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Sports

Redmen light up Golden Gaels in shutout win

Ryan Reisert / McGill Tribune

The McGill Redmen hockey team exploded out of the gate Saturday night, scoring four times in the first period, en route to a 6-0 victory over the Queen’s Golden Gaels. Thirteen different Redmen made the score sheet, most notably Maxime Langelier-Parent, Marc-André Dorion, and Francis Verreault-Paul, all of whom enjoyed multi-point nights. The Golden Gaels, plagued by injuries, were outshot by the Redmen 36-20 and were outplayed in all facets of the game.

On Red Light Night at McConnell Arena, Redmen coach Kelly Nobes praised his players for moving their feet and communicating well on the ice. 

“We knew we would have a decent crowd tonight,” Coach Nobes said. “We wanted to get on them right from the start and the puck was bouncing right for us.”

Gaels goaltender Riley Whitlock, who entered the game with a sterling 2.30 goals against average and a .933 save percentage, was lit up for six goals on 28 shots before being pulled 12:25 into the second frame. To his credit, Whitlock made several impressive saves, particularly on the penalty kill, but was hung out to dry by his teammates.

The Queen’s skaters looked dazed and confused for the entire game, unable to execute basic breakouts or maintain puck possession on a two-man advantage in the third period. The Golden Gaels went 0-for-9 on the power play and the Redmen were able to create scoring chances on the penalty kill, including a shorthanded goal by Benoit Levesque at 8:27 of the first period.

The Redmen victory was especially important for Hubert Morin, who earned the shutout Saturday following a rough outing, in which he allowed three goals on 13 shots in a 3-2 loss to UQTR on Nov. 9. The Redmen offence took the pressure off their goaltender by scoring early. The defence corp was rock solid, consistently winning one-on-one battles along the boards. 

Redmen winger Francis Verreault-Paul, who went scoreless in his first four games of the campaign, now has eight goals in a five-game scoring streak. 

“The first few games I was shooting the puck 12 times a game, I had scoring chances in slot, but the puck didn’t want to go in,” the fourth-year forward said. “Now I’m out of it, we’re playing good hockey, and it’s been a long time since we had a game like that one tonight.”

The victory gives the Redmen sole possession of first place in the OUA East division with a 10-1-2 record and two games in hand on UQTR and Nipissing, who are tied for second place. The Redmen will look to pad their two-point cushion when they visit the Nipissing Lakers in their next game on Nov. 26 in North Bay, Ontario. The Golden Gaels drop to 6-5-1 with the loss and will host the Ottawa Gee-Gees in their next contest, coming this Friday in Kingston.

Arts & Entertainment

Goat Rodeo Sessions

You recognize success in mixing genres when connoisseurs on either side think the music is beyond their field. My friend, a venerable bluegrass expert, recommended Goat Rodeo Sessions to me, saying he failed to understand the classical nuances. After I listened to this album, I wanted to give it back, lamenting my disappointingly insufficient comprehension of bluegrass. It was then that I realized how perfect this album really is.  

 In classical music, one must think big; of larger musical forms, key changes, and interplay of voices. In bluegrass, one has to think more humbly of melodies, rhythms, and smaller arrangements. Yo-Yo Ma, Edgar Meyer, Stuart Duncan, Chris Thile, and Aoife O’Donovan (I mention them individually because they’re all phenomenal) bring together a brilliant balance between these two methods. The first track, “Attaboy,” sucks you in with its dancing rhythms. “No One But You,” with O’Donovan’s beautiful voice, is humble and poignant. “13:8” jumps from dance-like rhythms to slow, heart-wrenching dissonances. The finale, “Goat Rodeo,” exploits every mechanism in both genres. At some point the cello and fiddle are in Bach-esque canon in bluegrass rhythm. At another, the banjo is strutting in the background as the strings build agonizingly beautiful Wagnerian chords. 

Every track in this album is different. The crossover allows for vast possibilities, and they exploit them to every emotional end. My apologies in advance if you end up half as addicted to this album as I am.

Akiva Toren

Arts & Entertainment

Drake: Take Care

Drake is living proof that not every rapper has to resort to insipid, vapid rhymes about dollar bills and girls in order to still talk about dollar bills and girls. Returning strong with his second studio album Take Care, Drake continues to rely on his articulate, straightforward lyrics and his smooth, R&B-infused melodies to impress his ever-growing fan base. As he alternates between breathy vocals and self-assured rap verses, Drake makes sure to stay well within his previously defined lines as an artist, albeit a very versatile one. 

