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Off the Board, Opinion

What is an “internship?”

by Dylan Adamson on

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For me, and hopefully for many other McGill students, this academic year is all about honesty. School is difficult; let’s talk about it. I’m saying goodbye to “everything’s fine.” No more plastering a fake smile over my insecurities. I’m done with pretending. This year is about finding strength in vulnerability, which is why I’m taking this space to voice a question that I know a lot of us struggle with: What is an “internship?”

This is my fourth year asking people at OAP how their summers were, and, frankly, I’m sick of it. I’m tired. What is an “internship?” What does that word mean? I’ve watched as my friends are forced to smile politely and nod along when the word is dropped in conversation. I’ve seen those same “friends” come back the following year with tales of their own “internship(s? is there more than one?)” It’s infuriating, but more than anything, it’s just sad. Everyone is too afraid to admit that they don’t know something, and it creates a culture of silence. If I have to be the one to fall on this sword, so be it.

One of my longest-standing hypotheses was that “internship” refers to a kind of water vessel, or perhaps a ticket to board one. Maybe one summer, when it was my ‘tern,’ I would get my own “internship,” or perhaps a ticket for the singular “internship” that we all go on together, or on some sort of timeshare arrangement. “Internship.” In turn, you get a ship. In-tern-ship. Corroborating this theory is that an “internship” is usually something that happens in the summer. Summer can be very hot because of the sun, and, when it is hot outside, it is good to be near or even in water—where boats often are.

As a lacklustre swimmer, I found this watercraft hypothesis disheartening, but the evidence seemed overwhelming. I convinced myself that I needed a ticket to board the S.S. Internship. I was desperate, as I’m sure we’ve all felt at times. Though deep down, we might know that everyone is going through the same thing, it’s isolating to suffer in silence. Getting that boarding pass became my number one priority.

I started skipping class to read nautical fiction, scouring seafaring novels for any breadcrumbs related to my search. When I did go to campus, I wore an old-timey children’s sailor costume. I showed anyone who would give me the time of day photoshopped images of myself piloting pedal boats, ski-doos, and catamarans. I bought a pair of Sperry’s boat shoes. I didn’t want to wait my tern. I wanted in on the ship, and I was sure that if I could only alert the secretive Internship Marine Society to my impressive, fabricated maritime credentials, they would have no choice but to induct me into their ranks. I was misguided in those days, but dammit, I had drive.

Of course, I wouldn’t be writing this if those dreams had panned out. I would be on the prow of the Internship, sea salt spraying in my face as I gazed out toward the boundless blue expanse of the Pacific. But trying to fit in is exhausting. I had compiled an encyclopedic knowledge of 19th century British naval lore, along with dozens of photo albums of poorly photoshopped images of myself on water vehicles, but no one had invited me to any secret societies.

My quest to fit in will sound familiar to many of you. But please, take solace in the knowledge that you’re not alone. No one knows what an “internship” is. It’s a round of balderdash that we all silently accept as fact. But not me. Not anymore. This year, I am hanging up my child-sized sailor costume for good and living my truth.

Basketball, Sports

Duke basketball visits Montreal

by Gabe Nisker on

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Pregame

When asked what he was anticipating in Montreal, Duke Head Coach Mike Krzyzewski didn’t mince words.

“I’m looking forward to beating McGill,” Krzyzewski said. “That’s first. Do you want a list?”

The Duke Canada tour—the Blue Devils’ three-game pre-season trip to two iconic Canadian cities in August—was off to a wonderful start for Krzyzewski’s squad. After two victories against Ryerson University and the University of Toronto, the team had finished their business in Toronto. Their next stop was Montreal for an Aug. 19 date with the McGill Redmen.

In addition to the game itself, the team was thrilled to have the chance to visit Montreal.

“It’s one of those cities where you hear about it a lot, but I mean I’ve just never been,” Duke star freshman Zion Williamson said. “I’m very excited.”

Practice

The Blue Devils arrived to much fanfare. With a practice at Love Competition Hall scheduled for Aug. 18, the day before the game, the Blue Devils put on a show for the city of Montreal and McGill students. The team ran drills while Krzyzewski and Associate Head Coach Jon Scheyer spoke to the packed house and explained what was going on.

