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Travis Scott Rodeo
a, Arts & Entertainment

Album Review: Rodeo – Travis Scott

by Will Burgess on

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Texas-born rapper Travis Scott has been cultivating hype for his debut LP for more than a year now. His earlier mixtape, Days Before Rodeo (2014), showcased a 12-track warm-up with a title that promised that this was only the beginning, which only makes the hit-or-miss main event Rodeo somewhat of a disappointment.

Days was arguably one of the best mixtapes released last year, an ambitious and original enterprise that justified Scott’s seat in XXL magazine’s list of the best up-and-coming rappers of the year, a mantle further justified by a production deal with Kanye West’s GOOD Music label. Rodeo is ambitious in a few ways; the album incorporates an impressive array of producers and featured artists, including Future, Kanye West, and even Justin Bieber. Still, it lacks the upward vision and momentum of its predecessor.

The intro track, “Pornography,” sets the scene for an album that centres on the ups and downs of a lifestyle of excess that protagonists Scott is never in fully in control of. Unfortunately, this celebrated sloppiness extends to the actual production of the album itself, which contains filler tracks and corny lines alongside occasional moments of brilliance. The buzzy hook, “I be flying high” on “Flying High,”makes the track irritatingly unlistenable despite feature artist Toro y Moi’s refreshingly melodic verses. “Piss On Your Grave,” featuring Kanye West, is jarringly aggressive in the midst of the melancholy and introspection of the other tracks.

It’s telling that of the best two tracks from the debut—previously-released bangers “3500” and “Antidote”—one was never meant to be included. A symptom of the scattered assembly of tracks that fail to give Rodeo any real cohesion, resulting in a dismal display for a debut album.

Future and Drake
a, Arts & Entertainment

Album Review: What a time to be alive – Drake & Future

by Alfie Crooks on

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Drake and Future are two established hip-hop artists who have had massively successful years. Both released critically acclaimed albums earlier this year, with Drake cementing his position in the upper echelon of rap with his platinum album If You’re Reading This it’s Too Late. Both artists also provide a similar mixture of sentimentality and grit, which is what makes the release of their first collaboration, What A Time To Be Alive so exciting.

Before the album was released, there were rumors that the 11-song project was produced in only six days, and after listening to the finished product it’s not hard to believe. While there are very interesting and exciting pieces to this mixtape, none of it is particularly cohesive. The tracks often feel awkward and unseemly, as if they were created separately and forced together with Gorilla Glue. Furthermore, from an artistic standpoint, the project lacks any sort of conceptual arc as the common themes of codeine and strippers become somewhat tiresome and unoriginal towards the seventh or eighth track. Listening to the album in its entirety becomes a tedious task as a lack of artistic development and cohesion between Future and Drake often hampers the listening experience.

Despite this, there are moments on this album where things get fun. At their collective best, Drake and Future can make really captivating music. The album reaches it peak when catchy hooks meet with gritty beats to top off Drake’s sentimentally melodic riffs, which perfectly complement Future’s syrup-thick voice. “Scholarships,” “Change Locations,” and the highlight of the album, “Diamond’s Dancing” all follow this formula. While their lyrics don’t go any deeper than grandiose boasts and opioid infused strip club visits, nothing is lost either.

From a lyrical standpoint, the album isn’t very impressive with “30 for 30 Freestyle” functioning as the only song that does justice to Drake’s lyrical ability. But this album isn’t supposed to be a cerebral, well-thought-out artistic piece. If that was the mixtape’s intention, it wouldn’t have been produced in six days. Instead, it works as a project that emphasizes fun over all else.

What A Time To Be Alive frankly pales in artistic comparison to either artist’s solo work. With such an intentionally rushed production, the piece becomes fun and fleeting rather than deep and meaningful. The album doesn’t make you think, but it will make you want to dance.

Man of the City Reno McCarthy
a, Arts & Entertainment

Album Review: Man of the City – Reno McCarthy

by Alex Scheer on

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When you retrospectively listen to the unpolished early material of a band that has since progressed and evolved, it’s clear that there is an unrealized potential in the sound and a foreshadowing of what’s to come. Some bands never get any better, or fall apart before they have the chance. Man of the City, the sophomore EP from U.K.-born, Montreal-based musician Reno McCarthy, manages to showcase a heightened level of expertise unseen in his earlier work. But while McCarthy has an earnestness about him and is clearly skilled as a multi-instrumentalist and vocalist, his EP ultimately suffers from its creator’s lack of experience.

