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JIM GREEN has worked for over 20 years to improve the lives ofDowntown Eastside residents. He's developed social housing, countlessprograms and now teaches at UBC, and he's just getting started.KATHY DEERING PHOTO

PROFILES

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TUESDAY, DECEMBER 4, 2001 3A UBYSSEY SPECIAL ISSUE

UBC professor Jim Green has been giving the Downtown Eastside a voice.by Kathy Deering

Tuesday night, bathed in the harsh light of an unfin-ished coffee shop at the base of East Hastings Street'sSunrise Hotel, UBC's Anthropology 303 class has its

unconventional final exam. Students are required to pres-ent something which reflects what they've learned duringthe term and to display creative expressions of themselves.Those expressions range from paintings to short stories toa hand-sewn wall-hanging.

But there is an interesting contrast that night we areallowed to see two shows. Behind the presenters, through theceiling-to-floor windows, snippets of real life are played outon the street by Downtown Eastside residents: We watchthem press their faces against the glass to see what we'redoing. UBC professor Jim Green, an instructor ofAnthropology 303; recognises many of them, and mouthsgreetings to them through the glass. We are warm in thefledgling café. They, on the other side of the window, are not.Ironically, they comprise the entire subject matter of theAnthropology 303 course.

0 ver a pint at the Irish Heather, a Gastown pub on theboundaries of Vancouver's Downtown Eastside, JimGreen describes how he and colleague Michael Ames

thought up the idea for Anthropology 303 (Anthropology ofthe Downtown Eastside) five years ago. He and Ames, co-pro-fessor of the course, were upset about how a lot of universi-ties were teaching the Downtown Eastside.

"Basically what we set up was the urban field school," Greensays. He compares the unique style of the course to the uniqueway that Downtown Eastsiders need to be treated.

`These students are given the opportunity to really blos-som, right,' Green begins, 'because they can do things in theirown ideas, do things in their own practice, which is very dif-ferent from what school usually is. In another situation theymight be very much different. And it's just like DowntownEastsiders. People always try to put them into one way ofbehaviour, which doesn't work for them. They can do amazingthings but they do it in their own way.'

Ave Gerber, a student in the class, wrote poetry for her pres-entation Tuesday night and has high praise for Green's course.

"Jim Green as a teacher was great,' she says. 'The teachers,the way they taught the course was very different and very indi-vidualised. It changed my opinion on everything I've everthought about the Downtown Eastside."

Green has made an enormous impact on people inVancouver and a trail of accomplishments follow hisburly frame. Born in Alabama, Green moved to

Vancouver's Downtown Eastside from New York in 1968. Heworked as a longshoreman while completing a graduatedegree in anthropology at UBC and wrote a book on theCanadian Seaman's Union for his PhD dissertation.

When Green came back to Vancouver, in 1981, he becamethe organiser of the Downtown Eastside Residence Association(DERA). Jean Swanson, a friend who waited tables around the.corner from where he lived, had helped create the associationin 1973.

"At the time there was one volunteer and no staff. I don'teven remember how we put it together. It was hard. We did alot of fundraising,' Green reminisces.

Throughout the 1980s, Green had many political skirmish-es with the municipal government as DERA fought to givedowntown residents a voice. The battleground was city hall.DERA members once glued petition pages together to showhow much support there Was for their cause, a grant to pay fora DERA organiser, Green's position at the time.

Support for Green was tremendous'We circled city hall with [the] petition. Media loves that. If

you can circle city hall with a petition you've got tens of thou-sands of signatures," he says. "If you just stand there and handthem a stack of petitions, it doesn't have much bang for yourbuck, does it? You have to use what you've got

"Demonstrating is effective if it is done well,' Green says."You have to get the media on your side."

And victory, he says, starts with knowing something isworth fighting for.

'You have to know that's what people want to happen. Themain thing as an individual is that you're being driven by thepeople who are being injured, the people who want to changethe world,' he says.

Tenacity and determined patience are two reasons he hasachieved so much, but where does Green's determinationcomes from? He pauses. He describes his father, a former USArmy sergeant, as an alcoholic and physically abusive.

'I also know what it's like to be treated as an outcast and

marginalised and put down, and toldyou'll never be anything, you can't think,you're stupid,' he says. And he sayspeople often tell him he takes thingstoo personally.

"Oh I do,' he asserts, shaking hishead. 'I really do. And when I hear thiskind of crap, I take it right to my soul.And I think just inequality. And peoplegetting screwed. And people not havingthe opportunity to blossom and be theirbest. You know, it's a waste, and it'sdumb and backward and I hate it and Itake it personally.'

reen and DERA tirelessly cam-paigned for social housing in the1980s. Sponsorship was hard to

find, but the organisation managed tobuild the 56-unit DERA Housing Co-op in1984. Funding came from the regionaloffice of Canada Mortgage and HousingCorporation and a narrowly passed pro-posal for a lease on city-owned land.

Following this victory, Green plannedthe construction of the Four Sisters Co-op,comprising of 153 units to house familiesand seniors. Green speaks with pride ofthis achievement

'I kept very clear notes in those days,and there were 12 times that everyone,including myself, said that we'd never beable to build that project. But we didn'tstop,' he says. 'And now there are chil-dren that have been born in there and arenow out working. Anything that you reallycare about, you really have to say that ifit's going to work, you have to put a ton oftime into it and a lot of thinking and building allies.'

One such ally is Portland Hotel Society manager LizEvans. Green hired her in 1991 and she has been workingthere ever since.

The society provides stable residences in VancouverEastside hotels to tenants that are difficult to house. Many haveserious physical or mental illnesses or are drug addicts. All arevery poor. Evans describes the society as 'an innovative idea"of Green's. 'He wanted to make sure hotels were preservedwith non-profit [societies] managing them,' she says. "Jim'sreally innovative, an idea sort of person. He's never boring.[He's] always thinking of what's best for the community. He'sgot a great sense of humour, he's got a huge heart he wants todo everything for people.'

After a decade with the association, Green began tofeel more like a landlord than an activist and left topursue a job with the provincial government When

he departed, DERA had 15 employees and $60 million inhousing assets. Green had also created the DERA HousingSociety.

Green worked as the executive director of SocialAlternatives for the Ministry of Communities, Women andAboriginals. In this position, he examined issues includingeconomic development and worked on training and educa-tion programs.

Green helped create UBC's Humanities 101 class, a courseequivalent to first-year Arts, taught by volunteer professors toDowntown Eastside residents and others too impoverished toattend regular post-secondary classes.

Green also helped create a dental clinic. 'You want peopleto get jobs in hospitality industries and they have no teeth?' heasks. 'They're not going to get hired. Those are the kind ofinfrastructures we have to have in place if we want to get peo-ple on welfare employed'

But Green felt a need to bring his views further up the gov-ernment chain of command. In 1997 he ran against GordonCampbell in the Vancouver mayoral election and received anoverwhelming 46 per cent of the popular vote with theCommunity of Progressive Electives (COPE), a left-wing civicparty. He lost the election by just a small margin.

'That's the best that the left has done in Vancouver and I'mvery proud of that," Green says.

As he watches Campbell as premier, Green is still critical ofhis former competitor. He says he is particularly disgusted withthe Liberals lack of support for mothers on welfare, the likelylifting of the post-secondary tuition freeze, the imminent lay-off

of thousands of civil servants, and the new first-job wage.' He is also critical of a review Campbell ordered on a social

housing project Green has worked on since he was organiserfor DERA. The government review has stalled plans to developthe old Woodwards building on West Hastings Street whichbecame vacant when the Woodwards department store chainwent out of business.

