The Concordian - November 14th, 2017

Concordia University’s weekly, independent student newspaper

theconcordian

VOLUME 35, ISSUE 12 | TUESDAY, NOVEMBER 14, 2017

theconcordian.com  /theconcordian  @theconcordian

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An unorthodox way of listening

Professor Norman Cornett is redefining the role of music in education Music p. 12

also in this issue

news

life

Looking to be new City's first vegan ASFA president p. 3 clothing line p. 7

arts

sports

opinions

Biking tips for the Theatre festival Rajotte named stars students p. 9 U Sports MVP p. 14 winter months p. 17

news

NEWS EDITORS /// news@theconcordian.com CANDICE PYE & ETIENNE LAJOIE ( @candicepye @renegadereports)

UNION

CSU councillor flags potential conflict of interest Council hears update on the union's housing project; execs to pay union $840 for SUDS

VALERIA CORI-MANOCCHIO HEAD COPY EDITOR Concordia Student Union (CSU) general coordinator Omar Riaz and finance coordinator Soulaymane El Alaoui will each pay approximately $840 to the union after accepting plane tickets from the CSU’s insurance provider, Alliance pour la Santé Étudiante au Québec (ASEQ), without disclosing the tickets in their executive report on the Student Union Development Summit (SUDS) conference in Vancouver last August.

“Omar and I will each be writing a cheque to the CSU for that amount before the council in December,” said El Alaoui at the CSU meeting on Nov. 8.

As The Concordian reported in September, council motioned that Riaz and El Alaoui had until Dec. 19 to individually pay the CSU the cost of the flight and a meal in Vancouver, as well as issue an apology.

John Molson School of Business councillor Rory James asked that the apology be submitted two to three weeks before the council meeting on Dec. 22, so that coun-

The CSU housing project was among the topics discussed at the Nov. 8 council meeting.

Photo by Valeria Cori-Manocchio.

cillors could provide their input. El Alaoui said a first draft of the apology would be submitted by Nov. 22 for council members to discuss before publicly releasing the statement.

POTENTIAL CONFLICT OF INTEREST James brought up a potential conflict of interest surrounding Riaz and El Alaoui’s role in the Commerce and Administration Students' Association (CASA) at the Nov. 8 council meeting. Riaz is a chairperson and El Alaoui is an independent director on the CASA board—neither saw a potential conflict of interest.

“As chair on CASA, I don’t have any voting power. I have no operating

role,” Riaz said. “I’ve never expressed my opinion on CASA, I’ve never been part of any decision CASA has taken.”

“CASA and the CSU are not affiliated in any way,” El Alaoui added.

“When I’m doing CSU stuff, it has nothing to do with CASA stuff.”

James said he was concerned their positions at CASA could conflict with their ability to make unbiased decisions. “This isn’t to say they’ve broken their conflicts, it’s just to say the potential exists,” he said. The existing CSU regulations that executives follow demand they report conflicts of interest. James’s motion, which passed, requires executives to disclose to the CSU any “decisions or involvement with any corporations

on which they sit as a director” in their monthly reports.

MOVING FORWARD WITH CSU HOUSING PROJECT Laurent Levesque, the general coordinator of Unité de travail pour l’implantation de logement étudiant (UTILE), presented council and executives with an update about the CSU housing project. The housing project will be located on Papineau Avenue and will offer 150 spots in about 70 units of cooperative housing, costing between $400 to $440 in monthly rent.

According to Levesque, the total cost of the project stands at approximately $14 million. He also confirmed

the mortgage insurance certificate was emitted, meaning almost half of the project funding has been confirmed. “Thirteen [million] out of the $14 million of the project costs are confirmed,” he said. “So we are really close to completing the budget.”

Levesque added that the last million is “already in advanced talks” with the last partner to approve the final terms.

“The project has been approved by the borough of the Plateau Mont-Royal at the beginning of October,” Levesque said. The current deadline for the project is May 2019, which Levesque pointed out as the “latest time that was allowed in the term sheet.”

James inquired about the project’s risk management plan and budget.

Levesque said the scale of the project demands a tight risk-management procedure and the current deadline allows for adjustments if risks or unforeseen factors arise. When councillor James asked: “Why don’t you have a project management professional on staff?” Levesque responded: “The development budget does not allow it [...] The truth is everyone [working on the project] is doing risk control.”

POLICY

Canadian university policies silent on stealthing Concordia administration says the practice “hasn’t been an issue” on campus

IAN DOWN ASSISTANT NEWS EDITOR None of Canada’s 96 universities mention stealthing in their sexual assault policies, according to both a study published in October and independent research by The Concordian.

Stealthing is defined as “nonconsensual condom removal during sexual intercourse” by Alexandra Brodsky, a human rights lawyer who published the first major study on the subject in April.

While there are no clear figures on how prevalent stealthing is, Carleton University graduate and National Our Turn Committee chair Caitlin Salvino said she has encountered many students in her research who have been victims of the practice. The National Our Turn Committee, a student-led sexual assault advocacy group, published Our Turn: A National, Student-Led Action Plan to End Campus Sexual Violence, in October.

The study evaluated the sexual assault policies of 14 major Canadian universities, ranked them on a 100-point scale and offered suggestions on how

to improve existing policies.

“We met with people who did experience [stealthing] and who talked about how horrifying it was,” Salvino said. However, she said she has never encountered a case where a student reported an incident of stealthing to a university. When asked about the Sexual Assault Resource Centre’s (SARC) awareness of stealthing at Concordia, university spokesperson Mary-Jo Barr said the centre claimed stealthing “hasn’t been an issue.”

Salvino attributed the lack of reported cases of stealthing to the failure of university policies to explicitly condemn the practice.

“People will kind of discount their experiences,” she said.

The term “stealthing” first entered common usage when Brodsky published her study Rape-Adjacent: Imagining Legal Responses to Nonconsensual Condom Removal in the Columbia Journal of Gender and Law in April. In her study, the human rights lawyer considered the current stance American laws take towards stealthing, and suggested the practice should be more clearly condemned. She also explored the

online culture that has sprung up around the practice. She referenced websites and forums which provide men with advice on how to commit stealthing without their partner knowing.

The Concordian reached out to the administrations of the 14 universities analyzed in the Our Turn study, including McGill and Concordia. Of the six that responded, many said their policies are not meant to name every non-consensual sexual act, and that their policies encompass stealthing even if it is not mentioned by name.

“The intent of the definition is not to try to provide a specific example of every type of potential sexual assault, but indicate it is a range of behaviours that are unwanted and imposed without consent,” said University of Regina external relations officer Everett Dorma. “Consent is defined in part as ‘the voluntary agreement to engage in the sexual activity in question.’ Thus, the act of stealthing would be considered a sexual assault since such consent would not have been given.”

However, Salvino said the purpose

of calling out stealthing in a sexual assault policy is not just to ensure perpetrators are punished, but to ensure victims know that such an act is a form of sexual assault.

She said, when a university calls out stealthing in its sexual assault policy, “it shows that the university recognizes this as a serious form of harm.”

In an email to The Concordian, Memorial University of Newfoundland communications manager David Sorensen said the term is too recent to be mentioned in the school’s sexual assault policy. “As far as we can tell, the term stealthing arose around 2014 and is only recently trending, so it was not part of our drafting discussion and did not get raised during the

extended university-wide consultation with students, faculty and staff,” he said. “With regards to including it in the policy, it will be considered and discussed in our next review process, and our Sexual Harassment Office is adding it to our educational materials.”

