Latest News

Arts & Entertainment, Film and TV

‘Get Back’ is a time capsule of a pivotal breakup in music history

Warning: Spoilers ahead

Before John Lennon, Paul McCartney, George Harrison, and Ringo Starr were The Beatles, they were The Quarrymen—a happy-go-lucky skiffle group. With Starr joining in 1962, The Quarrymen became The Beatles and catapulted into stardom. They will always be known for bringing some much-needed flair and gaiety to rock and roll in the 1960s. 

In 1966, Lennon, with harmless intentions, declared The Beatles to be “more famous than Jesus,” sparking extensive outrage. Afterwards, The Beatles struggled to regain their rhythm, only performing once before breaking up. The weeks leading up to their final bow in 1969 were taped, and are now viewable as a docuseries. Directed by Peter Jackson, Get Back revives The Beatles’ last weeks together through hours of undisclosed tapings and audio recordings, initially conceived for the band’s 1970 documentary Let it Be, which was released alongside their 12th and final studio album of the same name. This mini-series is lengthy—consisting of three two-and-a-half to three-hour episodes—but enjoyable for any ‘60s to ‘70s era rock fan. The series was released on Disney+ over the course of Nov. 25-27. 

The ultimate difference between Let it Be and Get Back is that the former is a documentary, and the latter is a documentary behind that documentary. The viewer is not watching The Beatles scramble to finish their penultimate album and prepare for their last live show; rather, they are practically with the band in London, sitting in Twickenham (and Apple) Studios, trying to piece together a perfect farewell as if it was their own. Get Back is a fly-on-the-wall experience, intimate and raw. The series is particularly difficult to watch because each artist is so clearly out of sync with one another that an immaculate ending is not feasible—the viewer watches on as The Beatles come to terms with this for themselves. Sandwiched between awkward moments are periods of brief levity, where the boys lounge and laugh while smoking like chimneys. These bits, however, are few and far between. Michael Edward Lindsay-Hogg, director of the Let it Be documentary, does an impeccable job capturing those shots—zooming in on Harrison’s face when his ideas were ignored, or capturing Lennon’s gaze being anywhere except where it should be. But, to fully appreciate these moments, the viewer must be completely engaged at all times; since the sound quality is lacking, some of the most decisive shots are completely silent. Get Back demands dedication and patience from viewers because of the eight-hour runtime. The series could be half as long without losing much substance, and it still would capture the discomfort of a band desperately trying to end on a high note. 

The last hour of the series delights the viewer with footage from The Beatles’ final concert upon the rooftop of Apple Studios in London. The lead-up to the showing was messy, with the last-minute venue choice encapsulating the chaos of The Beatles’ last days together. Despite the organizational hurdles, the concert feels playful and irreverent, which was what made these artists famous in the first place. Lindsay-Hogg’s cinematography is phenomenal, from capturing footage of fans climbing to nearby rooftops, to honing in on McCartney’s eyes lighting up as he performs live for the first time in years. There is something profoundly cathartic, as a Beatles fan, to watch them perform “I’ve Got a Feeling” for the last time. 

It’s no coincidence that Get Back was the album’s working name before it became Let it Be. The docuseries represents the trials and tribulations not only of being in a boy band for nearly a decade, but of realizing that nothing could be done to revive its spirit. The Beatles’ breakup is still widely misunderstood in the media, tainted by false speculation and racist underpinnings of John and Yoko Ono’s relationship. Get Back pulls back the curtain to reveal that no individual or isolated incident, nor problematic bandmate (or partner) alone led to their breakup. The real reason is quite simple: Like most good things, it had to come to an end. 

Sports

Under the influence of beer pong

The aromas of warm beer and sweat fill the air as loud cheers regularly erupt from a corner of the party. People rejoice as one team loses, and another team rushes to play against the winners. The festive and joyful atmosphere is the result of a game of beer-pong—a university classic.

Beer pong, also known as “Beirut,” is a timeless party game. All it requires is plastic cups, ping-pong balls, a table, and an endless supply of beer. The game can easily be played in teams of one, two, or more—friends and strangers alike.

A game of beer-pong is also a great way to meet new people. Whether you cannot aim correctly to save your life or you make your shot every time, you’ll either be congratulated by other drunk newbies or receive some well-needed tips from veterans. 

