Mandi Lunan: Self Starter

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ISSUE 06 CONTRIBUTORS
stephanie vicente
Founder & Editor in Chief
[email protected]
andrew gemmell
Associate Editor
[email protected]
ashley o'neil
Fashion Editor
[email protected]
christopher snow
Photography Editor
[email protected]
isaac vallentin
Art Director
[email protected]
———
contact
Herd Magazine
213 Cambridge Street North
Ottawa, Ontario, Canada
K1R 7A8
herdmag.ca
[email protected]
heather heagney
Writer
Herd Magazine is published independently
on a quarterly basis.
kenneth ingram
Writer
All content is © Herd Magazine unless
otherwise indicated.
suzy kendrick
Writer
———
rhiannon vogl
Writer
———
zara ansar
Photographer
jamie kronick
Photographer
urszula muntean
Photographer
christopher snow
Photographer
———
emma cochrane
Illustrator
chanelle foisy
Illustrator
Front cover photograph by Jamie Kronick.
— jamiekronick.com
CONTENTS
06
letter from the editor
08
mandi lunan: self-starter
by Heather Heagney
12
central art garage
by Rhiannon Vogl
18
the speakeasy collective
by Suzy Kendrick
22
summer fashion: the weekender
28
babylon: come as you are
by Stephanie Vicente
34
what one might expect to be a recipe for disaster...
by Kenneth Ingram
40
lissa bowie jewelry
by Ashley O'Neil
42
emma goldman, the arcanum, & the malignancy of bigness
by Andrew Gemmell
48
gallery
62
past contributors
LETTER
FROM
THE
EDITOR
Shackles are uncomfortable. They’re restrictive, both physically and psychologically. They're
oppressive. Shackles can be debilitating, paralyzing even. But with emancipation, shackles
become a symbol for the struggle for freedom. We can look back at how we broke free of those
shackles—be it psychological triumph or a physical breakaway. We can embrace our newfound
freedom, because until the great escape, we didn’t know what lay beyond.
In this issue: We explore the story of an art space forged out of a garage and the man and
woman behind it. We unmask the relationship between a Mosque, a sex shop, a bible shop, and
an independent film shop that shared the same block. We gain insight into one vegan baker’s
personal journey, including her struggles and success. We spend time with the staff of Ottawa’s
long-running alternative nightclub who just want you to be yourself. We marvel at beautiful
brass and precious stone jewelry made by an Ottawan turned Mexican resident. We learn
about designing motion graphics and leaving the big name agency behind. We discover men’s
fashion available within the region. We say along with Emma Goldman, “If I can't dance, I
don't want to be part of your revolution.”
Welcome to the new Herd Magazine—where we embrace the weird, but refine its presentation.
In here, you’re free to wander, to ponder, and to digest.
Sincerely,
stephanie vicente
Mandi Lunan, owner of Auntie Loo’s Treats, is a woman of many tastes
and talents. She loves a certain vintage aesthetic, especially in music,
has been known to write a zine or two, and has played in bands by
the names of The Wankers and Pianosaurus Rex. At first glance she is
a tough activist chick with the tattoos to match. What might surprise
you about her, however, are her sweet-as-whoopie-pie smiles, her love
and compassion for animals, and the small town charm she brings
to everything she does. Mandi grew up spending summers in Prince
Edward County and her entire family cooks and bakes. Whether this
shared trait is genetic or due to the family spending so much time
together in the country kitchen, Mandi’s down-to-earth personality
is inviting and matched only by her passion for baking. Nannie and
Grandma are both very influential in Mandi’s life. Nannie taught her
to bake, as did Mandi’s stay-at-home mom who is now Auntie Loo’s
bookkeeper. Grandma, who was the Head of Graduate Studies at York
University, taught her that “ladies can be bosses.” If there’s a way to
take domesticity and feminist power and whip them up into a tasty
treat, you might name that treat after Mandi Lunan.
proven by the customers who happily devour her tasty treats at events,
in retail stores, or directly at the bakery. Not all of her customers are
WORDS:
HEATHER HEAGNEY
8
PHOTOGRAPHY:
ZARA ANSAR
vegan, and you certainly don’t have to follow any particular foodcentric lifestyle to enjoy one of her whoopie pies, cookie sandwiches,
cakes, cupcakes or her newly created donuts. Mandi herself was a
vegetarian from the age of 5 because she couldn’t stomach the idea of
animals being eaten and, at age 20, she took the leap and became a
full-on vegan. She doesn’t believe in converting others, but she stays
true to her own lifestyle and that integrity extends to her business.
A proud feminist, Mandi is passionate about entrepreneurship and
promotes women getting into business for themselves. “It’s scary,” she
says, but “life is short.” “Start now” is the advice she has for anyone
wanting to start a business. Like many young entrepreneurs today, she
seeks a level of personal pride, integrity and ownership in her work:
“If we fuck up and go belly up, at least I can look in the mirror and say,
‘Nobody else did this to me’—I’ll go down fighting and raging.” She
takes this feisty attitude back to Algonquin College’s Business Program
during her annual visits where she speaks to and sometimes mentors
other young people who are starting their own businesses.
KATE
MATTY
I work with who I want, and I support the causes that I want to support.”
When I asked her to brag about herself and speak to her success as
a boss and business owner, she humbly pointed to those around her
who make Auntie Loo’s Treats the success that it is, including her
customers: “I love people—I love my customers!” And her customers
love her too, as was evident by the person attending Auntie Loo’s
Treats’ anniversary party with a handmade card bearing thoughtfully
written messages to each staff member.
Mandi is the first to admit that she is not building the Auntie Loo
layer-cake-of-an-empire alone. In addition to her supportive family
and staff, there are the many women business owners in Ottawa that
she looks up to, including the well-loved Oz Balpinar of Oz Kafe: “Oz
is my business-lady hero. Whenever I’m stumped, she’s my first text.”
Although she’s not living on a tour bus photographing rock stars and
travelling all over the world, Mandi is living out her own version of an
Her staff is more like family than a group of employees, with Miss Kate
Veinot taking the role as her fellow parental figure: “Kate is just as
important to the business as I am.” Kate created the website, does the
scheduling and designs every single cake (including wedding cakes),
all of which are original and never duplicated. If Kate and Mandi are
the parents, the rest of the Auntie Loo family are “their kids,” and she
refers to them lovingly as such. The Auntie Loo brood includes: Head
Baker and Cordon-Bleu trained Pastry Chef Matty, caring and detailoriented Charlotte, energetic “ray of sunshine” Josephine, sweet and
talented photographer Erica, and reliable Pam who “always gets the
job done perfectly.” Mandi is living proof that you don’t need a fancy
education in pastry arts to make your own tasty treats, but it helps to
hire someone who does: “I only hire people that have a strength to
compensate my weaknesses.” The crew blasts tunes in the bakery and
has impromptu dance parties, hosts potlucks, and most importantly
supports each other. “We enjoy our time together and get ideas from
Almost Famous lifestyle. She is doing what she loves, and doing it on
her terms: “I get to be exactly who I want every day and it’s awesome.
each other.” As a boss, she tries to be as transparent as possible and
compensate her employees fairly.
