route to the sea. Without giving too much away (spoiler alert), the movie proceeds much like ten little indians, and particularly gruesome deaths are had by (almost) all (end of spoiler).

Considering the actual events ex-perienced by the writer, I came to question the “based on real events” notice that preceded the film. However, I didn’t need to wait until the end of the film to make such a judgement – I’m sure real life must have been much more interesting than what I was watching.

There is little about Sanctum that isn’t horribly cheesy. The act-ing is flaccid and unbelievable – a fact not helped by the cliched lines and stereotyped characters af-forded to them, and the procedure of the story is both boringly broad and predictable.

The best thing that can be said for the film is its inclusion of some im-pressive visuals of the underwater caves and the massive entrance to the cave network, no doubt helmed or at least helped by executive pro-ducer James Cameron, whose in-volvement in the film should come as no surprise considering its mar-

keting strategy.However, such shots, already few

and far between in the film, left me wishing I could go see the caves ep-isode of BBC’s Planet Earth on the big screen, rather than the present uninteresting dramatization.

Furthermore, the utilization of 3D technology, while helpful in these moments and in selected action sequences, usually failed to

come to fruition, and instead be-coming distracting.

In the end, Sanctum does noth-ing to reverse the notion of Feb-ruary as the year’s most disap-pointing month of the film year. I’d recommend you pop in those Planet Earth DVDs or catch some-thing on TV – if you go to Sanctum, you’ll feel as if you just watched a movie-of-the-week anyway.

9February 10, 2011 the arts

© 2011 H&R Block Canada, Inc. *$29.95 valid for regular student tax preparation only. Cash back service included. To qualify for student pricing, student must present either (i) a T2202a documenting 4 or more months of full-time attendance at a college or university during 2010 or (ii) a valid high school identification card. Expires December 31, 2011. Valid only at participating H&R Block locations in Canada. SPC Card offers valid from 08/01/10 to 07/31/11 at participating locations in Canada only. For Cardholder only. Offers may vary, restrictions may apply. Usage may be restricted when used in conjunction with any other offer or retailer loyalty card discounts. Cannot be used towards the purchase of gift cards or certificates. **If H&R Block makes any error in the preparation of your tax return that costs you any interest or penalties on additional taxes due, although we do not assume the liability for the additional taxes, we will reimburse you for the interest and penalties.

$2995

$tudent pricing

For just $29.95, walk in with your taxes, walk out with your refund. Instantly. You’ll also get a free SPC Card to save big at your favourite retailers.*

JOB NAME: TS ‘11 YOUNG ADULT NEWSPAPER - ENGLISH

ART DIRECTOR COPY WRITER CREATIVE DIR. PRINT PROD. STUDIO MGR. ACCT. MGMT.

DOCKET/AD#: 10-HRB-047-BW-SP-E-1

DATE STARTED: Jan 17

ARTIST: CS

REV#: 3

LASER %:

DISKED:

LIVE AREA: –

TYPE SAFETY: –

TRIM: 8" X 10"

BLEED: –

BW

NEWSPAPERS:

MEDIUMEXCALIBUR

hrblock.caFollow us on Twitter and Facebook

we make taxes easy maximum refund**

free SPC Card

This film won’t enter this critic’s inner Sanctum of favourite films anytime soon

The Meal Plan

aaron zack

There, I said it. I hate those cloying red cinnamon candies and chalky conversation hearts. I hate accordion-pleated red and pink streamers. I hate con-venient perforated, fill-in-the-blank-and-tear-here Valentine’s cards. I hate it all.

But hold on just a moment. Before you go thinking that I hate puppies and eat rainbows and that I kick over sandcastles and burn in direct sunlight, please allow me to explain my-self.

It’s not the commercializa-tion of that commemorative day that gets me, well, not di-rectly, at any rate. It’s the sense of complacent mediocrity and blandness with which so many approach Valentine’s Day that bothers me.

Now maybe you’re thinking, ‘Who is this guy? Why can’t he just stay at home with his six cats and leave the rest of us alone?’, but while poor saps continue to buy boxes of crummy candy and couples sit cheek to jowl, shovelling in overpriced food in overcrowded restaurants, I won’t have any peace. Plus, I’m allergic to cats.

Now, while it would be in-teresting to examine how we reached such a point of cele-brated blandness on a day dedi-cated to the unique expression of our love, I’m more concerned with what we can do about this endemic insipidness.

