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Science & Technology

Feathered flirtations: Studying courtship song among zebra finches

by Zoe Karkossa on

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Although studying the delicate rhythms of seduction among humans is deeply fascinating to many, some biologists prefer to devote their attention to the courtship rituals of birds. Being highly social animals, numerous species of birds display sophisticated forms of socialization, even “romance”—their bird song being an essential seduction technique. Avian vocal communication is extremely intricate, and it is not just what they sing that counts, but how they sing it.

Birds are of particular interest to behavioural researchers due to their complex social lives and communication habits. Researchers at the Sarah Woolley Lab and Sakata Bird Song Lab published their recent findings on the subtle nuances of bird song at behavioural and computational levels, respectively, in a joint paper in PLOS Computational Biology.

“Because they are one of the few groups of animals that learn their vocalizations in the same way that we learn how to speak, you can make lots of connections [to the human brain],” Woolley said in an interview with The McGill Tribune. “They are also very social birds [….] Zebra finches are socially monogamous, they form these long term pair bonds, they learn to recognize each other [in part] by their vocalizations.”

Birds exhibit an impressive range of vocalizations. A danger warning is communicated with a short shout known as a “call,” whereas mating activity involves longer songs. These songs can be extensive and detailed and are constructed out of shorter phrases called “motifs.”

When male zebra finches are courting, their songs are less variable than they are during solo performances, involving subtle shifts to which the female birds are highly attentive. A motif that is present in both solo and courting versions can show small prosodic changes to pitch and rhythm that affect how females perceive the song.

“Often, when we ask the question of what females are paying attention to, we come at it from the perspective of our human ears,” Woolley said, “So when we listen to songs […] we tend to focus on the things that we are good at quantifying or that we can pick out of songs that we hear, and it is not necessarily the case that that’s what females are paying attention to.”

Female zebra finches have proven to be highly adept at recognizing the particular features of courtship songs. As shown in the paper, their acute perception of very small and fast modulations allow them to identify courtship intent from a single rendition of a motif. However, algorithm modelling of the females’ successful and unsuccessful discrimination has proven to be challenging.

The computational approach in this paper used a bottom-up method, extracting thousands of features directly from the waveforms of the vocalizations. The researchers used specialized software to analyze time-series, which are data points organized by time. Combining a wide variety of analysis methods, this highly-comparative time series analysis (HCTSA) toolbox allowed for the identification of a large quantity of minute modulations that would otherwise be unidentifiable to the human ear.

“Sound is basically a time-series, a series of oscillations, and you feed in the phrase that the bird sings, and the algorithm does thousands of computations,” Sakata said. “We used the toolbox for 5,525 different features from each of the phrases, and after we created this very large data matrix of features, we ran those features through a machine learning algorithm, [….] a bagged decision tree [classifier]. It was able to correctly identify 85 to 86 per cent of the [songs]. That was about the level of performance of the females.”

The effectiveness of the algorithm both in distinguishing courtship songs and predicting the behaviour of the female finches highlights the potential of such bottom-up techniques, wherein human bias is minimized by extracting features directly from the data. Identifying and understanding the features that are important in bird vocalizations is an essential preliminary step toward understanding how they communicate and find love in the modern world.

Soccer, Sports

McGill Men’s Soccer drops tight affair to Laval

by Adam Menikefs on

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The McGill men’s soccer team (0-1-0) opened their Réseau du sport étudiant du Québec (RSEQ) regular season on home turf Sept. 10 against Laval (1-0-0). Despite the enthusiastic crowd, the Redbirds came up short, losing 2–1.

The game began with fast pace and solid movement at the back for the Redbirds. From the opening kickoff, both teams were quite physical, leading to early yellow cards on both sides. Despite a few defensive mistakes on McGill’s part in the first half, rookie goalkeeper Victor Henry made some spectacular saves to ensure the game remained scoreless. 

