Showing posts with label John Coleman. Show all posts
Showing posts with label John Coleman. Show all posts

Thursday, May 6, 2010

Palahniuk Back With New Novel, Tell-All


Photo Source: amazon.co.uk

Critically acclaimed award-winning novelist of Fight Club and Choke, Chuck Palahniuk has released his latest novel, Tell-All on Doubleday on May 4, 2010.

A Random House review of Tell-All on The Cult, Palahniuk’s official website, describes the novel as a “Sunset Boulevard–inflected homage to Old Hollywood when Bette Davis and Joan Crawford ruled the roost; a veritable Tourette’s syndrome of rat-tat-tat name-dropping, from the A-list to the Z-list; and a merciless send-up of Lillian Hellman’s habit of butchering the truth” (Source: chuckpalahniuk.net).

Narrator Hazie Coogie, caretaker of Hollywood actress Katherine “Miss Kathie” Kenton, guides the mysterious tale turned murder plot when Miss Kathie’s latest suitor, Webster Carlton Westward III, is discovered to have written a celebrity tell-all memoir alluding to Miss Kathie’s death in a forthcoming Lillian Hellman musical (Source: chuckpalahniuk.net).

Tell-All thus pays homage to American playwright Lillian Hellman, who died in 1984. Following the discourse laid out in Hellman’s autobiography, The Unfinished Woman (1969), Palahniuk reproduces Hellman’s controversial starlet persona crafted during her forty-plus year career. After penning critical successes such as The Children’s Hour (1934) and The Little Foxes (1939), Hellman’s public image was tested in the 1950s when she was blacklisted by the Hollywood Movie Studios for her long-time affair with communist party member and detective-novelist Dashiell Hammet.

Palahniuk is also set to release a novel, Damned, in 2011, which he said in an interview with Doubleday is “about an eleven-year-old girl who finds herself in Hell and learns how to manipulate the corrupt system of demons and bodily fluids. Imagine if The Shawshank Redemption had a baby by The Lovely Bones and it was raised by Judy Blume, and you have my next new project” (Source: chuckpalahniuk.net). Watch for a North American tour by Palahniuk soon in support of Tell-All.

Published by campusintel.com

10th Annual Joey Ramone Birthday Bash Scheduled


Photo Source: joeyramone.com

The 10th Annual Joey Ramone Birthday Bash is scheduled for May 19 at the Fillmore New York at Irving Plaza in New York City. This year’s event is being headlined by Hank III and Morningwood, with supporting acts The Sic Fucks, The Independents (whom Ramone managed shortly before his death), Spanking Charlene, and Heap. The Joey Ramone Birthday Bashers, a parade of rock and roll underworld royalty featuring Little Steven Van Zandt, Mickey Leigh, Richie Ramone, Walter Lure, Cheetah Chrome, Thunderbolt Patterson, Ed Stasium, and Hank III will also perform at the night. All proceeds from the event go to the Lymphoma Research Foundation.

The bash celebrates the punk godfather’s life which ended on April 15, 2001 due to complications with lymphoma cancer. Shortly before his death, the 59 year old Ramone made his brother, guitarist Mickey Leigh, Rattlers, and mother Charlotte Lester promise they would celebrate his birthday that year. Now a ten year long tradition, the annual bash is notorious for its wild party atmosphere and performances from punks the Ramones hung out with and influenced alike. The first bash featured Cheap Trick and Blondie, and since The Misfits, Rocket From The Crypt, The Bouncing Souls, The Waldos, and The Saints have all hit the stage for Ramone’s birthday.

After Joey Ramone died the legacy of the Ramones thrusted into the mainstream. The seminal punk rock band responsible for stripping down pompous rock and roll in the late 70s with such worldly hits as “I Wanna Be Sedated” and “Blitzkrieg Bop” were recognized for their importance to modern rock. The first Ramones album, released in 1976 and produced by the reputed Phil Spector (Beatles’ Let It Be), is widely considered as the prototype for the first wave punk era that reshaped mainstream music.

