The Concordian - February 7th 2017

Concordia University’s weekly, independent student newspaper newspaper

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VOLUME 34, ISSUE 19 18 | TUESDAY, FEB. JAN. 7, 31,2017 2017

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What we need: Our history a social media half told detox Exploring black history and the prevalence of microaggressions today

News Life p. 3 5

also in this issue

life news

One student and Vigil for Quebec his Muslim faith p.3 p.7 City shooting

arts

Cinema politica Conquering tackles stigma p.7 p.8 slut-shaming

music

sports

Concordia's Leading out indoor on The mastery hip of The Stingers hop scene court DJ Kid Koala p.p.12 12 the league season p.14 p.14

opinions

Quebec' Why wes history shouldof Islamophobia ban all zoos p.p. 17 17

news

NEWS EDITORS /// news@theconcordian.com SAVANNA CRAIG & NELLY SERANDOUR-AMAR ( @savannacraig @nellsamar03)

CITY IN BRIEF NELLY SERANDOUR-AMAR CO-NEWS EDITOR Injection sites to open in Montreal Three safe injection sites will open in Montreal after the city got the authorization from Health Canada. The provincial gover nment approved of these drug injection facilities two years ago, but the project was on hold pending federal approval.

According to CTV News, Mayor Denis Coderre said it was a priority to open these sites as a wayof reducing the risk of drug overdoses.

The first injection site will open at Cactus Montreal on Sanguinet Street, known to have operated a needle-exchange program since 1989.

Apartment fire takes man’s life A man died in hospital after a f ire broke out in his a p a r t m e nt i n Rox b o ro yesterday afternoon. The fire star ted around 1:15 p.m. at the triplex on 4th Ave. N.. According to CJAD News, the firefighters found the man in his apartment on the second floor, where he apparently went into cardiac arrest. The paramedics did try to revive him on t he way to t he hospital but he was pronounced dead shortly after arriving. No one else was hurt in the fire, but the damages are estimated at around $200,000.

Parents brave the cold and camp for Royal Vale School spot Dozens of parents braved the -10 C temperature while camping out over the weekend for a Royal Vale School kindergarten spot for their children.

The kindergarten enrolment at the school is done on a first-come, first-served basis according to CBC News.

Registration began yesterday at 8 a.m., but parents had been set up with their sleeping bags and tents since Saturday morning. Some of them do believe that this annual tradition is disrespectful and that there are better ways for Royal Vale to handle registration.

BLACK HISTORY MONTH

Black History Month in Montreal

Montreal Black History Month Round Table plans events to honour the black community

CHLOË RANALDI CO-NEWS ASSISTANT Every February, Canadians are encouraged to take part in a variety of events to commemorate the legacy of black Canadians, past and present.

The Montreal Black History Month Round Table, a non-profit organization which promotes black culture and education, held a press conference on Feb. 2 at Olympus Stadium to kick off this year’s festivities.

“February shines a light on all of the joint efforts made by various actors who are working to share a taste of their culture with the general public,” said Michael Farkas, the president of the Montreal Black History Month Round Table.

The theme weaved into this year's series of events is “Here we stay, here we stand!”

According to Farkas, the theme aims to highlight the achievements of Canada’s black community and the contributions they have made to our society. Montreal Black History Month Round Table's 26th edition of Black History Month will

feature more than 100 social and cultural activities that highlight the achievements of black communities.

Black culture will be celebrated throughout the month with events such as a blood drive on Feb. 18, a panel discussion, and a conference at Concordia University titled “Tell Them We Are Rising: The Story of Black Colleges and Universities” led by Stanley Nelson on Feb. 25, among others.

“Black History Month began in February 1926, when Dr. Carter G. Woodson coined ‘Negro History Week,’ which blossomed into Black History Month,” Frakas explained. February also marks the birthdates of notable historic figures such as Frederick Douglas, Abraham Lincoln and Bob Marley, who helped with notable black movements in North America, he added.

“The month of February marks an important aspect of our history and is important for educating Canadians,” Farkas said. “Learning about one’s history is important because it is [vital] to know where one is coming from and where one stands, and where one wants to go.”

Black History Month invites all Montrealers to take part in events celebrating black Canadians. Photos by Ana Hernandez.

Farkas discussed the importance of educating students about black history and culture in order to improve the future.

“We’ve come a long way and it is important to note that Black History Month doesn’t just start Feb. 1 and end Feb. 28, but that it is an ongoing process.”

Montreal Black History Month Round Table is presenting a variety of activities for the city’s 375th anniversary, said Farkas.

“All year long, let us discover and mention the contributions and achievements of Canadians of African origin and descent who,

thanks to the brilliance of their accomplishments, bring honor to our place in this land.”

Notable black Montreal figures such as Henri Pardo, the founding president of Black Wealth Media and the producer and director of the Black Wealth Matters documentary series, and R&B singer-songwriter Shaharah Sinclair gave speeches about Black History Month at the press conference.

“Black History Month is very important to me because I feel that it gives us the opportunity to focus on parts of our history that have been neglected,” said Sinclair.

CAMPUS

SGW daycare to open in fall 2017

CSU gets green-light from the city to open the downtown daycare NELLY SERANDOUR-AMAR CO-NEWS EDITOR The Concordia Student Union’s (CSU) daycare will be opening its doors in the fall of 2017.

The project was supposed to be completed before the start of the 2017 winter semester, but the bureaucratic process delayed its opening, according to the CSU. “We got the go-ahead from the city for construction last week,” said Lucinda MarshallKiparissis, the CSU’s general coordinator.

“The registration form for the waiting list is also ready and will be sent out in the next CSU newsletter,” said Sophia Sahrane, the CSU academic and advocacy coordinator in charge of the project.

The project was proposed in 2011 after the Dean of Students office and the Concordia Uni ver sit y St udent P arent s Centre conducted a study to determine whether undergraduate and graduate students needed

a daycare. Although the study yielded a lot of positive results and got municipal approval, the initiative fell through.

In November 2014, the CSU asked students if they were in favour of a daycare that prioritizes student-parents. The result was an 87 per cent approval rate from students.

There is currently a daycare available at the Loyola Campus, but it is reserved for faculty and staff. The new daycare will be on Bishop Street, near the Sir George Williams (SGW) downtown campus, and available only to student-parents. The children of undergraduate students will have priority, but the CSU confirmed that some places will be allotted to graduate students’ children as well.

Marshall-Kiparissis spoke to The Concordian last September about the importance of having a daycare on campus. “Not only do these parents have a job, but they have a kid, classes to attend and homework to do,” she said.

T h e d ayc a re w i l l accept children under the age of five. The nursery will welcome infants under the age of 18 months. The daycare will employ a daycare and nursery manager, four educators, four educator helpers, one kitchen helper, a bookkeeper and an administrative assistant.

CSU is currently collaborating with university and the Concordia Student Parents Centre (CUSP) to fund the project.

The daycare will be located on Bishop Street.

Photo by Andrej Ivanov.

FEBRUARY 7, 2017

COVER STORY

Canada's history half told

Exposing Canada's hidden history through Black History Month

SAVANNA CRAIG CO-NEWS EDITOR February marks Black History Month, an observance established in Canada in 1995 through a motion introduced

by Jean Augustine, the first black Canadian woman elected to Parliament.

T h i s m o nt h n ot o n l y celebrates black people and their cult ure, but also remembers black history—a history with half of the story that’s never been told, according to Michael Farkas, the president of the Montreal Black History Month Round Table, a non-profit organization which advocates black culture and education. “ O b v i o u s l y, i n terms of blacks, you really have to check history to understand all the things that have happened to us and that are still happening to us,” Farkas said. “ T here’s s o muc h to uncover,” said Farkas. “Every year I personally learn something new.”

“We have a chance right now to have a beautiful month.

Yes, it’s the coldest one, and yes, it’s the shortest one, but who really cares? I care about getting the information,” said Farkas.

“White people and people in the world show little or no interest to Black History Month—the little month we have,” Farkas said. “It should be in schools, it should be part of the curriculum.”

Concordia has yet to develop a Black Studies program, which Sophia Sahrane, the Concordia Student Union’s (CSU) academic and advocacy coordinator and a strong supporter of black activism on campus, believes is vital to be offered as a major, not just a minor.

Sahrane is involved in the Black Studies Collective, which is responsible for bringing the Black Studies event series to Concordia.

Sahrane has also organized a BIPOC (black, indigenous and people of colour) committee, open exclusively to racial minorities on campus, which recognizes and addresses barriers faced

by BIPOC students and groups at Concordia.

The first talk in the Black Studies event series, held in September 2016, featured guest speaker Dalton Anthony Jones, a black scholar from the United States, who is known for developing Black Studies programs in American

Graphic by Florence Yee.

universities.

“The talk was on the importance of Black Studies,” said Sahrane.

However, she said a main critique amongst some educators within Black Studies is that it should be integrated into general studies. “ When t he Black St udies initiative was brought up to the Concordia senate and the university a couple of times, one of the things [Shepard] said was there’s no interest in a Black Studies program,” said Sahrane.

“We’re trying to prove that there is by having this Black Studies event series—people are showing up,” she said.

She said the senate meeting revealed that the university didn’t have black professors to teach this program. “If we want a Black Studies program, we want a majority of the professors to be black, to be of some type of black culture. We want them to be able to relate to course curriculums,” said Sahrane. “But the thing is, [Shepard] just admitted to the lack of diversity at Concordia.”

There have been some initiatives to diversify Concordia's faculty. The Student Association of Graduates in English (SAGE), for example, has brought in a racial bias specialist to help make the

English department's staff more diverse. "He sits down with the hiring committees and he helps them identify their biases and helps them work around them," Sahrane said. However, she added that the English department is the only department to have taken this initiative so far.

There are not only issues concerning lack of diversity within schools, but also the lack of education towards certain language and pop culture references.

Fa r k a s s a i d t h e N-wo rd has been greatly appropriated, identifying as an example, the way the word is represented in hip-hop music. “They dehumanized the word in a way—and that’s their thing—but often they don’t know their history,” said Farkas. “The name comes from a very rich heritage.” He added that in the Americas, as well as in parts of Europe, the word has been used to dehumanize black populations.

“There’s a very strong history of oppression and persecution and racism in Canada and I think that Canada worked really hard to try to erase that history and being known in the international community as the peacemakers and a multicultural mosaic society

[that is] accepting of all,” said Sahrane. “I think that because there’s this general belief that Canada is great and we don't have a recent [racial] problem—I think the event of sunday proved that we do,” she added, referring to the shooting in Quebec City on Jan. 29.

The N-word actually originated from an Ethiopian dialect called Amhar ic , Far k as e x p l a i n e d . “ Wh e n you really study the et ymology of the word, it means that it’s close to niggus, it’s close to Nile, it’s close to Niger and it’s close to Nigeria—it is a very highly regarded name in a different language.”

Farkas referenced Sahle Selassie, who ruled S h e w a , Et h i o p i a bet ween 1813-47, who was dubbed the title “The Negus,” which translates to king or ruler in Amharic.

