There is this song.
I have listened to it obsessively. Usually at night before I turn off the lights. As a remedy, as a tonic, as an anthem for the work I’m doing and the work I hope to do.
I’ve written about music and memory before (see here), but this is different. This is about now and the way this music spurs me on in the current social and political climate.
This song is a spark. A spark that is a component of the antidote we need in these dark times of hate, intolerance, and evil.
It’s from a movie I’ve never watched and perhaps there’s a risk in viewing only one four-minute segment from a feature-length film. This video is also now almost a year old. I only discovered it because of YouTube’s algorithmic operation. The same algorithms that have contributed to so much of the strife and misinformation that contaminate our news and information diets.
The song is from the movie The Greatest Showman. “This Is Me” is sung by Keala Settle who plays Lettie Lutz in the movie (Annie Jones in real life), the Bearded Lady and one of P. T. Barnum’s original nineteenth century cast members. Leaving aside the nature of Barnum’s commercial project and even the commercial project from which this song is drawn, absorb the lyrics as you watch the video.
As much as the words move me, there is magic in the choreography. It’s that magic that pulls me in — every time. That resonates in my heart. The earthiness of the stamping feet, the power of the arms punched into the air, the rhythmic staccato of the bodies swaying. It’s solid, it’s demanding, it’s asserting the right of these bodies to exist as they are in all spaces. In the light, not the dark, in amongst you and me. In amongst us all.
There’s that moment when the performers are suspended in air. They’ve transcended the chains of exclusion and the labels of derision to float above their cares and their worries, but the truth is in the thud of their landing. That landing on two feet. That is when they reclaim their place. The true power of their existence is in the human groundedness of their experience.
And as much as I appreciate the beauty of the production values in this video, the version of the song that I treasure is this one.
Here, Keala Settle is not singing the song from the character’s perspective. As authentically as she might inhabit the character in the film, she is not Lettie Lutz. That is the masquerade.
In the workshop version, Settle embodies the song. She embodies the essence of the words, the heart of the matter. Here, she is singing her life story. She is reliving every struggle, every hurt, every joy, every triumph, and every hope. It’s that uncloaked look into who she is, who she is without adornment or disguise, that opens up the whole performance, hers and that of every other person in the room. You can see it in the ecstatic communion of their spirits and voices.
And the universality in the message of this song, the truth of it, is that we are all different. Our differences do not make us less than any other. They only do so when others associate difference with inferiority, with lack, with less-than.
Unfortunately, it is also a truth that those with power and privilege have gained their rank through a long historical process of magnifying and demonizing difference. Manipulating fear to validate sacrificing others for profit and prestige. For control.
So, there’s a radical — if not revolutionary — message in this song despite the fact that it’s embedded in a cultural artefact that itself is a product of our systems and structures of consumerism and privilege.
And it is this.
I know that there’s a place for us
For we are glorious
Each and every one of us.
And don’t let them, those who benefit from the exploitation of difference, ever tell you differently.
If they do, fight back.
Do not give them a platform to amplify and broadcast hateful messages.
Vote them out.
Hieronymus Bosch. A late-Medieval Dutch painter and an artist whose work intrigues my son.
This month the Vancouver International Film Festival Society (VIFF) is screening a movie about curators preparing an upcoming exhibition of Bosch’s work. How interesting! How cultural! How … wait a minute: what do you mean I can’t take my son to see the film?
It turns out that if a film is unclassified, the regulations prohibit the sale of a ticket to anyone under 19. How absurd! Furthermore, when a film is classified and those under 19 are able to attend, the VIFF theatre concession can no longer serve its adult patrons alcohol. How ridiculous!
So, I’ve written a letter to Minister Oakes urging her to cut this red tape and I will mail it this evening.
If you share my point of view on this, please write the Minister, too.
The more she hears from BC voters, the more likely the government will address these anachronistic provisions, which make a mockery of consumer protection.
September 2, 2016
Honourable Coralee Oakes
Minister of Small Business, Red Tape Reduction
& Responsible for the Liquor Distribution Branch
P.O.Box 9054, STN Prov Govt
Victoria, BC V8W9E2
Dear Minister Oakes,
I had wanted to buy tickets for my family to one of the Vancouver International Film Festival Society (VIFF) screenings of a movie about Hieronymus Bosch, the visionary late-Medieval Dutch painter.
Unfortunately, I’m unable to do so since the movie is unclassified and I cannot buy a ticket for my fifteen year-old son.
