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Commentary, content warning sa, Opinion

“What were you wearing?” and other questions to stop asking rape victims

by Phoebe Balshin on

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Content warning: This article discusses rape and sexual assault.

How much did you drink? Did you realize you were drunk? Did you take drinks from a stranger at the bar? What were you wearing? Why would you walk home alone? Did you try telling him to stop? These were some of the questions people asked me after I had been raped—including my roommates, the nurse who explained to me what had happened when I woke up, McGill counsellors, and even my mom at one point.

I had woken up in a hospital bed, stripped of my clothes and covered in bruises, but all people could ask were questions that sought to determine my responsibility. People were searching for ways to assure themselves that this would never happen to them, because they would never be naïve enough to put themselves in the situation that I supposedly had put myself in. Each day, a new person added their own opinion on why my rape happened and what I could have done to prevent it. Some days, I didn’t have the energy to talk myself into thinking otherwise, and would succumb to others, truly believing that I was at fault. This is how I came to discover victim blaming.

Victim blaming is when individuals try to justify sexual violence by focusing on the actions of the victim rather than the offender. Victim blaming is a large component of the “rape culture” that pervades university campuses and broader society: Women are predisposed to think they are to blame for their rape even before another person brings it up. From a young age, girls are told over and over again: “Don’t dress provocatively!,” “Don’t walk alone at night,” and “Always keep an eye on your drink.” They are constantly bombarded with techniques to prevent a potential assault. Going to university? Take a self-defence class first. Have class at night? Carry around pepper spray. Taking a cab alone? Stay on the phone with someone. This warped way that society views sexual assault needs to change, as it continuously discourages victims from coming forward and further shames them once they do.

Too often, the media focuses on the culture of binge drinking that correlates with reported assaults, failing to acknowledge the culture of rape that exists on campus. Rape culture describes an environment where rape is not only prevalent—and somewhat ignored—but sexual assault is normalized through the objectification of women’s bodies and misogynistic language. The tendency to focus on the risks of excessive drinking, instead of the root causes of sexual assault on campus, serves as a competing message in the university community. It gives administrators, peers, professors, and parents an immediate factor to blame when someone is sexually assaulted. University students are allowed to drink, and alcohol intake should in no way invalidate the stories of sexual assault survivors. It is crucial that society abandons this behaviour, and shifts its focus to survivor stories and campus reports that reveal the unfortunate existence and prevalence of rape culture.

 

 

Some days, I didn’t have the energy to talk myself into thinking otherwise, and would succumb to others, truly believing that I was at fault. This is how I came to discover victim blaming.

The tendency to teach women to “be safe” and “smart” perpetuates the false belief that they can prevent rape, and are therefore responsible if it happens to them. Parents in particular can be more mindful, teaching their daughters that it is not their fault, and being cautious in their choice of words when giving women of all ages advice.

Words cannot describe the shame, regret, loneliness, fear, and sadness a person who was raped feels. It is of utmost importance that university communities and society at large do not further contribute to the problem by engaging in questions that offer perpetrators an excuse. Upstream administrators, as well as friends and peers, need to realize how their questions affect victims, and (prepare to) be there for support, rather than interrogation. Instead, ask a victim what you can do to help them. It is difficult to know how to support someone during a traumatic event, but it is essential to think before you ask questions, and realize that certain questions may haunt a victim for years to come.

So, how much did I drink? Four shots and a beer. Did I realize I was drunk? Yes. Did I take drinks from strangers at the bar? No. What was I wearing? A black skirt and a beige tank top. Why did I walk home alone? Because I lived a block away and was tired. Did I tell him to stop? Yes.

Regardless of how much someone has to drink or what they are wearing, a victim of sexual assault is never the one to blame.

 

 

 

 

 

Phoebe Balshin is in her final year at McGill, studying Marketing. While she is excited to contribute to the Tribune, she actually has a phobia of newspapers and can't touch them or eat near them.

