Photo by Laura Bain

By Laura Bain
Staff Writer

“Every day, somebody comes in and says they’ve spent their childhood here,” says Daniel Demois, part-owner of the Fox Theatre (2236 Queen St. W.), located in the Beach district.

Demois, a 28-year-old former York University film theory student, and his partner Andy Willick, a 27-year-old former University of Toronto economics student, both grew up watching movies in their mothers’ basements - what they consider their “real” education.

It seems only natural then that they invested in and took over the landmark Fox Theatre, the city’s oldest continuously- running movie hall, in September 2007. The duo renovated the space within a month’s time, making no extreme changes and preserving the theatre’s geriatric charm.

“We wanted it to be a community space, a combination of nostalgic and modern, and something that is very comfortable for people,” says Willick. The large, red velvet plush seats in the single-screen theatre are indeed very comfortable and offer the rare luxury of leg room.

Demois and Willick commonly feature cult classics, alternative and foreign films and mainstream Hollywood hits. Their movie selection is limited by what prints they can get, but they resist the temptation of using DVDs or Blue Ray discs and instead hire a projectionist to man the film reels the traditional way.

“We would rather play older, good movies,” says Demois, “rather than newer, crappy ones,” adds Willick, finishing off Demois’s sentence.

They pick their movies based partly on critical acclaim and primarily on their audience’s preference- a group made up of three distinct segments: people ages 35-65, families with kids, and cult films fans ages 25- 35.

“Teens tend to go to multiplexes because they want to see things right away,” says Willick.

“People who come here are willing to wait a few extra weeks to see movies in a nice environment,” says Demois.

“What we don’t like about the big boxes is that people don’t get any personal attention, says Willick.

After our interview, Demois and Willick invite me to stay and watch their feature of the night, The Soloist. I watch as they set up the concession stand stocked with popcorn, candy, organic teas, a range of antique-style pops and hot pretzels, as a young man plays classical violin in the lobby. Members of the Schizophrenia Society of Ontario are the guest speakers of the night, promoting the deeper, psychological message of the film.

As the customers file in, Demois and Willick collect every ticket, wishing each person a great evening and chatting with the regulars- much different than the robotic employees at big, corporate theatres who file you along and repeat the same unenthusiastic greetings over and over. The Fox Theatre offers a homey and comfortable vibe and the staff build rapport with their customers.

“It’s like you’re at your own house but more fun,” Willick jokes.

The appeal of the Fox doesn’t end only with the films. Demois and Willick have rented out the space for a wide range of events, including a jazz festival, an Oscar party, a pyjama party, on-screen videogame battles and church masses on Sunday mornings. Some upcoming events are the 3D festival that runs from July 17 to 23, the 1980s-fest in August and the current Summer Throwback Festival featuring many rare films that are difficult to find or rent.

Whether you are a hardcore movie buff or just looking for a night out the quaint and sincere charm of the Fox Theatre and its committed staff is worth the trip and the time.

Here comes Can-Con. Can the music industry be far behind?

By Alanna Goldstein

The CRTC (Canadian Radio and Telecommunication Commission) is once again looking at the possibility of regulating Internet content in Canada, this time with an eye towards ensuring that Canadians are watching an adequate amount of Canadian content while they surf the web. While the intentions of the artists and producers might be noble – to create and disseminate Canadian-made stories that Canadians can be proud of – the issue remains as to whether it is even possible to regulate an entity such as the Internet. The users and producers of the Internet are one in the same, and with such an open format government agencies and broadcast associations are having a tough time ensuring that they are being paid for the use of their content.

South of the border, the regulation of online media content is much more contentious. Private citizens, many of them students, have been sued for sums totalling into the hundreds of thousands of dollars for illegally downloading and sharing music files. U.S copyright law requires Internet service providers (ISPs) to reveal the identity of anyone downloading illegally if requested by a music corporation, and people could theoretically be forced to pay anywhere from $750 to $150,000 per song if found guilty in Federal Court. Such costly settlements could condemn a student to a life of debt. So, for the young people who are the Internet’s most avid users and creative producers, new ways of negotiating this uncertain legal territory are being sought.