And as always, while thinking about food, the answer presents itself. Food offers a chance to combat this mediocrity, quite simply because it allows the individual to express their per-sonality through their cooking.

But what to cook, and when, and how to do it? This can be a paralyzing dilemma. But not to worry, I’m here to spread the pearls of wisdom only a obses-sive, single, cat-laden cook with too much time on his hands can muster.

To start, a meal should gener-ally be at least three courses but not more than five. Three is the beginning middle and the end. Three is a good number. So let’s make it three courses. From here, we need to consider what we will cook, and at the same time, decide how to cook it. The techniques required for a meal are just as important as the meal itself. You don’t want to find yourself tied up in the kitchen all night while your sweetheart sits alone on the couch, sipping glass after glass of cheap white wine. That being said, dishes

that can be prepped in advance or that take little time are ide-al – and of course, I’ve got you covered.

Keeping with the theme of Valentine’s day, I’ve divided our three courses into three catego-ries – sexy, sweet, and red. That last one isn’t really a category, but bear with me.

And so, the first course: here, soup is ideal – it’s inexpensive, can be prepared in advance, and I have yet to meet the man who can burn a soup. Soup offers limitless possibilities for per-sonal inventiveness and style – toss in some croutons for a texture contrast, or stir in some yoghurt for something more tangy, it’s really up to you. The soup I have in mind is a cauli-flower and beet puree with par-mesan. The beets lend the dish a festive pink hue and the cau-liflower adds creaminess. It’s cheap as anything and you can prep it a day in advance. That’s it for the red category.

Onto the sexy category: what

could be sexier than a steak? Not much. But steak is expen-sive and heavy, making it less than ideal for your wallet and for any after dinner ‘exercise’ you might have planned. So what do you do? You turn it into a salad. An arugula and steak salad to be precise. Cooking the meat is probably the tricki-est part of the whole meal but if you follow a few simple rules, you’ll come out on top. First, season your meat with salt and pepper just before cooking. Sec-ond toss it in a blindingly hot pan, preferably a cast iron one. Lastly, be patient. Your meat can’t develop that highly sought after caramelized crust if you’re constantly tossing it around. If you’re worried about overcook-ing it, simply touch the meat to test for done-ness. A perfectly medium rare piece of meat will feel like the barely tensed flesh between your thumb and in-dex finger. After that, just slice and toss it in with the prepped greens and you’re done. That

Cauliflower-Beet SoupServes 2 - 4

½ head of cauliflower, corned and diced1 onion, diced2 garlic cloves, minced1-2 small beets, diced1L chicken or vegetable stock½ cup grated parmesan cheeseSalt and pepper to taste

In a large pot, cook onions over medium heat until translucent, but not browned. Add garlic and cook until just fragrant, about 30 seconds. Add stock, cauliflower and beets and turn heat to high. Cover and reduce to a simmer once boiling. Sim-mer for approx. 20 minutes or until vegetables are tender. Pu-ree using an immersion blender and add parmesan. Adjust sea-soning and serve with crusty bread.

Arugula and Steak SaladServes 2-3

1-2 bunches arugula (about one container)1 steak fillet, rib eye recom-mended½ container plum, grape or cherry tomatoesOlive oilBalsamic vinegarSalt and pepper to tasteParmesan cheese for garnish

Preheat oven to 375 degrees F. Halve tomatoes lengthwise and place on a lined baking sheet.Drizzle tomatoes with olive oil, salt and pepper and balsamic vinegar. Roast tomatoes for about 20 minutes, or until soft and just beginning to caramel-ize. Meanwhile, heat a pain over high heat and oil. When oil is just barely smoking, add meat and season with salt and pepper. Sear meat for 1 – 1 ½ minutes per side or until desired texture is reached. Remove meat to a cutting board and allow to cool for 10 minutes. Remove toma-toes from oven and toss with remaining ingredients. Pour 1-2 parts oil to 1 part vinegar over the salad. Add steak and sea-son with salt and pepper. Shave parmesan for garnish.