Of the 14 schools in the Our Turn study, only the University of Winnipeg said it plans to add stealthing to its sexual assault policy. The school's communications officer Adam Campbell said in an email that “we are in the process of developing our new standalone sexual violence policy which will specifically reference stealthing. The new policy will be finalized in the new year.”

Graphic by Zeze Le Lin.

NOVEMBER 14, 2017

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STUDENT POLITICS

In the run for the ASFA presidency

Candidate advocates for sustainability, LGBTQ+ representation and mental health CANDICE PYE NEWS EDITOR Following interim ASFA president Julia Sutera Sardo’s announcement that she will not be running for re-election, Concordia student Jonathan Roy has stepped into the spotlight.

As an ASFA independent councillor, VP internal and councillor of the Concordia Classics Student Association (CCSA), VP of finance of NDP Concordia and member of the Concordia Senate, Roy is heavily involved in student politics at Concordia. On Monday, Nov. 13, he announced his candidacy for the ASFA presidency.

His posters, plastered on the university’s walls, feature his campaign slogan: “Empowered together.”

“You can’t just leave the decisions of an organization to a single individual. They need to be worked through by a collective,” Roy said.

“I’m doing this because I want to support the rest of the executives. I want to support all of our associations.

I want to support our students. This isn’t about me.”

This sentiment is echoed in his platform of empowering the member associations (MAs) and ASFA executives to fulfill their mandates. Roy has proposed moving away from the traditional, hierarchical order of the executive.

ASFA presidential candidate Jonathan Roy. Photo by Alex Hutchins.

“Yes, I’m running for the presidency but, in my mind, the spirit of that office is that of a general coordinator,” Roy said.

Roy’s other campaign promises include making ASFA more sustainable, increasing LGBTQ+ representation in student governments and a complete collaboration with Concordia’s mental health services.

In terms of environmental sustainability, Roy plans to put a compost bin in every MA lounge ifelected, and plans to continue his workwith Waste Not Want Not, Concordia’s composting campaign.

As a gay man, Roy said he is all too familiar with the lack of LGBTQ+ representation in politics —especially in Concordia’s ASFA presidential candidate Jad Abi student associations. He said Semaan. Photo courtesy of Facebook.

he plans to take concrete steps towards solving this issue.

“I want to propose setting a specific spot on ASFA’s advocacy committee aside for a representative of Queer Concordia to be a voice on behalf of our community,” Roy said. ASFA’s sustainability committee already holds a designated spot for a representative from Sustainable Concordia, which has been an extremely positive experience, according to Roy. As for working with Concordia’s mental health services, Roy said this collaboration is deeply important to him. After suffering from severe depression and attempting suicide five years ago, he said helping people through mental illness is especially important to him.

“I was at the lowest point in my life,” Roy said. “I’m always candid about my mental health issues because it’s important to talk about it. That’s how we end the stigma around it.”

Having used the services himself, Roy said he hopes to further relations with the Concordia chapter of jack. org—a national mental health network—and ensure Concordia’s

psychological services are better advertised, if elected. Roy plans to push for more open dialogue about mental health within the university so students and their academics suffer less.

“People don’t deserve to feel the way that I’ve felt, and I want to try to help them,” Roy said.

While Roy said he feels confident in his ability to win the election, he is not running unopposed. Jad-Faraj Abi Semaan told The Concordian he is also in the running for the position. Semaan is a political science student at Concordia. He said that, if elected, he plans to strengthen the relationship between ASFA and the MAs by improving communication and establishing a plan of action which will allow MAs to reach their full potential.

“In a world polarized more than ever, […] we need platforms that bring people together,” Semaan said. “I will make it a personal priority to give an equal voice to students from all backgrounds, religious affiliations and ethnicities, such as

the LGBTQ+ community, Muslim students and students with disabilities.” Semaan also said he wants to ensure the ASFA community is loving, accepting and respectful.

According to Roy, Semaan has had no previous involvement with ASFA, apart from acting as a polling clerk for the association last year.

However, Semaan told The Concordian he would “be more than happy to have a constructive conversation with [Roy] at any point during this campaign and put to bed all his concerns about [his] legitimacy.”

Overall, Roy said his priority throughout the campaign and, if elected, his presidency, will be to empower the student body as a whole.

“The way I see governance, especially student governance, is not about catering to the needs of one person. It’s about coming together to work to help everyone,” Roy said. “That’s something that I’m a huge proponent of and something that would be reflected in the work I would do as president.”

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NOVEMBER 14, 2017

COMMUNITY

St-Pierre residents look to experts for solutions Revitalisation St-Pierre organizes panel to talk about the issue of sustainable mobility

Concordia professor Maria Elektorowicz, transport economist Zvi Leve and doctor Patrick Morency talked about sustainable mobility in the enclaved neighbourhood of St-Pierre. Photo by Kirubel Mehari.

ÉTIENNE LAJOIE NEWS EDITOR One by one, the residents of St-Pierre—a small enclave neighbourhood within the Lachine borough—raised their hands when David Marshall told them it was time for a question period.

The three sustainable mobility experts, invited by Marshall and his colleague Isaac Boulou for a panel, listened to residents whose demands have fallen onto deaf ears over the past few years.

The first question, asked by a woman who lives in the neighbourhood, was representative of what residents have been wondering for years: “Will someone ever listen to us?”

Marshall is the director of Revitalisation St-Pierre, an organization made up of St-Pierre residents and urban planners—like Marshall—whose goal is to revitalize the neighbourhood.

On Nov. 9, a few residents and community workers from Lachine gathered in a small room on the second floor of the St-Pierre community centre for the third of a series of panels organized by Revitalisation St-Pierre to discuss the future of the village-like area.

Present to give their thoughts on St-Pierre were transport economist Zvi Leve, Montreal health public department member and doctor Patrick Morency, and Concordia professor of environment al engineering Maria Elektorowicz.

The three panelists had very

different perspectives on the issue of neighborhood revitalization.

Each tried to help residents make sense of the future of their 5,400person neighbourhood. St-Pierre was its own town until 1999, when it joined the then city of Lachine.

In recent years, a lot of cars and trucks have begun to drive through the neighbourhood along its main street. St-Jacques Street—which runs from east to west through the neighborhood—has become a bypass route to get onto the new Highway 136 that runs parallel to Highway 20 East.

“Instead of respecting St-Jacques Street as a commercial hub, it has become a highway,” Marshall s aid . According to Morency, sustainable mobility means giving community space back to the people.

“We shouldn’t subordinate the mobility and security of people to facilitate the flow of large trucks,” Morency said during the panel, earning applause from attendees.

The doctor was amazed by the lack of securit y for children attending Martin-Bélanger Elementar y School—located next to the neighbourhood’s entrance—as they regularly have to cross St-Jacques.

St-Pierre residents already witnessed tragedy first-hand this summer when an 80-year-old woman was hit and killed by a truck as she tried to cross the St-Pierre and Notre-Dame intersection, next to the St-Pierre interchange, according to the Jour nal de

Montreal. She was caught in the middle of the intersection because the time allo pedestrians to cross wasn’t long enough.

In an email to The Concordian, Montreal Port Authority director of communications Mélanie Nadeau wrote that the port has seen a 10 per cent increase in traffic from 2015 to 2016.

Approximately 55 per cent of the traffic entering or exiting the port is by truck, according to Nadeau.

This is especially worrisome for St-Pierre, because 60 per cent of trucks that drive through the neighborhood are heading for or coming from St-Laurent, Pointe-Claire or Lachine.