In an effort to control music downloading at some of the big American universities, the major music labels, led by Warner Music, have cobbled together a plan to ensure that royalties are being paid by requesting that universities tack on an extra fee to the price of tuition. This fee does not take into account the amount of music downloaded or whether students download at all, but would be an automatic fee that all students would be required to pay as a part of their tuition.

The fee would be collected by ISPs and given to an independent, not-for-profit group called Choruss, which would then distribute the money to the appropriate copyright holders. According to Wired.com, the monthly price of roughly five dollars, which would be built into the university’s tuition fees, would protect students from the threat of litigation and would allow them to use and share music as they please. Although this plan is still only in its preliminary stages, if successful, a similar model could eventually be offered to the public.

In Canada, the necessity of a monthly fee to cover the cost of downloading is currently somewhat of a moot point. According to a 2004 CRTC ruling, downloading music for “personal use” and sharing it in a peer-to-peer file-sharing network such as Kazaa or Limewire is not illegal. Whereas in the U.S an ISP can be forced to reveal a user’s identity if it is believed they are violating copyright law, no such law yet exists in Canada and users remain anonymous. In 2006, the Liberal Party attempted to change this ruling by making it illegal to share copyrighted material, but this proposed change was shot down by the Conservative government following their Federal election win, and the issue of music downloading and the regulation of online content stayed dormant for a while. Until now.

When it comes to the possibility of tuition hikes to cover the cost of downloading in Canadian universities, student reactions are mixed. “It’s like insurance,” said one Humber College acting student, who didn’t want to be named due to fear of music industry reprisal.

According to Eric Chow, a recent McMaster University psychology graduate, current broadband ISPs place limits on monthly downloading, so a five-dollar fee would ultimately prove cheaper for those who file-share a lot. “I would definitely pay a monthly fee for downloading if it was unlimited.”

“In the United States, I think that’s a really good idea,” said Michal Pogorzelski, a third-year arts and science student at the University of Toronto.

Others are not so warm to the idea of downloading insurance. “I wouldn’t even pay a dollar. I don’t care about the music industry,” said Jack Liang, a fourth year marketing management student at Ryerson.

“I would be strongly against it,” explained a history student at the University of Toronto, who also wishes to remain anonymous. “The artists these companies represent are going to get paid anyways.”

Although the possibility of tuition fee hikes to cover the cost of downloading in Canadian universities is still a long way off, if the CRTC rules in favour of online content regulation, the music industry, which stands to lose big if made obsolete, will undoubtedly be next in line.

By Alanna Goldstein

Staff Writer

The Canadian Radio and Telecommunication Commission (CRTC) is once again looking at the possibility of regulating Internet content in Canada, this time with an eye towards ensuring that Canadians are watching an adequate amount of Canadian content while they surf the web. While the intentions of the artists and producers might be noble – to create and disseminate Canadian-made stories that Canadians can be proud of – the issue remains as to whether it is even possible to regulate an entity such as the Internet. The users and producers of the Internet are one in the same, and with such an open format government agencies and broadcast associations are having a tough time ensuring that they are being paid for the use of their content.

South of the border, the regulation of online media content is much more contentious. American citizens, many of them students, have been sued for sums totalling into the hundreds of thousands of dollars for illegally downloading and sharing music files. U.S copyright law requires Internet service providers (ISPs) to reveal the identity of anyone downloading illegally if requested by a music corporation, and people could theoretically be forced to pay up to $150,000 if found guilty in Federal Court. Such costly settlements could condemn a student to a life of debt. So, for the young people who are the Internet’s most avid users and creative producers, new ways of negotiating this uncertain legal territory are being sought out.

