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Laugh off the guilt

Rebecca Spence, Arts & Culture Editor

Out with the guilt, in with the laughs. Sort of.

Taryn Della’s Guilt, Guilt, Go Away packs a powerful punch of comedy blended with some serious sentiments on our own self-worth. The standup comic and spoken word artist just finished her eight-show series last weekend at the Plutonium Playhouse as part of the Atlantic Fringe Festival. Though her show is over, her words should create a lasting impression on her audiences – especially for young females.

“I think we get stuck feeling guilty and making decisions to please other people,” says Della, who describes herself as “a woman beyond forty” [that’s all she would tell me].

“On a personal level I carry a lot of guilt, and it’s really hard to move forward with your life when you’re carrying all of that,” she says. “I think that as women we take that on a lot more.”

Della, an African Nova Scotian, grew up in a low-income family in St John, New Brunswick, where her father worked as a musician and a porter and her mother made a living by scrubbing floors. She was one of seven children in a household that exposed her to violence and abuse at a young age.  She left school and moved to Toronto to pursue comedy. After some stints at nightclubs such as Yuk Yuk’s, she moved to Halifax to dedicate her talents to public speaking at local high schools and community events.

“I’m a comic at heart, but I don’t necessarily have the most comedic presentation,” says Della.. “It never works in a nightclub to go in and talk about rape or talk about black mother’s guilt.”

Della, who now has two degrees under her belt (including a Bachelor of Journalism from the University of King’s College), says that she and others from the same kind of background don’t often talk about their experiences a lot because of their guilt, although she admits that her past has certainly shaped who she is today.

“They are some of my defining moments,” she says.

Della adamantly believes that feeling guilty about oneself can change who you are, and sometimes start to define who you are. She especially emphasizes the impact that guilt can have on young girls.

“It’s important for us to get girls at a really young age, around 13 or 14-years-old, so that we can start talking and having a sense of how to shape things in our lives rather than always be responding to things in our lives.”

Although Della spends a lot of her time doing speaking engagements at high schools, she is also actively involved in workshops at the Dalhousie Women’s Centre, International Women’s Day, the YWCA, African Heritage Month, as well as Take Back The Night (which takes place next month). She found her one-hour show for the AFF to be particularly important because she was able to combine both comedic and serious elements to get her views across to the audience. Having performed in fringe festivals across Canada, Della particularly appreciates the flexibility and openness of the AFF.

Guilt, Guilt, Go Away also featured El Jones, a local spoken word artist and professor at King’s. She delivered a different pair of poems in each performance, all of which focused on the societal pressures placed on black girls ad young women.

“I’ve learned that there’s power in trying to get youth to understand leadership and brilliance and making decisions,” says Della. “Because of my own history, I one of those people who believes that I have an obligation to my ancestors. Absolutely, undeniably, that’s what I walk with, that’s what I work with, that’s what I wake up to, and that’s what puts me in schools and on the street driving kids crazy… All because I am a proud product of my heritage.”

Ultimately her passion is to challenge, inspire, and “get young girls on board with their brilliance.”

So how much does Della’s experience in standup comedy help her talk about heavy issues like rape and racism?

“You know what baby girl?” she says as she shrugs her shoulders. “Some things just aren’t funny.”

Tunes Review: Iron Maiden – The Final Frontier

Matthew Ritchie

It was previously noted by Iron Maiden bassist Steve Harris that he thought Iron Maiden would only make fifteen studio albums. With a four year gap between The Final Frontier, Iron Maiden’s newest album, and the previous, A Matter of Life and Death, it seemed like the metal giants were set to conclude their journey through rock.

Which is why the fact that this album has a space theme to it is kind of odd, yet entirely makes sense. When you’ve done everything, the final frontier to experience would, naturally, be space., At the same time, seeing the Iron Maiden zombie, Evil Eddie, in alien form stabbing another alien astronaut through his helmet with a fork on top of a space station is pretty weird. But yet again, this is Iron Maiden, a band whose main thematic focus centres around things like battling on steeds, rocking hard, satan and mythological creatures.

“The Final Frontier” starts out on an unusual note for the band with propulsive hypnotic drums that seem like Iron Maiden are jumping on the Nine Inch Nails/Industrial rock band wagon sixteen years too late. After five minutes of dreck, the band kicks into a moderate tempo of classic metal riff-age and lyrics that describe a space man exploding in space and looking back on a fulfilling life.