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four are still alive and they continue to inspire her to work hard and
stay creative.
mandi lunan: self—starter
JOSEPHINE
ISSUE 06
If you want to see where Mandi Lunan draws her inspiration from to be
a passionate business woman and successful vegan baker, all you have
to do is look at the framed photographs in her office at Auntie Loo’s
Treats. They are not photos of Emma Goldman, although the Russian
feminist/anarchist is one of her heroes. They are not photos of Elvis
Presley or Marilyn Monroe, although those two famous faces playfully
adorn the walls of the staff restroom at the bakery. They are photos of
her grandparents: Nannie and Poppa, and Grandma and Grandpa. All
Mandi or “Loo” as she has often been called, wasn’t always the
hardworking vegan baking business lady she is today. Her foray into
the world of vegan treats happened almost by accident. Once as an
aspiring rock photojournalist, Mandi dreamed of shooting album
covers and working for Rolling Stone Magazine. She wanted to travel
the world and live by her own rules. After high school in the GTA, she
headed back to the county where she spent her summers, and enrolled
in the photojournalism program at Loyalist College. Love brought
her to Ottawa in 2002 and she has lived here since with her partner,
Chris, and other housemates. She spent her days slinging coffee drinks
at Starbucks and her nights rocking out in a band, and could often be
found in the kitchen, cooking and baking for her housemates. In 2004,
when a housemate suggested she sell her tasty vegan treats, she joined
the Ladyfest Craft Sale and set up a booth. In one show alone she made
the same profit as her Starbucks paycheque, so she decided to enrol in
business school at Algonquin College and sell her treats on the side.
When naming the business, she took her nickname, “Loo,” and added
in the “Auntie” as a nod towards nostalgia. “I find nostalgia supercomforting,” she said as we sipped green tea with her grandparents
watching over us. Mandi’s philosophy, “treats are for everyone,” is
MANDI
9
Auntie Loo’s Treats is on a journey, and part of that journey has
been to move from their previous Bronson location to the larger,
current location on Nelson Street. This was not an easy move,
as quickly afterwards the increased size and production levels
ramped up business and they started supplying to Farm Boy.
This change, although positive, resulted in some growing pains.
“The expansion almost took me out emotionally and physically,
but it was totally worth it,” says Mandi, who quickly realized
that repairs to the mixer and walk-in fridge were needed to keep
up with demand. Enter the crowdfunding platform Indiegogo.
Within two days of sharing her campaign video, $3000 of the
$15,000 goal was raised. Donors included friends from high
school, customers, her hairstylist, and the folks from Vegan
Cuts. “I’m blown away,” she said. “It has been really inspiring
and heartwarming.” In the end, the campaign raised just over
one third of its goal, which, after a search for more affordable
rates, will do quite well in getting the repairs done successfully.
Close Listening
Eli Bornowsky
Jeremy Hof
Monique Mouton
Jinny Yu
June 27 – September 21, 2014
Vernissage & Artists’ Talk: June 26, 5 pm
Sound Workshop with Adam Saikaley
August 9 from 1 to 5 pm
Artist Talk with Jinny Yu
September 18, 7 pm
Image: Jinny Yu, Non-Painting Painting, 2012, oil on aluminum, 60 x 48 x 48 cm, courtesy of the artist.
10
BLOGGERS
The Manx — “The Manx has a shocking vegan selection that is top notch”
Raw Sugar
Blumen Studio
Oz Kafe
The Red Apron
Pascale’s All Natural Ice Cream
Cafe My House
Zen Kitchen
Boushey’s Fruit Market — “the gem of Elgin Street!”
Zara from Ottawa Velo Vogue
Kelly from The Gouda Life
Sarp from Roughchop Ottawa
MUSIC
The Fucking Machines
Shawn Scallen & Spectrasonic
Big Dick
Bruised Tongue Records
Babylon Nightclub
Ms. Vaselina Champagne
FASHION & RETAIL
EVENTS
Urban Craft (Kristin & Robin)
Cherry Pie
Ladies Who Lunch
Shameless
Ottawa Explosion
CAUSES
Ten Oaks Project
Pride Ottawa
The Carleton University Sexual Assault Centre
The Carleton University Animal Rights Club
Bruce House
The Aids Committee of Ottawa
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OTTAWA ART GALLERY
2 Daly, Ottawa, ON
Canada K1N 6E2
613-233-8699
OTTAWAARTGALLERY.CA
Auntie Loo’s Treats is now ten years old, four of which have
included a storefront. What will the next five look like? Mandi’s
goals are to sell her treats province-wide in the next two years,
and to launch a line of vegan frozen meals in the next five. She
also plans to do more pop-up diners at Urban Craft. Whatever
she does, you know Mandi Lunan will do it with a wink in her
FOOD & DRINK
ISSUE 06
ARBORETUM Festival Launch
August 18, 6:30 pm
Mandi exudes a warm, approachable energy, and her passion
for baking and serving others is palpable. Add in her colourful
style and friendly smile, and you’d think she might be knocking
on Food Network Canada’s doors. “No, thank you” she says, as
she admits that she is quite sensitive and suffers from anxiety.
As with any business that does well, the public response is not
always 100% positive and for Mandi that has been tough to take.
Welcoming constructive criticism, she avoids online reviews
because of the hateful comments that appear, sometimes from
vegan bloggers who support forced conversion. Although she
understands “it’s part of being in business,” she prefers to focus
on the positive and she has her staff bring her the constructive
feedback so she can respond.
In the spirit of supporting local,
I asked Mandi to share some of her Ottawa faves:
Victoire
Venus Envy
eye, a smile on her face and a tasty treat ready to share. ¬ H M
Supported by the Embassy of
the United States in Ottawa
11
central art garage
DANNY
HUSSEY
PENCHANT
SLEEVE.
DOESN’T
FOR
NO.
JUST
CONCEPTUAL
THIS
HIS
ON
HIS
ART
BEARDED,
ARTIST-TURNED-CURATOR
W E AR
WEARS
B E S PECKLED
IT
ON
HIS
F O R E H E A D . R U N N I N G I N T O H I M A T A PACKED
central art garage
WORDS:
RHIANNON VOGL
IN
PHOTOGRAPHY:
JAMIE KRONICK
BLACK,
N-S-C-A-D
SAVE
FOR
THE
EMBROIDERED
WHITE
ON
HIS
LETTERS
ISSUE 06
V E R N I S S A G E D O W N T O W N , H E I S D R E S SED ALL
TOQUE.
