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McGill, News

McGill bans TikTok on all university-owned devices citing cybersecurity concerns

In accordance with a provincial directive issued on Feb. 27, McGill has banned the use of TikTok on all university-owned devices, including smartphones and tablets for which McGill covers the cost of the mobile service. This decision stems from a federal ban that also prohibits the use of the app on all government-owned devices. All McGill staff who previously downloaded the app on a McGill device must delete it immediately. 

In an email to The McGill Tribune, McGill media relations officer Frédérique Mazerolle wrote that the provincial directive was updated on March 2 to outright forbid public organizations from posting on the platform.

“Public institutions subject to the Act respecting the Governance and Management of the Information Resources of Public Bodies and Government Enterprises [cannot post] any new content to TikTok for any purposes, including advertising campaigns, announcements and recruitment,” Mazerolle wrote.

Marc Denoncourt, Associate Vice-Principal IT and Chief Information Officer at McGill, explained in an interview with the Tribune that TikTok may be used by staff and students conducting research so long as it is the only app running on the device.

“If you still need to do research with a McGill-owned device, we need to isolate TikTok,” Denoncourt explained. “It cannot be [downloaded] on a device with other applications.”

Denoncourt added that although the ban only applies to McGill-owned devices, users ought to be wary of running the app on their personal devices.

“[The ban] is for McGill-owned devices only. So if you do research with your personal device, it does not apply,” Denoncourt said. “Regardless of who owns the device, it is the same risk, but the directive is not asking anybody to stop [using TikTok] on personal devices.”

Politicians are primarily concerned with the app’s alleged collection of user data and the potential for the Chinese Communist Party (CCP) to access said data—the app was first developed by ByteDance, a technology company based in Beijing, China.  

Benjamin Fung, a professor at McGill’s School of Information Studies (SIS) and Canada Research Chair in Data Mining for Cybersecurity, sees McGill’s ban as a response to government action. 

“For the government, I think [the ban] is more like a political message to the general public, saying that this is dangerous,” Fung said in an interview with the Tribune. “Most of the people who use TikTok are the younger generation, students who do not own a McGill-owned device, [and] not every staff [member] has a McGill smartphone, so I think the impact [of the ban] is nothing, it is just following the rules from the government.”

Experts point out that TikTok is not unique—almost all social media companies are culpable of selling or otherwise sharing user data. In fact, Facebook records more personal data than TikTok, and in 2018, was revealed to have exposed millions of user profiles to Cambridge Analytica, a digital consulting firm. Security concerns about TikTok  similarly lie in data transmissions.  

“When you copy a piece of text from one app to another app, every couple of seconds [TikTok] will try to read the clipboard,” Fung said. “By doing that, [it] can read everything you copy and paste. So if you are just copying a link, that is fine, but if you are copying a password, let’s say from the password manager to an app, that is a security concern.”

Fung recommends that McGill students who continue to use the application on their personal devices consider taking extra precautionary measures should they wish to protect against potential threats to their online privacy.

“If you really, really want to watch TikTok videos, you can watch [them on] YouTube, you can still indirectly watch them. Many people just copy and paste [them] to YouTube. I [would] suggest [removing] the app, even for [your] own personal device, but at the end of the day, is [your] own personal choice.”

McGill Recommendations, Student Life

You’ll never walk alone (again?)

Even if the weather is getting slightly more bearable as the days go on, walking to campus every day can take a toll. Thanks to an unfortunate sprained ankle, I’ll be avoiding the trek, but that doesn’t mean I don’t know the frustrating feeling of being so bored of your music that you end up walking to campus alone with your thoughts rather than listening to “Boy’s A Liar pt.2” for the 23rd time that day. Enter podcasts: The undeniable sign that you are becoming an adult. So, keep reading for some recommendations that will last you from Mile Endto McLennan. 

For podcast novices

If you’re a total podcast newbie, welcome—and don’t worry, you are in good hands. A great place to start, and where I personally started with podcasts, is WNYCs Radiolab. Radiolab started as a radio broadcast and is now available in podcast format, exploring various topics related to science, philosophy, and politics. They have some riveting longer series, such as The Other Latif which chronicles Radiolab host Latif Nasser’s attempt to retrace the story of one of the world’s only other individuals named Latif Nasser, who is detainee number 244 at Guantanamo Bay. If you’re not ready to commit to a longer series, they offer really interesting and incredibly random, one-off episodes, such as “The Helen Keller Exorcism,” which is not about an actual exorcism—but will totally change the way you look at Helen Keller.  

For pop-culture fanatics

If you’re interested in popular culture, you should check out Sounds like a Cult. Each week, Isa Medina and Amanda Montell sit down and explore different cultural trends through the lens of a cult to shine a light on the modern-day cults we all follow. A few particularly good episodes were the cult of Trader Joe’s—guaranteed to blow your mind if you’re a frequent shopper back in the States. The cult of Elon Musk was also very insightful. Overall, the hosts’ humour and intelligence mesh wonderfully, making it feel like you’re walking to campus while listening to your friends.

For PoliSci bros

If you’re a PoliSci bro in one of my conferences and have been having a hard time reaching your mansplaining quota of the week, do not worry, the Council on Foreign Relations has got your back with weekly episodes.The World Next Week is a podcast where hosts Robert McMahon and Carla Anne Robbins discuss significant international affairs events and offer important insight into how the international political community functions. The “Why It Matters Podcast” hosted by Gabrielle Sierra also offers important insight and interviews expert guests on topics such as water scarcity or the future of Africa’s population boom

For the aspirationalists

If you’re a student who is on the verge of being the next Bill Gates, Steve Jobs, or Mark Zuckerberg, maybe ABC News’ The Dropout, hosted by Rebecca Jarvis, will make you change your mind. This incredibly well-researched and produced podcast perfectly details the story behind Theranos and Elizabeth Holmes, the alleged youngest female billionaire. And if you want to learn more after finishing the podcast, Disney+ released a miniseries by the same name, which does a great job of bringing the story to life. 

