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FOR THE WEEK OF NOVEMBER 21STVOLUME 47 / ISSUE 11
Ryan MacfarlaneEditor-in-Chief
[email protected]@_ra_mac
Alisha VanWierenCampus Life Editor
[email protected]@vdubsmeliorist
Andrew McCutcheonOpinions [email protected]@CoffeeAndLiars
Garrett BishoffFeatures Editor
[email protected]@smartstooge
Meredith PritchardArts + Entertainment [email protected]
@mereyrose
Travis RobinsonSports [email protected]@sivartrobinson
The Meliorist:Mel-ior-ism (meelʼe rizʼm)
the doctrine that the world tends to become better or may be made better by human effort
SU166, 4401 University Drive West, Lethbridge AB, T1K 3M4Phone (403) 329 2334
themeliorist.ca@The_Meliorist
Business ManagerMohamed Hassen
Creative Director + IllustratorSam Loewen
Production ManagerNico Koppe
Ad ManagerTravis Riedlhuber
Photo EditorKjel Erickson
Copy EditorEmma Ferguson
WebmasterChris Cameron
Design AssistantsKenzie FergusonKeely Goulding
PrintingSouthern Alberta
Newspaper Group
CoverSam LoewenKjel Erickson
ContributorsColin DingwallMatthew Gal
Benjamin W. GoodwinDaniel HeyderClark MustardTyrell Nielsen
Morag Rahn-CampbellClay Roenspiess
CONTENTS
CAMPUS LIFE OPINIONSFEATURESSPORTSARTS + ENTERTAINMENTTLFS
STUDENTS UNION
4101218202426
— 3
LETTER FROM THE EDITOR
Ryan MacfarlaneEditor-in-Chief
Film has always held a deeply important place within my life. Even when films were merely movies to me, I was still entranced by their magic. As a fairly unremarkable 8-year-old boy, my favourite movies were the original Star Wars trilogy and Raiders of the Lost Ark. I and my two best friends, who were brothers, would watch those movies nearly daily. If we weren’t watching one of the Star Wars movies, we were either drawing scenes from the movie or playing as our favourite characters. If now I asked the 8-year-old version of me what the impor-tance of those movies were to him, I can’t imagine he’d say anything beyond how cool he finds lasers and space. When I reflect on it now, I think Star Wars was a soft introduction to everything I love about cinema.
Even before the Star Wars era, I already had a thoroughly entrenched relationship to movies. From some moment established in my very early childhood, each weekend my mother would take me to the video rental chain to rent a movie of my choosing. I would always choose to rent Peter Pan. It was, in those early years, my favourite movie. I watched it compulsively, and even though my mother knew each weekend what movie I wanted to rent, she had little option but to rent it once per week. In the 90s, Disney held on to their movies, only making available for purchase certain titles. Peter Pan didn’t happen to be one of the titles on the market at that time, so each weekend my mother and I repeated our ritual, and I would watch Peter Pan.
It wouldn’t be until four years after those times when I watched Star Wars in my friends’ basement that movies started to become to me something more. Sometime around this point in my life I’d lost interest in movies. I didn’t rent and watch Peter Pan religiously anymore. In fact, I hadn’t seen it in years. I also no longer spent entire afternoons watch-ing the complete Star Wars trilogy; my best friends had moved away a
couple of years ago. If things had been left as they were, those moments in my life where movies filled every waking moment would have drifted slowly and silently into the recesses of my memory.
I was 14 years old and The Royal Tenenbaums had just been released. The closest thing to interest I had in movies at this time was my curiosity over which movies my parents rented each week. I never watched any of these movies, but I liked to look at the titles. I can’t say, even now, what it was about The Royal Tenenbaums that drove me to see it. Perhaps it was the cover art, perhaps the name itself – but for whatever reason, I watched The Royal Tenenbaums and discovered my dormant love of film.
My love of film eventually led me, in high school, to watch countless hours of film on the Turner Classic Movies channel. Nearly every evening I would watch film after film, slowly becoming acquainted with an entirely different world of film than I’d known previously. I thank TCM for my love of Hayao Miyazaki. I watched every single one of his films on that channel when it aired a week of his films to celebrate his career. I also thank TCM for my love of the film Killer of Sheep, an early Charles Burnett film that TCM aired in celebration of Black History Month.
Since I was 14, The Royal Tenenbaums has become my favourite Wes Anderson film; but I’ll always identify that first viewing of it as a seminal point in my life. Now, when I rewatch Lost in Translation, one of my favourite films, any number of countless times, I think back to that early experience with film and think how much richer my life is for it.
CAMPUS LIFE
1) You must cook the noodles on a stove top in a saucepan.
2) All you need to do is add (virtually) anything to the hot water. – Eggs, when added to the water, will get soft boiled in the soup base, leaving you with delicious little pockets of egg swimming in the midst of the noodles.– Eggs can also be added to the soup after frying them, if you are really concerned about how cooked they are.
3) Peppers, onion, garlic, carrots, broccoli, asparagus, and a plethora of other options are available for just vegetables alone. – I recommend adding most of your ingredients to the water before your noodles, as they take longer to cook. – The type of vegetable, how thick it is cut, and the temperature of the water all effect how long it will take for them to become soft and chewable.–If you don't feel like waiting long, you can add spinach, bean sprouts, or even green onion, as the cooking time on these vegetables is nearly instantaneous.
STARTING OFF
INNER DISCOVERY
& INSTANT NOODLES
INNER DISCOVERY
& INSTANT NOODLES
The art of instant noodles has been passed down through countless generations, and I am here to give unto you secrets first developed by the Nissin Foods company in Japan. Although a seemingly simple creation, there is a diversity of routes one can explore. Many forsake the potential within each packet of instant noodles by simply microwaving them to get noodles... instantly. This is an unforgivable transgres-sion, punishable by hunger within the next half hour. It may seem a treacherous sea to cross if it is your first time piloting a vessel on the open water, but I am here to put you at the helm of your ship and aid you in steering towards noodle enlightenment. To unlock the potential in each block of instant noodles, one must put together the pieces that make it a powerful dish.
CLARK MUSTARD
— 5
All of these additions are impacted by the most important part of the soup, where the real taste sits and sways the opinions of your taste buds. The real fun starts when you want to change the flavour of the broth, as virtually any edible liquid can become broth, and makes for a nigh infinite number of possibilities for your soup.
1) Put in some hot sauce, sesame oil, garlic paste, vinegar, soy sauce, and anything else you think will compliment the dish well. – Herbs and spices should not be held back either, as they can add deliciousness and texture.