Joey also did a lot of work outside the Ramones. In 1985 he joined Little Steven Van Zandt’s advocacy group Artists United Against Apartheid acting against the Sun City Resort in South Africa. Other acts he worked with include Youth Gone Mad, Helen Love, Ronnie Spector, Blackfire, and The Independents. In 2003, a section of East 2nd Street near CBGB’s nightclub where the Ramones played their first shows in New York City was officially renamed Joey Ramone Place. In 2002, the Ramones were inducted into the Rock and Roll Hall of Fame, the same year that Joey’s last work, a solo album entitled Don’t Worry About Me, was posthumously released by his predecessors. On May 14, 2009, Joey himself was inducted into the Hall of Fame, as well.

With sources from joeyramone.com

Published by campusintel.com

Tuesday, May 4, 2010

Cannibal Corpse with 1349 and Skeletonwitch @ The Opera House, April 28 (Live Review)

Cannibal Corpse
with Skeletonwitch and 1349
April 28, 2010
Opera House


Cannibal Corpse drew a pilgrimage of diehard metal fans at the Opera House stop of their Evisceration Plague Tour Wednesday night. Skeletonwitch from Athens, Ohio opened the bill to a diverse crowd of cretins sporting everything from original Death t-shirts and knee high shitkickers, to black and white zombie makeup and the odd street punk rat-tail. “Alright, let’s see an old school circle pit” Skeletonwitch front man Chance Garnett summoned during the double bass backed breakdown of “Repulsive Salvation” with a rotating outstretched arm toward the pit, fairly tightly packed for an opener. Rightly, though, because Skeletonwitch’s thrashy half hour performance was like a travelling edition of Headbanger’s Ball. Chance circling around the stage and chugging beers like a possessed ring leader, and N8 Feet Under and Scunty D. funneling out continuous guitar riffs in front of bull skull-and-horns on their amps. Skeletonwitch got all the corpse-grinder lovers partying with “Stand, Fight, and Die” off their newest record Breathing The Fire, which induced propellerish hair swirls from Chance and hundreds of devil horned arms from the pit. The house party atmosphere reigned on with Chance’s pre-song wisecracks of “Smoke weed Toronto” and “We got any beer drinkers out there?” met with yells and whistles from the crowd. Ripping versions of “Crushed Beyond Dust” also off Breathing The Fire and “Beyond The Permafrost” off the 2007 record of the same name got plastic beer cups flying as fans danced to their favourites. The ravenous double guitar harmony of “Within My Blood” off their first album At One With The Shadows ended the energetic set, Chance at centre stage with devil horns extended high overhead. “Drink beer, smoke weed, and for the love of God, eat some fucking pussy” he lastly demanded in his demonic metal hiss, and the beer chugging party was over.

By the end of Skeletonwitch’s set there were double the people roaming around the Opera House in anticipation of black-metal heavyweights 1349. I skittered upstairs to the Opera House balcony to find some breathing room, where I scored an impeccable view of the stage. A floor rattling cheer erupted as the house darkened and reverberating thunder noises echoed around, and someone on the balcony sparked up a skunky joint. Clouds of dry ice fogged up the stage as 1349 laid down their first track which drew more attentiveness than moshing from the crowd below. Vocalist Ravn was in full black-metal garb with spiky forearm bondage gear and mid-thigh warrior boots, bassist Seidemann lurked around in a black wizard cloak, and all four 1349 guys were sporting black and white face makeup. Touring guitarist Sechtdamon outstretched a grappling talon toward the crowd before “When I Was Flesh” off this year’s Demonoir which fractured the continually used inter-song storm sound samples allowing the band to catch their breath. The lightning fast snare buzz-blasts of “I Am Abomination” off 2005’s Hellfire finally got about fifteen to twenty pitmen thrashing hard, and Ravn slowly sauntered around the stage like a cocky, satanic Mick Jagger. “Sculptor Of Flesh” opened up the pit some more, and “Atomic Chapel” got all three frontmen and several crowd members head banging hard for the end of the forty minute set.

The now amply warmed up crowd cheered as a massive banner reading Cannibal Corpse in dripping blood red letters elevated behind the drum kit. Corpsegrinder opened with a four song inferno that saw the sardine-can-like dance floor break out into a chaotic slam pit - arms, legs, and beer cups jetting out from every direction. “You guys are fuckin’ rowdy tonight, let’s keep it goin’,” singer George Fisher said before introducing “The Wretched Spawn” with a growl, triggering an eruption of cheers. A punching rendition of “I Will Kill You” led to the band’s first of many breath-catcher breaks, during which Fisher, dressed simply in a black t-shirt and cargo-pants tucked into mid-shin combat boots, raised and lowered cheers from the crowd with orchestra conductor arms.