For future fraudsters

If you finished The Dropout and your interest in scammers and fraudsters peaked, allow me to introduce you to Scamfluencers. Hosts Sarah Hagi and Scaachi Koul unpack different stories of the very best influencer-scammers. The Hollywood Ponzi scheme series follows Zach Horowitz as he creates nearly a $650-million-dollar Ponzi scheme involving fictitious licensing deals with HBO and Netflix in order to support his own acting career, and reveals how he eventually gets caught. Bonus points for the Canadian hosts making references to Canadian culture that make me feel like a true Canadian, despite having only lived here for less than three years.

McGill, News

Interfaith panel unpacks impacts of Bill 21 and discrimination in Quebec

On March 10, students and legal professionals convened in New Chancellor Day Hall for a conference titled “Law & Faith: Bill 21 and Religious Discrimination.” The event, put on by the McGill Christian Law Students’ Association (CLSA), the McGill Jewish Law Students’ Association (JLSA), and the McGill Muslim Law Students’ Association (MLSA), was an opportunity for those in the legal field to discuss the implications of Bill 21 for people of faith. 

Bill 21, one of the most controversial Bills currently active in Quebec, prohibits public servants in Quebec from wearing religious symbols. Doctors, police officers, judges, teachers, and prison guards are not allowed to wear visible markers of their religion while performing their duties. Pre-existing religious public structures, however, are not subject to the Bill. 

Frank Schlesinger, who is Jewish, is a lawyer for Spiegel Sohmer and a former judge. He explained that structures such as the cross on Mount Royal, crucifixes around Montreal, and streets beginning with “Saint” are still allowed under the legislation. 

“In a way, it tends to indicate that people other than Christians are not entitled to have visible symbols, [and the government] will keep the old ones,” Schlesinger said in an interview with The McGill Tribune.

Derek Ross, Nour Farhat, and Schlesinger sat on the first panel, which delved into Bill 21. Ross, the executive director of the Christian Legal Fellowship, was the first to speak on the hypocrisy of the Bill.

“[Bill 21] effectively excludes religious people from public service,” Ross said. “Simply saying that a law advances neutrality doesn’t actually mean that it [does].”

Farhat, a Muslim lawyer who wears a hijab, explained that Bill 21 impacts Muslim women first and foremost—women who are already at a heightened risk of being discriminated against and are more likely to be victims of assault. The dangerous implications of the Bill have manifested as an increase in hate-fuelled incidents across the province since its adoption in 2019. 

“Legislations have an impact on how the population reacts to minority groups and marginalized groups.” Farhat said.

A survey by the Association for Canadian Studies found that 78 per cent of Muslim women in Quebec feel less accepted as members of society since Bill 21 was implemented. The same survey found that 53 per cent of Muslim women had heard prejudiced comments about Muslims from the people around them, and 47 per cent of Muslim women reported being discriminated against by an authority figure. 

“It is clear that this law is aimed at a specific group—mainly Muslim women,” Schlesinger added. “If you do not meet the norm of homogenization, you cannot participate fully in Quebec society.”

The second panel centred around being religious in Quebec. Speakers Victor Muniz-Fratcelli, Ted Goloff, and Mariam Hammodi shared their experiences of being people of faith in the legal profession and how their religious identity has impacted them and their careers. 

As the only veiled woman in her program at Université de Montréal, Hammodi explained that wearing the hijab has always come with unsolicited attention and questions.

“We sometimes feel this responsibility to answer questions in regards to religion,” Hammodi said. “I’m pretty sure [certain questions] would not have been asked to a Muslim colleague of mine that wasn’t wearing a veil [….] People [should] not be forced to make a choice between their [religion and profession].”

Andrea Sim of the CLSA, Fatima Beydoun of the MSLA, and Jonathan Zrihen of the JLSA helped organize the panel, and met with the Tribune before the event. 

“This is our fourth interfaith collaborative event together,” Sim explained. “The time was right in terms of shining a light on [Bill 21] [to] come together and focus on highlighting not only the faith-based discrimination, [but also] the legal arguments to not only students but also admin […], such as [Brittany] Williams, [Assistant Dean (Students) and Dean’s Lead, Black and Indigenous Flourishing].” 

Behind the Bench, Sports

Sorry Canadiens fans––the Bruins are poised to take the cup

This might offend some Habs fans, but let’s be honest, the Bruins rock. Sitting at the top of the power rankings with 105 points and having played fewer games than many of their division opponents, the Bruins have dominated the NHL 2022-23 season—they could be coming for the Habs’ all-time record of 132 season points. With their seemingly untouchable winning momentum and an encouraging internal culture to support it, Boston should easily take home the Stanley Cup

The Bruins wasted no time establishing their winning streak; they lost just three of their first 20 games and registered a record 14 straight home wins, devastating the many fans who call the Bruins their most-hated team. Most impressively, the Boston team has lost a mere 10 games in regulation, three under the current record of 13 losses in an 82-game season held by the Detroit Red Wings. In terms of points, the Bruins lie 11 points above the next most successful team, the Carolina Hurricanes, who have racked up 94.

As for player performance, David Pastrnak, the Bruins’ top goalscorer, has been an absolute powerhouse. On track for 50 goals this season, “Pasta” has spent the entirety of his time in the NHL thus far with the Bruins and recently signed an eight-year extension. 

Strong individual performances have also notably come from the Bruins’ two goalies, Linus Ullmark and Jeremy Swayman, who boast save percentages of 0.938 and 0.913, respectively. Ullmark has been the best in the league this season, and even scored a goal against the Vancouver Canucks––something an NHL goalie hasn’t done since 2020 and a Bruins goalie has never done. The wholesome, supportive relationship between Ullmark and Swayman is indicative of the positive atmosphere in the Bruins’ locker room. They end every game with a heartwarming goalie hug, a tradition that began after the 2021-22 season opener.

Throughout the season, the Bruins have continued to add to their locker room by signing several exciting players. They recently traded Craig Smith and some future draft picks for Dmitry Orlov and Garnet Hathaway from the Washington Capitals, as well as Tyler Bertuzzi from the Red Wings. Despite concerns that trading for new players could potentially mess with the Bruins’ winning formula, the new acquisitions have all meshed well with the team and registered goals or assists as Bruins. These introductions will undoubtedly add pep in the Bruins’ step to stick with their upward trend rather than falling flat.