The sound is deeply rooted in the ‘70s. Synths, upbeat guitar, and bass lines reveal strong disco and dance-rock influences. So strong, in fact, that McCarthy fails to establish a sound of his own. The music isn’t bad, necessarily; on the contrary, McCarthy has a knack for creating a groove and writing solid harmonies. It is, however, riddled with sonic and lyrical clichés.

The title track establishes the Man of the City’s mood: It’s cheesy, but danceable. Grandiose vocals, backbeat rhythms, and groovy bass lines evoke a ‘strutti’ down the sidewalk’ sort of feeling, but it somehow lacks a certain ‘cool factor,’ as if McCarthy is trying too hard. The pulsating groove between verses in “Just About to Get Happy,” however, is a striking example of the few moments of brilliance and creativity throughout. These moments shine a light on the potential of this young musician, as well as the obvious skill of his accompanying musicians. The instrumental parts throughout manage to remain catchy and poppy while being relatively complex. A jazzy trombone solo in the middle of “They’re at It Again” provides a welcome break from the dance-y repetition, but soon it’s back to the disco grind. Closing track, “So,” finally breaks from the mould thanks to a strong melody and more diverse qualities: a sound reminiscent of U2, and a groove reminiscent of Pink Floyd’s “The Wall.”

The production could be worse, but it also could be a lot better. The dynamic range and balance between each instrument and the vocals are respectable, but the recorded sound of the instruments lacks harmonic depth, almost as if they’re computer-generated, which takes some of the music’s soul away. Lyrically, Man of the City is less than cohesive. As with other aspects of the EP, cliché abounds (“Hey sister say sister! (It’s the revolution)”) and lines are often awkward just for the sake of rhyming. It seems, though, that the words are more intended to go with the flow of the music and evoke mood than to make any statement on their own.

Man of the City isn’t the strongest EP to be released this year,, but it’s reflective of a young musician finding his way. It’s unoriginal and cheesy, but there’s an eagerness and an underlying talent here that hint at good things to come for Reno McCarthy.

a, Art, Arts & Entertainment

Vittorio brings posters to life

by Miray Eroglu on

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Montreal Through The Eyes of Vittorio celebrates Vittorio Fiorucci (1932-2008), an Italian poster artist who established himself in Canada in the early ‘50s and whose work is now internationally renowned due to its iconic artwork and designs. The exhibit opens with a statement from Vittorio dated shortly before his his death

“There are those who say that a poster is not art,” the statement reads.”Personally, I’ve always felt it is the art form closest to people.”

These words set the tone for the entire exhibit—a beautiful collection of some of Vittorio’s most iconic works; posters that not only send a message to the viewer, but are captivating for the eye to behold.

The exhibit includes posters, prints, illustrations, and photos where viewers can rediscover momentous events of Montreal’s past. The exhibit is divided into sections that revolve around some of Vittorio’s many passions: Friendship, women, film, cars, contemporary dance, theater, music, and a wide variety of the graphic arts. Vittorio was seemingly a man who followed his heart, and his through his posters, viewers can get an idea of the complexities and dichotomies present in his work. There is a multicultural element in all of his work, which draws on his background. Throughout his life, Vittorio had a deep affection for Montreal, a city that gave him many opportunities to express his personal vision as an artist.

Vittorio’s brightly coloured prints are synonymous with the social changes of the latter half of the 20th century and his prints capture the essence of graphic design. One of the most striking aspects seen though his prints is his amazing eye for colour and the elements of design. His graphics are bold and playful, demonstrating his talent in many different art fields. Vittorio was also a skilled photographer and illustrator in addition to his success in advertising. At the 1998 International Advertising Awards in Chicago, Vittorio was awarded the Moebrius Award, as well as a lifetime achievement award from the Canadian Association of Photographers and Illustrators and the Institute of Design Montréal.

Through Vittorio’s posters, viewers can see traces of Montreal’s evolution as a city, with the growing cultural significance and expanding influence of cinema in the 1960’s. In fact, Vittorio created many of the posters for independent Quebecois films in his role as the artistic director of the 1965 Montreal Film Festival (MIFF), which was established in 1960 in opposition to censorship in film. Vittorio embraced cinema, dance, and theater, and viewers can feel a similar energy in his designs.

Vittorio’s sense of humour is reflected through his posters, which often have a comedic element running through them. He stated in 1968, “I’m a poster designer, not a painter, and deep down I’m a comedian. What’s really great is if a poster of mine can get a guy to think as well as make him laugh.” This statement embodies the sentiments behind Vittorio’s designs and his artistic vision. Many of his posters carry multiple messages, drawn together at the core by his exuberant passion and zest for life.