Second track and lead single “El Dorado” is where the album really gets going. With a bass-heavy gallop that recreates the western frontier as a metal loving battle zone, Iron Maiden get into a classic metal groove.

The album continues along this format delivering steady rock in pure Iron Maiden fashion. But this is where the album’s fault lies.

If you aren’t into 80’s metal or any kind of classic hard rock you will be unimpressed by this record. The tones stay mostly the same on the instruments as the album switches back and forth between metal balladry and hard rock. The lyrics are all somewhat similarly themed.

However, there is almost universal consent in classic rock and heavy metal circles that this is classic Iron Maiden and will delight all fans of the U.K band.

If you’re a fan of the band and have followed their extensive career, this record is probably going to be awesome in your car stereo. But if you’re not familiar with their work at all, pick up one of their many studio or live albums to get a taste of the band.

 

Christina Martin proves herself with I Can Too

Samantha Durnford, Arts Contributor

Christina Martin is a force to be reckoned with. As the tiny, soft-spoken 31-year-old steps onto the stage at Seahorse Tavern, you aren’t prepared for what’s about to hit you. She has one hell of a voice.

Martin celebrated her newest album, I Can Too last Friday night at the Seahorse Tavern. This is her third album to be released, and you could tell she was proud by the smile on her face.

The crowd sat around tables lit by candles. As you looked around, everyone’s eyes were glued to Martin on stage. It may even be safe to say that people were not even speaking as she began to play her first song, “Daisy.” It was even hard to believe that you were at the Seahorse, as the atmosphere was so intimate. Martin made eye contact with nearly everyone.

She played her acoustic guitar and sang with purpose. Her voice soothed your heart and captured your soul as she guided you into her own. She painted pictures with her words and invited you into her songs as if they were written for you.

She played “Hello”, the first song off her album. This song was so intense and beautifully written that I could feel my heart beat faster as the tempo of the song rises and falls. The words and music dance perfectly together.

Martin sang clearly and forcefully throughout the whole set, stopping to say hi to her mom and thank special people in the crowd who helped her get to where she is now. She told stories that made the crowd laugh and she spoke very highly of her band.  Clearly, she is very grateful for everything she has.

She stopped to say, “Hey! Did you guys know I’m engaged!?”. The crowd cheered as she segued into her next song, “Take.”

Each song has lyrics that provide a window into her heart. She puts such strength into each song and you can feel the music hit you. At one point the guy next to me turned to his friend and said, “That was fucking awesome.”

Her all male band provided a great contrast of back-up singing. She sang a very raw song called, “I’m Gonna Die. This song, she explained, is about panic attacks and was inspired by her ex’s little girl who couldn’t decide what snack she wanted before bed, simply stating “I’m gonna die.”

Martin said that the girl put the feeling into words better then she ever could and “this song is for her.”

She mixed up her set with old favourites such as “The Bike Song” and “You Come Home”, from her last album Two Hearts. Encouraging the crowd to sing along, they do. You could feel the love and support in the room for her.

Martin ended the show with title track, “I Can Too.” This song has earned the title of the album with its upbeat and empowering words.

The new album has managed to impress. Martin shows evolution with her new songs without straying from her original sound, one that works for her and that her fans seem to love.

After she got off stage, she took time to sign CDs and give extra thank-yous and hugs.  I asked her how she felt about the show and she took a deep breath, looked around and said, “I’m very happy. All these people here…it’s awesome.”

Tunes Review: The Postelles – Self-Titled

Matthew Ritchie

On first listen to the premier album by The Postelles, I know exactly what they’re doing the entire time. All good rock n’ roll has a bit of mystery to it. The lack of mystery on their self-titled album isn’t what makes it bad though. It’s everything else about this record as well.

Have you ever heard of the band The Kooks? They’re a pretty excellent English rock n’ roll band. On their first album Inside In/Inside Out, they blended pop songs about love and jangly Police-inspired guitar licks with weird british reggae drawls to make an unforgettable album.  Then they made their second album Konk. Konk may be the worst second album by a good band in the history of music.