Third-year midfielder Bouba Ouane, who came in as a substitution in the second half, felt that the team lost their composure in the latter part of the first half as a result of the early mistakes.

“After the first 20 minutes or so, I think the team got a bit nervous with the massive crowd and I felt as if we fell apart somewhat,” Ouane said in an interview with The McGill Tribune.

Third-year midfielder Jake Gerenraich, a veteran on this season’s squad, shared his appreciation for the crowd, but agreed with Ouane that the team may have not been prepared for such a loud atmosphere.

“The crowd was the largest we have had since I have been a part of the program,” Gerenraich said. “It was awesome to see for a home opener; electric. I felt that because of it though, we lost composure as the first half continued.”

Despite the loss of confidence, the Redbirds entered the locker room at halftime tied 0—0 with Laval. The momentum lost late in the first half, though, would come back to hurt the home side when the team returned to the pitch. Laval opened up the scoring two minutes into the second half on a breakaway set up by a through ball that got past the McGill back line. 

Three minutes after the first goal, Laval continued to press, with forward Wassim Chaouki ​scoring on a tap-in in front of the McGill goal. The quick 2–0 lead out of the half completely shifted the momentum to the away side’s favour, digging a deep hole for the home side to climb out of. 

In a sudden turn, however, the momentum shifted back to the Redbirds. In the 58th minute, Gerenraich received a pass off of a free kick and made a spectacular pass into the 18-yard box to fourth-year forward Florian Bettelli, who converted and opened up the scoring for McGill. 

Gerenraich had a sense prior to the set piece that the opportunity for a goal would present itself. 

“Although I would not say set pieces are a strong suit of the team, we have some great free kick-takers and I think the goal showed that,” Gerenraich said. “A similar play happened earlier in the match and I knew the [assist] I made could possibly come again so I felt ready for the chance.”

After the Redbirds cut the lead to one, McGill applied more offensive pressure. This was made even easier just a few minutes later, as Laval defender Vincent Lavigne was sent off with a red card for a dangerous tackle, forcing the away side to play down a man for the remainder of the match.

Despite the advantage and some quality chances, McGill was unable to convert in the final twenty minutes, ending with a final score of 2–1 for Laval.

Ouane felt that they could have had a better opportunity of tying the game if they had tactically adjusted.

“I believe we could have pressed up the pitch more to end the game, especially due to the fact that we were up a man,” Ouane said. “Maybe [we could have] even moved to three at the back to aid the midfield in supporting the strikers.”

McGill men’s soccer plays University Québec à Montréal on Sept. 16. 

Moment of the Game:

Florian Bettelli scored McGill’s first goal of the game, and of the regular season, right inside the penalty box, sending the massive McGill home crowd to their feet. 

Stat Corner:

An extremely physical and heated match resulted in 10 yellow cards and one red card combined for both squads.

Quotable:

“The crowd was the largest we have had since I have been a part of the program. It was awesome to see for a home opener; electric.” — Third-year midfielder Jake Gerengraich

A previous version of this article incorrectly stated that Chris Cinella-Faia was the goalkeeper for this particular game. In fact, Victor Henry played as goalkeeper. The Tribune regrets this error.

Arts & Entertainment, Film and TV, Pop Rhetoric

‘He’s All That’ is a hollow ode to ’90s teen nostalgia

by Signy Harnad on

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As if by mass psychosis, filmmakers have been scrambling to rehash ‘90s movies in all their zany glory. Case in point: He’s All That, a gender-swapped revamp of 1999’s She’s All That. On the surface, the remake has all the trappings of a potential Netflix hit: Lucrative source material that recouped 10 times its budget? Check. The star power of TikTok sensation Addison Rae? Check. Product placement galore? Check. But what comes out of its 91-minute runtime feels ultimately hollow.

The storyline introduces us to beauty influencer Padgett Sawyer (Addison Rae, in a not-quite-surefooted debut) who rises to the occasion of transforming hopeless misanthrope Cameron Kweller (Tanner Buchanan) into Prom King. Kweller’s instant stardom under her wing upps his popularity—of course, by the powers of a makeover. This familiar plot stems directly from the original She’s All That —which, for what it’s worth, was by no means a masterpiece in its own right.