2) The most important part of this step is to taste the broth to make sure that you like the flavour, as there is nothing worse than going through all that hard work and not liking the final product. – Constantly taste the dish, and add in stuff until you have achieved a flavour you like. – If the soup is too bland, try adding something acidic, as this will make the other flavours “pop.” – Be careful though, and try to add in small increments, as going too far in one direction (spice for example) means that you will likely have to add water in order to dilute the flavour.
Overall, be creative and have fun. Some of the best instant noodles are with quirky things added in. One of my favourite oddities is to add peanut butter – especially the crunchy kind.
The secret is to make the noodles an expression of oneself, and to be at peace with that creation. Through self-realization comes the inspiration to turn a simple mixture into an epic soup to be forever remembered. Lessons you have learned here translate so well into other meals also. Try to be experimental with your cooking if you find yourself growing bored with it.
With that being said, follow the recipe the first time you try to make anything, as some ingredients may not act like you expect. Do not get discouraged with first attempt failures, as these are the best learning lessons. Just take a step back and assess where things ended up going haywire. If you keep a calm and objective demeanour, then the artistry of cooking will be shown to you. Perhaps you will even be the next Iron Chef!
THE BROTH
Sometimes, however, vegetables aren't quite enough, and a little heartiness is needed.
1) If you are looking for some protein to add to your dish, cook up some beef, pork, chicken, or whatever your heart desires!
2) If the meat is thinly sliced (about a centimetre or so) it will cook quickly and will taste delicious. – If you prefer thicker cuts, you can cook them beforehand to ensure that they are fully cooked so that you avoid eating anything raw.
3) Nuts can also be added, crushed up to sit on top of your concoction like a throne, or tossed into the pot to leave a crunchy surprise.
4) Chick peas or kidney beans also work quite well.
5) Tofu is of course a viable option that will mold to the flavour of the other ingredients.
ADDING PROTEIN
AJ Baragar
Garrett Bishoff
Erica Barr
Brianna Diodati
CAMPUS LIFE
— 6
What’s something in the world that makes you really angry?Probably the stress of everything. It makes me really anxious, which makes me angry at times.
Can you think of any ways that you could change that?Definitely to think about the positives in life. It’s so easy to think about all the negatives and everything that goes wrong in a day, but I think it’s really important to just kind of embrace and cherish even the little things – like, the fact that I’m healthy is great, so just to focus on the positives.
What’s something in the world that makes you really angry?Something that makes me angry is the lack of thought from people towards others, just in general. People don’t think about how much they affect other people in their day-to-day lives, and – angry is a very strong word – but it gets very irritating when you see people just blatantly ignore other people when they could go a little out of their way to do something at least good, if not neutral or preventing wrong.
And what would you say to those people, or how would you like to change that?I’d just like people to think about every time they go out – just have a mindset of not doing anything that they think would harm others.
ALISHA VANWIEREN
This week I asked the cast of the play Exia, “What’s something in the world that makes you really angry?” Here are their responses.
... WITH THE CAST OF EXIA
Second-year mathematics and dramatic arts double major
What’s something in the world that makes you really angry?People who are small-minded and don’t like to open up. People who don’t understand that there is more than what they see in front of them – that there is a whole world out there.
What would you say to those people?I would tell them to travel, and I would tell them to think before they speak.
Fifth-year dramatic arts (performance) major
Fourth-year history and dramatic arts double major
What’s something in the world that makes you really angry?It really makes me mad when – and I hate to be a social media buff – but when I go through Facebook and see people ripping on others – and Bitstrips. Bitstrips really make me angry and I don’t understand them, and they make me very mad because I don’t understand the point. Who goes out of their way to make a little cartoon that doesn’t make any sense? It just doesn’t make any sense to me. So that’s one of my pet peeves. But really, when people just make an effort to piss someone else off, I don’t like that at all. I think it’s really immature. It’s disrespectful and, quite frankly, quite arrogant and ignorant, so I don’t see the point of it.
Second-year dramatic arts and education major
Matthew Lowry
Kyle Schulte
Chloë Sando
CAMPUS LIFE
— 7
What’s something in the world that makes you really angry?Excess. Like over here, in North America, we eat all the food and we throw so much food away, and then there are people that are starving and dying of starvation all over the world and it just makes me so mad. What would you say to North Americans?Share the love, man. Take care of each other.
Aimee McGurk
What’s something in the world that makes you really angry?Negativity and pessimists. I think if everyone in the world could find one thing that they liked and focused on that thing and tried to change themselves, the world would be a better place. I think it’s silly that people can’t get out of their own lives for two seconds to just try and be positive, because that’s really all it takes. If everyone tried to be positive, then the world would just be a good place.
Fifth-year dramatic arts (performance) major
Fifth-year dramatic arts (theatre studies) major
What’s something in the world that makes you really angry?I really hate scraping my car in the mornings, and it makes me really mad. And if it’s cold and I’m mad in the morning, it just throws off my whole day.
B.F.A (Dramatic Arts)
What’s something in the world that makes you really angry?Mostly, intentional misrepresentation of facts. For instance, governments – particularly when they, to advance their own agenda, essentially start making stuff up. That bugs me a lot.What would you like to say to the government?Not much. But I’d definitely like to say to everyone else: be aware and don’t trust the government, because they don’t always tell the truth.
First-year dramatic arts (performance) major
OPINIONS
— 10
CLAY ROENSPIESS
The term “conspiracy theory” carries a negative stigma and creates a cloud of doubt that is destined to strain the understanding of any such subsequent theory identified with this title. I think another term should be employed here to describe political events: propaganda. Propaganda too carries a stigma, but I would use it here in its most basic interpretation. I would define propaganda as the particular doctrines or principles propagated by an organization or movement.
Prior to WWII, the term “propaganda” was regarded with a neutral tone. Only since its involvement with the Nazi party has it been so plagued. Historically, it has been used strategically to spread doctrine endorsed by political or social institutions. These doctrines are often not wholly representative of the truth; in fact, I argue that this would be counter-intuitive. The point of such doctrines is to present information to primarily influence an intended audience.
Propaganda often presents facts selectively, possibly lying by omission or even lying outright, to encourage a particular synthesis. Namely, one has an emotional rather than a rational response to the information presented. It can be argued that propaganda is a means of enacting ideological warfare.
This has been intensified with the realities of mass media. I think it is well known but perhaps not well understood, that mass media outlets are for the most part bought and paid for. In this sense, mass media portrays only what its masters intend them to portray. A perfect exam-ple is the coverage of the Occupy movement, or perhaps more accurately, the lack of coverage. The Occupy movement was, more than anything else, a stand against the current model of the American economic and political system. It stood in direct opposition to the interests of the super-elite. There was no primetime coverage of this phenomenon on any of the major news outlets in the U.S. at the time. This is not a coincidence.
There are many historical examples of mass propaganda and deceit employed by major world powers to influence their populaces towards a political end. The most obvious examples include Nazi Germany or North Korea.