“The main street of a neighbourhood can’t become a trucking route,” said Lachine mayor-elect Maja Vodanovic in June. Vodanovic was previously the borough councillor representing St-Pierre.

Elektorowicz said the borough has two main advantages: its proximity to the Lachine Canal and to Concordia’s Loyola campus, which is less than three kilometres away from the town centre.

While the neighbourhood might be close to the canal, it is increasingly difficult for residents to reach it because they have to cross the St-Pierre and Notre-Dame intersection where the pedestrian was killed this summer.

In June, Marshall said his organization had been trying to get a sidewalk installed on the eastern part of the intersection for the last six years. This would

allow cyclists and pedestrians cross more safely. Plans to build the sidewalk were completed in 2015, but the sidewalk is still not built.

Just prior to the plans being accepted by the borough, Marshall said a young cyclist was killed while crossing.

Again in May 2016, a 58-yearold cyclist was hit by a car but survived, La Presse reported.

At a borough council meeting in August, Lachine councillors voted in favour of asking the Ministère des Transports to tear down and rebuild the St-Pierre interchange, which is one of four barriers that make the neighbourhood an enclave.

“When we rebuild the interchange, we really have to make sure there’s a passage for pedestrians and cyclists to make the link with the Lachine Canal,” Leve said.

Morency—who first visited the neighborhood 10 years ago—said politicians shouldn’t wait for the interchange to be rebuilt before securing the intersection for pedestrians and cyclists.

Morenc y advocates for a reallocation of resources to invest in cycling paths in St-Pierre.

“We’ve got to invest in projects that will improve public security instead of deteriorating it,” he explained.

T he lac k of s e cur it y and increase in traffic has taken a toll on residents and business owners.

For example, cars cannot park on St-Jacques Street, so it is hard

for people to reach businesses, Vodanovic explained.

In June, the neighborhood’s on l y b an k , a D e s jardin s on St-Jacques, decided to close up shop. At the time, the self-described “cooperative financial group” claimed that only 5,000 transactions were made every month, and it needed between 10,000 and 12,000 to turn a profit.

There are no easy solutions for St-Pierre. Last June, Marshall told The Concordian that 10 per cent of the population moves away from the neighborhood every year.

“On a population of 5,400 people, that means you have got 500 to 600 people coming and going every year,” he said. “ That also means that a student starting in kindergarten here, by the time they’re in grade five or six, nearly half the class is different. For children, that poses all sorts of difficulties, social development-wise, in terms of their friendships [and] social engagement,” Marshall explained.

Leve said politicians and organizers—like Marshall—should look for solutions within the neighbourhood itself.

Julie Pascale-Provost, a CEGEP teacher and the newest borough councillor representing St-Pierre for Projet Montréal, was one of the last attendees to question the panelists. “ B e f o r e Tu r c o t a n d t h e St-Pierre interchange, where do we start?”

NOVEMBER 14, 2017

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STUDENT POLITICS

ASFA ratifies its first sustainability policy Unanimously passed motion outlines guidelines for federation, member associations

IAN DOWN ASSISTANT NEWS EDITOR The Arts and Science Federation of Associations (ASFA) has just ratified its first sustainability policy.

The policy, which was passed at a regular council meeting on Thursday, Nov. 9, lays out sustainable practice guidelines for the federation and its member associations (MAs). The motion was passed unanimously by the council.

The policy was first drafted during the 2016-17 academic year by interim ASFA president Julia Sutera Sardo, who was vice-president of internal affairs at the time, and Agunik Mamikonyan, the former vice-president of external affairs and sustainability. After being reviewed by ASFA’s policy committee, the policy was ready for ratification at the federation’s final council meeting of the academic year in May. However, Sutera Sardo said the ratification process was delayed until this year so it could be approved by the new council and by the interim vice-president of sustainability, Bianca Bruzzese.

The policy was also reviewed by ASFA’s sustainability committee before being ratified by council.

The Arts and Science Federation of Associations ratified its first sustainability policy during a council meeting on Nov. 9. Photo by Kirubel Mehari.

The four-page policy defines sustainability as “the process and outcome of achieving social activism, economic equality and environmental health by reducing our ecological footprint and empowering communities to meet their present needs, and then, their future aspirations.” Following this definition, the policy is divided into sections addressing environmental, social and economic sustainability.

The environmental sustainability section includes commitments to minimize material consumption, support environmental justice initiatives on campus and beyond, and establish relationships with Indigenous communities directly affected by resource extraction projects. The social sustainability section includes a commitment to “promote a strong, safe and empowering community by seeking to minimize systemic

power imbalances within society and fostering a culture of anti-oppression as well as encouraging a culture of self-care.” The economic sustainability section states that ASFA will, whenever possible, support local businesses, refuse unsustainable corporate sponsorship and advocate for fossil fuel divestment both on and off campus.

The policy includes a number of strategies to encourage MAs to

adopt sustainable practices. ASFA will encourage MAs to create their own vice-president of sustainability position; workshops on sustainability will be provided to all ASFA and MA executives by ASFA’s vice-president of sustainability; MAs will be provided with a copy of Sustainable Concordia’s Sustainable Event Guide and encouraged to follow its guidelines; and finally, MAs will need to fill out a sustainability checklist when submitting a cheque requisition to be reimbursed for events.

When asked if MAs could be refused reimbursement for not adopting sustainable practices, Sutera Sardo said this is possible but unlikely because of the importance ASFA places on MA autonomy.

Sustainability Concordia spoke out in favour of the policy. “We’re really glad that ASFA has taken this step,” said Sustainability Concordia’s external and campaign coordinator Emily Carson-Apstein. “Sustainability is a huge, ongoing discussion in our office and among all the student associations, and it’s really a fluid and changing document. It’s not a one-time thing. This is a great first step, and we’re really excited to see where ASFA takes this and how we can help them.”

SECURITY

Man accused of Concordia bomb threat back in court Trial of former Concordia doctoral student, Hashim Saadi, to begin this week in Montreal MATTHEW LAPIERRE STAFF WRITER The man who allegedly sent a letter threatening Muslim students at Concordia University in March 2017 was back in court on Thursday, Nov. 9.

Hashim Saadi wore blue jeans, an orange fleece sweater and a flannel scarf. He stood silently in front of the judge as his lawyer argued to have his bail conditions altered in order to allow him to attend a work training in March.

Saadi, a former doctoral candidate in economics at Concordia, is being charged with carrying out a terror-related hoax, uttering threats and mischief in connection with a bomb threat made against Concordia's Muslim student population. His trial will begin on Nov. 16.

O n M a rc h 1 , 2 0 1 7, S a a d i allegedly sent a letter to multiple Montreal media outlets threatening to set off bombs in the Hall building on de Maisonneuve Blvd. and the EV building on SteCatherine Street.

The targeted buildings were evacuated at 11:30 a.m., sending thousands of students pouring onto

the streets. Classes resumed at the university’s downtown campus at 6 p.m. that day. In the wake of the threats, the Concordia Student Union released a statement urging the university to cancel classes for the rest of the week.

The threatening letter, obtained

by The Concordian, said unless Concordia stopped religious activity of all kinds on campus, "small artisanal bombs" would be detonated in the university. "These are not meant to kill anybody," the letter read. "The only aim is to injure some Moslem [sic] students."

The letter was signed by the Council of Conservative Citizens of Canada, or C4. No such organization is listed on the Royal Canadian Mounted Police's online list of hate groups in Canada. According to the Southern Poverty Law Center, the similarly named Council of Conservative Citizens (CCC) is an American white nationalist group.

The group's leader was contacted

by CBC News on the day of the threat. He denied involvement in or knowledge of the bomb threat.