“Don’t make me vertically destroy you, ‘cause it’s quite obvious I can kick your head in” Fisher said before the title track of Corpse‘s latest album Evisceration Plague, laying out his violent, vengeful rhetoric for the set. He was largely concerned with keeping up pit energy, introducing other songs with “This is for anyone giving you shit,” “I wanna see a fuckin’ circle pit for this one,” and “This is Cannibal Corpse’s time, so if you see anybody on the outside playing with their pecker, pull them in and start slammin’.” A mid-set execution of “Death Walking Terror” off 2006 album Kill got everyone grooving with its slower-tempo head banging opportunities and thunderous tom drum fills beat out by original Corpse-ster Paul Mazurkiewicz.

Then came the first song ever played by Cannibal Corpse, “Splattered Brains, Scattered Remains,” one of many old school offerings for the first wave Corpse diehards represented by original 90s tour shirts. “Pit Of Zombies” off 2002’s Gore Obsessed brought the show back to current era and got the pit swaying from wall to wall in crashing waves of people. Original Corpse bassist Alex Webster approached the stage monitors afterward to give a frown-mouthed nod and air-props of approval to the adoring fans. Next was a wicked rendition of “Make Them Suffer,” during which Fisher pointed at all corners of the Opera House, considerately pulling all into the song’s sentiment. “This goes out to everyone in the pit. And for those not in it, buy them a beer or a shot later, or I’ll kill you myself,” he then threatened before another old school offering of “A Skull Full Of Maggots” from first Corpse album, 1990’s Eaten Back To Life. Thrashing drums rolled out from the stage while Fisher once again conducted the crowd for the hair raising “Maggots” chants . Fisher growled “Keep supporting death metal” before sending off the insanely long hour and twenty minute set with “Hammer Smashed Face,” which no doubt got the most erupting response from the crowd, notably during the bass fill from Webster somewhat answering the crowd’s previously unanswered calls for a bass solo. The Corpse was tight, and needless to say, my ears were bleeding when I left the Opera House.

Sunday, May 2, 2010

Fuck The Facts at The Alex in Brantford (Live Review)


Fuck The Facts
The Alex, Brantford
April 23, 2010

“Move the fuck up here,” beckoned Fuck The Facts bassist Marc Bourgon at the Alex in Brantford last Friday night while lead vocalist Mel Mongeon skittered around the empty front row pit-space. The audience of local punk and metal-core diehards quickly filled the floor’s void for the intimidating 10-song mudslide of drop-B tuned guitars and blast-beat infernos leaving a grind core bullet hole in the Brantford scene.

The quintet slipped ferociously into “Wake” off their latest release which came out in February. You can’t find the limited 1000 copy pressing in stores, aptly titled “Unnamed EP,” no doubt playing on Fuck The Facts’s fractured metal style most closely associated with grind, but ever indefinable with varying genre injections of industrial, punk, and stoner groove. Further personifying the confusion record buyers face when encountering their music, the band played on a continuously unlit stage at the Alex with minimal banter between songs that often seamlessly melded into one another. The distortion dripping chaos is faceless to the average heavy rock listener, empowering FTF’s niche noise to its fullest intentions.

They slowed the set’s tempo with “My Failures (Just Like Yesterday)” off their 2008 split with Belgium deathgrinders Leng Tch’e. Then a quick, audacious rendition of “The Sound Of Your Smashed Head” off Stigmata High-Five triggered more slam-moves in the pit, and Mongeon couldn’t help but tizzy-groove her growl spewing noggin with the blast beat crash along. “Kelowna” off 2008 full-length Disgorge Mexico and “Ballet Addict” from 2003’s Backstabber Etiquette rounded out the performance that gave Brantford a glimpse of what‘s going on around Ottawa right now: original hardcore metal that knows no borders and plays into no commercial agenda. Or, real art.

Tuesday, April 20, 2010

2010 Juno Awards Coverage

Photosource: junoawards.ca

The 2010 Juno awards were held in St. John’s, Newfoundland last night. Here’s the top info.