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12
13
It’s the same toque he was wearing when I visited him a week earlier at
his new gallery and framing studio, Central Art Garage, on Lebreton
Street. NSCAD—the Nova Scotia College of Art and Design (Halifax)—
is renowned for its place in Canadian art history as a hotbed of artistic
innovation, and for breeding students for whom intellectual rigor is just
as essential as the exacting sensibilities with which they approach their
work. Spending only a few moments in Hussey’s new space—a converted
mechanics shop that, in a previous life, existed as both a landscaping
operation and a cross-fit gymnasium—it is clear that he has carried his
training at the prestigious art school through all aspects of his life, not
simply his own artistic practice. The double-height industrial space
is impeccably clean: the walls painted the crispest shade of white, the
concrete floors polished, and carefully selected pieces of Danish teak
furniture are set in all the right places. Although it doubles as Hussey’s
framing business, evidence of this is scrupulously concealed on the
second-floor mezzanine and tucked away behind white canvas curtains
on the lower level. Flooded with natural light on a cold January afternoon,
this Centretown gallery reveals a great deal about Hussey, before we even
begin to speak: this guy has got his shit together.
Hussey has been a prominent figure in the Ottawa art community since
moving here from Halifax in the late 1990s. As a member of the Enriched
Bread Artists collective for close to 17 years, he has shown his work
throughout the province, as well as the Maritimes, and quite recently in the
Netherlands. And, while impressive, his bio to this point—as I walk with
him through "Paper Pusher", the second exhibition to have been mounted
at Central Art Garage since its opening in September 2013—seems less
exciting than what I see unfolding in front of me, in every sense of the
word.
Quite literally, a delicate ream of perforated paper unfurls like an open
accordion over a temporary wall at the entrance of the space; its companion
piece is a phonebook that has been pleated into the most fragile of obelisks
and stands over eight feet tall. None of the twenty pieces in the exhibition
could be considered colourful or flashy – rather they each, in their own
way, showcase the materiality of the paper on which, or with which, they
are made. Read together, their monochromatic tones – shades of mercurial
graphite and smooth, perfectly whipped creams – speak volumes to the
curator’s fastidious eye and attention to detail. It is a carefully considered,
thoughtful grouping of high caliber work that coalesces around a central
theme – exactly what any good exhibition should be.
14
This isn’t all Hussey’s doing alone. "Paper
Pusher" was conceived of and brought to
fruition with equal input and guidance from
his partner Bridget Thompson - a physician by
day and an astute researcher of contemporary
art by night. What originally began as a silent
business partnership has grown into a full-on
collaborative effort between the pair, with both
participating in the curation process. “We rely
on each other to say this is what we want and this
is what we like,” he says. “The benefit of having
our own space is that we can assert that now, and
be confident in having a certain standard. ”
“Coming out of NSCAD, I was exposed to a
high level of conceptual work, performance,
and installation… and it really stuck with me.
The more I had to think about it, and deal with
almost not liking it at first, it really drew me in.”
The other aspect of what is unfolding at Central
Art Garage then, is the beginning of a gallery
space that could fill a desperately empty hole
in Ottawa’s fledgling art scene—a specifically
non-commercial, non-municipal, non-federal,
professional exhibition space dedicated to
showing contemporary art by local, national and
even international artists. A gallery that is large
enough to contain epically scaled installations,
yet intimate enough to not be alienating. And
one that shows really strong work. That is
Hussey’s vision.
“We wanted to set up the space in a way that
would allow us to show work that wouldn’t
necessarily be sellable, to allow us to do shows
where sales would not be the priority - to actually
do the kinds of shows that we want,” he says. “I
see myself as providing a safe space for these
artists to work in, with no expectation as far as
the economics go – sometimes they thrive more
on that.”
TEATRO
TA PA S T R Y: N O U N \ ’ TA - PA - S T R Ē ’ \
1 A. EMBROIDERY ON PLATES
B. FOOD AND DRINK WITH COMPLEXITY AND VARIETY
CHARATERIZED BY GREAT SERVICE
C. TEATRO’S FORK BETWEEN TAPAS AND
SMALL PLATE DINNING
ADDRESS:
1233 WELLINGTON STREET WEST
INSTAGRAM:
TEATROCAFEOTTAWA
TWITTER:
@TEATRO_OTTAWA
PHONE:
613.699.1020
EMAIL:
[email protected]
WEBSITE:
TEATROCAFE.CA
15
The model of a gallery that not only exhibits
but encourages artistic experimentation,
innovation and a critical dialogue is anything
but revolutionary, but what is enthusing about
Central Art Garage is that it doesn’t yet exist,
in this particular form, in our city. It’s not an
artist-run centre, and it’s not the National
Gallery, but it presents artists that certainly
belong - if they haven’t already been - in
both. “Being an artist gives me maybe more
credibility with other artists; they are at ease
when I approach them about showing in the
space. They don’t see me as an art dealer. The
works that I’m getting and the artists that I am
working with are really aware of where they
are positioned in the art world; they know that
their work is very challenging, and that it isn’t
about sales.”
For Hussey, it’s about cultivating a specific
aesthetic and intellectual experience, and
being able to give that back, both to the artists
he chooses to work with, and to his audience.
It’s conceptual. And that’s exciting. ¬ H M
16
ILLUSTRATIONS BY CHANELLE FOISY
17
The story of The Speakeasy Collective isn’t just an individual success
story. It’s a testament to how things are shifting in the creative
community in Ottawa. Groups like this have already popped up in
Brooklyn, Los Angeles, and Vancouver. Some creatives no longer want
to be stifled by the politics of big agency life. These days, work isn’t
necessarily financially driven; it’s about pushing their personal bests
and outdoing their own work each and every time. They want to focus
on great design and always deliver quality to their clients.
But everyone needs to differentiate and The Speakeasy Collective is
always eager to show their uniqueness. “We’re doing stuff that’s very
different from what other studios are doing,” says Jamie Muntean.
“You have to watch 25 times to catch all the intricate parts.”
the speakeasy collective
WORDS:
SUZY KENDRICK
PHOTOGRAPHY:
URSZULA MUNTEAN
It was November 2012 when everything came together. Each member
of the group had broken away from the shackles of agency life.
Now, set up like a motion graphics studio, they had the freedom and
autonomy to work on the projects that appealed to them most, and the
power to pull together as a team to knock bigger challenges out of the
park. If two heads are better than one, imagine three? There’s strength
in numbers.
18
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There is competition between the three of them but it’s the friendly,
healthy kind. Rather than trying to one-up each another, they say
that seeing the progress and talents of the others keeps them learning
and striving for betterment. “We recognize each other for their
successes,” says MacWilliam. “It’s like being in a rap crew.” They
each have their individual talents, but together, they make some sick
rhymes.
ISSUE 06
“Working in the same space lets us bounce ideas off each other,” says
Aaron MacWilliam. “If I run into issues, I’ve got a guy to the left and
a guy to the right to ask for help.” As a result, they’ve been able to
consistently put out stronger products while surrounding themselves
with the people whose opinion they value and work they admire.
