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Arts & Entertainment, Comedy

Peeking into the ‘New Faces of Comedy’

by Audrey Carleton on

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Having helped launch the careers of Amy Schumer, Kevin Hart, and Hannibal Buress, the Just For Laughs (JFL) comedy festival’s New Faces of Comedy showcase has become a coveted career milestone for young comedians internationally. Each year, comics selected are given six minutes to showcase their best material for audiences in Montreal and prove themselves to be future comedic legends. Following this year’s festival, The McGill Tribune chatted with Blair Socci and Christi Chiello—two New York-based stand-up comedians and New Faces—about their careers, and what keeps them going back onstage every night.

 

Blair Socci

(Courtesy of Just For Laughs)

 

For Blair Socci, attending JFL as a member of the first New Faces cast was the cherry on top of a wild year. Over the course of her fifth year as a stand-up comic, Socci wrote and published a cartoon titled Rodney Loves Blair, celebrated the third anniversary of her monthly show Nacho Bitches, which she hosts with Guys We F@#ked’s Corinne Fisher, and started her own podcast, How to Be A Beefy Woman.

Socci was a fan and follower of stand-up comedy for some time before trying her first set, after a former boyfriend introduced her to it. Looking back, she admits to showing all the signs of a wannabe comedian, without recognizing it in herself.

“I was working at W magazine, I was an intern in New York, and I pitched an article on Michael Che, who had just had like one week at Saturday Night Live,” Socci said. “And I interviewed him, and I was asking all these questions about his first time on stage, and […] I didn’t understand that I was like, asking those questions because I wanted to start [stand-up].”

It wasn’t until leaving that relationship that it ultimately dawned on Socci to try her hand at stand-up. Counterintuitively, the numbness she felt while going through her breakup gave her a sense of fearlessness about going on stage.

“My legs shook the first like, eight times I was on stage,” Socci admitted. “But considering, I was pretty uninhibited because I was so upset about the breakup. My attitude was kind of like nothing can hurt me more than I feel right now. So, yeah, and then I started comedy and now it’s been like, five years.”

Since starting in comedy, Socci has written for humour publications like Reductress and Splitsider.com. In 2016, she was cast on MTV’s feminist prank show LadyLike. More recently, Socci started her own comedy podcast, titled How To Be A Beefy Woman. The idea for the podcast came from Socci’s own experiences with feeling masculine, or ‘beefy’—a topic she touches upon in her stand-up comedy with similar candor.

“I grew up with a bunch of […] older brothers, and they had all their friends around and it was just like, a very masculine environment,” Socci said. “I think of [the word ‘beefy’] as just like, all the things I’m interested in. Like, I always had a super athletic body, […] I have a lot of jokes in my act about like, red meat and steak […] how I judge men by how they eat their steak cooked [….] So that’s kind of what that’s about, but we talk about food, we talk about embarrassing stories, and we talk about how to live real large.”

Many comedy podcast listeners tune in with the expectation of laughing—a reality that can feel like added pressure for the hosts. Yet, Socci tries not to get caught up in feeling the need to be nonstop funny on How To Be a Beefy Woman in the same way she would during a stand-up set.

“When you’re interviewing your friends and they’re comedians, [being funny] just kind of happens naturally,” Socci said. “I don’t need to have a laugh every moment, like there’s gonna be real moments where you’re just talking normally, but usually it gets pretty crazy naturally without having to even worry about like, making it too performative.”

As she recovers from a busy week at JFL, Socci is now turning her attention towards writing new material. Achieving milestones like being cast in New Faces leaves many comedians overwhelmed by the prospect of “what’s next.” But Socci feels exhilarated, rather than anxious, by the idea of working toward growth and improvement in the future.

“I’ve never stuck with anything the way I’ve stuck with comedy,” Socci said. “I do feel so connected to it, and it’s something that like, you could never be done with or master, there’s always work. Even people 25 years in, you know, are still like, trying to get better. And I love that because it keeps me so engaged every day.”


 

Christi Chiello

(Courtesy of Just For Laughs)

 

 

Christi Chiello’s upbeat nature is contagious; her comedic style is sharp and witty, and her naturally quirky voice draws the audience in from the minute she puts her mouth to the mic. After a successful year that included facing Jimmy Carr in Comedy Central’s Roast Battle and the advent of her podcast Talking Funny with Christi, the New York-based comic charmed Montreal audiences at JFL in late July as a member of the second New Faces cast.

Chiello’s positive energy conveys a natural comfort onstage, which she has developed ever since starting theatre in her early childhood. In fact, she moved to New York City immediately after high school to pursue a career on Broadway. While studying various fields in acting, Chiello came across improv theatre, and soon after, stand-up comedy—and soon fell in love with the format.