But why are the Bruins so good? Tactics and player performance will always play a role in a team’s success, but the Bruins wouldn’t be where they are without their strong locker room culture

They have had a succession of spirited team leaders, with the leadership legacy of former captain Zdeno Chara—who notably banned the hazing of rookies—being carried on by captain Patrice Bergeron and other players like Nick Foligno and league irritant, Brad Marchand. The culture is one that players are proud of, motivating them to perform for the team.

In the wake of the Bruins’ reprehensible signing of racist and ableist bully Mitchell Miller, team leaders stood firm in their disdain for the decision and maintained a united front. Management put coaches in a tough position but thankfully, the Bruins players who were asked about the deal didn’t shy away from expressing their aversion to the signing. Bergeron emphasized that Miller’s behaviour goes strictly against Boston’s carefully-built team culture.


The team calls a hockey-obsessed state home, and thus has a fanbase that is arguably one of the strongest in the NHL—this is particularly a plus considering that their season record could bring them a home-ice advantage for at least the first two rounds. It is undeniable that the league’s most disliked team is equipped to win the Stanley Cup this season, and the fans will only add fuel to their winning prowess. What Boston supporter doesn’t want to celebrate a B’s goal at the Garden as Kernkraft 400 taunts the opposing team in the background?

Behind the Bench, Sports

A sports defibrillator: Is Full Swing golf’s savior?

Drive to Survive, Netflix’s heavily dramatized Formula 1 series, brought millions of viewers to the sport and reversed its slow, decade-long decline in popularity. With the release of its sister show, Full Swing, on Feb. 15, fans are wondering if the media conglomerate can work its viewership magic once again—this time, with the world of golf. While on the surface, Full Swing is set to have the same success in transforming the sport’s viewership, the show’s first season falls short of the green. 

Based on Drive To Survive‘s model, Full Swing, a Vox Media Studios and Box to Box films production, takes a sport struggling in the public eye and puts the most famous golfers from the Professional Golfers’ Association of American (PGA) tour and LIV Golf on the global stage. The show opens with 15-time PGA tour winner Justin Thomas and closes with PGA golden boy Rory McIlroy. But the show’s absence of women and glossing over of LIV Golf hinders the possibility of increased viewership by failing to delve into the most interesting aspects of golf’s current affairs. 

Not unlike Formula 1, golf is commonly seen as a sport for old, wealthy, white men because of its history of exclusion—the PGA in particular. The growing popularity of the Ladies Professional Golf Association (LPGA) was a golden opportunity for Netflix to draw new viewers in, but the company utterly failed to do so. Just as they did with Drive to Survive, where women speaking accounted for an abysmal 1.54 per cent of season five’s entire runtime, Netflix failed to spotlight women in Full Swing

Despite the rapidly increasing viewership of the LPGA, up 32 per cent from 2021 and 69 per cent from 2020, the show features zero women athletes. The vast talent of the LPGA deserves to be placed at the forefront. In 2022, Minjee Lee beat every PGA pro at every distance in accuracy from the fairway. Lydia Ko has 101 top 10 finishes at only 25 and had 10 LPGA tour wins at the age of 18––five years earlier than Tiger Woods earned his first 10 PGA wins. Nelly Korda, largely regarded as the face of American women’s golf, won five events, became a major champion, and took home an Olympic gold all in the same year. 

Even the PGA is coming to recognize how important the LPGA is to the game with the announcement of the Grant Thornton Invitational in Naples. The talent is there, the excitement is there, the desire to watch is there––but Full Swing had other priorities. 

In an attempt to replicate the reality TV drama witnessed in Drive to Survive, the show created a villain: LIV Golf. The Saudi Arabian-funded golf tour promises an all-men’s championship, a guaranteed paycheck, and an extra $4 million to the winner—unlike the PGA tour where players are paid according to placement. 

Athletes who sign with LIV Golf are accused by their opponents in the show of only caring about money and overlooking Saudi Arabia’s human rights abuses. The Netflix show adopts this criticism, playing Big Bag of Money by G-Eyez in the background when introducing Ian Poulter and Dustin Johnson, two LIV Golf athletes. But while failing to provide any substantive criticism of LIV, Full Swing simultaneously functions as a PGA apologist, ignoring the Tour’s pitfalls and functioning as an eight-episode PGA advertisement. 

Since Full Swing came out just under a month ago, it is unclear what the long-term impact will be on golf viewership. The low ratings for LIV Golf’s debut event prompt some to believe the threat to the PGA is fading and along with it, the potential for dramatization. But one thing is certain: Netflix must do better with season two. Women and the LPGA are vital to increasing viewership, especially in light of the introduction of LIV––a league that wants nothing to do with women athletes. With plenty of time and resources, Full Swing must course-correct if it wants to hold onto viewers and grow the game of golf. 

Features

Remains of Chennai Central

Growing up, I dreaded going to India every summer. The prospect of leaving France to spend two months in the heavy heat, shuttling from one family member to another, and having to speak Tamil brought me nothing but anguish and desperation for cancelled flights. My resentment of my Indian identity extended to every aspect of my life. I would doggedly refuse to address my mom in Tamil, cry for hours to avoid wearing a churidar, and sulk on our way to the temple. Apart from my mom’s cooking, I rejected every link to my Indianness—I just wanted to be a French kid.

Despite my obstinance, one memory from my annual stays remained with me: The Chennai train station. Ironically, I first encountered it in France, on the screen. Among the few Indian movies my parents and I ever watched was Madrasapattinam, a historical romantic drama set in Chennai—then called Madras—at the time of Independence.

I was about six years old when I first saw Chennai with my own eyes. Years later, my memories of that first visit are still visceral, as if it was just yesterday when our cab drove out of the Chennai Central Station and into the chaos of the city. Although modern-day Chennai is far different from the 1940s colonial setting of the movie, the station and its clock tower, where the two lovers fought for their impossible love, stood still in time. Everything was just like I imagined it to be. For the first time in my life, I  recognized a piece of myself in India.

