June 20, 2011University of Toronto’s Independent Monthly Vol. II N0. 1

the newsmagazine

LOSS

GAIN

&

the newspaper

creating special

moments

since 1978.

Arts EditorSuzie Balabuch

2 June 20, 2011

the newspaperEditor-in-Chief

Helene Goderis

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ContributorsDan Christensen, Yukon Damov, Natalie Rae Dubois,James Hewitt, Stephanie Kervin, Robin Reid-Moran

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After less than two weeks of rotating strikes Canada post employees arrived to work #"! ,-./0 1! (#! '"0! (2.! 0##&/!locked. They had been staging short term walkouts at vari-ous postal service checkpoints throughout Canada. When the strikes moved to Toronto and Montreal Canada Post manage-ment got proactive and shut down postal service nationwide.

Postal workers are still on strike but legislation has been tabled to force them back to work.

Reactions to the strikes have 3.."!4*5.0+!6#&!(2.!'&/(!7..89!Canadian media debated the relevance of the post in the age of email. Man-on-the-street in-terviews with busy urbanites revealed that mail service to re-mote Canadian was inessential. Small retailers were nervous about their mail order business,

Cover ArtistAndrew Remington Bailey

Return to sender: Legislating postal workers back to the mailroom

and charities wrung their hands about grant cheques, but other-wise the public was unaffected, or perhaps just uninterested.

There was a time when a postal strike would cripple the national economy. Now with private courier companies and countless electronic options, Canada Post is no longer felt to be an essential service. Because of the public ambivalence to-ward the strikes, many suspect that Canada Post locked out its employees in order to force back-to-work legislation.

Even if this suspicion is ac-curate, it is not wise. When bargaining talks break down, in this case over changes to pen-sions for new hires, wages, and working conditions, a strike raises the stakes. It puts pres-sure on management to settle faster. But legislating a employ-ees back to work means neither side gets the terms they want. When Mom intervenes, no one gets to play with the ball.

Worse is the accusation that back-to-work legislation un-dermines the employees right to strike. In its most idealistic form, this right is about de-manding safe working condi-tions, fair living wages and reasonable job security. But the reality is messier. The negotiat-ing parties are not only seeking to meet an objective standard for conditions and wages--gov-ernment regulations take care of that. In reality, they are both seeking to get the better of the other party and at the same time, perversely, agree.

Assuming that Canada Post is not in violation of government regulations regarding work / :.(19! 7 ;./! "0! 3.".'(/9! (2.!workers are striking in order to leverage their bargaining po-sition. If we say that they are defending their right to strike, then we must mean that they are defending their right to bar-gain as powerfully as possible.

Legislating workers back to their posts diminishes the worker’s bargaining power. But not in favour of the other side of the negotiating table. While the workers lose their trump card, they don’t lose it to their opponent. When employees are legislated back to work, both parties lose their independent bargaining power.

The problem with this argu-ment is that after legislation is passed, the employees are working without a collective agreement and the company is &./(#&*";! *(/! %&#'(! 4 &;*"+! <(!does seem as though one side, the owners, is gaining.

The larger fear is that back-to-work legislation will have long-term consequences for all Canadian unions. The more it seems acceptable that workers can be forced not to strike, the more it seems plausible that a right to strike is an outmoded idea, just a vestige of early in-dustrialism. From the prospec-tive of a growing number of Canadians, striking is about se-curing a minimum standard for workers, not ensuring a better life or a comfortable retirement.

When we ask ourselves if this is a right worth defending in the long run, we have to ask our-selves how high or low we want that standard set.

DIANA WILSON

3June 20, 2011 the debate

ARE WE LOSING THE PUBLIC REALM BY SELLING NAMING RIGHTS?

The Toronto Transit Commission is an advertising paradise. In recent years, riders have witnessed increased branding on stairs, buses, subway cars and even the inside of turnstiles that largely go unnoticed. Yet, corporate interests have not entirely ravaged this underground world of which so many partake. Tracks, station fronts, seats, and employee uniforms all remain un-touched. Now, in an effort to exploit areas of uncovered ground, the city of Toronto has announced the possible sale of station naming rights, perhaps the most sacred of all TTC property.

This would mean any number of brand names could come to precede or overtake the titles of our supposedly beloved stops. Is there anything loss in doing this? Are public ideals and self-sustaining efforts undercut by reaching !"# " # $% &"'()*# +,-*." %./# 0 %# . 1*2#this curiosity represents a dwindling image, a resignation to the plights of privatization for the TTC. The invasion of advertising and the reduction of the rider as a base, robotic consumer is largely the area of concern. The TTC is foremost a public domain in the minds of many and should protect the inter-ests of its riders.