“My dream was to be on Broadway, and when I moved to New York, […] in acting school we had to take these improv classes, and I really enjoyed doing that, and I found myself just wanting to do comedy,” Chiello explained. “I started taking classes at [Upright Citizen’s Brigade], because I liked doing improv in acting school, and then I realized that I don’t like improv, I just like standing on my own, talking.”

Chiello admits to having a slow start to her career, when she would perform at open mic shows no more than once per month, yet still called herself a comic—something she laughs at now that she goes on stage almost nightly. Looking back, Chiello also recognizes the integral role that her unique voice played in guiding her jokes at the start of her career. In fact, Chiello attributes much of her success in Roast Battles to the comedic value behind her sweet, non-threatening disposition. But as she grows as a comedian, Chiello is learning to write jokes that are more authentic to who she is, rather than the image of herself that she projects onstage.

“I realized really early on that I have an interesting voice, and if I say dirty things and bad words, the shock value is present,” Chiello said. “When I first started I just relied on that way too much, and you know, I’m just now learning like what I should be writing about. Like, it took me years. And I still don’t know. I think that a big [thing] I thought to myself all the time [was] ‘What should I joke about?’ I just always looked at myself as an outsider looking in, being like, ‘Oh what would that type of girl talk about, instead of just thinking like, ‘What do I want to talk about?’”

As she searches for her comedic voice, Chiello heavily employs trial and error to perfect new material. Even after years in stand-up comedy, she performs in open mics frequently in order to test out a joke she’s just written in a low stakes setting.

“I’ll just have a thought [of] like, ‘Oh, that’s something I should talk about!’ and I’ll make a note of it in my phone, and I’ll be like, ‘Ok well I gotta go to an open mic tonight and try it out,” Chiello said. “It’s just like, kind of having an idea, and then going on stage and riffing, literally just talking for three minutes to see if anything funny is coming out of my mouth. And then I record every single set I’ve ever done, I record the audio on my phone, so I’ll go home, listen to it, and listen and be like ‘I can hear when people laugh,’ and be like ‘Oh ok, I should keep that part and then lose the other three minutes,’ so I kind of write a lot as I perform too.”

Chiello’s love for performing has ultimately kept her in the stand-up world despite its plethora of challenges.

“Even at its worst day, I love stand-up more than I could love anything else,” Chiello said. “They always say like, if you are happy doing something else and you also do stand-up, you should do the something else. If something else makes you happy, do that. Because […] choosing this career is so challenging and it, you know, has so many hurdles […] But my life would be so empty without it.” 

McGill, Montreal, News

McGill and Montreal mourn the loss of Eleanor Stubley

by Grace Bahler on

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On Aug. 14, Montreal police reported that they had found the body of Eleanor Stubley, associate professor and associate dean (Graduate Studies) of the McGill Schulich School of Music, in the southwest borough of Montreal. Stubley had been missing since Aug. 7. While police have not disclosed many details of the case to the public, no foul-play is suspected.

Eleanor Stubley earned her Ph.D. at the University of Illinois at Urbana-Champaign before coming to McGill to teach music history and musicology in 1988. Stubley, who suffered from multiple sclerosis, joined the McGill faculty as a university lecturer and became an associate professor in 1993. Nearly two decades later, in 2006, Stubley was appointed as director of graduate studies for the School of Music.

Teaching primarily graduate students, Stubley was known for her creativity in interpreting music and developing theories on performance and philosophical topics in music.

One of Stubley’s main focuses in her academic career was what she called “the musical experience of body and place.” Her own research and work largely embodied the idea of how music and the body are intertwined.

As both a musician and a scholar, Stubley created music and words. Over the years, she wrote more than 20 research papers on musical performance. In her most recent multimedia project, “Moving Words/Moving Hands,” Stubley centered on the duality of her own hands and their ability to create profound thoughts and musical notes, though the project was left unfinished due to her passing.

“Using the hands of an architect, dancer, painter, sculptor, cartographer, and interpreter for the deaf as lenses through which to understand the embodied knowing of my own, I develop an account of musical expression as transformative act which recognizes the infinite possibilities of the hand and music in all of its variety,” Stubley wrote of the project in her curriculum vitae.

Stubley’s dedication and creativity touched the lives of many of her colleagues, including Assistant Professor of Early Music Lena Weman, who worked alongside Stubley in the School of Music and grew to know her well. In an email to The McGill Tribune, Weman wrote fondly of Stubley as a professional genius.

“Eleanor Stubley was one of the most exciting, challenging and intellectual persons that I have ever met in my entire professional life,” Weman wrote. “Working closely together with her was always a great challenge. Her demands were always the highest but at the same time, she always accepted when things went wrong [….] Her passion for musical performance as well as caring for all students was her driving force.”

Stubley’s musical and scholarly influence extended far beyond the Roddick Gates. From 1998 to 2014, Stubley served as the Musical Director for the Yellow Door Choir, a Montreal-based group focused on bringing music into the local community and donating proceeds of their performances to local charitable organizations.