'Anyone who's reviewing it isn't doing it for any reason Ican support. It's ready to go. I've been working on that budgetfor 15 years and I'm not ready to give up yet' says Green.

Green has tackled numerous other important projectsover the last few years. His eyes light up as he describesBladeRunners, a program he set up to help street kids

get into construction work. Two years ago, BladeRunnersreceived one of eight awards given to North American youthprograms by the Post-Secondary Employment ProgramNetwork, an organisation representing thousands of youth inNorth America.

Green hopes the current government will maintain the pro-gram. `Those are the kind of programs that really work. Thosekids have gone on to all kinds of different things. That's thekind of work I really love to do and really needs to be done,' hesays.

He also managed to blend opera, something he personallyenjoys, into a program called Democracy, which brings cultur-al events to the Downtown Eastside.

So what exciting social issue is Green currently tackling? Helaughs and says that now he is just teaching. Recently firedfrom the provincial government, Green enjoys working withhis students and is considering teaching more.

But Green reveals his continued commitment to DowntownEastside residents when he mentions a recent event. TheBoard of Vancouver Opera and the Board of Vancouver Choir,two boards on which Green currently sits, did something lastweek that could have come out of a Christmas movie.

Green points out the back window of the Irish Heather pub.`Right out the back of where we're sitting right now, in BloodAlley, we brought the Vancouver Bach Choir, -120 singers,down and they did the Messiah here. We had 400 people outin the lane listening to Handel's Messiah.

'I can't sing or dance. I have no abilities [of that sort]," hecontinues. 'But that doesn't mean that other people can't learnand I can sometimes bring a connection that brings con-sciousness and self-esteem knowing that you've conquered anart form. It builds you up and makes you a better person. I'dlove to do that for a living.' v

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by Julia ChristensenLittle orange boxes. Hundreds of them. Some flattenedand some torn, they are stuffed into a large moving boxthat sits near the door of the UBC World UniversityServices of Canada (WUSC) club. Kate Hamm sifts throughthe boxes, trying to find some that aren't completelydestroyed. It's difficult—the boxes were put to a lot of use.They did, after all, help to raise over $20,000 for the FoodAid for Afghanistan campaign, an idea which Kate devel-oped after the US government began to mobilise for warin Afghanistan.

Like many people, it took a couple of days before thenews of the September 11 attacks really sunk in for Kate.She grieved for the people who had lost their lives in therubble, but her thoughts quickly focused on the people inAfghanistan, who she feared might suffer horribly for theactions of those responsible. She was afraid that thedesire for revenge might spiral out of control. Rather thanallow herself to be paralysed with shock, Kate knew shehad to do something to engage herself in what was hap-pening in the world around her.

Once the US began bombing in Afghanistan, Katebegan toying with fundraising ideas, trying to figure outwhat she could do to help Afghan civilians whose liveswould be threatened. At first, she considered organising asmall-scale fundraising effort with her roommates, butwhat she really wanted was to do something that involvedthe entire campus. And that's when it hit her: she wouldorganise a drive to collect money for food aid packages forAfghan civilians.

thought, how about if I could raise $20,000 on cam-pus? Kate says. "So then I took [the idea] to the WUSC cluband the sub-committee that was just starting up inresponse to [the war in] Afghanistan and right away theyjust jumped on board and were like 'yeah, this is a greatidea,'" she says.

Kate contacted the local UNICEF chapter in Vancouverand arranged to distribute boxes across campus to raisethe funds. She also asked various student organisationson campus to spread word of the effort

But the campaign was not free from criticism. Manypeople questioned the effectiveness of the food aid effortsand were hesitant about how the money would actually bedistributed.

Kate, however, dealt well with these criticisms. She did

her best to provide answers on where the money wasgoing, with proof that donations would reach the peoplewho needed it But when a professor in one of her classesslammed the campaign in front of her classmates, it wasa terrible blow.

"[My prof] said, 'You can't just do fundraising stuff.You have to be political, you can't just throw coins in abox. If you really want to do something, you'll be political-ly active.' But it really just eroded my sense of, well, that Iwas doing something useful. I felt like, what am I doing?It was awful."

Already putting schoolwork aside to pour her time andenergy into the campaign, the criticism from her profes-sor was really difficult for Kate to handle. But while herprofs comments caused her to reconsider the effective-ness of what she was doing, her dedication to the cam-paign did not waiver.

"I felt like I had to do something and [the campaign]was just my own way of trying to deal with what was hap-pening," she says. "In the West, we are so affluent Werarely see beyond our own selves and context. It was justa feeling of, this is awful, these people are going to die andnothing is going to happen. It's just going to be washedover like in Rwanda or other places. It will be overlooked.I thought I've got to engage it somehow."

Kate kept in close contact with the UNICEF office inVancouver and was assured that 90 per cent of the fundswould go directly to purchasing supplies. There was arisk, she admits, in not being able to physically distributethe money and ensure that it reaches Afghan civilians.

"Basically, it's a matter of trust once you give [themoney] to a reputable organisation,' she says. "You justhave to ask yourself, okay, which is worse? To not do any-thing, or to do something and just take a risk?"

Seemingly, for the many donors, taking a risk wasn'tan issue at all. While Kate thought that distributing 500boxes to volunteers would be optimistic, she ended up dis-tributing 750 boxes in total. How successful the food aiddrive would be depended entirely on the enthusiasm ofthe people who were going to go around, collecting dona-tions. Fortunately, enthusiasm was abundant The FoodAid for Afghanistan campaign managed to bring in

Continued on next page

THEY'RE NOTJUST FORHALLOWE'ENANYMORE:Kate Hammlaunched anextensiveUNICEF cam-paign on cam-pus. The proc-ceds went tohelp Afghanrefugees. JULIA

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Continued from previous page

$20,885 in total for relief efforts. Kate, of course, was ecstatic.Engaging in her global context, as Kate likes to call it, has

been a huge part of her life, well, since the beginning.Born in Kingston, but raised in Calgary until her family relo-

cated to Victoria in her last year of high school, exploring theworld through travel and from home was something her parentsreally encouraged.

Not only were Kate and her older sister Karen exposedto different people and places through family trips toplaces like Israel and Europe, their home was a welcom-ing place that hosted all sorts of different people in needof a place to stay.

One of these people stayed for eight years andbecame, unofficially, an adopted brother for Kate andKaren. His name is Tippy and he came to Canada fromTonga, his home country in the South Pacific.

Tippy, a teenager at the time, came to live with Kate'sfamily when she was two years old. Kate laughs when sherecalls the impression she had of her older brother whenshe was so small.

"I grew up with him always there and he was this bigblack guy who looked very formidable to me, this littlekid," she says. 'But he was the kindest, gentlest guy."

And so the family was Karen, Kate, Tippy, their parentsand anybody else who happened to be staying in their houseat the time.

Kate's parents made a huge effort to raise their children in anopen-minded home. Her mother was especially committed tobroadening their world view, instilling in them the importanceof thinking for themselves and questioning the world. When thefamily travelled with Tippy to Tonga, it was a profound experi-ence for Kate and made her realise that there was 'a landscapebeyond" hers in Canada.

"One of the things that I just appreciate so much about myparents is just that they've always said, 'Question what you thinlc,

question what you believe, go beyond what you feel comfortablewith," says Kate.

While Kate's education at home was challenging, her highschool classes were not. She finished her Grade 12 year feelingrestless and unsatisfied. Not wanting to go straight into univer-sity, she decided to sign up for Youth With a Mission (YWAM), aprogram that sent her to England and Denmark, where sheworked for six months with at-risk kids in the inner city. Theexperience was an eye-opening one.