The idea behind Konk is this: Take all the interesting and mysterious guitar techniques found on the first album (a little bit of a slide up the neck here, hitting the guitar while distorted there) and put it on every track on the next album. Gone are the fabulous pop songs and here to stay are a bunch of weird noise with no context to any of the lyrical or thematic content of the songs.

This being said, The Kooks did have an amazing first record, but their second one was what the British press usually referred to as “Shite”.

Now imagine if the reverse of Konk happened on a record. On The Postelles self-titled debut you have a bunch of well crafted sugary pop songs, but there is no flair. No studio tricks. No interesting sounds. Just cliche songs with names like “Boy’s Best Friend” and “Can’t Stand Still”.

You may remember the Arctic Monkey’s single “I Bet You Look Good on the Dance Floor”, the song that single handedly brought the idea of dancing to rock music back into the British music scene. Well, The Postelles think they’re cheeky by naming one of their songs “Sleep On The Dance Floor”. No, it’s not “Asleep On The Dance Floor”, it’s “Sleep On The Dance Floor”. Is this a demand by the band? Are they referring to gunk found under the lower eyelid? Either way, your album is putting me to sleep, Postelles.

I really want to like this band, I really do. They’re currently touring with two of the coolest rock bands from New York of the past ten years (The National and Interpol respectively), but these tunes sound even worse than Interpol’s second album, Narc, which just happens to be the second worst sophmore album by a band of all time next to The Kook’s Konk.

I know what you’re doing Postelles. You think you’re cheeky by naming your band something similar to all those 60’s do-wop bands with suffixes like “las” “ettes”. You’re a bunch of dudes which makes it even cheekier. You all look like adorable ragamuffins in your four day old beards and Gossip Girl attire.

But I know your secret. You’re just like any other band of New York hipsters. You want girls. You want to hook up with them after concerts. You want to be cool. But no, this makes you totally uncool.

You’re almost as bad as all those 80’s hair metal bands with bravado and a deep desire for groupies, but at least those guys had the courage to write songs about banging chicks by masquerading them with obvious metaphors like “Cherry Pie”.

Instead you use you’re handsome smiles and bedhead and I find it equally as fake.

Warrant is more enjoyable than this. At least they were more honest with what their music entailed.

Nocturnes: Five Stories of Music and Nightfall

Bethany Horne, Copy Editor

 “At his hand, the stories are treated in such a unique, peculiar fashion, they are going to reach you no matter what.”

 

I don’t read a lot of modern fiction. My favourite books are half a century old or more, from a different era. Back when writers told you what the point of a story was somewhere near the end of it, and gave you a solid reason to carry the story around with you after you finished. When I read something modern, like David Foster Wallace or Lorrie Moore, I don’t always feel like I carry something quite so profound away for my reading efforts.

Maybe it has fallen out of fashion, to be so direct. To limit the scope of your themes with something so simple as an exposition. But I’m still drawn to that kind of writing.

At the end of Kazuo Ishiguro’s new books of short stories, Nocturnes, I carried away five heavily melancholic impressions of lost love, and of the knots melody ties in the human heart: one impression for every story in the collection.

Ishiguro’s novels include Booker Prize-winner Remains of the Day and the newly-adapted to the big screen, Never Let Me Go, but this is his first collection of short stories. The back cover describes his trademark writing to have “clarity” and “precision,” and says that, in this particular book about “music and nightfall,” music is a central part of the lives of the characters in the five stories, and ultimately “delivers them to an epiphany.”

And I suppose that is what I am getting at, about Ishiguro’s half-century old style of craft: he writes the epiphany in, usually in the words of a secondary character who helps our protagonist along the path to self-realization.

But I don’t feel that these explicit epiphanies limit the scopes of his themes. Or maybe it doesn’t matter if it does. At his hand, the stories are treated in such a unique, peculiar fashion, they are going to reach you no matter what. Ishiguro writes contradictions into his short fiction characters with as much conviction as he does into those that populate his novels, and they end up so heartbreakingly human.

In the spaces of silence that surround these simply characterized protagonists, these pillar-like pronouncements of sentiment, these sparse, matter-of-fact sentences, Ishiguro leaves enough room for every story in your life to resonate back to you from the page, and in doing so, he does exactly what I want my writers to do: he teaches me something about, say, music and melancholy, when I thought I’d already learned too much about all that.