 

@mcgilltribop | [email protected]

 

 

 

 

 

 

 

 

 

 
Arts & Entertainment, Music

R.I.P. Tom Petty: A commemorative guide to the rock icon’s deep cuts

by Jordan Foy on

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On the evening of Oct. 2, legendary rock icon Tom Petty, age 66, passed away surrounded by loved ones after suffering from cardiac arrest. Petty, best known as the frontman of classic rock band Tom Petty and the Heartbreakers, leaves behind a rich legacy of music that spans across four decades. Petty also contributed to over 13 albums with the Heartbreakers, three albums with The Travelling Wilburys, three albums with Mudcrutch, and three solo albums. Petty’s impact on the art of songcraft is undeniable, and he was an incredibly talented musician and performer. Only days before his death, Petty returned from a tour commemorating the 40th anniversary of his debut album,Tom Petty and the Heartbreakers (1976). Nearly everyone is familiar with songs like “Free Fallin’” and “Refugee”—but Tom Petty made a lot of music, and much of his musical lexicon doesn’t make the typical classic rock radio fare. Here’s a playlist of some Tom Petty deep cuts that may be new to you.

Arts & Entertainment, Film and TV

Dual documentary screening looks back on Standing Rock protests

by Leo Stillinger on

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Cinema Politica is a series of politically-conscious documentary screenings, taking place in movie theaters across Canada and the world. The latest edition took place at Concordia on Oct. 2, showing a documentary about the 2016 protests at Standing Rock directed by Michelle Latimer, herself a Concordia graduate. 

The two-part documentary, featuring Sacred Water and Red Power, is part of the VICE series Rise: Telling indigenous stories from across North America.

The Standing Rock Sioux Tribe made international headlines in 2016 when protests against the Dakota Access Pipeline (DAPL), an oil pipeline whose planned construction passed through ancient tribal lands and burial grounds, evolved into the biggest gathering of Native Americans in living memory. A flashpoint for environmentalists and indigenous activists alike, the protests at Standing Rock grew from 20 people to hundreds in the span of nine months.  They brought together activists from around the country and the world, united in their struggle against the “black snake” of oil. Publicity grew following visits by celebrities, such as Shailene Woodley, to the camp, and reached a fever pitch when police turned rubber bullets and water cannons on protesters in freezing-cold North Dakota temperatures. 

Latimer was there from the beginning. Initially filmed as just one of many indigenous-centered films in the Rise series, Sacred Water documents the imminent destruction of a handful of residents’ ancestors’ burial grounds. Slowly, their efforts at resistance grow larger than ever anticipated. It is genuinely inspiring to see these same residents—such as Bobbi Jean Three Legs, a young mother whose reflections cast light on the greater problems of alcoholism and sexual assault within indigenous society—transformed into the leaders of a national movement, their voices broadcast to thousands over Facebook Live.

As Standing Rock continued to grow in size, Latimer received VICE’s permission to remain with the camp and make a second film, turning a room at a local casino into an interview booth. In this second film, Red Power, she mixes interviews and protest footage with historical context.

The story of indigenous people in the United States is one of broken treaties and colonial oppression. The American school system omits much of this shameful history; in school, I never learned that in the 1870s indigenous children were forced into white religious boarding schools, where it was illegal to speak their own language. Nor did I ever learn about the history of the American Indian Movement, whose controversial acts of resistance, such as the occupation of San Francisco’s Alcatraz Island in the 1970s, are the precursors to Standing Rock. This history places the 2016 protest in a wider context.  

What makes these documentaries powerful is the way in which they unapologetically leave the convention of “objectivity” behind. Latimer is herself an Algonquin, and in working with an indigenous film crew, she has created a proudly indigenous perspective of resistance. For a group of people that has for centuries gone voiceless in the North American mainstream, much to their historic detriment, it is a positive thing to have a strong native voice telling this story. 