 Standout tracks include his collaboration with Rihanna on “Take Care,” in which their chemistry is nothing if not electric, and the single “Headlines,” a fast-paced track that is reminiscent of his past hit “Over.” Drake notably features his protégé The Weeknd on “Crew Love” in an offbeat tribute to his friends. There are perhaps too many other artists on the album, including Nicki Minaj, Stevie Wonder, Rick Ross, André 3000, and Lil Wayne. Of those, Stevie Wonder offers the most novel input on “Doing it Wrong,” by unexpectedly using only his harmonica. 

The overall mood of the album is noticeably subdued this time around, and is more likely to be background music than on full volume at parties, but Drake doesn’t sacrifice verses or beats in the name of brooding reflection. All this to say, the Canadian rap phenomenon isn’t particularly innovative on this album, but he’s definitely delivering the goods in a well-meaning package of blunt truths about the highs and lows of fame.  

Liya Adessky

News

Senate discussion on Nov. 10 sees clash of viewpoints

The beginning of Wednesday’s Senate meeting focused heavily on the events of Nov. 10. In a departure from Senate’s tradition of a closed-door assembly, the first hour was streamed live over the Internet to the McGill community.

In her opening remarks, Senate Chair and Principal Heather Munroe-Blum apologized for the events that took place on Nov. 10. It was one of the first public apologies from the administration on the way that night’s events unfolded.

“We’re all dismayed by what happened on our campus,” Munroe-Blum said. “People across the board were hurt, intimidated, and threatened. As principal of McGill, I’m deeply sorry that events so at odds with the culture and values of our university, and so hurtful to so many, have happened here at McGill.”

She went on to express her thanks for student groups who mobilized quickly in response to those who were physically and emotionally hurt.

Dean of Law, Daniel Jutras, who will be heading an independent investigation into the events, reminded senators that his inquiry will purely engage in fact finding, and that he could not assign blame or compel testimony.

As Jutras spoke, a number of spectators turned their backs to the committee, expressing their reservations with having a faculty and administration member carry out an investigation that deals with his own administration.

In an interview with the Tribune, the McGill Daily, and Le Délit last week, Munroe-Blum emphasized that Jutras would act independently.

“I wanted someone who has deep loyalty and concern for the university and the wellbeing of everyone in it, and yet who is known for impartiality [and] independence,” she said of her decision to appoint Jutras. “He’s got complete autonomy, he doesn’t report to me in the course of doing this investigation … and I have confidence that he will serve the university, not any one individual.”

A number of senators, including Senator and Professor of Communication Studies, Darin Barney, noted their own concerns with having a dean and faculty member carry out the investigation. Barney suggested that Jutras be accompanied by one student and one faculty member in his investigation. The terms of the investigation, however, had already  been set.

As part of the discussion, Management Senator Tom Acker recounted his experience on the evening of Nov. 10.

“I watched close friends in pain as they tried to wash pepper spray out of their eyes. I’ve seen students on the verge of tears when describing what has happened to them,” he said. “I know that for many students, Thursday marks the day that they stopped seeing their campus as a safe space for self-expression and support. For me, that transition has happened much earlier.”

SSMU President Maggie Knight raised concerns as to why the administration had not responded with more urgency to support students, and took a number of days to inform students of where they could seek help.  She noted that, following the earthquake in Japan last spring, a notice of where students could seek help was distributed within hours.

Towards the end of the committee discussion, Provost Anthony Masi presented what he had witnessed that night. Referring to the occupiers’ entry as an ‘attack,’ he described the occupation of the fifth floor as one marked by violence and intimidation.

“You may turn your backs on the truth, but the truth is important,” he said to the spectators who had turned away from him.

“The women who were in the offices [at] the time, and there only were several women in at the time, were pushed and shoved,” he continued. “They were frightened and they were crying. Social media [was] being used to portray events inside that do not correspond to what most of those women were living through at the moment.”

During Masi’s account, spectators, some of whom were identified as occupiers, jeered and yelled “lies.” Matt Crawford, Arts Senator, who had earlier revealed himself to senate as a fifth floor occupier, walked out in response to Masi’s statement. Other spectators followed.

Dean Jutras’ investigation will be released on Dec. 15. In the weeks to come, he will be consulting with students, faculty, and community members to hear their experiences.