Atlantic Art

Erica Eades, Assistant Arts Editor

“It’s the kind of practice that relies on one’s own intuition and experience” – David Diviney

 

For nearly a decade, the Sobey Art Award has commemorated Canadian artists at the forefront of contemporary art production. This year, the Art Gallery of Nova Scotia (AGNS), long-time organizer of the annual event, has chosen to showcase those artists coming from the East coast. The Sobey Art Award 2010 Atlantic Long List installation is the result of this project.

The Sobey Art Award was created in 2002 by the Sobey Art Foundation. In a message published by foundation chair, Donald Sobey, he says the award aims “to stimulate interest, discussion and debate regarding contemporary Canadian art.”

Artists are nominated from five major regions across Canada: West Coast and Yukon, Prairies and the North, Ontario, Quebec, and the Atlantic. Nominees must be under the age of 40, and must have shown their work in a public gallery within 18 months of being nominated.

This year, six artists from Atlantic Canada made the long list of nominees: Graeme Patterson, Mario Doucette,Vanessa Paschakarnis, Lucie Chan and a duo, Emily Vey Duke and Cooper Battersby. Each of these nominees currently have an exhibition in place at the AGNS.

Graeme Patterson, who was short listed in last year’s competition, has created an exhibit entitled “Taming the Wild”. The installation is a collection of puppets and photographs that tell a story of man’s relationship with nature. “It’s really playful stuff,” says David Diviney, Curator of Exhibitions at the AGNS. “A lot of his work responds to personal reflections and experiences.”

Mario Doucette is also very familiar to the gallery and to the people of the Atlantic region. He was short listed two years ago for his Acadien-influenced, hybrid style of painting and drawing. This year, he returns with a new piece of work called “Bagarres”. In this exhibit, Doucette uses aspects of symbolism and folk art to explore how different elements shape our perception of history. “There’s a faux-naive sort of quality at play in his work,” says Diviney.

In “Shadows for Humans”, Vanessa Paschakarnis deals with traditional sculpting processes and materials. However, she uses shifts in scale to take her work to a new place. “She’s constantly looking to history and making it new,” says Diviney. In her second installation, “Shadows of Domestication”, Paschakarnis finds herself moving away from traditional practices and branching into newer compounds. By working with a modern cement-like modeling clay called Winterstone, she creates molds that allude to seed forms, skulls, and other things found in nature. “It’s the kind of practice that relies on one’s own intuition and experience to gain meaning and closure,” says Diviney. “They’re familiar, and yet they’re foreign.”

Lucie Chan is presenting a piece of work called “LoFoSto”, which is short for Longing for Stories. The installation includes 106 watercolours and a series of three animations that bring her drawing to life. Though Chan is not originally from Atlantic Canada, she spent 10 years in Halifax before moving on to Vancouver. “It’s a really malleable thing,” says Diviney. “But when I look at her work in terms of her growth and her practice itself, it’s really rooted in a paradigm indicative of this place.”

Emily Vey Duke and Cooper Battersby will be showing their installation “Reanimating the Universe With Basic Breathing Exercises.” The duo made the shortlist in this year’s competition and will go on to represent the East coast in the finals for the Sobey Art Award in November. The event takes place at Musée d’art Contemporain de Montréal, with artists competing for the grand prize of $50,000.

Their work combines a five channel video installation with sculpture and ambient sounds. The exhibit involves a collection of costumed taxidermy, with both wild and domestic specimens. There is an ongoing cycle of inhaling and exhaling playing over the speaker system.

Diviney says the work creates a non-linear narrative. “It’s concerned with our impulse to control and to understand nature,” he says “and in virtue of that, to understand our own nature through anthropomorphism and fetish.”

The Sobey Art Award: 2010 Atlantic Long List will be running through to November 21, 2010 at the Art Gallery of Nova Scotia.

Changing Tides

Erica Eades, Assistant Arts Editor

Halifax-based artist, Stephen Kelly, is bringing do-it-yourself projects to a whole new level. His latest installation combines found materials, on-line data transmitters and audio devices to create an entirely unique artistic experience.

“Open Tuning (WaveUp)” involves a series of handmade mechanical devices that respond to buoys in the Atlantic and Pacific oceans. Two maps on the wall pinpoint the exact location of each of these buoys. “It’s quite a poetic piece,” says David Diviney, Curator of Exhibitions at the Art Gallery of Nova Scotia.

