Thursday, August 28, 2025
Home Blog Page 533

Olympic ceremonies

0

By Joel Tichinoff, Sports Editor

When Canadian identity comes up, it’s time to flip to the next page. Really, who even cares?
It is hard to give words to the elusive idea of Canada. Searching for Canadian identity can be like looking straight at the sun; any effort to directly examine who or what we are tends to make most Canadians want to look away with the same cringing pain we collectively felt when, as billions watched, the Olympic torch malfunctioned at the climax of the Vancouver Olympics’ opening ceremonies.
Yet no matter how hard it may be to see, the idea is up there somewhere – if only because it has to be. The organizers of Vancouver’s opening ceremonies made it the theme they explored in front of the world.  It was a bold effort to weave a thread of common identity in through the layers of individualistic, pluralist, multi-ethnic, multi-cultural Canada. If we can’t look at the sun, we can at least take in the landscape lit up by its reflected light.
Olympic opening ceremonies have become a proclamation of a host nation’s glory, a celebration of a unique civilization. It didn’t help that we were following on the cultural-celebration heels of the Chinese, the Italians and the Americans, and that whatever we did had to live up to upcoming ceremonies from the Russians and Brits.
For a people who aren’t even sure they want to be a people, or that they even need a collective identity, it seemed impossible for the Vancouver organizers to say something every Canadian could agree with. Far from being able to say who we are, Canadians have a hard time saying what we’re not. Like a lonely teenager filled with big ideas yet unsure of our own worth, we are a country starved for defining moments. True to teenage insecurity, many viewers caught the awkwardness: the confused presentation of the heads of state, an overly jazzy rendition of “Oh Canada”, Nelly Furtado’s cheesy singing, the unthinkable embarrassment of the torch-lighting ceremony – corniness in general. And yet what will be remembered are the moments of sublime human perfection: competing nations joined in mourning the death of a Georgian luger, stunning visual effects transforming the arena floor into ocean waves broken by breaching whales, and a divided world united by candlelight as K.D. Lang sang Leonard Cohen’s “Hallelujah”. If Canada needs moments that define us, to explain us to the world and ourselves – why not this one?
The opening ceremonies did capture something of the Canadian idea and experience even if it was mostly peripheral. The ceremony began with a proud welcome from four Aboriginal nations of the Lower Mainland who were then joined by additional Aboriginal nations from across Canada. Below four welcoming totems, the first people of Canada met together in proud and majestic display before the world.
Bryan Adams and Nelly Furtado performed a song notable for little except the spirit and enthusiasm it conveyed. While stiflingly cheesy, the song succeeded in building a tone of pride, excitement and hospitality.
Next, athletes from across the world were welcomed to the stage to much fanfare. However what was most memorable was the relentless dancing at centre stage by the Aboriginal performers. As the people of nation after nation were welcomed to the stage, they refused to be forgotten, their drums and singing often rising above the cheers and music. They did a series of artistic performances depicting various elements of the Canadian experience – the smallness of humanity in the face of raw nature and the magic our vast, empty land.
Following impressive acrobatic performances interlaced with quotes relating to Canada, the Maritimes received a complimentary nod with a lengthy plaid-clad Celtic dance and fiddle performance. Speeches and songs wrapped up the ceremony. Mounties raised the Olympic flag while a Canadian opera singer delivered a powerful rendition of the Olympic hymn. Gretzky lit the flame. Few of those hearts who watched K.D. Lang’s epic rendition of “Hallelujah” were anything less than glowing. The song, by one woman before 60,000 candles, created a moment that was moving, intimate and powerful in a way that seems incapable of replication.
It is impossible to convey the spirit of the ceremonies to those who didn’t see them, suffice to say that they were unlike any opening ceremonies to date. Perhaps the overriding message of the Vancouver Olympics will be the idea that we exist and we are more or less who we say we are. A country that is many different things to many different people just said something only we can in a way only we can. Canada has made the Vancouver Olympics an opportunity to tell the world something about our identity, and succeeded in doing so before any medals were handed out. Gold medals or not, no one will want to miss the closing ceremonies.