Collective minds. Individual entities. No hierarchy. “It’s really hard to
find this kind of dynamic,” says Joseph Recoskie. “We let our egos go.”
19
All have their strengths:
aaron macwilliam (28, centre) is the
true artist.
joseph recoski (25, left) is the technical
wizard.
It’s his inspiring energy and genuine
excitement for meeting new people and
brainstorming fresh ideas that constantly
gets the team hyped up. A motion graphics
veteran, Muntean has worked in studios all
over North America and Europe, earning his
stripes working under some of the world’s
best directors for animation. His most high
profile clients included MTV, Adidas, and
Cirque du Soleil. Muntean’s love for inspiring
creative minds led him to teach motion design
at Algonquin College for three years. It was
during this time that fate brought Aaron and
Joseph to the seats of his classroom.
His high-level motion design ability and
creative edge have his colleagues constantly
raving about his skills. True natural talent
is such a rarity and sometimes lost but
MacWilliam rerouted his career path early,
away from tool and dye, when he kept
getting caught drawing on the job. Enrolling
in graphic design at Algonquin lead him to
being taught motion graphics by Jamie. The
stars were aligning. Once out in the “real
world,” MacWilliam followed the career path
of many in his field; doing motion graphics at
a studio. A strong work ethic had him moved
up to senior level quickly and thrown in the
deep end when it came to full-on managing
client projects. It was at this studio that Aaron
learned the business behind the business of
graphic design; it is also where he met Joseph,
the third and final member of the trifecta.
His tech prowess paired with persistent
problem solving skills has the team believing
that nothing is impossible. Recoski’s design is
top-notch, which he does with commendable
speed and focus. Not afraid of a challenge,
he welcomes large projects with a smile;
confident and without ego. Always knowing
he wanted to do something art-related, he
enrolled in the graphic design program at
Algonquin and took Jamie’s motion design
class. Immediately Recoski was inspired. That
was it. He was hooked. “It’s like a disease,”
says Recoski. “It affects you.” ¬ H M
ISSUE 06
jamie muntean (35, right) is the passion
infuser.
P H O T O G R A P H T A K E N A T THE CLOCKTOWER BREW PUB.
201 4
Marquee clients thus far include big names like Disney, Airbnb,
Mountain Dew, Red Bull, Pause Fest and Parks Canada. They also do
a lot of work for startups including Creative Mornings Ottawa.
Check out their work: www.speakeasycollective.tv
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21
1
the weekender
C O N S C I O U S A B O U T A P P R E C I AT I N G L I F E
2
3
photographer:
model:
fashion editor:
creative direction:
Christopher Snow
Guillaume Watson-Noel
Ashley O'Neil
Ashley O'Neil & Stephanie Vicente
1
maru green ‘skateboard’ windbreaker — antique skate shop
huf navy ‘utility’ button down — antique skate shop
filson ‘utility bag’ — chris’s corner — viens avec moi
baldwin ‘twill woven’ short — chris’s corner — viens avec moi
garrett leight california optical — chris’s corner — viens avec moi
2
18 waits ‘the rancher’ button down shirt — chris’s corner — viens avec moi
18 waits printed floral short — chris’s corner — viens avec moi
garrett leight california optical — chris’s corner — viens avec moi
makr ‘farm ruck sack’ — chris’s corner — viens avec moi
makr belt — chris’s corner — viens avec moi
3
huf ‘railroad jacket’ navy — antique skate shop
baldwin ‘wide leg chino’ — chris’s corner — viens avec moi
4
garrett leight california optical — chris’s corner — viens avec moi
4
18 waits seersucker button down — chris’s corner — viens avec moi
vans ‘monogram palm short’ — antique skate shop
Special thanks to Antique Skate Shop,
Chris’s Corner (located in Viens Avec Moi),
Black Squirrel Books, & The Studio Cafe.
babylon: come as you are
WORDS:
STEPHANIE VICENTE
PHOTOGRAPHY:
ISAAC VALLENTIN
When I chatted with Adam Kronick, the
man behind Babylon Nightclub’s proverbial
curtain, I was thrown a bit of a curve ball.
Having known Adam already, there was no
doubt in my mind that Mr. Kronick shies away
would propose as the approach to this editorial.
28
201 4
how deep his humility would run, and what he
ISSUE 06
from the limelight. But I wasn’t prepared for
29
My idea was to write about Babylon’s history, and share Adam’s family
story with Herd’s readership. But if you want to know these intimate
details, you’re going to have to talk to Adam or his team personally,
because it was requested that the light be shone on the “real heroes”
of Ottawa’s most coveted underground/alternative/hip nightclub: the
staff. “Some of the staff have been with me since the beginning, we’re
talking 10-15 years of working the bar, or the sound board,” Adam
elaborated. “They’re the ones at the venue making the connections
with people. They’re the engine of the Babylon collective.”
201 4
The come-as-you-are policy stretches beyond welcoming patrons
every night. Even the staff are from different backgrounds and
generations, all of whom have different interests and tastes. “Babylon
was the first place I came to see a show without my parents. I was 13, I
came to see Strike Anywhere,” Jackson Coghil, bus-boy extraordinaire,
shyly states. Natalie, who laughs as she realizes the age gap between
her and Jackson, “I was definitely working the bar that night.” And
then chuckles some more, “Oh my god, you were thirteen!”
ISSUE 06
The wow factor, the x factor, the ‘it’ factor, behind Babylon’s success
seems to be in the hands of its staff. And here’s why: They impose a
“come as you are” policy, meaning that, anyone who wants to come
to Babylon will be welcomed without judgement. And I can say from
personal experience that Babylon’s patrons are colourful—that is in
reference to neither race nor creed, but rather personality. The place
is always filled with animated types, the kinds of people who want to
dance, laugh, clap, jump around, mosh, and head bang. On any given
night, a very diverse crowd of people walks through the doors of the
nightclub. Here’s my take on all of this: Babylon is the nightclub for
people who usually hate nightclubs, and is simultaneously the place
for people who love nightclubs. It’s a space where these two opposing
types find common footing. “One night we may have a hip hop show,
But it’s one thing to have eclectic programing, and another to
actually have an eclectic clientele. So why are people inclined to go
to Babylonwhen other venues have equally diverse programming yet
still rake in the same ‘type’ of patrons week after week? Perhaps it
starts with the doorman, Mike Postma, who believes that a doorman
shouldn’t be there to intimidate people or cause fear and discomfort,
but rather be a welcoming front-line man who is there for the safety
of all. “Nobody likes to get to the front of the line at a bar and feel like
they’re being interrogated or in trouble before they’ve even stepped
foot inside. Here, our security is about diffusion, not intimidation,”
states Mike. “It’s really easy for us if the guys outside are welcoming,
because then they come to the bar in a good mood, we’re in a good
mood, and it’s a nice transaction,” says Natalie Sole, who has tended
bar at Babylon for over 15 years.
the next it’s heavy metal,” says Ryan Dean, manager.