Gameday

For the three Canadian teams, taking on the NCAA heavyweight was a chance to tout the strength of their own programs to the world. Ryerson kept the final margin within 20; University of Toronto showed some shotmaking ability. Finally, came McGill’s turn, and when the 3 p.m. tip-off rolled around, it was immediately apparent that fifth-year point guard Alex Paquin came to play. The American University transfer scored half of McGill’s points, showing off his arsenal of dribble moves and knocking down long jump shots. Out of McGill’s 58 points, Paquin put up 29.

“Ever since I knew we were playing Duke, I got my butt in the gym and I worked really, really hard this summer because I knew it was coming,” Paquin said in an interview posted to the McGill Athletics and Recreation’s Facebook page. “I wanted to really show everyone that I could do it.”

But, ultimately, the Duke Canada tour was still all about Duke, led by the powerful freshmen duo of Williamson and Ontario native R.J. Barrett. Over 10,000 basketball fans piled into Laval’s Place Bell to watch the two NBA prospects’ electrifying performance. Barrett put 20 points on the board—including two in the dunk pictured above—and added 10 assists. Williamson, too, was phenomenal: He scored a game-high 36 points and grabbed 13 rebounds. The pair teamed up for plenty of highlight-reel moments, like a third-quarter alley-oop.

“It’s great when you’re able to get the ball, and you’re wide open, and you see the crowd standing on their feet,” Williamson said. “To describe that feeling, you would have to actually be in that situation. The ball is in your hands with thousands of people watching you, and they’re just waiting to see what you’re going to do. It’s a very thrilling moment.”

Chemistry

Teamwork was on full display in each of the three contests of the tour; so, it came as a surprise that it was the freshmen’s first slate of games together. Barrett showed particular prowess—and enjoyment—in sharing the ball.

“When my teammates score, I’m very happy for them,” Barrett told reporters after Duke’s 96-60 win against Toronto. “If I throw a lob to Zion (Williamson), that’s the most fun time of the game. I really like for everyone to do well and be successful.”

Williamson, meanwhile, noted the special connection he and Barrett share.

“Me and R.J. have really good chemistry,” Williamson said on Aug. 15 in Toronto. “We were roommates over the summer, so we developed a very good brotherly bond. Me and him have a connection on the court that [allows us to] both know what we’re about to do with the ball.”

Wrap-up

Duke dominated their three affairs up north, concluding their tour with a 103-58 win over the Redmen. However, there was plenty to be proud of for Canadian basketball: A strong effort, raucous, sold-out crowds for all three games, and R.J. Barrett himself. The future is bright for Canadian basketball.

“As good as we thought we’d feel about the whole experience, it’s exponentially better,” Krzyzewski said. “Thank you for that. The three coaches and their teams, they were fabulous in preparing and testing us.”

After the tour, Duke returned to Durham, North Carolina to prepare for the upcoming season, which begins on Nov. 6 with a game against the Kentucky Wildcats. As for McGill, the Redmen will look to top the RSEQ conference once more—a tough task that will start with their Nov. 8 game against the Université du Québec à Montréal Citadins.

 

 

 

 

Art, Arts & Entertainment

Posters, drugs & rock n’ roll

by Keira Seidenberg on

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Professor and curator Marc H. Choko’s exhibition, Nonconforming Poster Designers, displayed at the University of Quebec in Montreal (UQÀM) Center of Design, is a psychedelic trip without the kool-aid. The show explores the work of two classically trained designers, Elzo Durt and Sebastien Lépine, and their experimental techniques and kaleidoscopic visual effects. Durt and Lépine disregard traditional boundaries of line, form, and color in a series of silk screen printed posters reminiscent of a visual hybrid, somewhere between the Merry Prankster’s day-glo bus paintings, and the meticulous detailing of a 17th century woodcut engraving.

The exhibition is a product of curator Choko’s long-time passion for collecting posters, and focuses on the inability to perfectly reproduce a poster. While printed graphics denote endless print copies of a given image, Durt and Lépine state that they belong to a movement of poster artists that perform their own printing, rather than outsourcing, resulting in a more intimate process and limited supply of silkscreen copies. Fitting with the exhibition’s emphasis on ‘non conformity’, where reproducibility suggests common consumption, the finite supply of prints and their unique visual quality ensure that Durt and Lépine do not produce work to fulfill a commercial quota, but rather, for the sake of making art. The show highlights the intersection of visual and musical worlds; Durt and Lépine build on the motifs of past decades and the pre-existing graphics of production companies and bands in a way that integrates the past and present, the original and the reproduced.