JelloFor a wealth of creative Jell-o recipes visit myjelloamericans.blogspot.com

The Recipe

simple.The final course, the sweet

course naturally lends itself to dessert. So what to serve? Jell-o. Yes, Jell-o. After an esoteric soup and a satisfying salad, Jell-o might seem strange and even plebeian. But really, it’s just the opposite. If the other courses were just foreplay, then Jell-o is the culmination of this economical and unique meal. Jell-o is obscenely inexpensive and really, with a little science, it can be one of the most memo-rable desserts around. Imagine a gin martini Jell-o dessert, or a mint-ginger number, really the possibilities are endless. But if you’re stuck for ideas, two nice American ladies with a flair for culinary science have set up ‘My Jello Americans’ (http://myjel-loamericans.blogspot.com/), a website dedicated to expanding the future of Jell-o everywhere.

So that’s it. Now there’s no excuse to give into Hallmark mediocrity this Valentine’s Day. Get out there and start cooking.

10 February 10, 2011

I hate Valentine’s DayForget the hokey Valentine’s Day bull crap.

aaron zack cooks up a Meal Plan you can make for your sweetiepie.

11February 10, 2011 the arts

doss

ier :

CA

F-10

102

clie

nt :

Forc

es c

anad

ienn

esda

te/m

odif.

réda

ctio

nre

lect

ure

D.A

.ép

reuv

e à

desc

ript

ion

: 10-

SWO

-BE-

02Ja

nvie

r

16/

1/11

100%

titre

: «

WA

NTE

D /

REC

HER

CH

ON

S »

sc/c

lient

info

grap

hepr

oduc

tion

coul

eur(

s)pu

blic

atio

n : v

oir

liste

NB

form

at :

10”

x 15

”in

fogr

aphe

: M

arc

Bilo

deau

WANTED:SOCIAL WORKERS “The morale and mental fi tness of our soldiers are my primary concern. I joined to make a difference in their lives. But the thanks I get from them, well, that’s made a difference in my life.”Captain CARRA WATSON

RECHERCHONS : TRAVAILLEURS SOCIAUX « Ma première préoccupation va au moral et à la santé de nos militaires. C’est pour faire une différence dans leur vie que je me suis enrôlée. Pourtant, ce sont souvent leurs remerciements qui font une différence dans la mienne. » Capitaine CARRA WATSON

Ont

ario

, Tor

onto

, Uni

vers

ity

of to

ront

o O

ntar

io, K

itche

ner/

Wat

erlo

o, U

nive

rsit

y of

Wat

erlo

oO

ntar

io, K

ings

ton,

Que

e’n

Uni

vers

ity

Man

itoba

, Win

nipe

g, U

nive

rsit

y of

Man

itoba

CAF10102_10_SWO_BE_02_04.indd 1 11-01-31 14:01

STEP

HA

NIE

KER

VIN

the backpage12 February 10, 2011

KATE

WA

KELY

-MU

LRO

NEY

the backpagethe backpage

Attention: Recruitment

Send samples of your workto: thenewspaper@gmail.com

WE NEED

writersphotographers

illustrators

Come to our open meetingsevery Thursday at 6pm at

1 Spadina Cresent, Suite 245

ATTEND OUR OPEN MEETINGS!HELD MONDAYS AT 12:30 AT THE NEWSPAPER OFFICE:

1 SPADINA CRESCENT, SUITE 245.

AN

DRE

W G

YORK

OS

Across8. Hither and thither9. Disregard10. Oration11. Lose temper12. Nearness13. Intensive pronoun14. Crown Royal, for example18. Cold War country

20. Enlarged23. Maddened24. Fiction25. Joyful jog26. Etched

Down1. Penny material2. Beneath the waves3. Coloured crocheted

University of Ottawa

Submit your application today: www.socialsciences.uOttawa.ca/api

The Graduate School of Public and International Affairs is one of a kind!

• Aninnovativeprogramwherepublicpolicyandinternationalaffairscometogether

• Cutting-edgeresearchandhighqualityteachingbyworldclassscholarsandon-sitepractitionersbringingexceptionalexperience

• TheonlybilingualprogramofitskindwhereyoucanstudyineitherofCanada’stwoofficiallanguages

• Locatedintheheartofthenationalcapital,anidealplacefortheoryandpracticetocometogetherinpreparationforacareerinpublicandinternationalaffairs

Graduate studies in public and international affairs

Itstartshere.

blanket4. Risque 5. Risque fuzzy phrases6. Coalitions7. Absolutely azure15. Fish housing16. Modern Persians17. Wine and juice punches19. Watchman21. Dive22. Pencil topper

the comics

MIK

E W

INTE

RS