A group called C4 does exist in Canada, however it is called the Canadian Coalition of Concerned

Citizens. Their Facebook page lists their mandate, which is “to protect democracy and freedom of speech.” Several days after the bomb scare at Concordia, the group organized a demonstration in Trois-Rivières against M-103, the feder al Liberal government's motion condemning Islamophobia. Members of the group quoted by Le Nouvelliste newspaper said Hisham Saadi, the man who allegedly sent a letter threatening to detonate bombs at they thought the Concordia Concordia, will be back in court on Nov. 9 for his trial. Archive photo by Ana Hernandez. hoax was a plot to silence freedom of speech.

3, dozens of international media Saadi was a doctoral candidate Multiple media outlets initially outlets, including The Arab Herald in economics at the university linked the bomb threats to a wave and Lebanese outlet The 961, before his arrest. Two of Saadi's of anti-Muslim incidents which reported the story and decried the friends, who appeared at his occurred in the wake of the bomb threat as a hoax. On March bail hearing, described him as a Quebec City mosque shooting 7, conservative writer and radio non-practicing Muslim. Police on Jan. 29, 2017, when six people talk-show host Dennis Prager searched his apartment after were killed. The National Council used the Concordia bomb scare his arrest, but reported they of Canadian Muslims reported as an example of fake anti-Islamic hadn’t found any explosive that two Montreal mosques had incidents in an article titled "There materials. been vandalized in the weeks is no wave of Trump-induced Saadi underwent a psychologfollowing the shooting. anti-Semitism or racism." ical evaluation upon his arrest. His After Saadi's arrest on March Concordia confirmed that trial is expected to last four days.

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theconcordian

NOVEMBER 14, 2017

SOCIAL JUSTICE

Thousands gather to protest against racism

Three-hour demonstration, endorsed by 162 organizations, tackled issues surrounding Palestine, immigration MEGAN HUNT ASSISTANT NEWS EDITOR Several hundred protesters gathered in downtown Montreal on Sunday, Nov. 12 to protest against hatred and systemic racism. The demonstration began with a number of speeches from event organizers at Place ÉmilieGamelin, outside the Berri-UQAM metro station, before protesters took to the streets.

Over the next three hours, protesters travelled through the Plateau-Mont-Royal borough and down Sherbrooke Street, towards Concordia’s downtown campus.

“We are here to denounce capitalism and austerity,” cried out one of the event’s organizer using a megaphone. “We are here to show we care about non-status people being deported despite Montreal being declared a sanctuary city.”

According to the Montreal Gazette, a video emerged on social media the night before the demonstration showing an anonymous group vandalizing a statue of Sir John A. MacDonald at Place du Canada.

Although the anonymous group identified themselves as “anti-colonial anti-racists” in the video description, they denied being affiliated with the demonstration organizers.

MacDonald, Canada’s first prime

GAMING

Protesters brandished signs with anti-xenophobic and anti-racist slogans. Photo by Alex Hutchins.

minister, has become a controversial figure in recent years for his role in creating the residential school system. The Assembly of First Nations chief Perry Bellegarde recently supported efforts to have MacDonald’s name removed from schools and monuments, according to the Toronto Star.

As they marched, protesters brandished signs with anti-xenophobic slogans on them, ranging from “Queers Against White Supremacy” and “Racism is Not Welcome Here” to “Racists Suck In Bed.” One protester held a sign reading, “If You Like Bill 62, Then Fuck You,” a reference to the controversial piece of Quebec legislation.

Passed in October, the provincial legislation bans people from giving or receiving public services while their face is covered. The bill, which

at work. During a press conference on Oct. 18, Montreal’s mayor-elect Valérie Plante said that, while she agrees with the principle of the law, she believes the Quebec government should do “crucial homework to make sure that it is applicable to the realities of Montreal.”

Palestinian flags were also popular among protesters, who, throughout the march, chanted “from Montreal to Palestine, occupation is a crime.”

“I can’t believe racism is even

Thousands gathered in downtown Montreal for an anti-racism protest on Nov. 12. Photo by Alex Hutchins.

will take effect sometime before July 2018, according to Global News, would require Muslim women, among others, to remove their face veils to identify themselves when boarding public transportation, and would ban public workers, such as doctors and teachers, from covering their faces

something we have to protest,” said Julia Morian, a protestor at the event.

“I’m protesting because [anti-racism] should be a very popular belief.”

One hundred and sixty-two organizations, including the Concordia Student Union and the Quebec Public Interest Research Group at Concordia,

endorsed the march by signing a call to action condemning “the rise of racist hate speech in Quebec.”

The call to action asked all groups that signed to denounce capitalism and austerity, oppose racism and participate in the march.

The call to action also cited recent political events, such as the election of President Donald Trump and the January 2017 Quebec City mosque shooting, as evidence of a rise in racism and hate crimes.

One of the groups present at the protest was Fightback Canada, a self-described Marxist journal and advocacy group. Farshad Acadian, an organizer and editor for Fightback, said the group was present at the protest and signed the call to action.

“We’re a journal with socialist analysis, but we’re also an organizing tool,” Acadian explained. “We want to help students understand issues and connect and fight back. This [protest] is fighting back.”

Another organization that signed the call to action was the Réseau des lesbiennes du Québec (RLQ), an advocacy group focused on the rights and equality of lesbians.

For RLQ member Jessie Boideleau, the reason to protest was simple.

“We’re here because diversity should be supremacy.”

Break it down for me: Video games

Concordia professor says academics need to start paying attention to the growing industry OLIVIER SYLVESTRE CONTRIBUTOR According to EEDAR, a gaming industry analytics firm, 65 per cent of the United States population played video games in 2016.

In 2015, consumers spent a total of $23.5 billion on video game software, hardware and accessories.

The gaming sector is rapidly becoming a juggernaut in the media industry, and academia is starting to pay attention.

Carolyn Jong, a contract instructor and PhD student at Concordia University, designed and teaches “Video games and/as Literature,” one of the few undergraduate courses at Concordia where students look at games from a cultural perspective.

The Concordian met with Jong so she could explain why academics should pay attention to the industry.

WHY DO GAMES MATTER? WHY IS IT IMPORTANT TO STUDY THEM?

They’re a test case, an example, for where our economy is heading and where our culture is

going. You should pay attention to it for the same reason you pay attention to any major medium that plays such a significant role in both our economy and our culture.

Mainly, there are two reasons: one is economic and the other is cultural.

Economics and culture are interconnected, and it is really important to look at how they interact with each other in relation to video games.

LET’S START WITH THE ECONOMIC SIDE.

There is a shift in what we call the “First World” or western developed economies towards a focus on immaterial labour. There is a lot of focus on the cultural industries, on technology, on communications, logistics, all that sort of stuff—and the game industry is obviously part of that. From that, you're seeing a shift in how work places are being organized and in how and where capital in our society is being invested. It’s important to pay attention to those shifts. A lot of us [in the developed world] are employed in these industries, or want to work in them, so they have big implications for all of us.

Also, video games are always

pushing for technological development. It's sort of an arms race where, between game developers, they are constantly trying to improve the technology, like graphics. The gaming industry pushes for technological improvements. Every year or so, new graphics cards, new processors, new consoles come out. That pushes for the consumption of more hardware, like fancier computers and new consoles. We need to look at how the gaming industry is driving the consumption of computers and other digital technologies and the impact it has on the environment and the people working in those industries.

CAN YOU GIVE US SOME EXAMPLES?