Dianne Urhammer, a member of the Yellow Door Choir, was constantly inspired by Stubley’s ambition and love for music.

“She was very ambitious and very talented, musically,” Urhammer said. “She never missed rehearsal. [The choir is] still trying to get used to the idea that she is gone.”

Canadian film director Donald Winkler worked with Stubley on “The Pines of Emily Carr,” a film adaptation of Jean Coulthard’s original composition. In an email to The McGill Tribune, Winkler recalled Stubley’s passion and determination.

“[‘The Pines of Emily Carr’] was not a simple project, combining as it did musical performance, simultaneous narration, and complex visual effects,” Winkler wrote. “All through, [Stubley] maintained her poise and her sense of humour, and in the end I was proud of what we achieved, and grateful to her for having provided the opportunity.”

Album Reviews, Arts & Entertainment, Music

Landing softly: A conversation with Japanese Breakfast at Bar Le Ritz

by April Barrett on

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Japanese Breakfast–Brooklyn-based singer and guitarist Michelle Zauner’s solo project–released their sophomore album Soft Sounds From Another Planet (Soft Sounds) on July 14.

Zauner was once the frontman of the emo indie band Little Big League, where her yelping vocals and decisive lyrics earned the Philadelphia band the designation of “underrated.” Zauner became a natural standout in indie rock; her confidence, emotive voice, and confessional writing began drawing a solid fanbase and critical attention.

In 2014, when Zauner’s mother was diagnosed with cancer, she moved back to her hometown of Eugene, Oregon. It was during this period that Japanese Breakfast emerged. In the months after Zauner’s mother died, Psychopomp, Japanese Breakfast’s first album, began recording.

Psychopomp, released in 2016, cuts deeper than Zauner’s Little Big League material. The album’s sound ranges from dream pop to pop punk, but its lyrical themes are what leave an impression; the shock, anger, and daze of loss are palpable throughout the record.

The death of Zauner’s mother became the story of Psychopomp, and preceded any conversation around Japanese Breakfast. Delivering the album as such a distinctive emotional entity made every line more urgent and meaningful. As a project that materialized from such a powerful event, to which listeners connected with so deeply, Zauner had set a high bar for herself.

Initially, Zauner felt unable to match the emotional weight of Psychopomp on her second album.

“I felt like [Psychopomp was] my death record, that’s my grieving record, I can’t write that again,” Zauner told The McGill Tribune. “I wanted to make something like science fiction, like a very heavy handed scifi concept musical.”  

Zauner intended to go this direction largely because of the emotional labour that putting out such a personal record as Psychopomp required.

“I was really exhausted of talking about my mother’s death to strangers everyday, and to interviews all the time, or to kids who would just come up after shows and share that they lost their parent,” Zauner explained.

Although a space rock musical was her plan for the form of Soft Sounds, after writing “Machinist” she found she couldn’t keep up the charade.

“It just felt so phony and I just couldn’t dial it in for another 10 tracks,” Zauner said. “So I just thought to myself ‘I can never get over my mother’s death, it will always be a part of my narrative.’ I can’t just not write about that experience anymore.”

With this second start, Zauner and co-producer Craig Hendrix recorded Soft Sounds in just one month, October 2016. The pair played all instruments on the tracks, a recording setup Zauner called more “intimate and private”. Both sonically and lyrically, Soft Sounds reflects a maturity–Zauner explained how being two-years removed from her mother’s death helped her compose the lyrics to her songs.

“I think a lot of [Soft Sounds] is about giving myself advice,” Zauner said. “Trying to think of death and trauma as kind of outside of yourself, a little more objectively. Like, that happened and it’s not like the universe is out to get you, it’s just part of life.”

In terms of Soft Sounds’ actual sound, Zauner explains that, while she always aims for the pop song format when composing, genre isn’t something she to which she adheres.

“More than anything I try to make every song have its own world,” Zauner said.

This effect is noticeable on the album. Opener “Diving Woman” is a synth-heavy shoegaze track, while songs like “Road Head,” “Til Death,” and “This House” jump from trip hop, to Roy Orbison-inspired 50s pop, to a stripped-down acoustic ballad. Whatever the world each song inhabits, the production is meticulous in its respect of each genre. In this regard, Zauner simply believes she allowed herself to follow what excited her.

“I just really had the courage to follow whatever creative path was interesting.” Zauner said. “[…] I just kind of chased whatever was interesting to me.”

The whims of this chase are apparent on the album, but not in a way that sounds jarring or hobbled together. Each song-world feels equally sincere and full of energy.

Letting herself to chase these whims is what, at the end of the day, allows Japanese Breakfast to continue flourishing as a project beyond Zauner’s initial period of grief.

“I think the more I bar myself from writing something the more stuck I’ll be, in general,” Zauner said, when explaining the importance of Japanese Breakfast as a personal project. “I spent four years trying to be tough in Little Big League. Once I started just making music that interested me [that’s what] helped people connect with my work.”