Just like in other popular games like UNO, players often vehemently disagree about the rules. However, most have a general understanding of its basic tenets: Your shot doesn’t count if your elbow is past the table, and you can ask for the cups to be rearranged during the game. Common disagreements include whether the other team is allowed to blow on the ball to get it out of the cup, how many balls are allowed during a rebuttal, and whether it counts if a ball bounces before it lands in a cup.

Many around campus consider themselves beer pong aficionados and routinely play the game during parties. Marie Delivre, U2 Arts, explained why beer pong is the perfect party activity in an interview with The McGill Tribune.

“For me, beer pong is a must-have for any college party,” said Delivre. “It can fulfill so many aspects of having a good party in a single game. Having a beer pong table is an instant facilitator to make friends or drinking buddies. Anyone can join and play as it is a rather easy game with simple rules.”

Anyone who has attended parties involving beer pong has witnessed how viciously competitive it can become. During these games, where the fate of your honour and pride are vested in the bounce of an orange ping-pong ball, the ups and downs can bring out a lot of emotion. Octavio Gamet, a U2 Arts student, describes himself as one such fierce competitor.

“I love beer pong because it allows me to get drunk while at the same time being able to play a competitive game,” Gamet said in an interview with the Tribune. “When in teams, it creates a group spirit, so we can either win together and scream our heart out when claiming victory, or lose together and get wasted. A single game is such an emotional roller coaster as any ball thrown has an impact on the game.”

Beer pong is a game for all. Everyone has to start somewhere and other players are welcoming to all levels of talent. 

“A lucky beginner can always have a shot at victory, so the game is not exclusive to students who have experience playing,” Delivre said.

The topic of experience brings about the age-old debate of whether beer pong is a game of luck or a game of skill. U1 Engineering student Benjamin* argues that the game takes a bit of both, and that a little alcohol always helps. 

“Beer pong definitely requires skill,” Benjamin said. “I’ve noticed a huge improvement in my games ever since I started playing more, so I’m sure there is a correlation. However, there is also a fair amount of luck involved.” 

But not all success comes down to skill, according to Benjamin.

“The game also needs you to believe in yourself and not be psyched out by the other team. Yet, I’m sure that the biggest impact on performance is not due to skill or luck, but rather due to the amount of alcohol consumed,” he said.

When playing your next game of beer pong, remember that you are participating in one of the greatest traditions of higher education. And whether you attribute your talent to luck or skill, remember to keep your elbows behind the table.

*Benjamin’s name has been changed to preserve his anonymity.

Arts & Entertainment, Film and TV

‘Firebird’ is a stunning, emotionally vulnerable portrait of the cold war

Warning: Spoilers ahead

For over three decades, the ​​image+nation Film Festival has worked to promote local and international queer filmmakers, and this year is no exception. From Nov. 18-28, the festival played a variety of international 2SLGBTQIA+ films at the Centre PHI, including Firebird//, an Estonian film based on Sergey Fetisov’s memoir The Story of Roman, which featured on Nov. 24. This timeless adaptation is a tragic love story with gorgeous cinematography and compelling lead performances.

Set on an air force base in Soviet-occupied Estonia, Firebird tells the story of troubled soldier Sergey (Tom Prior), who falls in love with his superior, Roman (Oleg Zagorodnii), while fending off the romantic advances of his friend Luisa (Diana Pozharskaya). The film follows the young couple as they face a multitude of challenges, including the KGB, lofty career goals, and a plane crash. Tested by time, Roman and Sergey’s five-year love story takes them across the Soviet Union, where they fight for their love without being discovered.

The film’s highlights are grounded in Prior’s performance. Effortlessly conveying a newfound sense of confidence as Sergey distances himself from his military life, Prior delivers a dynamic performance that matures as time passes in the film. His performance is magnificently complemented by Zagorodnii’s; the two have an electric chemistry that pulls the audience in and leaves them emotionally torn by the end. The instantaneous connection between Sergey and Roman is exhilarating to watch and is never diminished—both actors play their characters with the same love and passion from the moment they meet through to the end of the film. 