The ceremony addressed the past year’s young superstars’ induction into the international spotlight. Like Stratford, Ontario native Justin Bieber, who at age 16 has monopolised tweeny-pop in less than a year’s time. Despite his international success including being the youngest male solo artist to have two albums in the Billboard Top 200, Bieber fell short on all three of his Juno nominations.

It seems where Bieber disappointed the judges, fellow overnight success Drake proved more substantial. The new Canadian rapper captured the Best New Artist award, and also won the Juno for Rap Recording of the Year for his song “So Far Gone.” It didn’t look like there were any hard feelings between the running mates, though, when Drake laid down a few rhymes for Bieber’s performance of “Baby.”

Michael BublĂ© was the biggest winner with four Junos. His hit album Crazy Love earned him both Album and Pop Album of the Year. He also took home Single of the Year for the song “Haven’t Met You Yet,” and the Juno Fan Choice Award.

Respect was paid to 70s Canadian rock super-group April Wine in honour of their recent induction into the Canadian Music Hall of Fame. Frontman Myles Goodwin accepted the honourary Juno by listing all 13 April Wine members past and present.

Metric won two Junos with Group of the Year and Alternative Album of the Year for their work Fantasies. Artist of the Year went to K’naan, who also received Songwriter of the Year for his international hit “Wavin’ Flag.” Click here for a complete list of 2010 Juno winners.

There were also a variety of performances that struck high, and low, chords of the broadcast. Lowest was Drake’s f-bomb laden rendition of “Over.” It assumedly severed traditional and new-age Canadian audiences. Whatever, props Drake, you got two Junos without even having a record out. Billy Talent rocked out to new single “Saint Veronika,” that lead to singer Ben Kowalewicz struggling to achieve respectful screamo-rock tenure. He looked like he was trying to purge a Satan fetus rather than rattle a microphone. But, the band was tight.

Then the goodies. Blue Rodeo was out in full Canadian-Country garb laying down a usual flawless performance. However, I’m reserving best Juno performance award for K’naan, along with Drake, Justin Bieber, and Nikki Yanofsky, who dazzled the audience with the Young Artists for Haiti hit “Wavin’ Flag.” A wildly catchy song written by a talented young artist, K’Naan effectively moved the audience in a way no other performer did.

Published by campusintel.com

Friday, April 16, 2010

CD Review: Bison BC - Dark Ages


Bison B.C.
Dark Ages
4.5/5

Listen To:
Wendigo Pt. 3 (Let Him Burn)
Skip It: Nothing

All you headbangers better be excited, East Van’s Bison B.C. is back with their third full-length album Dark Ages.

“Stressed Elephant” settles you in, building energy with a melodic exposĂ© before getting your head banging to a crash-along chugging match, upholding slick guitar leads and demonic vocals. The song fades with a bluesy acoustic guitar reappearing in “Melody, This is For You” and “Wendigo Pt. 3 (Let Him Burn).”

Dark Ages also showcases Bison’s knack for uniquely calculated breakdowns, like in “Fear Cave” which drops the tempo for over 2 minutes with a masterful power chord structure and the album’s best hell-growls.

The electrifying guitar riffs of “Two-Day Booze” grab your attention, pulling you along a ride of tempo changes from lightning fast to mere tricklings of a ride-cymbal. The anthem-like chants of What are we waiting for over a rejuvenating power-chord melody brings chills to your spine.

You have to love the old school heavy-metal foundation of Bison as well. The rockin’ guitar harmonies in “Die of Devotion” and the sharp-tooth pick-squeals of “Take The Next Exit” will arouse the Iron Maiden fan in all of us.

The album ends with “Windigo Pt. 3 (Let Him Burn)” displaying accredited musicianship through massively heavy riffs, in the standard style which can only be labeled Bison-esque. Dark Ages is a polished effort effectively displaying the untamed enthusiasm of Bison B.C.’s intimidating prowess.

Track Listing:

1. Stressed Elephant
2. Fear Cave
3. Melody, This Is For You
4. Two-Day Booze
5. Die of Devotion
6. Take The Next Exit
7. Wendigo Pt. 3 (Let Him Burn)

CD Review: Ov Hell - The Underworld Regime


Ov Hell
The Underworld Regime
4/5

Listen To:
Post Modern Sadist
Skip It: Acts Of Sin

Ov Hell’s debut album The Underworld Regime showcases a brand of Norwegian black-metal with perfect balance, equally allotting time for low to mid-tempo melodic chord progressions, as well as head-shaking drum triplets and blast-beats supporting ferocious riff attacks.