Yet, is there any interest to begin with? It seems riders only perceive their surroundings subconsciously, not overly engaged by the images that per-vade their daily commute. Observation suggests a desire to escape, not out of any real distaste, but rather disregard. Newspapers and idle gazes are the pri-mary transcending portals of separa-

tion, yet suffer from the very grips of commerce that strangle each rider’s subterranean reality. If there were not advertisements, there would still be ad-vertisements--on clothes worn, phones talked on and in the conversations of fellow riders. We are advertisements, and in this sense, we have truly accept-ed the unconquerable perils of external force.

The question as to how much revenue this new initiative will generate is still open and results might be overwhelm-ingly uninspiring. After all, how lucra-tive can a station’s name truly be? Cash is cash, though, and the TTC needs it . Riders care less about what they see and more about what they pay. This is not to say that these efforts would heal the wounds of climbing fairs and less than favourable service, but it is a step toward renovation. Private sponsors could also recreate the aesthetic of their newly acquired asset by funding design and renovation that would certainly not be possible through public support.

Are advertisements offensive? Yes, but we have learned to live with them. If relying on them is shameful, we should all be ashamed. The idea of getting off at a blatantly commercialized stop does seem less than charming, but the sub-way is not a charming environment. It is strictly mechanical. It is public, but not entirely and seems to become less and less each day. The TTC has already plunged into the spiraling descent of corporate consumption, and might as well embrace the complete overturn of its irrefutably dilapidated system through simply innocent means.

34*#5+"6# 7#3 % ," #+.#+,#'#&.8')#1*..2#'.#+.#"4*#3359#"4+.#+.#"4*#('.+8#&,',8+')#%*-ality of our city and transit system. Most, but not all, of the responsibility for pro-viding solutions to these problems lies with these two entities. There are many options and better alternatives to simply selling-off assets and naming rights. But the question ought not to be reduced to economics. Also at stake is the quality and nature of our public realm.

Depending on the value of naming rights, selling them may turn out to a sound decision. Maybe fares will stay at their current price; maybe stations will be better maintained; maybe ser-vices will improve or not decrease. Until a decent estimate is presented, it is not known whether the revenue will help in any case. Considering that the entire ad-vertising revenue provides $15 million for the TTC and the farebox provides $941.5 million, perhaps one can specu-late that naming rights for ill-maintained stations will provide a negligible, although permanent, revenue stream.

Something intangible is lost in sell-ing the naming rights of a station. No longer is a station in an abstract way a space that is collectively ours, or mine, %#6 !%.:# #;.# +".#<*&,+,=# )'(*)2#>*#=+-*#the entire space only partly to a corpora-tion, so that we’re walking in a place that is oddly ours and not-ours. It’s a com-promise that creates a limbo. Obviously the corporation does not own the space, but perhaps neither do we, and such a blurring of private and public space sug-gests an inclination towards the private rather than the public. Implicitly we

would be drawn towards the consumer of our selves as well as the citizen per-haps without really realizing it, where before the consumer part of ourselves was clearly denoted when directed to-wards advertisements. Give the station completely to a corporation, if money is what is needed.

Most importantly, the City and the TTC must continue to address its struc-"!%')# &.8')# $% ()*1.2# 7# >4+84# 1 ."#of the responsibility lies with the pro-vincial government. As has been bet-ter expressed before, uploading during the Harris years wreaked havoc on the 8+"6?.#',<#"4*#335?.#&.8')#."%!8"!%*:#34*#335# ,8*#4'<#&7"6@$*%8*,"# 7#+".# $*%'"-ing budget from the province, but now that subsidy has been greatly reduced, leaving it in the situation it is in. The province must absorb more of the TTC’s budget if, in the long term, the TTC can provide current, let alone, improved ser-vice. Selling of naming rights or anything else would be only a bandaid solution.

Since the last election campaign, at )*'."2# A'6 %# B (# 0 %<# 4'.# (**,# 8 1-mitted to a certain type of governance regarding the city’s economics. While referring to the city’s debt load and the taxation policies of his predecessor, Mayor David Miller, he has plainly ex-pressed his preferred ideology as one of small governance and low taxation, plac-ing himself in opposition to Mr. Miller. On such a platform was he elected and in some sense the debate over privati-zation was decided last fall. Despite the results, the debate must continue, his views must be challenged and criticized, especially because they are not in the best interests of the city.