The film’s cinematography especially stands out. Director of photography Mait Mäekivi takes time to show the beauty of the wartorn Estonian forests throughout the film. Shots linger on subjects and scenery, slowing the film down to allow for a break in dialogue and action. Diverse, changing colour palettes reflect the emotional states of different characters. For example, the lighting grows warmer as Sergey distances himself from his life in the military but darkens when he is pulled back into it during an encounter with an old colleague. The cinematography works in conjunction with Prior’s phenomenal acting to merge character, setting, and time into a visually stunning experience.

The beautiful camera work is complemented by the score and soundtrack. Composer Krzysztof A. Janczak seamlessly integrates the soundtrack into the film to express the intense emotionality of the film. It feels as if the landscapes and score are in perfect harmony, the music corresponding with the changing colour palette and typography. The score is not only emotionally moving but auditorily diverse, making use of a variety of orchestral instruments throughout the film. The constant rotation of instruments perfectly reflects the emotional growth of the characters. The soundtrack adds gags and references that work to alleviate tension and bring a sense of calm or joy to the screen. Firebird may have the best needle-drop of 2021, using “Rasputin” by Boney M. during a scene in the fourth act.

Firebird was an exceptional choice on behalf of the festival—the captivating lead performance and eye-catching cinematography will move audiences. Once again, the image+nation Film Festival has delivered an excellent precedent for international queer cinema.

Arts & Entertainment, Poetry

A modern approach to long-form poetry readings

Content Warning: Mention of suicide

On Nov. 26, Concordia professors Jason Camlot and John Emil Vincent held a reading of their new poetry books, Vlarf and Bitter in the Belly, respectively. Hosted by English literature professor Katherine McLoed at Concordia’s 4th Space, the long-form reading was inspired by literary events held in the 1960s at Concordia—then called Sir George Williams University. At the time, authors would read their entire book in front of an audience, often starting in the late evening and going on into the night. Although not quite as ambitious in duration, the event offered its attendees two hours of poetry without pause. To accommodate a wider audience, the university also broadcasted the readings on Zoom and YouTube

John Emil Vincent is a poet and a professor of creative writing at Concordia University. Bitter in the Belly is his most personal poetry book to date, navigating one of his best friends’ suicide in a way that mixes tragedy with absurdity. The many laughs and gasps of the audience throughout his readings attested to Vincent’s skills as an orator and as a writer. 

When he approached the subject of his best friend’s premature death, the audience’s gaze remained fixed on the stage, captivated by the candour of his words. His poem “Your Essay on Black Box,” titled after an essay written by his friend before his death, is an homage to their friendship.

“There are no expressions the world takes in change until change has passed until the moment relaxes,” Vincent read. “And the world touches its face gingerly.”

Jason Camlot took a different approach than his fellow professor. Poet, English professor, and research chair in literature and sound studies at Concordia, Camlot brought his scholarly research on 19th-century literature into his book Vlarf, a modern approach to the Victorian poetry canon.

Before he started his reading, Camlot asked the audience a question that was on everyone’s mind: What exactly is vlarf?

“Wikipedia explains that vlarf poetry was an avant-garde poetry movement of the early 21st century,” Camlot said. “One of their central methods was to mine the internet with odd search terms, then distill the results into often hilarious and sometimes disturbing poems, plays, and other tasks.”

Inspired by this modernist trend, Camlot uses techniques such as erasure, bout-rimé, and mimesis to reimagine the works of John Stuart Mill, John Ruskin, and other Victorian thinkers.

The work that inspired the cover of Vlarf, and one of the longest poems in the book, is titled “Fudge in Entropy,” a meditative monologue spoken from the voice of a guinea pig, inspired by the works of Robert Browning. The audience laughed as Camlot took on the role of the guinea pig, which narrates its life under the care of its poet-owner. With an absurd tone, the piece explores poetry’s current role in the artistic community. Camlot kept this light-hearted poem for the very end of the event, a perfect conclusion of the two-hour long celebration of poetry. 

“His poems once were too crowded, now that had to stop,” Camlot read in the guinea pig’s voice, followed by chuckles from the audience. “The painter would make it stop. The overcrowding in his poems was not fatal to people, or to other creatures.”