A lot of the raw minerals used in computer chips are mined in Africa. For example, the Democratic Republic of Congo is a really wellknown supplier of coltan, which is a mineral mostly used for making electronics. The working conditions in most coltan mines are terrible. It's pretty much slave labour. But a lot of the consumption of electronics isn't happening in those countries.

It is getting shipped out, usually to

China or to other manufacturing areas, and then that gets shipped again to wealthy western nations.

Without [the exploitation of these people], there would be no game industry.

We wouldn't have the devices that we need to make video games, let alone play them.

Carolyn Jong teaches “Video games and/as Literature,” one of the few courses where students look at games from a cultural perspective. Photo by Olivier Sylvestre.

HOW DO VIDEO GAMES AFFECT US CULTURALLY?

Video games are such a big part of culture that it has an impact on people's general sense of who we are. It does pay to pay attention to how games might be influencing the way that we think about ourselves.

Often, it happens at a subconscious level—it's not an explicit part of the message that is in the game, but it's just part of the logic of the game or how the game works. You are not realizing that you are internalizing some of these things, but you learn

to take certain things for granted or accept things as normal because you are participating in those games. For example, you can internalize through video games stereotypes about socially-constructed gender roles or racism.

“Break it down for me” is a series of articles where The Concordian meets with experts from our university to learn more about pressing issues in our society. this interview has been edited for length and clarity.

life

LIFE EDITOR /// life@theconcordian.com SANDRA HERCEGOVÁ

FASHION

Lights of All sheds light on sustainability

Local designer Katia Hagen launches fall collection with her all-vegan, cruelty-free brand MIA ANHOURY STAFF WRITER

this Lights of All held a pop-up shop at Escape Pop

past weekend. Photo by Mia Anhoury.

All of the clothing designed by Katia Hagen is vegan and handmade. Photo by Mia Anhoury.

The photograph of a nebula, an interstellar cloud of dust, is what inspired the fall collection of the Lights of All clothing line. Launched in April by 25-year-old local designer Katia Hagen, Lights of All is Montreal’s first sustainable vegan clothing brand.

The entire collection illustrates the seasonal essence of fall. Among the collection’s pieces is the “Envelope” winter coat. This thick, belted garment was named as such because Hagen wanted customers to feel like they were laying in a sleeping bag in the woods, looking up at the stars. The vegan suede hoodie and vest are called “Fawn” because the designer pictured wearers coming across a baby deer. Lights of All’s first pop-up shop ran from Nov. 10 to 12 at Espace Pop on Park Avenue. It was Hagen’s way of getting to know the people who are interested in her brand and to receive first-hand feedback. Hagen is a fashion design graduate from Lasalle College and has interned in New York City at Peter Som, Marchesa and Jason Wu. “When I moved back to Montreal, I realized I didn't know any vegan, high-quality brands or local designers that are specifically vegan and sustainable,” she said. So Hagen decided to be that designer. Although she had never dreamed of creating her own clothing brand, she put her life savings into Lights of All. “I made all of the patterns, fit it, test it, then I cut and sewed it. Everything is handmade,” she said, adding that all the work was done in the extra bedroom in her apartment.

When Hagen was struggling with depression, sayings such as, “the light at the end of the tunnel,” and other light symbolism

made her hopeful. This is why her brand name includes the word “light.”

“I also wanted the name to represent that I’m vegan, and ‘of all’ is the essence of light in everybody, the planet, even pigs and cows,” Hagen added.

Vegan clothing is made from fabric and materials that are cruelty- and animal-free.

No leather, wool, suede, down or silk is used.

A little black dress in Hagen’s collection is made of tencel, a fabric made from wood cellulose. “It’s soft like silk but without any cruelty. It’s also very breathable,” she said.

A blue tie-dye dress, named “Nebula,” is made from a combination of organic cotton and hemp. This is where the sustainable part of Hagen’s brand comes in—organic cotton is made with less water than regular cotton, and without the use of pesticides or harmful chemicals.

Using excess fabric from the brand's apparel, Hagen also makes tote bags. While creating a particular shade of grey she had envisioned, Hagan realized she enjoyed using fabric dye. “With a hand-dyed piece, it’s super unique for you and a little work of art,” she said. According to Hagen, the dye she uses is eco-friendly because it uses less water than natural dyes and is also better for your skin.

Instead of following fashion trends, Hagen said that “part of being eco-friendly is that I want my clothes to last and focus on classic styles.” As one of the first designers to create a line of vegan clothing in the city, Hagen is optimistic about the future. “Down the line, I have big dreams,” she said. “I want to open a shop in Montreal with a studio upstairs where I make everything with other people.”

To learn more about Lights of All or purchase the latest collection, visit : LIGHTSOFALL.COM

FASHION

Walking the runway for men’s health Local boutiques to host Les Cours Mont-Royal’s first all-male fashion show

JOYCE SALEM CONTRIBUTOR Boutiques from the downtown shopping mall Les Cours Mont-Royal are putting a fashion spin on the typical Movember awareness campaign. On Nov. 16, IIIMnkys, Matinique and Maison 1455 are teaming up to host a menswear fashion show in support of the Canadian Movember Foundation.

According to Alexandre Dufresne, the event’s organizer and manager of IIIMnkys, “we want to associate menswear [with Movember], not just the moustache.”

Although the shopping mall hosts a mixed-gender fashion show every second Friday, this Movember event will be the first all-male fashion show at Les Cours Mont-Royal dedicated to men’s health, Dufresne said.

The Movember Foundation prides itself on “tackling men’s health on a global scale, year-round,” according to their website.

The charity aims to raise awareness about testicular cancer—the most common cancer found in young Canadian men—and prostate cancer by encouraging yearly medical screenings. The Movember Foundation also works to shed light on men's mental health issues and advocate for suicide prevention. According to the foundation’s website, three out of four people who commit suicide in Canada are men, and one in 10 Canadian men will experience severe depression.

Among the brands sponsoring the event are Kuwalla, “one of our big local brands who, every year, give one per cent of their profits on T-shirts to a charity of their choice,” said Dufresne. MOJO Products

and other local brands sold at IIIMnkys are also among the event’s sponsors.

In addition to the fashion show, surprise gifts will be handed out to attendees on the third floor of the mall throughout the day, Dufresne said. “A barber is donating his time to advise men on grooming practices, and there’s so much more,” he added. “It’s an event that we’ve been working on for months. I hope people show up for the cause.”

Les Cours Mont-Royal’s Movember fashion show starts at 7 p.m. on Nov. 16. Admission is free, although donations are appreciated and will go to the Movember Foundation. For more information or to volunteer at the event, send an email to alex@soltron.ca or call 514-284-1333.

Les Cours Mont-Royal will be hosting a fashion show for the Movember Foundation on Nov. 16. Photo by Jennifer Li.

8

theconcordian

NOVEMBER 14, 2017

ENVIRONMENT

A look at global warming through a camera lens Photojournalist and environmentalist Luca Bracali uses photography to help save our planet MINA MAZUMDER STAFF WRITER Some educate in classrooms. Others, like Luca Bracali, an Italian photojournalist, explorer and environmentalist, aim to educate youth about global warming through a camera lens.

“My job is to try to save a bit of our planet,” said Bracali at a talk hosted by Concordia’s Italian Studies Association (ISA) on Nov. 6. “I am really in love with our planet because it belongs to everybody.

It is the only thing that we need to share.”

Bracali wanted people around the world to understand the importance of the environment, and he chose photography as the medium because it is “the most international language of all,” he said.