Durt’s oeuvre employs an unconventional approach to collage work, using various ‘borrowings’, which include references to counterculture movements such as the sexual revolution and summer of love, popular culture, and borrowed imagery to inform a body of work that is both psychologically and visually engaging. Beyond their aesthetic appeal, his works function as graphic narratives, with their seemingly endless arrangement of patterns, images of loose body-parts, and juxtaposition of the organic and man-made. Durt’s work, which generally takes the form of music festival posters, album covers, and logo design for various companies, is internationally recognized, and can be seen in the vacant, yet alluring, gaze of the woman on La Femme’s Psycho Tropical Berlin, or in a skateboard design collaboration with Belgium-based company, Antiz. Durt’s designs are simultaneously comical and abject—in one print Adam and Eve-like figures consume eyeballs from the tree of life, in another classical Greek women have televisions for heads.  

In the same way that contemporary and historical artists, such as Rembrandt or Van Gogh, use under-paintings, or careful layers of color to build a rich and textured surface, Sebastien Lépine’s designs are often layered, performed for what he describes as “a quest for depth”. While this means that some elements are obscured, Lépine’s unique technique allows him to establish a feeling of narrative through process, suggesting the passing of time or a multiplicity of experiences within a single frame. Lépine uses his posters to combine his passions for music and art, reworking album covers and the graphic designs associated with bands such as Beach House, Father John Misty, and Cigarettes After Sex.

In a contemporary culture that is increasingly informed by the past—whether through high waisted jeans and white sneakers, or the recent resurgence of vinyl—Durt and Lépine revive elements of classic psychedelic design and music in a way that pulls you to the past and back again with your favorite indie classics made new.

 

Nonconforming Poster Designers is located in the UQAM Center of Design and will remain free and open to the public until Sept. 23.

Science & Technology

AI For Social Good: Addressing the need for women in tech

by Jiawen Wang on

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In an effort to increase gender diversity in the field of artificial intelligence (AI), the second annual AI For Social Good Lab initiative launched on May 14 in Montreal. The program gave 30 undergraduate women from across Canada the opportunity to use artificial intelligence to address a social issue of their choice. Currently, fewer than 25 per cent of all employees in the tech industry are women, with women making up less than 5 per cent of tech startups owners.

The six-week lab, which was held, in part, at McGill University, was initiated by the OSMO Foundation, McGill’s Reasoning and Learning Lab (RLLAB), and the Montreal Institute for Learning Algorithms (MILA) and co-organized with DeepMind. After two weeks of lectures, an open hackathon, and a week of industry workshops, the participants presented a total of eight projects at the AIForGood closing event on June 21 at the Notman House before a crowd of students, sponsors, and other assorted AI enthusiasts.

The projects included a variety of web, Android, and iOS apps. While participants could choose to address any social issue close to their hearts, many of the projects tied into the program’s theme of inclusivity. The MoodMap team presented their live emotion-recognition system as a useful tool for those with emotional blindness, or those who struggle to understand emotional cues because of conditions such as Autism Spectrum Disorder (ASD), PTSD, and brain trauma. An audience favourite, Biasly, flags implicit gender bias in outgoing text messages.

Summer Lab Diversity Coordinator Jihane Lamouri believes that having a variety of perspectives, as the program encourages, is crucial to the development of AI: If a society is biased, so, too, are its machines. At the Lab’s closing event, Lamouri referenced the alleged sexism that machine translation services like Google Translate or Microsoft’s Bing Translator exhibit. When translating phrases from gender-neutral languages like Finnish or Turkish, machine translators may assign gender pronouns illustrative of a gender bias to the English translation. Users have complained that in the hands of a machine translator the phrase “they are engineer” becomes “he is an engineer,” whereas the phrase “they are a nurse” becomes “she is a nurse.” Lamouri hopes that having more women in the industry will lead to the identification of gender bias in AI.

Marin Ito and Wan-Chun Su, U3 and U2 McGill students in Computer Science, were part of the team behind AEyeAlliance, a Braille-to-English text converter. Their aim was to provide an AI tool that could help make translation services more inclusive.

“[We wanted] an app where [anyone] can take a picture of Braille and get an instant translation,” Ito said during her closing event pitch.

The project was inspired by Ito’s experience as an international student cooking with her host mother, who was blind and used Braille to label her kitchen supplies.