The next poetry event at Concordia’s 4th space will be held on Dec. 1, with readings from poets Caroline Bergvall, Kaie Kellough, and Oana Avasilichioaei.

News, SSMU

Queer McGill, SSMU, and UGE form coalition against proposed Bill 2

Content warning: transphobia

On Jan. 29 of this year, a Quebec Superior Court ruling declared six provisions of the province’s Civil Code unconstitutional and discriminatory against the 2SLGBTQIA+ community. In response to an order by Quebec Superior Court judge Gregory Moore, Justice Minister Simon Jolin-Barrette proposed Bill 2 at the Quebec National Assembly on Oct. 21. Though the bill was intended to revise the Civil Code’s sections on 2SLGBTQIA+ issues in accordance with the Superior Court ruling, Bill 2 has been widely criticized for being regressive and has thus been tabled while awaiting public consultation.

Three McGill groups—the Students’ Society of McGill University (SSMU), Queer McGill, and the Union for Gender Empowerment (UGE)—have formed a coalition under the leadership of Queer McGill’s Trans Working Group to advocate against the bill.

The McGill Coalition Against Bill 2 opposes the distinction between sex and gender on legal documents that Bill 2 would implement, as it will automatically “out” individuals whose gender identity differs from their sex assigned at birth. The coalition also objects to the bill’s proposal to require surgery to change their sex on their birth certificate, because it creates pressures to undergo a sterilizing procedure and assumes that sex defines gender identity. The coalition also protests a section of the bill that would designate a male or female sex to intersex newborns, heightening the risk of surgical intervention on infants.

Arwyn Regimbal, U1 Social Work and a member of the coalition, feels that Bill 2 is a misguided response to the Superior Court ruling that provoked it. 

“Reading the judgement and comparing it to the bill, you can see that there was some intention to negate rights,” Regimbal said in an interview with The McGill Tribune. “[Bill 2] interprets the judgement in such a narrow way that on the surface it technically complies with it but when it comes to the spirit of what is being done, it’s quite regressive and actively harmful.”

Cal Pease, U3 Science and resource coordinator for Queer McGill, explained that the coalition intends to fight Bill 2 through a three-pronged program that raises awareness, provides resources to those affected by it, and demands changes be made. The coalition has also been advocating for a wider condemnation of sections 23, 24, 26, 30, 33, 41, 42, 43, and 247 of the bill, including putting pressure on the McGill administration to issue a statement. 

“We call on McGill to publicly denounce these sections of the bill and [to] take a more active stance against transphobia,” said Pease in an interview with the Tribune. “I think a lot of the advocacy on campus is coming from a grassroot perspective, which is wonderful, but it would be good to have that reflected in the administration as well and [to] have [their] support.”

Yara Coussa, U3 Arts and arts representative to SSMU, echoed Pease’s frustration with McGill’s silence. Coussa believes that McGill’s inaction demonstrates compliance with transphobia.

“No statement, no message of support,” Coussa said in an interview with the Tribune. “Even if [McGill] did not want to be overtly political, they could have sent out a message of support for trans people. That has not been done.”

Despite the absence of a comment on the bill or statement of support from McGill, the coalition is committed to providing resources for the transgender, intersex, non-binary, and other gender-diverse communities on campus. 

“We have been coming up with various resources and putting them together on a website,” Pease said. “Arwyn made a flow chart about changing your name and sex in Quebec for people who are interested in doing that now, in case the bill takes effect. We are also trying to direct people to the resources that already exist on campus like Queer McGill and UGE.”

If you would benefit from support at this challenging time, please note that the following resources are available to assist you:

Trans Lifeline: 877-330-6366

Keep.meSafe (24/7 access to licensed counsellors available to all McGill students.)

Peer Support Centre at McGill

More at McGill Students Against Bill2

Off the Board, Opinion

The price of popularity

In late September, my mom and I were chatting during one of our routine Facetime calls. An avid TV-watcher, she excitedly asked me if I had heard of Squid Game. The show had just come out, and my mom binged the series in a matter of days. As the semester was soon heading into full swing, I brushed off her rave reviews and told myself that I would get to the show eventually. To my surprise, the Netflix Original quickly became a household name. Companies scrambled to photoshop their logos onto screencaps of dalgona as folks on the internet recreated the candy themselves, the same treat that my parents and their classmates would buy from street vendors outside of their elementary schools. If they successfully popped out the shape in the centre of the candy, vendors would reward them with another one for free. My parents shared these stories as my mom made dalgona for us at home. We’d gather around to watch her stir up sugar and a flick of baking soda with a wooden chopstick. The mixture puffed up in our beaten-up dalgona ladle, one of few things we brought over from Korea when my family immigrated. 