Bracali’s love of photography started when he was a child. “When I was really young, I was really shy. I decided to start with photography [as an outlet].” His career began with photographing cars and fashion models, but he soon realized taking photos of material possessions was not fulfilling.

In 1991, when Bracali began travelling the world, he discovered his true mission—to help save the planet using photography. “I fell in love with this after my first trip,” he said. Since then, Bracali has traveled to 140 countries and worked for National Geographic. His photography focuses on capturing the natural world’s picturesque mountains, wildlife, northern lights, deserts, prairies and icebergs.

In 2003, Bracali traveled to Antarctica to visit the Vernadsky Research Base where a hole in the ozone layer was first discovered back in 1985. It was during this trip that Bracali decided he wanted to explore the topic of global warming and find ways to help protect the planet.

According to Bracali, one of his most challenging trips was a visit to the North Pole. “It’s something that I had done once in my life, and it’s the only trip I would not do twice.” He said even the simplest things, such as water to drink, were difficult to come by. “You don’t have anything to drink [...] you have to melt and dig the snow,” he said. “As soon as you remove your gloves, you can get frostbites.

You use fire to melt the snow and, finally, you can drink something.”

The greatest threat Bracali faced on that trip, however, was the possibility of encountering a polar bear. “You go to sleep with a gun,” he said. “If the bear enters your tent, you have to find the gun [in the dark].”

Bracali said the ultimate goal of his photographs is to show the danger our planet faces because of global warming.

“I try to capture something related to ice-melting, [or] something that is there now that won’t be there anymore in 20 years, such as ice or polar bears,” he said.

When discussing the everyday habits people can change to help save the planet and reduce waste, Bracali emphasized the importance of conserving water. “For showers, maybe you can have two or three showers maximum per week,” he said. He also suggested people avoid long showers by turning off the water when using soap and only turning it back on to rinse off. “Water is a precious element,” Bracali added.

According to Giuliano S andoval, president of Concordia’s ISA, the purpose of Bracali’s talk was to actively raise awareness about global warming.

“We can make a dif ference, even in the smallest action. We all need to be concerned with our planet,” he said.

“Things are changing, and global warming is happening. People need to be conscious of it.”

Olivia Venneri, the vice-president of finance for Concordia’s ISA, said the talk was part of the association’s initiative to advocate for the environment and educating young people. This included going “to elementar y schools, high schools and CEGEPs to talk about the environment.”

During his talk, Bracali also offered advice to aspiring photographers. “Be ambitious but very humble,” he said.

“Have a project on your mind and try to develop it as much as you can. With technology nowadays, everything is so easy, so you must keep a very focused project on your mind.”

He later told The Concordian: “My goal is trying to teach young people how to preserve and take care of our planet.

I want to go to elementar y [schools] and to universities to show [students] the beauty of our planet,” he said. “It’s your planet. Please open your eyes.”

Photojournalist Luca Bracali gave a talk at Concordia University on Nov. 6.

Photo by Enrico Barbini.

A UNIQUE JOB. AN ICONIC LOCATION. AN UNFORGETTABLE SUMMER.

ntries to photograph the Luca Bracali traveled to 140 cou ico Barbini. world, Photo by Enr Studies Association alongside Members of Concordia’s Italian , Photo by Enrico Barbini. cali photojournalist Luca Bra

Become a PARLIAMENTARY GUIDE Applications due January 12, 2018 This summer, be part of the action at the Parliament of Canada.

Find out more and apply online at

lop.parl.ca/guides

arts

ARTS EDITOR /// arts@theconcordian.com MAGGIE HOPE

THEATRE

Showcasing talent from concept to performance

Concordia theatre students discuss One-Act Play Festival rehearsals and learning experience MAGGIE HOPE ARTS EDITOR Members of Concordia’s theatre program delivered engaging, heart-wrenching, captivating performances as the department’s One-Act Play Festival brought four plays to life from Nov. 3 through 11.

The theatre department’s second edition of the festival featured well-known contemporary Canadian and absurdist work, as well as pieces constructed by the students themselves. Students across the entire program took part in productions of Beckett Shorts, If We Were Birds, The Freddie Stories and Love In Seven Languages. They applied to be in the festival at the end of last year’s winter term, were assigned to one of the four plays and auditioned for specific roles. From there, workshops and rehearsals were held up until opening day. The One-Act Play Festival is a public performance project (known as a PPP in the theatre department). PPPs give students the option to take part in projects to gain experience and academic credits.

BECKETT SHORTS Beckett Shorts is comprised of six short plays written by legendary absurdist playwright Samuel Beckett. The cast was divided into groups of two or three, and each group performed one of the pieces.

In each short, the stage was mostly dark and very minimally lit, sometimes only for a moment. According to the performance’s pamphlet, “Beckett’s work offers a bleak, tragicomic outlook on human existence.”

The spoken aspects of the performances conveyed raw human emotion while leaving the viewer to puzzle over what exactly they had witnessed. Short, sporadic outbursts paired with prolonged silences created an engaging and at times unsettling experience.

This is a key characteristic of Beckett’s work.

In the show’s program, director Clea Minaker wrote that “to step inside of any one of these ‘Beckettian’ compositions [is] also to submit oneself to an ‘authored’ body.” In Beckett Shorts , the cast and crew surrendered themselves to expression in absurdity.

Sketches of th e

costume desi

Caitlin Stever

(left) and Eli

Gale, both th

IF WE WERE BIRDS

Like Beckett Shorts, If We Were Birds stuck quite closely to the original play (written by Erin Shields). The piece, however, would definitely be described as more conventional theatre, as Johan DeNora, a third-year theatre performance student pointed out. If We Were Birds deals with extremely brutal and intense subject matter, and viewers were warned about scenes of infanticide, misogyny and sexual violence. When asked if performing such subject matter seemed daunting or intimidating, fifth-year theatre performance student Arianna Markle said she was actually empowered by being able to tell the story.

“For me it was, ‘I want to be that voice,’” she said. “There are the experiences of so many women standing behind me, beside me, with me and through me [in this role].

It’s humbling for sure.” Markle added that she finds the play to be especially relevant due to the recent increase in discussion about cases of sexual violence.

Maureen Adelson, a second-year acting student, initially found it hard to approach her role as Bleeding, because she has “never gone through anything as traumatic and as tragic” as what her character endures in the piece. After doing some research on the historic events that the character was

gns for Love In Seven Langua Photo by Mac ges by Aurora kenzie Lad. Torok.

eatre and deve lopment stud ents at Conco Play Festival. crdia, took pa Photo by Mag rt in this year gie Hope. ’s One-Act

based off of, however, Adelson said her mindset changed and she became determined to tell her character’s story.

DeNora added that he is extremely pleased with the work the entire ensemble put into the production, especially given it was such an intense piece. “This is a lot of heavy material for people who are still training, and there’s always a fear of not giving it the respect it deserves,” he said. “I’m so glad that we have managed to get it to a point where I think it really is respectful and important.”

THE FREDDIE STORIES

The Freddie Stories was adapted from a graphic novel by Lynda Barry and converted into a theatre piece by the ensemble and crew.

Also directed by Minaker, the play follows a young boy named Freddie who struggles with mental disabilities. It takes the audience through the boy’s daily life, revealing that he gets bullied by classmates and abused by his mother. This piece effectively deals with intense themes while presenting a lightheartedness that could only be expressed through young characters.

Emma Corber, a fourth-year theatre major, said that because her group started without a set script, they spent most of their rehearsal time in workshops determining how to convert the novel into a theatre piece. Though at times the process was rushed and stressful, Corber insisted this experience allowed her to grow as a performer in ways she had never been able to in previous productions. The piece incorporates puppetry and mask work, which were new disciplines for most of the cast, she added.