“Currently, our model is able to recognize and convert not only Braille letters, but also words, sentences, numbers and symbols into English text, ” Su said in an interview with The McGill Tribune. “If time permits, we want to implement a [functionality] that will convert Braille into other languages as well.”

Many of the participants appreciated being surrounded by other women, who are underrepresented in the tech industry.  

“I feel so welcomed by all these women,” Chloe Xueqi Wang,  U3 Science, said.

Many of the organizers, including Doina Precup, associate professor in the School of Computer Science, hoped that the Lab would help bolster inclusivity in AI over time.

“All of us in AI, or science more generally, recognize that we should do a lot of work to increase diversity in our field,” Precup said. “It’s not just good for society, it’s also good for our discipline  […and] our research. This is a first step, but we hope that there will be a voyage in machine learning for everyone here.”

Other projects from AIForGood: ShouldIEatThis?, BSafe, EnergyForGood, MR_AI

Album Reviews, Arts & Entertainment, Music

High as Hope reveals a grown-up Florence

by Caitlin Kindig on

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Eccentric, electric, and extraordinary, Florence Welch and her devoted Machine defied conventions with their June 29 release of High as Hope. The band’s fourth album reveals a seasoned, contemplative Welch who explains her past traumas in music for the first time.

Florence + The Machine’s first three albums, Lungs, Ceremonials, and How Big, How Blue, How Beautiful are grandiose and full, whereas the band’s recent release is more subdued and mature. High as Hope also details Welch’s struggles with alcoholism and an eating disorder, among other illnesses and self-destructive behaviours. The tracks trace the process of overcoming such hurdles in a way that the band’s music never has, transcending the simple statement of her issues. Welch tells these stories slowly and deliberately—for they are ones of vulnerability and remorse.

The band’s first High as Hope release, “Sky Full of Song,” is mundane, repetitive, and saw little to no Machine, setting the scene for what would be a calmer and slower record. The song is meant to convey the feeling of wanting someone to bring you back to Earth when you’ve engrossed yourself in doing what you love. The recording includes limited accompaniment, with faint drums and guitar to support Welch’s voice. This creative choice fails to excite, and the song is particularly underwhelming, contrasting with the rest of Florence + The Machine’s music entirely.

Reminiscent of the “old Florence,” the powerful love song “Big God,” tells the story of Welch trying to find self-worth when ignored by her lover..’ An ominous piano boldly announces the beginning of the song, and Welch’s vocals communicate frustration and despair at the void left in her soul when she was ghosted. The lyrics, “Sometimes I think it’s gettin’ better / And then it gets much worse / Is it just part of the process? / Well, Jesus Christ, it hurts” convey her frustration at the trials of modern dating. The accompanying music video for “Big God” also sheds light on the might of female empowerment: Featuring cloaked, witch-like women who support Welch through each emotional blow she experiences.

Prior to High as Hope, Florence and the members of The Machine recorded and performed in a balanced marriage of lyric and instrument. However, the new album is more about Florence and less about The Machine, as it clearly emphasizes Welch’s vocals. Nevertheless, this aspect of the album works in tandem with its purpose: A reflective and introspective look at Welch’s past and present. Without the bold instrumentals that set Florence + The Machine’s work apart from other artists, listeners can fully absorb the meaning behind her enchantingly-honest lyrics. High as Hope is most definitely worth a listen, even if to witness the profound growth of the band and get a taste of what might come next.

★★★★

Album Reviews, Arts & Entertainment, Private

The Now Now marks the end of an era

by Sophie Brzozowski on

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The Now Now dropped on June 29, a little over a year after the 2017 release of Humanz—a genre-defying, guest star-studded smorgasbord of an album. The Now Now features only three musical cameos, choosing instead to privilege Damon Albarn’s voice, revealing an interiority previously unexplored on Gorillaz albums. In “Fire Flies,” Albarn sifts through meditations on isolation and regret against a moody, bass-heavy melody. “And if you say goodbye too many times,” he sings mournfully, “The sentinels will find me and switch me off this time.” The result is uncharacteristically poignant and mature.

Other successes include “Humility,” which was released on May 31 as a single and features none other than jazz-guitar aficionado George Benson. The tune is summer-y and bright, the lyrics wistful and earnest. “I need you in the picture / that’s why I’m calling you,” Albarn sings simply.