Growing up in Canada in the mid-late 2000s, many of my peers didn’t know where South Korea was, or that the country even existed at all. Mentions of East Asia in popular media were few and far between, and what little did exist usually glossed over Korea entirely. As kids got older and their senses of humour more “edgy,” talking about being from Korea did eventually garner some recognition—albeit, often in the form of tired, unfunny comments about North Korean dictators. Nevertheless, I was always proud of my heritage, and I longed for the people around me to see what made my home country so special.

In the last decade, I seem to have gotten what I so badly wished for as a kid—and then some. Korean music, film, and television have recently exploded in popularity, their presence becoming unignorable to unsuspecting Western audiences. Squid Game broke viewership records for Netflix. Although I think the Oscars are an elitist, white-male-infested Hollywood echo chamber, I couldn’t help but hold back tears when Bong Joon-Ho’s Parasite became the first foreign-language film to win Best Picture. Of course, I can’t go without mentioning Korean boy band BTS, who became the first Asian act to win Artist of the Year at the American Music Awards. 

Korean pop music is a gateway to Korean culture for many, and I can see why the genre is booming outside of Korea. For starters, the K-pop industry knows how to make a catchy song. Artistically, K-pop visuals and choreography never fail to be fun and masterfully produced. The rise of K-pop has also brought insufferable “stans” and “Koreaboos,” whose fancam Twitter replies are at best cringe-inducing, and at worst outright disrespectful

The fetishization of Korean idols and culture is also a huge issue in fan communities. Extreme examples include British influencer Oli London, who has undergone 18 surgical procedures to look “more Korean.” London attributes their cosmetic alterations to “loving Korean culture.” They call Jimin of BTS their ultimate idol, and hope that “having his eyes” will “make Jimin proud”—the statement makes me want to gouge my own eyes out. Oli London’s use of the neopronouns “Kor/Ean” may just be a poor excuse for a publicity stunt, but their words still negatively impact Korean people and invalidate trans communities everywhere

Cultural appropriation also lies in the little things. I’ve seen far too many fans of Korean dramas and K-pop call their favourite male celebrities “oppa.” The Korean honorific is used by female-identifying people to refer to older male family members and significant others. It’s a given that both parties should have a close enough relationship with each other and mutually agree on the term’s usage. I can’t imagine that these unspoken rules are fulfilled when referring to performers on a computer screen.

Am I glad that Korean artists, filmmakers, and creatives are getting the international recognition they deserve? Of course. Am I glad that culture vultures and overzealous stans cherry-pick from the Korean experience and act like authorities on a culture they can choose to wear as an accessory? Of course not. Sometimes I wish Korean media never made its way to the spotlight, no matter how deserving it may be. 

Commentary, Opinion

Three verdicts, one unjust reality

Content warning: racism, police violence

In the past several days, three high-profile cases have come to deeply unsatisfying conclusions. Two are American—Kenosha shooter Kyle Rittenhouse was cleared of all charges after he killed two men during a night of unrest following the shooting of Jacob Blake, and the three white men who murdered Ahmaud Arbery, much like a modern-day lynching, were convicted. The other is Canadian, the least known and covered of the three: Pradel Content, a Black man living in Laval won an ethics case against a police officer who shoved him, made racist comments toward him, and then deleted Content’s phone recording of the 2017 incident. Many have raised concerns about Rittenhouse’s proceedings, questioning whether he would have still been found innocent, or even alive, had he been Black. And though Arbery’s mother expressed her relief at the guilty sentence, it, of course, remains unjust that a Black person still cannot move freely through society without fear. The just application of the law cannot save a Black life taken too early. Content’s case reveals an insidious aspect of Canadian anti-Black racism; that is, the constant and unhelpful positive comparison to the United States and the “moderate” bureaucracy that holds onto these cases for years.