The memory of Madrasapattinam gradually faded as I grew up. What was once my favourite movie and the core of my nascent Indian identity became more and more difficult to grasp. Summers in India went by, each one more alienating than the last as a growing language barrier—an invisible wall—stood between my family and me. Every word I pronounced was tainted with a sharp French accent I couldn’t even notice until I was asked to repeat myself. Slowly, this fear of making a fool of myself, of being unable to prove myself worthy and legitimate of my Tamil heritage, led me to lose it. While my younger self—the one who would dream of roaming the streets of 1947 Chennai—spoke a charmingly flawed but intelligible Tamil, what was once my mother tongue faded to be nothing more than just my mother’s tongue. 

Yet, I remind myself that language preservation is a product of transmission, not a signifier of cultural identity. Growing up with a multicultural upbringing, my Tamil dad and my elder sister both spoke to me exclusively in French, while my mom used a mix of both languages, a sweet in-between that now sounds just like home to me. My own experience is far from unique, and is merely just the reflection of a larger trend among second-generation immigrants across the world. In 2006, a study by Statistics Canada found that only 55 per cent of Canadian children born to immigrants could communicate in their parents’ native language. 

This loss of heritage often goes hand-in-hand with a sense of guilt and resentment. As I look at my mom for help with panicked eyes while her father—my only remaining grandparent—tells me a story that I can only understand in glimpses, I think about all the other ones that will forever remain inaccessible. I can hear the clock ticking, like an invisible hand pushing me to get to work and learn everything before it’s too late—before history gets lost forever. But I’m only human. Instead, I stare at the poems my grandfather writes to me for my birthdays, unable to understand the meaning behind the beauty of the Tamil characters (Tata) carefully traced with colourful ink. All I can do is sit in silence and hold his hand wrinkled by the years, hoping it’s true what they say, that a heart without words is better than words without a heart.

Beyond the Lunchbox essay 

For all these quiet aching moments of powerlessness, I blame French Universalism. The Republican ideals of “Liberté, Égalité, Fraternité” —Liberty, Equality, Fraternity— obscure a darker reality for immigrant communities. Under the guise of Equality, France refuses to see our colours, washing over our individual distinctions. France neglects our identity with such tenacity that it is even illegal to collect statistics indicating directly or indirectly the racial or ethnic origins of persons. By forcing its universalist ideals on communities, France drives cultural loss for second-generation immigrants. Non-white French citizens like me tend to push their ethnic background aside and stress their Frenchness to assert their right to exist in every space and belong in society. In the eyes of many, often white, French citizens, opposing the sacred ideal of universalism—born through the fire of the French Revolution—is synonymous with supporting division within society. 

Having grown up with these ideals, I’ve always considered myself French before anything else. Still to this day, introducing myself by saying, “I am French”, is a daily task, often followed by a subtle, surprised eyebrow raise. But the statement is true: I speak the same language as those whose families have lived in France for countless generations and share almost all the same cultural references. Despite having been a victim of racist micro-agressions throughout my entire life, I was socialized within a privileged white Catholic community. Though I was the only person of colour in my entire high school, I identified with my peers. This brought me to an important realization: In my case, class dynamics overruled race. 

Being born in an upper-middle-class family, money washed over our main cultural differences and fostered my ability to integrate into white society. Being a minority will never be easy, but I remind myself daily that I won the lottery—and my experiences are merely anecdotes compared to the financial struggles endured by many other second-generation immigrants. Like many children of immigrants, I have had my “lunchbox moment”. I made sure to never use my hands when eating with my non-Indian peers—I know the shame and humiliation of being regarded as non-civilized, as “less than.” I have also faced discrimination and have lost opportunities because of my skin colour or my 16-letter last name that I do my best to hide. But I refuse to confine my identity to these incidents. As mortifying as these experiences are, they still arise from a place of relative privilege. We must remind ourselves that the immigrant struggle goes far past the lunchbox. 

Jaime*, a member of South Asian Youth Collective (SAY), grew up with an Indian ethnic background in a country in the Middle East. She has a first-hand experience of class privilege through her family’s integration into Middle Eastern society.

“South Asians are generally considered lower because a lot of labourers would be from South Asian and South-East Asian countries,” Jaime told me. “Financial situation in this case did matter. My family was pretty financially stable and so our experience would differ compared to someone who was less financially stable.”

By limiting representation of immigrant experiences to the lunchbox trope, we risk obscuring differing experiences of oppression in the diaspora conditioned by identities such as class and gender. Jaime explained how the intersection of class and race dynamics in her home country produce racialized divisions of labour.

“A lot of labourers and maids are from South Asian, African or South-East Asian countries, and a lot of these labourers are poor or not as financially secure,” Jaime said.  “It’s extremely problematic and racism is a huge element of it [….] For example, Indians […] are seen as inferior […] as they occupy a significant amount of service industry jobs. You will rarely see someone from more Western countries in these jobs.” 

Rushmi Perinpanathan, U2 Science, grew up in Montreal but still sees the city “through the eyes of a Tamil kid.” She echoes Jaime, having witnessed how assimilating into the dominant culture comes with its own financial and mental costs.   

“When it comes to integrating into a new culture, to be able to go out and experience culture, to partake in activities with colleagues, to be able to look the part, all of this gets harder when you’re not part of the same class because you also need to afford these things, not just in money but in time and energy as well,” Perinpanathan said. 

“When you’re part of the same culture, you’re already in the same boat and it becomes easier to relate to each other.” 

The blessing and curse of multiculturalism

Rushmi’s experience hits close to home: Though I felt integrated into the community I grew up in, I was never fully accepted by my peers, and was always considered “the Indian friend.”

Yet, my parents did not really immerse me in Indian culture and Indian media, nor did they really listen to French music, or watch classic French movies. Rather, some of my earliest memories include road trips in my dad’s car where he blasted The Rolling Stones, Scorpions, and Dire Straits on the speakers, my sister and I mouthing all the words in the backseat. And, although I wouldn’t change this for the world, all these happy childhood memories hide a more alarming reality of biculturalism. 