Latimer returned to her alma mater for the screening, and in a Q&A afterwards, she reflected on her own personal journey as an indigenous person at Standing Rock. The most memorable moment, though, came when the audience’s enthusiastic response moved her to tears. As applause echoed through the auditorium, she lifted one fist in the air, and many in the audience responded in kind. It was a vivid, living moment of solidarity with a director whose films themselves are acts of solidarity.

Arts & Entertainment, Film and TV

‘Neo Yokio’’s deadpan elegance may prove inaccessible to Netflix viewers

by Luke Sarabia on

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We’ve been living in the supposed “Golden Age of TV” for the better part of two decades. In a time where blockbuster series are generated from obscure Netflix viewer preference data and showrunners regularly do away with the limitations of genre conventions, perhaps the emergence of a show like Neo Yokio isn’t as bizarre as it might seem. Netflix’s new anime-inspired comedy series, released late September, was created and co-written by Vampire Weekend frontman Ezra Koenig and stars the voice of Jaden Smith alongside Jude Law, Susan Sarandon, and Jason Schwartzman. If you find the terms “Ezra Koenig,” “Jaden Smith”, and “anime” exciting together, it’s unlikely that the show will disappoint. Beyond that, I can give no guarantee.

Neo Yokio follows the life of Kaz Kaan (Smith), a wealthy teenage socialite living in Neo Yokio, an imagined futuristic version of New York City. The anime-inspired twist to this otherwise Gossip Girl-esque setup is that Kaz’s elite social status results from his family lineage of demon-hunting magicians—a day job which he begrudgingly maintains in order to preserve his family’s wealth. The show’s narrative centers on the tension between Kaz’s luxurious lifestyle and the complications of being a reluctant teenage demon hunter. Kaz spends almost the entire show moping for one reason or another: Whether it is his dropping ranking on Neo Yokio’s list of most eligible bachelors, or the disinterest of one of his would-be girlfriends. He takes refuge in buying designer suits, listening to Vivaldi, and eating squid ink linguine—a dish he praises as “the most melancholy of all pasta.”  

Plot, however, is far from Neo Yokio’s primary concern. It works mostly as a freeform satire of the ridiculous decadence of its snobbish protagonist. The show is deeply aware of Kaz’s vapidity, as well as the absurdity of its premise. Its funniest moments are those in which Kaz is least likeable, or in which an obviously trivial event is given great narrative importance. In one episode, Kaz guards the Metropolitan Museum of Art from a demon during a ball, but his biggest fear is if his midnight blue tuxedo is appropriate for the event’s black-and-white dress code. Neo Yokio’s keen sense for pop culture shines throughout: The demon that haunts the Met possesses Damien Hirst’s sculpture For the Love of God.

For those without a taste for deeply rooted self-awareness and satire, the show is much more difficult to enjoy. Smith’s deadpan delivery of lines like “Demon, be gone from this Chanel suit!” is almost too ridiculous to accept as comedy, and many won’t. This isn’t the show’s only weakness; the sparse, basic animation style leaves a good amount to be desired, and some of the minor voice acting parts are genuinely hard to sit through. Granted, these are exceptions to the mostly well-selected cast. Jason Schwartzman as Arcangelo, Kaz’s hilariously snide rival socialite, is the show’s greatest comedic asset. Unfortunately, by the end of its remarkably brief season, it becomes apparent that Neo Yokio doesn’t have a great amount to offer besides comedy. Running character gags become tiresome, and the season’s final episodes take a turn for the dramatic that is hardly interesting enough to merit the change in tone. Barely surpassing two hours of total runtime, the show hardly demands a steep commitment. Ultimately, Ezra Koenig and his cast succeed in creating a unique and highly stylized comedy, albeit one that could benefit from better direction and plot points that stretch beyond social satire. Perhaps a lengthened second season will do just that. 

Arts & Entertainment, Film and TV

‘Professor Marston and the Wonder Women’ empowers its leads

by Danica Jekic on

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Wonder Woman, one of the most prolific female superheros, only recently entered the Hollywood spotlight, from the smash hit Wonder Woman (2017), to her allegedly expanded role in the upcoming film Justice League (2017). Created in 1941, the character’s incredible origins, however, remained largely unknown.