The report did not contain a valid reason for why Michael Boutin, the officer who stopped him, would need to check Content’s licence plate. In a statement by the Centre for Research-Action on Race Relations, Content shared that he started recording once he exited his car at a gas station. Noticing that Content was filming him, Boutin proceeded to slap the phone out of his hand, throw him against his car, and handcuff him without informing him of the reason for the arrest. Later reports, including ones that led to the ethics violations, found that Boutin filed a false police report and wrote a ticket that suggested Content was using his phone while driving. During their encounter, Content mentioned he was from Florida, to which Boutin replied that he must be lucky to live in Quebec because in the United States they shoot people “like you.” Since this comment targeted his race, the ethics committee found this to violate their ethics code, amongst five other ethics violations. This comment stings even more considering that George Zimmerman, the man who shot and murdered Trayvon Martin, was acquitted of all charges in Florida. Boutin’s lack of ethical standards reveals the lack of oversight in police systems. It is important to remember that Boutin was not alone at the time—his fellow officer could have easily stopped him. Their choice to stand silent and even erase their actions is in line with Canadian ideals, wherein the propagated culture of politeness and respectability comes at the expense of racialized people and substantive changes to policing. 

It is concerning that Content’s case not only took four years to conclude, but remained relatively unacknowledged beyond local news articles. The ticket Content received was immediately overturned, but this cannot overturn the immense and mostly unchecked power the police wield. Without the gas station footage, these police officers might have continued to roam unaffected; the chances of an ethics board believing a Black man’s word against a police officer’s remains, unfortunately, minimal.. Surely, given the officers’ immediately violent response, far more cases are unreported. At the same time, this should not open up the possibility for cameras to be placed everywhere in public. People should not be surveilled at all times, and the police, who already provide plenty of surveillance in Montreal, must be, at the very least, reformed.

Hearings on Boutin’s possible sanctions are expected to begin next month, meaning now more than ever is the time to speak out and rally against racial profiling and excessive policing. On the municipal level, Canadians should treat politicians, including recently re-elected Mayor Plante, who pander to police with suspicion. If not defunding, ethics, bias, and social responsibility should be considered as important as physical, medical, and shooting certifications at the policing level. Much like Arbery’s case, bare minimum successes of the justice system should not be celebrated as victories.

McGill, News

Suzanne Fortier reflects on McGill’s future and lessons learned from COVID-19

As the Fall 2021 semester and McGill’s bicentennial year comes to a close, the McGill administration has started envisioning plans for the university’s academic, ecological, and structural future. From opening a new Office for Mediation and Reporting, to assessing McGill’s Strategic Equity, Diversity, and Inclusion Plan and the Anti-Black Racism Action Plan, to adapting to a world changed by COVID-19, the administration is beginning to implement several changes. 

McGill principal and vice-chancellor Suzanne Fortier reflected on these changes in a round table interview with campus media on Nov. 24. Fortier feels that updating plans and creating new offices are the first steps toward a more equitable and globally in-tuned university.

“Next calendar year, we are [entering] a third century of our institution, so it is a great time for us to think about the future,” Fortier said. “We celebrate with the full knowledge that not all of our 200 [years of] history were great [….] As we think about our third century, it is also [about] how do we learn from our past.”

Fortier listed reducing the university’s environmental impact and carbon footprint as a key objective in the coming decades, citing McGill’s commitments to reach net-zero by 2040,  switch energy systems from gas and oil to electric, and adopt a decarbonization policy.

“We have a huge problem right now, which is climate change and the planet,” Fortier said. “We need to evolve to be terra sapiens.”

The term “terra sapiens” refers to the evolution of human action toward a more environmentally aware collective consciousness. Some students, however, like Samuel Helguero, 3L and Divest McGill organizer, feel Fortier’s words do not mark a transition to a greener and cleaner campus.

“Suzanne Fortier remains perhaps the most ardent opponent to divestment across all of Canadian universities,” Helguero wrote in an email to The McGill Tribune. “To see her attempt to brand the school as ecological is only ironic.”