Opinion

We, too, are McGill

McGill Tribune

We are seven staff members who were working in the fifth floor offices of the James Administration Building on Thursday, Nov. 10 when 14 protesters broke in and forcibly occupied our workspaces. 

We would like to add our voices and experiences as staff members to the public record in order to provide a fuller picture of what happened on that day.

We would also like to make it known that we take issue with the account presented in the letter authored by the 14 occupiers of our offices, published in the McGill Daily on Nov. 13. 

This was not a peaceful protest; this was trespassing, intimidation, and the restriction of our freedom.

In the student media and on the banner hung by protesters from a window in our office, this event has been referred to as “Occupons McGill.” The fact that the aggressive occupation of our work spaces is being associated with a peaceful international movement does not sit well with us. 

We are not oil barons or Wall Street bankers. We do our jobs because we believe in McGill and because we value higher education. We work to support the McGill community—students, faculty, and administration—and we are proud to do so.

The occupiers of our offices did not act like members of the McGill community as we know it. 

They were not peaceful. They seized and blocked the entry and exit of the doors leading to our common reception area and then overpowered a staff member to break through a locked door leading into the Principal’s and Provost’s private offices. 

They stormed into our offices and attempted to use furniture to blockade themselves inside spaces containing confidential documents.  

They refused to identify themselves and several were hooded and had masked their faces with bandanas. 

They refused to discuss their concerns or explain the purpose of their occupation when asked.  They forced their way past another staff member and into the Principal’s private office. When Security arrived and asked them to leave that office, some of them refused. 

They shouted insults and profanity at Security staff, including calling them “[expletive] pigs.”  

We were threatened and intimidated on the night of Nov. 10 in the very spaces we thought were safe. When Security attempted to escort us out of the building, we were prevented from leaving by a large group of protesters who had surrounded our building and were blocking the exits.  As we watched the clash of protesters and police from the windows of our offices, we understood how many of the non-violent protesters and bystanders outside must have felt. The rage and unreason of the few had hijacked a day of well-planned protests. The safety of those inside and outside the James Building was endangered by the actions of the few. One might even call them the 1%.

The spaces that were forcibly occupied on Nov. 10 are the spaces in which we do our work every day. Even though the protesters may not have stopped to consider us, we, too, are McGill. 

The 14 individuals who occupied our offices have published accounts of their so-called heroism. They did not, however, sign their names to their account.

We, too, are McGill, and by signing our names to this letter, we hope to remind them of what

that means.

 

 

Susan Aberman

Liisa Stephenson

Caroline Baril

Deidre McCabe

Laura D’Angelo

Katherine Wong

Djénane Andre

News

McGill community gathers to reflect on events of Nov. 10

Sam Reynolds

Over 1,000 people gathered yesterday in James Square to discuss the riot police presence of Nov. 10 and its impact on the community.  In an open-mic session, students, faculty, and community members offered their own experiences with the riot police and made suggestions on how to move forward and learn from the incident.

The event began at noon, when over a hundred students gathered at the Roddick Gates and peacefully protested the police violence witnessed Thursday evening. Half an hour later, the group marched to James Square and gathered in the area. At 12:45 p.m., the assembly commenced with an opening speech by U2 arts student Taylor Lawson, recounting the events of Nov. 10.

“The intention of this afternoon is to create time and space for people to express and articulate what they experienced, because this is a community issue and we need to work through it as a whole,” he said.

Present at the forum were students, faculty, and senior administrators Deputy Provost of Student Life and Learning Morton Mendelson and Principal Heather Munroe-Blum

Following Lawson’s speech, organizers played a recording of the sounds of police on campus, recalling the violence and subsequent student confusion that night. The audio clips were taken from videos on TVM and YouTube, and from a broadcast by CKUT radio. There was a minute of silence at the end of the recording, allowing the crowd to reflect and “collectively move on,” as described by TVM’s Molly Bower. 

The assembly organizers then proposed to change the name of James Square to “Community Square,” in order to reclaim the area of the disturbances. Those gathered voted in favour of the new name.

Students and faculty expressed their experiences and suggestions for the future in an open-mic style forum. Although some of the rhetoric was heated, most speakers encouraged communication with the administration and called for dialogue between on-campus groups to foster community engagement.