Written and directed by Angela Robinson (The L Word, D.E.B.S.) Professor Marston and the Wonder Women centres on William Moulton Marston (Luke Evans), a psychology professor at Radcliffe College, and his wife Elizabeth (Rebecca Hall), an underappreciated psychologist who is bitter that Harvard denied her a PhD for her work. When the pair take on a new research assistant—a young psychology student named Olive Byrne (Bella Heathcote), the initial sexual tension and jealousy between them blossoms into romance, and the three characters begin a bisexual polyamorous relationship that changes their lives. Marston, inspired by his brilliant feminist partners and seeking to teach the world about his psychological theories, creates Wonder Woman—an allegory for the modern empowered woman, and a revolutionary superhero.

Robinson’s impressive writing and directorial talents are evident throughout the film, from clever humour and intriguing character dynamics, to the stunning cinematography and evocative lighting. When combined with the subtle soundtrack that carries the film like a fluttering heartbeat, the visual aspects of the film are subtle and grounded, yet they masterfully convey the characters’ emotions. While the Easter eggs will be more obvious to comic book readers or fans of the Lynda Carter TV show, Wonder Woman (1975-1979) fans will find a trove of references to the costume and origins of Diana Prince and Steve Trevor—whether it be Olive Byrne’s hairstyle and silver bracelets, or William Marston’s past as a spy in World War I. 

At its core, the film is a biographical love story. Hollywood oftentimes presents unconventional relationships as fetishizing and degrading. In the hands of another director, Marston could have easily been presented as a manipulative, Hugh Hefner-like creep. However, the balance between Marston’s story and that of the two women ensures that the three characters are emotionally developed, and the relationship feels real.

Evans, Hall, and Heathcote portray their characters with passion and sincerity; their chemistry is intoxicating as their relationship develops. However, the standout performance of the film is easily Hall (The Prestige, Iron Man 3, Christine), who brings an incredible love, bitterness, and dry wit to Elizabeth Marston’s character.  She carries the bulk of the film’s humour and emotional stakes, as she struggles with the legitimacy of their relationship and seeks to be accepted and respected by the world around her as a woman and intellectual.

Professor Marston and the Wonder Women is a subtly brilliant film that maintains its focus on the love between its three main characters, keeping the audience invested through the actors’ passionate performances and its meticulous writing and direction. With the recent release of Wonder Woman’s first blockbuster film, and the revelation of her bisexuality by Wonder Woman comic writer Greg Rucka, this is an important film for fans to see, as it shines a positive light on the unconventional lives of the professor who created her and the wonderful women who embodied her.

Student Life

OAPhorum recaps ‘The Happiest Place on Earth’ and how to make it even better

by Katherine Milazzo on

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On Oct. 3, the Engineering Undergraduate Society (EUS) held OAPhorum, a reflective discussion open to all McGill students about this semester’s Open Air Pub (OAP). Students discussed possible improvements to the biannual festival of food, beer, and music, which the EUS will consider when planning next year’s pub. Forum attendees suggested enhancing the volunteer experience, improving the variety and distribution of food and beer, diversifying the genres of musical performances, and enhancing the overall atmosphere of OAP.  

 

Efforts to improve the overall atmosphere

The most notable change to this year’s OAP was its new location on Lower Field, and students were eager to know whether or not the pub will permanently set up there from now on. There was a general approval among OAPhorum attendees for the venue to remain the same. While the location for April’s 2018 OAP Lite is still unknown, the EUS will seriously consider holding the event on Lower Field.

OAPhorum attendees also suggested several activities and logistical improvements to upgrade OAP’s general atmosphere. In addition to supplying more furniture, OAP volunteer Emma Zapf-Gilje proposed installing vertical barriers to combat line-cutting, like the mesh material used on construction sites.

Attendees recommended additional sources of entertainment, such as daily themes, eating and drinking competitions, and hourly boat races which teams of friends can enter.

