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Alpha_Alternative_School_1972–2012-Yumpu

ALPHA Alter­na­tive School—A Lot of Parents Hoping for an Alternative—one of the oldest alternative schools in Canada, celebrated its 40th anniversary in 2012. It seemed like a good time to take a look at the lives of some of its earliest students in order to get a sense of the long-term effects of this radical experiment in education. Our idea was to place black and white childhood portraits taken by F. Robert Openshaw in 1978 alongside present-day portraits of the same people taken at ALPHA during the 40th anniversary reunion by Michael Barker, and to contextualize the photographs with portraits in words contributed by the subjects and shaped by Ariel Fielding. The result is a sort of ethnographic art project or a personal history. It was not commissioned by ALPHA, nor was it conceived with any particular agenda in mind, except to present portraits of some interesting people with a common educational background.

ALPHA Alter­na­tive School—A Lot of Parents Hoping for an Alternative—one of the oldest alternative schools in Canada, celebrated its 40th anniversary in 2012. It seemed like a good time to take a look at the lives of some of its earliest students in order to get a sense of the long-term effects of this radical experiment in education. Our idea was to place black and white childhood portraits taken by F. Robert Openshaw in 1978 alongside present-day portraits of the same people taken at ALPHA during the 40th anniversary reunion by Michael Barker, and to contextualize the photographs with portraits in words contributed by the subjects and shaped by Ariel Fielding. The result is a sort of ethnographic art project or a personal history. It was not commissioned by ALPHA, nor was it conceived with any particular agenda in mind, except to present portraits of some interesting people with a common educational background.

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Then I was in an acci dent in 1978, I got run over by a car, and I spent two

years in bed. So I did a lot of gui tar play ing in those two years. When that

was all done I got into a band with some friends. We were called Slightly

Dam aged, we did psy che delic punk rock. After that I moved on and got

a rep u ta tion as a good gui tar player, so other bands would hire me, and

I did some ses sion work.

When I was 18 my com puter skills landed me a great job at Col oriza tion,

doing ani ma tion on a Dub ner com puter. I was also in a band called Neon

Rome, and I was accepted to the Fac ulty of Music at U of T, so I had to

decide what I was going to do. I decided to work with Neon Rome. We were

going to be signed to Vir gin Records, and Bruce McDonald’s first film was

about us. We had a treat ment and every thing, and it was all ready to go,

and then our singer decided that he was going to take a vow of silence for

a cou ple of years, and basi cally we didn’t do the movie and the band fell

apart. It was very sad. Our singer Neal’s lit tle brother’s band ended up doing

the movie, and it won the first prize for the film fes ti val, and he went on to

become very suc cess ful, and our band would have gone on to be very success

ful if our record had come out and our movie had come out. But things

hap pen for a rea son, and you can’t let it get you down. I kept doing my

job—I decided that being a musi cian wasn’t the life that I wanted, I didn’t

want to travel all the time and be poor, I wanted some stability.

I was still work ing at Col oriza tion, and I learned a lot about com put ers and

ani ma tion, and I man aged to get a job at Canada A.M. doing the weather

graph ics. Since then I’ve worked mostly in tele vi sion and sports, so it all fit

together, what I learned at school and what I ended up doing. Ani ma tion

is what I do now. I have worked as an art direc tor, cre ative direc tor, and

man ager. I had a band called Crock star, and we broke up around 2003, but

we still get together, and we play shows quite a bit. In Crock star I write the

songs and I sing them, and I play the gui tar and the har mon ica some times,

and once in a while I play the piano. I also play the vio lin, the man dolin,

and the accor dion, but I don’t do that in the band.

The most impor tant les son of ALPHA was love. So many won der ful Alpha

peo ple taught me to love. A John Lennon quote says it all for me: “There

are two basic moti vat ing forces: fear and love. When we are afraid, we pull

back from life. When we are in love, we open to all that life has to offer with

pas sion, excite ment, and accep tance. We need to learn to love our selves

first, in all our glory and our imper fec tions. If we can not love our selves,

we can not fully open to our abil ity to love oth ers or our poten tial to create.

Evo lu tion and all hopes for a bet ter world rest in the fear less ness and

open-hearted vision of peo ple who embrace life.”

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