Another topic Fortier touched on was the recent letter sent by Christopher Manfredi, McGill provost and vice-principal (Academic), to the Office de consultation publique de Montréal (OCPM), which subsequently published it on their website. In the letter, Manfredi explained that McGill would be open to participating in the investigation of unmarked Indigenous graves at the Royal Vic site. Fortier cautioned that McGill cannot embark on the investigation alone. 

“[McGill] cannot do anything by itself,” Fortier said. “The site does not belong to us, it belongs to the government of Quebec and to the McGill University Health Centre, what people call the Glen [….] It is unlikely that we would find [graves], but we are not totally discrediting the suspicion […], and we will do our work with the technologies that allow you to see if there are unmarked graves.” 

The ongoing COVID-19 pandemic has forced many institutions, such as McGill and large corporations, to reevaluate the way day-to-day affairs are run. A takeaway for McGill’s governing bodies—the Board of Governors and Senate—as Fortier explained, has been to trust in those who have been educated and trained to handle unforeseen situations and events like a global pandemic. 

In an interview with the Tribune, U2 Arts student Mata Bocoum described a lack of engagement with key issues such as climate change and technological advancement on McGill’s campus, and felt that the administration could do more to acknowledge campus organizations that focus on those topics. 

“I am not someone who is very engaged in extracurricular activities […] so maybe that is why I do not see any promotion for making changes with the climate […] or technological innovation,” Bocoum said in an interview with the Tribune. “But, I feel like [clubs] are not promoted enough. [Activist groups] should be a focus for promotion because they are very important in the new era, but they are not talked about enough.”

Editorial, Opinion

Valuing equality over equity stunts science

On Nov. 24, The //National Post//’s Michael Higgins wrote an exclusive article titled “Minority professor denied grants because he hires on merit: ‘People are afraid to think.’” The article documents McGill chemistry professor Patanjali Kambhampati’s refusal to take part in equity, diversity, and inclusion (EDI) hiring practices. Instead, Kambhampati wrote that he would hire the “most qualified people” in the EDI section of his application for a $450,000 grant from the Natural Sciences and Engineering Research Council of Canada (NSERC). In the //Post//’s article, he also decried that EDI and “woke culture” kill innovation, harm science, and disrupt society. Though Kambhampati’s stance on meritocracy is understandable, his choice to tank his own application for media attention speaks volumes about his commitment to science’s progress. While EDI hiring and practices alone are insufficient to dismantle systemic racism in scientific research, they are nonetheless essential; scientific innovation only improves when those at its forefront reflect the diversity of society. 

EDI hiring exists because institutions often filter out those who do not fit the old mould of the scientist archetype, such as women, people of colour, and lower-income individuals. Kambhampati’s racial colour-blindness shows the problem of individuals thinking that they alone can transcend systems of oppression. Institutions, for instance, can still perpetuate systemic racism even without overt racists within them. Valuing merit and skills is not mutually exclusive to EDI: Equitable hiring and practices allow everyone to have a fair shot in academia, not just those who fit individual professors’ subjective and flawed opinions.

Kambhampati spoke up to critique governmental agencies’ increasing implementation of EDI principles. EDI, though, is not some new dangerous revolution––it is about accessibility, which is far more compatible with enhancing current research methods. Kambhampati’s choice shows that he is willing to sacrifice scientific progress in favour of maintaining the status quo. His equality-over-equity approach continues to ostracize historically excluded groups from science. NSERC and the Social Sciences and Humanities Research Council of Canada’s EDI sections ask to proactively, intentionally, and carefully consider science’s blindspots when composing a team. Though Kambhampati commits himself to helping students of all backgrounds, his overwhelming desire to avoid discriminating against white men is suspect when EDI neither attacks them nor stops them from otherwise having myriad societal benefits. As Kambhampati suggests, EDI is not without its problems, like virtue-signalling. But these problems are not enough to dismiss it entirely—and so publicly.

Science does not and cannot exist in a social vacuum: Social issues affect science, and science affects social issues. Consider how science was, on one hand, manipulated to justify racial distinctions, colonialism, and the rigid gender binary, and on the other, the method used to disprove these myths. Consider also the eurocentric grounds for measuring systems like the body mass index (BMI), which has led to inadequate treatment toward people from other parts of the world. Clearly, science research has a cultural problem, one that prioritizes the interests of white, cisgender, straight, non-disabled men. 