30
31
No matter what the age and no matter what the taste, everyone on
staff at Babylon treats each other like family. “If there’s a show on and
the other security guys know that it’s something I’m into, they’ll take
care of the door while I take care of stage security so I can be there to
watch and listen,” says Mike. Since many of the staff came to Ottawa
for their studies, their families are all back home in whatever town they
left. “For a lot of us we are the most family each of us has in this city,”
explains Kiera Annett, who has tended bar at Babylon for seven years
now.
Ottawa may have some preconceived notions of the ‘type’ of spot
that Babylon is, but in reality, they don’t care what group you hang
with, or what style of dress you carry, they just want you in their bar
having a good time. “I think it’s the utter lack of pretension that makes
us so successful week after week,” Mike states proudly. “We do get
compared to other places for sure,” Natalie chimes in, “but cool places,
like CBGB (NYC), or Foufounes (MTL).” According to Ryan, the truth
is that if you are, or were, a promoter in this city chances are you’ve
worked with Babylon in some capacity. From hip hop, to indie rock,
heavy metal, and even burlesque, Babylon has played host to some of
the most unforgettable nights this city has ever witnessed—and that’s
my assessment after years of attending their eclectic programming.
The group wanted me to give our readers a final note, a send-off if you
will. Here is what they had to say: Prepare not to be judged. We don’t
care what group you hang with or what kind of style you’re into.
Come as you are. That’s that.
Come here to have fun, that’s what we’re into. ¬ H M
ISSUE 06
The energy and comfort between all of them is an atmosphere that
all businesses—no matter what kind—ought to adopt. They get to be
themselves at work, which helps to form strong relationships with one
another (both professionally and personally), and it also allows them
to have fun while they pay the bills. “There’s nothing better than when
the crowd is having fun. Because then we have fun,” Kiera explains.
“Exactly, you’re providing that fun, for people who maybe had stresses
at work all week. They come here to have a good time,” adds Natalie.
“I love it. It’s impossible that I live this life, that I get to pay rent while
having a great night. It’s impossible, but I love it.” So maybe there’s an
added element to their good-natured approach to service in a nightclub.
Maybe a lot of why they’re such a great team is because they’re getting
paid to be somewhere they would like to be anyway. Kiera, Jackson,
Mike, and Ryan, unanimously affirmed that each had come to the bar
to see shows long before they ever started to work there.
But Natalie came to discover Babylon in an unusual way. “If I’m
going to be brutally honest, I was on a really bad first date,” she grins.
“Seriously. He wanted to come in, and I told him I didn’t want to
because I thought it was an after-hours bar. When I stepped inside, I
fell in love with the old brass taps.”
201 4
32
33
what one might expect to be a
recipe for disaster…
Regardless of who comes next on Lisgar Street, it’s safe to say that they’re
unlikely to come as a shock for this neigbourhood.
WORDS:
KENNETH INGRAM
ILLUSTRATION:
EMMA COCHRANE
The coexistence of a sex shop, mosque, and Christian society — all
within a small radius on Lisgar Street — will likely become the subject
of speculation, urban legends, and rumours for years to come. Among
these seemingly autonomous alcoves, however, Herd pulls together
a collection of testimonies from the people who were there with
confessions to bare.
“It’s been one of the most interesting corners of the city,” says Nick
Shaw, 34, co-owner of Invisible Cinema. [Ed. note: They recently
closed their doors.] Since taking over the movie rental business in
2007, Shaw says he’s observed a few interesting things about his
neighbours as well as their civic ancestors.
“The window of that second floor used to be blacked out,” he says,
peering through the window behind his cash register. Shaw points to
the building where Venus Envy, a sex shop and bookstore, previously
occupied before moving to Bank Street in early 2014.
ISSUE 06
“It was a bondage and swingers club called Breathless [before Venus
Envy took it over as office space],” he continues.
“People would come here looking for Breathless, especially because
there was no signage and they showed movies or documentaries,” he
chuckles.
201 4
Shaw then points to the Islam Care Centre, an aging white house that
sits next door to where Venus Envy was. “[The Centre] was The Stone
Angel before it became a mosque,” he explains.
“It was like a coffee house but I would only go to see live punk bands
in the 90’s.”
34
35
When asked about the relationship between
his neighbours, Shaw points to a narrow
pathway that leads to the back entrance of the
mosque where Muslim women often navigate
for call to prayer.
“Imagine: My office is across the street from
Venus Envy and there was [once] a swingers
club or orgy club. That was the view from my
office. And the gay village,” he adds, shaking
his head in jovial disbelief.
“Sometimes we’d see people practicing with
whips in the parking lot,” he hints as my
imagination struggles to conceptualize the
juxtaposition.
“I think this neighbourhood is an ideal
example of diversity,” he explains later,
commenting on the surge of condominiums
and commercial chains that continue to creep
into the downtown core. “You’re losing the
cultural heritage, whether that’s religion or
something else.”
Next door, The Bible House sign hangs from a
building established in 1922 by The Canadian
Bible Society. The main floor has been vacant
since April 2013 but upstairs I find their
Ministry Representative, Rob Kupe, 39.
“In my seven years here I’ve never
seen anything,” he says in response to
whether there’s been any tension in the
neighbourhood. “Everyone has coexisted
peacefully,” he continues.
“To be in this type of proximity it’s a ‘live and
let live’ situation,” he states frankly.
“The stuff that’s happened under our own
roof is most memorable,” he adds in what
sounds like a concluding remark.
Then I ask Kupe about Breathless and he
laughs. “I was eating pizza at a shop on the
corner one day while reading the newspaper
about a Supreme Court decision on swingers,
or something to that effect,” he says,
continuing to chuckle.
“The paper had the address [for Breathless] on
Lisgar Street, right across from my office!” he
exclaims.
36
Together we visit the main floor of the
building. It’s gutted and Kupe explains that it
will become a private networking centre for
Christian ministers and church pastors. [Ed.
note: This was recently completed.] Once
occupied by successive Christian bookstores,
the main level’s interior still has writing on
the walls: black stickers read "Peace, Hope,
Grace, and Faith."
One of the former shopkeepers in this space,
Valerie Miner, 51, was reached by phone and
takes no time recalling some of her most
memorable moments: “We had a number of
customers who would go to Venus Envy, first,
and then come visit us,” she says candidly.
“One man in particular, I’ll never forget,” she
laughs. “He walked from Venus Envy into our
store and said ‘I just want to clean my mind.’”
Miner, who worked on Lisgar Street for about
seven years, believes there’s a greater power
associated with the property. “In many
ways, it’s holy ground. God’s work has been
distributed from there for about 91 years,”
says Miner.
“There are lots of beautiful stories of people
coming in looking for something,” she recalls.