Things have improved with the advancement of people being more politically correct, as well as being in times where anyone can be videotaped, said Farkas.

“We’re all human beings and we all sometimes have ideas or prejudice in ourselves towards others,” Farkas said. “We all have to work on it, regardless of your colour.”

“Most of the microaggressions I have experienced have been in interpersonal relationships, such as being fetishized [for being black],” said Sahrane. “As much as I am very proud of my identity—can’t I just be a woman?”

“Some people aren’t comfortable around people of colour,” Farkas said, comparing this to the discomfor t some people have towards people of other religions.

“Stigmatization can happen to anyone for any kind of reason— whether you’re a gay, whether you’re obese—people can make you feel very, very uncomfortable and you can feel intimidated,” said Farkas. “I’m not just going to say it happens to blacks, but sometimes, if you’re a black woman, maybe some people will make you feel uncomfortable and you’ll have to fight back for your right.”

“I think we need to retain some kind of values to pass onto our kids, and the ones we should pass on are respect and nonviolence,” Farkas said. “In that respect, we all can grow, I believe.”

theconcordian

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NATION IN BRIEF KATYA TEAGUE HEAD COPY EDITOR

Winnipeg woman guilty of concealing dead babies A Winnipeg woman was convicted on six counts of concealing the body of a dead child after a judge found her guilty of disposing of the remains of six babies in a storage locker, reported the Montreal Gazette.

While medical experts couldn’t determine the cause of death of the infants, DNA tests linked them to Andrea Giesbrecht and her husband, who testified that he was unaware of the six pregnancies. The court also heard that Giesbrecht, a mother of two, had 10 legal abortions between 1994 and 2011, as well as miscarriages, according to the Montreal Gazette.

Canada’s chef de mission announced for Winter Olympics Retired Canadian short track speedskater Isabelle Charest was announced as Team Canada’s chef de mission for the 2018 Winter Olympics in Pyeongchang, South Korea, on Monday by the Canadian Olympic Committee, reported CBC Sports. The Rimouski, Que. nat ive and t hree-t ime Olympic medallist was the chef de mission at the 2016 Wi nte r Yo u t h O l y m p i c Games. A s the chef de mission, Charest will act as the spokesperson for Team Canada and mentor athletes, coaches and staff, according to the s ame article.

Vice Media challenges RCMP demands in court The judge who ordered Vice Media journalist Ben Makuch to hand over his background materials to the RCMP failed to adequately account for the media’s right to do their job unhindered, the Ontario Cour t of Appeal heard Monday. The lawyer representing Vice argued that turning over the documents could make witnesses more reluctant to speak with the media, reported the Canadian Press. The materials relate to articles the journalist wrote in 2014 on Farah Shirdon, who was charged with several terrorism-related offences in 2015.

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theconcordian

WORLD IN BRIEF SAVANNA CRAIG CO-NEWS EDITOR World’s longest flight travels from Qatar to Auckland On Sunday, Qatar Airlines took the status of having the longest flight route—lasting 16 hours and 23 minutes, passing through 10 times zones along a 14,535 km route. The flight made its way from Doha, Qatar to Auckland, New Zealand ,according to the Independent. The flight was assisted by four pilots and 15 crew members, responsible for providing passengers 2,000 cold drinks, 1,100 cups of tea and coffee, as well as 1,036 meals during the flight.

The return flight to Doha will be an hour longer due to heavier winds—the estimated flight is set to be 17 hours and 30 minutes.

FEBRUARY 7, 2017

CAMPUS

First voices week wraps up

Deborah McGregor’s keynote address discussed environmentalism and indigenous law

MEGAN HUNT CO-NEWS ASSISTANT Concordia University’s First Voices Week wrapped up with a keynote address from Osgoode Hall Law School’s Deborah McGregor, who discussed sustainability, environmental justice and indigenous law. McGregor, a First Nation educator who focuses on the application of indigenous knowledge systems to legal and policy contexts, was introduced

by Shiann Wahéhshon Whitebean, the leader of Concordia’s First Voices, the group that organizes the annual First Voices Week.

Syria claims back land from ISIS Syria has reclaimed some of their land overtaken by ISIS, including the main supply route into al-Bab, in northern Syria, reported the Sun. The city is the last remaining refuge of ISIS’s reign in the domain of Aleppo. “There is one narrow passage left out of al-Bab,” said a military commander in an alliance fighting in support of President Bashar al-Assad. The Syrian government is approaching the last exit from Aleppo, and fighters are a few miles within joining the Turkish forces that are enclosing ISIS in the north, according to The Sun, while in the south, ISIS is surrounded

by Turkish troops.

Israel’s parliament legalizes homes occupied in West Bank A law has been passed by the Israeli parliament, which permits 4,000 homes constructed in the inhabited West Bank. The law declares that Palestinian landowners will be reimbursed with money or a substitution of land, according to the BBC. The law was approved with 60 votes to 52. Israel has pushed forward with many pro-settlement measures, encouraged by the new US Trump administration, according to the BBC.

McGregor’s keynote address, “Indigenous Environmental Justice, Knowledge and Law,” was open to staff, students and the general public in the Hall building on Concordia’s downtown campus. McGregor’s address focused on legal and environmental issues affecting Indigenous communities in Canada and abroad.

McGregor began her speech by acknowledging that Concordia University stands on unceded Mohawk territory. Unceded territory is land that belonged to First Nation peoples that has not been officially and legally surrendered. Land acknowl-

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edgements have become popular gestures on university campuses, but McGregor emphasized that an acknowledgement is something

more complex and significant than a mere act of political correctness.

“I take land acknowledgements very seriously, not just as a token gesture,” McGregor said. “It’s not just something to say. It means something.

It’s based on thousands of years of knowledge and caretaking.”

McGregor went on to discuss the definition of knowledge through an indigenous lens, and explored a number of environmental issues affecting First Nation communities. McGregor explained how, in many First Nation communities, all knowledge is considered to be both a noun and a verb, and that gaining knowledge from elders, communities and the physical environment is just as important as knowledge itself.

McGregor believes this perspective shifts the idea of knowledge from something personal to something community-based.

McGregor’s talk also touched on the issue of natural resources and overconsumption in modern society. McGregor believes that the environmental issues affecting indigenous communities, such as the well-publicized North Dakota Access Pipeline, begin when people value profit and consumption more than the safety of other people and the environment. This ideology is

in stark contrast with the beliefs of many First Nation communities, who are often victims and vocal opponents of such projects.

McGregor recalled that, during her upbringing in McGregor Bay in Northern Ontario, her community would focus not only on what they could gain from their natural resources, but also on what “gift” they could give back to their environment and community. She used her family’s sugar bush as an example. She claims that, rather than profiting off the maple syrup they it produced, her family used it to provide for her community while protecting the farm from overuse.

“You can’t live a good life unless you’re considering all the other beings as well,” said McGregor.

She also noted that, while the issues of indigenous sovereignty and environmentalism are complex, and solutions to these issues are not easy or straightforward, everyone is capable of showing gratitude to the environment. We are all capable of making choices to either help or harm the resources available to us, she said.

“Some of us are the heroes, some of us are the villains… but we are all in this story,” McGregor said.

TALK

Climate change as reported in the media Journalists analyze how the media talks about climate change at McGill University

ELISA BARBIER STAFF WRITER Canadian social activists gathered at McGill University on Thursday evening to discuss how climate change is reported on in the Canadian media and whether the coverage is effective. The six guests, who all work in the media, answered questions from the audience.

The panelists included Candis Callison, a media professor at the University of British Columbia; Mike De Souza, the managing editor at the National Observer; Martin Lukacs, an investigative journalist for The Guardian; Kai Nagata, the communications director at Dogwood Initiative; Laure Waridel, the executive director of CIRODD, and Linda Solomon Wood, editor-in-chief of the National Observer.

To introduce the evening's

discussion, moderator Darin Barney explained how every day last year, half a million solar panels were installed, putting emphasis on the shift to renewable energies worldwide.

However, Barney added, 80 per cent of global energy consumption still remains in fossil fuels, according to NASA. A McGill graduate student opened the floor for questions by asking if the success of the media in conveying the message of climate change could be measured, and how Canada is doing in such measure. Callison pointed out that it’s hard to find a why to measure it because, “for many, climate change is a background issue.”

“We have failed. Despite the knowledge and numbers, we fail to communicate,” Waridel added.

The following question was directed at De Souza and inquired about the responsibility of journalists

to communicate information about climate change.

“We have huge responsibilities,” De Souza replied. “It is a two-way street, both the media and the public. Journalists have covered climate change in Canada extensively.” However, he added that many investigate stories on climate change cannot be done due to the budget cuts news corporations are faced with.

Solomon Wood answered a question concerning the need for journalists as professionals, explaining that new types of media are bringing news to the public from new and diversified perspectives in a way that traditional media outlets are not able to. However, she said, “We still need people to dig into stories that some may not care [about].”

It was pointed out by Waridel that the traditional way of reporting

At the conference, six media workers talked about reporting on climate change. Photos by Elisa Barbier.

on climate change in media leads to the current stagnant situation where “nobody wants to feel like the bad guy.’’ Therefore, calling out companies and people who have had a negative impact on climate is complex. Nagata added that presenting one clear message to the public is a difficult task—different people have different news sources, and often stick to the ones that reinforce their ideas about climate change, whether they're accurate or not.

Waridel also defined climate change as “a dysfunction of the economy.” She said that, because many of us define ourselves by what we consume, “we need to be aware of what goes against climate change and switch it. It will not change if the citizens are not pushing for a change.”

“We are hoping that there is this leader that will save us,” she said. “[But] we all need to take action.”

FEBRUARY 7, 2017

theconcordian

5

FIRST VOICES WEEK

Bringing awareness to indigenous culture

A workshop was given to students and staff on the impact of racism towards indigenous cultures NELLY SERANDOUR-AMAR CO-NEWS EDITOR It was a powerful afternoon on Feb. 1 during the Arts and Science Federation of Associations’ workshop on anti-racism and appropriation of indigenous cultures.

As part of First Voices Week, the session was facilitated by Chantel Henderson and Vicky Boldo, who spoke about the impacts of racism in healthcare, education, justice, employment and housing. They shared their personal stories on how these issues affected their lives.

The event began with Boldo, a board member for the Native

Women’s Shelter and the First People’s Justice Centre of Montreal, reciting “Greetings to the Natural World,” a prayer giving thanks for life and the Earth.

“We are all thankful to our Mother, the Earth, for she gives us all that we need for life. She supports our feet as we walk about upon her,” she recited. “It gives us joy that she continues to care for us as she has from the beginning of time. To our Mother, we send greetings and thanks.

Now our minds are one.”

Henderson, who recently earned a graduate degree in

community economic development from Concordia, spoke about her experience living in what was reported by Maclean’s magazine as the most racist city in Canada: Winnipeg.

She also discussed the KAIROS Blanket Exercise, where participants take on the roles of indigenous people in Canada.

It was not demonstrated at the event, however.

“The blanket represents the lands, and the exercise shows the effects of colonization and how connected our people are to our land,” Henderson said.

Standing on blankets, the participants walk through pre-contact, treaty-making, colonization and resistance. Facilitators, who play characters such as a narrator or European colonizers, direct the participants.

Henderson added how the exercise also demonstrates the lasting impact of colonization: racism, environmental destruction and loss of culture.

“The reality now is that we only have 0.2 per cent of our land, and people wonder why our people are in poverty. It’s because our land was taken away from us and

that was our livelihood.”

“We are people who have been discriminated against and have been the victims of cultural genocides for more than 500 years,” said Henderson. “I think people need to understand our story.”

The event finished with some participants forming a closed-session circle, where they shared their own personal experiences regarding racism and cultural baggage.

The workshop was conducted by Chantel Henderson and Vicky Boldo on the 7th floor of the Hall building. Photo by Nelly Serandour-Amar.

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WRITERS WANTED

life

LIFE EDITOR /// life@theconcordian.com DANIELLE GASHER

WRITING

The art of formally asking for money FASA hosts a workshop on the art of grant proposal writing MINA MAZUMDER ASSISTANT LIFE EDITOR Many students will have to write a grant proposal at some point during their careers.

Since a grant proposal is essentially a money request, writing one must be done with care.

On Feb. 1, the Fine Arts Student Alliance (FASA) held a grant writing workshop aimed at arts students, but it was relevant and open to students from all faculties.

The workshop focused on tips for writing the perfect grant application for various projects.

Guest speaker and regular grant writer Amber Berson said grant writing is basically an application process where you ask for money for your work. The PhD student said the first and most important thing to focus on is mastering writing skills.

“Grant writing is an important skill, and it is a wonderful way to fund your art practice.

But being a successful grant writer does not make you a successful artist,” she said.

Berson said the skill is also useful when writing an artist statement, or, a description of the project, in a cover letter for a job, residency or an open call for submissions to galleries.

Berson said it’s important not to feel discouraged when applying for grants.

“Even if you keep applying and you do not get positive results, it should not and does not take away your value as an artist,” she said.

Berson advised students to be clear and precise in their proposals— introduce yourself, and explain what your project is, what you need the money for and why would you or an organization needs to fund this project—why the project is worthwhile.

“You should never try to apply for all of the grants just because you need the money. That is very transparent to the grant agent. In certain cases, it even hurts your eligibility for grants in the future,” said Berson. She said students should contact the FASA agent or another grant agent if they have doubts or questions about the process.

As with any application, deadlines are very important with grant writing. “If you absolutely cannot meet a deadline, contact your agent immediately,” Berson said.

She stressed it’s also crucial to follow the instructions and meet the word limit or minute count for video submissions. While it seems obvious, she said, it isn’t always executed.

Asking for money must be handled with delicacy. Being realistic in terms of budget

Grant writing is a skill that all students should learn. Photo by Danielle Gasher.

is an important thing to keep in mind.

“When you apply for a grant, you are applying for a not-for-profit project, which means you should not be making money off the project. Asking and getting [money] are completely different, and you should always ask for what you or your project are worth, and it should be realistic.”

For any student interested in applying for a grant to fund a project, Berson highly recommends visiting the Canadian Artists Representation (CARFAC) website, www.

carfac.ca. This website is a useful tool for helping students with grants and planning their budget. For students interested in finding out about arts funding, the Regroupement des Centre d’Artistes Autogérés du Québec (RCAAQ) (www.rcaaq.org) and Artère (www. artere.qc.ca) are also great resources that have helped many artists get grants for their art.

For more information or to apply for grants, visit www.fasaconcordia.com/ special-project-grants/

GAMING

Live on the edge with Driveclub

The thrilling, realistic, virtual experience of road racing packed into a game

QASIM WARRAICH CONTRIBUTOR It all started with one word in Netflix’s search engine: Road.

It was late at night and I was surfing Netflix, looking for something exhilarating, dramatic and inspiring. I ended up coming across a documentary my brother had recommended, so I decided to watch it. The film was centered around the story of an Irish family of motorcycle road racers.

The sport of road racing takes place on closed public roads. The racers zip around at

speeds of over 300 kilometres per hour on roads lined with trees, garbage cans and driveways.

Today, this traditional form of racing is not as common, and really only survives in places like Ireland or on the Isle of Man. The documentary details the rise of two brothers, Joey and Robert Dunlop, who sacrifice everything for their passion of the sport. Completely unafraid of death, the brothers choose to live on the edge doing something they believe in.

Both are unanimously worshipped by fans of the sport, and now Robert’s sons, William and Michael, have also become champions.

The documentary left me feeling utterly

worthless and craving an opportunity to live my life with such fervour as the Dunlop boys.

Although I’m chasing my dreams in real life, I don’t feel like a road racer, I thought to myself.

How could I become a road racer? I knew I had to be in class the following morning, so I settled on pursuing the answer in my PlayStation Store—that’s when I found the game Driveclub.

For $16, I got the entire racing game, including hundreds of car choices, and for an additional $16, I got the bike expansion. This is the kind of thrill I needed.

Driveclub Bikes is the perfect concoction of thrill, challenge and, most importantly, fun.

The game features 20 bikes from 10 different makers, including BMW, Agusta MV, KTM, Kawasaki and Yamaha.

The motorcycles are astonishingly detailed and come in an array of colours for you to customize exactly how you please. The technical part of the game is to be admired just as much. The racing is challenging and highly realistic. Players have to take corners at the right speeds, brake perfectly, switch gears and avoid colliding with the 10 other racers. The best part of the game is the six camera angles that the player can choose from while racing. Driveclub has improved upon traditional first-person views by adding a camera that sees directly out of the racer’s eyes, as if you are looking out from the helmet.

The game has a dimension of realism, achieved by the changing weather which ultimately makes it hard to see through your helmet.

The game includes six country choices as well: Canada, India, Chile, Norway, Japan and Scotland. The resemblance is amazing.

All in the all, the game matches up to competitors such as Forza, if not surpassing them. With similar games selling easily for up to $80 today, Driveclub is a refreshing addition to the market.

FEBRUARY 7, 2017

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RELIGION

My religion: My Muslim faith

One Concordian’s honest portrait of what his faith means to him QASIM WARRAICH CONTRIBUTOR As a Canadian-born Muslim, I’ve learned to live and grow in this country during one of the most trying times for Muslims around the world. Faith seriously entered my life when I was eight years old. My father had just been diagnosed with lymphoma and leukaemia, and his situation was quite dire.

We had been a relatively religious family up until this point, going to the mosque most Fridays and spending time within the Muslim community. However, my father’s sickness deepened our faith.

We heavily relied on God and on our knowledge of the Islamic faith to get through that hard time.

At the worst point of his sickness, it seemed not much more could be done, so my father planned a visit to the holy cit y of Mecca. There, he per formed the Islamic hajj pilgrimage—a must for any Muslim before they die. After his pilgrimage, my father had a miraculous recovery, which further solidified his faith, and our family’s faith.

Religion is all around us. For thousands of years, it has been a driving force behind civilizations and understanding societies and the people who fill this planet. Sadly, it has also been the cause of many acts of war, genocide and persecution—whether it is a group of people using religion as a front to further their own political motives and agendas, or a group being persecuted for following a particular religion.

It seems to me that, these days, people increasingly dislike the concept of religion.

Many cite it as outdated and the cause of the barbaric acts of violence we have all seen throughout the world.

I have found it difficult to

refute these ideas in discussions with nonreligious or atheist people. Many who don’t practice any religion know very little about religion. As such, I believe when people see images and videos of people carrying out acts of violence in the name of religion, they paint a picture of that religion based solely on the brutality— ignoring all the positive sides of religion.

Islam is based on five pillars all Muslims should adhere to. The first pillar is “ shahada,” a declaration that there is only one God, and the Prophet Muhammad is the last of his messengers. The second pillar is “salat,” a prayer Muslims perform five times a day. The third pillar is “zakat,” which means giving charity to the poor and to those in need. The fourth pillar is “sawm,” which is the act of fasting during the holy month of Ramadan. The final pillar is “hajj,” the pilgrimage to Mecca.

These pillars represent the basis on which Islam was created. Growing up, my parents really emphasized the importance of kindness and generosity.

“This should be the focus of your time here on earth,” they’d say. Islam’s pillars reinforce kindness. This is why faith plays such a big part in my life.

Many people say: “What if it’s all fake?

And you’ve lived your life trying to be good all for nothing?” Yet, that is the point of Islam and many other religions in the first place—to sacrifice, and live your life for others, having faith that this is your purpose.

For me, regardless of whether it’s all fake or not, religion has taught me these key principles. To be kind, generous, empathetic, honest and to help people, regardless of their faith. Living with these ideals and trying to uphold them regularly is, in my opinion, a good way to live your life—this is regardless of what you feel happens after we die. This is why I find religion so powerful.

On Jan. 29, in la grande mosquée de Québec in Quebec city, six men, four of whom were fathers to young children, were massacred as they stood for evening prayer. The term I want to introduce here is “shahid.”

This word is used to denote a martyr, a person who has

fath m’s i s a Q er broth

nd er a

In the t

op left, Qasim’s father siblings and his and rela tives

died fulfilling a religious commandment.

Though people will say these men were not fighting for Islam in the typical way we think of today, these men are the brightest and most valued of Muslims—innocent, humble and hardworking fathers who were taken from this world and from their children too early. We must not forget what happened almost 10 days ago, we

Qasim and his siblings

must not forget the names of these men, and we must always remember what they and their families were forced to go through in order to shed light on the problems our society faces. May they find their way into eternal paradise and may their families be lessened of the burden they now face.

as children. From left to right, Ahmed, Qasim Fatima and Mohamme , d. Photos from family archive.

arts

ARTS EDITOR /// arts@theconcordian.com TIFFANY LAFLEUR

FILM

Julieta: Almodovar’s magnum opus Spanish filmmaker spins tale of motherly love, lost love, and spurned love

ROMINA FLORENCIA ARRIETA STAFF WRITER Watching foreign films can sometimes feel intimidating because of their experimental nature and art-house feel often associated with them—it’s an unfamiliar feeling for Western viewers used to Hollywood blockbusters.

But not all foreign films are threehour-long experimental features that are understood only by the director.

Julieta , Pedro Almodovar ’s latest film, is a good place to start dabbling in non-American cinematography. Released last week , Julieta is the Spanish filmmaker’s 20th feature, and stars Emma Suárez and Adriana Ugarte as older and younger versions of the film's protagonist, Julieta.

It was submitted to the 2016 Cannes Film Festival, and was selected to compete for the prestigious Palme d’Or. Julieta follows the usual Almodovar format of a female protagonist in the middle of an emotional/nervous breakdown induced by uncontrollable external circumstances.

The film begins with Julieta meeting a woman who informs her that her daughter is married, has three children and is living in Switzerland. Julieta, who hasn’t seen her daughter in 12 years, is taken aback

by this sudden news. The reasons for their estrangement remain unknown to the viewer. This encounter forces Julieta to adjust her previous plans of moving from Madrid to Portugal with her boyfriend Lorenzo. Instead, she chooses to embark on a search for her daughter.

The film is fast-paced­­—the first 10 minutes leave little room for the viewer to breathe. Julieta’s breakdown is sudden and intense. This is reflected through the cinematographic techniques used, such as jump cuts and rushed dialogue.

As the film progresses, the overall tone slows down as the film transitions into a flashback. Julieta starts writing to her daughter, explaining how she met, and eventually lost her father. What unfolds is a tragic tale of a woman who lost everything because of circumstances that were out of her control.

In the end, Julieta finally lets go of the grievances between her and her daughter, and heads to Switzerland with Lorenzo.

Julieta is also a story of women competing against each other in order to attain ever-higher ‘ideal’ levels in society. The female characters hate each other and continuously try to outdo one another to impress the men in their lives. This bleak image of relationships in the modern era has been explored by several directors,

but Almodovar adds his own quirky and sarcastic flavour to it.

The film also explores the grieving process a mother goes through after

the disappearance of her child. It is a heart-breaking film streaked with instances of humour that can be appreciated by a wide audience.

Julieta tells the story of a mother trying to reconnect with her estranged daughter.

CREATIVE WRITING

In writing: The meaning of love and loss Concordia student explores the notion of loving and losing in this creative piece NATHAN LEBLANC CONTRIBUTOR

W hy are we only given one life to live; only one chance to do something big, to leave a mark on all of humanity? The thought that one slight mistake or accident could end it all haunts us, and for some, it even consumes their lives with fear. My love was not scared of death, but she was afraid of not leaving her mark on the world. She was one of those people.

She once told me that her goal in life was to sail around the world and live at sea until the day she died. She believed that was how she would be remembered. I knew sailing was a hobby that we shared, but I never truly realized how much it had meant to her. I loved sailing, because I had loved her. Everything I did, from waking up at 6 a.m. on the weekends to get an early start on the boat to reading those sailing books she would loan to me was all for her, not for me.

Whenever I gaze upon the sea, I do not think about the competitions that I won, nor the maneuvers that I mastered, but instead I think of

the reflection of her smiling face as she partook in her one true love.

When I look back at our relationship, I realize that although it was rather one-sided, I was proud that she was happy and that I got to share the beauty of life with her.

When she died that fateful day, my heart sank. She died in the place she felt the most safe: the sea. I try to understand to this day how something so pure like water could take so many people away. A slight accident was all that was needed to take her away from me, but I knew deep down that it was the only way she would accept death. My love didn't have to be scared or worried anymore, she was already gone. It was now I who was given this punishment. I was scared, scared of being alone. Scared of letting her go and scared of death. She was free from the pain and the suffering and her fear of not making a mark on the world proved to be meaningless, as she made the biggest mark of all. Although she wasn't known as the girl who sailed around the world and lived at sea, she made her mark on my heart. It's a permanent scar that will stay with me forever and remind me every day that the time we had together in this lifetime, although short, had meaning. Her memory will pass through me, through my children, through my grandchildren. Never will her memory fade, just as the scar on my heart will never go away. Her memory will continue to flow just as the waves of the sea have and always will.

As I look upon the sea now, I see her face in the distance and I immediately feel like I'm not alone and that even one true love can be significant in life.

Why are we given one life to live? The answer is clear now. We live to love and we love to live.

They go hand in hand and complement each other through the good and the bad. Life is short, but love lasts forever and that is why we exist: to experience the passion that we all desire.

Graphic by Florence Yee.

FEBRUARY 7, 2017

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POETRY

Poetry spotlight: am i exciting to you?

Concordia poet balances humour with gravitas in her creative works

Raised both in Toronto and New York City, PHOEBE FREGOLI is in her third year of creative writing and women’s studies at Concordia. In her poetry, Phoebe often juxtaposes a playful and childlike voice with more serious subject matter, striking a masterful balance of humour and gravitas. In addition to poetry, Phoebe is an avid writer of fiction and scripts. Her most recent work, Be Tween, a play which she wrote and directed, was produced by Tuesday Night Cafe Theatre at McGill. This column was put together with the help of Annah-Lauren Bloom.

am i exciting to you? she says if your underwear is wet why don't you take it off. i’m wearing a skirt and the pool is gated. we have to climb to get out, is this flirting? she says let me help you and gives me her thigh to stand on to hop over the fence. she says let’s go to my house: she says it half whispering even though we’re alone with the blue park and it makes me lean in closer to hear. i spot new freckles, the always new ones every june. we bike to her place and her hands rest on my shoulders like they always do when we share my bike but this feels new like only this night i can feel how small the gap is between my back and her boobs. if i turn

around i think i know i’ d see her nipples hard. but maybe that’s just the wind and the wetness or maybe that’s me. we lay on her bed like normal, face to face on her pillow. is this flirting? i start to feel sick, like sick. she says boys are stupid and she’s tired of them. is this flirting? she says she is waiting for something. girls are always waiting. she stares at my lips and now i’m really sick so sick for her. it is concentrated you-know-where and i sit up and she says did i upset you and i say ow and she says you’re bleeding. right between my legs she says it’s so red. she says can i? this has never happened before. she touches my thigh red fingers she licks her fingers her lips say red. she leans in, copper kiss. is this flirting?

Graphic by Florence Yee.

CINEMA POLITICA

The Same Difference looks past the labels

New Cinema Politica documentary looks at the biases rampant within the black lesbian community TIFFANY LAFLEUR ARTS EDITOR Woman. Man. Black. White. Straight.

Gay. Trans. Queer. The world is full of labels and boxes that attempt to define people based on their gender, race and/or sexuality. Those who don’t conform to these socially-accepted conventions make people uncomfortable, as they challenge these clear-cut definitions.

The Same Difference, to be screened

by Cinema Politica next week, looks at how this notion of boxes and conformity remains rampant, even within marginalized groups.

Director Nneka Onuorah examines how black lesbians discriminate against each other, enforcing gender roles and stratifying the community according to heteronormative assumptions. The individuals who make up this community are broken down into two broad groups: masculine-projecting studs and feminine-projecting femmes. Anything that defies these two ‘types’ of lesbians is frowned upon.

The film is structured around four social ‘rules’ that exist in the black lesbian community. First, you must either be a stud or a femme. Nothing in between is allowed. Second, no stud-on-stud relationships. Third, no bisexuals. And fourth, no pregnant studs.

These social rules revolve around the same theme: gender roles, and the perceived balance of femininity and masculinity. To be a butch lesbian is fine—so long as you don’t date another butch or get pregnant, as that no longer conforms to the characteristics of the label.

The film is centered around the experiences lived by those who do not conform to these rules. This is where The Same Difference draws its greatest strength, as it gives a voice to those discriminated against or stigmatized for either how they present themselves or for who they choose to love. By zeroing in on those directly affected by the damaging and stringent guidelines that rule the lives of black lesbians, Onuorah shows just how harmful and unnecessary they are.

In addition to allowing those affected a platform to voice their discontent, the film also includes commentary from members of the black lesbian community who support these social rules. It offers their perspective as to why they believe these individuals do or do not belong to certain groups. Thus, the issue is examined from the perspective of both those who are affected by and those who propagate the social structure.

In addition to screening The Same Difference, Cinema Politica will also screen Pariah. Directed by Dee Rees, Pariah tells the story of Alike (Adepero Oduye), a 17-year-old girl coming to terms with her sexual identity. The film, which portrays her tense relationship with her mother, who refuses to acknowledge that her daughter is a lesbian, won the Excellence in Cinematography Award at the 2011 Sundance Film Festival. This is the first time Cinema Politica will screen a documentary and a fiction film at the same time.

Onuorah takes a close-up look at the different stigmas that are rampant in the black lesbian community.

öö The Same Difference and Pariah will be screened in H-110 on Monday, Feb. 13, starting at 7 p.m. Admission is free, but donations are encouraged.

feature FEATURE

Behind the scenes with Donato Totaro

Concordia’s professor and editor shares his passion for film with students SANDRA HERCEGOVÁ MUSIC EDITOR Spaghetti western enthusiast, film studies lecturer and editor of the world’s longest-running online film journal, Donato Totaro has been teaching part-time at Concordia for the past 27 years. The courses he teaches, including “Introduction to Film Studies” and “Film Aesthetics,” are all within the film studies program, part of the Mel Hoppenheim School of Cinema, where he shares his passion for film with his students.

Totaro completed a bachelor of fine arts at Concordia, a master’s in fine arts at York University and received a PhD in film and television from the University of Warwick.

He is one of the reasons why Concordia has been the main venue for the Fantasia International Film Festival for the past 14 years and counting. He is every cinephile’s dream professor, as his motion picture knowledge will astonish all film buffs.

His passion for film began when he was just a kid, trying to stay awake for his first late-night horror film.

“I was 13 or 14. My uncle was only seven years older than me and he said: ‘This weekend at midnight, there’s a film called 'I was a Teenage Werewolf.’ It’s a horror film from the late 50s. I was so excited that I would splash water on my face to stay awake,” said Totaro.

is he teaching?’ I contacted him and ended up working with him as my PhD supervisor.

Sadly, Perkins passed away in the summer of 2016, at the age of 80,” said Totaro.

Totaro decided early on to focus on the academic side of film instead of the production side. However, during his master's at York University, he got the chance to do some film production and screenwriting while he specialized in film studies. “I think it’s important to learn how films are made. If you are criticising film, at least you have an understanding of what went wrong from a technical standpoint,” said Totaro.

Totaro began teaching part-time at Concordia in 1990. From 1997 to 1998, Totaro took some time off teaching to pursue his PhD. This was also when he became the editor of the online film journal, Offscreen. The French online film journal, Hors Champ, which started up in 1996, was looking to expand and create an English sister magazine, Totaro said. At the time, one of Hors Champ's editors was taking a class at Concordia taught by film professor Johanne Larue, who still teaches at Concordia today.

“The editor of Hors Champ asked Johanne Larue if she wanted to be the editor of the English version, but she did not have the time,” Totaro said. “She recommended me, so I gave it a shot.” This is how Offscreen started. “The first few years, I would just publish whenever I would have enough articles,” Totaro said.

“I still teach almost as much as I want to teach. I still have that engagement with students which is really what I love. I love film and research, but it’s the teaching that is really important."

It was the experience of doing something a little dangerous and subversive that sparked his interest at that time, he said. “I started watching films that I wasn’t supposed to be watching. I am doing the same with my son now, getting him to watch films that maybe he shouldn’t watch,” said Totaro.

It started as a fun activity but turned into a more serious endeavour after Totaro read Film as Film, a book by renowned British film critic, Victor F. Perkins. “It was the first book that made me think about cinema from an intellectual standpoint,” said Totaro. Film as Film touches on film criticism and the importance of paying attention to description.

“For Perkins, the best films were realistic, expressive films,” Totaro said. “The book is essentially film theory applied to film criticism.”

Years later, Totaro went to study at Warwick University in Coventry, England, where Perkins taught. “I always remembered that book and I followed his career and wondered, ‘Where

“Now, I do a new issue every month, which is five articles per month.”

Offscreen, which regularly receives funding from the Canada Council for the Arts, is the longest-running online monthly film journal on the web—it has been active since 1997.

“It [requires] a lot of networking,” Totaro said about maintaining the journal. “I speak to graduate students and I go to conferences and film festivals where people reach out. I also encourage young writers because the journal needs new blood and I want to give students their [first] chance at writing for a public,” said Totaro.

Before leaving Concordia to pursue his PhD, Totaro met with some of the original creators and programmers of the Fantasia Film Festival—Pierre Corbeil, Mitch Davis, Karim Hussain and Martin Sauvageau. “I met Davis and Hussain at a year end screening party. They were two crazy cinephiles. They were energetic and

Photo courtesy of Concordia University.

Donato Totaro alongside Dario Argento.

DonatoTotarowith John Carpenter at Imperial.

DonatoTotarowith Ray Harryhausen on Concordia Campus.

Photos courtesy of Donato Totaro.

FEBRUARY 7, 2017

they were talking nonstop about cinema.

They were also working on creating this festival,” said Totaro.

In 1996, Totaro went to the first edition of the Fantasia Film festival at the Imperial Theatre. In 2002, the Imperial Theatre shut down temporarily for renovations, which resulted in the cancellation of the Fantasia Film Festival for a year because it had no home. Totaro had the idea of contacting Cindy Canavan, the person in charge of the screening facilities at Concordia. “She always had it in her mind that she wanted to make Concordia a venue for festivals. I introduced the creators of the festival to Cindy, and since then, the Fantasia Film Festival has taken place at Concordia for 14 years,” said Totaro.

Totaro returned in 1998 to continue teaching part-time at Concordia. The professor said being the editor for Offscreen may not have been possible if he were a full-time faculty member. “When you are not working full-time, you do not have the same salary, you don’t get the same privileges or resources, but you also don’t have as much administrative work, so it frees you up to do other things,” said Totaro.

Nonetheless, it is teaching that is most important to him. “I still teach almost as much as I want to teach. I still have that engagement with students which is really what I love. I love film and research, but it’s the teaching that is really important,” said Totaro.

Currently, Totaro teaches “Introduction to Film Studies” which is a course open to anyone at the university. “I introduce students to all these themes and approaches and theoretical paradigms and different types of films,” said Totaro.

The professor also teaches “Film Aesthetics” which is a flagship course for all cinema major students. “This class teaches students about sound, colour, montage, moving camera aesthetics and film analysis. It’s a course that is particularly appreciated by production students,” said Totaro. According to Totaro, over the years, many former students have reached out and expressed how much they loved the class. “The course is well-made and it was initially designed by full-time professor John Locke who still teaches today,” he said.

“I think that old expression applies to this course… if it ain’t broke, don’t fix it.”

On the other hand, there are issues within the Concordia University Part-Time Faculty Association (CUPFA) that Totaro feels should be addressed. “It takes too long to get our collective agreements ironed out. We were once close to seven years without a collective agreement. Now, we are nearly two years into negotiating a new collective agreement,” said Totaro.

The collective agreement is the contract between the university and the union that outlines working conditions— it regulates the terms and conditions of faculty members.

The issues part-time professors are dealing with are not only financial but also have to do with with course diminution. “Job security is clearly an issue. As part-timers, we have to reapply every year. The pool of courses is getting smaller so it's more difficult. The people at the top with more seniority get the courses and then there are no courses left for other part-time profs,” said Totaro.

Totaro also said it would be beneficial to set aside a consistent number of credits per year to allocate to the part-time faculty members. According to Totaro, part-time professors are losing teaching opportunities because of the increasing number of courses taught by graduate students, LTAs (limited-term appointments)—based

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on short term teaching contracts and ETAs (extended-term appointments)—longer term teaching contracts. “We want to make sure that this percentage doesn’t get larger and that our pool of courses doesn’t get smaller and smaller,” said Totaro.

The part-time film professor shares his office with anywhere from five to 12 other part-time film professors. “We have to negotiate schedules so we don’t conflict. It’s a minor thing but all we want is to feel like we are part of the university and that we are respected,” said Totaro.

According to Totaro, part-time professors also do not have the same resources to apply for grants. CUPFA does a good job support-

"I don’t think my students make a separation between if I’m a full-time or parttime teacher. They see me and they make a distinction based on my ability as a teacher.

Am I engaging? Do I seem to care? Those are the things that matter." ing its members with its own Professional Development Fund, Totaro said, but having more research opportunities and projects with greater sustainability could also greatly benefit the part-time faculty association.

Totaro was recently excited about teaching a class about The Good, The Bad and The Ugly, one of his favourite spaghetti westerns. “I was talking to my students for weeks before not to miss this class because I was screening a 35mm print, which is rare these days,” Totaro said. “Tarantino called it the greatest film ever made.” Totaro remembers a few years back, when he screened it in class, that once the movie ended, the whole class started clapping. “I was so surprised, I almost felt like crying. I touched them. It was great to get that spontaneous reaction from students.”

“I don’t think my students make a separation between if I’m a full-time or part-time teacher. They see me and they make a distinction based on my ability as a teacher. Am I engaging? Do I seem to care?

Those are the things that matter.”

This article is part of a series of profiles on part-time faculty at Concordia. Our goal is to highlight some of the incredible work these professors do in and outside of the university, while also shedding light on the difference in treatment between being part-time versus full-time faculty. Several profiles will have accompanying videos on our website theconcordian.com. Look out for various profiles throughout the semester! This series came to life with the help of Lorraine Oades, VP of the Concordia University Part-Time Faculty Association (CUPFA).

music

Quickspins

MUSIC EDITOR /// music@theconcordian.com SANDRA HERCEGOVÁ

1 AQUILO

PROFILE

Hip-hop culture with Milla Thyme

After releasing his EP, Eternally the Student, the rapper returned to study jazz at Concordia

See Milla Thyme perform live on Thursday evenings at Le Bleury-Bar à Vinyle. Photos by Emily Vidal.

EMILY VIDAL ASSISTANT MUSIC EDITOR For Milla Thyme, rapping is about bringing light to important social matters. “You have to talk about things that are unjust and speak about them,” he said.

Milla Thyme fuses a mix of soul, hip hop, and jazz into his music. Milla Thyme is the MC name of Concordia student Max Miller.

It’s a name he developed in his early teens.

“Milla Thyme is 100 per cent me. It’s when I’m playing bass and rapping and I’m writing all the music myself,” he said.

The MC can be spotted at Le Cypher, a popular hip-hop jam session party at Le Bleury-Bar à Vinyle, which takes place almost every Thursday night. It’s one of his favourite Montreal hotspots. In fact, the rapper said it’s like his second home. “We get 150 people average per week so it’s a good platform for people to see you perform regularly,” he said.

People from all walks of life can get a chance to come up on stage during Le Cypher and try out rapping—even if they’ve never done it before. “It’s a safe space for people to communicate,” Miller said. “You get people of all different genders, ages, sexual orientation.

We don’t care. We’re all the same, right?”

Miller has been rapping and playing bass with the band Urban Science at Le Cypher almost every Thursday night. The band is comprised of about 20 to 25 artists, some of whom played on his recent EP, Eternally the Student.

“It was my friend Thomas Lafrance, a.k.a T-Cup, on the drums,” Miller said. “And then on keys we had one of the baddest under-25 keyboard players in the city, named Nicolas Dupuis, who goes by the name Anomalie.

I’m just so grateful that he had the time to play with us.”

Urban Science has also played at many popular venues in Montreal, including the Jazz Festival two years in a row, which Miller said he’s grateful to have been a part of. “That group has taken me to amazing places,” he said.

For the rapper, there is no better feeling

than freestyling on stage during Le Cypher nights. “It’s like having an amazing orgasm, a sweet release. It’s one of the best feelings, a natural high,” he said.

When he’s not busy performing as Milla Thyme, Miller is focused on his jazz studies program at Concordia. He said it’s important for him to keep up his studies, to never stop learning or growing, both as a person and as a musician.

The artist is also the president of Concordia’s Hip Hop Community, a student club that holds rap battles for social justice.

Each week, a different social issue is addressed at the rap battles, such as police brutality and gender inequality.

The club also holds workshops that allow people to work on different elements and aspects of hip hop, and allow them to share their music with others on stage.

“It’s a good way for Concordia students and members of the community who don’t have much experience but want to be involved with hip hop and social consciousness,” Miller said.

A rap battle on police brutality will be held on Feb. 15 at the Le Belmont nightclub on St-Laurent. The proceeds for this event will be going to Montreal Noir, which Milla Thyme said is a socially-conscious group advocating equality.

Miller feels very lucky to have always been pushed to chase his dreams by his parents, who are artists themselves. “Michael Miller, my dad, is actually the most produced black playwright in Canada. And my mom was a TA at Juilliard in her 20s,” he said.

“My parents are both established in their careers.

They told me, if I’m going to pursue arts, that I have to [give it]

my 100 per cent.”

This support really helped Miller overcome the struggles involved with creating his music. “I think the biggest challenge we all face is ourselves,” he said. “That’s always the biggest challenge because it’s an internal conflict, just questioning [yourself], like we all do, in some way. That’s something, as an artist, you deal with a lot.”

Miller said artists like Kendrick Lamar and J-Cole allowed him to forget about the hardships of the music industry. Through their meaningful lyrics, they inspired him to focus on being real in his music as well. “They gave me a renewed sense of purpose,” he said.

Miller’s EP, Eternally a Student, which was released in October, touches on deep subjects that truly matter both in his own life and in society. The songs, he said, are a true representation of what was going on in his life as well as what he saw going on around him.

For the artist, that’s the ultimate goal: to express himself in a way that can be relatable to someone else. “I hope my music can help people in their day-to-day, and if someone’s going through something, that it helps them get through that,” he said.

If there’s anything Miller wants artists to take from his story, it’s that the most important thing is to believe in yourself, and in your own music. “Just keep pushing,” he said. “Don’t give up, and just know that no one can tell your music better than you can.”

Silhouettes (Island Records, 2017)

Aquilo’s debut album, Silhouettes, is the vessel that will send you sailing through dreamland with its lush, melancholic melodies. The British indie-pop duo mends and shatters hearts with smooth falsettos and cool electronics. The opening track, “Silhouette,” has a nostalgic vibe and serves as a reflection on the duo’s past, as they sing through doubts about their future. “All I Ever Wanted” and “Human” deliver enchanting harmonies fit for those misty evenings spent reflecting on the wrong paths taken in life. Written as a love letter, “Waiting” is sung with a heavy heart but with a great deal of hope for a reunion with a lost lover. The tempo of the album picks up a little with “Complication” and “Never Hurt Again” which reverberate a sentimental but uplifting kind of funk. In its entirety, Silhouettes is a beautiful ode to the broken-hearted and the hopeful.

11 Trial Track: “Silhouettes”

8.5/10

—Alicia Ardelli, Contributor

2

BIG SEAN

I Decided (GOOD Music, 2017) I Decided is the light at the end of the tunnel that Big Sean is searching for in his track “Light.” He raps about his road to success and how, even if someone shakes you, they can’t take away what makes you whole, they can’t take away your soul and they sure as hell “can’t fuck with the light.”

In “Bounce Back,” it’s all about revival— taking a loss and bouncing back to life again. It’s a reminder to not take all our failures too seriously—you can dance and laugh about them to this club-banging track. “Jump Out The Window” is a jam that’s easy to relate to—it’s about knowing when it’s time to put your foot down in a relationship, to not take any disrespect and to know your self-worth. All in all, Big Sean’s “got the moves.” He touches on his personal life all while making us dance to his feel-good, inspiring raps and catchy rhythms.

11 Trial Track: “Bounce Back”

8/10

—Sandra Hercegová, Music Editor

FEBRUARY 7, 2017

theconcordian

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REVIEW

3 SAMPHA

The power of music during hard times Looking back at 2016 with Radiohead’s album A Moon Shaped Pool

Process (Yung Turks Recordings, 2017) Known for his work with Drake, Solange and Frank Ocean, Sampha is a British singer-songwriter. In his debut album, Process, Sampha combines world music and authentic ballads with his soft, welcoming vocals in a way that will put you in a meditative state of bliss. In “Kora Sings,” Sampha blends tribal-like ballads with the sound of strings reminiscent of the guzheng, an Asian guitar. This track also blends electro rhythms and afro drum beats as it fades away to the noise of a storm in the jungle. A variation of instruments are used on this album, but the one that knows Sampha best is the piano. In his track “(No One Knows Me) Like the Piano,” he describes his love for the instrument since he played it in his mother’s home at the age of three. “You would show me I have something, some people call a soul,” he sings as his hands glide over the keyboard. Process showcases the passion and intimacy Sampha has towards music.

11 Trial track: “Kora Sings”

9/10

—Sandra Hercegová, Music Editor

4 JAPANDROIDS

Near to the Wild Heart of Life.

(ANTI-, 2017) This Canadian alternative rock band will get you all fired up with their opening tack, “Near to the Wild Heart of Life.” Their high-energy guitar riffs and vocals will lighten the mood as they sing, “So I left my home and all I have, I use to be good but now I’m bad.” Their sound is reminiscent of the nostalgic, smooth rock songs that used to play on the radio in the late 90s.

Their West Coast flavour can be heard in their track “North East South West,” as they sing about Western Canada being their home. You might have heard similar alternative songs, but Japandroids prove classic alternative rock never gets old.

Their track “I’m Sorry (For Not Finding you Sooner)” combines upbeat ballads with an emotional tone of vocals singing: “I’ve been looking for you my whole life.”

The song has a beautiful intimate side to it, although it still makes you want to blast the volume and dance around. It’s a great album for a long drive, preferably somewhere sunny that will take you on the road Near to the Wild Heart of Life.

11 Trial track: “I’m Sorry (For Not Finding you Sooner)"

7.5/10 —Sandra Hercegová,

Music Editor

HUSSAIN ALMAHR CONTRIBUTOR In times of change and fear, listening to music can be a cathartic experience, as it offers an escape from reality.

Music can also reflect the moods and event s t hat occur red dur ing it s creation.

Last year, Radiohead released A Moon Shaped Pool which, for me personally, was the most impactful album of 2016. I repeatedly go back to the album to lament and escape the events that are happening in the world today. The album not only relates to my own anxieties, but captures overall feelings of anxiety, apathy, hope and lost love through lyrics and instrumentation.

Radiohead continues to evolve and change their sound instead of rehashing their past albums such as OK Computer or Kid A. The band’s sound reflects their age and the ways they have evolved. The album opens with the track “Burn the Witch,” a legendary unrecorded song known amongst ardent Radiohead fans.

The song consists of violent violin plucking, a drum machine and a bass guitar, which together create a hectic, yet structured sound.

Lead singer Thom Yorke sings “This is a low flying panic attack,” evoking anxiety about a metaphorical witch-hunt.

“Burn the Witch,” both the song and music video, make an allusion to the 1973 version of the movie, The Wicker Man. It tells the story of a detective going to investigate a disappearance on an island where they have sacrificial rituals. These rituals make reference to the “burn the witch” chorus, which refers to a “witch-hunt” in modern times. The song conveys an unwilling coercion, with its main hooks, “Burn the witch, we know where you live” and “Abandon all reason.” The song's lyrics and sound, touch on the idea of political movements dividing people into “common people” and “metropolitan elite.”

The emotionally impactful track “Glass Eyes” is beautifully orchestrated, with gentle piano playing. The lyrics paint an image of a depressing grey world, where Yorke sings in a subtly depressing tone: “Hey it’s me I just got off the train, a frightening place, the faces are concrete grey and I’m wondering, should I turn ‘round? Buy another ticket? Panic is coming on strong.” In the song, Yorke sings

about wandering off down a mountain path, not caring where he goes, just as long as he escapes this panic attack.

I relate to these lyrics personally, as moving to Montreal for university was hard because of all the social anxiety I experienced. Last year, my anxiety flared up—walking down the street brought on a sense of panic, my heart rate would rise and I had to lower my gaze to avoid eye contact.

Sometimes, I needed to be alone, to forget about the panic that was brought on by large public spaces. The song captured my anxiety, to the point where I cried on my bed the very first time I heard it. “Glass Eyes” is one of the only songs that has ever made me cry. This track uses a combination of an orchestra and Yorke’s somber, aged voice to illustrate a beautifully depressing image of a panic attack.

In the song “Present Tense,” Yorke describes a scene of a world crumbling around him, as he sings about dancing and clinging on to the things he knows and loves. “Present Tense” has sounds that are influenced by Latin

music, and the song is constantly changing.

A choir comes in halfway through the song as the drums kick in, and the vocal melody is constantly evolving, delivering an emotional punch and meditative state of reflection.

As Yorke sings “As my world comes crashing down, I’m dancing, freaking out, deaf, dumb and blind,” I feel he uses dancing as a way to save himself from distress. I love the image of dancing while the world is ending, not having the ability to do anything, content with the fact that the world is coming to an end. The song ends with the loving line, “In you, I’m lost.”

“Present Tense” gives a hopeful message of love and catharsis. It reminds me of when I saw Radiohead at Osheaga this past summer.

I’ll never forget the sense of community at Osheaga—camping out to see Radiohead for 12 hours near the main stage, dehydrated, with my legs feeling numb. The most memorable moment was when the whole crowd started singing “Phew, for a minute there, I lost myself,” the outro to “Karma Police.” Thom Yorke even extended the song, playing guitar while the crowd continued singing.

“True Love Waits” is another mythical, unrecorded song on the album which dates back to the The Bends era (circa 1995).

The song on bootlegs — the unofficial recording that got released, (which only had Yorke playing acoustic guitar) was a hopeful, youthful song about unrequited love.

However, more than 20 years later, the song is transformed with a minimalist sound. Yorke’s voice sounds strained and evokes a sense of sadness, accompanied with simple-sounding piano sounds. The sappy lines, like “and true love lives on lollipops and crisps,” seem more like desperate attempts to cling to an innocent time.

Now, Radiohead has transformed an old song’s seemingly outdated and naïve lyrics into a truly depressing song. “True Love Waits” is an emotional gut punch, with lines like “I’m not living, I’m just killing time,” and the somber closing line: “Just don’t leave, don’t leave.” This song encapsulates how I feel about the year 2016. It was a shit year for many of us, but I’m glad we have music that reflected the essence of that year in a supporting way.

Radiohead and many other artists came out with albums in 2016 that were fun, exciting and relevant to today—they didn’t ignore the problems we are facing, didn’t just wish for everything to be okay. Instead, they faced them by making incredible music. Radiohead’s A Moon Shaped Pool is not a political album—it never mentions specifics—yet manages to capture emotions we continue to face, with wicked instrumentation and abstract lyrics.

sports

SPORTS EDITOR /// sports@theconcordian.com ALEXANDER COLE ( @AlexCole_80)

PROFILE

Leading the team is his last year

Stingers forward Michael Fosu talks about being a fifth-year player on the basketball squad

JEFFREY MUNTU STAFF WRITER Concordia Stingers men’s basketball forward Michael Fosu is now competing in his fifth year with the team. But before that, he played one year with the University of New Brunswick Varsity Reds.

Fosu, who played basketball in CEGEP for Vanier College, initially chose to go to New Brunswick to play with one of his teammates from Vanier. However, just a year in, he decided to come to Concordia.

“It’s a great school, don’t get me wrong,” Fosu said. “People are nice over there, but [for me] it was about winning. I wanted to make the playoffs. That’s what we’ve been able to do here.”

The fifth-year Stinger also went to Lucien Page, a French high school here in Montreal.

With a strong knowledge of French, Fosu found himself in Concordia’s French Studies program, from which he is set to graduate from this year. However, he said his field of study had no bearing on his decision to come to Concordia. His decision was purely from a competitive standpoint.

Having been with the Stingers for four years, Fosu has seen many players come and go. He recalled Zach Brisebois and Taylor Garner, among others, as being his favourite teammates to play with.

“My first year here is the only year where I can say that I played with veteran guys who know the game of basketball,” Fosu said.

He also explained he had a great relationship with the team’s head coach at the time, John Dore.

“He was more like a father figure to me,” Fosu said.

Fosu also explained the community within the basketball program was one of the major

Fosu played a year of reasons he knew university basketball in Concordia was New Brunswick before the right team for him, describing coming to the Stingers the overall atmo- (above). Photo by Ana sphere as one of a Hernandez. “family.” As soon In his last year, Fosu has as he set foot on been regarded as a leader campus, he said it on the team (right). Photo was easy for him by Brianna Thicke. to joke around with his older teammates—which is something he tries to do now with the younger guys on the team.

“Of course they are rookies,” Fosu said.

“But at the same time, we let them know that they are a part of the family. “ That same team spirit is the reason why the transition between Dore and current head coach Rastko Popovic has been so effortless. Popovic was an assistant coach with the women’s and men’s teams before being promoted to head coach of the men’s team. Having known the guys on the team for a while, Popovic looked to Fosu to provide leadership for the team.

“I am a man of few words,” Fosu said.

“I am a guy who leads by example.”

Fosu also noted that, during his collegiate career, a few players have come in and out of the program without ever being able to sustain the level of play that’s demanded. This is a reality that has drastically changed over the course of the last year or so.

“The new guys coming in are so mature for their age,” Fosu said. “I can’t wait to see what they’ll do in the future.”

When talking about the new Stingers players, Fosu referenced Olivier Simon and Roman Power as guys who have already shown promise in their first year.

For Fosu and the team, the goal is to

win a championship—just like every year.

However, optimism is high due to the current crop of young players who will help solidify the Stingers as serious competitors—not just this year, but for the years to come. Fosu is excited to be a part of that process despite that this is his last year.

Fosu’s experience has made him a major contributor to his team, having started eight games out of nine this season and averaging 8.7 points per game. He also plays 22 minutes per game, which ranks him fourth amongst his teammates—a testament to the depth

Popovic has been able to assemble.

Fosu also believes this year’s team is the one most likely to contend for a title in years.

“This is the most talented team we’ve had since I got here,” Fosu said. “We’ve always been one step away from really winning it all, but this year, hopefully with the young guys, we can get to the championship.”

There is no doubt in his mind the program is in good hands.

“If I have an opportunity to be an assistant coach, I will take it,” Fosu said. “I want to stay involved in the game.”

It’s tougher than you think Examining the surprisingly rough and strenuous sport of water polo

Water polo looks calm on the surface, but most of the action happens below the water. Photo by Frank Caracciolo.

NICHOLAS DI GIOVANNI ASSISTANT SPORTS EDITOR “You’re not guaranteed every breath that you’re going to take.” That’s how DollardDes-Ormeaux water polo coach Evan Emory describes water polo.

Yes, the sport is tough, but the unknown and underrated game has a lot to offer those who don’t know much about it. Water polo is like handball in water, but also has soccer and basketball elements to it. And, because this is Canada, the toughness of hockey is involved too.

Water polo is a traditional team sport, with four quarters of seven or eight minutes, depending on the league. Each team has seven players, including a goalie, and the aim of the game is to score as many goals as possible. Ideally, the games are played in 25-by-20-metre pools, deep enough that players cannot touch the bottom.

Aesthetically, water polo looks much like handball ,but, in reality, the two sports don’t share many rules.

Unlike handball, a water polo player can move freely with the ball, and there is no restricted arch around the net from which a water polo player cannot shoot.

The only restriction for attacking players is that they cannot go within two metres of the goalie without the ball.

Like in soccer, if a major foul is committed within five metres of the net, a penalty shot is awarded. There are also corner throws when a defending team last touches a shot that goes out of bounds across the goal line.

Similarly to basketball, a player cannot hold the ball with two hands and there is a shot clock. Teams must shoot the ball within 30 seconds of getting possession. And like in basketball, unlimited substitutions are allowed at stoppages of play.

Water polo is a fast-paced game that requires all players in the pool to contribute

both on offence and defence. Transitioning between offence and defence is important in water polo, as all players must hustle back fast. As soon as a team takes a shot, there’s no time to watch it—the players have to be ready to swim back.

Nitesh Agarwal, a water polo player from Montreal, explained everybody in the water plays every position and no one is assigned one set role.

“It’s not like football where there’s offence and defence, or hockey with defencemen and forwards,” Agarwal said. “You’re just as much a defender as top scorer.”

Although water pool seems like a gentlemen's game on TV, the majority of the action happens underwater. This is where the toughness of hockey—or rugby—comes in.

“It looks a lot of the time like the guys are floating there,” Emory said. “Every second that you’re not hanging off the wall, you’re expending energy.”

“We’re fighting for position, we’re pushing, wrestling, we’re scrapping, we’re hitting each other.” Agarwal added. “No one knows if you kick someone, no one knows if you pull someone underwater or if you’re getting drowned. If you’re a weaker person, you’re going to get swam over.”

With the constant treading water, swimming, physical play and attentiveness to the fastpaced game, it’s easy to get tired playing the game. But for Agarwal, it’s what makes water polo great.

“In the moment, I hated being gassed, but then you kind of realize those are the fun moments—when you have no energy left and you have to haul yourself up,” Agarwal said.

Emory said he believes the tough, physical nature of the game leaves only those who want to play left to play.

“It’s survival of the fittest. The ones who don’t want to do it just get out of the water,” Emory said. “Some guys just become tougher because of it.”

The hungriest-competitor-wins attitude brings a certain culture of discipline to the sport, according to Emory. He said players who come with the wrong attitude just get left behind, and those willing to push and sacrifice for their team will play.

“You’re there for your brothers,” he said.

This passion that water polo players carry led to one of the most famous incidents in the histor y of the game. In the 1956 Summer Olympics held in Melbourne, Australia, Hungary an d t he US SR faced off in the semi-final.

Tensions were high between the two countries, as Soviet-ruled Hungary was in the midst of a political revolution Graphic by Thom Bell. against the Soviet forces.

The game was physical, and in the fourth quarter, with Hungary up 4-0, Soviet player Valentin Prokopov punched Hungarian star Ervin Zador, who scored two goals in the match, right above his right eye. Zador came out of the pool with blood dripping down his face, which prompted Hungarian supporters to clear the stands and hurl insults at the Soviets. The game is named the “Blood in the Water” match, and remains one of the most famous water polo games in history, according to BBC. For those hearing about the sport for the first time, fear not—you will not get punched if you try it. And don’t worry, you will get your next breath.

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WATER POLO

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FEBRUARY 7, 2017

Rant of the Week

BY ALEXANDER COLE

A THE NHL NEEDS STEM NEW POINTS SY Ever since the 2004-05 lockout season, the NHL has used the same wins-and-losses points system. If you win a game, whether it be in regulation (60 minutes) or in overtime, you get two points.

If you lose in overtime or a shootout, you get one point and, if you lose in regulation, you get zero. It’s a simple system. However, there is one big problem with it.

The issue is that a win in overtime or a shootout counts just as much as a win in regulation. While this may seem like a minor detail or nitpicked criticism, I think it’s actually quite a reasonable critique.

Just look at the overtime system.

If a game is tied after 60 minutes, it goes to three-on-three overtime. Because games are played five-on-five, the three-on-three format opens up the ice and creates more space for the players, quickening the game’s pace.

While it's exciting to watch, it isn’t a real representation of how hockey is meant to be played.

Quite frankly, it’s a gimmick. An exciting gimmick—but a gimmick nonetheless.

If a game is still tied after threeon-three overtime, the game goes to a shootout. Now, if you’ve been reading my rants this year, you’ll already know that I despise those. They are essentially a glorified skills competition, and the winner of a shootout doesn’t always reflect which team is better. All this to say, by giving equal points to regulation wins and overtime wins, you’re saying winning a game in 60 minutes is the same as winning it, thanks to a gimmick like shootouts. This just shouldn’t be the case.

The best way to fix this is to adopt the international hockey system.

The system awards three points for a win in regulation, two for an overtime win, one for an overtime loss and zero for a loss in regulation.

This system would force teams who are tied with just a few minutes left to go for the win instead of playing it safe in order to go to overtime. Furthermore, the system would reward teams who win in 60 minutes and penalize those that constantly have to resort to overtime or shootouts for wins. It’s a system that has the potential to impact the standings and I think it would be a big improvement on what the NHL is currently doing.

opinions OPINIONS EDITOR /// opinions@theconcordian.com DAVID EASEY

Aside from the editorial, the articles that appear in the opinions section do not necessarily reflect the points of view of our staff.

EDITORIAL

Why journalists need to be paid

Journalism—as many of us at The Concordian know—is a competitive field with very few jobs available. Just recently, the Montreal Gazette announced it would be laying off more workers in the near future, according to the Financial Post. So with fewer and fewer jobs available, aspiring journalists will do anything to get ahead and that includes free labour.

It’s a conversation some of our editors here at The Concordian have had with the journalism department. Some professors

believe unpaid internships are the way to go to gain experience, while others are adamant that we should all be paid for our work.

On Jan. 27, ESPN business reporter Darren Rovell sparked a lengthy conversation on Twitter after suggesting the Chicago Sun-Times newspaper ask students at Northwestern University to cover college basketball games for free. After numerous tweets telling him he was wrong for suggesting a publication should have students work for free, Rovell replied saying some of the best journalists got their start while doing so.

While this may be true, there is certainly a disconnect between the journalism of today and the journalism of the past. For starters, you just has to attend any journalism seminar in the country to learn that newsrooms are shrinking.

With the pressures of paying rent, food and tuition, finding time for an unpaid internship is close to impossible. If the only way to become successful in the industry is to become an unpaid intern, then only the most privileged people would be able to get ahead.

In Montreal, one of the places that offers

unpaid internships is Bell Media. While these internships offer valuable experience that could make good journalists great, for some people, they simply aren’t an option.

Another dilemma young journalists face is the choice between exposure and money when it comes to freelancing. In an article by the International Business Times, Huffington Post U.K. editor-in-chief Steven Hull admitted to not paying writers for work.

"If I was paying someone to write something because I want it to get advertising, that’s not a real authentic way of presenting copy," Hull said. "When somebody writes something for us, we know it’s real, we know they want to write it. It’s not been forced or paid for.

I think that’s something to be proud of.”

Attitudes like the Huffington Post’s are tricking young journalists into writing for free. Asking to be paid is not disrespectful, it’s what you should be doing. If you are a journalist and your article is next to an ad, then in some way, shape or form you are making money for that publication and should be paid for it. Even if the publication you write for doesn’t have a huge budget, you should at least get a little something for your hard work.

Now you must be reading this and thinking “does The Concordian pay their writers?” The answer is unfortunately, no. You may think we are hypocrites in writing this editorial about journalists needing to be paid for their work, but in an ideal situation, we would like to be able to provide our most dedicated and consistent writers with a little bonus at the end of the semester, to say thank you for their contributions.

As an editorial team, we do not have the ultimate power to grant monetary bonuses to our contributors—our board of directors is in control of the finances. We’d like to end this editorial by asking our board to start providing financial stipends to our writers who demonstrate hardwork and consistency.

This has been on our minds during this year, and something we hope to implement for next year’s staff writers.

It’s time The Concordian emerges from this deep slumber and start dishing out some of that money buried deep in our swollen coffers.

As young journalists we shouldn’t have to settle for less just because our older contemporaries did. It’s 2017 and media corporations (including your university newspaper), needs to get with the times.

Graphic by Florence Yee.

HEALTH

McDonald’s doesn’t care about customers with allergies How the fast food chain is screwing over customers with nut allergies

NICHOLAS DI GIOVANNI ASSISTANT SPORTS EDITOR It did not occur to me that McDonald’s employs clowns as executives.

McDonald’s Canada’s decision to introduce a product that brings unpackaged peanuts and nuts into the restaurant is outraging many Canadians, myself included. The fast-food chain introduced the Skor McFlurry last Tuesday, and now warns customers their food may come in contact with peanuts, nuts and other allergens.

McDonald’s has been a go-to place for many customers and families with food allergies because it has been allergy-free and easy for many to access.

For us Concordia students with these severe food allergies, we know how difficult it can be to find accommodating restaurants.

We can’t eat at one place because they use peanut oil, and then another place can’t guarantee our safety. We all know the hassle.

McDonald’s was the safest place we could go to when we needed a quick meal and didn’t want to worry about our allergies.

Not anymore. With this decision, McDonald’s Canada has told the 2.5 million

Canadians living with food allergies to, essentially, stay away. It seems to me the company couldn’t care less about their customers with food allergies.

The problem here is not that they

other products.

There is also a big problem in the way McDonald’s Canada handled the situation.

In a statement, the company said, “We have a long history of being sensitive to

introduced a Skor McFlurry. The problem here is that it appears McDonald’s is making absolutely no effort to keep its new allergen-infested product away from

the needs of our guests with food allergies and this time will be no different, which is why we are communicating this important information.”

Anybody with half a brain could smell the lies pouring out of that statement. If McDonald’s Canada has a long history of making sure allergic customers stay safe, why would they change all that with one product? It is very different from the past considering they are no longer guaranteeing an allergenfree restaurant.

The most ridiculous claim is they believe communicating this warning to customers counts as remaining "sensitive" to their customers with allergies. Yes, because telling us we can’t eat there anymore really shows you care.

They are make such statements simply to avoid liability and lawsuits.

That’s hardly protecting us. They are protecting their multibilliondollar corporation.

M c D o n a l d ’s C a n a d a h a s completely tarnished its reputation with this one decision. Many families and students like us, will no longer visit their restaurants, all because of a new McFlurry. I hope the executives who triggered this operation can sleep well at night, knowing they ruined some kid’s day, just so others could enjoy their Skor McFlurry. Having a clown as the company’s mascot is really suiting.

Graphic by Thom Bell.

FEBRUARY 7, 2017

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RELIGION

Quebec: Why the mosque shooting doesn’t surprise me Taking a closer look at the province’s history with xenophobia and Islam SANIA MALIK ASSISTANT OPINIONS EDITOR When I was in second grade, my teacher would hold spelling bees in class. I won one, and was ecstatic because the winner would always get a prize. Students could win teddy bears, puzzle pieces, even candy. I was eyeing a turquoise teddy bear when, instead, my teacher handed me a cartoon book about Christianity and Jesus Christ.

At the time, I didn’t understand that what was happening was wrong. I didn’t feel weird when I wasn’t allowed to go out during recess, and instead, was kept indoors with my teacher who read to me about Jesus’ life.

I remember sitting next to her at her desk, listening as she lectured me about the importance of praying every Wednesday morning. As she droned on, I studied the small but imposing Quebec flag at her desk, the white and blue fleur-de-lis forever seared into my memory. I’ve realized that, for the longest time, I associated Quebecois people with intolerance. My teacher was Quebecois and she despised that I was Muslim—and I spent most of my life assuming all Quebecois felt the same.

Of course, I now realize that's not true.

I can’t believe that, because it would be the same argument used by Islamophobic people—that one person’s bad actions represent all the members of a group.

The Jan. 29 Quebec shooting has brought the reality of Islamophobia to people’s attention.

The shooter, Alexandre Bissonnette, killed six men and injured at least 15 others at the Grande mosquée de Québec, in Quebec City. Some reacted with anger, others with shock—but for many Muslims, like me, there was only acceptance of the inevitable.

I’ve heard many people say, “How can something this hateful occur in Quebec?”

But all I can think is, how can something like this not happen in Quebec?

Anti-Islam sentiments have been growing in this province for years. According to an article by Al Jazeera, in 2010, a bill was pushed forward in Quebec that aimed to ban women wearing the niqab—the Muslim veil—from using public services. The bill never became a law, but the debate about what a Muslim woman should be allowed to wear has amplified. From the hijab to the niqab, Quebec has always had a negative view of Islamic culture.

This was further shown in the Quebec Charter of Values in 2013, which aimed to ban religious symbols and attire from being worn by employees in the public sector. According to Global News, Barbara Perry, a professor at the University of Ontario Institute of Technology who studies right-wing extremist groups, said, “The rationale [former Premier Pauline Marois] provided for the Charter of Values was to minimize the role or the visibility of religion, but of course the focus was really on one religion.” The Charter of Values would have allowed the crucifix to remain in the National Assembly, the cross to stay on Mount Royal, and Christmas trees to remain in government buildings, according to the National Post.

A poll conducted last year by Forum Research showed that 48 per cent of Quebecois hold an unfavourable view of Islam, in comparison to the 18 to 28 per cent

Graphic by Florence Yee.

in other parts of Canada.

Groups like PEGIDA—which stands for Patriotic Europeans Against the Islamisation of the West—continue to flourish in Quebec with a Facebook page that has over 18,000 likes and a neo-Nazi/white nationalist stance.

The group is known for being anti-Islam and, according to the CBC, the leader of the Quebec chapter has said, “Islam needs to reform itself or leave the West.”

In November 2015, a man named Jesse Pelletier wore the Joker mask and uploaded a video to YouTube in which he held a gun—which later turned out to be fake—and threatened to murder one Arab a week in Quebec.

On Feb. 3, the same day a funeral was being held for the victims of the Quebec shooting, the Khadija Masjid Islamic Centre was vandalized.

A lot of people are arguing that Bissonnette— who is a Donald Trump supporter—might have been influenced by the U.S. president’s Islamophobic rhetoric. But I don’t think that’s exactly it. The truth is, Quebec has a problem with Islam. People need to admit Bissonnette might have been influenced by what he sees in this province—which is a dislike towards Islam.

After the shooting, I spoke to many members of the Muslim community and almost all of them were unsurprised by what happened. Sarah Shamy, a McGill University student, said, “I have been on edge for a while now and I don’t think it’s just because of Trump. Quebec has shown itself willing to accept ‘the other’ if the other is deeply similar to themselves. Quebec has a negative relationship with anyone who isn’t Francophone, white or Quebecois. I don’t feel safe as a Muslim here.”

Politicians and the media further stir ignorance and help paint a negative image

of Islam in Quebec. Radio poubelle, for instance, often broadcasts segments that voice “concerns” about Muslim immigration and Islamic terrorism, according to the CBC. When people listen to these segments, it adds fuel to the fire. It’s impossible to ignore how it affects Muslims—it’s hurtful, unnecessary and not truthful—and it reinforces people’s negative image of us.

“I don’t feel safe here anymore,” said Javaid Malik, my father, who moved to Quebec in 1996. “I used to. But even before the shooting, I felt worried about attending the mosque.

I noticed the unlocked door, and I was so nervous about praying that I tried to find a rock to protect myself in case someone tried coming in and hurting us.”

These sentiments of fear and lack of acceptance aren’t unusual for Muslims in Quebec. The province seems to be polarized already, with Quebecois separatists pitted against Anglophones. This tribal mentality creates a reality in which anyone outside of the group is strongly considered “the other” and is isolated. Muslims usually don’t fit into either category and are thus viewed as incompatible with the mold Quebec has shaped for itself. Our beliefs, our practices and our faith is so completely different from the norm that it becomes easier to reject us.

Zahra Tourki, a student at the Université de Montréal, said Quebec is close-minded.

“All they do is think about keeping their language and French culture alive. They try to convert us into their modern way of living. Islamophobia is everywhere, and it’s sad that it took the shooting to make people wake up. As a Muslim, I will always feel like Quebec is not my place, as if I’m a stranger. I don’t belong here.”

It’s hard to come up with a solution that

can end Islamophobia right away. But the first step to finding the solution is understanding where the problem comes from. It’s not just Donald Trump’s recent Muslim ban, or even ISIS—Muslims have been dehumanized in the media for a long time and that’s what led to the shooting.

Alan Conter, a journalism professor at Concordia University, believes that the media is responsible for creating open spaces—something they haven’t been doing for a long time.

“The media needs to be more open to exploring the diverse realities of Islam, and of other faiths and people who don’t hold faiths. The whole discussion of belief systems isn’t treated well,” he said. “There’s a tendency in Quebec of holding a sense of exceptionalism. People say, ‘It couldn’t happen here because we’re wonderful...’ In English Canada, people would bring up our diversity. In every society, people will try to explain away horrible things because it’s easier than looking into yourself and trying to find real root causes.”

What happened on Jan. 29 is a manifestation of a dangerous problem. A lot of Canadians believe that we’re safe from the discrimination that is more apparent in the U.S. We’re considered accepting, a diverse society, and we are—to a certain extent. But our sense of exceptionalism weakens our ability to address the negative side of our society. Quebec’s history of polarization, of subtle racism, has always existed but is rarely acknowledged. What Alexandre Bissonnette did is terrifying—but what’s even more terrifying is that there may be many other people just like him in Quebec who have developed a vicious, violent hatred for a religion they barely understand.

etc

LETTER TO THE EDITOR

Rebuttal to article "A better life for animals can be found outside of zoos" In reference to the article “A Better Life for Animals Can be Found Outside of Zoos,� we would argue where outside? The writer mentions sanctuaries and conservation centers as better options.

The truth is, accredited zoos and aquariums are both sanctuaries and conservation centers.

Webster defines a sanctuary as a place where someone or something is protected and given shelter. All accredited zoos and aquariums have rigorous welfare and regulatory standards and can point to an excellent record of having healthy, long-lived animals in their care. We are in the midst of what has been identified as the 6th extinction. The rate of extinction has increased a hundred-fold in the last century with over 18,000+ species facing oblivion. As we work together to mitigate threats, zoos provide a safe haven for species under threat.

Conservation can be defined as the protection and preservation of natural ecosystems and wildlife. Accredited zoos and aquariums conduct and contribute to active programs that aid species survival, research and conservation, both at home and in the wild. Zoos collectively are spending $350 million annually to ensure the future of highly endangered species in the wild. This contribution rivals partner conservation organizations, such as the World Wildlife Fund and the Nature Conservancy. Our zoo has been instrumental in the developmental of wildlife reserves

in Armenia, Peru, Kenya and Niger. Locally we have restored approximately 170 acres of native pollinator habitat. We have worked with international and regional agencies to reintroduce Partula snails to Tahiti, scimitar-horned oryx to Chad, and American burying beetles and hellbenders to our state--Missouri.

The writer also challenges the important role zoos play in educating the public. Today, well over 50 percent of our populations live in cities. We are rapidly becoming divorced from the realities of the natural world. Every year, over 700 million visits are made to zoos and aquariums that are members of national or regional associations around the world. Our zoo alone is annually visited by over 3 million people. In 2016, we conducted over 4,830 education programs, activities and offered educational services to 816,000 people. The types of sanctuaries references by the writer are not open to the public and have little capacity to educate.

Finally, the writer suggests that the goal of zoos is to make money.

Many accredited zoos are non-profits as is my own Zoo. In fact, we assume the high costs of exceptional animal care with no return on that investment other than the satisfaction of knowing animals we care for inspire the people who see them and may encourage those visitors to work to conserve species for future generations.

Zoos and aquariums and zoo-based conservationists, like me, provide a vital connection to the world of wildlife and our environment. Together we help foster an understanding and a perception of nature and why saving wild things and wild places matters.

Michael Macek, BS, MBA Chief Operating Officer Saint Louis Zoo Graphic by Charlotte Bracho.

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