'It was challenging,' says Kate, "because I was faced withsomething that I hadn't done before and it was excellent in thatit challenged who I was. I just learned so much from the kids thatI worked with."

After YWAM, Kate felt ready for university. She planned tomajor in psychology, but her first semester at UBC changed herfocus a bit And she has the 1997 Asia Pacific EconomicCooperation (APEC) summit, held at UBC, to thank for that.

"In my first year, APEC was hosted on campus,' she explains.°My sister was really involved [in protesting APEC] and she wascamping out in tents [in Democracy Village] and she reallyencouraged me to take part in the protesting...Since then I feel

like more and more every year the direction of my life is goingmore into advocacy and social justice work."

Energised by this newfound desire to be involved in socialjustice issues, Kate switched her major to sociology, a disciplinethat has pushed her to re-examine her view of the world and herrole in it

Last winter, she went to Australia on a six-month universityexchange, where she became involved in Amnesty International.The organisation at the university she attended, she says, was

particularly focused on refugee issues, an area that'clicked' with her. When she returned to UBC, shelooked for a group here that focused on similar issues,which is how she came to be connected with WUSC.

Kate also became involved with Immigrant ServicesSociety (ISS), an organisation in downtown Vancouverthat works to facilitate the transition of immigrant fami-lies into life in Canada. The volunteer work at ISS issomething that Kate particularly enjoys and that hasallowed her to learn more about refugee and immigrantissues.

Now that the Food Aid for Afghanistan campaign hascome to an end, Kate has more time to focus on othervolunteer work and, of course, school. And she is alsotrying to figure out what to do next.

"I know that I don't feel [this campaign] was an end—that this was my goal and now that I've reached it, well that's itNo, this was just one of many ways that I could do something. It'sa continual thing. I'm going to be looking for new ways to...con-tinue engaging in the world around me,' she says.

Kate will be graduating from UBC in the spring. It's an excit-ing time for her as she decides what her next step will be.Refugee advocacy is an area that continues to be of particularinterest to Kate, one that she hopes to focus on at the graduatelevel. But education isn't something that she sees only existing inan academic setting. She continues to follow the belief instilledin her by her parents, that education is lifelong, whether you'rein or out of school.

"One of the things that I justappreciate so much about myparents is just that they'vealways said 'question what youthink, question what youbelieve, go beyond what youfeel comfortable with'"

—Kate HammStudent activist

Wby Ron Nurwisah

DOING WHAT HE LOVES: Gu Xiong moved to Canada in 1989 to escape arepressive Chinese government. What he found was a new life and the free-dom to create the art he wanted. RON NURW1SAH PHOTO

6 TUESDAY, DECEMBER 4, 2001 PROFILESA UBYSSEY SPECIAL ISSUE

TUESDAY, DECEMBER 4, 2001 7 diE...Zile

Ten years ago he was a bus boy. Today,Chinese artist Gu Xiong is an associate professor offine arts at UBC. Gu's story is one of immigration,alienation and—above all--dedication to art.

with the

WHATSA MATTA YOU? Katherine Monk can't understand why so many Canadians don'tlike Canadian film. Her new book, Weird Sex & Snowshoes, tries to showcase the best ofthis country's cinema. SARA YOUNG PHOTO

their images everywhere, inside moms, ontheir ceilings.' There were line-ups on stair-cases and out to the street to see theseshows.

But the restrictions would slowly change.As the 1980s progressed, the governmentloosened its grip on art galleries and allowedsome shows. Artists were also allowed toleave the country—a privilege previouslyallowed only to diplomats and politicians. In1986, the Banff Centre for the Arts invitedGu to be an artist-in-residence, and he stayedfor a year. It was his first time abroad andthe experience of living in Canada was eye-opening.

All of these newfound freedoms were tobe tested by the late 1980s. Hundreds ofartists from all over China felt that theirworks needed a showcase. ContemporaryChinese art, they felt, had matured.

About 300 artists pooled their resources,contributing about $100 each to rent out allthree floors of the National Gallery inBeijing. The end result was one of the mostimportant and successful art shows in mod-ern China

In February 1989 The Chin a Avant-GardeShow premiered, showing over 500 worksfrom about 300 artists.

"Over 10,000 people attended the open-ing. It was just like a river from outside mov-ing into the gallery space and slowlybetween the floors. The show was doseddown by the police after only three hours,'

Gu says.It was a blatant example of censorship. A

fellow artist's installation used a gun. Thiswas reason enough for the police to closedown the exhibit

Tor me, this kind of avant-garde showwas the beginning of the whole democracymovement because it challenged the society,challenged the government,' Gu says.

Gu was also very heavily involved in thestudent movement that would eventuallyoccupy Tiananmen Square.

"When I joined the student movementsmy parents told me that 'you shouldn't go tothose movements, you'll be caught later on.'I didn't believe them. I said 'this was ourtime, we will win.'

History, however, would dash Gu'shopes. On the evening ofJune 4, 1989, tanksand soldiers of the People's liberation Armyopened fire on the students occupying thesquare.

"I took a train to Beijing, but before Ireached Beijing. I heard the news...The cityof Beijing is the heart of China, the heart ofthe Chinese people, and they've started fight-ing...That reminded me of the Cultural revo-lution in 1967-68, those two years the peo-ple Covert with each other, used weapons. Alot of people died during that period,' hesays.

After Tiananmen, Gu knew that he had toleave China.

'To do contemporary art was difficult inChina. For me,that's the reasonwhy I want, to docontemporary artand nothing else.Corning here [toCanada] I am able todo my art that's mydream.'

Not an easy task,as the Chinese gov-ernment placednew restrictions onexit visas. Gu, how-ever, was fortunate.

"I think at thattime most peoplestill, supported thestudent movement,

IS NOTHING SACRED? On his last trip to China, artist Gu Xiong found globalisation has made itsway to Beijing's Forbidden City, which now hosts a Starbucks. GU XIONG PHOTO

Gu Xiong has never felt completelyaccepted.

Born in 1953 in the southern Chinesecity of Chongqing, Gu was affected early inlife by the Chinese government, whichmade it clear that Gu's family—educated andoutspoken—was not wanted. His father, ateacher, was forced to work away from hisfamily for years, allowed only one two-weekvisit each year.

By the late 1960s, the Cultural Revolutionhad begun in China. Schools and universi-ties were dosed. Those who were wealthy oreducated, such as Gu's family, were black-listed by the government Some were deniedjobs, shamed. Many were lynched, mur-dered. Some committed suicide or werethrown into jail.

The Chinese government began sendingmany of its young people from the cities tothe countryside, where they were to live withpeasants and labourers and learn farmingskills. Seventeen-year-old Gu was one ofthese young people sent to the countrysidefor 're-education' There, Gu worked in thefields from dawn to dusk But at night,instead of falling straight to sleep, he stayedawake and sketched.

"[It] helped me understand myself,through my art, through the images I tried torecord of my life. During those four years, Ifilled over 25 sketchbooks. [It] was a veryimportant time in figuring out how art wasimportant to me and my life,' he says.

After four years in the countryside, Gureturned to the city where he found work ina factory. Shortly thereafter, the CulturalRevolution was finally brought to a closewith the death of Mao Zedong in 1976.

China, under the leadership of Deng.Xiaoping began to open itself up to the West.The schools and universities that weredosed during the Cultural Revolution werere-opened. Gu immediately applied to theSichuan Fine Arts Institute in Chongqing.