In an effort to control music downloading at some of the big American universities, the major music labels, led by Warner Music, have cobbled together a plan to ensure that royalties are being paid. They request that universities tack on an extra fee to the price of tuition. This fee does not take into account the amount of music downloaded or whether students download at all, but would be an automatic fee that all students would be required to pay as part of their tuition.

The fee would be collected by ISPs and given to an independent, not-for-profit group called Choruss which would then distribute the money to the appropriate copyright holders. According to Wired.com, this new fee, which would amount to roughly five dollars a month, would protect students from the threat of litigation and would allow them to use and share music as they please. Although this plan is still only in its preliminary stages, if it is successful a similar model could eventually be offered to the public.

In Canada, the necessity of a monthly fee to cover the cost of downloading is currently somewhat of a moot point. According to a 2004 CRTC ruling, downloading music for “personal use” and sharing it in a peer-to-peer file-sharing network such as Kazaa or Limewire is not illegal. Whereas in the U.S. an ISP can be forced to reveal a user’s identity if it is believed they are violating copyright law, no such law yet exists in Canada and users remain anonymous. In 2006, the Liberal Party of Canada attempted to change this ruling by making it illegal to share copyrighted material, but this proposed change was shot down by the Conservative government following their Federal election win, and the issue of music downloading and the regulation of online content remained dormant. Until now.

Student reactions are mixed when it comes to the possibility of tuition hikes at Canadian universities to cover the cost of downloading. “It’s like insurance,” said one Humber College acting student, who didn’t want to be named due to fear of music industry reprisal.

According to Eric Chow, a recent McMaster University psychology graduate, current broadband ISPs place limits on monthly downloading, so a five-dollar fee would ultimately prove cheaper for those who file-share a lot. “I would definitely pay a monthly fee for downloading if it was unlimited.”

Others are not so warm to the idea of downloading insurance. “I wouldn’t even pay a dollar. I don’t care about the music industry,” said Jack Liang, a fourth-year marketing management student at Ryerson.

“I would be strongly against it,” explained a history student at the University of Toronto, who also wishes to remain anonymous. “The artists these companies represent are going to get paid anyways.”

Although the possibility of tuition fee hikes to cover the cost of downloading at Canadian universities is still a long way off, if the CRTC rules in favour of online content regulation, the music industry, which stands to lose big if made obsolete, will undoubtedly be next in line.

By Laura Bain

Staff Writer

Photo by Danny Young

Comedic songs and parodies have been popular since the days of Weird Al Yankovic and his famous hits “White and Nerdy,” “Amish Paradise” and “Like a Surgeon.” Since then, many other artists have followed suit with songs like Justin Timberlake and Andy Samberg’s SNL hit “Dick in a Box,” and Samberg’s latest, “I’m on a Boat.”  They have all gained huge popularity. It may seem that the art of comedic and parody song writing is an easy task since the content sometimes doesn’t seem meaningful or deep, and there is usually material that already exists to work off of. However, to be successful in this genre you must pick a song that has a catchy beat, a relevant topic and creative lyrics that are witty, entertaining and, of course, funny.

I was on my way to meet Watson and Medford for the interview we had scheduled two days prior. We planned to meet downtown across from the Eaton Center. Since my measly student budget doesn’t permit me to buy a car, I got on the TTC. My journey consisted of a 15-minute bus ride where the passengers were so crammed that if you moved your arm, you were likely to jab someone in the ribs. Next was a 30-minute subway ride that involved two transfers where there was a five-minute delay, and considering it was rush hour, not a single seat to sit down on. If worrying about the interview wasn’t stressing me out, this sardine can- commute jammed full of Toronto’s residents definitely did.

Many Torontonians have a love-hate relationship with the TTC. Watson and Medford sum up this feeling in their song by saying “TTC can be a drag / other times it’s super great.” The pair has known each other for less than a year and decided to work on the project simply “out of boredom,” said Watson. The inspiration for the song came naturally to Watson who wrote the lyrics. “The lines just kind of popped into my head because I was on (the TTC) when I thought of them.” Medford did all of the editing and producing for the video. He also performed the backing vocals and imitated Kanye West’s synthesised part of the song. The track itself was recorded by a friend of theirs at his studio in Pickering.