If the The Now Now was Albarn’s attempt at producing a more mature, thoughtful album, then, for all intents and purposes, he succeeded. Were it any other band, the record would be an exemplary addition to their discography—a fine piece of work, but ultimately forgettable. There’s just something so disheartening about the fact that Gorillaz feels the need to grow up at all.

2018 marks twenty years since Albarn first assumed the role of the plucky, animated guitarist that would come to rock the world senseless with his noisy, raunchy, eclectic sound. It’s also the year that Damon Albarn turned fifty. At its peak, Gorillaz was a force to be reckoned with, and we should remember them that way. After all, it’s hard to be a renegade and stay timeless.

★★★

Out on the Town, Student Life

The best of the fests: A guide to Montreal’s summer festivals

by Mary Keith on

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While Montreal isn’t famous for beaching, hiking, or other traditional aestival activities, visitors and locals alike enjoy its diverse offering of entertainment events every summer. Because many students leave Montreal during this season, it can be easy for them to overlook the unique experiences the city has to offer.

If you’re a music festival junkie…

Île Soniq, an Electronic Dance Music exhibit held at Parc Jean Drapeau Aug. 10 and 11, is a go-to for EDM fanatics and dabblers alike. Fans of Diplo and the Chainsmokers will want to purchase their passes soon so that they don’t miss out on their shows, or any of the countless other amazing slated acts. Île Soniq is also known for the activities on offer at the venue. This year, attendees will be able to enjoy lounge areas and giant games of jenga, along with body painting and jewelry making at the venue.

Closing out the summer is new kid on the block Mile Ex End Montreal, an indie music and comedy festival held during the first two weekends of September. Since the first edition held in summer 2017, the event has attracted visitors to the emerging Mile Ex neighborhood and provided a platform for local artists. With performers from Broken Social Scene to Pup, this festival is the perfect way to start off the new school year.

B-list artists who come to Montreal’s summer festivals end up becoming famous years later, making it the perfect opportunity to see an artist in a more intimate setting. For instance, in 2015, a largely unknown Post Malone performed at Montreal’s  MURAL Fest. Now, he’s touring the world’s stages from Germany to the United States.

If you want to become more cultured…

Montreal’s festivals aren’t just for music fans—they cater to the other arts as well. The 22nd annual Fantasia International Film Festival takes place at Montreal Fantasia until Aug. 5. This festival is renowned in North America and explores multiple genres of film. Additionally, the event stages a prestigious cinematic competition for nominees in categories such as animation, short film, and romance. Pick your favourites and cheer them on—they just might be leaving with one of the exceptional awards!

Theatre enthusiasts can check out Shakespeare in the Park, running until Aug. 8 in parks throughout the city. This year, the festival is modernizing the Bard’s dramatic canon by representing the titular characters of Romeo and Juliet, as a same-sex couple.

For photography lovers, the World Press Photo Exhibits will be held at Marché Bonsecours from Aug. 29 to Sept. 30. Every year, top photographers from all over the world showcase their work in this incredible display.

If you want to experience Montreal’s alternative festivals…

Some of the city’s festivals just aren’t able to fit into any of the typical categories—they are so unique that they form their own category of summertime entertainment. Foodies should check out the Food Truck Festival at the Olympic Stadium on Aug. 3, Sept. 7, and Oct. 5. Popular trucks include popsicle truck Pop Arts, tartare truck Route 27, and Le Cheese Truck, which serves cheese-based comfort foods.

For those who missed Canada Day’s spectacular fireworks shows, it’s easy to get a fill of pyrotechnics with the International Fireworks Festival, every Wednesday and Saturday until Aug. 8. The fireworks, launched over LaRonde, are part of a competition between companies from around the world, designed to showcase their country’s advancements in innovation and technology. People typically gather in Old Montreal or around the Jacques-Cartier bridge to view the show.

Montreal Pride is one of the most widely-attended summertime activities in the city—and with reason. From Aug. 9 to 19 head to the Gay Village to celebrate pride with countless parades and parties.

Student Life, The Viewpoint

Viewpoint: Spontaneous travel plans pay off

by Hamza Khalid on

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Though changing a train destination may not seem risky to many, it was a monumental leap for an MBA student. Putting my carefully-organized travel plans in jeopardy, I decided to travel across the northern  Japan to see the Japanese cherry blossom season in its final days. In the process, I learned how spontaneous decisions can yield extraordinary experiences.