 

Volunteer recognition and workload

Past volunteers who attended the forum voiced their opinions about volunteer recognition, workflow in the food tent, and the instruction and distribution of tasks.  

Several forum attendees noted that working in the food tent is not immediately straightforward for new volunteers, and highlighted a need for increased direction. Zapf-Gilje also noted that food preparation is hard work and can be draining. Though they currently celebrate their efforts through a ‘volunteer of the day’ award, Zapf-Gilje suggested having more prizes to recognize the team of individuals working to make OAP a success.

“Perhaps [we could give out] earnable badges like ‘first double-pour’ or some other system of recognizing all of the hard work volunteers do all day,” Zapf-Gilje said.

Another potential area of improvement highlighted was efficiency. Zapf-Gilje suggested delegating tasks more evenly between volunteers in the food and beverage tents.

“Grilling has more appeal than serving, so a rotation of tasks would ensure [that] more enjoyable jobs get to be experienced by everyone,” Zapf-Gilje said.

 

Increased variety of musical genres and a festival atmosphere

Head OAP Manager Malcolm McClintock introduced the idea of going the ‘Osheaga Lite’ route, which would involve increasing emphasis on OAP as a music festival rather than an outdoor pub. Making this transition would also require adding another stage.

Not all OAPhorum attendees agreed with this idea however, and several cited the issue of high associated costs, the value of showcasing McGill-only bands, and the fact that students generally go to OAP to socialize, with the music functioning as background noise alone.

Additionally, forum attendees exchanged opinions on increasing the variety and number of musical genres played at the pub. Ultimately, some of this year’s performers and pub-goers present at the forum disagreed about the value of music at OAP.

OAP Manager Morgan Grobin suggested diversifying musical genres to reflect students’ varying tastes.

“I would like to see more [genres of music] than indie and rock-n-roll, and maybe even some jazz to appeal to a wider audience,” Grobin said.

Forum attendees reached a consensus concerning the volume of music—most, if not all attendees agreed the music was often too loud for OAP attendees to comfortably converse. Grobin, however, provided an alternative point of view—that of the musicians. According to Grobin, many musicians thought the sound quality was not adequate.

 

More food, more fun, and a wider variety of options

Perhaps the greatest attraction at OAP is the food and beer. OAPhorum participants proposed additions to the food menu, such as corn-on-the-cob, french fries, vegetarian hot dogs, and dessert items, such as ice cream sandwiches or scoops of Ben & Jerry’s.

Although OAP has tried to make an effort to accommodate various diets in the past, Zapf-Gilje suggested a larger selection of alcoholic beverages other than beer to meet the needs of students’ dietary restrictions.

“The Somersby, sangria, and cider currently offered do not cater to gluten allergies,” Zapf-Gilje noted.

OAP is limited in the types of drinks they can serve, especially those with higher alcohol content. Due to liability, they have self-imposed restrictions to limit the sale and consumption of beers with a higher percentage—most drinks were around seven per cent—which Grobin explained as a way to prevent the pub’s party scene becoming too chaotic.

 
Album Reviews, Arts & Entertainment, Music

Album Review: ‘Wake Up Now’ – Nick Mulvey

by Grace Bahler on

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It’s been six years since Nick Mulvey left the famed jazz band, Portico Quartet, in pursuit of a solo singer-songwriter career. Since then, Mulvey has released one EP and two studio albums—all of them receiving praise, and even a Mercury Music Prize nomination for his 2014 debut full-length First Mind. It is undeniable that going solo was the right choice for Mulvey, and with the release of his second studio album, Wake Up Now, his initial success seems like the beginning of something much greater. The new album is unique in that it combines Mulvey’s dual musical personas: folk and pop.  

From the get-go, Mulvey transports listeners to a seemingly faraway land. The combination of Latin guitar, subtle drum beat, and background vocals are reminiscent of Florence and the Machine, enticing you to somewhere familiar but unexplored. “Unconditional”—a song which Mulvey originally released as a single—simultaneously stirs up feelings of nostalgia and belonging.