“We made it basically for ourselves and our friends on Facebook,” said Medford; “Just for a laugh,” added Watson. The song is not geared towards a specific audience but it appears to be most successful among the student demographic. Would “I get on the TTC” be as successful if Watson and Medford were not students or in the student age bracket?

Medford thought that if they were older, like in their 30s, that it “would still do well, just not that well.” They joked that they would seem pathetic making their video at an older age and would be told to get a real job. Watson attributes their success to the fact that “hip hop is so influential and is branching off into so many categories, so hip hop plus TTC is a great concoction.”

Although the TTC chair Adam Giambrone praised Watson and Medford’s creation and was brainstorming some way of using the song for the TTC, it will not be possible since the beat is sampled. However, they did receive free bus passes for the month of January, and Watson got an extra five per cent in his course for being covered in the media.

It is exciting to hear that both Watson and Medford have future projects in the works. They both hope to establish themselves as entertainers in all areas of popular culture. Watson has been working on more songs, and Medford has created his own series of Video On Trial, a take on the series by the same name on Much Music.

These two promising talents do not plan on being one hit wonders. “We’ve set the bar for ourselves with something simple that was supposed to be a joke.”

Back Burner Productions did just that with their latest offering, The Nightwood, the stage version of Robin Muller’s book of the same name, which recounts the Celtic fairy tale of Tamlynne. The play ran at the Dufferin Street Theatre from Oct. 18 to Nov. 1.

Photo courtesy of Back Burner Productions

Guy Doucette: Coming of age is important. You become more aware of the darker side of things. There is a loss of innocence and a gain of responsibility as you find your own path. That is why we warn the audience not to come, but they are still here. You have to find the balance of your own life, your true path, in spite of laws that are thrust upon you.
Elaine [the show’s protagonist] is seeking freedom, but is cloistered by her environment. It is the early stages of her becoming a woman. She is not yet in stride with that. Tamlynne [Elaine’s love interest] sought to be free, but freedom entrapped him. They are from different worlds, trying to be their own masters.

R: I understand that you got to work with one of your favourite childhood authors.
GD: Robin Muller was key in supporting us, allowing us the freedom to do work and encouraging us along the way. He helped with promotions and answered a question here and there. He was involved with The Sorcerer’s Apprentice, so this is our second production working with him.

R: Did you always know you would be using elements like stilts and puppets?
GD: The stilts were part of the show from the beginning, for the sun and moon. Puppetry and masks were there from the beginning, though we didn’t know the form. We knew we would use original music and dance. It was present in mind when we were writing the script and building and designing the show. We knew how we wanted it to look – one would inform the other.

R: What’s next for The Nightwood?
GD: We plan to revise some sections and some visual elements, things that, due to time, we were not able to complete. It is a very accessible show – kids can enjoy it, though it is written for a more mature crowd. The simple stories are more complex. There are social and political elements you can grasp upon and weave into. We might perform it in a
spring arts festival, but we definitely plan to mount it again.

R: How does this show compare to what you have done in the past?
GD: It was the most professional – we had a lighting designer, reputable space and all the elements we really wanted to [have]. We utilised every part of the theatre we wanted to [use]: lighting, costumes, props, music, text, execution and acting. All the work we are doing towards building our company is really paying off.

R: What does the future have in store for Back Burner Productions?
GD: Ultimately, our goal is to secure a space and to run a fully interdisciplinary arts company. We try to use all elements in our festivals, although film is a little more complicated. We want to run a fully operational arts facility that caters to artists across the city and in all fields.

In the meantime, the next event for Back Burner is the Singer and Songwriter Showcase co-production with Ruckus Magazine. You can catch the event from Nov. 21 to 23, starting at 8 p.m. each night. All shows gratefully accept donations.

