14 The Chronicle February 27 - March 5, 2018 chronicle.durhamcollege.ca Campus Photograph by Michael Bromby Ontario's Minister of Economic Development and Growth, Steven Del Duca (left), speaks at DC with journalism student John Cook, discussing issues prominent in the news today. Politician appears in The Pit at DC Q and A with Steven Del Duca, Ontario's Minister of Economic Development and Growth Michael Bromby The Chronicle The spotlight was on Steven Del Duca, Minister of Economic Development and Growth, when he dropped by the Pit at Durham College for a Q and A session. Del Duca spoke Feb. 12 about tuition costs, NAFTA, the #metoo movement, and the $14 minimum wage. However, not all the students were satisfied with his answers. Tayler Michaelson is a marketing and advertising student at Durham College. He asked the minister about the new minimum wage law put into place on Jan. 1, 2018. He wanted to know how the provincial government was going to help local businesses stay alive with the increase in minimum wage. According to Statistics Canada, Ontario lost 88,000 jobs since the start of the new year. “I was a little bit disappointed that he didn’t kind of answer the last part of my question,” says Michaelson after the event. Del Duca said job loss in Ontario is not connected to the minimum wage increase but rather because of seasonal work over the holidays. “We try really hard in economic growth by not getting influenced by the month to month numbers,” he said. Many students are part-time workers and say they have lost hours and money since January. Michaelson wants Del Duca to understand the complaints and create change in Durham Region. “Maybe he can walk away from that thinking this is a concern that’s on someone’s mind that works a part-time job. Hopefully he can come up with a solution,” said Michaelson. Del Duca told the audience he expects new jobs coming this year, but promised other changes too. He told students the provincial government has worked on providing free tuition for students from low income families. He says this will increase graduation and employment rates. For now, Del Duca told students he wants Ontarians to be strong as a province. “We’ve gotten through so much as a province I know we’re going to do it again,” he said. Del Duca is the MPP for Vaughan but was recently named to this cabinet post. He was formerly the Minister of Transportation. About five students got to ask a question, as well as some via email and through social media. Several dozen students, faculty and administrators attended the session. Michaelson would like to see more political leaders visit Durham College to talk with students about important topics which matter to them. “It’s good that we live in a country, a province, a city and have a college like this and we can have that open dialogue with people,” says Michaelson. “When they have the Alumni in the Pit that’s great, but someone of prominence coming in is great and I’ll always attend those events if I can.”
chronicle.durhamcollege.ca February 27 - March 5, 2018 The Chronicle 15 Entertainment Augmented artistry John Cook The Chronicle If you’re looking to learn more about art, there’s an app for that. Case in point: Tom Thomson was an iconic Canadian artist, often connected with the famed “Group of Seven” painters. Although Thomson died over 100 years ago, visitors at Oshawa’s Robert McLaughlin Gallery (RMG) can see him sitting an arm’s length away with the help of smartphones. In 2017, apps which superimpose virtual imagery onto a live, real-world setting have become techno-chic. From Snapchat to Pokémon Go, few can deny the recent popularity of so-called “augmented reality” apps. Artists Joel Richardson, Germinio Pio Politi, and Nyle Johnston have channeled this technology into an unlikely purpose—connecting young people to stories and artifacts from the past. Their new installation, Betwixt and Between, on display in RMG’s main exhibition space until mid- April, encourages visitors to download a smartphone app that compliments the information provided by the installation. “Art today is a combination of [different] media” said Pio Politi. “[Augmented reality] can help the younger generation understand what we are doing here.” Betwixt and Between explores several themes including: Canada’s historical mistreatment of Indigenous peoples and lands, “invented history,” and the question of authenticity as it pertains to historical artifacts, all showcased through (“85 per cent authentic”) connections to Thomson. The exhibition challenges the audience’s perception of truth through presenting the story of a fictionalized character, imagined by the artists, who is invented as Thomson’s close friend. While the story and its supposed author are fabricated, the majority of the details, including those regarding Thomson and historical events from the time, are real. Tech-inclined visitors who download the free Betwixt and Between app can interact with the exhibit in a whole new way. Imposing bullseye-shaped symbols are scattered across the walls in part of the installation. On the ground in front of them are green dots reading, “stand here.” After signing into the app, one simply points their camera at the centre of the symbols, until they turn blue (on the phone, that is). Tapping on the symbol allows users to access throngs of additional information, including multimedia elements. Aiming the camera at a wooden canoe reveals ‘Thomson’ and his imagined friend (portrayed by modern-day actors) surveying a landscape. Scanning other exhibits opens trivia games, photos, and a scavenger hunt-styled challenge. The app is available on both Apple and Android devices, and visitors without such a device can sign one out