There is a paradigm I would like to dispel here: that the military-in-dustrial complex is exclusively an American phenomenon. Simply because these corporations exist within the borders of a nation (which is not wholly true to begin with) does not mean they are of that nation. The military-industrial complex is a global phenomenon and the institutions that aid them are present not only in America, but also in every major power benefiting from this model.
In my opinion, the most integral part of this paradigm is explained two-fold. Firstly, that the U.S. is the world’s largest economy (the next largest economy is only half as large). Secondly, that the U.S. spends
more on its military than the next 21 countries combined. Given this economic precedence, it is obvious that the largest and most powerful parts of the military-industrial complex exist within the boundaries of the U.S. and act in the U.S.’s interests. After all, there is more profit to be made by enacting warfare with its military than any other military in the world. The U.S. and the military-industrial complex form a symbiot-ic relationship in this sense. Both benefit and contribute to the success of the other.
Moving forward, I would like to expand on the notion of how and why the individual actors within these audiences come to understand and accept the propaganda they are meant to. Moving forward, I would like to expand on the notion of how and why the individual actors within these audiences come to understand and accept the propaganda in the way they are meant to.
First, it is a lot easier to find information aligned with the viewpoints of the intended propaganda than it is to find information to the contrary. If you control the mass media outlets, you invariably control the flow of information. While the information is out there, it is very difficult to find evidence that is not only opposing the propaganda, but also well-supported or academic in nature. Such are the intended effects of the ownership of mass media: control of the flow of informa-tion and, subsequently, popular opinion.
Furthermore, information found might be described as “uncomfort-able.” There is a trend for individuals to reject information that is incompatible with their worldviews. This same principle can be applied across a wide variety of psychological phenomena and is a central feature of rationality at an individual level. We “select out” information that carries uncomfortable or harmful inferences every day. It is no surprise that we as a populous would do the same thing on a much larger scale, especially given that the uncomfortable inferences are equally larger.
This selection process could easily be likened to research bias; we throw out information that we don’t like or that contradicts our worldviews. This sort of thinking is dangerous, however. The historical precedence of propaganda being used to control a populace exists and is absolutely incredible. But when people are faced with this information they reject it or choose not to listen to it. What’s the point of searching for an answer if you will not respect its validity?
When it comes to political events, careful discretion must be used in rendering any understanding. It is easy to dismiss political phenomena as being transparent, but rarely is any situation so. Attention to detail and an open-mind must be employed to understand a political or social situation accurately. ■
OPINIONS
— 11
MATTHEW GAL
In 2007, novelist Don Delillo wrote the novel Falling Man, about the events of 9/11. It opens with its protagonist emerging from one of the towers moments after the attack, and depicts the fragility of that moment in all of its terrible confusion: "It was not a street anymore but a world, a time and space of falling ash and near night. . . . The roar was still in the air, the buckling rumble of the fall. This was the world now."
This passage illustrates, more effectively than the images of planes flying into buildings or of the rubble of those huge monolithic structures, the human toll, the individual experience that shattered so many people; humans were forcefully infantilized by the tragedy and spectacle of a moment comprised of pure vulnerability. Human beings are meaning-oriented creatures, but how is an individual supposed to make sense of something so incongruous with their everyday experi-ence? How does one come to terms with the fact that the greatest military power in the world, and its citizens, are vulnerable to threats which originate thousands of miles away?
Conspiracy theorists refuse to engage with these questions. Instead, they construct an elaborate system of denial, designed specif-ically to maintain the illusion that the only real threat is the enemy you know.
9/11 conspiracy theories are intricate and wide-ranging, but their basic premise is that the attacks of 9/11 were orchestrated by entities within the American government, and not a group of anti-American fundamentalists whose motives were clearly stated countless times prior to, and after, the attacks: e.g., America's unwavering support of Israel, and its occupation of Muslim holy lands. An exhaustive list of evidence used by conspiracy theorists would require a book-length excoriation, but includes: that no plane wreckage was at the Pentagon crash site, that the buildings falling look like a controlled demolition, that the jet-fuel was unable to melt steel, and that Building Seven collapsed though it was not hit directly.
These claims run the gamut from the misinformed to the outright deceptive. Plane wreckage absolutely was found at the crash-site near the Pentagon. The buildings were specifically designed to fall the way they did – as one floor collapses the added weight weakens the others and the building pancakes in on itself. It is absolutely true that burning jet-fuel cannot melt steel, but it can certainly weaken it enough that
given sufficient stress the supports will collapse. And Building Seven simply collapsed after the fires burning in it, coupled with all of the debris smashing into it, weakened it enough to collapse. Honestly, even responding to these arguments is troublesome to me, as it lends them a level of credibility which at a far more basic level they don't even warrant.
Arguing with conspiracy theorists is often a frustrating and point-less endeavour, as the conversation invariably veers down one of two paths: (1) Any evidence you level against the conspiracy is simply more evidence of the conspiracy. If you show Osama Bin Laden claimed responsibility in a video, they claim that the video is fake. If you show them videos of planes, not missiles, flying into the Trade Centers, they claim the video is doctored. And on and on it goes. (2) They say, "What’s wrong with being sceptical? I'm not a sheep who accepts everything the government tells me," and nor should you be. There are serious issues with the 9/11 Commission Report and other govern-ment assertions, but as long as we are pre-occupied with the monu-mental leap in logic that goes from, “The government could have handled 9/11 better,” to, “The government orchestrated it,” then those real problems are never dealt with. Blind, indiscriminate scepti-cism is just as dangerous as believing everything you're told.
After the Aurora theatre shooting and the tragedy at Sandy Hook, conspiracy theorists wasted no time in laying the blame on the Ameri-can government. Both were a ruse, they claimed, to strip Americans of their right to bear arms. These claims are not only completely unsub-stantiated, but also viciously unsympathetic to the victims and their families. I don't think most of the people spouting this nonsense mean it disrespectfully, nor do they mean to disparage the victims of 9/11. These are attempts by meaning-oriented creatures to make sense of the nonsensical, to ascribe a sense of order to acts of such horror because facing the reality of them is almost unbearable. The harsh truth is that conspiracies conceal. The reason they are so comforting is because sometimes atrocious things happen, and despite all of the control we think we have, the world humbles us. But denying reality and substituting it for a convoluted fantasy means never dealing with the real issues that something like Sandy Hook implies. And that may be the greatest tragedy of all. ■
TYRELL NIELSEN
— 13
FEATURES
"At regionals we got first place in overgrad," Graeme says in a very matter of fact way, almost fostering the idea that the University of Lethbridge iGEM teams’ success is really no big deal. No big deal, that is, until Dr. Hans-Joachim Weiden interjects, "What is regionals, Graeme? Is it just Southern Alberta? No. It’s a major achievement. We won North America. Period!"