It is researchers like Kambhampati who weaponize their “minority professor” identity and their own experiences of racism to rationalize their ideologies at the expense of minorities. Newspapers like the //National Post// and white commentators harp on exceptional cases like Kambhampati to dismiss equity initiatives, foregrounding a single racialized person’s experience to justify anti-woke rhetoric. Though Kambhampati fears self-censorship and “wokeism,” the more salient question is whether untenured faculty, graduate, and undergraduate students of colour could speak out to the same degree as a tenured professor who can arbitrarily sink potential funding.


Science principles itself on objectivity, but subjectively excluding people undermines the scientific method. Without fear, McGill’s Faculty of Science must follow McGill’s equitable hiring practices and stop their professors from stifling equitable science for cultural and academic capital.

McGill, News

McGill changes masking policies amid rise in COVID-19 cases on campus

McGill announced a new masking guideline on Nov. 19 in a university-wide email from the co-chairs of the new Recovery and Operations Resumption Committee (ROR), associate provost (Teaching and Academic Programs) Chris Buddle and deputy provost (Student Life and Learning) Fabrice Labeau. The update stipulates that community members should replace their procedural masks after every four hours of use. The email also included other updates on McGill’s COVID-19 management, such as details on its rapid testing pilot project. 

The masking directive comes in the wake of rising cases on campus—there were 28 confirmed cases between Nov. 7 and Nov. 20—and is in line with the Quebec government’s contact tracing protocols. These protocols dictate that those wearing a fresh mask—i.e., one that has been worn for less than four hours—are considered “low-risk” if exposed to COVID-19 in a classroom. Those wearing a mask for more than four hours when they are exposed in a classroom will be deemed “medium or high risk” and will be required to get a COVID-19 test. 

In an email to The McGill Tribune, Frédérique Mazerolle, a McGill media relations officer, stated that the university is aiming to make this mandate as easy as possible to adhere to.

“Masks are available at the entrance to most buildings on our three campuses,” Mazerolle wrote. “It is important to stress that a number of preventive measures will continue to be in effect for the [Winter 2022] semester. The health and safety of our students and staff is the guiding principle of all of our planning. Our mission is to provide students the safest and best experience possible despite the current global pandemic.”

Despite Mazerolle’s insistence that masks are readily available to all, some, like Nagashree Thovinakere, a graduate student in the Integrated Program in Neuroscience, feel they have to stockpile masks to comply with the new directive. 

“I have access to masks in the lab where I work, but that is not the case elsewhere on campus,” Thovinakere said in an interview with the Tribune. “So what I have been doing is carrying extra masks with me.”

Bridget Griffith, a post-doctoral researcher in the Department of Epidemiology and Biostatistics, stated that the expense of buying masks—when not readily available on campus—adds to the challenge of compliance. Griffith also thought that the policy might be more effective if it drew attention to better mask hygiene and more consistency in wearing masks correctly. 

“Often, I see people not wearing the mask properly, wearing the masks multiple days in a row or storing the mask in their pocket,” Griffith said. “This puts people in situations more risky than they think they are.”

Ashika Jain, a pharmacology graduate student, on the other hand, feels that McGill has done an adequate job in making masks available to the student body. However, Jain mentioned the new requirement is still somewhat challenging to comply with because of the nature of lab work.

“It can be difficult for me [to change my mask every four hours] when I am doing an experiment in particular,” Jain said. “But, since the accessibility for masks has increased, it is feasible.”

Mazerolle explained that McGill’s new masking guideline is just one of many initiatives currently in place at the university—McGill has also begun a rapid COVID-19 testing project in the Trottier Engineering Building Cafeteria.

“The voluntary rapid COVID-19 testing pilot project for asymptomatic people has been used by more than 500 students, faculty, and staff since its launch on November 8th,” Mazerolle wrote. “The initiative is open to any student, faculty or staff member who wishes to be tested. Individuals that have tested positive are directed to get a confirmatory (PCR) test from an authorized testing site and to self-isolate.”

The results of the rapid test arrive within 15-20 minutes. The testing project is set to continue for the rest of the Fall 2021 term.

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