My son is an artist and has long been intrigued by Bosch’s work. As his parent, I’m very comfortable in accompanying him to this movie. Its content is cultural, informative, historical, and fascinating. It is in no way a threat to his well-being or his psyche. I think anyone would be hard-pressed to argue that he doesn’t have the maturity necessary to watch this particular film.
In inquiring as to why I was unable to take my son to the movie, I have learned that it is provincial law, not VIFF policy, which demands the classification of films before they can be shown to teenagers. Apparently this law covers only theatrical screenings and DVD releases, but not television nor the internet.
This regulatory policy is based on a logical fallacy that an unclassified film is the same as an unsuitable one. It is a level of red tape that not only hinders operations at VIFF, one of Vancouver’s outstanding cultural institutions, but it also assumes that parents are incapable of determining which movies their teenage children may watch.
The same anachronistic regulations prohibit VIFF from allowing liquor in the theatre on Seymour Street when youth under 19 are present. This seems like an unnecessary duplication of restrictions given that concession staff would be prohibited from serving minors. It also diminishes the experience for older patrons who are denied their full privileges simply because the broader classification of a particular movie expands the audience for that particular screening.
I am writing to ask that you review these particular regulations and amend them at the earliest opportunity. Allow teenagers to attend unclassified movies with their parents’ approval and allow liquor service when a movie audience includes those under 19. That would be an effective red tape reduction and a positive support for small business in the cultural sector.
Thank you Minister Oakes for your consideration of the above. I hope that you will take the measures necessary to introduce a more enlightened approach for screenings of unclassified films in Vancouver, whether at the VIFF theatre or at other locations. Such an approach would facilitate the attendance of teens at film events. It is an approach that will draw in younger audiences, not shut them out and without diminishing the experience of older patrons.
Honourable Suzanne Anton, Attorney General & Minister of Justice
Jacqueline Dupuis, Executive Director, VIFF Society
Rob Gialloreto, President & CEO, Consumer Protection BC
During last year’s federal election campaign in Canada, I received a direct mail piece that I thought flouted the principles of transparency.
After filing a complaint and an extended correspondence with a representative from the Office of the Commissioner of Canada Elections, I knew that the leaflet met the letter of the regulations. I was adamant that it did not meet the spirit of them.
This is a copy of the letter I mailed today to The Honourable Maryam Monsef asking that she initiate a process to amend the regulations pertaining to the tagline on campaign materials.
August 24, 2016
The Honourable Maryam Monsef
Minister of Democratic Institutions
Centre Block, Suite 546S
House of Commons
Dear Ms. Monsef,
Please accept my belated congratulations on your successful election as a Canadian Member of Parliament and on your subsequent appointment to Cabinet as the Minister of Democratic Institutions.
Last year’s election campaign was a long one and, on occasion, bitterly fought. In Canada, the integrity of the general voting system is upheld by its overall structure as well as the regulations and operational details of which it is comprised.
While your main focus now is on electoral reform, I would like to draw your attention to a flaw in the regulations of the Canada Elections Act (Act) that pertain to the tagline in campaign marketing materials.
During last year’s federal election campaign, I received many direct mail pieces. There was one in particular that I found objectionable. While the mailer met the requirements of the regulations, it clearly contravened the intent and the spirit of the rules. I have enclosed the original mailer for your reference.
I received a piece of campaign literature today which is national in scope. It does not clearly identify the sender, the political party, or the official agent. Furthermore, it does not even identify the name of the local candidate in my riding. This appears to me to violate the guidelines, at the very least in spirit, for advertising material. Depending on who paid the costs of production & distribution, it may also violate financing guidelines. (9 October 2015)
The response I received was that the mailer met the requirements of the regulations. Specifically, the email dismissed my concerns as follows:
Thank you for your message of October 9, 2015 with respect to the election advertising leaflet that was distributed in your riding.
The Canada Elections Act (Act) requires that a candidate or registered party who runs an election ad mentions in or on the message that its transmission was authorized by the candidate’s official agent or by the party’s registered agent. The Act is silent as to the size, colour or placement of that mention, which is referred to as the “tagline”. I would draw your attention to the bottom right of the page showing Thomas Mulcair, under the word “Canada” where the following statement appears: “Authorized by the registered agent of the Conservative Party of Canada”. The tagline does appear and provides the information required by the act. (11 October 2015)
I was not satisfied with the response and had further correspondence with an agent from the Office of the Commissioner of Canada Elections. After sending him a scanned copy of the direct mail piece, I received this response:
Good morning Ms. Faris:
I am familiar with the literature you forwarded me. We had previously reviewed it and as you noted the tag line is included on the ‘Mulcair’ side of this literature. It does state that the political advertising is authorized by the registered agent for the Conservative Party of Canada. Generally speaking, the Act does not control the content of election advertising (or the font size for the authorization line), but regulates the reporting of associated expenses and requires that an authorization statement appear on the advertising.