“People just felt the presence of the Lord
when they were in the building.”
As for their neighbours across the street at the
Islam Care Centre, Miner has two noteworthy
recollections: “Young men [from the Centre]
would come over to get an Arabic New
Testament about every three-to-four months.
I think they were just curious,” she says.
“Many times the mosque would have a crowd,
especially on Fridays,” she adds, vaguely
recalling that two of her colleagues, both men,
ventured over to the mosque on at least one
occasion to participate “in some capacity”.
“I told them: You’re taking your life in your
own hands, darling,” she laughs over the
phone.
Inside Ottawa’s Venus Envy, the staff
are outspoken when it comes to sex but
comparatively tight-lipped about their
neighbours. “The only thing I think we’ve
ever really disagreed on is garbage collection
and the parking lot,” recalls Lara Purvis,
former Floor Manager at Venus Envy.
She recalls very little interaction between
people at the mosque and Venus Envy except,
perhaps, when it came to displays of courage:
“On the rare occasion we’d have a kid [from
the Centre] come into the store, run around
quickly and leave,” she smiles. “I think it was
part of a dare.”
Making my way to the Islam Care Centre,
I remove my boots once inside the front
entrance and place them with other footwear
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neatly stowed on wooden shelves, wet from
melting snow. I proceed through the prayer
room and down to the basement.
Sitting at a desk and surrounded by
books, Sulaiman Khan, 80, is the Centre’s
Correctional Counselor and Director. He
greets me with a smile, gesturing towards a
chair as I feel the carpet against my socks.
“We all have perceptions and should not jump
to conclusions,” he says in response to my
curiosity with the neighbourhood.
At first we discuss the Qur’an, shifting focus
to the mosque, its history in Ottawa and
later, more direct questions about women’s
rights, sexual education, homosexuality, and
adultery. Despite lowering my own voice on
occasion, no topic seems taboo to Khan. He is
patient and cautious at times – only to ensure
his comments are not misinterpreted.
“Sex education is important,” he says,
acknowledging that the Centre’s library is
“perhaps lacking in some instances.”
“It’s the decency and the decorum that we are
conscious of,” he continues.
38
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Ontario, Canada K1R 6N5
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“We would consider it inappropriate but we
wouldn’t do anything about it. There is no
sanction.”
On my fourth visit to the Centre, Mohamed
Hachemi
Bensaci,
52,
Community
Development Director, sits down beside us
and I think he can see I’m feeling somewhat
frustrated there’s no dirty laundry to air
among these neighbours.
“This is just a place,” Bensaci explains.
“It’s Allah who chose this location,” he
emphasizes, pausing to ensure I’m following
his logic.
“It is also he who chooses his neighbours,”
Bensaci concludes with a silent smile, as if
conveying a sense of twisted humourous fate
for this neighbourhood’s dynamic.
We change tune for a moment, stepping away
from conversations about religion to discuss
philosophy, art, and Arabic poetry.
“I had a question about the garbage
[collection],” he says.
“The way we, and the media, present Islam
is not a complete way,” says Bensaci. “It’s not
just about worship.”
“There wasn’t anything shocking. It didn’t
bother me in any way,” he says, straight-faced
“We wish people would feel more
comfortable walking in but they shy away,”
and matter-of-fact. “They get full rights as
good neighbours,” Khan says.
Khan adds. “They are welcome. Just know
the time of prayer [five times a day] might be
“I have a [mobile phone] app that keeps
track,” says Omar Mahfoudhi, 30, Executive
Director, who also manages the Centre’s
social media and website.
Like their neighbours, the Centre also has
plans for the future, including a new building
that will replace the current location. When
asked when that will happen, Khan responds
with “In sha’Allah,” or “God willing.”
I return to the Centre at 10am on Saturday
morning to find about a dozen volunteers
making 220 meals for a local food bank,
Ottawa Women’s Shelter, and hand-outs to
people in need.
Their coordinator, Yumna Rashid, is unaware
that Venus Envy had moved. “I hope it’s not
replaced with just a parking lot,” she sighs,
carrying her 18-month-old son into the front
door of the mosque.
“Paved paradise,” she asks.
“Isn’t that how the song goes?” ¬ H M
201 4
UR
OUT O
CHECK
!
EBSITE
NEW W
Asked whether he knows of anyone else
from his congregation taking a stroll to the
sex store, Khan strokes his grey beard while
leaning backwards in his chair.
uncomfortable [for a new visitor],” says Khan.
I retrieve a prayer table from the shelf that
lists different times for each day and it
resembles a Periodic Table of Elements from
chemistry class when I was a kid. Offering a
more reliable alternative, I tell my hosts that
the best way to tell if call to prayer is taking
place [for a non-Muslim] is to just stop by and
see how many shoes are stacked at the front
door.
ISSUE 06
While bringing Venus Envy into the
conversation multiple times, it’s during my
third visit to the Centre when Khan makes an
unexpected confession: “I went in once.”
“Being a good neighbour doesn’t mean you
have to be friends.”
39
Magpie Jewellery presented Lissa with the platform to create
and sell her own pieces as well as the opportunity to learn the
business aspect of doing what she loves to do: work with custom
jewelry, and gain inspiration from the designers through
personal interactions. Wherever she travelled, Lissa was faced
with the challenge of bringing the best jewellery back to Ottawa,
and her trips became a source of wonder and adventure. It was
not, however, until she touched down in Mexico for what was
meant to be a procurement trip, that Lissa’s journey would be
forever changed. Unbeknownst to her at the time, the love of
her life, as well as precious stones and metals, had been waiting
there for her. Her procurement trip turned into a staycation, and
Mexico became her home.
lissa bowie jewelry
PHOTOGRAPHY:
CHRISTOPHER SNOW
“Hola.” She sat, smiling as brightly as her jewelry was sparkling;
around her neck, in each of her ear lobes, and adorning almost every
finger. “Lissa Bowie,” she said. “And this is my daughter, Olaiya, and
my sister, Andrea.” Sometimes a love story is all you need to hear in
order to feel inspired. This particular love story is one part romance
Creativity evolved into craft and, as the universe would have it, grew
into a flourishing business out of Lissa’s workshop in Tehuilotepec,
Mexico, where Lissa currently resides on a hillside in the heat with
her family. When Bowie first decided to pursue her love of jewelry,
she enrolled with the Gemological Institute of America in New York
and one part passion, and unfolded across from where I sat in Raw
Sugar Cafe.
City, as well as George Brown College in Toronto. She then worked as a
buyer for Ottawa’s local jewelry boutique, Magpie Jewellery.
Today, Lissa returns to Ottawa for the occasional visits with
friends and family; often checking in with her sister, Andrea,
who takes care of the public relations aspect of the Lissa Bowie
jewelry line that is now available in several retailers around
Ottawa and abroad. ¬ H M
Available at Magpie and Viens Avec Moi.