from the gallery’s front counter. Linda Jansma, senior curator of the RMG, says the app offers facts and details far beyond what is physically available in the gallery. “There’s so much additional information [on the app],” said Jansma. “It enriches everything if you spend some time with it.” Photograph by Austin Andru Linda Jansma, senior curator of the Robert McLaughlin Gallery, displays augmented reality. The app can be seen as something of an update on the traditional headphone-based tours offered at some museums and galleries, according to Pio Politi. “For the younger generation,” says Pio Politi as he gestures toward a visitor using an iPhone. “This is their language.” Kendrick robbed of Grammy Award Third times the charm? Not for Kendrick Lamar, apparently. The ten-time grammy winner was robbed yet again of the album of the year award at the 60th annual Grammy Awards on Jan. 28. As his critically acclaimed album DAMN. lost to Bruno Mars’ 24K Magic. Hollywood got it wrong. Lamar’s debut album Good Kid, M.A.A.D. City lost to Daft Punk’s Random Access Memories in 2014 and his 2015 hit album To Pimp a Butterfly lost to Taylor Swift’s 1989 at the 2016 Grammys. What does Lamar have to do to win the award he deserves? He addresses politics, black oppression, depression and so many more topics. He does it all while telling a story and drawing a picture with his lyrics. Lamar tackles issues many rappers, and artists in general, tend to steer away from. Even former U.S. president Barack Obama openly praised TPAB and said his favourite song from the album was “How much a Dollar Cost?” This still wasn’t enough to sway voters away from their favourite country girl, Taylor Swift. The worst part about this Grammy robbery? DAMN. is arguably the 30-year-old’s best work yet. Yes, 24K Magic is a good album, had high sales and catchy songs with a lot of radio play, such as “24K Magic”, “That’s What I Like,” “Finesse,” and “Versace on the Floor”. This has been a common theme of award winning albums in recent years, catchy songs, without much personal substance, which appeal to the younger generations. But this isn’t album of the year material. Album of the Year as defined by the National Academy of Recording Arts and Sciences is to “honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales, chart position, or critical reception.” “DAMN.” has it all. Politics, oppression, love, lust and personal journey all leading Lamar to proclaim himself as the best rapper in the industry. Two songs off the album (“LOYALTY.” ft. Rihanna and “LOVE.” ft. Zacari) are even getting radio play, which seems to be a huge influence on voters for some reason. A song to pinpoint is the song Conner McTague “FEAR.” and this is because Lamar himself has said it’s the best song he’s wrote, so it does the album the justice it deserves. In the song, Lamar explores three stages of fear: when he was 7, 17 and 27, respectively. In the first verse, Lamar recounts his life as a seven-year-old. His mother was strict and threatened to beat him as a way of keeping him in line, which caused him to fear her. A line from the first verse is, “that homework better be finished, I beat yo ass. Your teachers better not be bitchin’ ‘bout you in class.” This seemed to help him as he was a straight-A student and he has said school combined with personal experience inspired him to start writing lyrics. The second verse, he recounts his fear of dying at the age of 17. A 2004 Centers for Disease Control and Prevention (CDC) study found the leading cause of death for black males between the age of 15-19 was homicide at 45.3 per cent. So if Lamar had died at 17, there was a high chance of it being homicide. Verses three and four discuss his fear at age 27, losing the life he had built for himself. By 27, Lamar had released three studio albums, had accumulated over $30 million in career earnings and become a leader of the rap industry. But despite all of his success, he is still scared. “At 27 my biggest fear was losin’ it all.” He’s afraid of losing his creativity, he’s afraid of going broke, he’s afraid of his fans judging him when he goes through hard times. “Wonder if I’m livin’ through fear of livin’ through rap.” Lamar wonders if he’s still alive because of his music or his fear of all he’s mentioned: fears which keep him frugal and anti-social. Lamar connects real life situations with his music. He opens up to his emotions, his fears and his success: all to inspire. His mission is to inspire the people in his hometown of Compton, California. Compton is known for its gangs and high crime rates. According to city-data.com, in 2016 the city witnessed 643.3 violent crimes per 100,000, well above the U.S average of 216 per 100,000. “I don’t do it for the ‘Gram i do it for Compton” he proclaims on “ELEMENT.” He isn’t concerned with influencing those who follow him on Instagram or social media, but rather he wants to use his fame and fortune to improve the lives of those in his city. He was recognized for his work in the community by Senator Isadore Hall III, being named the California state senate’s 35th District’s generational icon in 2015. Hall said Lamar’s donations to music, sports and after-school programs totals in the “hundreds of thousands.” Lamar is a voice for a generation of children often misunderstood and forgotten “Mr. Lamar has not only given voice to a new generation of of urban youth, he is demonstrating the best of what it means to work hard, do well, and give back to his community,” said Hall during his speech to the Senate. Now it’s time for voters to recognize the musical and lyrical excellence of Kendrick Lamar the way the rest of the music industry and its fans have. What more does he have to do?