ROBIN REID-MORAN YUKON DAMOV

THE PRO THE CON

4 June 20, 2011the newsmagazinenewsmagazineThe !lm

HOW MUCH ROOM DO WE

HAVE FOR BAD MOVIES?DAN CHRISTENSEN

Some would argue that if you still haven’t seen The Room, then you’ve missed out – this !"#"$%!&'!((")*$"+, -,"!&#./!"#!" #." (!!(.& #*" -%*&%0#*" 1%22*("1 (-(" #&" &,(" *(#!&3" #./"#" !#& 0 --#*" $#!&(01 (-(" #&" 4(!&5" 6&,(0"$78 (97(0!" $ 9,&" 4(" .-* .(/"to disagree, suggesting that The Room" !" &,(" /(). & 7." 7:" %.-.(-(!!#0;"8 (+ .93"#./";7%"#0("*%-<;"&7",#8("#87 /(/"!(( .9" &"&,%!":#05

=7+" -#." &+7" !7" !&#0<*;" 71-17! .9" 8 (+!" 47&," 4(" *(9 & -$#&(*;" ,(*/" #47%&" &,(" !#$(")*$>" ?,#&" #0(" &,(!(" 8 (+(0!"!(( .9"&,#&" !"!7"/ ::(0(.&>"@7(!"&,(" -7.&078(0!;" * (" ." &,(" -7.-&(.&3" #!" ." A(*" B 4!7.C!" The Passion of the Christ>" 60" !" &" ." &!"/ :)-%*&" :70$#*"#1107#-,"#./" &,(" .-*%! 7." 7:" %. .&(*-* 9 4*(" 1*7&" 17 .&!3" #!" ." @#8 /"D;.-,C!"Mulholland Drive>

For the uninitiated, The Room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

? !(#%" !".7&"7.*;"&,("!&#0"7:"The Room"4%&"#*!7" &!"/ 0(-&703"107/%-(03"+0 &(0" #./").#.- (03"#./" / !&0 4%&70R" #.;&, .9" &,#&"-#."4("!# /"#47%&"&, !")*$"-#."-7.)/(.&*;" 4(" #&&0 4%&(/" &7", $5"O73"0(&%0. .9"&7"7%0"K%(!-& 7.":07$"4(:70(3"&,("-7.&078(0-!;"!%007%./ .9"&,(")*$"/7(!.C&"!&($":07$"&,("-7.&(.&3":70$3"70"*(8(*"7:"-7$1* -#& 7."!1(- )-#*-*;3"#**"7:"+, -,"#0("#!"4*#./"#!"-7%*/"4(5"J,("1*7&" !"-7.-(0.(/"with your average love triangle !-(.#0 7" S$#." T" 9 0*:0 (./" T"4(!&" :0 (./" U" 4(&0#;#*V3" #./"1# .!"#0("&#<(."S4;"? !(#%"#./"&,("#%/ (.-(V"&7"-*#0 :;"&,("-(.-&0#*" #-& 7.!" #./" 0(*#& 7.!, 1!"7:"&,("$# ."-,#0#-&(0!5"S6.("7:""

&,(" $7!&" /($#./ .9" /0 .< .9"9#$(!" #!!7- #&(/"+ &," &,(")*$",#!";7%"/0 .<"(#-,"& $(";7%"#0("0($ ./(/3"4;"#.;"-,#0#-&(0"&,#&"A#0<" !"W7,..;C!"H4(!&":0 (./5IV

X73"#.;"/(4#&("0(9#0/ .9"&,(")*$C!" 8#*%(" !" 077&(/" !K%#0(*;" ." &!"K%#* &;5"J, !" !".7&"&7"!#;"that anyone would argue that it is a good movie, in the ordi-.#0;" !(.!(5" Y&" !" -*(#0*;" #" &(0-

0 4*(" $78 (" 7." (8(0;" 17!! 4*(":07.&" P" &,(" +0 & .93" / 0(-& .93"#-& .93" - .($#&790#1,;" #./"S(!1(- #**;V" &!"17!&'107/%-& 7."(*($(.&!5

=7+(8(03" :#.!" 7:" &,(" )*$"would argue that all of these -7$17.(.&!",#8("4((."!7"1770-*;"(Z(-%&(/"&,#&" &C!":%..;"'"&,#&"J,("[77$" !"H!7"4#/" &C!"977/5I"J, !" 1,(.7$(.7." !" .7&, .9"

.(+" +,(." &" -7$(!" &7" )*$!5"J,(" *7+'4%/9(&" -#$1 .(!!" 7:"\/" ?77/C!" :(#&%0(!" 17!!(!!(/"!%-," #" K%#* &;3" &7" +, -," J $"]%0&7."1# /" &0 4%&(" ." &,(")*$"\/"?77/5

Still, it seems as if a love for !%-,")*$!",#!"1(#<(/" ."0(-(.&";(#0!5" ^ *$!" !%-," #!" _`abC!" Si-lent Night, Deadly Night Part 2 ,#8(" ,#/" #" !(-7./" * :(" + &,"

-* 1!"4( .9"171%*#0 2(/"7."c7%-J%4("S;7%"$#;"4(":#$ * #0"+ &,"&,(" HB#04#9(" @#;I" !-(.(V3" #./"_``FC!" Troll 2 had an entire /7-%$(.&#0;" 4#!(/" 7." &" *#!&";(#0" -#**(/" ](!&" ?70!&" A78 (3"107/%-(/"4;"#."#-&70" ."&,(")*$5