Warrior of light Owen Pallet decimates St. Matthew’s crowd

By Erica Eades, Staff Contributor

Owen Pallett is not your average violinist. As a graduate of the Honours Bachelor of Music for Composition program at the University of Toronto, he knows a thing or two about music. But Pallett’s undeniably unique style is something that can’t be taught in a lecture hall.
As he walked on to the stage at St. Matthew’s church, it was clear Pallett needed no introduction. The noisy, bustling audience grew silent as the musician carefully tuned his instruments and checked his mics. Without saying a word, Pallett broke out in to his first song. The audience responded with an eruption of energy.
Pallett, who is more commonly known by his former stage name, Final Fantasy, has a sound that is truly unmatched in today’s musical realm. During his performances, he plays his violin into a sampler that he controls with foot pedals. He then loops back one or more of the previously played tracks, while playing additional parts simultaneously. The resulting sound is that of multiple violins playing at once, as opposed to one lone instrument.
Pallett is also a classically trained vocalist. His voice has a haunting, yet captivating quality to it that mixes seamlessly with the instrumentation. By combining his soft melodies with occasional bursts of screaming, he creates a sense of anxiety and anticipation; the audience never knows what will come next.
On his current world tour, Pallett has broken away from his standard one man show. For the past year, Thomas Gill has been providing backup vocals, percussion and guitar for Pallett’s live shows. In an interview with Exclaim! Magazine, Pallett said, “I was lonely on stage by myself, so I wanted somebody else up there with me.”
Although the two musicians’ on-stage interactions were minimal, Pallett and Gill were totally in sync for the duration of the show. Gill’s percussive contributions were often quite subtle, but his guitar riffs had an impressive flair that quickly captured the audience’s focus. Together, the two musicians were nothing short of extraordinary.
Pallett has long been recognized for his collaborations with many notable musicians. However, he has stressed in numerous recent interviews that his current goal is to make his own albums, and tour as much as possible. With the release of his latest album, Heartland, Pallett has been able to play shows throughout Canada, the United States and Europe. In the interview with Exclaim! he explained, “I’m 30 years old and I’ve got 10 years of touring before it starts getting back-breaking.”

Ok Go – Of the Blue Colour of the Sky

By Matthew Ritchie, Staff Contributor

Grade: C-

Ok Go just released a new album called Of the Blue Colour of the Sky and the majority of it is surprisingly bad.
When the band gained an immense degree of popularity in early 2002 with the hit song “Get Over It”, Ok Go quickly one-upped themselves in 2006 with the viral video for “Here it Goes Again”. Because they danced on a number of moving treadmills, the kitschy music video shot to stardom – or at least Internet stardom. Of course 15 minutes of fame is short enough, but when that exposure is on the Internet, it’s more like 15 seconds.
This month’s release from the band shows them fading even further into obscurity. It looks like the members of the Chicago alternative power poppers were given a large amount of money to produce this album, but the sound of the songs never fully formed.
At the helms of the production side is Dave Fridmann (Flaming Lips, MGMT and Mogwai). His trademark psychedelic atmospherics are all over this album. Fridmann is famous for making the Flaming Lips trippier, MGMT spacier and Mogwai heavier. With Ok Go’s new album, he made them sound shittier.
Ok Go has made strong two to three minute power pop songs in the past. None of those appear on this album. Instead the listener gets a bunch of half-assed Spoon and Prince songs. The drums are spacey, and set back from the mix; the guitars are in the foreground and play mediocre riffs. The vocals are truly abysmal. It sounds like the band is trying too hard. All the songs blur together and it becomes impossible to distinguish any real hits from the album.
For Ok Go fans, Of the Blue Colour of the Sky is sure to disappoint. Get back to the pop songs, guys.