The literature you received is an initiative from the Conservative Party of Canada and an expense of this political party. It is not associated with the local Conservative Party of Canada candidate in your electoral district.
Hoping this clarifies this matter … (14 October 2015)
I did not find the response satisfactory and wrote again:
It clarifies matters, but does not resolve my complaint.
Here’s the thing: a tagline is meant to identify the sender. If it is virtually impossible to read, then it defeats the purpose. Just having it there is not enough. It respects the letter of the regulation, but does not satisfy the intent.
Similarly, if benefits accrue to the local candidate, then a portion of the costs must be assigned to them even if those expenses are recorded as an in-kind donation.
I’d like to know what steps I should pursue now to continue the examination of this issue. (14 October 2015)
The agent tried to address my concerns and the last note I received was as follows:
Section 320 of the Canada Elections Act (Act) is clear:
Message must be authorized
320. A candidate or registered party, or a person acting on their behalf, who causes election advertising to be conducted shall mention in or on the message that its transmission was authorized by the official agent of the candidate or by the registered agent of the party, as the case may be.
This matter has been reviewed previously. It is clear that this election advertising (literature) is distributed and paid for by the Conservative Party of Canada – thus the tag line of authorized by the Registered Agent for the Conservative Party of Canada. The tag line may be difficult to read, however the Act does not regulate the content of the advertising other that what is noted in Section 91 of the Act:
Publishing false statements to affect election results
91. No person shall, with the intention of affecting the results of an election, knowingly make or publish any false statement of fact in relation to the personal character or conduct of a candidate or prospective candidate.
It may be noted that national advertising by a Party (any political party) may benefit a local candidate. It may also be argued that advertising by a candidate may benefit a Party. Almost every advertising generated by a candidate will include their party’s logo.
In reviewing this matter, the Office of the Commissioner of Canada Elections is satisfied that the required information is contained on the advertising being discussed and its expense will be reported by the Party. With regards to your complaint, we have reviewed the information you have provided and concluded that the circumstances as described do not appear to contravene any provisions of the Act, and as such, cannot be pursued by this Office. (14 October 2015)
Despite the best efforts of the representative from the Commissioner’s Office, I still believe that this direct mail piece stretched the limits of the regulations to the point of absurdity. It is not enough to simply include a tagline; it must be legible and clearly identifiable. I also believe that the local candidate’s name should appear on any directly distributed material since Canadians vote for Members of Parliament, not for party leaders.
Minister Monsef, I urge you to initiate a process to review and amend the regulations of the Act that deal with the tagline and the identity of the sender. Such details are critical; they underpin the integrity of Canada’s voting system, whether as currently constituted or as altered for future elections.
Thank you for your consideration of this matter and I look forward to amended regulations which uphold the principles of transparency and integrity for election campaign materials.
Marc Mayrand, Chief Electoral Officer of Canada, Elections Canada
Commissioner of Canada Elections
Pamela Goldsmith-Jones, Parliamentary Secretary to the Minister of Foreign Affairs
Three days ago, I posted a photo of what I’d made for dinner on social media. It received likes, hearts, compliments, and requests for the recipe.
I’m pleased to share that recipe with you now albeit with hesitation.
Because I learned to cook from my mother and my grandmother and they didn’t use recipes!
And while I always use recipes for baking and sometimes for savoury dishes, my version of cooking is a little bit of this and a little bit of that and I wonder what this would taste like if I added that.
So take this more as a guideline for preparing Fateh al Laban (laban is the Arabic word for yogurt). Make the dish your own by experimenting with the proportions and the seasoning. There’s a vegetarian option, too, that Mom developed. I’ll describe that alternative after I’ve given you the details for preparing the traditional dish.
There are six components to Fateh: croutons, chickpeas, pine nuts, ground beef, yogurt, and herb garnish. I find it easiest to serve the components separately. Each diner can then assemble a plate according to their likes and dislikes. That also means the leftovers keep better than if they’ve been mixed together.
Take two loaves of pita bread. Separate the halves of each loaf and tear them up into bite-sized pieces. Spread on a baking sheet covered with parchment paper and cook in a 350˚ oven until golden brown. Remove and set aside. Regular croutons will work but then you’ll miss out on the Lebanese look!
Open a small can of chickpeas. Drain and rinse the chickpeas. Let them sit in a colander to dry until you’re ready to serve.