Q"4%09(7. .9"!&;*("7:"-7$(/;"(8(." !(($!" &7"4("4#!(/"7." &,("!#$(" .!& .-&!" &,#&" $#<(" 1(7-1*("d7-<" &7"!-0((. .9!"7:" &,(!(")*$!3" #&&($1& .9" &7" $ &#&("&,(" (#0.(!&';(&',700 4*(" .#-&%0("7:" &,("107/%-& 7.!3" #!" -#."4(" !((." ." &(*(8 ! 7." 10790#$!"!%-," #!" Q/%*&" O+ $C!" J $" #./"\0 -"Q+(!7$("O,7+3"B0(#&"W74e"#./" ]]fEC!" D77<" Q07%./" c7%5"6.*;" &,(!(" 10790#$!" #0(" !(*:'-7.!- 7%!*;" 17703" :70" -7$(/ -"(::(-&5"Y."&,("-#!("7:"The Room, it seems as if all of the humour !&($!":07$"&,(":#-&"&,#&"&,(")*$"/7(!.C&" 0(#* 2(" &!" 7+." #0& !-& -"178(0&;5"^ *$!"&,#&"#0("7.*;"< ./" 7:" 4#/" #0(.C&" (.&(0&# .- .9P"&,(")*$"$%!&"4("&0%*;"4#/"&7"4("(.g7;#4*(5"Y:"#")*$" !"4#/"(.7%9,3" &"$ 9,&"g%!&"4(-7$("#", &5

?,#&" .!1 0(!" &,(" .&(0(!&" ."&,(!(")*$!"#.;+#;!>"Y!" &"#"< ./"7:" !-,#/(.:0(%/(>" Q&" *(#!&" ."!7$("1#0&" &"$%!&"4(5"60"-7%*/"it relate to the average quality 7:")*$!"&,#&"#0("0(*(#!(/"&7/#;5"f .(1, *(!" + **" 7:&(." 4($7#."&,(" /(-* . .9" #0& !& -" 8#*%(" 7:"-7.&($170#0;"- .($#5"f7%*/" &"4("&,#&"+(C8("4(-7$("!7"#--%!-&7$(/" &7" $#09 .#**;" 4#/" $78- (!"&,#&"+,(."+("#0("10(!(.&(/"+ &,"#"+70<"+ &," &!"!,70&-7$- .9!" ($1,#! 2(/" ." #" !;.(09 !-& -" 7.!*#%9,&" 7:" .-7$1(&(.-(3"+("9# ."!7$(" 07. -"g7;"&,#&"#**"&,(" 9#04#9(" !").#**;"4( .9"#--<.7+*(/9(/>

h(0,#1!3" &7" &#<("#" !7$(+,#&"^0(%/ #." (Z1*#.#& 7.5" Y:" ;7%"#!<(/" J7$$;" ? !(#%3" !& **"74* 8 7%!"&7"&,(":#-&"&,#&"(8(0;-one is laughing at him, why The [77$" ,#!" 4((." !7" !%--(!!:%*3",(C/" 1074#4*;" !#;" &C!" 4(-#%!("7:" &,(" )*$C!" H+ &&;I" / #*79%(3".7&" 4(-#%!(" &,(" )*$" !" .,(0-(.&*;"4#/5"J,#&3"70",("$ 9,&"g%!&"dodge the question, as he did frequently at a Q&A after the J707.&7"!-0((. .9"7:"&,(")*$"#"-7%1*("7:"$7.&,!"#975"Y&"!(($!"that regardless of why we seem &7"*78("&,(!("#(!&,(& -"#47$ .#-& 7.!3"&,(;"+ **"-7.& .%("&7"171-ulate at least the fringes of our - .($#& -"-7.!- 7%!.(!!5

And if you haven’t seen The Room";(&3"/7.C&"+#!&("#.;"& $(5

JAMES HEWITT

5June 20, 2011 the newsmagazinenewsmagazine

MAKING THE OLD NEWNew structures bring U of T’s historic architecture into the 21st century

NATALIE RAE DUBOIS

Toronto is in a perpetual identi-ty crisis. It is a world-class city, but in true Canadian fashion it’s a bit too humble to proclaim it-self as such.

Toronto bemoans its lack of history and grandeur while the wrecking ball demolishes what little historic artifacts it has left. While Toronto compares itself to New York and London, much of its built heritage is disappearing. Is it any wonder that we’re confused about who we are and where we are going when we can’t see our past?