Cold Warpin’ is so hot right now

Cheryl Hann, Staff Contributor

If you’ve been following the local music scene, chances are you’ve already heard of the Cold Warps, the bubblegum punk outfit fronted by Paul Hammond (Sharp Like Knives, Yo Rodeo). The band, which has been garnering a lot of attention for their wonderfully accessible live show, features Dominique Taylor (Juan Love) on guitar, Ryan Allen (XenvisionX) on bass and Lance Purcell (A History Of) on drums.
Born in basements and living rooms, the Cold Warps carry a house party mentality in their back pocket. “We like to try and make every show feel like a house show,” says Hammond. “It’s more fun if (the band and crowd) can go wild together. Like we’re throwing a party, more so than performing a set.”
If that’s the Cold Warps’ mission statement, I feel safe saying mission accomplished. The Cold Warps put on a show that feels like those great parties where you’re just drunk enough. That cute girl is there, and she’s pointing to a sign that says “Prepare Hips: Shaking Imminent.” The Cold Warps’ power chord-driven power-punk is like tea with three lumps of sugar: sweet and stimulating.
“(It’s) ‘60s pop, but played like The Ramones,” says Hammond. “Fun to listen to, fun to play, fun to watch.”
It is for precisely these reasons that the Cold Warps have quickly become one of the most talked about new bands in Halifax. I asked Hammond what he thought of the band’s apiarian (bee-like, buzz, get it?) status.
“I think we were all surprised about how much talk we were getting and how well received we were after only playing once or twice,” he says. “It really makes you want to push harder, to validate the buzz. It would be pretty crummy to play a few shows, get people really pumped and then just ride that out with the same five songs for a year and a half.”
But, if you were stuck listening to five songs for a year and a half, the ones on the Cold Warps’ 11-minute debut wouldn’t be the worst. The band’s first EP, which is the perfect length – “just enough time that you can’t get sick of it,” Hammond jokes – is available on cassette for $5. Or, if you’re broke (see also: lazy), you can download it for free from Hot Money Records.
“We want everyone to hear these songs, so we’re encouraging people to just download them and tell their friends to do the same,” says Hammond.
The tape may be short, but it definitely packs a punch. It punches with a clenched fist made of Ray Davies chord progressions and Dee Dee Ramone time signatures. Pow! Right in the kisser! The tape opens with “Hang Up On You.” A song with a recipe: one part lyrics, two parts hip-swiveling satisfaction – a great way to start the short tape. The next three songs are equally wonderful, but they all build up to “Science Fiction”. If your roommate wanders in during this song, I guarantee he or she will ask, “Who’s this?” followed closely by, “Can we go see them right now?” The song is barely two minutes long, but it’s loaded up with the best things. “Werewolves covered in slime,” “creatures coming out of walls,” “dudes with nothing for a face,” not to mention at least two separate references to the X-Files.
So keep your eyes peeled for the Cold Warps’ shows. They’re a great place to get hot and sweaty this winter. “Other than that, we’re just focusing on writing more songs,” Hammond says. “We’re going to approach that differently than any of us have ever done before. We’d like to release lots and lots of singles, just a few songs at a time, but hopefully frequently. The goal is to just keep people excited, and wanting more.”

If you want more, download the Cold Warps’ EP at www.hotmoneyrecords.com/ songs/coldwarps.zip. Or, check out their MySpace for shows.