Vittorio’s artwork is a testimony to liberation and his open-minded lifestyle. The vibrant colours interact in a playful and meaningful way for the viewer, and this exhibit is a lovely way to honor his lifetime of achievement. Vittorio believed in the power of embracing his inner child, and he invites viewers to do the same.

Montreal Through The Eyes of Vittorio will be on display from September 25, 2015 – April 10, 2016 at the McCord Museum (640 Rue Sherbrooke Ouest). Admission fees for students are $7.50 on Wednesdays, and $14 on all other days.

George Zimbel Marilyn Monroe
a, Art, Arts & Entertainment

Zimbel finds excitement in every moment

by Ariella Garmaise on

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Earlier in September, The Montreal Museum of Fine Arts debuted a retrospective of photographer George S Zimbel, an artist famous for his high-profile portraits of icons such as Marilyn Monroe, John F. Kennedy, Helen Keller, and Billy Graham. Zimbel has displayed his work everywhere—from New York’s Museum of Modern Art to Institut Valencia d’Art Moderne—but Montreal is a particular source of pride for him. Zimbel is a Canadian anomaly who left the United States to pursue his career rather than migrating south in hopes of achieving ultimate success. The exhibit is both a tribute to the international idol and a celebration of a local hero.

Zimbel found fame in celebrity, but his acclaim in humanity. Some of his portraits are iconic—his shot of Monroe’s flying skirt in The Seven Year Itch (1955) still adorns the walls of many teenagers. His profiles are so enticing because of his ability to see beyond the façade of celebrity; Monroe’s revealed thigh isn’t what makes the photo scandalous, but her uninhibited giggle. With every icon he photographs, he is able to capture this sense of humanity; he catches a smirk in President Truman, exasperation in Helen Keller, and gleaming pride in Billy Graham.

All of Zimbel’s photos use the same Leica camera, and most are black and white. Bright and spectacular, he captures the joy of the ’50s with a vibrancy that explains why grayscale is a trend that has persisted in the digital age.

He is intent on proving that the mundane is an illusion: There is meaning in every moment. Fittingly, the exhibit features Zimbel’s book Momento which he describes as, “a word I made up; it is neither ‘memento’ nor ‘moment’ (as in the decisive one). Sometimes it happens instantly, and sometimes you have to wait for it. It comes in its own sweet time.”

If his celebrity portraiture and foreign landscapes are his grandest, his small town shots are sweetest. One series, “The Pitcher,” follows a boy’s attempt at throwing a baseball, moving from frustration to anguish to glee with the movement and ease of a film. Zimbel gives personality to anonymity, so his portraits are even more exciting than the celebrity profiles that catapulted his career.

The entire exhibit was charmingly personal. Zimbel addressed the crowd in broken French, dedicated his work to his wife Elaine (who stood proudly at his side for most of the night), and spent the remainder of the evening greeting family and friends who came to support him. An American by birth, Zimbel boasts his grandchildren’s Quebecois education and persists on sticking to a language that is clearly foreign to him. However, while Zimbel prides himself on being “an honest photographer,” it is still unclear why he picked Montreal for this retrospective, let alone his home. The exhibit covered East Coast pleasantries in Massachusetts, wild city life in New York and New Orleans, and even exotic adventures in Venice. Canadian landscapes, however, were noticeably absent.

The gallery exhibits three years of his work, from 1953 to 1955, and in doing so is more celebratory than reflective. The thesis of Zimbel’s work is that it’s the ordinary that is most exciting, and yet by ignoring his Canadian home he ignores his own artistic motivations. Given his philosophy of celebrating the ordinary, it would have been nice to see what’s ordinary to him.

George F. Zimbel: A Humanist Photographer will be at the Montreal Museum of Fine Arts (1380 Rue Sherbrooke Ouest) until January 3, 2016. Tickets are $12 for ages 13 to 30.

a, Arts & Entertainment, Film and TV

Pop Dialectic: Modern Family

by Anna St. Clair and Ariella Garmaise on

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Modern Family just finished its long run of consecutive victories at the Emmy Awards earlier this year. Two writers take a look at the show and its legacy.

Click each perspective to read more

Modern Family was always stuck in the past

Arielle Garmaise

When Modern Family premiered in 2009, it joined network television at a time when ‘normalized gay family was not yet part of the American lexicon, diversity rarely extended past blonde and brunette,’ and the nuclear family was confined to traditional binaries of age, gender, and ethnicity. Creators Steven Levitan and Christopher Lloyd offered a refreshing pitch; a mainstream television show that could explore complexities real families face; however, Modern Family never expanded beyond these stereotypes, and instead has spent the past six years gliding on what is merely a clever premise. As new television shows like Transparent and Black-ish take legitimate stances on inequality, Modern Family has lost its shock value, and consequently its Emmy streak. Their loss at the 67th Emmy’s was not an anomaly, but rather a reevaluation of an award they never rightfully deserved.