Many people idealize the melding of two cultures, but such romanticization obscures feelings of alienation. I grew up in an in-between of two cultures, less than half-in-touch with my Indianness, and almost integrated into my French community. Every time I lack the words to sing along to the songs my French friends play, I find myself back in this “cultural void” scaffolded by the bits and pieces I picked up from both worlds. If you asked me today if I’d rather be French or Indian, I would tell you a thousand times that I’d rather be both. But being in touch with both sides of one’s cultural identities as a child of immigrants is not innate. It requires time, introspection, and a little bit of a spark. For me, I found these in  Montreal.

A couple months ago, my best friend and I were cooking baingan bharta while listening to Indian music (at his request).  Everything, all of a sudden, felt as though I were six years old again. My music on shuffle, I did not expect to hear Madrasapattinam’s theme song come out of my speaker, and even less to instantly recognize it, as if it was just waiting for me to remember it this whole time—bringing me back to Chennai Central. Paradoxically, moving away from my Indian household and finding a home in Montreal helped me reconnect with my Indian identity. Switching from French universalism to the Canadian “mosaic” of “diversity”—moving from an exclusively white and French environment to a campus burgeoning with international students—was a milestone in my journey back to my roots. 

Throughout my whole life, until coming here, I had considered myself “black”—noire—and had been racialized as such, as odd as this may seem in North America. Just like in a 1930s monochrome movie, France frames everything in black or white. Moving to Canada, I found a space to exist outside of this binary. For the first time in my life, being “brown” in Canada included me in an in-group, a community of South Asians. I am no longer just the negation of whiteness. 

Montreal triggered a similar experience of self-discovery for Dhanishta Ambwani, U2 Science. Ambwani grew up in New Brunswick with Indian parents, but found more opportunities to commune with her Indian culture here. 

“It’s just so amazing to […] be friends with people with similar experiences […], and with whom I can relate on completely different levels,” Ambwani said. “I think being in university, and in an environment where there are classes […] that focus on my rich cultural history also helped me become more interested to learn more about my culture. I definitely feel more connected with my culture right now than I have ever felt before.”

In Montreal, my feeling of belonging to the Indian community has similarly been reinforced through academia. Being here at McGill gave me the opportunity to explore South Asian politics, studying topics that I would not in a million years be able to learn about in France. One essay at a time, Montreal and McGill bring me closer to my roots and give me the legitimacy to speak about my country—even if it is not in perfect Tamil. My academic interest in India was initially performative—piqued by the conviction that it would differentiate me from my peers. But, as I fell down a rabbit hole of politics and history, a more authentic kinship with my parents’ home country emerged. I found a fascination in studying the 1947 Partition that tore India apart and drenched it in blood, breaking up families and pulling apart lovers, separating Arya and Amy forever in independent Madras.

As unbelievable as this may seem to my younger self, I now look forward to going to India. I may not be as Indian as my blood says, but I will never be as French as my passport declares me to be, either. Stuck in this in-between, I choose not to choose, and to love both. I know that, somewhere in Chennai Central’s clock tower, time stands still—and the little piece it took of me as a child will always remain.

*Name has been changed to preserve anonymity.

Commentary, Opinion

Black history isn’t one uniform experience

As an African student attending McGill, I was initially shocked to see that McGill’s course list included classes with titles such as History of Colonial Africa or African Politics. While I am glad to have the opportunity to take any classes related to Africa, something I was not provided with in high school, I find it disgraceful that 21st-century institutions continue to frame such a large continent as one homogenous place. Working against the white supremacist centrality of Western Europe, Canada, and the U.S., some curricula and departments, such as East Asian Studies, have offered a range of courses focused on various countries, instead of grouping diverse countries into one concept. 

It’s a long-standing problem in the West that the continent of Africa is often spoken of as one indistinguishable entity. While most people at McGill (hopefully) are aware that Africa is a continent with 54 diverse countries, hearing this single-minded narrative is familiar to many Africans, especially in the classroom. Africa should not be taught as a single idea, but as a complicated and varied region with a range of accomplishments and unique ways of thinking, knowing, and being. 

When discussing Black history, the narrative is often dominated by only African and African-American history, which excludes the whole Black diaspora that encompasses people of African origin living in the Americas as a result of slavery or other forms of displacement and migration. Taking diversity in education seriously means offering several courses that allow for a wide range of study of Black people and their experiences, throughout various places and eras. Inclusivity does not simply stop at offering a few courses to meet the demand. McGill must first have courses that recognize and incorporate both the transnationality of global Blackness and the uniqueness of Black experiences, methodologies, and epistemologies, before reworking the constricting structures that prevent students from taking these courses.

Many African studies professors have themselves informally expressed problems with course names in the department. The many differences amongst African nations make it difficult to study the entire continent. Thus, professors often select certain regions to focus on. While this helps fix the problem of generalizing and essentializing life on the continent, it would be preferable for students to select their courses depending on the region they will be studying, as is the case for other departments. Modifying course titles to reflect the real geographical focus of the course would hold departments accountable while shedding light on the various gaps in African course content. When departments only focus on a few issues as representative of the whole––the Rwandan genocide or apartheid in South Africa, for example––they lose and misconstruct the multivocality of African politics, culture, and society.

On top of the undifferentiated study of Africa at McGill, Caribbean communities and Caribbean diaspora communities are also ignored. In Montreal, where long-established Black immigrants have historically been from the Caribbean, ignoring this crucial part of the Black diaspora undermines both solidarity across the world and students’ understandings of anti-colonial networks. One of the most significant cultural communities in Quebec is the Haitian community, and having a course studying their involvement in politics and their various accomplishments would provide students with a well-rounded understanding of the Black history of the province they reside in. 

In 2021, McMaster University in Hamilton, Ontario introduced a course on the Black Caribbean and its diasporas. Though the Afro-Caribbean diaspora is frequently excluded from these discussions across numerous movements, taking up, for instance, art and resistance in the Jamaican or Martinican diasporas would crucially revise our understanding of Black history, and the hardships and triumphs that still impact communities today. If McGill is truly committed to giving students a well-rounded education, the university must challenge the “comfortable” or “easy” approaches to Black History found in prevalent exclusive narratives.