“An academic community is an environment in which there is a diversity of views, whether it be about tuition increases, MUNACA’s demands, the nature of limitations on speech in various parts of the university, [or] about student tactics in bringing about change in university,” Arash Abizadeh, professor of political science, said. “But it is important that those diverse views find ways to be able to express themselves.”

Matthew Crawford, undergraduate representative to the McGill Senate and one of the 14 demonstrators who occupied the fifth floor of the James Administration Building, also addressed the crowd. 

“The occupation of James Admin is thought to be as controversial as the presence of police on campus—a point of view I find disappointing and shocking in a university,” he said.

Many used the forum to promote free post-secondary education for all. Another recurring theme among the speakers was increased student representation in the administration’s decision-making process.

“While the students are represented in the university’s framework, our presence is insufficient to allow a serious treatment of student concerns,” Crawford said. “Forms of discussion are only open only for the student voice to be subsumed to the ready-made decisions of the administration. What we have is the ghost of a discourse … designed to placate rather than to include.”

Joël Pedneault, SSMU VP External, tied the events of Nov. 10 to broader social struggles.

“I feel like it’s important for us to not forget that Thursday’s protests were not only something that is historic for campus and for McGill, but also something that’s part of a global movement,” he said. “They’re part of a broader movement that has been growing for decades.”

Brian Cowan, an associate professor in the department of history, called the gathering a “moment of learning” and discussed the importance of student and faculty presence with the Tribune.

“This is an experiment in watching a revolution happen right here and now,” Cowan said. 

News

McGill Four on politics

Last Thursday, Nov. 10, NDP McGill presented “What’s Up on the Hill?”, an evening with the four McGill undergraduates elected to parliament during the May 2011 federal election. Held at Concordia, the event featured NDP MPs Charmaine Borg, Matthew Dubé, Mylène Freeman, and Laurin Liu, who spoke about their recent transition from student life to Parliament Hill. 

“You can’t be afraid of looking for help,” Dubé said. “The day where you feel you have all the answers is the day you don’t deserve to do this job anymore, because no one ever knows all the answers.”

The four expressed disappointment with the different treatment they have received because of their youth. The three female MPs also described challenges related to gender in the male-dominated parliament.  

“Sometimes I do encounter a lot of sexism, and that really frustrates me,” Freeman said. “It’s funny, but at the same time it’s really awful.”

Nevertheless, Freeman was enthusiastic about the increase in female representatives elected this year.   

“It’s really exciting for me to have so many women in our caucus. In the NDP caucus, we’re 40 per cent women,” Freeman said. “But [that portion is] only 25 per cent in the House.”

Despite large changes to Canada’s political landscape—reflected in parliament—the four said that they largely feel supported by their colleagues.  

“Most—I say most—people understand that we’re all there to do the same job, regardless of colour, political colour, or age,” Dubé said.  

However, media portrayal of the four new MPs has focused largely on their youth, something the four find disappointing. Freeman specifically commented on the media’s tendency to question the group’s French communication skills despite the fluency of all four candidates.  

“It was really frustrating, and we have been working to combat that stuff. I hope that people realize that we are competent and we’re working as hard as we can,” she said.  

When not defending their own capabilities, the MPs are working hard to emphasize that there many political issues beyond just tuition fees and unemployment that are pertinent to young Canadians. 

“Usually people say ‘Pensions? That’s not a youth issue,'” Borg said. “But it is, because they’re slowly cutting [young voters] out of collective agreements and they’re slowly cutting them out of benefit packages for jobs, so for the first time we’ve heard people stand up and say, ‘No, my generation needs to hang on to these things.'”

While the MPs each discussed their recent experiences in Parliament, Dubé also drew attention to McGill’s role in their collective political experience. 

“It’s really fun for us to get to come back to where we came from. It has a lot to do with what’s shaped us as parliamentarians,” he said.  

Student engagement was a major theme at the event. The evening was intended to directly connect youth to political events in Ottawa, NDP McGill Co-President Samuel Harris, said.  

“They’re regular people, they’re not just some far-off distant group,” Harris said. “They’re our age, they’re former McGill students, they had to work through university, they had all sorts of the same experiences we have [had].” 

Other students in the audience appreciated the insight the group offered.  

“It was nice to get the perspective [of] people who are just like me,” Sauran Shah, U0 arts and science, said. “Politics often seems like it’s limited to older, experienced people.”

All four MPs are hoping to change this image of parliament, and emphasized increasing youth involvement in Canadian politics as an important goal. 