News, Private, SSMU

Anuradha Mallik resigns as SSMU Vice-President Operations and Sustainability

by Calvin Trottier-Chi on

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On August 15, Anuradha Mallik resigned from her position as Vice-President (VP) Operations and Sustainability of the Students’ Society of McGill University (SSMU). Mallik declined to provide the specific details of the reasoning behind her resignation, but emphasized that stepping down was a mutual agreement with the rest of the executives and that it was a consequence of discordance with the institution rather than a response to a particular individual or event.

“This afternoon, I sent in my resignation as VP Sustainability and Operations of the SSMU,” Mallik wrote in a message to The McGill Tribune on the day of her resignation. “After working at the SSMU for two and a half months, I realised the vision I had of the position was not in line with the reality of the SSMU workplace. I feel that this decision would be the most beneficial for both the SSMU and myself, and wish the best for the amazing executive team.”

At the end of the Winter 2017 semester, the previous SSMU executive team elected to give the VP Operations position the responsibility for managing sustainability efforts, and in so doing, renamed it to ‘VP Operations and Sustainability’. In addition to directing SSMU’s sustainability efforts, Mallik’s primary responsibilities included managing the usage of the SSMU building and overseeing SSMU’s revenue-generating businesses such as Gerts.

Over the course of this summer, Mallik had been working to further develop the major projects that her predecessor Sacha Magder began, including the SSMU Courtyard Garden project, Crash Pad, and the Sustainable Frosh Initiative. The Courtyard Garden project is an ongoing effort to construct a community garden behind the SSMU Building, which will provide SSMU’s food businesses with fresh produce and serve as a learning space for SSMU daycare children year-round. The Crash Pad was an initiative that provided mattresses for students to sleep safely in the SSMU ballroom during Frosh 2016, and is scheduled to return for Frosh 2017.

Another aspect of Mallik’s former portfolio, the Sustainable Frosh Initiative was originally created as a fund to cover the extra costs of faculties sourcing their t-shirts and tote bags from sustainable suppliers, allowing faculty Froshes to become more environmentally-friendly without changing their budgets. More recently, the Initiative has begun to work toward instilling a culture of eco-mindedness within Frosh, through sustainability training for Frosh staff, the distribution of pamphlets about the environment to Frosh participants, and the creation of a sustainability coordinator position within each faculty’s coordinating team.

“Honestly, I'm quite proud of how the Sustainable Frosh Initiative has panned out,” Mallik wrote. “The Sustainable Frosh Coordinator and I worked really hard together towards this project and to overcome any obstacles and I feel like it'll make a lasting impact.”

When not developing supplemental projects for Frosh such as the Crash Pad or the Sustainable Frosh Initiative, SSMU usually takes a hands-off approach towards overseeing Frosh, so Mallik’s resignation won’t have a major effect on this year’s orientation activities. Individual faculties and committees are responsible for the majority of Frosh planning, and do not typically rely on the VP Operations and Sustainability. The remaining six SSMU executives plan to divide Mallik’s responsibilities among themselves until a new VP Operations and Sustainability is selected in the upcoming semester.

“How the new VP Operations [and Sustainability] will be selected is to be determined in the fall,” SSMU President Muna Tojiboeva wrote in a message to The McGill Tribune. “I am overseeing the implementation of the various sustainability initiatives. The other tasks under the VP Operations [and Sustainability] portfolio are distributed equally among the executives.”

As the executive team adjusts to the redistribution of tasks, they remain confident in their ability to oversee their own portfolios as well, for the time being. Having been appointed to oversee all Frosh-related tasks of the VP Operations and Sustainability portfolio, SSMU VP Internal Affairs Maya Koparkar faces the most immediate challenge.

“I am overseeing frosh-related activities, specifically Crash Pad and the Sustainable Frosh project, and everything is still going according to plan without affecting any other aspects of my own portfolio,” Koparkar wrote in a message to The McGill Tribune.

Private, Science & Technology

Full Coverage: The Solar Eclipse is coming, here’s how to prepare

by Oceane Marescal on

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As the Aug. 21 solar eclipse approaches, science fans and space enthusiasts across North America are preparing for the event. Even though the eclipse’s path won’t cross McGill campus, students shouldn’t miss this once-in-a-lifetime event. Here is everything you need to know:

What is an eclipse?

A solar eclipse occurs when the Moon passes directly between the Sun and the Earth. This means that the Moon prevents the Sun’s light from reaching our planet and casts us into its shadow for a limited amount of time. A lunar eclipse, by contrast, occurs when the Earth moves between the Sun and the Moon. A total solar eclipse happens when the Moon blocks out the Sun’s rays entirely and forms a halo of light around the Moon, called a corona. During this brief time, those in the right place on Earth are submerged in darkness and the temperature can even drop by around five degrees.