A litany of voices were silenced throughout history, and ought to be heard today. The lack of Black history-related courses and accurate studies on Africa is evidence of the settler colonial and anti-Black underpinnings of the Canadian educational system. McGill must broaden its course offerings to reflect the richness of Black history on the African continent, and to bolster representation for all Black people. 

Commentary, Opinion

Toward flourishing for Black profs at McGill

In 2020, Black professors represented just 0.5 per cent of McGill’s entire teaching staff, adding up to only 10 professors in total. As of today, though the number is up to  28, little improvement has been made and the percentage remains a paltry 1.6 per cent. To end the underrepresentation of Black profs, the university must both prioritize the hiring of more Black professors and create an inclusive environment that ensures they will not leave McGill for a more supportive institution.

While McGill is taking steps in the right direction, they are not large enough to make waves in the makeup of the teaching population. McGill has outlined plans to hire 85 Black tenure-track professors by 2032, with an interim target of 40 professors by 2025. While this is certainly an improvement, this number is meagre in comparison to the 1,800-plus professors who teach at the university. 

A lack of Black professors working with methodologies from Black studies leads to less diversity in thoughts and opinions presented to students, resulting in a Eurocentric education that fails to reflect the society it serves. The lack of diversity also deeply affects Black students who do not see themselves represented in the field within which they are being instructed. When Black students are already dramatically underrepresented, McGill has the top-down and bottom-up responsibility of making the institution more reflective of Montreal’s demographics. The cycle of bias caused by a lack of a well-rounded and diverse education can only be broken when students––and faculty embedded in the institution––are educated in ways that disrupt it. In hiring, this means not only looking beyond institutions that have excluded Black scholars, but bringing first-generation and lower-income Black professors, queer and trans Black scholars, Black women and feminist thinkers, and Black Caribbean and African professors to the forefront. 

Beyond the startling underrepresentation, McGill cannot continue to subject Black professors to poor and racist work conditions. What benefit would it be to bring a Black scholar into an institution that enacts more violence onto them, that works to silence them into the minority? McGill looks the way it does precisely because it disregards non-Western knowledge systems and bears the name of a merchant who enslaved Black and Indigenous people. One of McGill’s former professors of art history, Charmaine Nelson, left McGill because it was not a safe space to exist and thrive as a Black woman, citing that a separate space for Black students and professors must exist to uplift community and solidarity. 

When Black faculty, staff, and students have raised their voices time and time again, institutional changes have followed. The Dr. Kenneth Melville Black Faculty and Staff Caucus was founded to foster a supportive environment for both educators and students. McGill has also provided a Black staff toolkit, listing the resources available to Black faculty in an effort to further improve their previously fraught support system. McGill must move past a curriculum that largely upholds white supremacy and ensure that their working conditions foster actively anti-racist spaces in which white professors’ institutional power is checked so they do not bully, block, or banish their new colleagues. 

McGill must move to centre cluster hirings and a quota system so that Black scholars do not enter its all-white spaces alone. It is crucial for all of us, across axes of difference, to push for better representation and retention of Black scholars, students, and brilliance. When a massive student body is not met with diversity within the classroom, we cannot trust our education to offer us tools to combat racism, settler colonialism, and white supremacy. McGill must become a more active ally for its Black community and that starts by making sure they have space to grow and flourish within and beyond its walls. 

Sports

Varsity Round Up: Feb. 24 to March 5

McGill men’s hockey fails to conquer Concordia in semi-finals

Julian Tabbitt

After a dominant quarterfinal series against the Ottawa Gee-Gees (13–11–2), the McGill Redbirds hockey team (14–8–3) headed across town for the Ontario University Athletics (OUA) East semi-final series against the Concordia Stingers (19–7–0). With a 6-3 loss in the opening game of the best-of-three series, the Redbirds suited up for a win-or-go-home game at McConnell Arena on Feb. 24. 

The Redbirds got out to a hot start, dominating possession throughout the first period, but couldn’t find the back of the net. Despite two power plays in the same period, the Redbirds struggled to find their flow. With just under two minutes to go in the first, Concordia tucked their first of the game via a beautiful bar-down goal from Charles Tremblay, carrying a 1-0 lead into the second. 

As tensions rose in the second period, McGill’s Eric Uba took back-to-back penalties, giving Concordia room to net their second goal with just under eight minutes to go in the period. 

Down 2-0 heading into the third, the Redbirds hoped to swing the game in their favour. Outshooting Concordia 32-25 over the course of the game, the Stingers’ goaltender, Jonathan Lemieux, stifled the Redbirds, giving his team the opportunity to solidify the win. Despite their best efforts, the Redbirds’ season came to a close in a whimpering 4-0 final. 

But, after finishing the 2021-22 season 6–11–0, this year’s 14–8–3 record indicates a new beginning for the young team. Reflecting on the season, Captain Taylor Ford highlighted the camaraderie in the locker room.

“We have a really good group and I think next year’s our year,” Ford told The McGill Tribune

Rookie forward and McGill’s leading scorer of the playoffs, William Rouleau, echoed his captain’s message. 

“We have a really special group and we have all the pieces in the locker room to get back next year and win it all,” he said in an interview with the Tribune.

Next season, McGill is retaining their 10 leading scorers and adding former NHL draft pick Zach Gallant from the San Jose Barracuda of the American Hockey League (AHL). 

Despite the excitement surrounding the future of Redbirds hockey, the loss to Concordia marked the last stand for two players: Goaltender Emanuel Vella and winger Jordan-Ty Fournier

“[Vella and Fournier] are as good people as you’re going to get, and they are going to have great careers. These young men would do anything for the other members of the team, on and off the ice,” head coach David Urquhart said about the two graduating players.

McGill Track and Field shines at home in RSEQ Championships

Anoushka Oke

On Feb. 24 and 25, the McGill track and field team rounded out their season by hosting and participating in the RSEQ Championships at the Tomlinson Fieldhouse. The Martlets and Redbirds took on athletes from universities around Quebec and eastern Ontario.