Fry a handful of pine nuts in butter until golden. Remove and set aside. Alternatively, mix them with a touch of olive oil and bake in a 350˚ oven until golden brown. Pine nuts burn easily, so check on them frequently if you have them in the oven. If you’re frying the pine nuts, turn off the heat just as the pine nuts begin to brown.
I typically use .5 kilogram (1 pound) of lean or extra lean ground beef for two and that leaves a lot for leftovers. Fry the ground beef in a pan until cooked through. Season with salt, pepper, and allspice (no more than 15 ml, 1 teaspoon, of the latter). You can also add chopped jalapeño and a few drops of Worcestershire Sauce. Drain and keep at room temperature. As I’m writing this out, I realize that it would also work to mix the pine nuts in with the beef. I might try that next time.
Use approximately 250 ml (1 cup) of plain yogurt. It doesn’t matter which brand you choose or whether the yogurt is skim, 2%, or whole. I’d recommend the 2% or whole — just make sure it’s plain and not French Vanilla! In a mortar, crush 1/2-1 clove of garlic with salt, pepper, and a few, washed, shredded fresh mint leaves. Add the spiced garlic paste to the yogurt and mix thoroughly. You can also mix in diced cucumber to the yogurt mixture for an extra bite.
Finely chop a green herb to use as garnish. I use cilantro because L. likes the flavour; parsley is the traditional option. You could also use mint or a combination of any or all three.
And that’s it. Seriously. Those are the components and once they’re ready to go, layer them in a bowl and dig in! I prefer to put the croutons on top rather than using them as a base so that they stay crunchy. If you place them under the yogurt, they get soggy pretty quickly.
- Substitute boiled pasta — rotini or penne works best — for the croutons.
- Substitute broiled eggplant slices for the ground beef.
- Leave out the chickpeas.
- Mix all ingredients together to serve and garnish with chopped herbs.
Sahtain — bon appétit in Arabic — and let me know how your version of this dish works out.
For me, this dish is one of my comfort foods and L. loves it, too.
As with so many things, to share this dish with you is to share memories of Mom and to honour her legacy. Thanks for requesting the recipe.
I feel the absence of my mother most keenly when I catch a glimpse of her writing.
When I look at the carefully crafted words and sentences she moulded; the ones she wrote down. An alchemy of thought, energy, effort, pen, and paper.
Mom used writing to express her thanks. To scold political leaders. To extend congratulations. To advocate for causes. To nurture connections.
She cherished the handwritten note even after her grandsons helped her learn to use email.
My mother believed there was a personal quality to a handwritten note that was impossible to replicate in type form. I agree. Each stroke of the pen captures a person’s personality, their character, history, and experience. The way in which hand-written words create a web of meaning is the most affirmative statement of “I am here”. When I catch sight of my mother’s writing script I wonder how it is that she is not here.
How can the person whose heart propelled the pen across the page not be here to cross that t and dot that i?
I feel the absence of my mother most keenly when I see her writing, with an intake of breath and a vise clamped around my heart.
My mother’s script is from an earlier era when education had not been commodified and contorted. When it was a gift to learn. A time when writing was valued not only for its content but for its form. When penmanship spoke of culture and education and, yes, privilege.
That script, her unique cursive style, is undeniably and uniquely my mother, Yulanda.
I feel the absence of my mother most profoundly when I stare at her writing.
René Descartes said, “I am thinking, therefore I am.” My mother’s cursive script says, “I wrote, therefore I have been.” And as the ability to recall her physical presence becomes the dream of time lapsed, her writing will remain forever real and tangible.
As her daughters, her children, and perhaps someday her grandchildren and descendants, we will carry her DNA forward in time. However, her letters, the drafts of her speeches, the thank-you cards, her recipes, the quotations she noted down, her signature — like the one in the volume of William Shakespeare’s collected works that she used for her studies at McGill — these all serve as a testament to her personal spirit.
No other hand shaped those words, no other mind developed those ideas, no one else forged those connections: letter to letter, person to person, heart to heart.
I feel the absence of my mother most keenly when I catch a glimpse of her writing. The words and sentences that flowed from the pen she held, the pen she guided into forever.
In the year and months since my mother died (and a month before what would have been her 79th birthday), my family has cried, laughed, and celebrated birthdays, anniversaries, graduations, and weddings. We’ve attended funerals. We’ve had time at home, we’ve been away together and separately. Time has carried us forward. It is life’s imperative.
And she, my mother, has been there with us. In each moment, in each thought, in each word.
She always will be.
“If we danced more and sang more, we’d be happier people.”
Yulanda M. Faris
July 2, 1937 – April 23, 2015