Caitlin Stever, a third-year theatre and development student, was immediately interested in The Freddie Stories and was tasked with the job of stage manager. “Talking about childhood trauma through the lens of childhood is super interesting to me,” she said.

Stever found the entire adaptation process extremely challenging, but was also able to

exercise her creative abilities to a great degree. “A hundred per cent of my energy, and my whole human force and thought and emotion have been put into this show because of that collaborative process that demanded so much of me, and I’d say a lot of the actors felt that same way,” Stever said.

LOVE IN SEVEN LANGUAGES

The ensemble of Love In Seven Languages were also very involved in the creation of the piece, from writing the script to developing its overarching themes. Preliminary workshops were held where the students would brainstorm ideas together and develop their collective vision for the play. “Most of our lines [in the piece], someone said at some point in a writing exercise,” according to third-year theatre and development student Eli Gale. “It’s a little spooky.” Gale said being so involved in the creative process allowed each performer to feel especially connected to the part they play. “When you’re acting in a character that is so close to your own reality, how do you separate what is and what isn’t there?” she asked.

This piece was not advised for viewers under the age of 18 because of mature content and mentions of suicide. The story follows seven royal siblings who are locked in a room of their father’s castle and are never allowed to leave. When they become of-age, the siblings are told they will be married off one by one, which causes them to consider drastic measures in order to escape.

Aurora Torok, the designer of the show, worked closely with literature the play was based off of to construct a minimal but stunning setting. She began designs for the set and costumes in the summer, and worked alongside the cast and crew until the performances began. “There are so many challenges that come with it,” Torok said.

“But the fact that the designers were ready to take them all on was fantastic.”

10 theconcordian

NOVEMBER 14, 2017

EXHIBITION

Developing a signature in contemporary art

Marie Jo Maillé revives the Canadian Plasticien movement in Géométrie Variable

New York, 30x30 in. The centrepiece of the exhibition, this work is a prime example of dynamic tension, according to professor Norman Cornett.

Photo courtesy of Norman Cornett.

CHLOË LALONDE ASSISTANT ARTS EDITOR “My artistic career began in New York City. I can't dissociate myself from it and all of the city's possibilities.”

Marie Jo Maillé was born in Montreal in 1948, and found her love for the arts at a Mont-Orford arts camp in 1964. However, Maillé only began taking painting seriously after a trip to France, where she discovered op art (optical illusion art) and the work of Victor Vasarely. In 1976, the artist continued her studies in New York at the New School for Social Research and the Pratt Institute of Graphic Design. Today, Géometrie Variable, her recent body of work, is featured at Georges Laoun Opticien.

Inspired by the artists mentioned above, Maillé creates her own style by merging elements from the work of Josef Albers and Vasarely. Maillé’s artwork follows the Plasticien, non-figurative painting movement, showing clear similarities to Guido Molinari’s linear abstraction and the added geometrical influence of Yves Gaucher. It is also interesting to note that Molinari and Gaucher were both some of Canada’s and Concordia University’s most important professors in visual arts.

Most of the time, Maillé uses a board to paint on. She begins by using a solid colour for the background, and proceeds to cover sections with masking tape. “That's where my adventure begins,” she said. “I construct my project from a few [random] lines. With an X-Acto [knife], I remove a part of it and apply my first colour. I continue by using other colours and creating new shapes. Sometimes, I cover my whole canvas with masking tape and discover my painting when I remove all the tape.

It's an exciting moment.”

Maillé’s paintings consume the sides of her canvas, an aspect specific to her style.

“I want to represent the stability in the instability,” she explained. “I try to give a sense to a world that doesn't make any sense. For me, painting is a way to breathe.

I wouldn't be able to live well without this way of expressing myself.”

Norman Cornett, a former McGill professor and the exhibit’s curator, said art is nothing without sight. Neighbour to Montreal’s Museum of Fine Arts, Georges Laoun Opticien is a gracious promoter of artists who aren't well known. According to Maillé, the shop doesn’t charge artists for use of the gallery space and they don't take a percentage of the artist's sales.

According to Cornett, music played a pivotal role for both Molinari and Gaucher, as it

Géométrie Variable, 10x10 in. This painting gave the exhibit its name.

Photo courtesy of Norman Cornett.

Carnaval, 16x16 in. Photo courtesy of Norman Cornett.

does for Maillé. These artists were able to put music into geometric forms, capturing dynamic and musical tension on canvas.

“If a musician saw my paintings, he would be on familiar ground,” Maillé said.

Classical and jazz music are integral to Maillé’s life and artwork. The artist is influenced by music and her paintings reflect that.

Also passionate about art and music,

Cornett explained that “by juxtaposing archetypal geometric forms and primal colours, Maillé creates a [sheer], dynamic tension that bespeaks psychological complexity.''

Géométrie Variable will be exhibited at Georges Laoun Opticien (1396 Sherbrooke St. W.) Monday to Saturday, from 10 a.m. to 6 p.m. until Nov 29.

STAND BACK: A COMEDY HOUR

A PARADIGM OF FUSION

THERE ARE SO MANY STARS

A monthly feminist and LGBTQ+ comedy show featuring a variety of local talent. Entry is $5 or pay what you can.

A multimedia exhibition of works from two Canadian artists. The display “queries our relation to mass-produced material culture,” according to the gallery’s website.

The last exhibition of OBORO’s year dedicated to Indigenous artists. This display will feature the work of Hannah Claus and Peter Morin.

WHERE Notre-Dame-des-Quilles WHEN Nov. 14 at 8 p.m.

WHERE MAI WHEN Now until Nov. 25

WHERE OBORO WHEN Now until Dec. 16

NOVEMBER 14, 2017

PROFILE

theconcordian

Incorporating culture in her artwork Local tattoo apprentice Sai Li draws inspiration from traditional Chinese art

Sai Li tattoos a client in her studio at Slick Styled Steel. Photo by Mackenzie Lad.

Check out Li’s work on her website or Instagram: @sai_tattoo. To book an appointment with Li, call Slick Styled Steel at 514-842-8999.

ANS ENTARI PARLIAM

SOCIETY

POLITICAL PARTIES

PARTICIPATION

POWER

RIGHTS

CITIZENS

DEMOCRACY

OPINIONS

GOVERNMENT

2018 16 th EDITION

ELECTIONS

Sai Li wanted to get her first tattoo when she was 15, but her parents wouldn’t let her. Born in Dongbei, the northeast region of China, Li immigrated to Montreal when she was 21.

She is now a tattoo artist.

Li’s work is heavily inspired by traditional Chinese art, which sets her apart from other artists in Montreal’s tattoo scene. To add to her knowledge in digital drawing, Li paid a tattoo artist working at Lili Tattoo Studio in China to teach her how to use the needling machines. She would arrive at the shop everyday at 9 a.m. and stay until 9 p.m. At home, she would practice tattooing on artificial tattoo skin using a very heavy needling machine, which helped her learn the craft quickly.

I n 2 0 1 2 , L i g r a d u a t e d f ro m t h e Communication University of China, Nanjing with a bachelor of plastic arts and a major in 2D animation for video games. Following her move to Canada, Li graduated from the Université du Québec en Abitibi-Témiscamingue in 2015 with a degree in creation and new media. Li didn’t like computer animation, so she decided to follow another career path. After earning her second degree, Li opened a Chinese restaurant with a friend, but started drawing tattoo designs for clients in her spare time. She said she has always admired the artistry behind tattooing and wanted to find a lifelong career that would allow her to grow as a visual artist.