Exuding outgoing personality, it's apparent why Dr. Weiden is known to his students as HJ. Sitting down with Graeme, who is a member of the Lethbridge iGEM team, and Justin Vigar, a biochemis-try graduate student, HJ asks for a brief history of the iGEM competi-tion.
“So what iGEM is,” says Justin, “is Internationally Genetically-Engi-neered Machines. It was a funny idea that a couple MIT professors had, asking the question 'Can the biological sciences be an engineering science?'" This question led to a class where they would devise a simple genetic circuit, which as HJ says, is "genetic information that rewires a cell. Having something that’s not in a cell originally, taking it from somewhere, and popping it in."
Gradually this class led to an inter-school competition, growing from the inaugural group of five teams in 2004 to 190 teams in the 2013 contest. Continuing, Justin explains what exactly is the goal of these teams. “They compete by engineering an organism to do something interesting or useful." And that doesn’t just mean for scientists. “This year, there was a team that wanted to cure tuberculosis. It's often social problems that trigger it.” The idea of social triggers shaping scientific research is a significant feature in the iGEM competition, as are many other non-science-related disciplines. “There is bioethics,” says HJ. “And none of us are trained in bioethics, so we have to run around the university to philosophy profs, feeling out our ideas.”
Explaining what some of those ideas were, Graeme described their project. “This year we worked with the secondary structure found in messenger RNA, which is the piece of RNA (Ribonucleic acid) read during translation from RNA to protein. When this is done, there are certain codons read, so there’s a reading frame. So, if you were to shift the reading frame mid-translation, you would essentially get a completely different set of codons.”
HJ describes it as "reading your textbook. If you take a letter out, or add one, or put another space in the word, it means completely some-thing else. It's the same thing. Actually, it's the exact same thing."
Continuing, Graeme explains how this process is used by viruses. "There’s a certain element called a pseudoknot, which has a few other elements associated with it, but it essentially allows you to shift the reading frame mid-translation, and viruses use it to compress their genome. Evolutionarily, if they have smaller and smaller genomes, they could fit more information in their little capsid, which is where they store all their information." This would give the virus a competitive edge, because the virus would be smaller and more difficult to detect. "It's kinda like zipping and unzipping files on your computer to get more data compression. We're working with that element to make it useful in prokaryotes and eukaryotes.”
Their study of RNA led the team to other discoveries. While it wasn’t the original intent of their research, the team discovered how this process could benefit the future study of proteins. “When working with various proteins, you have to tag them with a label, and sometimes that tag causes the protein to lose function. A way to be able to quantify it without losing function would be to tag only a certain percent of it, so you could put this frame shift after the protein so that only ten per cent will be tagged.” This tag is hardwired into the cell, becoming part of the genome. This discovery is significant, because as HJ says, “It’s never been done. It’s a brand new functionality.”
Justin notes that while the discovery was exciting, it was met with some caution. “We saw a potential way that it could be used in a nega-tive fashion.” HJ adds, “It's a new part, a new functionality. So you have to assess what are the implications of that new functionality. So it's kind of cool that you can zip information, but then it is also possible that you can hide information.” The team’s interaction with industry and government organizations (such as the Public Health Agency of Canada) to determine the safety of their work won them the Security Commendation. Graeme notes that it also caught the atten-tion of the FBI. “There were two members of the FBI talking; they were giving a presentation one of the nights, and they specifically mentioned our team, they gave us kudos for taking biose-curity into our own hands.”
The team also won an award for having the best poster. While giving a presentation about their research, the team would display a poster that outlined all the aspects of their study. HJ explains, “it has some component of the project in it, but it’s mostly how the students can convey their project to the judges.” He also notes that the prize was “astonishingly hard to win,” mentioning the intensity of the judges’ review of the posters, and the number of teams competing as contrib-uting factors to the difficulty.
While the success was a rewarding part of the experience, the iGEM experience offered the University of Lethbridge team something more. “It's important as a soft skill for the future,” says HJ. “When you have to work in a company, you work as a team. This is a unique experience that you learn. This is a transferrable, non-scientific outcome of iGEM, the capability to work in a team environment.” Stressing the impor-tance of the non-scientific, Justin adds, “there is not one major at this university that couldn’t contribute to iGEM.” Looking forward to next year’s competition, it’s the students with these non-scientific majors that HJ is looking to recruit. With a team already as talented as this, the potential depth to be added by a wide variety of academic backgrounds all but assures that the University of Lethbridge’s success at the iGEM competition isn’t abating any time soon. ■
“They compete by engineering an organism to do something interesting or useful”
FEATURES
— 15
Is Lethbridge a cultural centre? We’d like to think so. Many a student has complained about the lack of things to do in the windy city (no, not Chicago...). A majority of university-goers are not from here, and thus the four or more years spent getting to know their new living area, as well as entering the serious spending age, are all important to Lethbi-an (no, not LGBT, though those are included) business.
With the standard attractions such as pools, malls, and local, unique, shops, Lethbridge has tried constantly in recent years to boost its tourism industry. For a long time, the Galt Museum, Fort Whoop-Up, and the Japanese Gardens have been in the front lines of the business-es, along with other organizations popping up over the years. Recent trends have begun to grow with the city itself.
First off, the ever-expanding development of the west side has led to promises of Wal-Mart, waterslides, and perhaps even an A&W. With lots of space to grow outwards, the next few years definitely look promising for the areas close to the university. Across the way, the north and south (collectively east?) sides have also pushed for more diverse areas. The recently-opened CASA, the skate park, and the development out by the airport all have contributed a large number of new features never, or seldom-before seen in Lethbridge.
Another new development has been the attraction of bigger and bigger cultural events in the bustling city. Many students found a much easier way to catch acts such as KISS, which often only get as close as Calgary, and the famous Elton John himself, who before would barely make it to the other larger city. On the other side of the spectrum, local events often too expensive to be put on in a smaller city have made their first appearances, such as the Lethbridge Comic Con and Lethbridge Entertainment Expo. Coming up very soon, Lethbridge will see acts from Hedley to the Backyardigans.
A recent event hosted at Holiday Bowl was the Lebowski Bash Lethbridge, a bowling tournament dedicated to the cult film The Big Lebowski. With costume contests and white-Russian drinking (and the odd phallic drawings…), the event, though small, attracted many people, including university students and some professors. It is charac-teristic of the many little unique things that students can now find in the city due to its recent growth.
Local hubs like The Owl Acoustic Lounge, The Slice, and the univer-sity’s own, The Zoo, are great for discovering new local bands and
meeting with friends, as well as seeing unique events. Past ones have included a Star Wars art exhibition at The Owl and even Great Big Sea at The Zoo. You never know what you might find.