Part of this may be due to Mulvey’s musical background: At 19, he moved from London to Havana, Cuba, to study music. One year prior, Mulvey acquired his first guitar in southern Spain. Eventually, Mulvey moved back to the United Kingdom to pursue studies in ethnomusicology, focusing mainly on Western and Central Africa. These regional influences are apparent when listening to Wake Up Now; sounds that are not usually found in pop music—like the guitar mixed with chorale vocals—are at the very center of Mulvey’s composition. He adds to his eclectic style with each instrument used and, most of the time, percussion brings life to each track.

Mulvey’s innovation and development as an artist are largely thanks to his world travels. And worldly he is: Wake Up Now is not a mere rising-pop album, it is an echo of the suffering in our current reality. Songs like “Myela” and “We Are Never Really Apart” comment on current social and political distress. With compassionate lyrics such as “freedom from the cage of this supposed civilization” and “our indigenous heart,” Mulvey shines light on the Syrian refugee crisis and the infringement upon indigenous rights. In comparison to other pop artists, Mulvey veers off the traditional course, taking a global stance in writing his music.  

The listener feels the worldly influence throughout the mix of sounds. So much is occurring in each song that you have no option but to surrender, listen, and let the music take you elsewhere. Mulvey’s compassionate lyrics alongside the variety of sounds highlights the juxtaposition between the world’s current status—filled with plenty of tragedies—and the fantasy in which we manage to exist. Though the album is a dream in itself, it does what many musicians fail to do: It wakes us up. It opens our eyes to both the beauty and the tragedy of the world. Listening to Wake Up Now will lull you into a dream all the while waking you up, leaving you wishing to go back to sleep, back to a dreamland.

 

News, PGSS

PGSS Self Defence Course combats violence on and off campus

by Caitlin Kindig on

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On Sept. 24 and Oct. 1, McGill students participated in a self-defence course at Gotac, a Montreal-based martial arts company, offered through the Post-Graduate Students’ Society (PGSS). The course aimed to teach effective methods to detect and eliminate threats and to identify, assert, and defend one’s space. The class was open to the public, and moved at the pace of each individual student to accommodate various fitness and comfort levels.

Alexandrina Delage, the course’s instructor, has a brown belt first kyu—the rank just prior to black belt—in Modern Kempo Jujitsu, and is certified in various defensive maneuvers. Delage connected with PGSS in 2014, and has helped them organize this course every year since. For PGSS Member Services Officer Jenny Ann Pura the annual course plays a vital role in equipping students with the tools to remain safe on and off-campus.

“Like our first aid classes, we hope that [students] never have to deal with those situations, but in any of those worst case scenarios, it’s best to be prepared,” Pura said. “This [course] isn’t solely about defending yourself, but to also understand how to be aware of your surroundings in order to better assess your safety as well as someone else’s anywhere you go.”

The class was split into two parts. The first section of the course, titled  “Preventive to Combative Measures,” focused on using combative tactics to assess risk and ensure preparedness in the event of a threat. The second section of the course, “Escape from Holds,” included lessons on escaping both standing and ground grapples, with an aim to prepare students to confidently defend themselves.

Because martial arts training is largely dominated by male students and instructors, the PGSS course strove to create an environment in which women would feel comfortable training in the field. Delage explained that after her first year of martial arts training, she knew that she wanted to teach women self-defence.

“It became clear to me that having a space where women could train these skills and feel safe in living their fears and emotions was imperative,” Delage said.

Delage provides one-on-one coaching to each of her students, with a goal to teach efficiently and make her lessons accessible to all. She believes that being aware of the reality of violence— and having the tools to face it— is a requisite for physical and mental confidence. With regard to campus violence, Delage feels that rape culture is shockingly prevalent and too often goes unpunished. And while she acknowledges that self-defence does not tackle the root causes of this, until they are addressed, equipping students with self-defence skills is extremely important.