Friday’s schedule started with the 60-metre dash, where Donna Ntambue snatched a gold medal with a time of 7.47 seconds. Also bringing home gold on Friday was pole vaulter Rosalie Lupien and distance runner Matthew Beaudet in the 1,500-metre. The day wrapped up with the highly-anticipated 4×800-metre relay races—the men’s relay team, composed of Beaudet, Sebastian Danson, Markus Geiger, and Jules Gueguen, was able to secure first place with a time of 7:40.03.

Long jump, high jump, triple jump, the 600-metre run, the 4×200-metre relay, and shot put also took place on Friday; the men’s 4x200m relay team of Ricardo Percopo, Alexander Crooks, Paul Mandelos, and Jules Barrieu secured a silver medal with their 1:30.72 finish.

Saturday opened with finals of the high jump and the weight throw where Ella Villeneuve threw a distance of 12.78 metres to win gold. The 60-metre hurdles followed. After winning her preliminary heat, Vanessa Lu-Langley’s time of 9.09 seconds in the finals won her a silver medal.

Later in the day, an intense 3,000-metre race ended with Beaudet winning his third gold medal of the weekend. He was later named the RSEQ’s male athlete of the year and was also awarded male track performance of the year. 

The 4×400 metre relay was the last event––a Redbirds team of Geiger, Percopo, Barrieu, and Crooks ran a time of 3:22.23 to take home a silver medal. 

The Redbirds and Martlets both placed third overall in the meet, behind Laval and Université de Montréal. McGill collected a total of 16 medals, with the women’s team accumulating 103 points and the men’s scoring 118.

Martlets captain Makayla Mitchell, who placed second in the pentathlon, discussed the season in an interview with the Tribune.

“It was so nice to finally have a full season of competition after COVID,” she said. “I feel like the support from the team was definitely at a high this year. Personally, I am super happy with how my season went. There is always room for improvement, and I’m excited to see what’s next.”

Athletes who placed first in their event at the RSEQ Championships, as well as those who met a qualification standard, will compete in the national USports Championships in Saskatchewan from March 9 to March 11.

Martlets volleyball victorious in semi-final against UdeM but fall to UQÀM in RSEQ final

Staff Writer, Julie Ferreyra

After closing out the regular season with a victory against UQÀM (20–13–7), Martlets volleyball (20–10–10) kicked off their best-of-three semi-final series on Feb. 24 against the Université de Montréal (UdeM) Carabins (20–13–7). 

The opening set started off with a bang for the Martlets, who quickly grabbed a 6-4 lead over the Carabins. From her first serve, power-hitter Victoria Iannotti attacked the Carabins, carrying the Martlets lead to 10-7 before the first player rotations. As UdeM was desperate to swing the game in their favour, the Carabins took several timeouts and eventually equalized the score at 18 points apiece. With the score tied, a back-and-forth battle ensued for the final point of the set. Right side hitter Clara Poire and middle blocker Charlène Robitaille secured the last point, successfully closing the first set 25-21.  

Taking the second set 25-19, UdeM opened the third set with two successive points. However, after several Carabin outs, the Martlets came back with a successful block from Poire to even the score at 10-10. Despite their best efforts, the Martlets were unable to catch the Carabins in the third and fourth sets with UdeM winning both 25-23 and 25-20 respectively. 

“The game goes by momentum, we’re gonna be prepared, we’re gonna push hard, we’re gonna be ready,” said Martlets head coach Rachèle Béliveau to the Tribune when explaining the difference in performance between sets. “We’re taking it one set at a time.”

The fifth and final set saw a boost of energy for the Martlets, with four unanswered points for an early 8-1 lead. McGill failed to maintain their upper hand, but first-year right-side Rachel Leduc equalized the score at 14 apiece before the Martlets pulled ahead for a 16-14 victory and their 10th consecutive win against UdeM. 

“We knew that they were gonna show up [….] We had to stay calm,” libero Catherine Vercheval told the Tribune. “We have a tendency, usually it’s the opposite: We don’t start strong and then we end up really strong, but [tonight] it was the other way around [….] We’re still working on that, just to be consistent throughout the whole time.” 

After dropping the second game of the series 3-1, the final match-up on Feb. 26 saw the stands roaring with support for both teams. 

The Martlets lost the first set of the last semi-final game, but found a new level of intensity, winning the second and third sets. After a rocky start to the fifth set, the Martlets managed to recover, with second-year setter Charlotte Chouinard-Laliberté assisting on the final point for a 3-2 victory, advancing McGill to the RSEQ finals. 

On March 3, McGill looked to defend their first-ever RSEQ Championship title against UQÀM. Sadly, the Martlets were unable to repeat last year’s magic, losing the best-of-three series two games to none. 

Despite the RSEQ loss, the Martlets secured a spot at the USports Nationals, which will take place in Vancouver, British Columbia from March 17-19.

Arts & Entertainment, Music

Don’t buy into the myth of selling out

The accusation of “selling out” cuts deep within independent music. “Indie” fans often pride themselves on the genre’s self-positioning against the mainstream music industry’s commercialism. Selling out is hence defined by an artist’s relationship to the profit motive. Artists perceived to court sales by pursuing a more popular sound, heavily marketing their music, or licensing it for corporate advertising are accused of prioritizing financial interests over the creative integrity of their work. 

By displaying a greed that contravenes a romanticized notion of what and who music serves, these artists are purported to have betrayed the very fans who made them successful. Yet, in an age in which the dominance of music streaming makes earning a living as an artist extremely difficult, seeking alternative commercial revenue seems characterized less by greed than necessity. 

The career trajectory of the beloved indie musician Mitski aptly displays how this phenomenon plays out. Having established a solid fanbase over her first four lo-fi indie rock records, Mitski gained a large swath of new fans following the release of Be The Cowboy, as the new, 80s-inspired synth-pop sound she adopted became popular on TikTok. This propelled Mitski to new commercial heights, performing in arenas, opening for Harry Styles’ U.S. tour, and releasing the Billboard 200 top 10 record Laurel Hell

Predictably, accusations of “selling out” closely followed. A subset of long-term diehard fans derided her poppier sound and new, younger audience, while Mitski herself expressed discomfort with the demands of a fanbase whose idolization of her approaches worship. Yet, while her reoriented sound may be more palatable to mainstream audiences, it maintains the hallmarks of Mitski’s artistic approach, planting moments of intense emotional catharsis amongst snappy riffs and hooks. Fans resenting others for appreciating Mitski’s music for the same reasons they do appears counter-intuitive. 

The expectation that indie musicians ought to avoid anything resembling commercial success is pervasive enough to have been internalized by independent artists. MGMT’s debut record Oracular Spectacular satirized the excesses of mainstream popstars, with songs like “Time to Pretend” riffing on cliched mottos like “live fast and die young” and the “cocaine” and “elegant cars” of their fame-seeking peers. In a musical manifestation of Poe’s Law, most listeners still missed this satire as the record achieved massive commercial success and “Kids” and “Time to Pretend” became certified 2000s dance anthems played by DJs for years to come—with few traces of irony. 

Amidst this success, a sense that, despite containing music they genuinely enjoyed writing, Oracular Spectacular’s mainstream success was incompatible with their artistic vision, led MGMT to pursue a deliberately more esoteric psych-rock direction on their sophomore album Congratulations. Though Congratulations arguably contained some of their best work, the broader attitude permeating the independent scene—viewing commercial success as antithetical to artistic integrity—seems stifling, constraining artists to aim for the obscure rather than write freely. 

Accusing an artist of selling out can be a thinly-veiled excuse for just disliking their new sound. Sebastian Cowan, the founder of the independent Montreal-based record label Arbutus Records, said in an interview with The McGill Tribune that this critique fails to recognize artists’ own creative agency. 

“The sound that ‘sells more’ is one that artists often genuinely enjoy and pursue out of their own interests,” Cowan said. “So for a fan on the sidelines who might have the audacity to think that an artist was selling out, the chances are that artist just genuinely wants to make that music [….] If the fan can’t get on board with that, then I guess the fan doesn’t like that artist.” 

The sellout critique infantilizes artists, outlandishly asserting that their independent musical choices are in fact profit-centred ones. Commercial and artistic success are not mutually exclusive; an artist’s new sound gaining more traction is little reason to assume they are not passionate about it or no longer care about their craft beyond the profits it generates. 

Professor David Brackett, the Canada Research Chair in Popular Music Studies at McGill, pointed out this dichotomy in an interview with the Tribune

“You have the strange phenomenon in the 60s of artists like the Beatles being celebrated as independent artists while they were the most popular artists at the same time […] even critically celebrated popular artists are often very popular in commercial terms,” Brackett said.

If fans are wrong to criticize artists who change their sound, is it more legitimate to criticize those directly aligned with corporate interests, for example, licensing their music for advertising? Admittedly, there is a hypocrisy which stings when artists whose identities are built around counter-culturalism cozy up to powerful corporations; that an artist as rebellious as Iggy Pop also appeared in car insurance advertisements is plainly ludicrous. But this critique fails to recognize the modern music industry’s material conditions. 

Streaming platforms’ dominance has eliminated record sales as a viable sole income source for artists. Spotify pays between $0.0033-$0.0054 per stream to artists on average, meaning all but a select few artists can survive on releasing music alone. Though a stable income was hardly guaranteed to artists prior to streaming, Brackett noted that, even if artists weren’t always fairly compensated during the CD era, streaming has worsened this situation. 

“The sale of recordings wasn’t transparent to begin with and many artists were famously ripped off, but it’s much less transparent with streaming because of how it’s paid for,” Brackett said. “People aren’t paying by the stream, they’re paying usually for a monthly service or they’re not paying and it’s just being paid for by advertising.” 

Low royalties necessitate that artists undertake lengthy tours to boost their income. However, the margins of touring have dried up following the pandemic, with struggling venues taking a bigger cut of ticket and merch sales and inflation causing transportation and housing costs to skyrocket, preventing fans from attending gigs. Established artists have not been spared: Little Simz and Animal Collective both recently cancelled foreign tours as they were financially inviable. 

This financial setup threatens to make music the preserve of the privately wealthy.

Amidst this hostile environment, who can blame independent artists for looking to alternative commercial revenue streams? Artists need to make a living, which is already more challenging for those lacking big label backing—berating artists for using the means available to them feels like punching down rather than up. This is particularly true when the industry’s power dynamics are already stacked against an artist. Working-class musicians for whom musical success entails becoming more wealthy frequently become placed in a double bind whereby their wealth attracts criticism that they have lost touch with their roots. 

Meanwhile, musicians emerging from genre scenes created by racialized or marginalized communities can be subjected to heightened scrutiny upon gaining wider popularity. The term “sellout” emerged in the 1950s, levelled against Black musicians when jazz music began to enter the mainstream. White musicians’ co-opting of Black music was and is extremely exploitative, often failing to appropriately credit the Black musicians from whom jazz originated. 

However, the music community’s accusation of selling out dangerously misplaces the blame on individuals whose agency becomes constricted by their industry and reception. Focusing on the systemic inequities which enabled this musical theft and co-opting is, in fact, the point. 

Hence, since the sellout critique punches down, fans ought to refocus their attention on calling out the music industry’s manufactured precarity and inequities forcing artists to explore alternative commercial avenues. Lobbying streaming services to pay fairer royalty rates would be a good start. 

“Streaming should cost more than the 10 or 12 bucks a month that we’re paying […] you could probably charge 20 and everyone [consumers] would still do it, just based upon that you would double the amount of money,” Cowan said. He also pointed out the role large record labels have to play in this process. 

“The way in which the major labels agreed to sign their catalogue on Spotify was in exchange for an ownership in the company. And what the major labels negotiated was they agreed to a lower royalty in exchange for a larger percentage of ownership of the company […] they sold out their own artists.”

Public institutions also must be lobbied to commit arts funding to ensure music careers are financially viable and reduce barriers to entry. Scottish indie-pop band Belle and Sebastian are a testament to this kind of institutional power, having formed through a government social welfare program called Beatbox which provides funding and practice spaces to unemployed musicians. 

By directly lobbying streaming services and public bodies to actively improve the conditions artists operate within, fans can target their attention to those who actually hold the power to change things for the better. That is, rather than criticizing so-called “sellouts,” criticize those responsible for denying artists a fair reward for their craft.

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