Stephen Harper’s arts cuts leave future artists’ fate in question

By Zalina Alvi

It’s a question that has persisted for ages: If a tree falls in the forest and the arts community loses $45 million in program funding, does it make a difference to ordinary Canadians? Stephen Harper doesn’t think it will.

The issue recently took centre stage while the prime minister was on the campaign trail in Saskatoon on Sept. 23. He called the cuts a “niche issue,” and implied that the concerns of artists who “whine” about subsidies and attend rich galas don’t “resonate with ordinary people.”

Federal NDP leader Jack Layton and Premier Dalton McGuinty didn’t lose any time picking up on the issue by decrying Harper for his comments, and the arts community was soon out in full force to fight for Canadian culture.

What’s the Big Deal?

Robin Jackson, executive director of the Canadian Independent Film and Video Fund, which will no longer exist as of April 1, 2009, says the loss of the program that has been around since 1991 is especially bad news for beginning filmmakers. It is the only funding agency of its kind that doesn’t require a broadcast license, so for new filmmakers trying to get funding for documentaries and information projects, “it’s going to be a particularly hard time.”

But this isn’t the only program nearing its proverbial sunset. Another nine programs under the Department of Canadian Heritage will be phased out within the next two years, including the Canadian Cultural Observatory, the National Training Program for the Film and Video Sector and Trade Routes, which helps artists sell their work internationally.

At the same time, another three programs will lose a total of $5.9 million in funding: the Canadian Arts and Heritage Sustainability Program, the Publishing Industry Development Program and the Support Industry Development component of the Canadian Magazine Fund.

Bad investments?

Justification for the cuts is best summed up with: the arts programs were bad investments. The programs that either lost money or have been cancelled altogether were found to be dead weight by a federal strategic review process that looked at program spending in 17 government departments and agencies in 2007.

The response from the arts community, by Canadian actors and entertainers in particular, is best summed up with: that’s a bunch of dog poop. Quebec’s culture minister, Christine St-Pierre told the National Post just days after Harper made the comments that the cultural sector generates $84 billion of indirect and direct profit that amounts to 7.4 per cent of Canada’s gross domestic product. It also employs more than 1.1 million people.

Backlash

“Funding of the arts is something that people who live in and work in the arts depend on,” says Amanda Almeida, chair of the student union at the Ontario College of Art and Design (OCAD), a Toronto school that produces hundreds of artists every year.

“This field doesn’t necessarily make you as much money as other fields that you can get into.”

Almeida says the money currently being spent to fund military initiatives could be helping students and local artists.

“They would rather support these other initiatives instead of supporting their own people, and their artists,” she says. “It shows clear priorities.”

Entertainers from across the country echo Almeida’s sentiments. In addition to a protest concert in Montreal, Canadian actors, including veteran Gordon Pinsent, gathered the day after Harper’s comments to demand leadership that appreciates the cultural sector.

The backlash, however, has been most prominent in Quebec, well-known to have a much more prolific cultural sector than anywhere else in Canada.

Popular musician Michel Rivard, of the group Beau Dommage, stars in a YouTube video featuring a panel of narrow-minded Anglophones as he attempts to apply for funding for a music festival. At the time of this writing, the video has been viewed over 23,500 times.

Meanwhile, others have argued that Harper’s comments have been misinterpreted and the cuts were justified and necessary.

“I think that ‘ordinary’ Canadians enjoy a good Canadian movie from time to time … But ordinary Canadians also don’t want their taxpayer money going to funding ritzy galas at the ballet and understand that we have to live within the boundaries of fiscal prudence,” said Brian Petz, president of the Ryerson Conservative Club.

“Funding should indeed be meant to stimulate sectors of the arts and culture industry that will then be able to go ahead and make their own money. In this case, it seems that those cuts came from poor investments in activities that are not spawning their own internal growth. It seems to me like the feds have been cutting the fat,” he said.

In the meantime, the future remains uncertain for artists of all disciplines, including student artists who will soon be wondering where all the money went.