Album opener “Devil’s Harlot” tackles you with its underlying speed, and simultaneously mesmerizes through melodic arpeggios and anthemic chants. The Underworld Regime then flows seamlessly into “Post Modern Sadist,” a mid-tempo yet electric display of guitarists Teloch and Ice Dale's riffing talents. Laden with a foundation of double-bass punches that don’t lapse into blast-beats, the song prefaces varying degrees of tempo-drops on the rest of the album. The oddly encouraging Satan-cries of Murder, murder, murder… Slaughter, slaughter, slaughter leave a lasting impression.

Then the strobe-light blast-beat effect of “Invoker” proves that Ov Hell is authorised to send you spiraling at any moment. The song’s jitter-arm speed-riffs whittle out a racing, technical melody, a technique reappearing in “Perpetual Night“ and album closer “Hill Norge.”

“Ghosting“ idles with beaty double-bass jabs under a continuous waterfall of melodic chord structuring for a mid-album tempo reducer that does not bore, and creates a tactful void for following momentum to fill.

The Underworld Regime also showcases telltale Norwegian black-metal techniques. The intros to “Post Modern Sadist“ and “Krigsatte Faner,” for example, employ eerie whispers and torture chamber clinking as small breaks in volume that effectively contrast the instrumentation. And “Acts of Sin” and “Krigsatte Faner” are straight up blast-beat arenas of lightning-fast speed. “Hill Norge” climactically caps the disc by encompassing all the ups and downs of the well-rounded black-metal sound.

Track Listing:

1. Devil’s Harlot
2. Post Modern Sadist
3. Invoker
4. Perpetual Night
5. Ghosting
6. Acts Of Sin
7. Krigsatte Faner
8. Hill Norge

Published by Tangible Sounds

CD Review: 1349 - Demonoir


1349
Demonoir
Rating: 3.75/5

Listen To: Psalm 7:77
Skip It: Tunnel of Set XI through XVII

Norway’s 1349 evolves on their fifth full-length album Demonoir, with the band’s usual explosive black-metal backgrounding new musical avenues. The first uncharted step is the evolved gothic narrative persona singer Ravn takes on in “Atomic Chapel,” partnered with his usual raspy demon-hisses. The song also employs a ghoulish riff moving slowly over an assault of double bass rolls, the first full-out attention grabber of the album.

Demonoir is also uncharacteristically slow for 1349. Chopperish double bass supported breakdowns like in “Pandemonium War Bells” offer easily adjusted to mid-tempo headbanging opportunities, and catchy octivated power chords that illuminate over layers of heavy distortion. “Psalm 7:77” settles dust with its intro of time-splicing tom-thuds, only to tizzy you again with an energizing, momentum-building guitar and following blast-beat inferno. You are intrigued by beefy power chords continuously revolving behind face-melting scales.

Amidst evolution, Demonoir is still a traditional black-metal powerhouse. “When I Was Flesh” and “The Devil of the Desert“ showcase high-pitched guitar leads soaring over a near-constant blast-beat hum, refreshing glimpses of 1349’s classic noise massacre approach. Lone hovering hornet-buzz guitars are also used to change direction throughout Demonoir, successfully rejuvenating your step before the next lucre noise assault.

The only recognizable down points come with Demonoir’s non-instrumental filler tracks incrementally titled “Tunnel of Set,” which are interjected between each song. While creating a vague fog of eeriness, these tracks can be time consuming while you seat-grippingly anticipate the next turbulent instrumental smash-out awaiting queue.

To sum up, Demonoir is a rounded album with its brave experimental aspects from a staple Norwegian black-metal outfit.

Track Listing:

1. Tunnel of Set XI
2. Atomic Chapel
3. Tunnel of Set XII
4. When I Was Flesh
5. Tunnel of Set XIII
6. Psalm 7:77
7. Tunnel of Set XIV
8. Pandemonium War Bells
9. Tunnel of Set XV
10. The Devil of the Desert
11. Tunnel of Set XVI
12. Demonoir
13. Tunnel of Set XVII

Malcolm McLaren, Punk Visionary, Dies


Photosource: esquire.com

I’m getting sick of doing this. Last Thursday, April 8, 2010, Malcolm McLaren died due to complications with mesothelioma. He was 64.

Malcolm McLaren is most notable for being the manager of seminal punk rock bank The Sex Pistols, arguably the world’s most famous punk band. The Sex Pistols popularised the punk fashion of the late 1970s. Safety pins, ripped and torn clothing, spiky haircuts, leather jackets and bondage gear, and straight up negative attitudes toward anything mainstream – this all stems from The Sex Pistols. They also helped usher in a highly influential anti-political musical movement called anarchy punk, prominent today in mainstream music with bands such as The Casualties and The Exploited. However, The Sex Pistols were nothing without McLaren.

It all happened like this. In 1971, after giving up on formal education after a series of expulsions from various British arts colleges, Malcolm McLaren and then girlfriend, now renowned fashion designer Vivienne Westwood, opened a fashion boutique in London called Let It Rock. The shop specialised in costumes for cinematic productions and saw some success, but McLaren grew a new itch. In 1972 he travelled to New York City and hung out with inspirational protopunk group The New York Dolls, who had a huge underground following at the time. McLaren was drawn to their provocative dragqueen stage personas which countered the egotistic, no-fun direction rock and roll was heading toward. McLaren renamed his London shop Too Fast To Live, Too Young To Die and began outfitting the Dolls for all their shows. But, The New york Dolls split in 1975 after a gutsy move by McLaren: to draw attention, he dressed the band in red leather suits and used a hammer and sickle as their new logo. Dolls guitarist Johhny Thunders would go on to become the underworld face of punk, a foreshadowing fact in the later success of The Sex Pistols.

After The New York Dolls, McLaren set out to create a band with members from local London. After a scrounging period, at the newly renamed McLaren shop SEX, guitarist Steve Jones, drummer Paul Cool, and bassist Glen Matlock started producing rough-edge rock similar to The New York Dolls, and with the new do it yourself anti-rockstar ethic conceptualised by NYC punk prototypes the Ramones. McLaren found what he needed most for the band in a young man sporting a t-shirt reading “I Hate Pink Floyd.” Oh, so punk rock. This Floyd-hater was John Lydon, aka Johnny Rotten, the most recognisable voice in punk.

So, the band was complete. McLaren named them The Sex Pistols after his shop and another random controversial image. The Sex Pistols countered Top 40 music of the late 70s. They didn’t play ten minute guitar solos or have trained musical knowledge, which is the essence of punk: regular people playing rock and roll, instead of larger than life heroes who didn’t give a shit about their fans. Punks wanted to recreate the rock scene of the 50s and 60s by playing short, 3-chord rhythm and blues songs. No filler.

In 1977, the Sex Pistols blew up. New bassist Sid Vicious became the ultimate punk anti-hero complete with a nasty heroin addiction and total lack of personality on the surface. The band’s “Anarchy Tour” with up and coming London pals The Clash and The Damned, and headlined by infamous junkie-punk Johnny Thunders and his Heartbreakers, gave them a previously non-existent soapbox.

The rest is literally history. The band’s one and only studio album, Nevermind the Bollocks, Here’s the Sex Pistols, was released in fall 1977. Complete with now punk classics ”God Save The Queen” and “Anarchy in the UK,” Nevermind the Bollocks reached No. 1 on the UK rock charts. It is widely considered by music historians as one of the most, if not the most influential rock album of the twentieth century. If you’ve never listened to it, do so, and play it loud.

Then, as quickly as they appeared, the Pistols were gone. They broke up after their dismal first US tour in 1978. In February 1979, Sid Vicious was dead due to a heroin overdose. McLaren went on to manage British punk rock group Adam and the Ants, and create his own music with various backing bands.

So after this brief punk history, my message ends with remembering Malcolm McLaren, punk’s PR representative. Without the pop culture and fashion vision of this man, it is quite possible that punk never would have reached the heights it now floats upon. RIP Malcolm McLaren.
Published by campusintel.com

Saturday, April 10, 2010

Toronto Celebs Accept Challenge To Fight Poverty, Malnutrition

Last summer Toronto based poverty advocacy group The Stop Community Food Centre initiated an informative campaign called Do The Math. The project informed Ontarians of the dismal state of social assistance in the province, with the main argument that Ontarians receiving welfare and other social assistance are unable to provide themselves, and often their families, a healthy diet. Many of these people are forced to rely on food banks and soup kitchens for daily meals, where basic essential nutrition is hard to find, The Stop officials insist.

The response to the Do The Math campaign was good. Over 4,000 Ontarians sent postcards to Premier Dalton McGuinty, asking for positive action regarding the nutrition dilemma. But The Stop is still agitated that little has been done to help with low-income Ontarians to achieve a more-equal status in comparison to their neighbours off social assistance.

Usher in The Stop’s latest poverty awareness campaign, the Do The Math Challenge. Beginning on April 6, ten of Toronto’s prominent activists, government officials and celebrities picked up a food hamper from The Stop. The mission is to live off the hamper’s bounty, which usually lasts a person 3 to 4 days, and the city’s food banks for as long as possible, but at least a week. Participants include journalist/author/activist Naomi Klein, singer for Polaris Prize winning punk band Fucked Up Damian Abraham, musicians Rosina Kazi and Nic Murray of Toronto band LAL, and Toronto Ward 21 councillor Joe Muhavic and family, among others.

The purpose of the Do The Math Challenge is to create social awareness about the plights of poverty in Toronto, which are not exclusive to nutrition concerns. The Stop advocates for better treatment of impoverished, marginalised citizens in all sectors of contemporary city-life. It uses the dismal issue of under-nourishment among social assistance users as a vantage point on Toronto, and Ontario’s, many poverty triggered problems.

Follow all the participants with updates of how the challenge is affecting them here. Take action in the fight for equality in Canada.

Originally published at campusintel.com

Wednesday, April 7, 2010

Conversations Unheard: Speaking Out and Keeping Quiet in Joseph Boyden's Through Black Spruce (Critical Summary/Review)


Recall Romeo drinking the fatal elixir so he can be with his beloved Juliet for all eternity, only to realize, once it is too late, that his maiden’s plan was to fool everyone else about her apparent death, not him. The ignorant hero’s quickness in action ironically befalls him when it matters most. The message that Friar Lawrence failed to get to Romeo: Juliet is alive. It is easy to recognize missed messages and their symbolism in drama on a strictly linear plot.

However, showing multiple characters missing integral messages becomes a daunting task, which Joseph Boyden masters in his Scotiabank Giller Prize winning novel, Through Black Spruce.

The novel opens with alcoholic bush pilot extraordinaire Will, the grandson of Elijah Whiskeyjack whom Boyden’s first novel, Three Day Road, follows. Speaking to his nieces Suzanne and Annie Bird from his hospital bed, not until the climax is the mystery of Will’s hospitalization revealed. But it only takes until the second narrative, led by Annie, to understand that Will is in a coma, and unable to speak. Thus, from the onset, a conversation is constructed between two people – Will and Annie – who cannot hear what each other is saying.

The novel bounces back and forth between Annie and Will’s narratives with each chapter. We learn that Annie is visiting her uncle on a regular basis, and has been told by Will’s nurse Eva, also a family friend, that speaking to him will help with a bountiful recovery (if a recovery is possible). Via Annie’s attempt to nourish her uncle’s brain, we learn her story.

Annie is back from a wild adventure in search of her long-lost sister, Suzanne, who is a semi-renowned fashion model. Still oblivious to her sister’s track to New York City, Annie makes her first stop in Toronto, the last known whereabouts of Suzanne to her family. Here she meets Painted Tongue, who is later revealed to be named Gordon, and turns out to be Annie’s self-proclaimed “protector.”

Painted Tongue does not speak, and we only understand his thoughts through Annie’s perception of his actions, moans, and moods. The mute Native character is actually a previously dawned character of Boyden’s: the protagonist of a short story, aptly named Painted Tongue, which makes up part of Boyden’s first book, a compilation of his short stories entitled Born With A Tooth. The short story explains why Painted Tongue does not speak: he chooses not to, in protestation to the way he is treated while living on the streets of Toronto. An alcoholic, Painted Tongue moans his way through life, refusing to converse with the neo-colonial symbols he encounters personified in police officers, construction workers, and elite businesspeople. The reader is forced to analyse why he is silenced. And, since he does not converse through language, how Annie Bird always knows what he is thinking – right up to the point of their consummation late in the plotline of Through Black Spruce.