Kelly accesses the information for the exhibit through the Fisheries and Oceans Canada website. Every 15 minutes, the buoys transmit data about wind speeds, wave movements and heights. Kelly has created a program that takes this data and translates it to motorized works in the gallery. The information from the buoys dictates the sound and movement of the mechanical pieces. The result is a collection of machines that sound and move like the sea.

The materials used in Kelly’s exhibit range from fabricated forms, such as steel, to a variety of found pieces, such as motors out of old computer printers.

Diviney says that though the exhibit appears simple and elegant, the technical requirements to facilitate it are highly complex. The need for Internet connections and intricate hanging apparatuses pose many difficulties for a curator.

But the gallery staff know the effort is worth it. “We’re working with artists at the forefront of contemporary art production, artists who are pushing the boundaries of what art-making is,” says Diviney. “That’s an exciting thing to be a part of.”

 

“Open Tuning (WaveUp)” will be showing at the Art Gallery of Nova Scotia through to January 9, 2011. 

This is not a sex column

Katie Toth, Opinions Editor

On Sept. 9, Ontario Superior Court Justice Catherine Aitken ruled that men who’ve had  sex with men are still not allowed to give blood. The reasons behind this ruling are so haphazard that some members of the queer community are hoping it will spark internal pressure from the Canadian Blood Services to create a less discriminatory policy.

The ruling was primarily based not on whether the policy was discriminatory, but on Section 32 of the Charter, which notes that its application only applies “to the Parliament and government of Canada in respect of all matters within the authority of Parliament … and to the legislature and government of each province in respect of all matters within the authority of the legislature of each province.”

“The implication is that healthy blood should be turned away, not in the name of science but to allow homophobes to feel comfortable.”

The Charter doesn’t apply to private non-governmental organisations, she said.

Doug Elliott of the Canadian AIDS Society noted that this ruling was disconcerting. He describes it as a “road map” for the Canadian government to subvert Canadians’ Charter rights.

By the same logic, the Canadian Government might be able to contract out their dirty work privately, and ask security companies like Securitas to jail people without trial. (The Dalhousie Gazette, too, can finally realise its dream of instituting the No-Gingers hiring policy it has always dreamed of, without fear of being discriminatory.)

If organisations supported by the government are considered separate entities, then do our hospitals and schools have the right to discriminate as well?

Ultimately, however, details are details, and interpreting the law is meant to be based on factual analysis. Canadian Blood Services’ lack of legal obligation to the Charter is a legitimate reading of the law.

Unfair, however, was Aitken’s hurtful and damaging position later in her ruling, where she effectively allowed herself to be swallowed by a false dichotomy: Patient safety, or tolerance and compassion? Safe blood, or gay blood?

This isn’t a real issue.

Anal sex is the sex act which is considered high-risk for men who have sex with men, carrying with it a 33 year deferral period on their blood donation. The same activity, when performed by heterosexuals, requires only a 6 month deferral period.

If public safety requires deferrals for people engaging in higher-risk behaviours, those  deferrals should be the same for everyone. And they should take into account the new technologies in Nucleic Acid Testing of blood for HIV/AIDS, which Health Canada says is nearly foolproof. This standard test, which screens all donations of blood in Canada, can detect HIV within 12 days of infection.

Aitken noted that there is not substantial scientific background for a 33 year deferral, effectively conceding that the rule was not necessary for public safety. “Evidence was lacking of the existence of real concerns that would make a deferral period of 33 years necessary in order to maintain the current level of safety,” said Aitken, according to the Ottawa Citizen. Aitken suggested that a deferral period of 10 years would be more reasonable.

Unfortunately, Aitken also allowed herself to be swallowed up by an old stereotype, writing that the policy “is based on health and safety considerations: namely  the prevalence of HIV/AIDS  … in the MSM population.” The prevalence which she’s talking about is an infection rate of about 6 per cent.

Aitken went on to worry about the “leap of faith” patients take in the blood system, where they often face “anxiety … about pathogens.” The implication?