However, this reboot throws the baby out with the bathwater by dropping the original’s endearing weirdness and emotionally layered performances. On the upside, it has occasional moments of charm and now-and-then laughs reminiscent of the original; Matthew Lillard’s awkward dance scene is a highlight. On the downside, the script borders on the mundane, and is too enamored with the power of social media for its own good.

There’s no denying that nods to the cult classic elevate the film’s overall appeal: Rachel Leigh Cook, the lead of the original film, appears as Padgett’s mom, and Sixpence None The Richer’s “Kiss Me” once again plays over the end of the film, this time remixed by Cyn. 

Lynn Kozak, associate professor in McGill’s department of history and classical studies, has thought a lot about remakes—after all, they have been around for millennia. In an interview with The McGill Tribune, Kozak underscored the value of nostalgia in film and television revivals.

“Nostalgia is a very powerful thing,” Kozak said. “The industry wants us to be nostalgic so it can make money off of us [….] There have been plenty of studies by people who have worked on the idea that you have nostalgia in times of uncertainty. You also have nostalgia when there are major cultural shifts.”

Despite the common use of nostalgia as a bankable commercial strategy, Kozak harbours a positive outlook toward remakes and their potential for good. 

“I think about how Ancient Greek tragedians are remixing myth, and [how] you get all these cool innovations in some of the Greek tragedies that never existed before, like Medea, who was never the one to kill her kids until Euripides decided it was,” Kozak said. “So I think that what we are seeing now is in some ways a modern version of that. Taking stories that are familiar but giving them new twists [….] That’s the way culture moves forward.”

Indeed, the best late ‘90s “rom-coms,” many of which were remakes themselves, pack a punch with their masterful blend of reinvention and subversion. The original She’s All That was itself based on an earlier wave of remakes, starting with George Bernard Shaw’s play Pygmalion, which morphed into My Fair Lady, the timeless musical. 1995’s Clueless was a reimagining of Jane Austen’s Emma; 1999’s 10 Things I Hate About You was a riff on Shakespeare’s The Taming of the Shrew; and 1999’s Cruel Intentions offered a new twist on Dangerous Liaisons. But the difference between these Generation-X remakes and He’s All That lies in the freshness of their takes and the superb acting performances.

He’s All That fails to fully deliver on the potential of the remake format—and is ultimately forgettable as a result. While fans of Addison Rae can take solace in knowing that they will see more of the TikTok megastar in future Netflix projects, suffice to say that, try as it might, this nostalgia-chasing flick is not all that.

Arts & Entertainment, Film and TV, Theatre

‘Come from Away’ finds solace in community amid tragedy

by Suzanna Graham on

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Twenty years after the 9/11 terrorist attacks, Apple TV+ has released a film rendition of the 2017 Broadway musical Come from Away.

During the aftermath of the attacks, the U.S. closed its airspace, diverting 238 planes to Canadian airports. 38 of those diverted flights arrived in the small town of Gander, Newfoundland, where they remained for five days, with passengers experiencing confusion and compassion. The musical depicts the Gander townspeople’s efforts to aid the thousands of stranded passengers.

Critically acclaimed stage director Christopher Ashley received his third Tony Award for the musical’s direction, and for good reason: The small 12-person cast and simple staging creates an intimate setting, as each cast member plays multiple local and passenger roles. This emphasizes the feeling of a social bubble while also showing similarities between foreigners and locals. Additionally, the musical’s use of narration to show characters’ internal monologues and to add historical context enhances the feelings of terror and confusion felt by the “plane-people,” the Newfoundland hosts, and ultimately, the audience. 