Surprisingly, total solar eclipses are not rare phenomena, occurring approximately once every 18 months on average. However, the area in which these events are visible usually spans about 100 km in width, covering less than half a percent of Earth’s surface. Most of the time, this tiny sliver of shadow is cast over the ocean and never seen.

Monday’s eclipse, in particular, will be the first total solar eclipse visible from North America since 1979, and the first one to travel from coast to coast since 1918. Anyone within its path of totality, the 70-mile-wide band in which a full total eclipse will occur, will be able to experience a spell-binding two minutes and forty seconds of darkness.

Wow, that sounds great! Where and when can I see this “Great American Eclipse?”

The total solar eclipse will take place this Monday, Aug. 21. Beginning in Oregon, it will travel across the United States to South Carolina, crossing parts of Idaho, Wyoming, Nebraska, Kansas, Missouri, Illinois, Kentucky, Tennessee, Georgia, and North Carolina along the way. If you happen to live in any one of those states or feel like a road trip from Canada, you are in luck. Odds are, you are a short car ride away from the path of totality.

Despite the picturesque qualities of the eclipse, remember that looking directly at the Sun can cause damage to eyes. Never look directly at the Sun–even if it is partially covered. Viewers should consider purchasing a pair of eclipse glasses, also known as solar-viewing glasses, with specially-made solar filters that provide much more protection than regular sunglasses. If not, another safe method to view the eclipse would involve making a pinhole camera, using only a shoebox and some aluminum foil. The only time it is safe to look directly at the Sun is when the Moon has covered it completely.

Those residing in Montreal will unfortunately not be able to see the total eclipse (only about 60 per cent of the Sun will be covered), but partial eclipsing will begin at 1:21 p.m. and reach its maximum at 2:38 pm. AstroMcGill will be holding an eclipse-watching event on the Lower Field, starting at 1 p.m..

Oh no! I won’t be in North America on that day. Can I still see the eclipse?

Sadly, people on other continents will not be able to see the glory of the total eclipse, but might be able to view a partial one depending on their location. For most countries in Northwestern Europe, including the UK, France, Germany, Belgium, Spain, and Portugal, the Sun will set before the eclipse has had time to finish.

Luckily, NASA will be offering a live stream of the eclipse from beginning to end, which will include footage of the eclipse itself as well as question and answer sessions with scientists.

As for the next eclipse to travel over North America, we will have to wait until 2024!

Commentary, Opinion

Andrew Scheer’s proposal to protect campus free speech creates more problems than it solves

by David Watson on

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In the (perhaps unlikely) event that any students followed the recent Conservative Party federal leadership race, they would surely have noticed one of the more unconventional promises made by Andrew Scheer, the man who now leads the Conservative caucus. During his bid for the party's leadership, Scheer vowed that if made Prime Minister he would cut federal funding to universities that don't protect free speech.

Scheer is currently far behind Justin Trudeau in approval ratings today (and in pairs of fancy socks, if anyone’s counting). But, he does have a chance of becoming Prime Minister in 2019, so it's well worth considering how students and universities would fare under a Scheer administration.

Scheer may be justified in his concern for free speech on university campuses. But far from improving the situation, his proposed solution risks making the climate on many campuses even worse.

Discussion surrounding the topic of free speech on university campuses has gained new momentum in recent months, thanks largely to high profile incidents in the United States at schools such as Middlebury College and UC Berkeley, where protesters forcefully disrupted scheduled talks by right-wing speakers. Similar incidents have happened here at McGill–the interruption of former Premier Jean Charest's talk last year was a textbook case of what's come to be known as the “heckler's veto.” As these types of stories become more frequent in both the US and Canada, many have begun to worry that universities are no longer open places where a variety of views can be expressed and debated freely.

“There is a small group of students on various campuses who shut down debate, who shut down expressions of speech,” Scheer claimed of current attitudes towards free expression on Canadian campuses in an interview with Metro News. “That can’t be allowed to continue.”

Although he has mentioned that he would be open to “working with universities” on a solution, in his acceptance speech Sheer reiterated his threat to withhold federal research grants from institutions that allegedly shut down campus debate.

The fundamental problem with Scheer's proposal isn't that he wants campuses to remain open to free debate—it's how he wants to go about it. Dictating university policy from the federal level would create more problems than it would solve.

Scheer’s solution risks turning the rights of students into a partisan political issue. Judging by the way Scheer invoked his promise during the leadership race, it's possible he would use his proposal during the federal election campaign to rile up those conservative voters who see today's universities as pandering to overly-sensitive liberals. And if he rides such a populist conservative wave to victory in 2019, the temptation to throw some red meat to his base by playing tough with a few of the country's more liberal universities would be undeniable.

Scheer's own motives aside, the effect this promise could have on university administrators is dangerous, too. If universities sense a potential threat to their federal funding, they may take an overly restrictive line with student protesters in order to stay in Scheer's good books. If so, in practice Scheer's proposal could end up infringing on the very freedom it means to protect.

In a recent article in The Atlantic, Thomas Healy remarks that, rather than being attacks on the speech of others, most student protests can be considered expressions of “counter-speech”—a form of pushback that makes a valuable contribution to an open conversation. If a Scheer government—or a university administration acting in fear of one—is overzealous in cracking down on dissent, it would find itself in the counter-intuitive position of limiting free speech for the sake of…free speech.

Scheer isn't the first politician to take issue with the way some students approach debates on campus. On the opposite end of the political spectrum, former US President Barack Obama expressed a similar view back in 2015.

If political leaders are genuinely interested in protecting freedom of speech at universities, there may be room for their involvement. But they should approach universities and students as partners and encourage them to come up with and implement their own solutions, rather than dictating their approach from the top down. Threatening university funding is no way to open the conversation on the state of campus free speech, and will end up doing more harm than good.

Sports

Roger Federer: Wimbledon’s grand champion

by Elizabeth Hillier on

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On July 16, Roger Federer won his eighth Wimbledon title, surpassing William Renshaw and Pete Sampras to become the most successful man at the All England Club. In the final, Federer topped Croatian Marin Cilic in straight sets (6-3, 6-1, 6-4) in a one-sided, 101-minute match, earning his first Grand Slam title on grass courts since 2012.

Each of the Grand Slam tournaments boast unique features and world-class tennis, but it’s the glamour of Wimbledon and its fabled fortnight that pull on the heartstrings of the tennis world. The tournament, renowned for its mandated white apparel, Gatsby-esque umpire attire, and close association with the British Royal family, has become a symbol of aristocratic tennis rule.

It seems almost unnecessary to discuss how the greatest male tennis player of all time has made history, but Federer is deserving of every last word of praise. He, alongside the other brilliant players of his generation, has brought tennis to the public eye. His mastery of the game will likely remain unmatched for years to come.

For almost two decades, spectators have flocked to Federer’s breathtaking matches and followed the ebb and flow of his career. Most recently, amid speculation that he could be nearing retirement, Federer took a six month break from tennis to nurse an ailing knee. He followed up on his hiatus with a triumphant return in January 2017, and with his recent Wimbledon win, he shows no sign of slowing down.

While impressive enough in its own right, his eighth Wimbledon title comes with a lengthy list of additional milestones and records. This victory makes Federer the first man to hoist the gold cup without dropping a set since Bjorn Borg in 1976 and the first man to play in 11 Grand Slam finals at the same event. It extended his lead of most Men’s Singles Grand Slam titles to 19—four more than Rafael Nadal, who sits in second place. Federer, himself, understands the significance.

“Wimbledon was always my favourite tournament, will always be my favourite tournament,” Federer said after winning the tournament for the eighth time. “My heroes walked the grounds here and walked the courts here. Because of them, I think I became a better player. To make history here at Wimbledon really means a lot to me just because of that really. It’s that simple.”

After taking most of the previous 12 months off from championship play, Federer—who turned 36 this month—began the year with a thrilling victory at the Australian Open. With the triumph over Nadal, he became the first man to take five or more titles at three Grand Slam events. The cards seemed stacked against him that day—during the hardcourt match, Federer received treatment on his thigh while down a break in the fifth set—all against a man who had beaten him 23 times in 34 matches. The victory was an artful performance from Federer. That symphony of tennis at Rod Laver Arena made him the oldest man to win a Grand Slam, a record which he has now broken, once again, at Wimbledon.

In his storied Wimbledon career, Federer has entwined himself into the fabric of the event. Just as Nadal’s grinding performances fit seamlessly with the name, “King of Clay,” it is hard to imagine a player more synonymous with the grandeur and history of Wimbledon than Federer. Stretching back to 2006 and 2007, when Federer wore monogrammed blazers onto the court, followed by the gold piping cardigan of years to come, he has become one with the image of Centre Court and its dark green stands. He is Wimbledon’s golden boy once again, and the tennis world has found itself reformed believers of the graceful and timeless Swiss champion.

Hockey, Sports

Sidney Crosby: The NHL’s greatest anti-hero

by Wasif Husain on

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In just over 12 months, 30-year-old Sidney Crosby has accumulated a lifetime worth of accolades. His spectacular run began in June 2016 when he captained the Pittsburgh Penguins to the Stanley Cup championship and earned the Conn Smythe Trophy as playoff MVP. His dominance then continued into September as Team Canada won the World Cup of Hockey on home soil with Crosby again earning MVP honours. That momentum carried into the 2016-17 NHL season, when Crosby won the Maurice Richard trophy as the league’s highest goal scorer, finished second in Hart Trophy voting, and claimed a second consecutive Stanley Cup and Conn Smythe Trophy.

Over the past year, Crosby has cemented his legacy as one of the best players in the modern era, but it hasn’t been enough to silence his critics. In the midst of the 12 most successful months of his career to date, pundits still discredited his performances, condemned his on-ice antics, and elevated Connor McDavid as the league’s next big thing.

Much of the criticism Crosby faces is centered around the supposed preferential treatment he receives from the NHL. San Jose Shark Logan Couture accused him of cheating on faceoffs during the 2016 Cup finals—an offence Couture argued any other player would be punished for. In March 2017, Crosby again became the centre of attention after making a dirty hit on Ryan O’Reilly with his stick. Two days later, he slashed Marc Methot in the hand and mangled one of his fingers.

Controversy peaked in the 2017 Cup finals against the Nashville Predators, when the Penguins’ captain took part in a public spat with PK Subban. It began with harmless smack talk after Game 3, and ended with Crosby repeatedly grinding Subban’s head into the ice during a scrum two games later. In the very same game, Crosby also threw a water bottle onto the ice during live play.

Crosby was in the spotlight before he even entered the league, projected early on to be the best player since Wayne Gretzky. While the constant pressure and attention have not affected his game, they have certainly exposed him to a high level of scrutiny. Because of his status as the Next One, fans monitor him closely and, as a result, take issue with actions that would go unnoticed among lower-profile players. However, Crosby’s only obligations are to his teammates and the Penguins organization. He has fulfilled lofty expectations. Calling him dirty is ridiculous and unfair—just compare his actions to the targeted on-ice abuse he himself receives from every other team in the league.

In an era of unparalleled parity in the league, Crosby led the Penguins to consecutive championships, a feat not accomplished since the Red Wings’ 1997 and 1998 seasons. Despite constant concussion struggles, he has continued to add to his legacy. To date, he has scored over 1,000 points in under 800 NHL matches and tallied 164 points in 148 playoff games. He has won three Stanley Cups, been awarded two Conn Smythes, earned two Olympic Gold Medals, won the World Cup and MVP award, and swept the NHL year-end awards.

Though the never-ending list of his official awards and stats is impressive, what makes Crosby truly special is his ability to break out in big moments. He has scored numerous clutch goals to win the Stanley Cup or the Gold Medal. Breaking down the aspects of his game, it’s easy to see why he’s so dominant. His backhand is the best in the business, and his wrist shot off the rush is as deadly as they come. He’s a fantastic passer and it’s no coincidence that his linemates always seem to have the best years of their careers while playing next to him. But what makes him most dangerous is his hockey IQ, skating, and body positioning. When he is set up on the boards, down low in the opponent's end, it is near impossible to take the puck off him.

Crosby currently stands among the ranks of hockey’s best, and will continue to rise if he keeps his current pace. His level of play has made him the most high-profile player in today’s game, but it also makes him an easy target for unfair criticism. He spent the past year playing near-perfect hockey. Calling him a cheater or a whiner is just a desperate attempt to criticize him. Crosby is on top of the league and here to stay.

Arts & Entertainment, Comedy

In a Post-Joke Era, DeAnne Smith cheers up audiences at JFL

by Audrey Carleton on

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In mid-July, comedian DeAnne Smith skyrocketed to virality with a bit she performed for CBC Comedy in which she encouraged heterosexual men to treat their girlfriends better. Shortly after gaining recognition on Facebook newsfeeds in Canada and beyond, Smith reached Montreal’s annual Just For Laughs comedy festival—an event that she has made part of her ritual every summer since 2008. During her time at the festival, she performed a week-long run of her own show, Post-Joke Era, and performed in Montreal: An Intervention gala on Monday, July 31.

Smith wrote her set Post-Joke Era before beginning her rounds at comedy festivals internationally this summer. Though the set was initially written for a comedy festival she performed at in Australia in March, the title of the show is an obvious reference to the current political climate in North America and beyond.

“It’s hard to stay positive in a world filled with misogyny, racism, and rising nationalism,” the description of the show reads online. “But gosh darn it if we ain't gonna try!”

Smith frequently weaves politicized messages through many of her witty, self-deprecating quips. She is not afraid to explore her liberalism onstage, discussing her gender identity, mocking her own appearance as a stereotypical lesbian feminist, and laughing at herself accidentally chanting pro-life messages at the Women’s March on Washington.

“I always have to talk about what’s important to me and what’s going on in my mind at that moment,” Smith said. “When I put [Post-Joke Era] together there seemed to be a few themes there so I just ran with it.”

Smith’s week-long run of Post-Joke Era took place at multiple intimate venues this year, including Mainline Theatre, a black box theatre that seats 100 people, and La Chapelle, a small community performing arts theatre. Though Smith is experienced in performing for large crowds, and performed in a gala this year, she prefers smaller venues and the level of connection with the audience they provide.