There are a few pockets around the city where one can see some of Toronto’s excellent historic architecture. The St. Lawrence Market neighbour-hood and Cabbagetown are two examples. The University of Toronto is another unique and notable specimen. With only !"#$%&'(%'&"$#)"*+,-$.")#+!"&#the course of its 154-year his-tory, the campus has one of the best preservation track records in the city.

Just because the Univer-sity hasn’t dismantled its past doesn’t mean it’s stuck there. The campus has seen an incred-ible amount of change over the years, with enrollment continu-ously rising – and through the symbiosis of old and new, U of T has found a way to grow, adapt and expand as needed.

In recent years, the campus has seen a wave of thought-ful additions and expansions to historic structures on site. These new buildings respect-fully improve upon the existing structures while adding 21st century space to accommodate more students, faculty and pro-grams. These changes are not just about adding square foot-age. Through new connections, such as ramps and corridors, accessibility and circulation have been improved. Besides enhancing outdoor spaces, landscape and lighting features improve the campus’ sustain-ability and increase safety.

The Munk Center for Inter-national Studies is one example of a complementary update and addition to three historic build-ings, once residences for men, built by Eden Smith & Sons in 1909. The new additions, by KPMB Architects in 2000, unite the three buildings with a clois-ter and additions between and

at the end of the existing struc-tures. The architectural detail-ing and warm-toned material selections highlights the older architecture without copying it.

Max Gluskin House, the home of The Department of Econom-ics, is another interesting blend of old and new. A contemporary glazed addition peeks out from between a 1960 Georgian-reviv-al style building and a Victorian mansion from 1889. The scale and simplicity of the addition, designed by Hariri Pontarini Architects in 2008, does not overpower the historic archi-tecture but playfully provides a counterpoint.

Robarts Library is currently undergoing a contemporary facelift as well. The monumen-tal building, loved and hated since its construction in the 1970s, is receiving interior up-grades as well as expansions into the former exterior ter-races (which connect the main building to the Thomas Fisher Rare Book Library and the Faculty of Information pavil-ions). The renovations are be-ing led by Diamond + Schmitt Architects, who have executed several exemplary buildings across campus (such as the Bahen Center for Information Technology and the Lash Miller

Chemical Laboratories/Daven-port Chemical Research Build-ing, two excellent projects that beautifully blend old and new).

Here, however, something has gone slightly awry. While the interior upgrades are simple, respectful and much needed,

the expansion into the terraced spaces feels wrong. The new ex-terior glazing for the enclosed terraced spaces makes no ref-erence to the original glass de-tailing of Robarts whatsoever – a missed opportunity for a contemporary retake on the library’s architectural details. This lack of harmony - or even dialogue - between the old and the new could be excusable if -%# (&"/%")# /# $-01- (/1%# /*+'1%#of study space for students. However, the majority of the new interior space is occupied by display cases, with ‘study space’ relegated to the edges in an awkward bar and stool con- 0'&/%-+12#3.-,"#%."#*+%-!"$#%+#enclose these once stupendous outdoor spaces were honour-able, the design forgets both students and the original archi-tecture.

With so much of Toronto’s historic architecture lost, it is not surprising that sometimes we get a little confused going forward. For the most part, this is not a problem for the Univer-sity of Toronto. It knows where it came from, and it displays its past proudly, side by side with -%$#1"4#")- ("$2#5."#(/*6'$#-$#solidly building its bridge into the future.

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The architecture

U of T’s facelifts are (mostly) true to their old facades. There /&"#*/17# 1"#"8/*6,"$#+9#1"4#/))-%-+1$#%+#+,)#:'-,)-10$#+1#;#of T’s campus, but here are some of the more interesting proj-ects. Clockwise from top: Munk Centre for International Stud-ies; Max Gluskin House on St. George; and Robarts Library, aka dear old Fort Book.

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6 June 20, 2011the newsmagazine

For it is by self-forgetting that one �nds

SUZIE BALABUCH

Leaving the El Mocambo following what will surely go down as one of the most interesting interviews in this editor’s life, I clutched a little statue of Mary in one hand (a gift from the subject), and a business card inscribed with the prayer of St. Francis of Assisi in the other. “For it is by !"#$#%&'!(()*'+(,-(+%*!+.*/ 01+&!-/+%*!+%#+(,!+.*-"+")*! +%#+(,!+prayer.

The owner of the El Mocambo reveals what is truly to be gained from losing it all

In the case of Abbas Jahangi-ri, or Mr. Abbas, this is espe-cially true. The self-proclaimed #%&2!&+34-5)(-") (1+(6&*!/+philanthropist shed his old life %#+.*-*4)-"+ 644! +-*/+"676&80+and took on the arduous task of dedicating his life to those less fortunate.