Li was in China from​January to April this year, and had the opportunity to tattoo people after just one month of apprenticing at Lili, which is quick in this industry. In Canada, apprentices must wait a minimum

of two years before they are allowed to tattoo clients. Her teacher allowed her to tattoo five clients for free, and she began with lettering. According to Li, cursive writing is more difficult to tattoo than it appears, because the needle has to move in one continuous line. When asked about the tattoo artists who inspire her, Li said she admires the work of an artist named Chen Jie (@chenjie.newtattoo) from Beijing, China. “Her work looks like watercolour traditional paintings on skin,” Li said. “I want to represent traditional Chinese culture in my tattoo style and show it in a unique way.”

After her apprenticeship in China, Li returned to Montreal. She spent months emailing tattoo shops and looking for an apprenticeship in the city. One day, she was walking on Ste-Catherine Street when she discovered the Slick Styled Steel tattoo parlour. She decided to go in and ask if they were hiring. She has been an apprentice at Slick’s for six months now.

Li said she has had many clients ask for tattoos of a Japanese mask without knowing the cultural meaning of the symbol. The mask, called Onryo, represents a girl who died from jealousy and turned into a ghost. Li said she finds it strange that people want this tattooed since the Onryo are vengeful spirits whose souls try to harm humans. In Japanese culture, these ghosts are considered bad luck.

Li creates soft, delicate images of dragons, flowers and calligraphy. She loves the exchange between customers when she draws an image for them and they share secrets with her.

MNAs

JOYCE CHAN STAFF WRITER

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11

music

Quickspins

MUSIC EDITOR /// music@theconcordian.com CALVIN CASHEN

1

CALL SUPER

COVER STORY

Subverting music listening tradition Norman Cornett has developed a complex curriculum for deep listening

Apro (Houndstooth, 2017)

Electronic artist Call Super has come out with a stellar sophomore album, Apro, which mixes ambient electronic textures and creative beats. The album exudes love and joy, making it a relaxing listen. Tracks are layered with dense sounds, from bells to white noise. “Music Stand” sounds uniquely upbeat, combining several disparate sounds to compose a surprisingly cohesive track. “Trockel” features a driving beat while echoed synths wail in the background, creating emotionally resonant sounds. At certain points, some of the sounds reminiscent of Aphex Twin and comp o s e r N o b u k a z u Ta k e m u r a .

Nonetheless, Call Super retains a unique sound throughout. This album is definitely a worthwhile listen for electronic music fans.

11 Trial Track: “Music Stand” Norman Cornett’s dialogic method is changing the way students understand music. Photo by Alex Hutchins.

CALVIN CASHEN MUSIC EDITOR Norman Cornett’s unorthodox—some might say controversial—teaching methods have been making waves in universities across North America and Europe. The former McGill professor strives to promote a form of dialogical philosophy, with an emphasis on education, as a guest instructor.

Cornett is world-renowned for these dialogic workshops, which consist of a special guest encounter with professional creatives and artists. Cornett invites guest to his sessions, with little to no preparation other than the body of work he or she is presenting to the audience. This largely serves as the jumping off point for open discussion and uncandid honesty.

Cornett’s teaching approach is inspired by an abstract form of conscious thinking, his deep affinity for philosophy and his field of expertis—religious studies. He pulled influence from the teachings of Mikhail Bakhtin’s The Dialogic Imagination as well as D.W. Winnicott, who was a seminal child psychiatrist. “[Winnicott] wanted to understand how does a newborn babe, right out of the womb, make the connection between the inner and the outer. [...] He proposed it’s through what he calls transitional objects,” Cornett said. “I developed that seed of an idea into a concept which I refer to as the art of creating a transitional space between the material and the spiritual realms.”

Based largely on a literary technique that involves transcribing the flow of one’s thoughts on to paper, workshop par ticipant s are invited to scr ibble down—while blindfolded—subjective viewpoints on a piece of music, under the impression that their thoughts are completely anonymous. According to his

website, Cornett has taken the traditional lecture format and recalibrated it in a more personalized, experimental way.

Cornett asks students to write reflections on the piece of music, and then reveals the name of the guest artist.

Cornett then confronts his guest through a direct exchange of dialogue, reading what the audience participants wrote all the while ruminating on the creative process and asking questions about the exchange of art and information.

“I’m doing this because of sensory deprivation,” Cornett said. “We know, for example, that when somebody is not concentrated or availing themselves of the visual sensations, the brain compensates and accentuates the auditory capacity.

Advocating for this approach to critiquing art, Cornett said, confronts pre-existing notions of what music can be and how it impacts us on a larger, societal scale as well as on a more intimate, psychological level. Through these dialogic discussions, Cornett has also introduced attendees to an all-encompassing gamut of artists, experts and philosophers.

Cornett seeks to establish a teaching style that promotes open discussion and a free-flowing creative space, believing it to be what distinguishes humans from other species.

“Making an album is blood, sweat and tears. In effect, my dialogic approach retraces the stages of composition and performance and recording of the music,” Cornett said. “These workshops are sharpening experiences for both the musician and for the audience. Music is the only artform that requires both hemispheres of the brain [and], because music is based on mathematics, it entails the rational and logical, linear thought. But it also entails creativity and imagination.”

Some former guests of his sessions include established jazz pianist Oliver

Jones, and Academy Award winner Ethan Hawke, among others. His teachings have been the focus of a documentary by Alanis Obomsawin, titled Professor Norman Cornett: Since when do we divorce the right answer from an honest answer?

According to Cornett, his workshops’ non-traditional structure pushes attendees to cultivate a deeper understanding and appreciation for music and the subtle shades of sound that often go unnoticed in casual listening. This opportunity to interact with creative individuals acts as a vessel of exchange, empowering students to formulate their own, individual definition of what art is and how it intermingles with social situations.

“This is why I gravitated toward music,” Cornett said. “I realized, at the beginning, I had virtually only art students or people in the social science field. I would invite a scientist, and I realized that they have different frames of reference. This is what led me to establish a dialogue between the arts and the sciences through music as building a bridge between the hard sciences and the social sciences.”

The classroom, he argued, “should be a community [where] education is a communal project based on dialogue.”

The main takeaway from these highly critical workshops is that the teacher as well as the student learn from each other.

The students in this conception act as a conduit for raw discussion, unearthing the full potential of their ears.

“My goal is to teach teaching to teachers, and I believe if we integrate music into education at all levels, we are going to open minds, learn more and learn better.”

For more information, including where to attend a workshop, visit Cornett’s website:

www.cdedec.com

7.7/10 — HUSSAIN ALMAHR, ASSISTANT MUSIC EDITOR

2

FEVER RAY Plunge (Rabid/Mute, 2017)

Plunge sees Karin Elisabeth Dreijer stretching the contours of her elastic voice in unpredictable ways. More than in her past efforts with The Knife, there is something aggressively experimental, perplexing and equally thrilling that bubbles underneath these electro-pop tunes. Her voice no longer depends on the alien pitch-shifting she established with The Knife, instead, she utilizes her affinity for transporting dissonant dance sounds into bulletproof, club-ready pop. Her voice burns like fire as it explores the electrifying and varied field of electronic music that defines her stylistic palette. With the romping rave jolt of “Wanna Sip” and the sharp violin screeches in “Red Trail,” Plunge is an uptempo mesh of shimmering sounds that crushes notions of classification.

More fundamentally, it exemplifies a continuation of the chilling, progressive and cutting-edge pop The Knife achieved on their 2006 opus, