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a, Arts & Entertainment, Music

Where have all the role models gone?

In our sex-saturated society it’s easy to wonder where all the positive female role models in pop music have gone; tweens and young women are bombarded with images of barely-clothed women writhing around on the floor, or, oddly, humping foam fingers.

Sometimes, even the few female artists who donít have hyper-sexualized public imagesólike Sky Ferreiraóprove, in other ways, to be poor role models for young, impressionable females. Ferreira was arrested earlier this year for ecstasy possession, surely something that is not encouraged for those who wish to maintain a clean record.

Though some feminists might say it is unnecessary for there to be female role models at allóespecially since they seem to be put under a microscope and picked apart by the media more frequently than their male counterpartsóthey are important because they provide young women with hope in the face of a society that so often seems to discourage strong women. Put simply, established and influential women are inspiring.

Role models also offer women a sense of belonging. As a teenager, there was nothing better than listening to a female artistís lyrics and identifying with her, feeling like I wasnít alone in whatever I was experiencing in life at that moment.

Although the female pop starís public appearance often muddles the message of her music, especially if itís as controversial as Cyrusí or Ferreiraís, it is their messageóeven if itís simply to ìbe who you want to be and have fun while youíre doing itîóthat is most influential on developing women, and not their image.

For example, I grew up in the age of the boy band, the mid-90s invasion of Brit-pop, and, most importantly, the Spice Girls. Starting from the age of five or six the Spice Girls were pretty much the only music I listened to, and I believed them to be goddesses.

In retrospect, itís obvious how sexualized the Spice Girlsí image was: Ginger Spice regularly stepped out in skin-tight ensembles with her cleavage pushed up near her ears, and Baby Spice was undoubtedly the result of some sort of perverted fetish.

Nevertheless, it was the Spice Girlsí message that was always clear to me: girl power. It was their mantra, and it became mineóand has remained so to this day.

So, when I see a female artist asserting her opinion in an interview, or subverting the culturally acceptable ënormí in some non-destructive way, I tend to gravitate toward her.

Although many people automatically assume that female pop artists are entirely manufactured and controlled by some male Oz-type character behind-the-scenes, this assumption is a bit too simplistic. Whoís to say she doesnít have the power to choose what she wears, or what she does on stage? Havenít things changed a bit since the ë60s, when men engineered female pop? The reality is that with more and more female pop artists participating in the writing and production of their own songs, thereís no doubt that some of their opinions feature in their music.

There are, however, some female artists whose messages are not obscured by their images, and are therefore, easier for feminists, and forward-thinking men and women who may not identify as feminists, to get behind.

Lorde (aka Ella Yelich-O’Connor), the 17-year-old New Zealand indie-pop sensation is undeniably one of those artists: she always appears fully clothed on stage and purveys a female-positive message. But Lorde is still young, and it’s difficult to predict how her personal style and sound will evolve over the next few years.

Lily Allen also maintains an unsexualized image, but her recent video for “Hard Out Here” features images of the same sexist female objectification that its lyrics, which include a re-appropriation of the word “bitch,” denounce.

No matter what, contemporary female pop artists are anything but boring, and the conversation they inspire about feminism is perhaps the most important and influential thing about them. As long as feminist discourse continues in a constructive way, it can only be a good thing. Hopefully weíll soon stop looking only skin deep and shift our focus to what these women are in the spotlight for: their music.

 

 

a, Science & Technology

Science fiction: Space travel

The itch to explore has always played a key role in our culture. It has also been an important anchor upon which many works of science fiction are based; many stories feature tales about exploration. Edgar Allan Poe’s The Unparalleled Adventures of One Hans Pfaall featuring a man visiting the moon by means of a balloon is agreed to be one of the first works of science fiction and was published in 1835.

Unlikely modes of transportation aside, we have reached a point in history where most of the globe is quite well known, and only the stars remain to be explored and discovered. So it is not so surprising that space travel has become such a staple of so many science fiction tales. From Star Trek to Futurama, we seem obsessed with  exploring space.

The conventional mechanism of propulsion for spacecraft is relatively well known. The product of highly exothermic chemical reactions which expel a great deal of energy is expelled through a nozzle at the base of the rocket. Newton’s Third Law, which states that “Every action has an equal and opposite reaction” takes care of the rest.

This method of propulsion may be simple, but it has a few flaws. First, it is a very inefficient process. Only 35 per cent of the energy expelled from the chemical reactions actually goes towards moving the ship; the rest most likely escapes as heat. Although the reactions do generate a great deal of acceleration—the rate at which their speed increases—their top speed is limited to about 8000 meters per second.

8000 meters per second might sound fast, but the speed of light is 300,000,000 meters per second—quite a big difference. Alpha Centauri, the closest star to our own solar system is 4.3 light years—the time it takes for the light to travel to us—away. This means that there’s roughly 40,000,000,000 kilometres in between us and the closest star.

One reasonable alternative to internal combustion engines is the use of ion drives. Espoused by science fiction writers, these propulsion systems have recently emerged into widespread use, as they tackle a few of the problems raised by chemical propulsion.

The ion drive was first described in 1947 in the short story called The Equalizer, written by Jack Williamson. Later, George Lucas uses ion drives in the Twin Ion Engines—small, manuverable spacecrafts—featured in Star Wars. Both writers emphasize the faster and more efficient means of space travel that this alternate method provides.

An ion is simply a particle. It can be an atom or a molecule, and is either positively or negatively charged. Ions are interesting because they can be manipulated using currents. The concept is not so different from moving a magnet around using another magnet. In the case of ion propulsion, electric current is used to push charged particles out of the nozzle rather than chemical products.

The advantage of this system is not so evident, but it relies on the fact that the ions are being pushed out of the rocket by an electric current. Ion engines use plasma, which is a neutral gas consisting of equal amounts of positive and negative charges. Plasma is considered its own state of matter because of its fairly unique properties. Prime among them is the fact that it is a good conductor of electricity.

Using electric current as a method of propulsion is better than simply using a chemical reaction because the heat of the reaction limits the latter. The voltage applied to ion thrusters is the limiting factor in their top speed, and voltage is theoretically unlimited.

Furthermore, rockets have top speeds of 90,000 meters per second—a great deal faster than chemical thrusters (rockets with a single propellant force). The downside is that their acceleration is not high enough to exit the earth’s atmosphere. While rockets require a great deal less fuel, they must be used in conjunction with other methods to escape the earth’s pull.

Although both these technologies are great strides in the effort to explore beyond our solar system, the incredible distances between us and other cosmic bodies are limiting. If we truly want to navigate interstellar distances, we would need newer and better modes of transportation.

One group of researchers called Icarus Interstellar have spearheaded such attempts with various projects involving numerous contributions from researchers around the world. The company, along with others such as SpaceX, seeks to maybe one day make our wildest dreams come true.

a, Arts & Entertainment, Music

Lady Gaga – ARTPOP

Although ‘dull’ isn’t a word you would usually associate with the avant-garde, publicity stunt-loving ‘Queen of Monsters,’ the first time I listened to Lady Gaga’s new album, I skipped pretty much every song. The only one I managed to listen to all the way through was piano ballad “Dope,” which abandons Gaga’s predictable synth-laden, EDM sound and features emotional, stripped-down vocals. Regrettably, despite its fresh sound, it remains a mediocre track, and falls short of the exciting energy of her 2011 release Born This Way.

ARTPOP continues Gaga’s obsession with fame, fashion, and pop culture in general—and you better believe that it gets tiresome. Many of the tracks on this album are immediately forgettable, and sound like rejects from Born This Way, or even her first album, 2008’s The Fame.

For example, “Fashion!” and “Donatella”—which are pretty much the exact same song theme-wise—directly mirror the sentiments of Born This Way’s “Black Jesus + Amen Fashion,” as well as “Beautiful Dirty Rich” from The Fame. I’ll give you one guess what the topic of those songs are.

Some tracks are also embarrassing and obviously trying too hard to be controversial. Evidence of this are self-explanatory songs “Sexxx Dreams,” and “Jewels and Drugs” (featuring T.I., Too Short, and Twista), which contain a background track that sounds like it was taken from 50 Cent’s first album. Even though Gaga has never been celebrated for her subtlety, this time, her bluntness misses the mark.

It’s this predictability that makes it feel like Gaga’s shtick is starting to run thin; what used to be groundbreaking and individual in her music now feels stale and forgettable. And for an artist like Gaga who relies on as much attention as she can get, being banal is probably the worst turn of events possible.

 

 

a, Student Life

Navigating the next steps: graduate school applications

Undergraduate degrees today are gradually becoming the high school degrees of yesterday. According to Shawn O’Connor, founder of Stratus Prep New York’s test preparation and admissions consulting firm, graduate degree programs are increasingly receiving more and more applications.

O’Connor regularly travels with universities’ admissions groups across North America. On Nov. 11, the Political Science Students Association (PSSA) brought in O’Connor, who shared advice from an insider’s perspective on applying to graduate schools, law schools, and business schools. Topics included financial aid, personal statements, and standardized testing.

He explained the long-term importance of putting together a strong application in order to get into the best schools.

“Graduate school is a brand which you will purchase, [one] that you will be associated with for the rest of your life,” O’Connor said. “If you go to business school at McGill or [the University of Toronto], which are the top two [business schools] in Canada, your median starting salary will be 85,000-86,000 American dollars. If you go to business school in the United States, your starting salary will be between on average 115,000—145,000 dollars. These are the best schools in the world; you will be getting a global degree.”

According to O’Connor, graduate schools have two aims: they want their acceptance rate to be low, and their yield rate to be high. Yield rate is the number of people who accept their offer of admission; it’s considered a matter of brand strength. To increase their yield rate, universities offer scholarships to the most compelling applicants.

O’Connor said that universities sort applications into three categories based on GPA and standardized test scores: “auto admit,” where exceptional marks guarantee admission, but essays and recommendation letters are important for scholarship prospects; a “debate” category where GPA, LSAT, essay, and recommendation letters are equally important for admission; and “auto rejects,” where the applications will never be looked at by a human, but will be sorted by software.

Getting into the “auto admit” category takes foresight and effort, which students don’t necessarily realize.

“It’s not last minute; [applications] actually take a lot of preparation, so this was good slap in the face to wake you up,” event attendee Guellermo Renna, U3 Arts, said.

 

O’Connor’s tips for success

Standardized tests

You should begin planning for standardized testing in advance. For business and graduate school, you’ll need a four month window to study because the standardized tests are easier. For law school, you need a six-month time frame. Never take the February LSAT exam; since it is not publicly released, it includes more difficult questions. Instead, take the June exam, and keep the October one for backup.

Applying for financial aid

Canadian students often assume they cannot afford schools in the United States. Schools like Georgetown and Columbia are good options; they give around 50 merit-based scholarships. Furthermore, by applying to multiple schools—for example, 15-16 schools in the U.S. and six to seven schools in Canada—if you receive a scholarship at a lower-ranked school, you may ask a higher-ranked school to which you were accepted without scholarship for merit-based aid. A school may oblige in order to prevent you from turning down their offer to keep their yield rate high.

Personal statements

The personal statement is imperative, and any “optional” or “diversity” essay is not really optional. A personal statement should be about why you want to go into law, business, or graduate school, and why that particular school. The optional statement is for the applicant to get personal, and write a memorable story. You should not write about your study abroad experience—that’s the number one thing that people write about in the U.S. Be distinctive. Law schools want to know what type of law the applicant wants to practice; they want the applicant to have a purpose, and not just go to law school for “self-discovery.”

Recommendation letters

Business schools prefer insight from someone who has worked with the applicant, whereas law schools desire people with high credentials to share insight on the applicant’s achievements. For other graduate schools, the letters must come from someone working in the specific discipline for which the applicant is applying. The more customized the letters of recommendations are to the applicant, the better.  You should prepare materials for professors to aid their recommendations, for example, letters for law school and PowerPoint slides for business school.

a, Student Life

Kazu: a hidden treasure of Japanese cuisine

Who would have thought a restaurant barely the size of a bedroom would serve impressive food? With its handwritten menu thumbtacked to the wall, most people would walk by without giving Kazu a chance. A hole-in-the-wall authentic Japanese restaurant that opened in 2011, Kazu may not have the best outward appearance, but the food surely delights.

Kazu’s sign is easy to miss, as it blends in along the main strip of downtown Montreal, but the long lines extending daily from its door pique the interest of passersby.

Inside, the service is quick, efficient, and friendly, meeting the high customer demand. Mistakes may occasionally occur due to the distracting environment, but the hosts always try their best to ensure the best experience. Unlike other eateries, they apologize if, for example, they forget your drinks.

From the bar, you can observe the chefs as they quickly turn out delicious food. One highlight of the menu is the shrimp burger—a homemade shrimp patty served on a lightly toasted bun with spicy mayonnaise, crisp lettuce, and a thin rice patty that provides a much-needed crunch. This lightened-up burger is the perfect fusion, serving an American classic with a Japanese flavour profile.

Another highlight is the 48-hour pork bowl, which serves juicy, tender pork atop onions and a generous bed of rice. The fresh ginger adorning this dish further enhances the deep pork essence developed through slow simmering.

Kazu is well-known for having some of the best ramen in all of Montreal, but this crave-worthy dish is served only at lunch (Monday, Wednesday to Friday, and Sunday) from 12 p.m. to 3 p.m. Their claim to fame lives up to the hype, as the delicious broth isn’t overly salty like many other ramen houses, and the noodles provide a perfect textural contrast to the soft egg and edamame bean toppings. Since this seemingly simple dish is actually quite difficult to make, Kazu’s ramen is an impressive reflection of the the chefs’ understanding of Japanese cuisine, and is further enhanced with a few homemade seaweed chips for more umami.

Kazu is also vegetarian-friendly, since the chefs make their own homemade tofu. They take pride in serving well-cooked vegetables in a creative fashion, such as their eggplant dip and rice balls.

If you’re a more adventurous eater, you can venture to try pork neck and cheek, tuna belly, or kimchi. Originally a Korean delicacy, kimchi is a spiced, fermented cabbage that provides the ideal juxtaposition between piquancy and a slightly sweet quality to soothe and tantalize the tongue as you eat. For dessert, there are homemade soft ice creams in flavours that include wasabi and black sesame.

To experience the delights inside Kazu, however, you must have patience. Complaints regarding the wait times—which can reach upwards of half an hour—are common. For the busy student, there is a way around this issue. The eager eater can call ahead to place an order for pick up (unfortunately, Kazu still doesn’t offer a delivery service). Something else to note is that prices at the cash-only restaurant tend to be slightly higher than average because the chefs insist on sourcing only quality ingredients.

Nonetheless, Kazu does not disappoint with its boldly-flavoured Japanese dishes that excite all palates.

 

1862 Saint Catherine Street West (514) 937-2333

Mon., Wed.-Fri., Sun: 12:00-3:00 p.m., 5:30-9:30 p.m.

Tuesday: closed

Sat: 5:30-9:30 p.m.

a, Science & Technology

Research brief

Traffic Lights

Arguably the very worst part of commuting is hitting one red light after the other, and it’s all the more frustrating when you’re hitting these reds while driving on an otherwise empty street.

A University of Toronto Postdoctorate Fellow, Samah El-Tantawy, recently installed a new system in Toronto traffic lights as part of a Toronto-Cairo pilot program. The aim was to increase traffic efficiency by designing an artificial intelligence program that allows traffic lights to communicate with each other and use decision-making strategies using Game Theory, rather than the current system of a centralized command center using algorithms.

“In lay language, [traffic lights] act as a team of players cooperating to win a game—much like players in a soccer match, where each player [wants] to score, but at the same time, considers the ultimate goal of the entire team which is winning the match,” El-Tantawy said in a University of Toronto press release, according to Yahoo! Canada News.

Essentially, the lights are able to use up-to-date, real-time information to make logical decisions that will keep traffic flowing smoothly. This system was installed on approximately 60 intersections in Toronto and reportedly reduced traffic by around 40 per cent. Commute times were also cut down by approximately 25 per cent, meaning that the widespread implementation of this technology could have huge implications for urban traffic congestion, as well as carbon emission levels.

a, Arts & Entertainment, Music

Sebastien Grainger – Yours to Discover

In this LP, Canadian Death From Above 1979 singer/vocalist Sebastien Grainger deftly embraces the breezy Los Angeles style into his past punk persona. After signing with Saddle Creek Records in 2008, he is now releasing his second solo album Yours to Discover. The album flows from one electronic synth ballad to the next, allowing for the listener to get lost in the hypnotic haze of Grainger’s cool vocals and upbeat guitar riffs.

Admittedly, many sections of the album can be perceived as a bit dry. A good portion of the tracks are rather repetitive in nature, and Grainger’s need to be groovy and mellow is far overdone in “I Want Sebastien Grainger.” However, the album does contain a number of surprise highlights that exude creative passion and excitement. “The Streets Are A Mess” is an excellent head-bobbing track that intersperses heavy beats with Grainger’s iconic synth hooks. In terms of lyrical depth, “I’m Looking For A Hand” exposes a lot; underneath the relaxed beats, a raw, frantic undertone that displays the vulnerability that comes with moving into a solo career.

Overall, the album lives up to its name. Fans of Grainger should be excited to experience the album’s move from his punk-rock past into a more pop-leaning future. New listeners can find their niche either in his toe-tapping beats within “Waking Up Dead” or in his smooth, romantic melodies within “Going With You.”

 

a, Behind the Bench, Sports

The beauty behind the brawn

It’s the closest you can get to floating: the light whisper of feet brushing over canvas, the natural rhythm of the body, and the push and pull of the dance. Everything quiets when you step on the floor; it’s just you and your partner.

I always get weird looks when I characterize my favourite sport, because what follows can only be described as one of the most painful and violent activities ever practiced. Dislocated shoulders and elbows are expected; broken orbital bones are common; and it’s not a normal night unless one or both participants are covered in blood by the end of the evening.

I am, of course, talking about mixed martial arts (MMA)—and I love it.

MMA is, perhaps, the most misunderstood sport covered by major media outlets. It can be tough to see the appeal in an activity of which the only purpose appears to be putting the other person in a hospital bed. Fighting sports have been described as barbaric, chaotic, dangerous, and pointless.

I, on the other hand, vehemently disagree. This past weekend, the Ultimate Fighting Competition (UFC) hosted UFC 167, the 20th anniversary of the world-renowned MMA event. While the organization has not been immune to the parasitic presence of media—primarily seen through the superficial creation of “rivalries” and trivial muscle flexing—the essence of the sport has remained the same. Fighting cannot be about playing to the crowd or seeking the spotlight; the participants must remain locked-in at all times, or risk losing the contest. Once the referee drops his hand, the world quiets down and there exists nothing but the other person in the ring.

I appreciate martial arts the same way a sommelier savours wine, or a cigar expert smokes a Cuban. It may be strange to say that a sport that hits as hard as MMA has depths of accents and nuances, but it truly is all about the subtleties. Whether it’s Muay Thai, Brazilian jiu-jitsu, boxing, or wrestling, each specialty excels in the smallest of details: the half millisecond when an opponent drops their hand, the minor shift in hip position, the angle of foot placement, or the slight intake of breath before a jab. Similar to other art forms, it is the minutiae that gives fighting its beauty.

Martial arts are extremely intimate. It is the very definition of contact sport, which coincidentally is its biggest strength. There are no lies or pretenses within the ring; what you give within the lines is what you have. Contrary to appearances, this creates the highest level of respect between opponents. Losing within the ring allows for no excuses—defeat means you aren’t working hard enough. This breeds a culture of constant improvement and elevated skill—the holy grail of competitive sports.

I started martial arts when I was eight years old. My mom signed me up for karate class, and I hated it. However, as I grew older, martial arts anchored my life as things changed; I could always count on a good workout session to gather myself. My appreciation for the sport only grew as I became a sensei and began teaching karate; they say that getting your black belt only means that you’re ready to learn.

As I began to explore and experience other martial arts, I realized that they all shared a common theme: the values of hard work, patience, dedication, and respect. How can you not believe in the value of hard work when you see your technique improve after countless repetition? How can you not be humbled and develop respect for others when you’ve been tapped out a hundred times by those smaller than you?

Martial arts in every form embodies the beauty of sport in a very basic way. At its core, fighting is about maximizing your physical and mental potential, both in and out of competition. Whether it’s Ronda Rousey defeating her opponents through impeccable technique, Royce Gracie breaking the boundaries of Brazilian jiu-jitsu, or Bruce Lee living Jeet Kune Do as a philosophy for life, martial arts act as a vehicle for self-discovery and elevation. Fighting, as with all art forms, is never as simple and blasé as it first appears.

a, Arts & Entertainment, Music

Stones Throw: skipping through hip-hop history

Chronicling almost 20 years of eclectic activity, Jeff Broadway’s Kickstarter-funded film ushers viewers into the vinyl-lined living rooms of the founders of L.A.’s Stones Throw record label, crafting a social history of underground hip-hop against a backdrop of crate digging, studio sessions, and release parties.

Our Vinyl Weighs a Ton weaves diffuse material into a cohesive whole, meshing hazy, digitised-VHS transfers of early Lootpack television spots with glossy, bleached-out views of its California locations. Its all strung together by a propulsive Madlib score repurposing beats from key label releases. The documentary tracks the development of Stones Throw from its origin—a vehicle for the music of Charizma & Peanut Butter Wolf, aka founder Chris Manak—through its gradual assembly of a roster of unheard heavyweights operating under various guises: Madlib & Quasimoto, MF Doom & Madvillain, and producer James Yancey, aka J Dilla.

Broadway takes an admirably democratic approach to his subject. He dedicates as much space to the current crop of Stones Throw artists and to the commercial misfires endemic through the label’s post-Dilla period of reorientation, as to the first generation of MCs and producers, with whom the label remains most closely associated. The narrative is non-linear, frequently winding back to remind us of overlapping timelines and tracing the individual threads of careers that would later intertwine. Eventually, it stretches beyond its initial geographic parameters to visit Detroit and New York, exploring the fringes of the underground music scenes the label now serves.

Stones Throw remains distinct among contemporary labels, maintaining a uniquely ‘boutique’ identity. Its roster reflects the idiosyncratic tastes of its major players, and the audience is well-exposed to the raw material that makes the stable significant, whether through Talib Kweli’s praise for 2004’s Madvillain LP or Tyler, The Creator’s enthusiasm for Connecticut trio The Stepkids.

Our Vinyl’s crop of talking heads is involved and insightful, supported by the first-person testimony of the Roots’ ?uestlove and punctuated by the awed recollections of Kanye West, who describes the “pressure bust pipes” mentality  common among underdog institutions.

The film’s most commanding passages regard its heavy hitters, some of whom did not survive to contribute to the narrative. A chapter on J Dilla’s Donuts, relaying memories of Yancey walking to the park as a child wearing 45s on his wrists like bracelets, pulses to the rhythm of the record, the strain and grind of its refigured soul loops conferring additional weight upon late footage of the producer. Throughout, Broadway and Madlib successfully combine video and audio to work cinematically: in a rephrasing of Dilla’s Lightworks, synced to complement the metallic pounding of record pressing machinery on-screen, or in the expletive-deletion bleeps censoring Tyler’s effusive Stepkids praise, seemingly modulated to a piercing frequency in keeping with the label’s house style.

Above all, the documentary functions as a reminder of the label’s accomplishments: its tracking shots scan across shelves and through studios, and linger on stray Yesterday’s New Quintet records, or half-forgotten MED LPs, each a product of the label’s low-key, steadily-prolific operation. In a music-documentary saturated climate that thrives on rediscovery, Our Vinyl Weighs a Ton provides a valuable focus on a music source that has continued to thrive both in and out of the spotlight, whether or not anybody’s listening.

 

Our Vinyl Weighs a Ton plays again at 6:45 p.m. on Sunday November 24 at Cinema du Parc, as part of Rencontres Internationales du Documentair de Montréal (RIDM). More information is available online at RIDM.qc.ca.

a, Student Life

Market Cooperative crafts initiative to support local artists

The twinkle of festive lights decorating downtown Montreal is a sign that stores will soon be overcrowded with shoppers in search of gifts for family and friends. As an alternative to this pre-holiday tradition, McGill’s Local Artists Market on Nov. 21 provides an opportunity to buy gifts you probably won’t be able to find in the mall.

Organized by the Market Cooperative and the McGill Farmers’ Market, Thursday’s market will take place in the SSMU Ballroom and will feature around 44 vendors showcasing and selling their work.

About half the expected vendors are students, and the rest are people from the Montreal community. Vendors will sell everything from photography and homemade candles and soaps, to jewelry and locally produced tea and food. Local bands will also provide live entertainment.

“The idea is to really bring people like McGill students, the Montreal community, musicians, artists, sort of everyone together into a community space where goods [are available],” Market Cooperative Co-founder Sam Gregory said. “People can find things for around the house, for Christmas, [and] for the holidays.”

Gregory and co-founder Amelia Brinkerhoff started the Market Cooperative in 2012.

“It was a venue that was lacking at McGill to show off [people’s] passions or creative hobbies on the side and really share it with the community,” Gregory said.

He stressed that the Market Cooperative is “not just for the holiday season.” Since their first event in February 2013, Gregory and Brinkerhoff have held several markets to provide opportunities for students and others in the community to share their artistic and creative work.

“Having low table prices mitigates the risk of trying out new ideas and crafts,” said Madeleine Pawlowski, a repeat vendor as part of the jewelry-making sister duo, Les Arts Plastiques. Pawlowski is an Arts student at McGill, while  her sister Alicia Pawlowski is a graduate student at the University of Alberta studying pediatrics.

(via marketcooperative.org)
(via marketcooperative.org)

“Market Cooperative is on its way to having a loyal and diverse following, and once it does, it’ll be an excellent testing ground for artists and crafters who want to see if they can make a go for it if there’s a real demand for their products,” Pawlowski said.

For the consumer, the market atmosphere provides an enriching and cost-effective shopping experience with the organizers bringing in reasonably priced vendors who aim to meet student interests.

“[A student] could go to Urban Outfitters and buy something there that’s 50 or 60 bucks, or they could come to the market and get something that’s locally produced, supporting the local economy and the community,” Gregory said. “It’s going to be more sustainable because it’s made in local places, not being shipped […] and it’s going to be more affordable, too.”

On a broader community level, the founders hope to better connect McGill with the rest of the Montreal community.

“It’s giving that opportunity to create a sense of belonging in the city and interact,” Gregory said. “Markets are a great place for people to come together. [Market-goers] spend half an hour walking around and they’ll see friends and they’ll chat.”

Pawlowski noted the more practical advantages of the markets for vendors.

“[Bringing] together the McGill crafters and Montreal ones […] fosters a connection between both communities, and [they can] share their experiences and knowledge of ‘what works’ in the handmade world,” she said.

Despite their plans for two upcoming markets in the Winter semester, the cooperative currently faces several challenges because they do not fit into SSMU’s framework due to their current operational structure. The non-profit organization generates revenue through the sale of tables to the vendors, of which a small portion goes towards a stipend for the four main organizers.

“Because of that, we can’t be a student club and there [are] a lot of barriers,” Gregory said. “[SSMU] is not supporting us being an [Independent Student Group], or seeing value in us. That’s been one of the biggest frustrations for us, [since] we’re paying $800 for the ballroom [….] Every market, we’re just trying to cover the cost.”

Internal groups, such as student clubs and Independent Student Groups, receive priority room booking in the SSMU Building, and do not have to pay for the rent. Since the Market Cooperative is an external group they have to pay rent for the ballroom, which means they have no money leftover to help the initiative grow.

According to Gregory, the Market Cooperative is not looking to become a student club because the associated bureaucracy would unnecessarily complicate the market’s operation. They hope to find a way to move past these hurdles—for example, by negotiating a lower rental fee.

“We’d like to see a compromise so we can pay half price,” Gregory said. “$400 less is $400 more we can put into the market to help it grow.”

McGill’s Local Artists Market takes place Thursday, Nov. 21 in the SSMU Ballroom at 11 a.m.-6 p.m.

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