“I absolutely love an intimate venue,” Smith said. “My comedy is relatively interactive—every show is different, just based on the night, and based on who’s in the room and what kind of energy the crowd is bringing me, you know. I love being in the moment and really making the most of a live performance.”

The preference for a smaller venue is common among comedians, in part because it feels reminiscent of earlier days. Like most comics in Montreal, Smith got her start by performing at open mic events—a pastime that quickly became her passion.

“I came to Montreal in order to do a writing program at Concordia,” Smith explained. “And then I started doing open mics and immediately just fell in love with it and felt like I had found my calling. I felt like I had found the thing that made me feel really happy and energetic and passionate, so once I started doing open mics I didn’t stop.”

Like any comedian or stage personality, Smith is no stranger to pre-show nerves. Every comedian has their own mechanisms for handling them, but Smith believes that her personality type and experience grappling with mental illness predispose her to being comfortable on stage.

“I think you have to have a special kind of personality […] to even want to do comedy, and then to enjoy it,” Smith said. “Most people’s biggest fear is public speaking, and to me it’s like I think, I don’t know, struggling with anxiety, struggling with depression, I can feel uncomfortable everywhere, so being uncomfortable on stage doesn’t even phase me [….] I think sometimes when you have your own demons and you CAN be your own worst enemy, being potentially judged or rejected by other people isn’t really that big of a deal.”

If her natural affinity to the stage wasn’t clear from the start of her career in Montreal, years later, Smith exudes an impressive sense of comfort and confidence during her set. Beyond being self-deprecating and quick-witted, Smith’s standup moves boldly into political realms that many comics avoid at all costs.

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To learn more about Deanne Smith or to purchase tickets to her upcoming show at Montreal’s Comedy Nest, visit her website.  

Arts & Entertainment, Theatre

‘Ain’t That Rich’ asks who and what constitutes being “poor”

by Virginia Shram on

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In today’s context of out-of-touch politicians blaming millennials’ lack of real estate on avocado toast and “Fight for 15” groups across North America protesting the stagnation of the minimum wage compared to the rising cost of living, we are sometimes left wondering: Who and what actually constitutes being “poor”?

Kate Robards approaches that question in her self-written one-woman-show, Ain’t That Rich—a multidisciplinary performance about the latter’s childhood in Orange, Texas, and her ascent to the one per cent through a fortunate marriage. Ain’t That Rich gained acclaim as Maui Fringe Festival’s First Prize and Audience Choice Winner.

Robards recounts her early years growing up amongst rural rednecks scrimping and saving, through to her transformation as a highly educated woman with a “magic” credit card attached to her husband’s account. Her hometown family is rough around the edges, some dealing with alcoholism and drugs, some beaten down by the sludge of poverty, but mostly happy through and through. There are holes in the roof and the garden’s a mess, but Robards’ mother reminds her to be thankful that they are only “broke,” not “poor.” Robards’ ascent to wealth is less of a ladderlike climb and more of an accidental teleportation: She suddenly falls in love with a law student who happens to be from a family of wealth exceeding eight figures. Rags to riches, indeed.

Robards uncovers the disparities between these labels in a deeply personal, introspective way, far from a decisive quantification of wealth. Ain’t That Rich could easily go down the over-trodden narrative path of didactic adages that money isn’t the real joy, it’s nature and love that allow you to find a true happiness that makes you feel alive. Admittedly, there are references to Louis Vuitton thousand-dollar purses, visibly overdone botox, and other cliches of the uber-rich. However, Robards mostly avoids these tropes through her humility and a touch of humour. She won’t deny that being wealthy is amazing, but she’ll also weave into that joyous confession the harsh habits endured by those who grew up poor and had to live paycheck to paycheck. Her mother packs her lunches for school, but they can only afford the same thing every day: A sandwich and a Little Debbie cake. The family scraped enough money together for dance classes, but she has to salvage second-hand spandex workout clothes. True to Southern tradition, her extended family has always lived in the same neighbourhood, but that tradition is perpetuated by the lack of money required to travel and disseminate. The play asks: How little is just enough? How much is always needed?

The performance’s first steps forward are a little shaky, unsure if the focus is comedy, monologue, or social commentary. The punchlines aren’t especially sharp and the autobiography is interrupted by accurate but superfluous facts about poverty realities. There are a couple of laugh-out-loud moments, but Robards favours her writing’s descriptive syntax and rhythm over comedic timing, so the real pleasure in her performance is her storytelling ability and her finely-tuned acting skills. Rather than keep the audience laughing—even though it seemed this was where she was going when she started—she minces words poetically to make the real punchline a sucker-punch long con, inciting an emotional silence instead. Her pacing is excellent as she switches between crucial moments in her life, and there is no weak point in the plot so as to drag down the performance. Without spoiling the last 20 minutes of the show, I will admit Robards successfully sacrificed those potential comedic punchlines for a heavier, more nuanced intent.

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