Dalai Lama book makes you happy

By Matthew Ritchie, Staff Contributor

With the recent release of The Art of Happiness in a Troubled World, the sequel to the very popular The Art of Happiness book, Howard Cutler and the Dalai Lama plan to create a more compassionate world.
The book asks a simple question: How is it possible for the average person to be happy in a world that seems increasingly difficult and fraught with problems. The answer, according to the Dalai Lama and Cutler, is by training your mind so that you can see the positive sides to all situations and maintain peace of mind. As opposed to ignoring life’s problems and pretending everything is alright, Cutler and the Dalai Lama prescribe that to gain peace of mind is to accept life’s big problems. In doing so, peace of mind can be reached and a logical mind will come forward to help fix these problems.
One issue that some may have upon picking up this book is that it isn’t strictly a Dalai Lama book. Instead you get Cutler, a trained psychologist and practitioner under the Dalai Lama, guiding you through the teachings of Buddhism and applying them to a Westernized and primarily American viewpoint. Cutler does the primary speaking in the book, drawing from a variety of psychological studies to demonstrate the helpfulness of the Dalai Lama’s teaching in Western society.
Cutler breaks up the process of training your mind in a number of easy to understand chapters that focus on the issues at hand and the ways to fix them.
The book is split up into three sections: “I, Us, and Them”, “Violence Versus Dialogue” and “Happiness in a Troubled World”. The sections deal with subjects such as prejudice, violence and extreme nationalism. The book then suggests ways to overcome these problems.
The book is structured so that anytime Cutler and the Dalai Lama address one issue, the following chapter addresses how to fix it. In this way the book has a practical way of dealing with these problems one at a time. The book can even be used as a manual in the process of meditating on these thoughts after the book has been read.
The Art of Happiness in a Troubled World is a helpful and empowering work, but fault can be found in the authors’ word choice and style. One issue is Cutler’s focus on the hardships of the American world. Most of the Pheonix resident’s hypothetical situations derive from an entirely American centre on issues of prejudice and fear. Cutler mentions the Sept. 11 terrorist attacks repeatedly in an attempt to focus on the fear and resulting prejudice during the aftermath of these events. The first book, The Art of Happiness, claimed to reach audiences all over the world, but Cutler’s American focus doesn’t seem like it would be a selling point in non-American countries.
Cutler also has the habit of creating over-exaggerated tear-jerking hypothetical situations to get his point across. In a newscast Cutler witnessed, a reporter on a Saudi Arabian TV station interviews a Muslim girl who professes her hatred for the world’s Jewish population.
“It’s doesn’t take much of a stretch of the imagination to imagine Basmallah at 17 years old, bomb strapped to her chest,” says Cutler. “Filled with rusty nails and screws, walking into an elementary school in … perhaps America … blowing herself up with as many innocent Jewish children as she can.”
Cutler is trying to force his point by creating a truly fearful situation. This only reinforces the idea that America is a nation filled with fear.
Lapses in writing skill aside, Cutler does bring useful ideas to the table with the help of the Dalai Lama’s teaching. The overall message in the book is that humanity’s natural emotional state is compassion.

Doraku

By Hannah Griffin, Staff Contributor

Grade: A-

I have a sushi itch that it seems only Doraku can scratch. With its intimate décor, great lunch deals and amazingly satisfying sushi, Doraku without a doubt beats out its sushi competitors.
Doraku is located at 1579 Dresden Row. Despite the distinctive anime-style cat hanging below the sign, the entrance to the restaurant is surprisingly difficult to find. It is worth traversing a narrow, somewhat sketchy alley for the sushi experience inside.
The small restaurant has three different seating options: standard tables, booths or comfy cushions behind a partition. If you can, go for the cozy booths, but all three are suited to the intimate and quiet atmosphere of Doraku, making it a great date place.
I began with miso soup. My friend ordered a salad. The miso soup was the perfect amount of saltiness, with generous helpings of seaweed and tofu. The salad was topped with corn, various sliced veggies and savoury ginger dressing. It was an inventive departure from the standard house salad most sushi restaurants serve.
Next we ordered our entrees. The sweet potato tempura roll was crispy and delicious. The shrimp tempura roll, despite being fresh, kept falling apart, so the majority of the rice fell into the soy sauce dish.
The highlight of the meal was the unagi (eel roll). It was slightly grilled and had a sweet aftertaste. The salmon and tuna rolls at Doraku are good, but are extremely tiny (about the size of a quarter). All of the rolls were served on slightly warm rice, making everything taste extra fresh.
The lunch deals at Doraku make it an affordable place to eat. Specials run at about $10 for two rolls and a soup or salad, but even if you order outside of the deals you can still have a hearty lunch for about $13 dollars.
Our server was attentive and polite, but be warned: Doraku runs a significant take-out business, so if you go at night, be prepared to wait a while for your food.
I left Doraku full of rice, fish and satisfaction. I hope you do, too