Lethbridge is of course still a growing city. Many students take shelter in their dorms while not in classes and do not explore the buzz of activity that is taking place just a short drive away. With the onset of winter, that is understandable, but many students have found it better to remain in the city during the summer when it is more attractive to head home or even somewhere more exciting in Alberta.
With so many events coming to the city, perhaps that trend will change as more young people are drawn to Lethbridge, an oasis in the middle of the foothills. With destinations like Writing on Stone, Head-Smashed-In Buffalo Jump, Waterton, Frank Slide, and of course Calgary with its own attractions, only a few hours away, the city’s future looks promising, even if it is just a stop on the way to an even better adventure.
City-wide events like the Farmer’s Market, Whoop-Up Days, and Canada Day fireworks have always brought out big crowds. They are an excellent way of meeting new people, enjoying the city spirit, and having fun all at the same time. Other diverse clubs or gatherings that are also great to visit, even if you’re not a member, include the Buddhist New Year celebrations at the Nikka Yuko Japanese Garden, Pulse, Essie’s, Boss Hogs, and Studio night clubs, or the Enmax Centre.
For those more inclined towards individual exploration, some great ways to find culture hidden within the city include the Bowman Arts Centre, the Southern Alberta Art Gallery, the High Level Bridge, the surrounding Indian Battle Park, Helen Schuler Coulee Centre, Birds of Prey Centre, the Yates Memorial Centre/Sterndale Bennett Theatre, Galt Gardens, and many more.
The next time you find yourself wondering what to do in the windy city, take a moment to go through not only the official websites, but also check out the local pubs, parks, and unique buildings to find out what you could soon be enjoying. As someone who has through sheer coincidence ended up attending a Glass Tiger concert, seeing Craig Ferguson live, and somehow winning best “Dude” costume at the Lebowski Bash, I can vouch for the fun times to be had in our not-so-lit-tle city. ■
LETH BE HONETHT
GARRETT BISHOFF
(LET’S BE HONEST)
—
TRAVIS ROBINSON
The quiet leader is exemplified through their hard work and dedication, as op-
posed to their verbosity. They may not be the most vocal athletes, but their unflinch-
ing willingness to work on and improve their craft allots them the unspoken role of
leader, as someone to aspire to be like. They may not deliver harrowing pre-game sermons to their congregation of believers, as many vocal athletes do. Rather, the quiet leader leads by being the first to arrive to
practice and the last to leave, bringing their proverbial lunch box with them to
work hard all the way through.
JENNA-MARIE LEADS THE WAYEOIN COLQUHOUN
— 19
SPORTS
The quiet coach may seem like an oxymoron, but many taciturn coaches have been equally good leaders as their exuberant counter-parts. The image of the stoic Bill Belichick leading his Patriot teams to three Super Bowls in four years without so much as uttering a word is a prime example of the successful quiet coach. As far as athletes are concerned, however, the quiescent athlete who leads by example can often be more respected than that loud stereotype. For the University of Lethbridge women’s hockey team, their captain, leader, and most tenured veteran also happens to fall into the category of these quiet leaders. Enter Jenna-Marie Durnin.
Hockey is unique in the sporting world in terms of visible leadership, as the on-ice leaders have a big “C” sewn onto their jerseys, as if to avoid a case of mistaken leadership. Jenna-Marie is that individual with the capital C sewn onto her chest, making her the unmistaken leader of her fellow student-athletes. She also happens to be the most soft-spo-ken and humble one of the bunch. Durnin is a fifth-year nursing student from Manitoba who started out in speed skating before taking up the game of hockey.
“My brother and my dad were both involved in hockey, and at that point, I wanted to be like my brother, so I just got into it then,” remarks Durnin on her introduction to the sport. After rising through the ranks as a junior player, and subse-quently arriving to the Universi-ty of Lethbridge, Durnin, in her career, has seen herself go from rookie to assistant captain to her current position of captain. Despite holding the privilege of wearing the big C, Jenna-Marie is remarkably diplomatic about her position.
“I think lots of girls on our team don’t have an A or a C, but they still lead, and people respect them,” says Jenna-Ma-rie. “You can play a role with an A or without an A.” Durnin is cognisant of the fact, however, that being the older veteran player, the younger athletes will look up to you. She also cites the Horns’ rigorous strength and conditioning program as getting her into the proper playing shape to lead by example over the stress of a lifetime of competitive sport.
“I’m more aware of my leading role on the ice, and it’s the same game, so I have to be quick. I’m a small player,” says Jenna-Marie, in regards to her body, and following her progression in the sport. “With speed skating, [speed] was kind of one of my strengths, so if I’m not skating, I’m not as effective out there.” Besides her leadership role on the team, Jenna-Marie has also shifted her on-ice prowess from being a playmaker to collecting points. This has come in the refinement of her shot, an often cited weakness of many female hockey players, compared to their male counterparts.
“Guys just move the puck a lot faster,” says Jenna-Marie about the male game. “The physical part of their game is more than ours, because [physical play] is penalized in ours.” Jenna-Marie has spent time practicing with her male counterparts, an intelligent move for
someone wishing to elevate her play to match her captaincy promo-tion. Jenna-Marie advises that female athletes “just have to be smarter with the puck. A big thing for our team is communication, and it’s something we need to work.” She also credits the leadership meetings and seminars that the university has provided for all the athletic teams to further hone her leadership tactics.
“They have helped us be better leaders, and be more aware of how we can influence the team, so that has been a big change and has helped us as leaders.” As both an experienced player and a leader dedicated to improving her ways, Jenna-Marie has developed an intangible element to her game. This wisdom, and the ability to recog-nize the faults within her team, is what has made Jenna-Marie ascend from relative obscurity to the sole captain of the team.
Besides being an excellent on-ice leader, Jenna-Marie has fashioned herself an excellent role model outside the confines of the rink. “In representing the school, you have to be more aware of things
you do off ice than you do on-ice,” says Jenna-Marie. “I’m more aware of it now that I am in a leadership role. I’m aware of my action within the team and on the school front.”
Jenna-Marie has branded herself a school ambassador of sorts through the clinical portion of her nursing program. “I’m currently doing a tobac-co-free kids program, teaching grade fours about smoking,” says Jenna-Marie. She is placed at Nicholas Sheran Community School for the program, called Teaming Up for Tobacco-Free Kids, by Alberta Health Services, to educate elementa-ry school students on the hazards of tobacco use. “We create lessons based on the materials of the Tobacco-Free Program. . . . it’s health educa-tion, and the kids are really receptive. And it’s a fun program.”
Jenna-Marie does not preach through this program, but rather hopes to “empower
them with the tools to make their decisions to say no to smoking.” As she is on the ice, her off-ice leadership is based less on speech and more on action, and it is a trait that will undoubtedly help her in her pursuit of teaching in nursing in her upcoming Masters of Nursing program at the University of Lethbridge.
Jenna-Marie also hopes to coach in the future, after a much needed break from competitive hockey. “I’ve taught skiing lessons in the past, and it’s been fun,” says Jenna-Marie in regards to her experience. While her coaching pursuits lie at the youth level, Jenna-Marie most looks forward to the time when she can actually watch the hockey games, instead of being stressed out by what is involved in being a student-athlete. Being a leader, however, is a 24 hour job, and it may take some time for Jenna-Marie Durnin to step out of the role she has so deservedly won and instead be a role model in a different capacity. Regardless of the backdrop, however, she will always be that consum-mate leader. ■
“
”
IN REPRESENTING THE SCHOOL, YOU HAVE TO BE MORE AWARE
OF THINGS YOU DO OFF-ICE THAN YOU DO ON-ICE. I’M
AWARE OF MY ACTION WITHIN THE TEAM AND ON THE
SCHOOL FRONT.
��� �al� o� �ul� �alk
BENJAMIN W. GOODWIN
�
— 21
ARTS & ENTERTAINMENT
July Talk takes the stage and the crowd gets on up on their feet. Even in a small venue like The Slice, the room is electric as they start their set. With Peter Dreimanis on guitar, sharing vocals with Leah Fay, the two musicians share a great chemistry on stage, delivering a high-energy set. They transform into entirely different people next to each other during their set, taking control of the audience and directing the energy in the room wherever they see fit. They entirely consume the attention of the crowd and use it to fuel their show. Each song is a different conversation between the band and every-one in the room. Dreimanis and Fay have a sense of play together that is both captivat-ing and enthralling. They play back and forth between each other in a flirtatious game where they tempt, confront, comfort, and tease each other. The tension between them fuels their songs. Their music and show both play off of the contrasting feelings of the two singers, setting the dynamic of the band.
Fay describes how the band came togeth-er. She met Dreimanis "in bar in Toronto called the Communist Daughter at two in the morning.”
"Dreimanis came in with his friends; they passed around a guitar,” says Fay, “and after he heard one of my songs and I heard one of his songs, we were both pretty blown away.”
“It became very clear quite quickly that we needed to make a crazy, manic band, one that was able to mimic the dynamic between us: very loud – quiet loud – Pixies-styled sound."
Dreimanis says that the whole band has come together as a whole, expanding past just the two of them into a band of five, with Ian Docherty on guitar, Josh Warburton on bass, and Danny Miles on drums. "It's not like one of us needs to guide the ship; it's five people and we don't have any argument about where this band is going."
Fay talks about her experience with July Talk. As a graduate of contemporary dance, it
is easy to tell that she is very comfortable on stage, having been inspired by "Gord Downie and the way he interacts with the crowd.” Starting out with much more clothing then she ends the show with, the seductive and very confident co-front of July Talk revealed a layer of leopard print, mirroring the animal aspects of her performance. Her voice is a wispy and melodic contrast to Dreimanis' sandpaper vocals, and she toys with his flirtatious advances. She controls the stage alongside Dreimanis, straddling her mic stand and even writhing on the floor in pleasure. Her performance is both sexy and commanding.
Together, the two command the crowd. Their performance together is something that is hard to describe in the best way possi-ble. "Leah spit into my hand and I threw it at the audience," Dreimanis recalls as he talks about their past performances. "It's import-ant for us to push people outside their boxes." It isn't about looking cool; it's about tapping into being a human and focusing on what you feel. Peter Dreimanis' vocals are unique. He has a whiskey-driven, gritty baritone that urges you to listen. It commands your ear as it grinds out honest lyrics. The raw aspect of his voice and the vulnerability of the lyrics really makes you feel exactly how Dreimanis wants you to feel. He has a strong presence that really fits his fantastic voice.
Their entire album is hard to describe. It defies definition by genre or era. The genre could be called indie because of its indepen-dent label status, although it does not have the feel of traditional indie music. Dreimanis sounds raw and gritty while Fay comforts and soothes her listeners – an interesting game in vocals. The band has a very rambunctious energy that comes through in all its members, from the rocking drums and the rolling then slamming guitars, to the driving bass and melodic synth; all of those sounds contrast and compliment both sets of vocals together.
All of the songs on the album create a new experience for its listeners, but the most notable tracks include “Guns + Ammunition” and “Paper Hearts.”
“Guns + Ammunition” has a pulsing bass that drives the song further and further into a longing rage as Dreimanis repeats, "When you leave, my body shakes." It starts with Dreimanis, whose voice leads you into the world of the song, slowly setting up his heart-break. Their ever-present background cries through the song as the song gets deeper and deeper. Fay soothes the listener while Dreimanis talks of his broken state, which eventually leads to the climax. The guitars get louder and harder throughout the song. The gritty feeling that the song leaves in you is quite explanatory of the concert experience they present.
Paper Girl brings you in with its Americana guitar that plugs right along as Dreimanis describes a paper girl. The crashing drums punctuate and reflect the anger of his feelings for "her.” Fay provides a rebuttal over catchy and harmonious synth. The conversation in the song between Fay and Dreimanis crashes back and forth, like airing one's dirty laundry in a public fight. Their song builds yet again with an irresistible energy that punctuates on its rhythmic outro and clashes one last time to send its listeners out with an earful of energy.
Will July Talk be more than just a project for Fay and Dreimanis? "God, I hope so," Dreimanis says, as he echoes the hopes of everyone who attended the show. "As long as the project can evolve organically."
Fay discusses a very optimistic future for the band. "We're all starting to think of where the project is going rather than where the band is."
You can check out their debut album for preview and purchase at julytalk.band-camp.com. ■
THE DRINKING GAMECOLIN DINGWALL
PROBLEMWITHTHEATRETODAYIS THAT
THERE ARE TOO MANYBUSINESS PEOPLEANDNOT ENOUGHARTISTS- JAY WHITEHEAD
ARTs + ENTERTAINMENT
— 23
I saw a piece of theatre last week. Actually, I saw that same piece of theatre three times last week, and each experience was wildly different from the last. Was it an improv show? No! Well, yes – but no. If you saw it, you know, but if you didn’t, you can decide for yourself after you read this article.
The show is called The Drinking Game. It was put on at the wicked, cool, queer space in Lethbridge, Bordello, and was a collaboration between Theatre Outré (which runs the space) and Theatre DaPoPo, which created the first version of the show in Halifax.
The premise of the show was that a group of performers, many local but a couple from Halifax, get together and have an alcoholic beverage of their choosing – then another, and another, and then a few more. Then they started letting the audience in. I remember hearing from the performers throughout that, “It’s better if you drink!”
