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The beautiful McGill campus. (Wendy Chen / McGill Tribune)
a, Student Life

Behind the Scenes: The real experiences of an international student at McGill

I’ve been studying as an undergraduate international student at McGill for the past three years. Born and raised in Iran’s second largest city, Esfahan, I moved to Canada to acquire the best possible education I could afford. The trend among Iranian families is to send children abroad only for post-graduate studies. More importantly, it has become extremely difficult for Iranians to gain travel visas since the Revolution of 1979. Simply put, the past three years for me have been nothing short of a miracle.

McGill was an ideal choice for me because of its sterling reputation on the East Coast, and its relatively reasonable tuition rate. That is not to say that $25,000 a year is cheap; however, McGill is ranked among some of the best American schools which charge almost twice as much. So in the hopes that a McGill degree would increase my chances of getting into a top law school, I packed my bags and hugged my parents tightly.

I took the campus tour on a sunny day in late June, and I was awestruck by McGill’s beauty and rich heritage. To say that for me, it was a dream come true would be an understatement. A few weeks after that sunny day, I joined thousands of other first-year students in an event I had read much about on Wikipedia: Frosh!

My college life had officially begun. In just a few weeks I made friends with people from all over the world, and to my parents‘ relief, I wasn’t feeling lonely or homesick at all. Thanks to years of watching Hollywood movies as a teenager in the solitude of my bedroom, I speak fluent English, so the language barrier was not an issue for me.

Cooking was another story. Three destroyed pots and a couple of epic failures later, I decided that Persian dishes were too complex and time-consuming for a busy college student. With the help of a few friends, I revamped my nutrition and lifestyle altogether by starting a fitness routine, and learning simple, healthy recipes. And that’s how I overcame cooking: the greatest fear I had when I left home.

Iran has historically strained diplomatic relations with much of the rest of the world, but things have escalated dramatically since I arrived at McGill three years ago. The Canadian consulate general in Tehran closed its doors last year, along with the Iranian consulate in Ottawa, marking the start of a wide-reaching diplomatic blackout that could potentially last for years. Yet the actual shockwaves have been hitting me hard over the past year as the sanctions against the Iranian government have deteriorated its currency’s purchasing power by a shocking factor of four. In other words, three years ago my parents had to pay one Iranian rial for every Canadian dollar they intended to send me. Now, they have to pay four times more for every Canadian dollar. Everything I pay for here—from my international tuition fee to a cup of coffee at Redpath Café—has become four times more expensive!

The McGill Administration has not offered any assistance.  They sent out an email upon the Iranian consulate’s closure, informing those students who needed to renew their passports that McGill was willing to give more time for students to update their immigration documents, given the predicament. I’m not expecting an email from them asking about how I’m doing with the quadrupled costs of living, or if I need help financing my tuition. With the multi-million dollar cuts looming on the horizon, I just hope they manage to save the university from the questionable actions of the new government of Quebec, which to me, has become oddly reminiscent of a myopic and pro-isolation system I fled from three years ago.

As for me, I have enjoyed every second of my time here at this inspiring institution, meeting amazing people, pulling all-nighters at Redpath, joining clubs, and having fun with friends I love dearly. Frankly, I do not know whether I will be able to afford my tuition next year with the Iranian economy in turmoil; but a long time ago, I made a decision not to live my life as a victim of my time nor nationality. So I laugh with my friends, and study hard, knowing very well that this could be my last semester at McGill.

Owen Nelson, Jazz Performance, U4 (Sacha Pereira da Silva / McGill Tribune)
a, Student Life, Student of the Week

Student of the Week

Q: So, you’re in the Faculty of Music? 

A: I’m doing a major in Jazz performance, and a minor in business. I find that it’s very important to be able to sell yourself in anything you do, and I’ve found at the music school that people don’t have business skills, and it’s difficult to get gigs. I picked business so that I would be able to use business skillls [to help my career as] a musician.

Q: How are your music classes different from those in an arts or science degree?

A: They’re completely different. First of all, classes are generally 10 to 20 people. The teachers [are] all musicians; they’re a lot more laid back. There’s more of a personal relationship with the instructors.