In the dassroom it was very exciting.,"Gu says. "We had styles covering everythingfrom traditional Chinese styles to modemart and even post-modernism. It was verystrange at that time. Everyone was trying tolearn something. to copy something fromWestern culture then turn it into their own.'

But at the same time, there were stillstrict limits to what people could and couldnot see. Western contemporary art slowlymade its way into China, but it also metfierce government censorship. Gu remem-bers students being strictly supervised atlibraries when looking at exhibition pro-gram guides from Western art galleries.

"We had to go into the library as a class,leave our bags outside the reading rooms,and only for three hours, then they wouldkick us out.'

On the streets, it was a similar scene. Thegovernment still tightly controlled thegallery system and wouldn't show contem-porary art

"Lots of artists started showing theirworks in their own apartments. They'd put

lots of those leaders in schools and localgovernment So my school helped me. Theytold [the local police] that I didn't join it, thatI was only there to protect the students."

With the help of the Banff Centre, he leftagain for Canada, this time for good. Hiswife and young daughter followed a yearlater.

"I was in Banff for a year. I had a fullscholarship. I had everything. I dreamedthat my life could be comfortable like theBanff Centre, then my Canadian friends toldme that 'Gu this isn't real life," he says.

When his year at the Banff Centre cameto an end, Gu moved to Vancouver. Notspeaking much English, Gu took odd jobs.He could've found work as a street artist buthe didn't want that Gu wanted his art toengage culture and comment Street por-traits and landscapes didn't do that

'If I understand this culture and society,well, my work will make sense to this cul-ture, so then I started to do these low payingjobs, car wash, laundry jobs.'

Gu finally found a job as a bus boy at theUBC cafeteria.

"It was difficult..I was teaching universi-ty in China. I was a very well known artist inChina. To come here to be a bus boy, no oneknows me. I remember my first day, when Iwore my bus boy uniform. I walked into thecafeteria to pick up garbage, I rolled myhead down. My face turned red. It was ashame to me."

Nonetheless, Gu continued to create art,finding inspiration in his job. The cafeteriainspired his first exhibit in Canada, Gu'sworld. Over the next ten years, his workswould be widely exhibited in Vancouver, allover Canada and abroad.

His job as a bus boy was also temporary.He took teaching positions at Emily Carr andUBC and, more recently, became an associ-ate professor.

At the same time, Gu, the new immi-grant, has tried to find his place here inCanada. It's something that hasn't beeneasy.

'You know how difficult it is to carryaround everything? I have to carry my tradi-tions, I have to be open to this new cultureand, at the same time, I have to move to athird place,' he says.

His search for identity within a new sod-ety is something that has greatly affected hiswork. A number of his installations com-ment on the individual's and the immi-grant's roles in society, whether it is the his-tory of Chinese Canadians, or the culturalfusion between China and Canada.

Gu's perspective as an immigrant alsohelped him when he returned to China in1998. Dramatic changes had taken place inhis homeland.

"My familiar images were totally gone. Itwas just like any city in North America. I wasdisappointed in many ways.'

He returned again last summer and sawsomething even more interesting China hasbegun to absorb Western culture and turn itinto something unique, something differ-ent—a mixture of the Chinese and the for-eign.

'China is like an experimental place.How can one individual culture confront thisglobalisation and, at the same time, how doyou react to ensure your survival? That kindof situation relates to my experience, tocome to the West, to try to mix different cul-tures together in the West'

Yet when asked whether he would returnto live in China, Gu shook his head no.

'This is my home. After 12 years of stay-ing here, struggling and suffering, my lifehas become meaningful and belongs to thisplace more than China.'

After 50 years of trying to find his place,Gu seems to have found it A third place, allhis own. 4.

Katherine Monkgets intimate withCanadian cinemaby Duncan M. McHugh

The headquarters for the National Film Board[NFB] of Canada are located in Montreal's LatinQuarter, on the corner of Rue St Denis and Rue deMaisonneuve. Amongst the offices, the award stat-uettes and the games for kids, there is theCineRobotheque, a robotic arm that can retrieveany one of 2340 NFB films for personal screen-ings. It is state-of-the-art.

Now, there weren't any giant robotic arms atthe NFB in the 1970s, but you could still watch anyof the NFB films - on site. It was a time thatKatherine Monk, author of Weird Sex &Snowshoes, a new book on Canadian cinema,recalls excitedly.

'My big sister—she was really smart—found outabout it, found out about the [film screenings] andwent a lot, and I got to go with her every once inawhile,' said Monk. "Once I found out how fun itwas, we'd go all the time. It was so close to ourhouse. It was across the highway from where welived, we could ride our bikes there.'

Monk has not since lost her enthusiasm forCanadian cinema. In addition to her new book, theformer UBC student (and Ubysseyeditor) is the res-ident film critic for The Vancouver Sun and CBCRadio's Definitely Not the Opera. Her writingshows the enthusiasm of someone who grew upwith a knowledge of how great Canadian film couldbe. Nowhere, is this more evident than in a discus-sion of the NFB.

"I mean, cinema verite got created through theNational Film Board,' she said. "You know, the cre-ation of smaller cameras, the animation tech-niques that went into doing Norman MacLaren'sSpheres, went into 2001. Kubrick couldn't havemade that movie had he not seen the National FilmBoard movie beforehand to figure out how hecould visualise it,' Monk says.

In spite of all the hardships, they've managedto survive and make good films. Isn't that a testa-ment to the resourcefulness of the Canadian psy-che? We don't give up. We just don't give up. Wejust keep moving forward in the snow, one stepafter another.'

Monk left Montreal for Vancouver after highschooL She wanted to attend UBC, find better ski-

- ing and escape central Canada.'As an Anglo-Quebecker, my world was shrink-

ing faster and faster every year,' she said. "Youknow, if I stay here, I'm going to end up marryingthe guy next door because you have to keep thetribe surviving, must keep breeding...I really want-ed to get away. There's a certain elitism that I grewup around. I wanted to start fresh. I wanted to go toa place where I knew nobody, and the scenery wasamazing'

Monk started an English honours degree andvolunteered at the Ubyssey. After getting her BA,she was elected city desk editor at the paper andstarted work on a film diploma. Although it didn'tseem like it at the time, it was a very fortunate timeto be in the UBC film program. Her classmatesincluded Lynne Stopkewitch (Kissed), John Pozer(The Grocer's Wife), Bruce Sweeney (Last Wedding)and Mina Shum (Double Happiness).

"It was a pretty outstanding class really. And,because we didn't feel we were being well-servedby the institution—as all student filmmakers do—we learned to work together and all those peoplehave helped each other since. That whole graduat-ing class became a resource group unto itself, help-ingech other fill out grant forms, supporting eachother.'

After her term at the Ubyssey ended and shehad her film diploma, she took a job as a summerstaffer at The Vancouver Sun. She had made filmsas a student and wanted to pursue that, but alsowanted to work as a journalist

'I wanted to be a news writer and I got hired atthe Sun as a news reporter. I wanted to keep thetwo things really separate, I didn't want to crossover into the film criticism thing because then I'mgonna alienate myself from all of the people I real-ly like and went to school with, and it will meanthat I'm crossing over to be a snotty critic insteadof a creative person.

"I figured news reporting would be perfect if Iwanted to go back and make movies—what betterway to get an ear for dialogue and create great storyideas and to actually be out there and talking to realpeople and hearing those stories?'

Monk has been at The Vancouver Sun for tenyears now. She worked as a news reporter, copy edi-tor, wire editor, production editor, editorial writer,columnist and pop music critic before—somewhatbegrudgingly becoming the full-time film critic.Though she loves being able to write about film fora newspaper, it does have its limitations.

'As a newspaper writer, you don't really have achance to get down and dirty with a topic, youdon't get a chance to wrestle it to the ground. You

touch it for five minutes, you playwith it, and then you have to con-tain everything to 16 or 20 inchesat the most, and 600, 800 wordsisn't enough to really feel likeyyoouu'vcean7asticated it as much as

This is where the idea of WeirdSex & Snowshoes came in. Monkhad spent ten years cutting downstories, narrowing focuses andusing only ten per cent of inter-views.

-I mean you interview a film-maker and have like 20 pages ofnotes and an hour's worth oftape and when you write a news-paper piece you use like sixquotes...I figured, 'Well I got thishuge library of quotes and mate-Hal, why don't I [write a book]?'

Monk was astonished by thelack of books written onCanadian film in the past tenyears, a decade which has seenthe rise of Canadian cinemagreats like Atom Egoyan (whowrote the Foreword to WeirdSex...), Bruce McDonald andDon McKellar, not to mentionher classmates from UBC.

"I'd been thinking aboutit, not that I was ever going to

get off my ass and do it So I

got a call, e-mail out of the blue from Raincoast[Books], asking if I wanted to do a book onCanadian film and I was, like 'How fortuitous!' Ididn't even have to shop the idea. You know, it wasone of those wild things that happens out of theblue.'

To write the book, Monk took two months fromher job at the Sun. But the energy and focus need-ed to write an entire book proved much moredaunting than Monk had expected. She missed herfirst deadline and returned to work at the paperbefore taking off an additional three months tocomplete the book The idea that her work wouldsit on a shelf for years—not simply become recy-cled newsprint after a day—was particularlydistressing

-With a book, because it's going to be printedand it's on a bookshelf and kind of stuck there, andin libraries—it's gonna be there as a referencepiece—it's terrifying. Terrifying that it had thatdegree of permanence, which nothing else rd everdone really had,' she says.

Monk's philosophy was to avoid writing thekind of book she was saddled with as a film stu-dent. Her goal was to write a book that wouldappeal to those Canadians with little knowledge oftheir native cinema.

"It's meant to be a populist primer. I mean, thewhole point of the book is that Canadian film hasbeen in the hands of academics for way too long.And if Canadian film is going to succeed it has to besomething that appeals to a mainstream audience.

"I don't care about indoctrinating the devout fol-lowers of Canadian film...They've got their ownideas, and that's great But why not enlighten themasses who don't understand any of it who don'tknow how to love it well...don't know how to gravi-tate towards it?'

The book itself is extremely accessible. It's laidout in ten chapters, each of which addresses a sta-ple theme of Canadian cinema, be it survive- guilt,repressed and subverted sexuality or the alienationof being the 'other.' Most chapters feature profilesof prominent figures of Canadian cinema. The last74 pages of the book are dedicated to reviews of100 Canadian films, movies that either provedparticularly relevant to themes in Canadian cine-ma, or that Monk felt were overlooked when theywere first released.

And while Monk emphasises Weird Sex..'sappeal to Canadian film neophytes, the book has alot to offer film buffs too. Monk's light and engag-ing tone offers fresh and informed insight intomovies new and old, be they canonical works likeMon Oncle Antoine and Coin' Down the Road, orrecent classics such as New Waterford Girl, Parsley

Days and Maelstrom.A large part of the book is dedicated to con-

trasting Canada's movies with those ofHollywood's, a very potent juxtaposition. Thisworks best when Monk compares two movies, asshe does with Don McKellar's Last Night andMichael Bay's American blockbuster Armageddon.Both films examine the end of the world, butwhereas McKellar's looks at the way people spendtheir last night on Earth, Bay's features BruceWillis trying to blow up a giant asteroid to save theworld. It's a vivid illustration of the way in whichCanadians and Americans have constructed them-selves in film.

'Americans, they've made themselves to be thisheroic race of people. Essentially, they're blood-lusty battlers, that—you know—revolted againstabsolutely everything and were suspicious of any-thing...They're a very violent race and their moviesspeckle that all the way through.

"It's like the tiniest smallest things are heroic ina Canadian film. Whereas, you know, Behind EnemyLines screened yesterday, and God, you really haveto go a long way to be a hero in an American actionfilm. It takes a lot of guns and bullets and firepowerand jet planes and giant aircraft carriers. You got tohave all this stuff to be ahem in an American movie,you can't just be a good person"

It frustrates Monk when Canadians have diffi-cultys identifying themselves, opining that thereis no such thing as a 'Canadian culture.' She feelsthat an investment in this country's film industrywould help make our identity more obvious to us.

"We don't think we have an identity, but it's soobvious that we have one. You look at the movies,it's like, we have a huge Canadian identity. Howcould you not say we have an idea? It's just thatwe've never been given the tools to articulate itand talk about it and reflect it all back at us so thatit becomes a perpetual cycle of identification.'

As she deftly points out, if every Canadian sawa Canadian film a year, the industry would sud-denly have $300 million in receipts, whichwould be a huge boost. Her solution: a Canadiancontent regulation, similar to the one the musicindustry has.

"I would like to see a quota system, quitefrankly. I would like to see a five per cent Cancon-thing to ensure that these films, that are made inCanada, get a release. I think five per cent manda-tory screens...You've got 16 screens in the middleof Richmond, one of those has to be showing aCanadian film, I don't care if it's two years old. Sothat the kids, when they sneak into the next the-atre, they end up watching a Canadian , movieinstead.' 3

8 TUESDAY, DECE BER 4, 2001 PROFILES A UBYSSEY SPECIAL ISSUE

•n actionKaley Boyd returns from the national teamto UBC women's volleyball

by Scott Bardsley

UNIEN=EMMIL:

F ew players are good enough to make itto a national team, but UBC volleyball'sKaley Boyd' has what it takes. And if

there's one thing that distinguishes the mid-dle blocker from her peers, it's the way shedominates the court.

"She's a very, very intense player,' saysDoug Reimer, the UBC women's coach.

"It's not Kaley's volleyball ability, but herpresence on the court that's very strong.She's very loud, she's very encouraging, shehas this presence on the court that a lot ofteams don't have," says her former UBCcoach, Armenia Russo.

Making it to the national women's volley-ball team was a lifelong goal for Boyd. Nowthat she's back playing for UBC, however,she might be just what the Thunderbirdsneed to turn their average 6-4 season recordinto an excellent one.

"For a taller player she's quite agile. Shemoves very well in the front and the backrow. She hits the ball very well. She blocksvery well. She's sort of that all-around mid-dle player that there really isn't a lot of,"Russo says. "She's really been able to capi-talise on that and been able to take it to thenational level, which is significant in onlyher third year of university play."

It's been a long, long trip for Boyd to thetop of university volleyball, a trip that begannot in Vancouver, but on the other side of theStrait of Georgia. -

Kaley Boyd grew up on VancouverIsland surrounded by volleyball. Herfather and her stepfather both played

a lot of beach volleyball when she wasyoung. Their play had a profound effect onyoung Kaley, who became fixed on the sportearly on.

"I was about five years old," she says,'and one of my dad's friends looked at meand said 'You're a tall girl. Are you going toplay basketball when you're older? Are yougoing to play a sport?' I looked up as a littlekid, and I said, 'I'm a volleyball player. I'mgoing to play volleyball.' I guess I knewquite young that I wanted to play volleyballand not anything else.'

Boyd played for her high school club andbecame one of the top secondary schoolplayers. She made it to the provincial teamthree times. At 18 she tried out for the jun-ior national team and almost made it. Shetried again the next year but a broken fin-ger took her out of commission.

Continued on next page

oyd's first year at UBC was a big tran-sition. On the court, she had what shecalls "a typical rookie role," playing a

few times and getting some experienceplaying the university game, harder thanhigh school because of its faster attacks.University life and academics were another L__..

THE STRONGEST LINK: With Kaley Boyd back from the national team, thewomen's volleyball team has a formidable new weapon. NIC FENSOM PHOTO

imams_ • -

feedbackDams.ubc.ca • www.arns.0

Wanted: Nominations for Elections 4\The AMS Executive, UBC Board ofGovernors and Senate, Student LegalFund Society, and Ubyssey PublicationsSociety elections will be held from

ions 2002 January 21 - 25.Deadline for candidacy nominations is January11th. Nomination forms can be picked up from SUBroom 238 from January 2nd onwards.

The AMS, your student society, wants to know what you think of the\first job rate "training wage" introduced by the provincialgovernment on Nov.15, 2001

What is the first job rate?It allows employers to hire youths at $6 an hour for the first 500 hours ofan individual's employment, as opposed to the current minimum wageof $8 dollars.

What's wrong with the first job rate "training wage?"It contravenes the principle of equal pay for equal workUnfortunately, most minimum wage jobs do not develop skills thatwould justify an actual training wage. And, does it really take 500 hoursto learn how to flip burgers?The new wage reduces both earnings and savings for students, leadingto an increased reliance on student loans - and puts you in debt.The system is vulnerable to abuse. Businesses could fire students after500 hours and keep rehiring new students at $6 an hour.Although the wage is designed to reduce youth unemployment, itundermines job security, reduces earnings and savings, and potentiallyincreases student debt.

What can you do about it?Tell us what you think so we can lobby the province on your behalf.Please visit our website for more information www.ams.ubc.ca, orcontact Kristen Harvey, AMS VP, External Affairs at:vpexternal@ams.ubc.ca

la314121811,MBEZPINE.,71M0651Al ,7-44.6r

gamannefflie We are looking to fill the following part-time paid positions:

Elections AdministratorDuties include: administering, overseeing and promoting all AMS referenda and executiveelections. You will also chair the 5-member Elections Committee that conducts theadministrative and promotional functions of all AMS elections. 1-year term, beginningDecember 1st, 2001. Honorarium of $ 3,500.

Clerk of the CourtThe Clerk of the Student Court is responsible for receiving applications, arranging andpublicizing hearings, recording and publicizing the Court's decisions, and maintaining records.1-year term, beginning December 2001. Honorarium of $ 900.

University Commission, International Students CommissionerYou will be responsible for representing and promoting International student issues. TheInternational Students Commissioner will be expected to attend International House meetingsand University Commission meetings and any other functions concerning International studentsat UBC. Term will begin in December and end April 30th, 2002. Honorarium of $ 400 to $ 500.

Please address all above applications to:Evan Hale, VP Academic & University Affairs,Chair of the AMS Appointments Committee,Room 248-6138 SUB Blvd, Vancouver, BC V6T 1Z1(604) 822-3092

Clubs and Constituency Commissioner, Finance CommissionYou will be responsible for maintaining and enforcing AMS financial policies and procedures,collecting and reviewing budgets of the Clubs and Constituencies and providing treasurerorientations. A background in finance and/or AMS Club issues is preferred but not essential.Applications are due immediately - term ends: April 30, 2002. Honorarium of $200 to $400.

Please address applications to:Yvette Lu, Vice President FinanceRoom 258-6138 SUB BlvdVancouver, BC V6T 1Z1vpfinance@ams.ubc.caPh: (604) 822-3973Fax: (604) 822-9019

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A UBYSSEY SPECIAL ISSUE

PROFILES

TUESDAY, DECEMBER 4, 2001 9

Continued from previous page

big change.But the major problem which

plagued Boyd was injuries. "Shehad a bum shoulder in highschool,' Russo says. "She had lit-tle injuries here and there. One ofthe big things for [new] players isbeing able to deal with thoseinjuries and being able to knowwhen your injuries are seriousand when they're not, when youcan play through them and whenyou cannot. That was one of thestruggles she had, having injuriesthat were painful, but were notthreatening to her ability to play."

But Boyd adjusted to varsity-level volleyball and by her secondyear was made a starter, begin-ning the year on the right sideand then moving up to the frontrow. "[She] made an impact rightaway," Russo says.

But then she had aninjury that definitely didthreaten her ability toplay.

During practice a vol-leyball hit her in the eye.It ruptured her retinaand she lost centralvision in her left eye.The team went toNationals without herand won bronze.

The injury causedBoyd to doubt herself."Every time somethinghappens, like my eyeinjury for example, Isometimes start to ques-tion if it's the rightdirection. But you haveto end up believing inyourself enough throughall the adversity to getwhere your want to go,because it's going to betough getting there,"she says.

She started playingagain the next season withone addition: goggles,which were supposed toprotect her eyes. Ofcourse, the goggles lookeda little silly on the court.

'It was a big adjustment, but inthe end I really liked it," she says.'I'm a player who likes to go outon to the court and be loud anddominant and then once I put thegoggles on I got a different type ofattention. It was tough to adjust toat first, but once I learned tolaugh it off it was fun."

Her doctors later realised thatthe goggles weren't having theeffect they were supposed to, soBoyd no longer wears them.

Finally, at 20 years old, shetried out for the Canadian nation-al team—and made it.

Boyd moved to Winnipeg andstarted a rigorous schedule: earlypractice, weight training, a nap,then another practice in theevening. But it was the long roadtrips with the national team thatshe found difficult. They oftenlasted three weeks at a time andBoyd found it hard to establish aroutine on the road.

"The first four months I waswide-eyed. I was really happy tobe there and just enjoying theexperience. I felt like it was adream come true, something Ihad worked hard for, for a longtime, and all the hard work paidoff," she says.

Her experiences at UBC havealso given Boyd a purposein life beyond volleyball.

Like many first-years arriving atuniversity, she had no idea whatshe wanted to do as a career.

"I came to university primarily

For the moment at least,Boyd's stint with the nation-al team is over and she's

back at UBC. She's happy to beback and excited to start playingwith the Thunderbirds again. Andshe could be just what the doctorordered for the team.

The women's volleyball team's6-4 season has been good, butbelow the team's potential.Reimer is cautiously optimisticthat Boyd can make the differencefor the T-Birds when they resumeplay in January.

"Through the training process[with the national team], she'simproved her all-around play, herbackcourt skills, her serving," hesays. "She still has a ways to go tobecome an international player,but compared to where she was atcoming out of high school, she'scome a long way.

"I would like to think, but younever know for sure, that if we'dhad Kaley in the line-up, that def-initely a couple of the tightmatches that we lost in the firsthalf [of the season] could havebecome wins," he says. He stress-es, however, that it will take goodplay from the whole team, andnot just one player, to take theBirds to the finals.

The women's volleyball teamresumes its season on January 5when the Thunderbirds playCalgary, the number-one rankedteam in Canada, at War MemorialGym. Game time is 6:15pm. +

because of volleyball. I didn'tknow what I wanted to do orwhere I wanted to go in life,"she says. -

But now, as she's realising hervolleyball dreams, Boyd hasfound a new dream: to become ahigh school teacher. She intendsto go into education so that shecan reach English and history.And, of course, coach volleyball.

"What I really want to do is toteach high-school-aged kids andcoach volleyball and give kids theopportunities I was given, to pur-sue your dreams or improve your-self," she says. With nationalteam experience under her belt,her career settled on, and the sec-ond half of the season with theUBC women's squad ahead of her,Kaley Boyd's commitment is trulypaying off.

"By her secondyear she wasstarting and shemade an impacton the court rightaway. Its notKaley's volleyballability, but herpresence on thecourt that's verystrong. She's veryloud, she's veryencouraging, shehas this presenceon the court thata lot of teamsdon't have."

—Armenia RussoFormer coach, UBC

women's volleyball

TUESDAY, DECEMBER 4, 2001VOLUME 83 ISSUE 25

1 0 TUESDAY, DECEMBER 4, 2001

PROFILES

A USYSSEY SPECIAL ISSUE

byssey staff—up cand personal

oseEDITORIAL BOARD

COORDINATING EDITORDuncan M. McHugh

NEWS EDITORSAi Lin Choo

Sarah MacNeill Morrison

CULTURE EDITORRon Nurwisah

SPORTS EDITORScott Bardsley

FEATURES EDITORJulia Christensen

COPY EDITORLaura Blue

PHOTO EDITORNic Fensom

PRODUCTION MANAGERHywel Tuscano

COORDINATORSRESEARCH/LETTERS

Alicia Miller

VOLUNTEERSGraeme Worthy

The Ubyssey is the official student newspaper of theUniversity of British Columbia. It is published everyTuesday and Friday by The Ubyssey Publications Society.We are an autonomous, democratically run student organ-isation, and all students are encouraged to participate.Editorials are chosen and written by the Ubyssey staff.They are the expressed opinion of the staff, and do notnecessarily reflect the views of The Ubyssey PublicationsSociety or the University of British Columbia.The Ubyssey is a founding member of Canadian UniversityPress (CUP) and adheres to CUP's guiding principles.All editorial content appearing in The Ubyssey is the prop-erty of The Ubyssey Publications Society. Stories, opin-ions, photographs and artwork contained herein cannotbe reproduced without the expressed, written permissionof The Ubyssey Publications Society.Letters to the editor must be under 300 words. Pleaseinclude your phone number, student number and signature(not for publication) as well as your year and faculty with allsubmissions. ID will be checked when submissions aredropped off at the editorial office of The Ubyssey, other-wise verification will be done by phone.'Perspectives" are opinion pieces over 300 words butunder 750 words and are run according to space."Freestyles* are opinion pieces written by Ubyssey staffmembers. Priority Will be given to letters and perspectivesover freestyles unless the latter is time sensitive. Opinionpieces will not be run until the identity of the writer hasbeen verified.It is agreed by at persons placing display or classifiedadvertising that if the Ubyssey Publications Society fails topublish an advertisement or if an error in the ad occurs theliability of the UPS wit not be greater than the price paidfor the ad. The UPS shall not be responsible for slightchanges or typographical errors that do not lessen thevalue or the impact of the ad.

EDITORIAL OFFICERoom 24, Student Union Building,

6138 Student Union Boulevard,Vancouver, BC. V6T 121

tel: (604) 822-2301fax: (604) 822-9279

web: www.ubyssey.bc.caemail: feedback@ubyssey.bc.ca

BUSINESS OFFICERoom 23, Student Union Building

advertising: (604) 822-1654business office: (604) 822-6681

fax: (604) 822-1658email: advertising@ubyssey.bc.ca

BUSINESS MANAGERFernie Pereira

AD SALESKaren Leung

AD DESIGNShalene Takara

It was interactive. Hywel Tuscano greeted his adoring fans (shirt

less at the Odyssey) as Laura Blue and Duncan M. McHugh snuck

in through the side door. Scotty Bardsley and Ron Nurwisah

tracked the crowd so that Sarah MacNeill Morrison, sporting dark

glasses and a long coat, could get in the office. "WAIT!' screamed

a reader when she sawjulia Christensen. 1 have a submissiont"

Ai Lin Choo shook her head in disbelief as she looked out the

office window at the throng that had gathered. Nic Femora even

let his immaculately combed hair fall out of place as he spun

around to behold the spectacle. Graeme Worthy and Alicia Miller

got down to work though, interviewing the crowd about the

rhRnrq readers wanted to see. Kathy Deering and Sara Young

were right behind them with clipboards to take notes and Rob

Stotesbury-Leeson and Kerrie Thornhill bad cameras ready to

catch the action. Then Dan Silverman went and ruined every.

thing. "Don't be dumb,' he said. 'Tom Cruise isn't coming here.'

And the disgruntled masses filed out of the building.

CanadianUniversity

PressCanada Post Sales Agreement Number 0732141

Name: Duncan 'Myles' McHugh.Position: 'the congress of the cow,'coordinating editorDOB: September 2, 1978Sign: VirgoFave food: AMS Council meefoodFave hobby: collecting records andexploring the cave of the unknownFaye saying: 'Fucking ingrates'Pet peeve: your taste in musicFuture aspiration: to work for a'real' newspaperDream date: Christa Min's hair.

Name: Ai Lin 'Smokey' ChooPosition: news editorDOB: December 9, 1981Sign: SagittariusFave food: banana chocolatemuffinsFave hobby: Ubyssey Pit nightPave saying: 'Seriously, I don't hatethe office!'Pet Peeve: those goddamned park-ing passesFuture aspiration: running thisshowDream date: Vitamin D

Name: Sarah 'Sailboat' MacNeffiMorrisonPosition: 'news' editorDOB:July 22, 1981Sign: CancerFave food: when the Ubyssey buysdinner from Safeway. Especiallywhen we get cookiesFave hobby: drinking, AMS councilmeetings, drinking during AMScouncil meetings (especially eight-hour ones)Fave saying: Tan we even printthis? Guys! Take out the porno-graphic editorial graphic of Erfan! Ihave to interview him tommorrow!That's disgusting!" alternatively:"Libel be damned!"

Pet peeve: when squirrels run awayfrom meFuture aspiration: to once againfeel the gentle caress of sunlight,damn these ricketsDream date: Gordon Campbell, me,a nice Argentinian red and a bottleof rat poison

Name: Ron 'Smooth Operator'NurwisahPosition: culture editorDOB: August 11, 1982Sign: LeoFave food: those crunchy things,you know, they're crunchy?Pave hobby: taking care of the'volunteers'Faye saying: "S0000, ever considera career in the arts?"Pet peeve: artists that just don'tunderstandFuture aspiration: to get out of thebasement of the SUBDream date: any of those cuties atBlue Chip

Name: Scott 'Beardsley' BardsleyPosition: sports editorDOB: June 21, 1982, same as a cer-tain heir to the throneSign: GeminiFave food: Swedish fishFave hobby: waiting to cross theLions Gate Bridge...Faye saying: "Booya!"Pet peeve: blaming it on the windFuture aspiration; to prevent my co-workers from filling out theseforms on my behalf...Damn you!!Damn you to hell!!!Dream date: a 'dove; but we thinkit should be Marc Weber

Name: Julia `Churchy" ChristensenPosition: features editorDOB: September 14, 1978Sign: Virgo (the virgin!)

Fave food: $5-free-for-allFave hobby: chillin' with my KappaGamma Booty (KGB) sisters. GoGreek!Fave saying: "Suckaaaal"Pet peeve: people who make outwith their boy/girlfriend and eatMcDonald's in the library...stinkylFuture aspiration: to get out of thebasement and pursue an excitingcareer in espionageDream date: Woody

Name: Laura 'Quality Control' BluePosition: copy editorDOB: April 1, 1981Sign: AriesPave food: Yatta! FlakesFave hobby: Music, and any eventendorsed by the Ubyssey athleticsclubFaye saying: "Who are thesepeople?!'Pet peeve: when people write reallyobscure responses to these ques-tions so that only their co-workersget the jokesFuture aspiration: to get a haircutDream date: One of those hottiesfrom SUB security.

Name:FensomPosition: foto editorDOB: October 28, 1980Sign: ScorpioFave food: TakaFave hobby: making fun of theUbysseyFave saying: "S000 WEEAAAKK!!!"Pet peeve: people who say, 'cheers'Future aspiration: to be cultureeditorDream date: your mom

Name: Hywel 'Hugh-Wool' TuscanoPosition: anything moderately com-fortable (be gentle), production

manager too, that means I designstuff, and worry a lotDOB: October 27, 1982 (the baby!)Sign: ScorpioFave food: slabs of raw fish.Anything that can be prepared sim-ply by boiling waterFave Hobby: I have a hobby? Thosepeople at the arcade probably thinkI'm a loser by now. Does thatcount?Pet peeve: puking, what a bother!Pave saying: "Page four came out.Ten is being proofed. I'm finishingthat one. No, there is nothing foryou to do. Not in those shoes!"Future aspiration: dance shirtlessat the Odyssey. Find direction,motivation. Move to Hawaii. Stopcrying.Dream date: lacks breasts. Can payfor hot chocolate. I'll buy thecookies

Name: Alicia J. 'Lo' MillerPosition: letters/research coordinatorDOB: March 5, 1980Sign: PiscesFaye food: stamp glue and envelopesealant—gotta love that tangytongue coating!Faye hobby: looking throng} on-line parliamentary proceedings insearch of obscure infoFaye saying: "Letters, I got letters,do dee do..."Pet peeve: handwritten letters withno name and no return addressFuture aspiration: special issue o'letters. Hey, Brusldewich, you withme?Dream date: a 'postal worker'named Jon

Name: Graeme 'Iron Man WorthyDOB: October 17, 1918. I've beenhere that longSign: LibraPosition: volunteers coordinatorFaye food: wasabi, straight upFaye hobby: chillin' out, maxin' out,Relaxin' all cool, and shootin' someb-ball outside of the schoolPave saying: "Yo homes, smell yalater!'Pet peeve: when my super powersdon't work right and I X-ray viewsome greasy of man. Yuck!Future aspiration: To be the bestdamned gas jockey this side ofSault St. Marie!Dream Date: Emma Peel

Mc 'To Rool 4 Skoor

Submissions should...and should be no(in the -basement hWho to contactahO

k,gu-hysseY,be.ca no later than loam on January 3rd,slip th6tivunder the door of SUB room 24

ludei :Your name and Phone number, so we knowgen

A UBYSSEY SPECIAL ISSUE PROFILES TUESDAY, DECEMBER 4, 2001 11wil■rsma-uL _

;The Uby sey Mandatory SurveyHelp us help you. Give the Ubyssey some feedback and make us a better paper.

What aspect of the paper do you particularly enjoy? Do you use our website?yes or no

What aspect of the paper do you particularly dislike?

Would you like to see more national news coverage?yes or no

DESIGN

How could we improve our website?

OPINION SECTION

How could our letters section better represent the university IRate the attractiveness of the paper community?(1 being ugly, 5 being gorgeous)

1 2 3 4 5Do our editorials adequately represent the university's I

Rate the attractiveness of the editors community?(1 being ugly, 5 being gorgeous).

1 2 3 4 5

INSTRUCTIONS

You may have read in our last issue that we are having a cora-1pulsoly reader response survey. You are required to corn-

' plete this questionnaire and return it to the Ubyssey offices.You may do this in a variety of ways.

1. Mail it to us, our mailing adress is as follows.Room 24Student Union Building6138 SUB Blvd.Vancouver, BC V6T 1Z1

2_ Bring it to the office. We're in the basement of the SUBbehind the arcade. Just slip the survey under the door.

3. E-mail us: This survey will be available on our website. Justfill it in and mail it to FEEDBACK@LTBYSSEY.BC.CA

CONTENT

Rate the attractiveness and effectiveness of the photos(1 being ugly and totally ineffective, 5 being gorgeous andvery effective)

1 2 3 4 5

How could we improve our editorials?

ADVERTISINGWhich section of the paper do you read?(1 being never, 5 being always)

NewsSportsCultureFeaturesOpinion

' 1- 1

111

2222

33333

44444

How would you rate the quality of each section ? DISTRIBUTIONI (1 being poor, 5 being excellent)I News 1 2 3 4 5 Do you know what 'Page Friday'_ is?

Sports 1 2 3 4 5 yes or noI Culture 1 2 3 4 51 Features 1 2 3 4 5 Which edition of the Ubyssey do you pick up more often?

Opinion 1 2 3 4 5 Tuesday or Friday

Where is our coverage lacking? Where do you pick up the Ubyssey?

Where is our coverage superfluous? Where would you like to pick up the Ubyssey?

Do you support boycotting advertising from the followingtypes of companies or organisations:

Boycott tobacco ads yes or noBoycott military ads yes or noBoycott CSIS ads yes or no

_ Boycott hard alcohol ads yes or noBoycott oil company ads yes or noBoycott escort/bathhouse ads yes or noBoycott pro-choice, anti-abortion ads yes or no

Is there other advertising you would not want to see in Ithe Ubyssey?

OTHER COMMENTS

How can the design of the paper be improved?

Do you like the full-page graphic cover for the 'Page Friday?'

Thank you. Feel free to add any additional comments.a

O

We're sick of putting this paper together by ourselves. That'swhy, for the Ubysseys first issue in 2002, we're calling foryour help! Published on January 4, this is going to be theUbyssey—friteradive, and we're looking for photos, stohe,and poetry.

St I

Sick of exams Sick of essays

-ter sey's story contest! Send us a story thatincludes soMeof the following, arid we just mightprint it in our first issue hack:

1.Peanu butter.2. Brian Sullivan, UBC's vice-preside

4 Mark Fraser, AMS vice-prestdg5.. .*'s steam tUrinels.6:,1141:Vbyssey.

l he AgricultUtidergraduac:

Three Fun Categories!

1) Keally. Cool Photographs: Where YOu.,:ktually take good 'totes... u.normal photo Contest. The following rules.. gPplY: No cats, no swings, no N.uate rfallsand ni) Iandsapes.

2) A picture of you hugging either AMS President Erfan Kazemi, AMS GeneralManager Bernie Peets, or Liby.sse_y Coordinating Editor Duncan McHugh. Stalkingis innaprOPriate, but asking nicely may get resub!

3) Photographs involving the Uby ssey as a prop, either:a) A tea party with the Ubyssey as a`guest.b) Ubyssey fashion= wear a dress, a hat, a tube-top, or some

pants made out of our beloved newspaper. Be creative. Go to pub-lic places. Take photos. Send them to us.

c);The Ubyssey as a mode of transportation. No elementary-school-.style paper airplanes.

ion

StkmiSS1cins should be e m it tfeedbaCk0AbYpsey.bc.ea- . 11.+n 10ara ort:January ..-. 'd:ShOuld be 64: 1 a Sri 300 Woi.

Stunning Boos

ks!

!CD

$20!!Prizes! Unretumable Christmas gifts

Bring your photos or.negatives, to the Ubyssey office in . SUB 24 (behinde arcade). If we're not here, sliR itthunder the door. You can also e-mail your sub-issions to feedback@ubyssey.bc.ca: If wk. ' want to win a prize, leave your , named phone number. All entries are due January 3 loam.

Bad Teervage Angst Poetry!

You know what we mean. You wrote this stuff in high school. So dig out those hinders, thoseold math notes, ,irnal entries, and those love letters you never sent. We want 'em all!

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