Aside from its thematic emphasis on finding community after a traumatic experience, the musical also illustrates how the 9/11 attacks promoted a rise of anti-Arabism in the West. During a frustrated internal monologue, an Egyptian passenger (Caesar Samayoa) expresses the increased hostility he feels from others, due to his Middle-Eastern identity. The show focuses on others whose lives were disrupted by the attacks, including a mother frantic to locate her son who was on shift as a firefighter, and a pilot whose co-workers were on the hijacked flights. It is their grief and anxiety that pervade the musical, even as Newfoundlanders bring everyone down to the bar to try to comfort those suffering and divert their attention from the tragic news. 

In the face of such immense loss, the musical’s inclusion of folk music, karaoke, and humour highlight the social bonds forged during the chaos. The music breathes positivity into the story, pushing the narrative toward hope as the characters find friendship and love amid uncertain circumstances. Infusions of staples of Canadian culture, such as Tim Hortons stage props and moose crossings, transform Newfoundland into a bubble away from the chaos within the United States. For the stranded passengers, Newfoundland has become an unlikely refuge.

By transitioning this theatre piece to film, the show both gains a wider following while losing some of the intimate feeling that made live-shows special. Although the initial footage of the audience entering the theatre helps bridge the gap between the in-person versus at-home viewing experience, it also adds a sense of detachment from the show as a whole. Contrasting with its themes of togetherness, Apple TV+’s film version only adds to the feeling of loneliness as the audience experiences both the pandemic and 20th anniversary of 9/11. The final moments of the show bring the audience to 10 years post 9/11, giving the characters and audience time to reflect on how their lives have changed since their stay in Newfoundland. 
Overall, Come from Away is a celebration of resilience during a horrific historical moment. The musical honours incredible connections between neighbours and strangers, while respecting the lives lost and permanently altered by a tragedy whose aftermath continues to resonate today.

McGill, News

McGill tumbles from 40th to 44th in Times Higher Education ranking

by Signy Harnad on

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McGill ranks 44th among the top 1,662 universities in the world, and third in Canada, according to the Times Higher Education (THE) World University Rankings released Sept. 1. This signals a four-spot drop from McGill’s previous 2021 placement.

The London-based ranking organization grounds its ratings in 13 separate performance indicators designed to assess the full range of university activities. The most important categories include quality of teaching, research output, and citations, which the THE weighs at 30 per cent each. The remaining 10 per cent is based on industry income, which measures the commercial impact of an institution’s research and international outlook.

Phil Baty, chief knowledge officer at the THE, noted that the international outlook metric, which reflects the ratio of international to domestic students, cemented McGill’s position among the world’s top 50.

“[McGill] remains one of the world’s most internationally connected universities, with a truly global reach,” Baty said. “Its stand-out score is for international outlook, a university’s ability to draw in international talent, both faculty and students, and its research collaborations with institutions and academics outside Canada.”

Baty explained that when compiling their ranking, the THE analyzed over 80 million citations across more than 13 million research publications this year, including survey responses from 22,000 scholars worldwide. 

Baty attributed McGill’s modest drop in world rankings to growing international competition.

“Specifically, McGill was overtaken this year by a group of European universities, KU Leuven in Belgium, Heidelberg University in Germany, the Federal Institute of Technology in Switzerland, and Paris Sciences and Letters in France,” Baty said. “Often when margins are so tight, and competition is so intensive, a university can still improve and get overtaken by institutions improving more quickly. Rankings are of course a zero-sum game, and the reasons can be subtle.”

McGill placed 16th in law and 24th in the clinical, pre-clinical, and health sciences this year, according to the THE’s global rankings by subject. In an email to The McGill Tribune, Frédérique Mazerolle, McGill’s media relations officer, highlighted the university’s academic legacy in the health sciences, underscoring the latest research that has amplified McGill’s international reputation.

“McGill has a long history of important contributions in health and life sciences […] that continues to this day,” Mazerolle wrote. “From the ground-breaking work our researchers are leading on dementia treatment and care, to leading-edge therapies in cancer care, to the extraordinary efforts across our community over the past 18 months in the effort to combat the ongoing COVID-19 pandemic, the recognition through McGill’s global rating in these areas is a testament to the outstanding people who together form our extraordinary community.”

McGill has also been ranked by other organizations such as Maclean’s Magazine and Quacquarelli Symonds. Although rankings have no impact on McGill’s provincial funding, they have a track record of influencing university admissions, as students often use the rankings to determine their university choices. However, a growing number of students, including U2 Arts student Olivia Candido, have expressed skepticism toward the methodologies used by global ranking systems in recent years.

“It is puzzling to me that nowhere do these [organizations] concern themselves with the public good or meaningful change taken up by the university,” Candido said. “Those are the factors that should be top of mind, but they simply are not built into the infrastructure [of rankings.]”

For Brooklyn Frizzle, U3 Science student and former Students’ Society of McGill University vice-president (VP) of university affairs, the main drawback of university rankings is their failure to reflect the day-to-day experiences of undergraduate students.

“In many ways, university rankings are not representative of student experiences,” Frizzle said. “They are only based on a handful of things, that is to say, publications, research funding, and awards for their staff [….] While important, these factors are not what matters most to the ordinary student, especially not the ordinary undergraduate student.” 

News, SSMU

SSMU University Centre reopens after three-year hiatus

by Laila Mirza on

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After a three-year closure, the Students’ Society of McGill University (SSMU) University Centre, located at 3480 McTavish St., has officially reopened. The University Centre has been a one-stop destination for students to enjoy university life, offering space for clubs and communities to meet as well as operating a student bar. After closing for renovations in 2018, the re-opening was further delayed by the COVID-19 pandemic—so many undergraduate McGill students have never gotten the chance to visit the popular spot until now.

In an email to The McGill Tribune, SSMU President Darshan Daryanani expressed his excitement about the possibility of inviting clubs back into the building. 

“The University Centre is designed to accommodate all the offices, bar and restaurant spaces, student lounges, event spaces, and meeting rooms needed for SSMU’s vast assortment of academic, social, and cultural activities,” Daryanani wrote. 

Daryanani explained that the building’s reopening was continuously delayed due to required renovations, such as replacing the electrical distribution systems and upgrading the alarm system. Given that restorations were under McGill’s jurisdiction, SSMU was unable to speed up the process. 

“This project consisted of the complete replacement of the building’s heating, ventilation, and air conditioning system, which dates back to the opening of the building in 1965,” Daryanani said. “On a brighter note, the renovations will make the building more energy-efficient and more comfortable, in addition to reducing the frequency of system interruptions.”

Miya Dhillon, U2 Arts, expressed her excitement about the University Centre’s reopening.

“I had no idea there was a SSMU University Centre,” Dhillon said. “I don’t know if I have missed out on anything since I never knew that was an option for us. I am excited about the possibility of having a spot on campus where I can go and hang out.” 

Tina Vanslette, U2 Arts, echoed Dhillon’s sentiments about the reopening of the Centre, describing the reopening as a chance to experience student life.

“I have never seen the inside of the SSMU building,” Vanslette said. “I have heard stories about it, especially Gerts, but […] its legacy is in the old Reddit posts about it. One more year of construction and it might have completely missed my graduating class. I’m glad I’ll get to see it.” 

A popular feature of the University Centre is Gerts Campus Bar, a SSMU non-profit operation that hosts events and holds a space for students, faculty, and staff to get together. The bar will be open to students Monday through Friday and open on weekends to those who reserve in advance. In an interview with the Tribune, Nadine Pelaez, Gerts’ Bar manager, said that she is excited to return Gerts back to the McGill community.

“Having a student bar is something most college campuses have to help promote student life,” Pelaez said. “It is a social centre where people can hang out with friends, study, or meet new people. Gerts is supposed to be the low-key student bar that allows students the opportunity to socialize without any pretenses of exclusivity or snobbiness.”