From Toronto, Annie and her protector move on to NYC on a tip that Suzanne is there. Here, Annie is shadowed by the spirit of her missing sister, they fuse into one being. Annie meets Suzanne’s sketchy model-world friends, frequents her clubs, and begins modelling herself. After a while, though, Annie eagerly wants to know what happened to her sister, essential to Will’s current vegetative state. Annie begins to send postcards to her mother back in Moosonee, signed by missing Suzanne, offering another tweaked message image: the sender is absent. Ironically, Annie learns that there are more postcards being sent from Suzanne from around Europe, and Annie and Gordon quickly flee home.

Meanwhile, as Annie tells Uncle Will about her laborious, often life threatening adventures, Will pseudo-responds to her from beyond consciousness. He recounts his life as a bush pilot, flying hunters and travellers in and out of uncharted territories around James Bay, which took a turn for the worse when his family was killed in a house fire. In response, he intentionally crashes his plane, but is saved by the volunteer fire department. So, he drinks to ease his pain.

Will’s conceived purpose in life triggers an adventure of his own to live in the wilderness surrounding James Bay for almost a year. He is seeking solitude, but is unaware of the outer world following him. Among many plot diversions, he comes across a beached whale’s skeleton, representing the larger-than-life obstacles he is faced with. He decides to sit in it for a while and enjoy a few nips of whiskey, when suddenly he is not alone. Will is met with a set of grandparents and their two granddaughters, who mirror Annie and Suzanne with a highly effective linking seagull feather image, and his newly recovered shame of skipping town pushes him back to his problems at home. Climactically, a keepsake of Will’s grandfather from World War One debuting in Three Day Road saves him from falling to his biggest enemies, alcoholism and depression aside.

What do all the missed messages mean? Firstly, Annie’s silence regarding an important piece of information creates the initial tension in the story. Then, she must deal with this by ironically sending many more unheard tales to her laid up uncle. Eventually, the silence theme that looms about throughout the novel transforms into a humbling force for all the characters.
Originally published by campusintel.com

Lebanese Man Convicted of Witchcraft Dodges Beheading

Lebanese man Ali Hussain Sabit, imprisoned in Saudi Arabia since 2008 for practising witchcraft, averted being beheaded last Friday for the conviction. Human rights advocacy group Amnesty International, along with Sabit’s lawyer, May al-Khansa, successfully petitioned the Saudi government to halt the execution.

Sabit was arrested in 2008 in Saudi Arabia after travelling there on the religious pilgrimage ‘umrat.’ The arrest was triggered by Sibat’s Beirut TV program that he produced prior to his travels, on which he made predictions deemed as pagan-like future telling by Saudi government officials. He has been in Saudi prison since on charges of sorcery and witchcraft, offences punishable by death in the nation that upholds a constitution based on extreme interpretations of Islamic law as laid out in the Qu’ran.

Saudi law permits capital punishment for a number of crimes, such as homosexuality, idolatry, drug smuggling, and witchcraft. The most popular way of carrying out the punishment is by beheading with a sword. Executions are usually staged in the large, open Deera Square in Riyadh, Saudi Arabia, commonly known as Chop Chop Square. The most recent execution for sorcery was in 2007 when an Egyptian national was arrested in Saudi Arabia for the crime.

Saudi prisoners are usually oblivious to the fact that a decision has been made to execute them. Those awaiting conviction and sentencing are usually imprisoned while the delegations are carried out. In Saudi courts, defendants are most often represented by the judge presiding over the case, who questions the prosecution. Lawyers are scarcely allowed to represent defendants, making Sabit’s situation a rarity.

In recent years Amnesty International and other human rights advocacy groups have been pressing Saudi Arabia, and other middle eastern countries that use capital punishment for minor, non-life threatening crimes, to cease the practise. The Saudi government upholds that beheading is a traditional practise and, in following with the national government’s interpretation of Islamic Law, or Sharia, is humane.

Sabit’s beheading was halted, but some reports are explaining that it was not officially cancelled by the Saudi government. It is possible that it was only postponed, as for right now, in response to international attention to the publicised case.

With sources from voanews.com and gulfnews.com

Originally published by campusintel.com