That this anxiety was somehow the sole responsibility of men who’ve had sex with men. That the 94 per cent of gay men who don’t have HIV or AIDS shouldn’t be giving blood because they might contribute to someone else’s emotional discomfort. That blood shortages should continue, and healthy blood turned away, not in the name of science but for the sake of allowing homophobes to feel comfortable.

This was an immense disappointment. Until the assumption that every gay man is a self-hating, promiscuous, unethical slut stops being proliferated, it is the duty of our justice system to look past outdated ideas about queer culture and look directly upon facts.

Aitken didn’t do this. Her biased conclusion is a blow to the Canadian culture of democracy and human rights.

Student groups fear copyright crackdown

Laura Conrad, News Editor

Dalhousie students and faculty might have to start being careful about what they send in emails and store in hard drives. A recent proposal to update analog-based copyright laws to adapt to the digital era has problems, say student groups.

Access Copyright, a non-profit organization that gives copyright licenses to public institutions, recently filed a tariff with the Copyright Board of Canada. The intended purpose of the so-called Post-Secondary Educational Institution Tariff is to update the current copyright laws to adapt to a more digitally oriented academic community. Access Copyright represents paper course materials at most Canadian universities, including Dalhousie.

If the proposed tariff is passed, Dalhousie faculty will have to pay royalties to send hyperlinks in emails to students. Students will also see an increase in copyright fees, and both students and faculty will have to have their hard drives wiped of all copyrighted materials at the end of every academic term.

 “It just seems like a way for them to get more money.  I don’t know why they’re going after students on this.”

Currently, at Dalhousie, students pay a flat rate of $3.39 per course, plus 10 cents per page in course packages for copyright fees. If the proposed tariff is passed, full-time students will be required to pay an approximate fee of $45 per year in copyright fees.

Access copyright says the reason for the proposed tariff is simply to update the existing copyright laws and apply them to digital materials. Access copyright believes that the proposal will make copyright procedures easier to administer, and that things will be easier with students only paying a flat rate instead of paying for course packs individually.

Executive director Maureen Cavan says the proposed tariff seeks to provide an additional ease of access, while giving compensation back to the copyright holder.

“This is just a new way of managing things,” she says.

The Canadian Alliance of Student Associations (CASA) strongly objects the proposed tariff. In an official statement of objection, CASA says the Access Copyright proposal is clearly disrespectful of educational institutions. CASA’s National Director Zach Dayler says the proposed tariff hinders academic freedom.

“This is going to limit innovation,” he says. “We’re trying to make sure students have access to quality information. When they start putting in road blocks, it kind of defeats the purpose of education.”

Cavan says Access Copyright believes the proposed tariff will not stifle academic freedom in anyway.

“It’s not stifling anything,” she says. “This license has been around since the mid-90s. Everyone who doesn’t like to pay fees is going to react, but compensation must be paid to somebody for the use of their property.”

Dayler says that not only the fees will be a problem, but other complications that will result from the proposed tariff.

“University staff does not need to be monitoring emails that could potentially have hyperlinks in them. That’s turning them into police officers.”

According to Cavan, hyperlinking should still be under the copyright law.

“Different uses of copyright material are being used,” she says. “(The law) used to cover photocopies. Now, professors will scan and link an article to a learning site. It’s still a copy made of a copyrighted piece of work. It should come under the license – it just replaces the photocopying.”

As CASA mentions in their official statement of objection, there is nothing in Access Copyright’s proposed tariff to address fair dealing, or the free use of copyrighted materials for private research and study. Dayler says these user rights need to be addressed.

“One of the most important things to remember about copyright is that it must maintain a fair balance to support both the creators and the users of the work.”

Dayler says CASA cannot agree with the proposed tariff because it fails to maintain this balance.

In response to the question of fair dealing, Cavan says it’s not up to Access Copyright to determine what’s considered private research and study.

“Is the use of copyrighted materials in an educational setting considered private study? That will be up to the Copyright Board to decide,” she says.

Dayler says Access Copyright is only trying to keep up with the constantly changing academic community.

“In all honesty, it just seems like a way for them to get more money.  I don’t know why they’re going after students on this. Access Copyright deals with the printed page, and in an age where schools are making a transition to being online accessible, they’re trying to protect a model that’s outdated.”

Cavan says that it’s too soon to jump to any conclusions about the proposed tariff, and at the end of the day, it will be up to the Copyright Board to decide.