On the tables there were little bits of paper with really in-depth questions on them. The preshow, as I would call it, was actually the performers and audience mingling, drinking, and asking and answer-ing these questions. Then the show started.
It was different each night. I spoke with Jay Whitehead, one of the performers, and also a professor at the university, who said that they would just pick a pair of performers at random and start the show. Each performer played a different role, some answering the questions, some asking, some doing improvised sound, or running projections to help set the mood. As the night progressed, the performers switched roles, changed locations, sang, danced, cried, laughed, smiled, sighed, and experienced a myriad of honest human emotions.
Some of the questions asked throughout the night were as simple as, “What scares you?” Others were more complex, such as, “Do you believe in progress at all costs?” or, “Hamlet’s problems are both personal and political. Do you think that your problems are more personal or political?” Still, others were very personal: “Give the name of someone you love whom you have lost. Where are they now?” and, “What is the most offensive thing you have said in bed?” The range of questions seemed almost infinite, especially since the audience could write more questions to be asked as well. Each night the performers were answering different questions from different people, and at differ-ent levels of intoxication and vulnerability.
So, what’s the point? Was it an evening of watching some drunken performers tell stories about their past? No. The point is that it is an experiment with honesty – to explore the use of alcohol as a tool to bring down your personal walls or barriers, to show moments of love, hate, joy, anger, and rage.
Let me backtrack for a second: what has made theatre really good in my experience is honest moments from the actors being shared with the audience. Whatever specific format that takes has not been a factor. I have seen large-scale productions and small performances in basements filled with honest moments.
When I met with Whitehead for coffee he said, “the special thing that theatre does is that the performers communicate once with the audience and then never again.” Each performance is a different expe-rience, whether it is a written play or an improvised evening.
Getting back to the “point” of The Drinking Game: each time I saw the performance, it was almost as though I was in a different place each time. The concept remained the same from night to night, but the questions, answers, and levels of intoxication changed each night. It was an experiment that went incredibly well in my opinion. When I spoke with the actors after the show they said that they had learned something from their moments on stage, and sharing that experience with the audience was exactly what they had wanted to accomplish.
That’s how it went for the performers, but what about the audience? Did the audience get to have these cathartic moments? Were they taken along with the performers to the depths within their intoxicated selves? I know I was. Partly, I am sure, because I had also been drinking, and my internal walls were down just as much as the performers. But more than that, it was how compelling the stories were; these were things that were important to them, and I am sure everyone in the audience could feel that.
There were many times when their answer to a question was very similar to mine. They shared fears that I, as well as other people, have felt: personal fears, fears of the future, but also hope for what the world could become. There was a sense of connection between the audience and the performers as we asked and answered each other’s questions. The air of togetherness that I felt was different for each show; no one night was better or worse than any other – just different. They commu-nicated once and then never again. That is what is so incredibly moving about theatre, and that is exactly what was so moving about seeing this performance: real people answering real questions in front of a real audience, with real alcohol, real tears, and real laughs.
Something else that Whitehead said that really stuck with me was this: “We are in a period of crisis that is continuing to devolve. We need to work toward finding where we fit in a changing world. Theatre that maintains the status quo will become irrelevant.”
You can find more events hosted by Theatre Outré. Check out their Facebook page, Theatre Outré at Bordello. ■
AS THE NIGHT PROGRESSED, THE PERFORMERS SWITCHED ROLES, CHANGED LOCATIONS, SANG, DANCED, CRIED, LAUGHED, SMILED, SIGHED, AND EXPERIENCED A MYRIAD OF HONEST HUMAN EMOTIONS
TLFs
Roommate needed North side nice placetext me at 403-330-9948
I think the Chef in the white coat from Aramark/Urban Market rocks!
The barista’s at Starbucks make my day. No matter how crappy it is, a smile from them just makes every-thing better. And now, they even know my drink order. Keep up the good work!
The utilities are SEW HAWT!
Non-stop (10 min+) false fire alarms in Blakiston WTH? I thought I was rid of these bloody alarms when I moved out of UHall.
i could do whatever i wanted if i wanted
Gym employees, wow, you guys are so great. Thanks for making a first timer less nervous. Great smiles. Yes, the gym, 10/10 would recommend!
Carlos!
Hey remember that timeyou said nobody would rape someone with a face like mine?
classy.
Not all good looking girls are stuck-up.
Urban Market:Could you please have more gluten- and dairy-free options?Sincerely, girl who is allergic to everything
To the girl who is allergic to every-thing,We are trying to have a few gluten-free and dairy-free options available.You can always ask and we will do whatever we can.-Deli girl
Cute Girl, hey I saw your confession, how about we meet up for coffee at the Tims in PE, the maybe gofor a walk. will be wearing something red. Let me know if it worksGuy in Red
In response to the hand washing TLF. I don’t pee on myself, and even if I did, urine is sterile so why wash?
Invite your grandparents to the Nord Bridge Senior Center health fair on November 22 from 930am-1:00pm. There will be free massages, snacks and door prizes! EDUCATE THE SENIORS!
To the guy who ceased wearing muscle shirts everyday… I know its cold but what’s more important? Your comfort or your fans?
To the guy in AH 116 writing a test on Friday:Your shirt made my day, thank you.–I would cuddle YOU so hard
So “who” is dressing up for the special 50th anniversary screening on the 25th? I hope they have jellyba-bies and bananas! Bananas are good! Save the Day!Allons-y!~Whovian Girl
Can we piss off with the skateboard-ing on narrow side walks, please?
@people complaining about skateboards, 2 things. 1)Don’t play the hero and try and move for us, we know our path 20m back. 2)Theres a difference between a skateboard and longboard.
That awkward moment when you don’t go to chem 1000 because of her…
Chem 1000 with Tracey Roemmele is the best! Learning about how beet juice helps running/cycling perfor-mance was so cool, and she even brought a juicer so the class could try some!
For those interested, you can sign up for the Geek Club email list by emailing [email protected] We meet (most) Saturdays from 4-10 and (most) Mondays from 6-9 in Ander-son Hall.
Open house at the new Student Success Centre- AH 148 Thur, Nov 21 11-2pm, free cookies and hot chocolate. We offer study tips, tutoring and mental health initiatives!
VINTAGE TLFs
Sex is like Icecream. It comes in 39 Flavors. Pick one, pick them all. - Jan. 11th, 90.
Management students beware. The world will soon turn to a barter economy, signed: The Anarchists. - Jan. 11th, 90.
The Computer is your friend, Trust the computer! Do you doubt the Computer? Doubting the Computer is Treason. - Jan. 11th, 90.
Toonces - Where are you? I’m in my spot and waiting for my spanking. XO McFly. - Jan. 11th, 90.
Tuition is going up 60% in the next 4 years unless you protest! - Jan. 18th, 90.
Don’t mess with the editor after sunrise, he gets bitchy, he has a paper cutter, a paper cut, and a silly name - TLF Ed. - Jan. 18th, 90.
Oh my cod, bless my sole, another bad fish joke - Jan. 25th, 90.
Fish jokes are an eel wind that blows no good - Jan. 25th, 90.
If you don’t like my fish jokes, you can always tuna me out - Jan. 25th, 90.
What do you mean my jokes are floundering? - Jan. 25th, 90.
I’m having a whale of a good time with these fish jokes - Jan. 25th, 90.
Fish jokes don’t a-manta much. - Jan. 25th, 90.
These fish jokes are just for the halibut - Jan. 25th, 90.
There’s more to Drama than wearing big sweaters, drinking tea, and quoting T.S. Eliot! - Feb. 1st, 90.
The game of life is a game of boomerangs. Our thoughts, deeds, words return sooner or later with accuracy! S.W. - Feb 8th, 90.
People who waste time with cheap proverbs and fishy jokes aren’t working. Hop to it kiddies! Hup! Hup! - Feb 8th, 90.
Real muffin eaters unite! Ban all plastic intensils and edible oil products masquerading as food. - Feb 15th, 90.
To the ignorant son or daughter of a bitch who stole my extension cord, your mother deserves the name. - Feb 15th, 90.
Hey Linus: Don’t be a dingbat. Lose the blanket. - March 8th, 90.
Do do you have the blood of the Yeti? - March 8th, 90.
Help I’m drowning (or is that falling?) Any lifeguards out ther to save me? - March 22nd, 90.
No conquest didsy thy sally state, true, ‘twas no easy fight, but win we did, for we took a quinn alive. - March 22nd, 90.
Anarchy lives! Down with monopo-lies! Brave your own trails! What happened to Mayor McCheese? - March 22nd, 90.
To the foolish occult amatures: I posess a copy of the mad Arab’s tome. Beware the necronomicon! - March 29th, 1990.
Snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap - March 29th, 1990.
Meech Lake, Senate, GST, Tuition Hikes. If I wasn’t such a pacifist, I’d have to start a revolution - April 12th, 90.
The Meliorist and youExpress your creative side
ILLUSTRATIONSCOMICSLAYOUTDESIGN
Volunteer your timePractice your skills
[email protected] for details
COMIC
PLASTIC FANTASIC
MORAG RAHN-CAMPBELL
— 30
6
PUZZLES
Some of our services include:• CAREER ADVISING – whether you are in your first year or about to graduate; if you are wondering what you can do with your major; if your career path is the right one for you, or how to go about finding a job, come in to make an appointment with a Career Advisor!• CES JOB BOARD! – access part-time, summer, full-time, international, and volunteer opportunities! Check postings 24 hours a day, 7 days a week, from the comfort of your own home or on campus. For more information and how to access the site, go to our website or come in to our office in AH154. All of the positions listed below can be found on the CES Job Board uleth.ca/ross/ces/job-board,• JOB SEARCH STRATEGIES – do you have questions about resumes or interviews? We have handouts for you; drop by to sign up for a workshop,• CAREER & EMPLOYER INFORMATION SESSIONS – watch for upcoming career events and information session dates. Sessions start as early as Sep 10.• CAREER INFORMATION – we have employer information, website lists, info on professional entrance exams (e.g. LSAT, MCAT, DAT, GRE) and an array of career planning information.
Workshops for November & December:To see full workshop schedule and sign up go online to uleth.ca/ross/ces/workshops.
CES interview techniques workshops: Wednesday, Nov. 27, 2:00 p.m. – 4:00 p.m.
CES career exploration workshops: Thursday, Nov. 21, 1:40 p.m. – 3:40 p.m.
CES job search & networking workshops: Thursday, Dec. 12, 9:00 a.m. – 11:00 a.m. Tuesday, Dec. 17, 1:00 p.m. – 3:00 p.m.
CES resume & cover letter workshops: Tuesday, Nov. 26, 11:00 a.m. – 1:00 p.m. Wednesday, Dec. 4, 10:00 a.m. – 12:00 p.m. Tuesday, Dec. 10, 1:00 p.m. – 3:00 p.m. Monday, Dec. 16, 1:00 p.m. – 3:00 p.m.
WELCOME BACK EVERYONE! Let us introduce you to CES (Career & Employment Services). CES is a student service office dedicated to assisting you with your Career and Job Search needs. Weʼre within the Career Co-op Services Office in AH154, along with Applied Studies and the Management and Arts & Science Cooperative Education programs. CCS office hours are 9 a.m. - 12 p.m. and 1 p.m. - 4 p.m. Monday - Friday.
Go to our website for more detailed information on our services: uleth.ca/ross/cesFor details of the postings and information on the application processes go to uleth.ca/ross/ces/job-board
CES JOB LISTINGS
L.A. BEAT LISTINGSlabeat.ca
November 21 - 27
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James Oldenburg Cotton Blossom Lounge Jazz
Open Mic at Inferno Inferno Nightclub DJ
33KidsMusic The Slice Hip Hop
Riviera Paradise Mocha Cabana Blues
Lethbridge Folk Club Open MicWolf's Den Folk
DNR Lethbridge Casino Rock
Open Mic at Honkers with Steve Keenan Honkers Pub Blues
Open Mic at Jimmy's Jimmyʼs Pub Rock
The Chevelles Average Joe'sSports Bar/ Joe's GarageRock
The Janni Lee Band with Keith Woodrow The Slice Blues
Cosmic Charley with the Delawares Owl Acoustic Lounge Rock
Fundraiser for kids with Trwvor Panczak and the Junkman's Choir Cité des Prairies | Société du centre francophone Country
Riviera Paradise Mocha Cabana Blues
The Matadors with the Preying Saints Moose Hall Rock
Cal Toth Ricʼs Grill Jazz
DNR Lethbridge Casino Rock
The Reason with Thee Attacks and Sophmore Jakes Bo Diddlyʻs Pub and GrillRock
Billie Vegas Legends Sports Pub and GrillRock
Diatessaron Owl Acoustic Lounge Pop
SonReal, Transit and RiseStudio 54 Hip Hop
Mike Dambra aka PickleAverage Joe's Sports Bar/Joe's Garage Comedy
Blacklight Rave with Dfunk, Big Delicious and more Galaxy Bowling and Pizza DJ
SandwichThe Slice Alternative
Blue Ridge Mountain Country Society Open Jam Moose Hall Country
Bocephus King The Slice Blues
Open Mic at Owl Acoustic Lounge Owl Acoustic Lounge Folk
Open Mic at the Slice The Slice Rock
James Oldenburg Ricʼs Grill Jazz
L.A. Beat Open Jam Owl Acoustic Lounge Folk
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