Q: Do music students do collaborative work, or is it mostly individual? 

A: Yeah, if we’re in a big band, or a jazz combo. One requirement is that students have to form small jazz ensembles, and they have to play once or twice at a jazz club called “Upstairs.” A teacher will come and watch the show, and have a beer. Afterwards, the professor will give us [some] ideas [of] how we could be better.

Q: How long have you been playing the saxophone?

A: I’ve been playing since I was 12 years old.

Q: Do you play any other instruments?

A: I play a little piano, and I can sing.

Q: Have you played any shows around Montreal or in high school?

A: Oh yeah. I’ve played all over—tons of clubs like Club Soda, Café Campus, Club Lambi, Sala Rossa, and Metropolis.

Q: So you play with a band?

A: Yeah, I have several music projects. Right now, I’m playing with a band called “Static Gold,” [in addition to another, “Cloak and Swagger”]. We just played at Bar Absinthe on Valentine’s Day, and it was packed. I’m also going to Atlanta, Georgia to [record] with Pastor Troy, hopefully for his next album, called “Thou Shalt not Kill.” I’m really excited about it. I’m [also] working with a DJ; and this summer I’m going to be playing at clubs on the island of Ibiza, off the coast of Spain. I’ve just been doing a lot of recording, and taking advantage of the recording studio at McGill. That’s another thing; McGill has a world renowned recording studio, and we can record there for free.

Q: If you couldn’t be a musician, what other career would you pick?

A: I like having control over my life, and I love business; I love talking to people, communicating with people. So I’d probably own some sort of business. I had a dream once where I was an old man, and I was on the coast in New Orleans. There was this smell of BBQ, and fantastic music, and I had created this BBQ shack that would bring the best musicians from all over the world, and it was just fantastic. I consider myself the grill master now, so imagine when I’m 70 and I’ve perfected my art.

Q: If you were an instrument, which instrument would you be? 

A: It would just suck to be an instrument. You can’t do anything. I guess I’d be a grand piano because a lot of the time, people make love on grand pianos. Guitars get smashed all the time. A lot of instruments are in cases, so they’re confined. Grand pianos can be in the open, and rock stars do drugs off them.

Q: If you could play with any musician, dead or alive, who would it be?

A: I always dreamed of being on Jay Leno’s [tonight show] band. Or play with Bruce Springsteen or the Dave Matthews band; just a band that plays in front of thousands of people because I love performing. I just love the energy I get from the audience; it’s such an electrifying feeling.

Q: What are your dream reading week plans?

A: I would like to go to Tanzania, climb Mount Kilimanjaro, go on a motorcycle road trip to Zanzibar, and go hunting for lions. Then [I’d] go up to Uganda and go sailing on Lake Victoria.

Q: What are your actual reading week plans?

A: I’m practicing for my playing exam and doing some recording.

Q: What’s your biggest pet peeve?

A: Vegans, scarves, and skinny jeans.

Q: Your apartment’s on fire and you only have time to save three things; what are they?

A: My cat, my Blendtec blender, and my saxophone.

Q: What’s your guilty pleasure?

A: I like drinking milk.

Q: Why do you feel guilty about that?

A: Because a lot of people are starving in Africa and I drink a gallon of milk a day.

Alexandra Allaire / McGill Tribune
a, Student Life

Hollywood hops aboard the Gravy Train

Whether we’re half a semester away from graduation, or just starting to look for our first real apartments, most undergraduates at McGill would rather think about anything other than the scary world beyond university. Never fear, McGillians! The Tribune spoke with some stellar alumni to show that not only does life go on after graduation, but it can actually get kind of cool.

Evan Goldberg (BA ’05) and Tum Cohl (BA ’04), among other projects— like screenwriting for movies like Superbad and Knocked up (Goldberg), or chairing Hilarity for Charity, an event that benefits the Alzheimer’s Association (Cohl)— have brought the northern national treasure of poutine to the mean, sun soaked streets of Los Angeles, exposing our southern neighbours to our unique and tasty way of warming up during the winter. Together they created Gravy Train, a popular food truck that roams the city, serving first-timers and foodies alike.