I travelled to Tokyo as part of my MBA study abroad program for two weeks in mid-April. The official trip concluded at the end of April, after which most of my classmates flew back home. I, however, chose to extend my trip and planned to backpack across Japan for nine more days. Before coming to Japan, I was most excited about seeing the famous cherry blossom, or sakura, season. Just seeing pictures of Tokyo blanketed in pink and white trees online electrified me. The sakura season is fleeting in nature: Just a week after a tree reaches full bloom, all of its leaves fall off.

To my disappointment, this year the sakura season had started earlier than expected and had ended by the time I reached Tokyo. Locals told me that the sakura were already in their dying days in the north and that I should instead go south. Sakura season had officially ended in the southern region, but the majority of Japanese tourist destinations, such as Kyoto, Osaka, Hiroshima, and Nagasaki, are in the south, where I would have more of Japan to explore than in the north. Yet, half an hour before my bullet train was scheduled to leave for Kyoto, I asked a woman at a tourist information desk if it was still possible to see the elusive cherry blossoms. She directed me to a northern city called Hakodate, where sakura were in the end of bloom. If I could reach the town that day, there was a slim chance that I could see the cherry trees flower. She told me that going to Hakodate was risky and might spoil my trip as the next two days of forecasted rain meant that the odds were not on my side.

It’s funny that she mentioned risk, I thought to myself. I studied risk mitigation in a business course during my first semester at McGill, where I learned how to avoid uncertainty and to make calculated decisions instead. My brain was telling me to walk back to the line for the Kyoto-bound train and enjoy the well-planned trip ahead. But, my heart had fallen for that slim chance to see sakura in full bloom. Foregoing my business school teachings, I hastily decided to travel 850 km in the opposite direction from Kyoto and boarded a train to Hakodate.

What started as a reckless decision to travel to an unknown city turned into one of the best decisions that I have ever made. The next two days were like a beautiful dream laced with pink and white cherry blossom trees. Despite the predicted storms, the weather in Hakodate was calm. Since the sakura were in their final days, an occasional gust of wind would make hundreds of petals fall and scatter in the air, as if someone had blown pink glitter all over the landscape. I realized on the first night that one day in Hakodate wasn’t enough, so I decided to stay until the next evening, taking the last train back to Tokyo.

On my return trip, I reflected on the events of the past two days. All of the most gratifying memories I had made during this adventure were born out of spontaneity—and so, too, were some of the most influential choices I made throughout my life. Leaving a well-paid job in Pakistan and coming thousands of miles to study at McGill were also bold choices I had made—but, without them, I would never have broken away from the shackles of my comfort zone.

In life, taking the plunge into the unknown can provide unforeseeable rewards. As students at McGill, we have countless opportunities to venture outside of our comfort zones. In my case, doing so encouraged me to understand the value in taking risks.  

 

Soccer, Sports

2018 World Cup final preview

by Miya Keilin on

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The 2018 World Cup draws to a close on Sunday, July 15 in Moscow, where France and Croatia will meet to decide a winner. From Spain’s last-minute firing of head coach Julen Lopetegui to Twitter’s #NeymarChallenge—named after the Brazilian superstar Neymar, who exhibited a propensity for faking excruciating pain to draw fouls and bookings–this year’s competition provided fans with plenty of drama both on and off the field. Early exits for Germany and Spain stunned viewers worldwide and opened up the knockout stage to less-experienced nations. In fact, Mexican fans were so excited about their country’s 1-0 upset over Germany in the group stage that earthquake sensors registered two tremors in Mexico City. In more serious business,  VAR (Video Assistant Referee) assisted game officials for the first time in the World Cup in a controversial attempt to minimize costly mistakes that could unfairly end a team’s tournament.

As for the finalists, France are the favourites. As expected, the team was undefeated in the group stage, but lacked gusto and finished atop a weak Group C with two close wins and a draw. Still, they arose from their slumber in the knockout stage: In a thrilling, seven-goal Round of 16 match, they knocked Lionel Messi and Argentina out of the tournament. The French defence then settled in for the quarterfinals to take down Uruguay 2-0, and handled the world-class talents of Eden Hazard and Romelu Lukaku to top Belgium in the semi-final.