“We are dealing with a culture […] where abusive and violent behaviours go on throughout the years, [and] where survivors are often forced to either see their attacker on campus or leave altogether,” Delage said. “Although mandatory courses on consent have been implemented in some universities, there is a need to create more awareness as to the reality of violence [….] Violence should never be tolerated, and perpetrators need to be made accountable for their actions.”

Natalia Osorio, one of Delage’s students present at the course, started taking classes with her three years ago when she was looking for a women's martial arts class. Osorio believes that there is a long way to go before Canadian society is not disproportionately violent toward women.

“In the world we live in, basic self-defence skills are essential, especially for women,” Osorio said. “As [Delage] always says, you can only rely on yourself.”

Hockey, Men's Varsity, Sports

McGill Redmen hockey wins home opener against UQTR Patriotes

by Jordan Foy on

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McGill Redmen
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UQTR Patriotes
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On Oct. 7, the McGill Redmen hockey team (2-0) beat the Université du Québec à Trois-Rivières (UQTR) Patriotes (0-1) with a final score of 3-0. The first two periods were a close affair, with chances at both ends. The Redmen maintained a high tempo—employing an effective forecheck that clogged the neutral zone and caused many Patriotes turnovers—but were unable to find the back of the net until the third.

After being outshot 15-7 in the first period, Trois-Rivières managed to show more life in the second. The game remained scoreless heading into the third, with the shot count narrowed to 25-21 for the Redmen.

During the third period, the Redmen finally managed to capitalize on offence, despite encountering some penalty troubles and a shot deficit. Early in the third, junior forward Samuel Hodhod forced a Trois-Rivières turnover in the offensive zone. The puck found its way right to the stick of sophomore forward Samuel Tremblay who scored on the unsuspecting UQTR goaltender. Later in the frame, junior forward Frederic Gamelin managed to jam the puck in to take a 2-0 lead, assisted by Hodhod and junior forward Jerome Verrier. Gamelin also managed a second tally to seal the deal for the Redmen.

Despite the contest’s close nature, McGill remained focused on its play and maintained its level of energy throughout the game.

“It [was] obviously a close game all the way until the end,” freshman forward Keanu Yamamoto said. “[But] we just stuck with our game plan until the end.”

The Redmen were buoyed by the play of sophomore goalie Louis-Philip (LP) Guindon, who made some spectacular saves to keep the Patriotes off the board, especially on the penalty kill.

“Obviously, you’ve got to tip your hat to LP tonight,” Head Coach Kelly Nobes said. “He was very good, very solid, [and had] good rebound control.”

Guindon was awarded the first star of the game, while Gamelin and Tremblay received the second and third stars respectively.

Despite it being early in the season, there is a sense of optimism looking forward. Nathan Chiarlitti, Redmen defender and team captain, shared that sentiment.

“I think the young guys we brought in are really energetic,” Chiarlitti said. “It’s always kind of cool to get young blood on the team. I know it’s early, but it feels like there’s something special here.”

After putting up a 7-0 road win against Royal Military College (RMC) on Oct. 5, Saturday night's game proved that the Redmen have the discipline to manage tougher opponents as well. The Redmen play their next home game at 7 p.m. on Oct. 13 against the Concordia Stingers, as part of McGill’s Homecoming weekend.

Following the first week of the regular season, Nobes expressed his satisfaction with his team’s status.

“We’re a work in progress. We got a young team still, and we [have] a lot of growing to do,”  Nobes said. “[…] but that’s a good start for us, [in] the first week of the season to win both games.”


Moment of the Game

On a late penalty kill in the third period, goalie Louis-Philip Guindon made an exceptional blocker save to keep the Patriotes off the board.

 

Quotable

“I think you can always improve on everything, right? Just getting better every day, that’s what the goal is.”

-McGill forward Keanu Yamamoto.

 

Stat corner

Goalie Louis-Philip Guindon made 35 saves for the shutout.