McGill Tribune: Where are you from originally? Why did each of you decide to go to McGill?

Tum Cohl: I am originally from Toronto, and I chose to go to McGill because, first and foremost, my sister went there, so I was inspired by her. I liked the fact that the university was located in a city, and it didn’t feel like a college town. And on top of getting a good education at the school, I felt that there was a lot to learn just from living on my own in a city.

Evan Goldberg: I went to McGill pretty much because I thought it would be the most fun, balanced out with a good education. Because I didn’t want to waste my time in university, and I didn’t want to be stuck in a small, crappy town. My brother went to Langara Vancouver [where I’m from] for two years, and then he was going to Concordia that year. So my brother was coming to the same place, and [so were] a bunch of my friends; and it just seemed like a lot of fun, and you got the good education out of it.

MT: How did you get from Montreal to L.A.? Was that the plan right from graduation?

EG: Since I was 13, I’ve been writing movies with my writing partner, Seth Rogen. We’ve been doing that forever, and he went down there and started acting. So then I left McGill for a year to go to write on the Ali G show, and then that job ended, the show ended, and I came back and got my degree. So my plan was kind of always to go back down and pursue the writing, which is why I took American History in the first place, because I knew I’d probably be writing eventually for an American audience; so that directed me [right out of] McGill.

TC: I wanted to go to L.A.; I had visited Evan and a couple of other friends of ours who were out in L.A. working. I was working in public relations, and I thought there were more opportunities out in Los Angeles than there were in Toronto, and in Canada. I got a job working at Live Nation, and moved out there initially to do that.

MT: How did the idea of starting a poutine business come about?

EG: There were two paths to that. One was, starting on the set of Superbad, I asked the craft services guy, Chance Tassone, if he’d ever heard of Poutine, and he said no, and no one had, and I started to realize it didn’t exist in America. I challenged him to make it for the people on set; he tried, it did not go so well, and he became very frustrated by this. [He] became determined to pull it off, so on all the movies we made after that [when] we worked with him—[we actually] started on Knocked Up, and we tried again on Superbad, and then Pineapple Express, and then again on the Green Hornet. By the time we got to the Green Hornet, he kind of perfected it. And then on another path, Tum and I had been talking about…[there being] so many Canadians in Los Angeles.

TC: I think it kind of started jokingly. We said “Wouldn’t it be great if we just brought Poutine here to all of our Canadian friends?” and then we said “Yes, it would, why don’t we just do it?” and we decided to just go for it. Initially we started out as kind of like a small kiosk-type stand on movie sets. Then we realized in order to generate more publicity, and to get more attention, and to properly introduce the product to our American counterparts, we needed to bring the product to them; and that’s when we decided to get an actual truck.

MT: How have people in L.A. responded to poutine? Are they excited to try a Canadian delicacy, or are they sort of apprehensive?

TC: Some people don’t even realize it’s a Canadian delicacy, and they just like it because it’s fries, cheese, and gravy. I would say that more people are enticed [by that], and less about the fact that it’s a Canadian product; but every single person [who] does try it has loved it. And also, simultaneously to us launching, there are several higher end restaurants around Los Angeles that are adding poutine [to] their menus. It’s kind of like a comfort food, but they’re fancying it up.

MT: Can you see Gravy Train expanding to a permanent establishment somewhere?

EG: We like the idea of expanding. We think that putting it in sports arenas and having permanent locations could be cool, you know? Anything’s possible; maybe [we’ll] just keep making more trucks, but we think the idea of a fixed location is pretty inevitable.

MT: Going back to your time at McGill—did you both live in residence? 

TC: I was in Molson.

EG: I was in McConnell. [It] was the best our year, and you damn well know it Tum.

TC: Lies. Molson by far beat out McConnell.

MT: How was your experience settling into McGill?