“There are different perspectives on what this tariff actually is,” she says. “Only the Copyright Board will determine what should be paid for and what doesn’t need to be paid for. These proceedings generally take several years.”

The hearings for the case have not been scheduled by the Copyright Board yet. The new royalty program will begin in January, 2011 if Access Copyright’s proposal is passed.

Editorial: School, Sports & Spirit

Joel Tichinoff, Editor-in-Chief

Winning isn’t everything but does anyone play to lose? Do we ever just play for the sake of playing? We can’t help but want to succeed in anything we do. There’s nothing wrong with losing. Not if it’s done properly. A proper loss is taken not as failure but to imply a need for improvement, it presents an opportunity, a reason to be better than we were. A win is conformation of that improvement, a win justifies the effort of training with accomplishment. It is proof of ability, of capacity for excellence. A win reminds us that all our goals and aspirations are within reach, that we too have a claim to victory and success. And so, we like winning.

Perhaps the greatest difference between the playing fields of sports and the playing fields of life is that within the boundaries of sports there exists a reasonable expectation that victory will belong to those who deserve it most; the wins and losses of life are not always so fairly decided. In sports we know that hard work will always be rewarded, a last place team can rise, and defeat today does not rule out the chance for victory tomorrow. In sports, by definition, a player is someone who wins and loses; if we couldn’t be beaten, if the outcome was never in question, then the purpose of the game is defeated. As players, we will always try to win, but try with the understanding that the attempt is all we are entitled to. If we understand that the primary purpose of sports is to try, to do our best regardless of the outcome, then winning and losing become secondary. If we accept that there will be wins and there will be losses, that best and worst are relative, then we are left with the question of how we play the game, how we test the quality ourselves against successes and failures, gauge our personal endeavor towards improvement; the character we show regardless of the score. The quality of character we call sportsmanship. Sportsmanship is the drive to persevere through adversity, acceptance of the rules of fair-play, the understanding of oneself and our individual failures and successes are tied to a greater whole.

It is a common saying at Dal that we can be proud of the fact that we have no school pride, that no one here cares, it’s just a school. We come here, often from away, we go to class; we make some friends, we read some books, we throw some parties and then we move on with our lives being able to say we went to Dal without thinking any more or less of ourselves because of it. We study at a fine, long-established, respected institute for higher learning, why make a big deal out of it? School spirit; can we really be expected to pay homage to some non-physical, intangible idea of emotion and character dedicated to the presumption that there’s something special about this place and, by implication, us? Well, why not?

We do. We wear DAL on our clothes, we know our colours are Black and Gold. We like our ivey-clad stone buildings at the top of the hill by the sea. We like that they were built as monuments to us, to our learning, our work towards improving ourselves. We like that Dal exists as a time and space for us to experiment, to grow, to test ourselves, to fail and to succeed. We like that Dal exists as a gathering place of youth and wisdom, energy and ideas, knowledge and potential from across Canada and around the world. We understand this place, and ourselves within it. We all know the Dawgfather, we all get lost in the LSC. We’re happy to be a part of it. Admit it, we like Dal.

It’s no accident that there is a connection between universities and sports in North America. One is dedicated to training the mind, the other to training the body and both contribute to the development of character. It’s hard to imagine that if universities did not support athletics programs that students wouldn’t create their own based around the campus community. It’s impossible to have so many young people together in one place without them getting together to be active and have fun sooner or later. It’s also no accident that the schools with the greatest sense of community are the ones where varsity sports are considered ‘important’ pieces of the campus experience. The campus rallies behind their teams out sense of shared belonging to the community, a feeling that something is at stake on the field for them as well. That the teams’ success, the teams failure, the teams’ trials belong to the whole, rely on the whole, that the team roster extends beyond the sidelines, that these players play for us, represent us, and deserve our support.

Ask yourself was when the last time you were together with a large group on campus not because you were in the same class or the same year or the same residence or the same bar. When do we ever get Arts students, Science students, Medical students, Engineers, alumni, administration, societies and faculty together in one space together? That is, when does our community truly gather around one common cause?

Will football bring back Dalhousie spirit? No. But it will provide an opportunity, a space for the entire Dal community to gather together around something and that something will not be football so much as the idea that there is something special about this place that we all share in and belong to. Do we care? We’re going to find out.