The show created a modernized format of its earlier predecessors in an attempt to refresh the increasingly outdated medium. The multi-camera setup was replaced with shaky handed documentary-style shots, two distinct storylines substituted with an overlapping three, and the fourth wall was broken as characters gabbed with an off-screen interviewer. Rather than transcend the passé sitcom of yesteryear, however, the format entered new, unfashionable territory: The mockumentary. Though successfully quirky on shows like The Office and Parks and Recreation, the Modern Family mockumentary feels like a gimmicky way to glean ‘deep’ insights from its characters. Whereas television icons Michael Scott and Leslie Knope were beloved for their witty confessionals, Modern Family’s Pritchett family is prone to undeserving sentimentalities and cheap tongue-in-cheek jokes:“If you love something set it free—unless it’s a tiger!” Phil Dunphy (Ty Burrell) giggles in one episode.

For a show that is largely character driven, the writers depend on old-fashioned stereotypes and clichéd relationships. The Pritchett family tree starts with Jay (Ed O’Neil), a 60-sommething wealthy businessman who lives with his young, beautiful, Colombian wife Gloria (Sofia Vergara) and her son Manny (Rico Rodriguez). Jay’s relationship with Gloria is limited to the same three jokes about his age, her beauty, and a banal cultural divide that exists between them. Her heritage is a prop, her accent is an easy punchline, and stories of drug-ridden Colombia are merely cutesy anecdotes. Never do they descend into any real issues, such as the intricacies of immigration, the hardships of adapting to a new culture, or the alienation of living in a neighbourhood devoid of other visibl minorities. Vergara is nothing more than the token actress of colour.

Jay’s relationship with his gay son Mitchell (Jesse Tyler-Ferguson) is equally limited. The two have wrestled with the same ‘traditional dad won’t accept gay son’ trope for the show’s entire run. Most of these tense interactions end with an optimistic revelation by Mitchell, where he beams that his father is finally understanding him, and a sweet gesture by Jay, where he publicly supports his son. This routine drags on during all seven seasons. Mitchell’s husband Cam (Eric Stonestreet) plays a stereotypically gay man—he wears paisley shirts, loves musical theatre, and shrieks enthusiastically. The only dimension to his character is that he plays football. On the other side of the family tree lie Jay’s daughter Claire (Julie Bowen) and her husband Phil. Phil may be the show’s only redeeming quality—his knack for physical comedy and quirky dad jokes are both genuinely endearing; however, Claire and her children are all unbearably familiar: type-A mom, stereotypical teenager, socially awkward nerd, and troublemaking youngest child each pushed past their capacities.

Modern Family was never the groundbreaking sitcom it claimed to be, because it never gave its characters a real chance to explore any depth or range. Instead, it relies on blasé jokes and predictable premises, confining both its actors and the diverse populations they are meant to represent to two-dimensional props. As new forms of television emerge, whether it be via Netflix, Hulu, or Amazon, viewers are finally able to find ‘diversity' in lived-in characters with multi-layered problems. They can abandon the shallow sitcom, understanding Modern Family was never really  all that modern.

 

The predictable end of a well-deserved era

Anna St. Clair

When Modern Family won an Outstanding Comedy Series Emmy for its first season in 2009, it won for being a fresh, witty, crowd-pleasing comedy. With a focus on family, the show had a charm reminiscent of ‘80s sitcoms. Everyone could enjoy Modern Family, and it managed to be funny without veering into offensive territory. The runners-up for best comedy of 2009 included 30 Rock, Big Bang Theory, and The Office. 30 Rock’s razor-sharp satire and wit, while excellent, were heavily targeted to a liberal, white, and middle-class audience. Additionally, Big Bang Theory simply took the old Friends formula and added a slew of science and geek pop-culture references. Where other shows were trying to look smarter, Modern Family brought the classic TV sitcom into the 21st century with lovable characters and wit that took a fresh look at an unconventional American family.

Filmed as a mockumentary, the show follows Jay Pritchett in his new marriage to the much younger Gloria, as well as the families of his children, Claire and Mitchell. Through wit, observation, and slapstick, the generational and cultural divides of the Pritchett/Dunphy clan make for smart comedy. Jay is the old-fashioned baby-boomer who’s still uncomfortable with his gay son’s sexual orientation. And while writers can rely on Gloria’s Colombian accent and trophy-wife status for jokes, the show also addresses the culture clash of her new life. She supports her son Manny when he wants to show his Colombian heritage to his classmates and often reminds him of their humble beginnings. These antics and family drama are what make the Pritchett/Dunphy clan relatable to the average viewer.

What came to define Modern Family was its characters. With his corny jokes, and slapstick humour, Phil Dunphy became the poster child for suburban white dads everywhere. Yet a common criticism of the show was that characters were simply tired clichés, from the ditzy teenage daughter to the control-freak mom. In reality, the show’s tropes felt tired because of how similar they were to actual families. Yes, Jay is the conservative tough guy who likes to play golf and watch football, but who doesn’t have a grandfather or uncle who’s said something off-colour at a family dinner? Even Cameron, with his love of musical theatre and dramatic personality, still had enough quirks that he didn’t become a caricature.

Modern Family broke ground by focusing on two gay men who had been together for five years and recently adopted a child together, normalizing a taboo subject. The couple worry about being good parents, they bicker with each other, and at the end of the day they love each other.

Yet as the seasons went on, Cam and Mitchell’s relationship started to feel different. Rarely were they physically affectionate with each other—although Mitchell’s problem with PDA was addressed in a later episode. It was still hard not to believe their relationship was cooled down in order to make a straight audience comfortable. But with their wedding in season five, Mitchell and Cameron’s relationship began to feel real again.

Modern Family has always been an excellent comedy series that proved TV could be funny, warm, heartfelt, and smart. Where other shows might turn to a constant stream of sex jokes when they run out of material, Modern Family is a family show that never stopped being funny. Was it the best comedy on TV for five years running? Probably not. In its later seasons, the show increasingly relied on stereotyping its characters for laughs, and the wit and cultural insight of the early seasons disappeared. It was high time for Modern Family to end it’s Emmy sweep, but it has definitely been a good run.

 

Marlon Brando
a, Arts & Entertainment, Film and TV

Unearthing Marlon Brando

by Alexia Martel-Desjardins on

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Despite being a great actor Marlon Brando was a human being who struggled with his past and career. Listen to me, Marlon brings viewers into Brando’s mind and captures his tormented search for meaning and internal peace.

Brando is often cited as the most influential actor of all time. He lived from 1924 to 2004 and had a remarkable career, acting in iconic films such as A Streetcar Named Desire (1947), On the Waterfront (1954), and Last Tango in Paris (1972). Apart from achieving legendary status in Hollywood, Brando had turbulent family and romantic relationships. Stevan Riley, the director, used audio recordings of Brando reflecting on his life to create a unique portrait of the actor, giving the documentary a more intimate feel. These tapes, which were previously undiscovered, provide a great amount of unrevealed information to his fans. Although the movie could easily slip into presenting Brando as a hero since he is the narrator, it instead makes the audience understand where he comes from and what could have prompted his often standoffish behavior. Some audio comments from directors he worked with, such as Bernando Bertolucci from Last Tango in Paris, also provide interesting external points of view that contrast with Brando’s own perspective on his work.

Moving chronologically through his life, the movie is mostly supported by pictures of Brando as a child, and interview clips of Stella Adler, an acting teacher for whom he had great esteem. Then, the personal questions and struggles that he reflects on are accompanied by pictures and interview footage—more importantly by clips from his movies, each cleverly selected so that its subject matter matches the theme that Brando is discussing. It becomes clear that acting was a positive force for Brando, stemming from a life-long interest in analyzing people’s behavior, searching for what they are hiding, and imitating them.

As Brando gets older, more clips of the ‘real’ him are included. In fact, the movie begins with clips, which re-appear regularly throughout the movie, of TV news covering a shooting at Brando’s house in 1990 involving his children. Since there are more clips available for this part of Brando’s life than for his childhood, one wonders if this part of his life was unnecessarily focused on because of the greater availability of footage. Thus, while an interesting and visually arresting piece of work, it is somewhat of an uneasy watch as it tries provides a tentative explanation for Marlon’s deep concern with keeping his life private.

Since Brando was very protective of his private life, the audience comes to realize during the film that he probably would have hated his feelings being exposed. These recordings were most likely created for his own benefit only, as the labels “self-hypnosis” on the tapes indicate. While they very informative and offer a new insight on Brando’s career, it is questionable whether or not his wishes have been disrespected. Yet, Brando’s desire to be treated like everyone else might be fulfilled since he is portrayed as a person, not a famous star incessantly followed and raved about.

NFL Fantasy Football
a, Football, Sports

Fantasy Football: Week 3 takeaways

by Josh Blatt on

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With two weeks of injury-plagued, underwhelming football in the books, Week 3 was the fantasy football gods’ attempt at balancing the scales with 15 multi-touchdown games coming from wide receivers and running backs alone. Of those 15 performances, five were hat tricks, which certainly fueled some improbable comebacks in the fantasy world.