TC: I think that part of it was overwhelming, because there were so many new people, and it was really our first time living on our own, but it was incredibly exciting. Both Evan and I had gone to camp with a lot of people who were going to McGill, so it was exciting to see our friends again, going to university, living on our own without our parents there. I don’t know if I ever really, fully settled in; I think it was kind of an adventure the whole time I was there.

EG: Yeah, for me, I was just so ready to get out of my house, and get out of my town, and go somewhere else. It’s boring, but it’s the same answer. I was just so excited that the whole thing was an adventure that I didn’t need to settle in, I just clicked right into it.

MT: What did each of you major in? 

TC: Humanistic studies. [It was] the first year that they brought that on; I don’t know if you guys still have that or not.

EG: I double majored in humanistic studies and history. Because I tried to do a minor in philosophy, and I realized I couldn’t do it. [As in], I just wasn’t smart enough. I wished I was; I so badly wanted to be able to do it, but I just am not that smart. So I figured I could turn it into a humanistics [major] with three strategic courses taken in my final year, and it worked.

MT: Can you explain humanistic studies a little bit to me?

TC: The more general way of explaining it is that it was a major developed for students who couldn’t decide on a total focus. So it allowed us to kind of combine our different interests by taking classes in different areas. EG: Yeah, it allowed for the most disciplines to be combined.

TC: It was basically a general major.  

MT: Any classes you found particularly memorable?

EG: Arts computing. That was the course that I remember no one ever went to, but everyone got an A in.  If that still exists, you should take it; it’s ridiculously easy. I took Greek Mythology once [too], that was incredible.

TC: I loved World of Chem, do you guys still have World of Chem? I did World of Chem: Technology and World of Chem: Food and I thought they were both phenomenal. I came away feeling like I had learned so much from [those courses].

MT: What’s your favourite memory of your time at McGill?

EG: I think my first day, to be honest. The last day I was spending with my parents at McGill [after moving into residence] was actually the best day I ever had there. Just because I was having a great day with my parents, who were treating me like more of an adult than they ever had. And then they just [expletive] left. It blew my mind; it was like the greatest moment I’ve ever had. For the first time ever, I was like “There’s no rules.”

TC: I would say also first year; probably Frosh week. First of all, meeting tons of people, and being a part of something when you’re 17 or 18 years old that you usually don’t get to experience until you’re a little bit older [is] amazing. But also the fact that you only get such a short period of time where it’s warm in Montreal, so getting to walk through campus in the warm weather and in between classes going to Open Air Pub. I just loved to get to really explore the campus in nice weather.

EG: I spent one summer [in Montreal] actually, that was pretty awesome.

TC: Oh, I did too! I loved that. I did two courses during the summer.

EG: It was a slutty time in my life, but a good time.

TC: Mine, not as slutty.

MT: What can you do here during the summer that you can’t during the school year?

EG: Terraces. Infinite terraces everywhere.

TC: Jeanne-Mance Park probably.

EG: Yeah. You get a little bit of that during the school year, but you just get in non-stop all summer long.

TC: And also, you do different things, because there’s not the regular people there. Some of your friends stay, but [not all of them].

EG: You form like a bizarro posse.

MT: Any advice for the McGill class of 2013?

EG: Leave with a plan. It doesn’t have to be a good plan, just have a plan.

TC: Try to get in some travelling before you hunker down to a job.

EG: And win the lottery, if you can.

A vegetarian option. (Elizabeth Flannery / McGill Tribune)
a, Student Life

International Food Festival offers a taste of diversity

Last Friday, the Borderless World Volunteers’ International Food Festival was held in the SSMU ballroom. The Festival, which aimed at sharing global culinary delights and cultural experiences, was another reminder of McGill’s exciting diversity.  All proceeds from the event went towards student-planned international development projects, such as the construction of schools and raising AIDS/HIV awareness in the developing world.

Now in its second year, the 300 person event sold out on Friday, with eager students being turned away due to capacity restrictions. The ballroom was vibrantly decorated and electrifying, as numerous local restaurants served up traditional cuisine and  participating student groups, like the African Student’s Society, performed at the event throughout the night.

The International Food Festival did not go off without a few hitches however. Doors opened 45 minutes late, and the food did not arrive until after guests were being let into the ballroom. My advice to McGill foodies for next year’s festival would be not to worry about arriving late if you’ve purchased your ticket beforehand. Borderless World Volunteers did, however, ensure that warm food, cold refreshments, and welcoming ambience were not in short supply.

I was pleased with local restaurants’ irresistible offerings. There were tons of options to satisfy both the adventurous and more cautious eaters in attendence. Simplement D Liche and Scrumptious Delights both served up the classic cupcakes, while other enticing selections included sushi, Italian pasta, Middle Eastern couscous served with vegetables, and Indian butter chicken with naan.

I was drawn towards the unfamiliar, and tried as many new dishes as possible. Thanjai Restaurant distributed a traditional South Indian breakfast known as Idli. This savory pancake-like treat consisting of black lentils and rice was served with chutney. The flavour of the cake itself was plain, but the chutney gave it the kick it needed to make the dish delightful. This restaurant definitely provided the most enticing aromas of the night, and served impeccably spiced vegetable rolls.

Elizabeth Flannery / McGill Tribune
Elizabeth Flannery / McGill Tribune

Cuisine de Manille, a Filipino restaurant, was aIso in attendance. I was truly excited to see this, because Filipino cooking is often difficult to find, and unfamiliar to many. The restaurant served Pancit—an old-fashioned Asian noodle dish that has evolved to become uniquely Filipino. This fried entrée is composed of rice noodles coated in a shrimp sauce, and topped with eggs, seaweed, and sautéed vegetables.

I appreciated the information on the different cultures and their dishes, made available by the student societies at non-food-serving tables around the ballroom. My favourite dish of the night—a plate of fresh perogies—was made by the Ukrainian Student Society. The meal was homemade, and students spent over six hours the previous night slaving in the kitchen to prepare hundreds of pieces of this traditional Ukrainian comfort food.

The food was obviously the highlight of the Festival, but there were also assorted performances demonstrating traditional entertainment of African countries [represented by the African Students’ Society], India, Ukraine, Lebanon, and China which also enhanced the lively atmosphere of the night.  One of the most enchanting performances introduced me to a Chinese instrument called the Guzheng—a plucked string instrument that offers a soothing sound. The African Student Society’s dance performance was also quite impressive. The dancers were talented, well-choreographed, and enthralling to watch.

Overall, the McGill International Food Festival was an exciting way to spend a Friday night, allowing affordable new culinary experiences to truly expand my global knowledge.

Alexandra Allaire / McGill Tribune
a, Arts & Entertainment

Something wicked this way comes

Players’ Theatre’s production of Macbeth, directed by Martin Law, transports Shakespeare’s classic tragedy to the end of WWI in the form of a humanized epic. The play features a strong cast, with Matthew Rian Steen and Annie MacKay at the helm as Macbeth and Lady Macbeth.

Alexandra Allaire / McGill Tribune
Alexandra Allaire / McGill Tribune

Setting the play in a more modern time period makes this production of Macbeth feel more familiar. At its core, it is a tale of political megalomania and the limits of human nature. Watching the extent to which Macbeth will go to secure and maintain his kingly title is both fascinating and horrifying, and not so far from our modern reality.

Steen and MacKay deftly portray their characters’ rise as a lustful, power-hungry couple, as well as their descent into madness. In particular, MacKay breathes menacing life into Lady Macbeth from her very first moments onstage; she is compelling and versatile, revealing the crippling humanity behind such an inhumane character.

Emily Murphy’s Banquo is also worth noting, and her portrayal of his ghost is appropriately creepy and captivating in equal measures. Makeup artist Katey Wattam aids this ghostly transformation with ample blood and white face paint.

Costume designers Jillian Caldwell and Claire Stewart deck the cast of all different shapes and sizes in perfect period costumes—a personal favourite is Lady MacDuff’s white gown, which contrasted nicely with Lady Macbeth’s black number.

Without the distraction of elaborately Elizabethan costumes, the play manifests on a much more intimate plane. As a result, it’s easier to digest the genuine emotions laid bare by the cast.

One of the most honest emotional performances in the play is Alex Rivers’ portrayal of MacDuff and his grief upon learning of murder of his wife and children. Rivers delivers a stripped down, nuanced performance of mourning, then seamlessly transitions into swearing angry revenge on Macbeth.

Alexandra Allaire / McGill Tribune
Alexandra Allaire / McGill Tribune

The use of lighting in this production is also inspired, especially in the scenes featuring the three witches (played brilliantly by Olivia Blocker, Arielle Phaedra Nowak, and Ayla Lefkowitz). It illuminates the importance of these mystical interludes, out of place with the political themes of the play, for the casual viewer.

Similarly, the banquet scene featuring Banquo’s ghost is enhanced by the use of isolation lighting, which makes the audience aware of exactly who can, and who cannot, see the ghost, adding to the ominous quality of Murphy’s performance.

One of the few flaws of the production comes from the use of sound effects, which at times ended rather abruptly and oddly, instead of fading out subtly.

Overall, this production is well worth your time; it keeps moving at an even pace from beginning to end, with help from a revolving set piece that allows for quick scene changes. There are no extended pauses for the audience to catch their breath, heightening the tension and driving the action of the production. Macbeth’s century-old intrigue rarely seemed more fresh and relevant.

Players’ production of Macbeth runs from Feb. 27 to Mar. 2, 8 p.m. at Players’ Theatre (3rd floor SSMU). Student tickets $6.

filmofilia.com
a, Arts & Entertainment

Snitch peddles emotion rather than explosion

The synopsis of Snitch seems to confirm the modern critique that Hollywood has run out of plausible ideas, and simply makes any excuse for action to occur. This sentiment, however, is doubly incorrect for the newest Dwayne “The Rock” Johnson action-drama.

The story follows an ordinary citizen named John (Dwayne Johnson), who goes undercover in an attempt to arrest a major drug dealer, so that the District Attorney will let his wrongfully imprisoned son out of jail. The plot sounds rather fantastical until viewers learn that it is based on a true story, and discover that this action-drama is surprisingly more dramatic than pulse-pounding.

Seeing Johnson as the lead character inspires the idea that this film will either be a testosterone-fest (Fast Five) or a family comedy (Tooth Fairy), but he instead brings out a more emotional side, emphasizing the pain of a parent worried about his son.

Jon Bernthal plays Daniel—an ex-con trying to set his life straight, who works with John on one last   illegal deal in order to secure his family’s finances. Although both characters are meant to be average guys in a bad situation—men who just want to protect their families—their massive necks and biceps present a different story. I really tried, but I could not take Johnson seriously as a dramatic actor. Whenever he talks about his innocent son and tries to emote his anguish, I could not stop thinking about how many protein shakes he must ingest per day.

Although he, too, is larger and stronger than the average gorilla, Berthal portrays the anxiety brought on by financial stress with his wife (Lela Loren) more effectively. The couple cycles through anger, sadness, and love at all the right moments in their arguments, and convinces the audience of the struggles straining their relationship. Malik (Michael Kenneth Williams), the drug dealer that John and Daniel first work with, also completely embodies his character. He emanates power and respect, manipulating Johnson (who could potentially crush his head like an overweight man sitting on an old kiwi) with only a sentence and a glare. Unfortunately, the performance of the higher ranked kingpin (Benjamin Bratt) fails to hold as much gravitas.

Part of the problem with Snitch is that the film seems constantly confused about its identity; it plays like an action flick while containing the plot and dialogue of a drama. There are only a handful of real action sequences thrown in, but every scene contains an exhilarating score and shaky hand-held shots—implying movement when the scene merely consists of men conversing. The action scenes themselves are forced and unrealistic, but entertaining. At the onset of the film, John has never held a gun—a week later, he shoots and kills four people while driving.

The audience is meant to believe that John is enduring this hardship to save his son; in reality, he doesn’t even know the boy particularly well. John divorced the mother years earlier, and he now has a new family. He completely ignores this new family, however, isolating his daughter like he did his son, despite beginning the film by swearing never to make that mistake again.

An unexpected political message came in the last shot: the statement that a first-time offender of non-aggressive drug possession in the U.S. may serve more time than someone convicted of rape or manslaughter. This fact inspires a more political angle from which to consider both the film’s events and tone.

Despite questionable motives and wobbly shots, Snitch contains a few scenes with real emotional impact, and a strong sense of suspense throughout. Due to its action veneer and dramatic content, the film could be a bridge for a younger audience learning to appreciate movies—not just for pure entertainment, but for their emotional message.

Snitch is playing at Cinema Banque Scotia (977 Ste-Catherine West).

Simon Poitrimolt / McGill Tribune
a, Arts & Entertainment

Jonathan Emile on McGill, cancer and Kendrick Lamar

Jonathan Emile is only 27, yet he’s  already overcome one of the toughest challenges anyone  can ever face.

The 27 year-old Jamaican-Canadian musician, Montreal native, and McGill student-on-hiatus fought a lengthy battle with cancer after being diagnosed at the age of 18. Today, he’s an artist on the rise with his own record label, and a soon to be released collaboration with rapper Kendrick Lamar.

“I only started taking [music] seriously when I went through my illness,” Emile tells the Tribune. “That’s when I really found a love for it and decided, ‘Hey, if I make it through, this is what I want to do for the rest of my life.’”

Emile defeated the cancer and followed through on that life-changing decision. During the recovery period, he began to lay the foundation for Mindpeacelove Enterprises, a label that would aim to become a creative hub for so-called “conscious” artists.

“It’s a label in the most basic sense of the word,” says Emile. “We just produce records with a certain sound, a certain aesthetic. It’s a sonic aesthetic, but also thematic. Our records are all positive records; they’re all conscious hip-hop, R&B, rock, reggae. It’s all conscious social music. It’s like neo-soul.”

In 2009, Emile’s debut album, The Lover Fighter Document, was the label’s first release. In 2011, the EP was long-listed for a Grammy nomination.

Simon Poitrimolt / McGill Tribune
Simon Poitrimolt / McGill Tribune

Even on the heels of such a successful first effort, Emile has been focused on more than just his career. He backs up the message of his music with social action in the Montreal community. Emile is greatly involved with the Montreal-based organization Overture With the Arts, a group dedicated to bringing performance arts education to youth.

Overture is also responsible for the Songs of Freedom Tour for Black History Month, which brought Emile to McGill on February 20th. In the SSMU ballroom, he delivered an inspiring hour-long presentation that educated and excited the hundred or so high school kids that were invited to attend.

As he explained to the students, the thesis is simple: “Music is a tool for communication and social justice.” Then, he took them on a chronological musical journey that jumped around from early tribal music to legendary anthems of change “Redemption Song” and “A Change is Gonna Come,” and eventually freestyles and written raps that he authored himself.

A few years ago, Emile was working on his music while studying Philosophy and Political Science at McGill, but realized that he couldn’t juggle both at the same time if he was going to make a serious run at the music industry, so he took an “extended sabbatical.” He speaks fondly about his passion for both disciplines (eagerly recommending Professor Buckley’s class in Phenomenology), and plans on eventually finishing his degree, then either exploring more academic opportunities or working in education.

The way things are going, it could be a while before he finds himself on campus again. Emile is working hard to try and get his second album released sometime in the fall, and when Kendrick Lamar isn’t busy living the high life and hosting Saturday Night Live, the two are planning to get together to shoot a music video for their collaboration, “Heaven Help Dem.”

Emile is excited to meet the celebrated rapper in person, but his most anticipated event will come in the spring when he will get married, and travel to France and Spain for his honeymoon. It’s a big step for Emile—but then, he’s taken quite a few of those since conquering cancer and committing himself to pursuing his musical dreams.

Check out Jonathan Emile on the last stop of his tour on Feb. 28, 5:30 p.m., Riverdale High School (5060 Sources Boulevard). Free admission.

a, Music

Walk The Moon: Tightrope

Following the release of their self-titled breakout album, pop outlet Walk The Moon (WTM) garnered quite the fan following, and toured around the U.S. festival circuit this past summer. After attracting festival-goers with their playful, sing-along inducing indie-pop, WTM briefly returned to the drawing board to throw together a  follow-up EP, titled Tightrope.

The album picks up exactly where Walk the Moon left off, with six spring-ready tunes. On the title track, lead singer Nicholas Petricca belts, “Walk your tightrope, walk your little tightrope, this heart is burning up” to a symphony of cutesy percussion and smooth guitar riffs. “Drunk in the Woods,” reminiscent of Cold War Kids, sounds like a beckoning anthem for the carefree atmosphere of summertime, and “Tightrope (acoustic)” is a colourful simplification of the upbeat title track. Walk the Moon’s lyrics are not ridden with social commentary nor any complexity. Instead, the band sings about fleeting romance, putting your feelings on the “tightrope,” and winning back ex-girlfriends: songs for beach parties and pre-drinks.

Tightrope is cheeky, easily consumable, contagious pop music. While this EP does not mark deep progress or evolution from their previous release, one can tell that the band had way too much fun last summer, and are just simply trying to re-live the experience by doing what they do best: producing another youth-celebrating indie-pop record.

a, Music

Josh Groban: All that Echoes

Josh Groban has a new album ready to go, and it’s going to hit listeners like the opposite of a freight train. That’s not because All that Echoes is weak, nor because Groban’s voice is weak. Quite the contrary—his is the most majestically gentle voice in music today. Straddling the line between pop rock and classical singing is Josh Groban, weighing in at one hundred and thirty pounds.

Groban is the little engine that could. He’s been singing all his life, pursuing the performing arts, working hard, and leaving university for months in order to pursue his musical career. His breakout moment was well-documented, when he filled in for legendary tenor Andrea Bocelli to perform a duet with Céline Dion. Since then, Groban’s been a fixture in the powerful male vocal register circuit.

Groban’s legendary voice is both tenor and baritone, but because there is no authoritative standard voice classification system for non-classical music, it’s probably just best to describe it as ‘impressive.’ All That Echoes is Groban’s sixth effort as a pop-classical artist. It features Groban’s skill as a multilingual singer, performing in Spanish with legendary trumpeter Arturo Sandoval on “Un Alma Más,” and in Italian on a duet “E Ti Prometterò”) with the famed Italian singer Laura Pausini. “Un Alma Más” is one of the strongest tracks of the album, and the fact that Groban is not a native Spanish speaker does not hold him back. Fans of his, and of contemporary classical music, will love All That Echoes.

a, Music

Biffy Clyro: Opposites

With the charts dominated by catchy pop stars, and the occasional indie group who has broken through to the mainstream, it is refreshing to listen to actual rock ‘n’ roll. Biffy Clyro, a Scottish band currently touring with Muse made it big in 2007 with the release of their album Puzzle, which went platinum in the UK. In 2009, their album Only Revolutions followed the same path. With six music awards and 15 nominations under their belt, Biffy Clyro released their sixth studio album early last month.

Boasting 20 tracks, Opposites, the band’s first #1 album, is an ambitious undertaking.

Simon Neil, lead vocalist and guitarist, elaborated on the album’s concept of duality in an interview with BBC Radio One.

“Each album is the exact opposite vibe to the other lyrically,” says Neil. “One’s about putting things in the worst possible way and thinking you’re getting yourself into a hole. The other looks at things more positively.”

Biffy Clyro is distinctively rock, characterized by a solid bass-line, deep melodies, and a vocal-centric full tenor. “Different People” (with wistful, heartfelt vocals), “Biblical” (exemplary of the band’s powerful sound), and “Spanish Radio” (with a playful Spanish guitar rhythm) are particularly good examples of the group’s musicianship. The two discs do have opposing vibes, and every song is well put together and interesting, although few are truly amazing stand-outs—while it is split over two discs, this arrangement may be excessive. A more compact, though still dual album would have left more of impression, and been more poignant, while still retaining the concept. Nevertheless, their position on the UK’s top 100 speaks for itself.

 

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