While the bar’s layout has not changed, its concept has; this year’s bar will also feature the new Gerts Café. The café will feature a space where students can buy coffee and food in a relaxed, open environment.  

“I want a place where students can go on campus to get good coffee and food,” Palaez said. “I am not trying to compete with the coffee from the residence halls, but rather compete with popular coffee shops around Montreal.”

Gerts Bar and Cafe will be following all government COVID-19 regulations, including enforcing a 125-person capacity limit and checking vaccine passports at the door. 

A previous version of this article incorrectly stated that the SSMU University Centre was located at 3600 McTavish St. In Fact, the University Centre is located at 3480 McTavish St.

Art, Arts & Entertainment, Music

‘What the Pop!’ booths showcase local talent

by Natalie Co on

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As the August heat faded and the leaves began to curl and drift away, the Montreal arts community said one final goodbye to summer at What the Pop!, a pop-up exhibition run by YES Montreal. The free public exhibition gave dozens of local artists the opportunity to sell their art at Riverside St-Henri. On Aug. 14, 21, and 28, a plethora of local artists showcased their photography, painting, jewelry, dance, and theatre, and Iranian-Canadian singer-songwriter Naghmeh Shafiei performed live on Sept. 4. 

Shafiei’s performance fused folk and rock and interwove Iranian melodies and intonations. With her soulful, emotive voice, and raw, poetic lyrics, Shafiei delivered a moving performance. In that moment, Riverside St-Henri felt transformed, as though there was something special in the air. As the terrace stood sheltered between brightly decorated shipping containers, wooden fences, and the darkening sky, a myriad of voices—each as uniquely beautiful as the last—washed over the crowd. 

In addition to giving artists opportunities to perform, the event allowed them to meet listeners and other local artists in person. Attendees were free to roam the terrace and stop by booths to speak to artists, fostering a greater sense of community and connection. 

“I have friends that I’ve met through social media [and] we’ve become really close, but it’s easy to forget that that real, [in-person] connection is just really what the soul needs,” Shafiei said in an interview with The McGill Tribune.

Shafiei stressed the importance of in-person presence at shows, explaining that many artists become inspired and motivated by their audience. In fact, Shafiei said that What the Pop!, which offers webinars and motivational tools for artists, gave her the motivation to finish writing her poetry book, Somewhat Wiser, Some of the Time. 

Lady Athenae, a three-member metalcore band, also performed at the event. To them, music is a form of catharsis: Mental health takes first priority in their lyrics. Between drummer Chris’ powerful beats, guitarist Sergio’s driving riffs, and lead singer Camille’s enchanting vocals, the band mesmerized the crowd. Suspended in the twilight, these artists shared slivers of magic through their music. 

“Music is like air. It’s life,” Camille said. 
Although What the Pop! is now over, the event’s website offers links to all its artists’ websites and social media, and will soon have a virtual exhibition gallery for its visual artists.

Soccer, Sports

U.S. vs Canada soccer: Takeaways from an enthralling World Cup qualifier

by Dylan Schofield on

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On Sept. 5, the U.S. and Canada faced off in an intense World Cup qualifying match. The previous significant meeting between these two traditional rivals dates back to October 2019, 10 months into Gregg Berhalter’s time as head coach. 

Nearly two years after the U.S’ difficult defeat in Toronto, they suffered yet another disappointment against Canada in Nashville on Sunday, drawing to John Herdman’s outfit in a World Cup qualifier. The result gave the U.S. a rather lacklustre two points through its first two CONCACAF Octagonal matches. 

The game itself was a high-intensity affair, and tensions occasionally rose. The Americans were not outcompeted in Nashville like they were in Toronto—rather, they were outclassed. Canada sat deep in a 5-4-1 low block, content to let the Americans govern possession only to hit them with their breakthrough star winger Alphonso Davies. They executed their game plan superbly, severely limiting the U.S.’ ability to make plays and quickly equalizing the game after Brenden Aaronson put the Americans ahead in the 55th. Davies burned past right back DeAndre Yedlin—a feat not many can boast—to set up striker Cyle Larin for a tap-in during the 62nd minute.