Bahamas in Halifax

By Nick Laugher, Staff Contributor

Afie Jurvanen is an omnipresent force in the realm of Canadian indie-rock and one to be reckoned with, but the majority of people aren’t even aware they know him. Jurvanen began in the band Paso Mino who eventually became the backing band for Jason Collett. From Collett he went on to play piano and guitar for the likes of Feist and Amy Millan. Then he enjoyed a stint with the Great Lake Swimmers, among others.
After coming off a two year tour with Feist, he decided to shift his focus to something he’d been neglecting for the better part of his career: himself.
“I had been playing other people’s music for years,” remarks Juvanen. “After I got off the tour with Feist, I said to myself, ‘You’re not taking on any other commitments,’ and I decided to pursue my own thing for a while.”
Jurvanen, better known by his stage name Bahamas, released his debut Pink Strat in July of 2009.
“The songs had been kicking around in the back of my head for years,” explains Jurvanen. “We got off the Feist tour and had all of the gear and it was kind of a ‘What are we going to do?’ situation, so I said, ‘Well, I’ve got some songs.’”
Jurvanen passed the days in a cabin with friends, recording songs between bouts of barbecuing and swimming.
“After about three or four days I realized, ‘Hey, I think we’re making a record.’ The process was just so comfortable I thought, ‘Why not?’” says Jurvanen.
“It all seemed so effortless,” he remarks, looking a bit bewildered by it all. “I think it was the lack of a typical studio and all the pressures of money and time. I just got people to come down and play on my songs, people whose instincts I trusted. It’s that spontaneity that artists like Bob Dylan and Neil Young were famous for in studio; it was all very unpracticed … usually first or second takes.”
The album is a cross-section of Jurvanen’s experiences and influences, and goes as far as featuring friends and collaborators  Feist and Jason Collett. The sound is honest, ranging from alt-country to soulful indie with everything in between. Songs such as the single “Already Yours” are exercises in baring a broken heart while others such as “Hockey Teeth” are light-hearted, humourous pokes at life that still manage to gleam with that sparkle of a down-trodden, humble soul.
The last song on the album, a cover of Wreckless Eric’s “Whole Wide World”, was a spontaneous addition at the last minute at request of the engineer.
“We were setting up the cabin for recording and he told me to play a song, just (to) test it out. For some reason, I sat down and played that song. When we were getting ready to solidify the tracklist, he asked me, ‘What about that first song you played?’ He just loved it so much (that) I put it on the record.”
The album shares its namesake with Jurvanen’s trusted sidekick: his Pink Fender Stratocaster.
“Nobody plays Stratocasters anymore,” he says. “Whenever I’m on tour I always feel awkward because I’m the only one with a Stratocaster. Plus, mine is pink.”
Jurvanen, as Bahamas, has been touring in support of the album since its release and admits the experience is alien compared to touring and playing someone else’s music.
“I felt so rejuvenated from making the record (that) I’ve just been on tour since. I’m not tired or burnt out. I’m just enjoying the novelty of it. It’s an amazing thing to be able to travel and share your music with others.”
While on tour, Bahamas is usually a fairly low-key affair. While playing at the recent In The Dead of Winter Festival in Halifax, Bahamas consisted of only Jurvanen and his famous dry, sarcastic wit. Regularly though, he’s backed by a drummer and a friend or two.
Like the guitar, the album Pink Strat possesses an aesthetic that is truly romantic, hearkening back to a simpler time.
“I’m really stuck on music before 1970,” says Jurvanen.
He says that’s why the risk of starting a solo career and releasing an album in this climate of music never entered into the equation.
“There’s this romantic vision of how music should be for me. I have this vision of people consuming music as art, as an elevation of culture. If people come to a show and they have a great time, that’s all I can ask for – that connection with the audience. I believe a lot of people out there are still looking at music as art.”