201 4
40
WORDS:
ASHLEY O’NEIL
ISSUE 06
The curation of ‘Lissa Bowie’ items has flourished ever since,
and shows no signs of slowing down. Magpie can barely keep her
handmade one-offs in stock. Every unique piece is first sculpted
out of wax, without any drawing done prior to the modeling
process. From there the design is carefully worked into shape,
and sized by hand. The pieces are then sent to be cast in either
brass, copper, quartz, chrysocolla, or the bright tumbagaa (an
alloy of gold and copper first developed by the Moche culture
of northern Peru around 100ad). These metals are carefully
set with semi-precious stones such as (my personal favourite)
black pearl and coral. Lissa’s famous brass nugget pendant
necklaces and matching rings are a testament to the beauty of
these materials, and also a reflection of her eclectic sense of
style. “This is my dream job, there is nothing else I would rather
do” Lissa said.
Twitter: @LissaBowie
Instagram: @lissabowiejewellery
41
emma goldman,
the arcanum,
& the malignancy of bigness
WORDS:
DAHARA MNEMOSYNE
ILLUSTRATION:
ISAAC VALLENTIN
[...] secret meetings of faction leaders or even in
extraparliamentary committees so that responsibility is
transferred and even abolished, and in this way the whole
parliamentary system finally becomes only a poor façade
concealing the dominance of parties and economic interests. In
its place there has long since developed an investigation of the
methods and techniques with which the parties create electoral
propaganda, persuade masses, and dominate public opinion.
For Carl Schmitt, the arcanum (secrecy) of power opens up a space
of decisive action above the rule of law, and is effective governance
precisely because it ignores the law. Schmitt argues that a façade
of transparency veils the operations of secrecy, and that this is the
propaganda of Parliamentarianism used to manipulate the population
it governs. However, state action exempt from the rule of law is
exceedingly dangerous. It opens up a space of chaos where state
violence can run unchecked. This space is consolidated and excused by
those in power through manipulation, secrecy and lies. George Orwell,
in a nice little essay called “Politics and the English Language,” says
that:
This is a beautiful little turn of thought. It takes the concept of political
lies and secrecy, and turns it into a question of radical personal
42
For secrecy—what diplomatically is called discretion as well
as the arcana imperii, the mysteries of government—and
deception, the deliberate falsehood and the outright lie used as
legitimate means to achieve political ends, have been with us
since the beginning of recorded history. Truthfulness has never
been counted among the political virtues, and lies have always
been regarded as justifiable tools in political dealings.
But as she goes on, it becomes clear that Arendt is not really taking aim
at lies, but rather at a lack of truth:
If the mysteries of government have so befogged the minds of
the actors themselves that they no longer know or remember
the truth behind their concealments and their lies, the
whole operation of deception, no matter how well organized
its “marathon information campaigns” (Rusk) and how
sophisticated its Madison Avenue gimmickry, will run aground
or become counterproductive, that is, confuse people without
convincing them. For the trouble with lying and deceiving is
that their efficiency depends entirely upon a clear notion of
the truth which the liar and deceiver wishes to hide. In this
sense, truth, even if it does not prevail in public, possesses an
ineradicable primacy over all falsehoods.
This is where the topic has supreme relevance to today’s political
climate with its emphasis on surveillance and deception. For all of
the NSA’s and CSEC’s surveillance, what is the truth they believe they
defend? (In their own words, it’s the health of the economy, but that’s
a vacuous load of hogwash.) Consider the blanket surveillance we
are undergoing now, in which billions of phone calls and emails and
texts are collected daily. In 1972, when Arendt read over the leaked
201 4
Political language — and with variations this is true of all
political parties, from Conservatives to Anarchists — is designed
to make lies sound truthful and murder respectable, and to give
an appearance of solidity to pure wind. One cannot change this
all in a moment, but one can at least change one's own habits...
responsibility. This is very appealing. Thankfully, I’m not alone in
my appreciation. The late great Hannah Arendt, one of my favourite
thinkers, wrote extensively on lies and politics. When the Pentagon
papers were leaked by Daniel Ellsberg in 1971, Arendt wrote a series
of reflections, including one in the New York Review of Books entitled
“Lying in Politics” (November 18, 1971, available online). She begins
in measured tones:
ISSUE 06
I am often asked why it is that I say that the World Cup of Soccer
is an elaborate brainwashing exercise, and the Olympics are
smokescreens of insidious propaganda, and Canada Day is an
occasion for the normalization of public military exercises, and the
provinces — and indeed the country itself — are much, much too
big, absurdly and dangerously so. Mention elsewhere in this issue
of the important early 20th century thinker and activist Emma
Goldman opens the door to sharing a few reflections. For example,
these most recent Ontario provincial elections saw the incumbent
Liberals (the same party a provincial police investigation is now
suggesting deleted documents surrounding the cancellation of
a billion dollar contract to build gas plants in Ontario) defeat the
Conservatives (the leadership of which was so ephemeral and
translucent that it stepped down immediately after the results).
So, we were witness to the criminals defeating the phonies. On
close reflection, however, we understand that when it comes to
governing a population, the liars are criminals and the criminals
are liars.
What do I mean by that?
Much has been written about lies and politics. The Ancient Roman
historian Tacitus wrote of the arcana imperii, the secrecy that is power’s
prerogative, referring to the lies Emperor Tiberius told the Senate
regarding what was later revealed to be the murder he ordered of a rival,
Postumus Agrippa. A prevalent tradition of thought persists to this day,
that secrecy within government is a necessary evil. For example, Carl
Schmitt, the leading Nazi legal philosopher often referred to as the
‘crown jurist of the Third Reich,’ argued that Parliamentary democracy
was flawed insofar as it pretended to be open and representative, when
in fact it was dominated by:
Pentagon papers, she remarked:
43
Even now that the press has brought a certain portion of them
into the public domain and members of Congress have been
given the whole study, it does not look as though those most in
need of this information have read them or ever will. The fact
of the matter, at any event, is that aside from the compilers
themselves, “the people who read these documents in the
Times were the first to study them” (Wicker), which makes one
wonder about the cherished notion that government needs the
arcana imperii to be able to function properly.
And so we begin to see that what has been taken as a sacred aspect
of the political governance of populations, by which I mean the
arcanum or the mysterious secrecy deployed by those in power, is now
not so much necessary as detrimental. Arendt makes this explicit in
fascinating manner:
Oddly enough, the only person likely to be an ideal victim of
complete manipulation is the President of the United States.
Because of the immensity of his job, he must surround himself
with advisers, the “National Security Managers” as they have
recently been called by Richard J. Barnet, who “exercise their
power chiefly by filtering the information that reaches the
President and by interpreting the outside world for him.” The
President, one is tempted to argue, allegedly the most powerful
man of the most powerful country, is the only person in this
country whose range of choices can be predetermined.
44
Indeed, conceit, arrogance and egotism are the essentials of
patriotism. Let me illustrate. Patriotism assumes that our globe
is divided into little spots, each one surrounded by an iron
gate. Those who have had the fortune of being born on some
particular spot consider themselves nobler, better, grander,
more intelligent than those living beings inhabiting any other
spot. It is, therefore, the duty of everyone living on that chosen
spot to fight, kill and die in the attempt to impose his superiority
upon all the others. The inhabitants of the other spots reason in
like manner, of course, with the result that from early infancy
the mind of the child is provided with blood-curdling stories
about the Germans, the French, the Italians, Russians, etc.
When the child has reached manhood he is thoroughly saturated
with the belief that he is chosen by the Lord himself to defend
his country against the attack or invasion of any foreigner. It is
for that purpose that we are clamoring for a greater army and
navy, more battleships and ammunition... An army and navy
represent the people's toys. To make them more attractive and
acceptable, hundreds and thousands of dollars are being spent
for the display of toys. That was the purpose of the American
government in equipping a fleet and sending it along the Pacific
coast, that every American citizen should be made to feel the
pride and glory of the United States.
201 4
the magnitude of the violence inherent in political secrecy depends
on the size and abstract nature of the governing institutions. It is the
On April 26th, 1908, Emma Goldman gave a lecture entitled “What
is Patriotism?” at Walton’s Pavillion in San Francisco. You should
read it in its entirety online. After the lecture, a uniformed US soldier
named William Buwalda shook Goldman’s hand. Within two weeks,
he was court-martialed and found guilty, dishonorably discharged and
sentenced to five years at hard labor on Alcatraz Island, all for shaking
her hand. Why? What was so incendiary? Consider for yourself:
ISSUE 06
In this way, I return to my original point. The larger and more powerful
our countries and their national institutions are, the more dangerous
and susceptible they become to manipulation by small groups of
people. Today’s political landscape is dominated by insanely massive
countries like China and India with a billion people each, or Canada
(which covers 2% of the Earth’s surface and 10% of the world’s forests)
and even Ontario (which contains one third of the world’s fresh water!)
is the culmination of the poisoned logic of colonial empires, pursued to
absurdity. Arendt has a term for the way in which the world-dominant
powers spend so many resources and the lives of their populace
spinning their wheels and embedding themselves in a futile ditch: “the
impotence of bigness.” I would go one step further and suggest that
malignancy of bigness: like a cancerous tumour, the bigger a state is,
the more dangerous it is. And yet, to get into such a situation as we now
find ourselves, and to be here without even realizing the imminent
danger, takes extreme and sustained brainwashing and propaganda.
This is how events like the vote and the Olympics and the World Cup
come into play.
This sentiment gets to the crux of my distrust of these international
sporting events, and also of the public displays of modern instruments
45
of war on Canada Day. Consider how Canadians take it for granted
that we are unfailingly polite as a people, and how this whitewashes
a collective national history of sustained and purposive indigenous
genocide. It is up to us, each and every one, to take personal
responsibility and question these ingrained assumptions implanted in
our psyches by the vested interests of the world’s nations. Countries are
but imaginary figments, and yet we take them so deadly serious, and
so many die because of our illusions. Meanwhile, the political powers
governing us demand an extra-legal space for secrecy and violence. It
baffles the mind.
Emma Goldman was an impressively trenchant and clear-thinking
individual. She was an early advocate of birth control, of the equality
and independence of women, of radical education and the rights
of labourers, was a severe critic of the military draft, and defended
free-love and homosexuality. In her own words, her life’s work was
to implement “a social philosophy which aims at the emancipation
economic, social, political, and spiritual of the human race.” For her
troubles, she was branded “the most dangerous woman in the world”
and exiled from the United States by deportation to Russia in 1919,
having lived in the US since 1885.
of parliamentary democracy to further hateful agendas: I wonder who,
in the anecdote, are the truly insane? ¬ H M
201 4
orders to invite you to leave the train.” What could one do
but comply with such a gentlemanly request? At the office the
ISSUE 06
When we reached Blaine, on the Canadian border, a man
came into our car, walked straight up to me, and inquired:
“You are Emma Goldman, are you not?” — “And who are
you?” — “I am a Canadian immigration inspector. I have
What happened behind the scenes is captured in a memorandum dated
December 15th 1908, sent by W. D. Scott, the Ottawa Superintendent
of Immigration, to Frank Oliver, the Minister of the Interior. In the
memo Scott refers to Goldman as a mad woman who should be
banned from entering the country “on the ground of insanity.” Oliver
was extremely sympathetic, but upon reviewing the case he dejectedly
and reluctantly denied Scott’s request. “I am afraid this is not sufficient
warrant,” he wrote, to prevent her from entering Canada. This
anecdote is made much more absurd when you know who W.D. Scott
and Frank Oliver were. W.D. Scott was Superintendent of Immigration
in Ottawa for twenty-two years, and he bent over backwards to prevent
black people from immigrating to Canada. All sorts of reasons were
given to keep them out: it was said they were immoral, undesirable,
bad farmers and, when all else failed, Canada’s immigration policy
was to point out that black people would not survive in the cold (a
twisted form of racism masquerading as compassion). And while Scott
was policing the borders, politician Frank Oliver was drafting laws to
be passed through Parliament to ban the immigration of black people
completely. Oliver was also a newspaper baron in Edmonton who used
his media clout to remove the Papaschase indigenous people from
their traditional territory. Misogyny, racism, theft, propaganda, the use
Goldman lived and lectured all over Canada for many years, and
died in Toronto in 1940. I’ll conclude this article with an anecdote
from Emma Goldman’s life, which brought her into contact with the
Canadian governmental arcanum, the mysterious machinations of
Ottawa’s ruling political elite. In 1908, Emma Goldman was on a
speaking tour of the West Coast. The above mentioned lecture on
patriotism was given in April of that year in San Francisco, and she
was arrested many times in many different cities for speaking on a
variety of contentious topics, often being released when she promised
to move onto another town. Then, on December 15th, 1908, Goldman
boarded a train for Canada. Goldman relates what happened in her
autobiography entitled Living My Life:
46
inspector in charge seemed very much surprised that I looked
like a lady and had no bombs about me. He assured us that he
had gathered from the stories in the American press that I was
a very dangerous person. He had therefore decided to hold
up my entry into Canada until he could receive instructions
from Ottawa. Meanwhile he asked me, as his guest, to make
myself at home in his hut. I could have anything I wanted in
the way of food and drink. In case of delay we would be given
the best hotel rooms in the local hotel. He spoke in a polite
manner, his tone more friendly than I had ever heard from
an American official. While the result was the same, I did
not feel quite so indignant over the new interference. The
next morning our jovial inspector informed us that Ottawa
had wired to let Emma Goldman proceed. There was no law
in monarchical Canada to forbid my entry into the country.
American democracy, with its anti-anarchist laws, was made
to appear rather ludicrous.
47
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