“Young people aren’t just leaders of tomorrow,” said Liu. “They’re also leaders of today.”

Arts & Entertainment

Immortals looks great but lack characters

straight.com

The first thing to note about Immortals is that it’s not 300, at least not entirely. Directed by the remarkable Tarsem Singh and produced by 300 frontmen Mark Canton and Gianni Nunnari, Immortals brings an eclectic blend of stunning visual and creative elements together fairly successfully. Set in the realm of ancient Greek mythology, the film follows Theseus (Henry Cavill) on his quest to avenge the death of his mother, who was killed by power-hungry King Hyperion (grimly portrayed by veteran villain, Mickey Rourke). Theseus follows the guidance of the “Virgin Oracle” (Freida Pinto) in an adventure that will engulf all of humanity in the mad King’s ravaging lust for power. It’s a simple and formulaic story.

Immortals is not without sparkle, but it’s guilty of many of the same sins as 300. They both rely on a two-dimensional plot with a flagrant disregard for character development. Despite the lack of narrative depth, Immortals does a good job showcasing the story’s central drama. The plot develops at a steady pace, giving the story time to resonate and provide ambient sensory pleasures to the audience. Soon enough, however, doses of drama give way to the much-anticipated action scenes. It’s in these scenes that Immortals defies comparisons to 300, and that’s not to say that 300 didn’t have great action scenes.

Immortals relies on some of the slow-motion goriness characteristic of 300, however it integrates this effect with other mainstays of action cinematography. It effectively outclasses most movies in its genre, beating its predecessor at its own game.

There is simplicity in the straightforward, heroic plot, but it is an elegant, minimalistic interpretation of Greek mythos. In fact, it’s because of this that the many subtleties of the movie become visible, even amidst the obvious visual symbolism, superb sensory experience, and genuinely suspenseful moments. This is going to be a polarizing point of contention and the debate could plausibly come down to whether the movie’s subtleties flew over its critics’ heads, or whether the hedonistic indulgence in action, gore, and special effects was just to mask an empty story. I urge you to go and make your own decision about this one. However, I  strongly suspect Immortals will foster its own cult in the industry.

Arts & Entertainment

Dvorak’s Rusalka makes a visual splash

Yves Renaud

Opéra de Montréal calls Antonin Dvořák’s Rusalka “the story of The Little Mermaid, enhanced by Dvořák’s captivating melodies.” Indeed, much of the story bears that resemblance; it follows a water nymph, Rusalka, who has fallen in love with a human prince. With the reluctant help of her father and the witch Ježibaba, she is turned into a human on the condition that she is mute to humankind and risks damnation if her lover abandons her. Darker than its Disney counterpart, the opera brings forth tragedies of human passion.

 Though well known for his symphonies, Rusalka displays Dvořák’s ability to depict musical drama in other forms. In his famous New World Symphony of 1893, it’s clear that he understood  contrasting musical elements, from peaceful pastoral settings to fierce echoes of the frontier. Rusalka bears a resemblance to the contrasting textures and harmonies found in this famous symphony, but with touches of poignant chromaticism and the emotional tenderness necessary to evince Rusalka’s passion and tragic isolation.

Through the direction of Eric Simonson, Opéra de Montréal brought this Czech opera to the Quebec stage for the first time and did perfect justice to Dvořák’s dramatic work. As the curtain opened, we were in awe. One might assume it was because of the dancers (and Siminson’s use of ballet choreography showed a deep understanding of integrating artistic forms) the singers, or the harmonies, but the sets were what was truly stunning. 

The primary mechanism used for the sets, other than a few boulders for the forest and stairs for the prince’s palace, was projection. Wendall Harrington, often called the “godmother of projection design,” brought an astonishingly beautiful component to the opera stage. Through the stunning use of videos, pictures, and 3D animation, the sets were incredibly vibrant. The mystical lake of the nymphs rippled, trees swayed in the wind, and clouds drifted across the moon. During Rusalka’s famous “Song to the Moon,” I was fixated not on Kelly Kaduce’s wonderful interpretation of the solo, but rather on the drifting clouds and stunning moon behind her. Indeed, the sets were so attractive that I was beginning to feel I was in the opera. It’s worth seeing this production just for Harrington’s wonderful work.