Hockey, Martlets, Sports

McGill Martlets hockey faces off against Les Canadiennes de Montréal

by Lisa Perrett on

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McGill Martlets
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Les Canadiennes
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On Oct. 6 at McConnell Arena, McGill Martlet hockey (3-4) played their seventh preseason game against a special opponent: Les Canadiennes de Montréal of the Canadian Women’s Hockey League (CWHL). The event was part of the World Girls’ Ice Hockey Weekend, an annual venture co-hosted by the International Ice Hockey Federation and Hockey Canada to celebrate women in hockey and provide girls of all ages a chance to try the sport.

Puck drop was followed by a tough start for McGill, who conceded a penalty in the first 12 seconds and a goal 30 seconds later. Under pressure in their own zone, the Martlets defended with grit and challenged the Canadiennes’ goalie with some dangerous offensive opportunities. However, Les Canadiennes capitalized on Martlet mistakes and scored three more goals in the first period.  

The first intermission gave the Martlets a chance to regroup and come out strong in the second. Six minutes of power play allowed McGill to control the game and turn up the pressure. Les Canadiennes managed a fifth goal when Kim Deschenes broke through the wall of Martlets defending to score in the 10th minute. Though unable to find the back of the net during their power plays, McGill outshot their opponents with 10 chances on frame in the second period.

Despite an onslaught, Martlets sophomore goalie Tricia Deguire stayed strong in net, frustrating Les Canadiennes in the final segment with 11 saves. Only one shot found the netting, as the final result came to 6-0 in favour of the Canadiennes. Despite the score, spirits were high after the buzzer. A friendly shootout followed the game and the goalies of both teams shone. Only ex-McGill-captain and current Canadienne Katia Clement-Heydra found the net during the shootout, narrowly slipping it past Deguire.

Playing against a high calibre team like Les Canadiennes was a challenge for the Martlets, but that was the purpose of the game according to Head Coach Peter Smith.

“Our theme was to not really worry about the scoreboard,” Smith said. “We want to win our games, but in order to do that, we have to focus on the process we have.”

Smith attributed the strong second and third periods to the Martlets sticking to the game plan. However, there was a deeper importance to this game beyond the opportunity for the Martlets to face off against a professional team.

Five Canadiennes players who hit the ice on Friday are McGill alumnae—a testament to the quality of the Martlets program. For Clement-Heydra, McGill alumna and current Martlets skills coach, the game provided an opportunity to return to her roots.

“I’ve always loved playing here,” Clement-Heydra said. “To be here and to see the players and play against them, it’s fun.”

Jade Downie-Landry, a sophomore psychology student and Martlet forward, also recognized the importance of this game for elite women’s hockey.

“It’s just encouraging to know that there’s something after McGill, and that it’s that high-calibre,” Downie-Landry said. “Just the fact that there are McGill athletes playing [in a women’s professional league], it encourages us to push harder and work harder.”

CWHL players recently started getting paid, and the newly professional league is starting to attract more attention. Women’s hockey in Canada certainly seems to be on an upward trajectory: Its promising future was symbolized most prominently by the dozens of young girls who enthusiastically supported both teams at McConnell Arena and were treated to an exciting show of where the sport could take them one day.

The Martlets play their first regular season game at Concordia on Oct. 21, and Les Canadiennes open their season against the Boston Blades on home ice at the Complexe Sportif Bell on Oct. 14.

Moment of the game:

McGill’s goalie Tricia Deguire’s huge save in the second period shut down a two-on-one created by Les Canadiennes after they broke out of a McGill powerplay.

Stat corner:

Counting the tough two-on-one stop, Deguire managed to save 33 of Les Canadiennes’ 39 shots on the night.

Quotable:

“I think we’re feeling pretty confident. We’re a young team, but so far we’ve been doing well. I think it’s going to be good. We’re young, a lot of energy, hard working.”

-Martlets forward Jade Downie-Landry on the team vibe, preseason training, and the start of the season ahead.

 

A previous version of this article stated that the Martlets hockey season starts on Oct. 14. In fact, the season starts on Oct. 21. The Tribune regrets this error.

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