Senior citizen appreciation week

Who said wide receivers Steve Smith Sr., 36, and Larry Fizgerald, 32, were done? Both proved that they have plenty of gas left in the tank. In a show for the ages, Smith Sr. rumbled his way to 186 yards and two touchdowns on an incredible 13 catches for the Baltimore Ravens. The 15-year veteran demonstratedtremendous physicality and dominance on the field while reeling in some highlight-worthy grabs. Meanwhile, on the westcard, Fitzgerald caught nine passes for 134 yards and two touchdowns as the Arizona Cardinals wrecked the San Franciso 49ers. The future Hall of Famer is experiencing a renaissance this year with a league-leading five receiving touchdowns through three weeks. You can still slot these two vets up in your lineups every single week with confidence.

Bell tolls on bruised Big Ben

Ben Roethlisberger’sinjury history is so long it need its own section in the Library of Congress. Week 3 added another page to its volumes. A helmet to the knee was all it took to send the Pittsburgh Steelers’ 6’ 6”, 240-pound quarterback to the ground. Fans held their collective breath as Big Ben, famous for playing through sprained ankles and cracked ribs, cringed in intense pain, crumpled on the ground. Early reports project Ben to miss anywhere from four to six games with an MCL sprain and bruised knee. The one silver lining is that Roethlisberger did not damage his ACL, which would have surely benched him for the season. Pittsburgh now hands the offensive reins over to backup Michael Vick, dampening the fantasy outlook of all skill position players on the team. Expect running back Le’Veon Bell to be the Steelers’ focal point going forward and a near lock for 30 touches per game.

 

Colin’s Kaeper–nicked

2012 was a magical year for 49ers’ Colin Kaepernick. He supplanted Alex Smith as the team's starting quarterback, took the league by storm with his cannon of an arm and electrifying running abilities, and guided his team to the Super Bowl. He recorded a record-breaking 181 rush yards in a playoff game. Sadly, flawed mechanics and a deteriorating supporting cast have since thrown a wrench into Kaepernick’s career. His Week 3 performance saw nine passes for 67 yards and four interceptions, two of which were returned for touchdowns To put those horrific stats into perspective, seven wide receivers had more catches than Kaepernick had completions. With the undefeated Green Bay Packers coming in Week 4, Kaepernick’s days as starter may be numbered. Get him off your fantasy team before the situation gets uglier.

Karlos Williams makes lemonade

Who’s Karlos Williams you ask? Oh, just the guy you added off the waiver wire earlier this season. The Bufallo Bills’ second-string running back has casually put together an incredible season so far, registering three touchdowns and 186 rush yards on 24 carries. Star running back Lesean McCoy has been hobbled by a recurring hamstring injury since the pre-season and is unlikely to play in Week 4. Besides, McCoy’s been far less effective than Williams, rushing for fewer yards on nearly double the touches. Williams is likely to get the start this week in a promising matchup against a weak New York Giants defence. With the lingering nature of hamstring injuries, don’t be surprised if Williams carves out a bigger role for himself going forward. He is a must-add.

The Colts are back on the saddle

Following two shocking losses against the Bills and the New York Jets, the Indianapolis Colts finally got a win after a stunning come-from-behind victory over the Tennessee Titans. Trailing 27-14 by the close of the third quarter, star quarterback Andrew Luck connected with wide receivers Phillip Dorsett and Donte Moncrief for touchdowns a mere 56 seconds apart. The Colts haven’t quite turned their season around yet, but  a Week 4 meeting with the Jacksonville Jaguars should help Luck right the ship in Indianapolis after the Jags were made to look like kittens in a 51-7 loss in Week 3 to the New England Patriots.

Quinn-tessential Atlanta

In his three seasons as Seattle’s defensive coordinator, Dan Quinn turned his unit into the most fearsome in football. The group carried the Seahawks to consecutive Super Bowl appearances and one title. This off-season, he decided to take his talents to Atlanta, this time as head coach. Today the Falcons sit tied atop the NFC South at 3-0, less than a year removed from last season’s 6-10 finish. With an upcoming schedule that should be relatively easy Quinn’s Falcons are shaping up to be true playoff contenders in his first year at the helm and have a defence, and position players, worth adding.

Syrian Refugee Crisis McGill Tribune
a, McGill, Montreal, News

Understanding Quebec’s role in the Syrian refugee crisis

by Laura Hanrahan on

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On Sept. 9 the ongoing Syrian refugee crisis was declared the worst humanitarian crisis of our time by the Secretary General of the United Nations. Over 11 million Syrians have been displaced as a result of the current civil war. While the majority of refugees have fled to the Middle East and Europe, Quebec has accepted more than half of the 2,374 Syrian refugees who came to Canada between January 2014 and August 2015.

Appropriate Terminology

Vice-President Internal of McGill’s Syrian Students Association (SSA) Ghalia Elkerdi explained the importance of making a distinction between refugees and migrants when discussing these issues.

“I think we should be very careful when we use the terms refugee and migrant because migrant means something different,” she said. “[Migrant] means people [who] applied to an immigration process to get to Europe and elsewhere. [These refugees] crawled out of Syria because of the war, and then they had to swim, and they found themselves on European soil and under international law; Because they are refugees, Europe has to take them in. This distinction is not being made in the mainstream media.”

The Quebec Context

Stéphane Plante, press officer for the office of the Immigration Minister, explained Quebec’s current role in the refugee crisis.

“Our government felt that it was the right time to show leadership in the face of the worst humanitarian crisis since World War II,” Plante said. “We have a moral obligation toward those men, women, [and] children fleeing violence. We have the opportunity to provide them with peace, security, and a future.”

Plante cited the Quebec government’s intention to admit 2,450 more Syrian refugees this year, bringing the total refugees admitted into the province in 2015 up to 3,650. He additionally explained that Quebec has resettled 60 per cent of all Syrian refugees in Canada.

“Quebec has always responded to the call during humanitarian crsis,” he said. “We have already assured the federal government that we will do our part should they decide to admit more refugees.”

Elkerdi, however, says there is skepticism in the Syrian community that the government will keep these promises.

“There was a time [… when the Quebec government] announced they were going to grant 10,000 people refugee status, but the number suddenly became 2,000 […] and now they’re bringing it back up, so it keeps fluctuating up and down,” Elkerdi said. “And the Syrian community, they’ve learned not to really trust numbers.”

According to Plante, the nature of aid given to refugees who arrive in Quebec includes services such as health care evaluation and coverage, education, French classes, and employment services. While agreeing with the need for these basic necessities, Elkerdi described the importance of additional community support for the refugees.

“I feel like it’s really all about the community,” she said. “The government has responsibilities towards refugees. They have to protect them, they have to give them basic allowance or whatever they need to sustain themselves, but I always found it’s not the government officials who [are] going to knock at your door on a religious holiday and bring you gifts or sweets. It’s really the community around you.”

McGill's Involvement

Elkerdi, who migrated from Syria to Canada in 2010, discussed the obstacles Syrian students can now face when coming to study at McGill.

“When you’re applying, [McGill wants] your official transcripts, but a lot of Syrians lost their official documents and transcripts in the war, Elkerdi said. “They have proof [of their grades] but it’s not, for example, stamped. There’s also the complication of getting a student visa. I think that this is a form of injustice in itself. The university has [said] that this person is accepted into [McGill] and they will be allowed to pursue their knowledge here, and [the government is] saying [they can’t because] they don’t have the visa.”

The SSA has brought the issue to the attention of the McGill administration and hope to help in its resolution.

“We’re trying to work within the administration internally to make it as easy and fluid as possible for students to really pursue their knowledge,” Elkerdi said.

During McGill’s Sept. 24 Senate meeting, Principal Suzanne Fortier addressed McGill’s efforts to aid in the refugee crisis.

“We’re working with our colleagues in government and in other Canadian universities as to what we can do here at McGill to help,” she said. “The provost and vice principal academic are reaching out to […] have students join our university. [They’re also] using the expertise that we have and the research that can be of assistance to people who will be joining our country.”

The World University Service of Canada (WUSC) Program is a service that helps provide education to refugees by bringing them to Canadian universities. Since 1987 McGill has accepted 36 students through this program, 10 of whom are currently enrolled at the university.

“McGill has been part of the [WUSC] program which is a long-standing non-profit that runs international education programs to bring refugees to Canadian campuses,” Fortier said in last week’s Senate meeting.

SSA’s efforts

The SSA has taken on the project of raising money for Syrian refugee schoolchildren in Turkey through bake sales at McGill and Concordia. Elkerdi underscored that the money raised through bake sales did have a substantial impact on the lives of Syrian children.

“One Canadian dollar can actually sponsor one kid’s education for a day,” Elkerdi said. “If we were making $500 a bake sale, we were able to sponsor 500 kids’ education for a day, and this is just by us being social and standing and selling baked goods to people.”

General Director of the Canadian Red Cross, Quebec Division, and McGill alumnus, Michel Léveillé also emphasized the importance of financial contributions.

“We always say with one click you can make a difference,” Léveillé said. “Though our website we accept financial donations and that’s the best way to support the refugee operations. We do not use those donations for our regular budget.”

The Red Cross has used these funds to supply Syrian refugees in Europe with necessities such as beds and blankets. In terms of what the average student can do to help with the refugee crisis, Elkerdi explained that she believes the most important thing is to exercise the right to vote.

“If you really want to help people reasonably, I would say that we have to challenge the current status quo,” she said. “One of the things that you’ve probably heard about is the travel ban that Prime Minister [Stephen] Harper is trying to impose if he gets elected. To us, this has very dramatic consequences because a lot of people – even in the McGill community – go back to the refugee camps to volunteer, and they have family to see there.”

Elkerdi also discussed the importance of what the McGill community can offer to Syrian refugees.

“There are golden opportunities that they find here because it is a free environment,” said Elkerdi. “You’re fostering creativity and there’s free speech. I can speak up and say anything against my government without being arrested or shot – that’s a huge step forward. When people like us can meet on campus and discuss ideas, these are all things we don’t have in Syria.”

Screen Shot 2015-09-29 at 10.07.20 AM
(Hayley Lim / McGil Tribune)

 

Infographics by Hayley Lim

Blackhawks during a shootout
a, Behind the Bench, Hockey, Sports

Behind the Bench: Just don’t let it be a tie

by Genevieve Citron on

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The very last tied game in NHL history was played between the Carolina Hurricanes and the Florida Panthers on April 4, 2004. It was anything but slow. The Hurricanes took an impressive 4-0 lead in the first period before allowing six unanswered goals to start out the third. Carolina recovered when Eric Staal and Brad Fast­—in their first and last NHL games, respectively—tied up the score. When the regulation clock expired, the official scorer entered 6-6 in the books, and the crowd shuffled out of the stands.

Excitement nonwithstanding, the final score of this game would probably be incredibly unsatisfying to today’s NHL fans. Nowadays, it seems that thrilling hockey comes from sitting on the edge of your seat, waiting for your team to score that winning goal. Hockey fans want to walk away with a win and, of course, bragging rights over their friends who so foolishly chose to support another franchise.

After the 2005 lockout, the NHL removed the tie. Ten years later, the NHL is reconsidering whether drawn-out overtimes and shootouts are the best way to trigger excitement. After a successful trial run in the pre-season, NHL overtimes will now go straight to “three-on-three” play this season, leaving behind the old ways of “four-on-four” and hopefully leading to more dramatic finishes.    

This new overtime format is perfect for the fans. It gives athletes a greater chance to wow spectators with their skills. With fewer men on the ice, there will be more room for fluid interactions among players. This will free up ice space for quick puck movement and greater scoring opportunities. The three-on-three  regulation will lead to many more electrifying game-winners from the league’s best scorers, as Eric Staal and Joffrey Lupul demonstrated in the pre-season. They both managed to end their games less than a minute into overtime.

This fast-paced OT will also remedy the problem of excessive shootouts in the NHL; since 2005, shootouts have decided an average of 13.5 per cent of games per season. No fan wants to see their team crush every play, only to be taken down by an arbitrary breakaway. Ending a game in a shootout is like walking into a Tim Horton’s, only to find out they’ve started serving Burger King. It’s just not what you came for. 

Redmen goaltender Jacob Gervais-Chouinard was very positive about the new OT rules and sees a place for it in the CIS.  

“I think that three-on-three OTs would definitely be an improvement, as it would make games more exciting for fans,” Gervais-Chouinard said. “I think there is huge potential for better attendance at games in our league and this could be a good place to start working on it.” 

This new overtime format is perfect for the fans. It gives athletes a greater chance to wow spectators with their skills. With fewer men on the ice, there will be more room for fluid interactions among players. This will free up ice space for quick puck movement and greater scoring opportunities.

Gervais-Chouinard went on to say that the overtime changes would also play to the strengths of his teammates. 

“In practices, I really like three-on-three scrimmages,” Gervais-Chouinard explained. “My teammates would [also] love three on three. They are skilled and understand the game well. Plus, they love to have fun and be creative on the ice, so I think they would appreciate the gameplay a lot.”

Three-on-three overtime hockey brings the NHL into a new age of competition. Perhaps it can do the same for university hockey. Imagine watching the Redmen in three-on-three overtime at the CIS championship game: The McGill faithful are on edge as Chouinard keeps the game alive with outstanding one-on-one saves. Then, passing with artistry and shooting aggressively, McGill hits the back of the net to win the cup. That would be a breathtaking spectator experience, a truly satisfying conclusion to the season. 

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