Les Bleus have only won the World Cup once before, when they defeated reigning champions Brazil in the 1998 World Cup hosted on French soil. Their only other finals appearance came in 2006, when they lost on penalties to Italy. Meanwhile, Sunday will be Croatia’s first-ever final. They placed third in the 1998 World Cup after falling to France in the semifinals, but they had not advanced beyond the group stages again until this year.

This year, the Croatians dominated in the group stage and joined Uruguay and Belgium as the only teams to win all three group stage matches. In the Round of 16, Denmark took them to penalties, but Croatia snagged the win. They were blessed with a quarterfinal matchup against Russia after the hosts pulled off one of the biggest upsets in World Cup history over Spain. Denis Cheryshev and his teammates gave Croatia a run for their money, but Croatia was again victorious in penalties.

Croatia, led by the midfield duo of Luka Modrić and Ivan Rakitić, have earned their spot in the 2018 World Cup final with solid defence, creative attacking play, and unrelenting effort—evidenced by their three extra-time victories. Although the late stages of those matches pushed them to their limit, they still outworked the opposition. The 90 total extra minutes could cost them, however, against a French squad that likes to work their opponents to exhaustion. Despite claims that France’s play against Belgium was “anti-football,” the French have displayed some brilliant soccer in the competition thus far—courtesy of a balanced and dynamic lineup led by teenage superstar Kylian Mbappé. 

Given France’s depth and Croatia’s fatigue, Deschamps’ side will edge out the Croatian underdogs for their second World Cup title exactly twenty years after their first. That said, both teams are well-deserving of their spots in this year’s final, and they will surely deliver a satisfying conclusion to what has been a riveting tournament.

Arts & Entertainment, Music

Beyoncé and Jay-Z upstage the ‘Mona Lisa’ in ‘Apeshit’

by Nicholas Raffoul on

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On June 16, Beyoncé and Jay-Z released their surprise joint album, Everything is Love. That same day, they shared the music video for the the album’s second track “Apeshit,” filmed entirely at the Louvre. The video features acclaimed works from the famed gallery, including Mona Lisa, The Coronation of Napoleon, and Venus de Milo. The audience follows the Carters showcasing their wealth and success, acknowledging the sacrifices of those before them, and crooning “This is what we’re thankful” in the song’s chorus. The Carters defy the colonial history of artworks in the Louvre: They challenge the Louvre’s Eurocentric art by showcasing the beauty of people of colour and re-contextualizing famous Western art.

Works such as the Mona Lisa are often seen as timeless and classic images of beauty, but Beyoncé and Jay-Z challenge this notion with their very presence beside the famed painting. The video’s opening depicts the Carters standing regally in front of the painting, stealing La Joconde’s spotlight. The Mona Lisa is even on the album’s cover, where it is foregrounded by a black couple holding an afro pick. By cleverly paralleling the work’s fame with their own, the Carters demonstrate that black excellence can be just as formidable as the Mona Lisa herself.

Given the lyrics’ focus on the Carters’ extreme wealth and influence—Beyonce sings of “expensive fabrics” and “expensive habits”—the Louvre seems like an appropriate setting for the video. The Louvre is one of the most influential museums in the world and draws millions of visitors each year. However, it doesn’t take an art history buff to realize that such institutions fail to represent people of colour both as subjects and as artists. When people of colour are the subjects of works of art, they are often fetishized: Portrayed as uncivilized and, at times, dangerous. An example is Paul Gauguin’s Barbarous Tales which depicts two naked tahitian women, one of many of the artists’ racially stereotyping images trying to paint the “primitive” landscape of the French Polynesia.

“Apeshit” also forces us to re-examine Jacques-Louis David’s The Coronation of Napoleon: An image revered for having captured the crowning of the imperial family. The painting illustrates a moment of glory for Napoleon, and simultaneously ignores Napoleon’s expansion of French colonial land in the Middle East and Africa. Beyoncé and her dancers—all women of colour—dance in a line in front of the painting, which shows their defiance and strength by swaying in solidarity. Beyoncé is at the centre: It is her inauguration.

Beyoncé and Jay-Z defy the reign of white art, which changes how we see symbols like the Mona Lisa and The Coronation of Napoleon. “I can’t believe we made it,” Beyoncé rejoices in the chorus. She is referring not only to her own family’s success, but also to people of colour finally showcasing their art—and themselves—in the Louvre. They change the nature of the museum to represent their own artistic landscape. In so doing, the Carters are as timeless as the centuries-old artwork around them.

 

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