In 2001, Mr. Abbas acquired ownership of the Toronto mu-sic landmark, the El Mocambo, in a controversial bid that has been rumoured to have been in the one million dollar range. Largely seen by the Toronto music scene as an outsider and 5%"-&)9)*'+.'6&!0+:&;+<==- +originally planned to move a dance studio onto the prem-ises, something he claims he received death threats over.

The curious story of Mr. Ab-bas’ acquisition of the legend-ary music venue is not the most intriguing factor in this story of loss and gain. In a moment of prayer, Mr. Abbas’ life changed forever.

“It was 2003, and I had to make some really serious deci-sions. Everything I wanted I achieved it. I had this calling inside me, and I kept want-ing to do charity....I was in my %#.4!0+(,)*>)*'+(%+28 !"#0+3?+achieved everything I wanted: lots of buildings, lots of staff, lots of companies. So what’s *!7(@+<*/+(,!*+?+ -)/0+A:->!+2%*!8+(%+')B!+(%+(,!+5%%&;C1+It was then that Mr. Abbas started his organization, Serv-ing Charity, which now boasts more than one hundred vol-unteers, and delivers food and coffee to Toronto’s homeless 7 days a week, 365 days a year.

Like his personal heroes, Mother Teresa and John Paul II, Mr. Abbas left behind all the trappings of his well-to-do lifestyle, took a vow of poverty, choosing to live above the El Mo. “I got rid of my things, I sleep on the couch, I have no pay, for eight years now. Every )*'"!+/%""-&+'%! +(%+(,!+5%%&;1

Mr. Abbas also made an interesting business move involving his ownership of (,!+D"+:%4-2=%;+E!+!75"-)* 0+3<""+(,!+5&%.(+2-&')*+#&%2+(,!+El Mocambo goes to Serving Charity, 100%. The staff gets 5-)/0+=6(+-""+(,!+5&%.(+2-&')*+'%! +(,!&!;1

Having lost all the worldly comforts that most people .*/+)*/) 5!* -="!0+:&;+<==- +gained more time to devote to his many projects involved in Serving Charity. Along with the whole-hearted devotion to helping anyone in need, Mr. Abbas also developed a much stronger, and quite striking, relationship with God.

In talking to the man, it does not take long to come to the topic of spirituality. Himself a Muslim, Mr. Abbas practices a passionate amalgam of reli-gion in his everyday life, often referring to his idol, Mother Teresa of Calcutta. His face simply beams with reverence as he speaks of the woman who helped inspire him to leave his ")#!+%#+.*-*4)-"+4%2#%&(+-*/+instead pledge himself to the poor.

“Between all the religions, she understood the mean-

ing of God, and it was among (,!+5%%&! (+%#+(,!+5%%&;1+:&;+Abbas peppers his speech not only with words of holy praise #%&+ -)*("8+.'6&! +")>!+:%(,!&+Teresa, but for pretty much any other topic. It can be slightly 6* !((")*'+-(+.& (0+=6(+- +()2!+goes on, the regular religious references in conversation be-come familiar and welcome.

When asked about the relationship between his work for Serving Charity and the El Mocambo, the answers are decidedly less passionate. Mr. Abbas talks about the involve-ment of the arts in raising money for Serving Charity as one would about a former sig-*).4-*(+%(,!&;+3?+6 !/+(%+,-B!+that incredible love for the arts. I used to be a dancer, and I had two black belts. It was business then, business after business. But with the project now, I was lost, but now I’m found. I was =")*/0+*%F+?+ !!;1+G6 (+- +:&;+<==- + -4&).4!/+-*/+"% (+2-H%&+worldly possessions in his ma-jor life change, he seems to also have lost some of the love for the arts that many of his dis-senters consider necessary for running such a famed musical establishment.

Yet, despite all that is and has been said and observed about Mr. Abbas, his utter devotion to helping those who are most in need is unquestionable. The impression that one takes away from a conversation with the man is that he might not please everybody, but he sure is trying to help everybody.

Even the opposing forces he has faced through his involve-ment with the El Mocambo are subject to his philosophy of al-ways giving to charity. “I try to lead them [the artists] to char-)(8;1+I%&+(,% !+F,%+/%+*%(+F-*(+to abide by his life principles, Mr. Abbas sees them as simply not being able to understand.

Paraphrasing the famous Mother Teresa, Mr. Abbas says, “A lot of people do great things, but there’s not that many peo-5"!+F,%+/%+ 2-""+(,)*' ;1+J,-(+can be achieved by one small -4&).4!+) +#%&+8%6+(%+ !!;+:&;+Abbas, however, has already had quite the glimpse.