While the sets provided the initial “wows,” the production was nearly perfect all the way through. John Keenan, as guest conductor, weaved together a brilliant interpretation of the music, bringing emotional depth and clarity to Dvořák’s score. The soloists, too, brought the stirring music to life. Robert Pomakov’s Vodnik, though sometimes dry, depicted Rusalka’s father as both a playful and ultimately sincere figure. Liliana Nikiteanu, playing the witch, excelled as her devious yet comical character. Ewa Biegas vividly portrayed the foreign princess’ pompousness and arrogance. Most of all though, Kelly Kaduce’s Rusalka was captivating. Even as a mute character in the second act, Kaduce’s stage presence was astounding. 

The costume design was excellent as well. In order to elicit a sharp contrast between the mythical culture of nymphs and the lives of humans, head of costumes Kärin Kopischke designed classic, elegant, yet modest garments for the nymphs while giving modern touches to the humans. Rusalka’s isolation became immediately apparent in her new human world as she, still in her dreadlocks and unable to speak, is surrounded by dancers and aristocrats dressed in lavish suits and dresses from the 1940s. Rusalka’s loneliness was powerfully apparent due to costumes and choreography.

The imaginative choreography, brilliant soloists, captivating projections, and moving music left me speechless.

Rusalka runs until Nov. 19 at Place des Arts.

Private

This is what university looks like

It’s always been unclear to me on what grounds those T-shirts labeling Harvard “America’s McGill” seek to compare the two universities. Clearly, they’re a response to people labeling McGill “Canada’s Harvard,” but that doesn’t answer my question. The implication is that the two universities are comparable in things such as quality of education, reputation, and prominence in each respective country’s moneyed and political elite. Only recently, however, did I realize that Harvard is similar to its northern counterpart in another way.

     Earlier this month, 70 Harvard students walked out of an introductory economics course in protest of what they considered the professor’s conservative bias. In a sprawling defence of the walk-out published in the Harvard Crimson, two freshmen tried out a few possible justifications for their protest, such as, that their professor, N. Gregory Mankiw, worked in the Bush administration and thus “played a key role in creating the policies which have exacerbated economic inequality and led to financial instability and collapse.” Left implicit is the suggestion that universities should discriminate according to political affiliation. Apparently, all that money their parents spent on tutors to prepare for the AP World History exam wasn’t enough to disabuse them of that classically totalitarian idea. 

Just two months into their academic careers, these students have the audacity to appoint themselves at once members of the tenure review board, peer reviewers of Professor Mankiw’s textbook, and respected dispensers of economic and political analysis in their own right. It’s almost impressive. 

“Our professor believes that progressive taxation sacrifices economic efficiency (total wealth) for the benefit of more economic equality,” they complain in the Crimson piece. “However, mounting evidence suggests that ‘the trade-off between efficiency and equality may not exist’ and that excessive inequality leads to negative consequences in the economy over the long run in terms of economic efficiency.” Hang the man!

     This is entitlement run amok. It escapes me how those students can be so confident in their own opinions only five months out of high school. Why would someone even go to university, much less America’s McGill, if they can’t stand to listen to an opposing view for a single semester? In a superb twist of irony, Mankiw lectured on income inequality the day of the walk-out.

The writers claim that Mankiw’s expression of conservative opinions “inhibits students’ intellectual growth.” I can’t think of a better way to inhibit intellectual growth than to announce that you’ve got it all figured out before the end of your first semester—thanks but no thanks, Harvard.

Many of the problems with the Harvard walk-out don’t apply to last week’s Quebec-wide students’ strike. The protesters from McGill and elsewhere were criticising the decision of a democratically-elected government, not academic freedom, and didn’t resort to the drastic measure of skipping class until more moderate tactics—protests on Saturdays—had already failed.

Yet there are some basic parallels that can’t be missed. Campus last Thursday—after the striking students left and before their noisy return—was somehow more pleasant, more collegiate than usual. There was a palpable focus and unity of purpose in the students’ strides, as if those who didn’t strike were in some way a purer distillation of the larger group usually in attendance. I imagine the students who stayed in Mankiw’s course felt the same way.

That doesn’t mean that the 600 students who didn’t walk out of the Harvard course necessarily support conservative economic views, or the professor’s allegedly biased presentation of them. Nor does it mean the remaining students at McGill last Thursday necessarily support higher tuition or applaud an administration that welcomes riot squads on campus. It just means that we didn’t come to McGill to go to war with it.

In the spirit of such a commitment, I was proud to sit in solidarity with my fellow students in class that day.

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