You can catch Bahamas on March 3 at the Halifax Forum with Wilco. He will embark on a “Huge, monster Bruce Springsteen style tour” with old pals Jason Collett and Zeus.

King’s band strikes rootsy chord

By Rebecca Spence, Staff Contributor

When Ben Caplan came to the University of King’s College five years ago, he thought he was eventually going to get a PhD and become a serious academic. Today his friend and band-mate Emma Morgan-Thorp says she can’t see Ben doing anything but music.
“I bet he could get a PhD,” she says. “I know he has the brains. But I can’t imagine Ben not making music full-time.”
“When all you think about is music and all you care about is music, getting a degree in history, as interesting as it is, is hard,” says Caplan, 23. “Especially because music is a full time job, at least if you take it seriously.”
And when it comes to music, Caplan is a serious man.
He spent every day of the week last January sending out e-mails, working on press releases, and trying to book shows for his current project: Ben Caplan and the Casual Smokers.
At the moment, the band is composed of six core members. There’s Morgan-Thorp on cello, Neal Read on flute and saxophone, Signe Bone on violin, Asher Nehring on bass and Matt Gallant on drums. And then there’s Caplan, who supplies the group’s vocals and plays a plethora of instruments including guitar, banjo, melodica, harmonica and organ.
Caplan has seen almost 25 musicians come in and out of the Casual Smokers over the past three years. The current sextet is a fairly new lineup.
From the charismatic and sometimes crazy bearded guitarist to the poised and sexy violinist, the band represents a wide range of musical traditions – from the purest of classical backgrounds to traditional jazz and reggae.
On the other side of the spectrum, Caplan brings his own completely unique and non-classical perspective. He is entirely self-taught, having only had a couple of guitar lessons when he was about 12 years old.
Morgan-Thorp says the collaboration of musicians from various backgrounds helps work to the band’s advantage.
“I think our diversity is completely key,” says Morgan-Thorp. “Everyone in the band brings something really different.”
Caplan says he likes to experiment with all sorts of different genres, but ultimately he is rooted in a folk, singer-songwriter style, citing influences such as Tom Waits, Bob Dylan and Wilco.
“By the time I could bring a few chords together I was getting up there to perform,” he says. “For me, what I’m most interested in is that property of sharing. So the ability of being in front of an audience and sharing that music directly is a powerful experience. I get a big kick out of it.”
When he first came to King’s he played in the Wardroom in exchange for free drinks in order to learn how to interact with the audience.
“They say you need 100,000 hours of practice to become a virtuoso, and there’s no inborn talent,” he says. “Before you can be a great performer you’ve got to pay your dues and spend that time onstage.”
He acknowledges that being a King’s student is a great way for him to log those hours in a fairly relaxed and supportive environment.
The band also gives King’s credit as being a great way to meet people and develop the band. Caplan estimates that of the handful of musicians that have at one point been a part the Casual Smokers, about half are King’s students.
“University has been key in some fate-developing way,” says Morgan-Thorp. “I think the way I met Ben was when he heard me talking to someone about my cello in the quad.”
“He came up to me – this frightening bearded guy who was like, ‘I heard you play the cello.’ It turned out to be the best thing that ever happened to me. But that’s King’s. That’s quad-mentality. That’s everyone knows everyone.”
On the other hand, the band’s university-education has also hampered their true passions. Four out of the six members are currently in their fourth year of university, so scheduling time to get together has been, according to Caplan, “a nightmare.”
“We all love each other and want to spend all our time together and we’re all just trying to graduate,” says Morgan-Thorp.
Ultimately, though, Caplan says he does not regret his choice to go university. He says it has been a formative experience, and he thinks he has learned a lot about himself and his passions. He has also become much more self-motivated.
“One of the things I’ve learned at university is that nobody’s going to do anything for you,” he says on his efforts to further his music career. “You’ve got to pull your own weight.”
Caplan, a native of Hamilton, Ontario, says he intends to remain in Halifax after he graduates. He says the city has been receptive to the band, and has treated them well.
“My plan is to ride this train as far as it will take me,” he says.
The Casual Smokers recently performed at the Elephant and Castle. By all measurable qualifiers, the show was a success. About 80 people showed up, there were stellar opening acts, and the venue’s management treated the band with nothing but respect.
But for some reason it didn’t all come together for them. The six band members weren’t communicating well, there was some slight tension, and it was hard to establish a connection with the audience.
“It was a shitty show,” says Caplan.
The next night they played a toss-away gig at a kegger for the Jewish Students Association.
“It was thirty people crammed into a little room, but we just played our asses off and they loved it,” says Caplan. “Everybody was drunk and merry.”
“Sometimes we’re just on,” says Morgan-Thorp.
Caplan says that one of the best shows he has every played was when the Casual Smokers were joined by special guest Paul Cram, a Juno-award winning jazz performer. Although the show took place at the King’s Wardoom, which Caplan does not consider an ideal venue, he still considered the performance to be a huge success.
“When it came down to it there was a great energy in the room,” he says. “We were all connected.”
Caplan believes the best way for a band to share its passion and its music with the audience is by effectively communicating with each other.
“The more we play together the more we grow into a unit,” says Morgan-Thorp. “The more we play together, the more we trust each other, and the personal friendships in the band deeply contribute to what happens on stage.”
The Casual Smokers’ next show is this Saturday at Gus’ Pub, where Blown Gasket Orchestra will be opening. Caplan says the performance will be complete with horns, strings and passionate melodies.
“It’s gonna be wild,” says Caplan. “Our shows are nothing if not full of energy. We don’t just walk up on stage, sing our songs then walk off. We haven’t done our job unless the audience is drunk, engaged, dancing and singing along.”

Check out Ben Caplan and the Casual Smokers this Saturday at Gus’ Pub (2605 Agricola St.). Doors open at 8 p.m. Or, if you’re out of town for the break, catch them on Friday, March 5, at The Company House (2202 Gottingen St.). Doors open at 9 p.m. Cover is $8.

The National Post is still with us

By Devanne O’Brien, The Xaverian Weekly

ANTIGONISH, N.S. (CUP) — Last month, Canada’s daily right-wing rag, the National Post, ran an editorial lamenting the perseverance of women’s studies programs in universities across the country.
The Jan. 26 editorial “Women’s Studies is still with us” offered a skeptical take on reports that women’s studies programs are in decline, saying “We would wave good-bye without shedding a tear, but we are pretty sure these angry, divisive and dubious programs are simply being renamed to make them appear less controversial.”
The Post’s editorial board seems to be erroneously conflating two important changes to women’s studies departments: one, the issue of budget cuts to these already under-funded programs; and two, the trend of altering the title “women’s studies” to “gender studies” recently adopted at universities such as Queen’s.
So women’s studies professors and students are decrying the draining of resources from their departments, but the National Post (in all its wisdom) is claiming there is no real threat to women’s studies – although its editorial board would like there to be – because the feminists (re: seekers of equality) have launched a devious plan to seduce (as women are prone to do) more people into taking these courses by – wait, changing the name of the programs to be more inclusive and exemplary of feminism’s third wave?
With a confusing name like “gender studies,” students will never be able to detect that they are being indoctrinated with the extremist views that have “done untold damage to families, our court systems, labour laws, constitutional freedoms and even the ordinary relations between men and women.”
This would be funny if it wasn’t so darn important; it would merit no mention if the National Post were some obscure right-wing blog in cyberspace instead of a national daily with a circulation of more than 200,000.
That misogyny of this extent can infiltrate the mainstream media is a testament to why women’s studies programs need all the support they can get.
I didn’t always know that the terms ‘gender’ and ‘sex’ weren’t interchangeable. Nor was I always conscious of the abysmal absence of women in our studies of history, art or politics.
Students who become feminists while at university – and I am certainly one of them – find women’s studies courses to be transformational, and we cherish them.
So long as Leave it to Beaver & Co. are running the show at the National Post, ridiculing our demands for fairer labour market policies and childcare, there’s a role for women’s studies in educating young men and young women on university campuses.
Maybe then we could initiate a mainstream discourse so publications like the National Post couldn’t survive. I know I wouldn’t shed a tear.