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7June 20, 2011 the newsmagazine

Across

1. 1995 talking pig movie5. Swiss mountain range9. Common Latin verb13. Countenance17. Inaninmate matter monster18. Onion relative19. GUI image20. Mobs22. Linear nature24. Nil

25. Open, as a beer bottle26. Common vaccine shot27. Our star28. Rome’s country29. Spike or Ang30. Gentle touch33. Audition36. Indicate by associa-tion39. Grand ending41. Towards the stern of

a ship42. Flightboard informa-tion45. White pool ball46. Robot48. Relating to holy Mus-lim text50. Dynasty ruler54. Ginger cookie56. Host57. Chewing treat58. Billboards

78. Sealed, as a closed door80. “Without further ___...”81. Acts82. Choose85. Gun club87. Alias acronym89. Enthusiastic excla-mation (“___ wilikers, Batman!”)90. Eggs91. Silent93. 9 Down’s second wife95. Class of animal !"#$%&'"$"(')"*++"$",-.&102. Incentives106. Siesta107. Hudson or James, for example108. Breed of extinct /-0)1,&''"2&3"4&$,$.5"birds109. Burdens110. Post revolution goverment112. London landmark115. 24 hour period116. Jewel117. ___ Mission (Texas Revolution site)121. Roman salutation122. Get rid of126. 1692 Witch Trials town127. Toward the ocean 128. Gifts on February 14131. Hydrogen fusion weapon132. ___ pong; table tennis133. Handheld appliance134. Build a monument135. Beholds136. “Or ___...” (ultima-tum)137. Play divisions138. Another word for 106 across

Down

1. Piece of a skeleton2. A once active candle

3. Chance upon4. Internet currency5. Gifts of food or money6. Hawaiian souvenir7. A dog or a bird, for example8. Upper air9. Famous theoretical physicist10. Search high and low11. Male whippersnapper12. Chemical compound '6+(713. Whence an apple falls14. Common slang con-traction15. “___-Cola”16. List ending abbrevia-tion17. Stomach21. Double agent23. Regret30. Loud noise31. Common conjunction32. Standard34. Sturdy wood35. ET’s ride36. Frozen water37. Mother38. Vigour39. ___ away; at a distance40. Theme of this

issue

42. Surround 43. Suit accessory44. Highest card, in most cases89!":6'-;"(,&"1<=&49. Prayer ending51. Sense of self52. Pirate’s alcohol of choice53. Greek character>>!"?@&(7&'"-.5-;$1-.0"from the side(s) of58. Consumed59. Genetic codeAB!"?&."/6-563. “Survivor” network64. Curt laugh65. R-rated66. Conjure

60. __ chi (Chinese meditative movements) AC!"D.$%<"(')63. Google’s web browser66. Sicilian volcano67. One of the macro-molecules69. Christmas synonym72. Sheep sound73. Compromise77. Sault __ Marie, Ontario

68. Famous fable writer70. And the rest (abbr.)71. Tennis redo74. Mount where the gods watched Troy fall75. Female deer76. Golf peg79. Group of three83. Christmas or New Year’s84. Lacquer and shellac compound86. Two were dropped by Harry S. Truman 88. Gore and Yankovic91. Bathing basin92. Palindromic female name94. Hard rockers “Queens of the ___ ___”95. Bro’s counterpart96. Motel97. Dine98. Health resortBEE!"F&;*@$1-G&"(')101. Droop103. Wet dirt104. America105. Law, in Spanish110. Court clown 111. Referee113. Sweet herb114. Levels, as a score116. Tonic water’s alco-hol partner117. Cremation creation118. Science facilities119. ___ vera (medicinal plant)120. “The cake is a lie” or Rebecca Black, for example122. Lairs123. Singles124. Religious branchBC>!"D6=&@,$1-G&"'6+(7127. King Kong, for example128. By means of129. Circle segment130. Parking venue

ANDREW WALT

Purloined stories: the gain of art, the loss of truthANDREW WALT

As far as many might be concerned,

art is little more than pretty pic-

tures of pretty things. People often

lead themselves through galleries

and museums, soaking up the co-

lour and atmosphere and appreci-

ating the intricacies and details of

it all, but rarely are they concerned

with the context and motives of

what they’re looking at. As long as

it’s pretty, isn’t that good enough?

The simple fact of the matter is

that, far more often than not, art

has an agenda. There’s more to the

piece than a trite plaque, a fancy

frame, and a meagre descriptive

blurb. Those meticulously detailed

portraits? Someone commissioned

them and someone requested that

the subject be depicted in a very

'=&;-(;" $.5" )-0),<" -5&$,-H&5" 3$<!"

Those heavily romanticized land-

scapes? Someone wants you to

think that they’re claiming domin-

ion over that territory. Those noble

scenes of grand victory and con-

quest? Is war ever that simple and

glamourous?

Displayed until May 21 at the Doris

McCarthy Gallery in UTSC, Pur-

loined Stories aimed to have viewers

look beyond the deceptive aesthetics

of art and reexamine what any given

work might be attempting to convey.

Curated by Sandy Saad, a Masters

of Visual Studies student at the St.

George campus, each of the featured

pieces adapts famous artworks as a

statement meant to expose the hid-

den secrets of the original.

“Purloined Stories is an exhibition

that revisits the idea of image theft

with a group of artists who high-

light the fabrication of narratives

throughout history by recreating

existing historical masterpieces,”

says Saad. “[The pieces] empha-

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at times use the existing images

for their own strategies, illustrat-

ing that the narrative is servile to

power.”

Unlike many other art exhibits

which are stodgy strolls through

the classics of centuries passed,

Purloined Stories was fairly unique

in that there’s a distinct sense of

urgency in its purpose. In fact one

feature, Liberty Lost (G20 Toron-

to) by Carole Condé and Karl Bev-

eridge, criticizes the repressive po-

lice presence in the city during the

still fresh in the mind G20 summit

by reworking Liberty Leading the

People, created in 1830 by Eugene

Delacroix.

Not only is retooling older works

for contemporary commentary

common and ongoing, but prac-

tices of manipulating art and me-

dia for particular interests are

also still happening to this day.

On September 14 of last year, an

Egyptian newspaper, Al-Ahram,

was discovered to have published

a photograph of then-Egyptian

President Hosni Mubarak preced-

ing President Obama and other

world leaders walking through the

White House. As it turned out, the

photograph was a fabrication of

what originally showed President

Obama in front, so manipulated by

the Egyptian press to demonstrate

Egypt’s leading role in the Mideast

peace talks, as the editor-in-chief of

the publishing paper later revealed.

Quite appropriately, then, brushes

and paints can be viewed as the

archaic form of Photoshop and all

of the software’s various connota-

tions. David Buchan’s Always in-

serts a box of feminine hygiene

products into the famous Portrait of

Josephine de Beauharnais, an 1805

painting by Pierre-Paul Prud’hon.

The immediate result is that the

viewer is struck by femininity in

both its glorious and unglamour-

ous aspects simultaneously, with

an amusing bit of historical irony

just below the surface.

A riff on masculine naivety also

seems to be played in Jakub

Dolejš Tribune, which removes

the male patrons from the 1770s

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L*)$.." 4*++$.<I" $.5" 3$')&'" *61"

certain details. Thus the gallery

in which wealthy men received an

art education turns into a space

where accounts of history are made

cloudy, spurious, and inconsistent.

The remaining still pieces, Adad

Hannah’s The Raft of the Medusa

(100 Mile House) and Kent Monk-

man’s Sunday in the Park, both

have their own fascinating state-

ments and contexts worth explor-

ing, namely the trials of a suffering

British Columbia community in the

former and the juxtaposition of one

piece free of humans with another

full of them in the latter.

Finally, there is also a 42 minute

(,M"J<"N*"#H6"2<&.I O$@1)I"*."*+-

fer. Whereas the other artworks are

appealing, idealized, and attractive

products, Earth servers as an an-

tithesis which makes no attempts to

dress up the realities that inspired

its creation. Even in drawing at-

tention to the inherent ugliness of

greed in the themes of conquest and

colonialism in their originals, the

other features are still pleasing and

glamourized re-appropriations. Ho

Tzu Nyen, however, demonstrates

the deceptive, destructive and cata-

strophic results of such pursuits

with no effort to mask its grimness.

“I hope that this exhibition speaks

to our nature as humans,” says

Saad. “All of the famous works ref-

erenced are about times of revolu-

tion, change, or conquest, and all of

1)&'&" M*M&.1'" 3&@&" (;1-*.$,-H&5"

in certain ways at the time. I think

that says a lot about human nature

$.5" 1)&"5&'-@&" 1*" 16@." 1*"(;1-*." -."

times of change or turbulence.”

Much in the same way that art isn’t

created in a vacuum, art shouldn’t

be interpreted in a vacuum either.

Purloined Stories was a fascinating

event for its attempts to show how

some familiar pictures may have

been deceiving all along.

the backpage8 June 20, 2011

“ the campus comment ”the newspaper asked: what is the BEST. THING. you’ve ever found?

ANASTASIA, Neuroscience, 2nd year

“I collect Pullip dolls and found a rare one on Kijiji for half the price it is actually worth.”

SAMANTHA, Classics, 3rd year“A slot machine on the street with $50 in them!”

DAVID, Life Sciences, 2nd year“A bag of coke on the train tracks at Dundas West. OB-VIOUSLY I disposed of it.”

BO

DI

BO

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MO, Mathematics, 4th year“I found an old friend on campus from my primary school in China. It was such a coincidence to meet him in Toronto.”

REBECCA, English, 4th year“A cat, who later became my pet Timmy, in an aban-doned farm. It really made me happy as a child.”

NICK, Health Sciences, 2nd year“A girl at Boston Pizza.”

the comics