“We’re disappointed with the performance. I think […] the effort was outstanding, but the performance wasn’t up to what we expect,” Berhalter said of the game in a post-match interview. 

This assessment was largely accurate, as Berhalter was all too aware that steely determination alone does not put the ball in the net.   

Statistically, this game was somewhat of an enigma. The U.S. dominated the possession, with 71.6 per cent control of the ball over the 90 minutes. Possession can be a misleading statistic, however, as it is often the productivity on the ball that eventually wins—or draws—games. This was the case for Canada as they earned a vital draw. Although the U.S. had the ball more, the Canadians were able to contain the Americans. Despite having more possession time, the U.S. failed to generate better opportunities than Canada, registering only a 1.66-1.52 edge in expected goals. Expected goals (xG) is a metric that looks at the quality of chances, rather than shots on target. The Canadian team was able to create an essentially identical xG from only 28.4 per cent possession. 

This is extremely encouraging for Canada. Coming off of a loss to Mexico and a draw with Honduras, this victory marks a substantive step in the right direction for Herdmen’s team. They looked enthused on the ball, seemingly outnumbering the American midfielders at times, and created compromising 2-on-1 situations for the American full-backs. 

Davies was yet again mesmerizing in his performance. His speed and power is truly unmatched: Even in his domestic league—the Bundesliga—where he stars for Bayern Munich, he clocked the fastest speed in the league at 22.34 miles per hour (35.95 kilometres per hour). Unfortunately, Davies picked up a worrying injury in the 73rd minute. 

 U.S. soccer fan and U1 Arts student Reza Ali was less than pleased with the draw.

“As a United States fan from Philadelphia, the result was disappointing,” Ali wrote in a message to the Tribune. “We dominated possession but failed to turn that into high quality chances. This is the crux of modern soccer and we fell right into the trap. Hats off to Canada, but I’ll still hold my head high that Philadelphia Union Academy graduate Brenden Aaronson got on the scoresheet for us.” 

Canada’s next game comes against El Salvador. Canada will have to be wary of their speed on counterattack, especially with Davies injured. However, with a performance similar to theirs on Sunday, Canada looks set to contest at the top of the CONCACAF qualifying table for the Qatar World Cup. 

Student Life

The return of Gerts

by Holly Wethey, Student Life Editor on

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Many lower-year McGill students will draw a blank at the name “Gerts.” As a fourth-year student, I’ve only heard stories of the famous bar that’s been closed since 2018. However, with the student bar in the SSMU building reopening on Sept. 14, it’s worth reminiscing about its closure.

Alana Dunlop, Arts Sci ’21, recalled her first drink at Gerts after getting mono in her first year.

“The doctor said [I couldn’t] drink for a month,” Dunlop explained to The McGill Tribune. “A month later, I marked on my calendar that I could drink, […] I knocked on my friend’s door and he was like ‘we can get a beer at Gerts.’ So I had my first drink at Gerts.”

Ksenia Shulyarenko, Management ’20, also shared her first memory at the iconic spot, which involved an over-the-top drink.

“I was doing a scunt for hype week,  [and I had to] order a grenade at Gerts,” Shulyarenko said. “I had no idea what that was [….] Then you had to chug within a minute. It was like five drinks in one.”

The bar, which has been around since 1974, has been closed for only a small portion of its existence. Nadine Pelaez, the bar manager, said the reopening process was difficult.

“All that was left of Gerts, after three years, was the infrastructure,” Pelaez said. “Most of the equipment was broken, but the infrastructure and legacy, the connections we had with suppliers across the city, that’s really all that was left [….] These past nine months have been spent essentially building a business from nothing.”

In reopening the bar, Pelaez had to set up the entire payment system from scratch.

“Usually you start a job, and the debit machine exists, the POS exists,” Pelaez said. “It turns out it is incredibly laborious setting all of that up.” 

Looking around the bar days before its grand return, I was impressed by the massive countertop, the pool table, and the giant shelf filled with liquor––all of which has remained unchanged since the bar closed. Pelaez remembers Gerts being packed at times, but notes that health regulations will change this. 

“It was such a centre for the community, and I want it to continue to be like that,” Pelaez said. “Back in the day, it was a rowdy place [….] The liquor was really pouring here […] And now you have to stay seated at your tables.”

According to Shulyarenko, despite its occasional rowdiness,  Gerts was also a laid-back place to unwind between classes.

“It was very much a […] homey vibe, super non-threatening and relaxed,” Shulyarenko said. “You can also go there during the day to have a study session. Everyone would look at you like you’re insane if you brought your textbooks to any other bar.”

This year, Gerts will also be opening as a cafe, which will allow students to study in between classes. 

Hearing all of these stories, it is baffling to think that so many students missed out on such a central McGill experience.

“I remember fond memories where I went with people I met from [residence],” Dunlop said. “It was a very friendly place where everyone would say ‘hi’ to each other.” 

Although Shulyarenko and Dunlop have graduated, they both plan to return to Gerts when it reopens.

Student Life

Backpacks on the backburner, students take on totes

by Juliette Henderson on

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On campus, students sit on benches, sifting through their totes in search of a pen or pencil, grasping into the small abyss of the bag. As the backpack fades to the background, many students have opted to stylize their school outfits with something more unique—the tote bag. Different styles appear among the crowd: A canvas tote with hand drawn artwork, thick leather designer bags, or the classic Longchamp adhered with its nifty zipper. As the trend makes its rise, one wonders why students prefer them to backpacks and whether this trend is sustainable in the long run.  

For Sasha Dodson, U1 Arts, tote bags are a fashion-forward alternative to the out-of-date backpack.

“I found it a bit more convenient and less pretentious,” Dodson said. “I think they are more spacious than hand bags or purses that kind of date you.”

Many students appreciate not only the accessibility of a smaller bag, but also the chance to elevate their look without appearing too formal. Others, like U0 Arts student Kyra Odell, jumped on the trend because of the fashionable element that comes with sporting a tote bag.

“I see everyone having tote bags and I feel like it’s both convenient and stylish,” Odell said. 

Alongside the ability to express oneself with a functional bag, the need for a backpack seems to be dissipating. As more students transition to taking notes on their electronic devices, traditional classroom supplies like binders, notebooks, or even a pen are no longer essential, rendering the bulky backpack defunct. Those returning to campus can use this opportunity to rebrand their look, with some students even painting their own designs.  

While talking to McGill students about the objects in their bags, most carried the same four or five objects: Computer, wallet, notebook, pen, and water bottle. Having less of a requirement to bring classic school items like notebooks and pencil cases, students have extra space to store crystals, shoehorns, or even reusable cutlery.

Carrying a tote is not all it seems, however. Many find themselves struggling with disorganization, unpredictable weather, and discomfort. “The rain is a concern,” Sarah Fahmy, U1 Science said. Fahmy’s classic canvas bag often soaks through on rainy days, damaging her computer and dampening her notebooks.

Fahmy’s friend, Mara Lupesco, U1 Arts, also noted the tote’s occasional lack of functionality. 

“Things seem to just be banging together in there,” Lupesco said. “I think I’m going to switch back to backpacks.” 

Though the trend has made a mark with a new wave of stylish university students, the reliance on a flimsy bag does not always seem to do the trick. 

With all of its benefits as well as downsides, the tote ultimately allows students to play around with their personal style in a subtle way, transforming themselves from the classic university student to the artsy kid with a hand-printed tote, or the elegant scholar with their suede leather dagne dover. As the world migrates to a more online lifestyle, sometimes the itch for personal style overtakes the functionality of the classic backpack. Despite this, the impracticalities of the tote make one question whether this McGill student favourite is here to stay.

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