Fair or fowl?

By Rebecca Hoffer, Opinions Contributor

Why did the chicken cross the road? The old adage may soon become relevant for city dwellers as citizens rally in support and in protest of a land use bylaw amendment that would allow for people to keep laying hens within the Halifax peninsula.
In early 2008, Louise Hanavan was ordered to relocate the three laying hens she was raising for eggs in the backyard of her west-end Halifax home. Two years later, the debate continues with what may be called a constitutional chicken-coop-d’état as supporters push for policy reform.
On Feb. 10, 2010, the city organized a public information meeting at Halifax Hall, where the public was invited to share their opinions on the issue.
Many Halifax Regional Municipality residents voiced their support for urban egg-riculture. They want the right to raise and produce their own food, the pleasure of fresh eggs and other benefits from urban gardening.
Chickens can be fed scraps reducing municipal waste, and their manure can be used in composting and to create fertile topsoil, reducing both food and fertilizer miles. Chickens are also known to eat fire ants, providing a chemical-free solution to another pest plaguing the gardens of Halifax.
As other supporters prefaced their comments by explaining that they themselves did not plan on raising chickens, the hens took on political and ecological roles, representing food security, food sovereignty, the move towards more sustainable lifestyles, and the importance of reconnecting with what we eat and how it is produced.
While the majority of those present were in favour of the by-law amendment, not everyone wanted to take a stroll down avian avenue. Several dissenters considered it an unnecessary amendment: if you want local eggs you can buy them at the Farmer’s Market without turning the city into a farmyard. Others found that it created needless controversy and potential harm.
The dominant concern among chicken naysayers was that the feed would attract rats. Several of Hanavan’s neighbours reported a marked increase in these rodents that they attribute to her hens, and argue that with urban chickens come urban rats. Another concern was that chicken coops would be unsightly, and that they might open the barn doors to demands for goats, horses and pigs. However, the proposed by-law amendment applies exclusively to laying hens.
In response, chicken defendants argued that simple precautionary regulations that keep bird feed in sealed containers and hanging chicken feeders could be enforced. Rodents are a reality in the city, with old infrastructure, mismanagement of garbage and food, and even traditional bird feeders nourishing their populations. But as the real roots of rogue rodents remain lawful, the potential relationship between chicken feed and pests does not justify such a poultry prohibition.
With urban chickens, they argued, does not come rats, but rather a community for education, networking, and shared knowledge, that Halifax’s already vibrant community would embrace.
Regulations would govern the number of hens permitted, a minimum distance from neighbours, and would prohibit roosters to prevent noise complaints. A minimum lot size might also be enforced, though some worry that this would prevent lower income families from accessing this alternative food source.
On a practical level, the by-law amendment is fairly harmless. I doubt that there will be a rapid influx of chickens into the city, as most people would rather not deal with building a coop or feeding the birds daily.
With proper precautions for those who do – sealed containers and hanging feeders – rats would not be a major concern. Likewise, on their own, a few hens will not fundamentally challenge our reliance on grocery stores, the industrial-food system, or the profound disconnect between producers and consumers.
Rather, it represents an important ideological shift, and it is from here that the controversy arises. It represents change, and a breaking of traditional distinctions and categories – between farm and city, pet and livestock, producer and consumer. It gives us seemingly contradictory terms such as “urban farms”, and now, “urban chickens”.
So maybe the old adage was right all along in asking: Why did the chicken cross the road? Maybe it was on its way to the city. Or maybe, like us, it was trying to get somewhere new. It wanted change.

HRM Planning Services is continuing to accept community feedback. To voice your opinion, email Mackenzie Stonehocker at stonehm@halifax.ca.
Rebecca Hoffer is a member of Campus Action on Food and the Grainery Food Co-op. She is a third-year biology and anthropology student at Dalhousie.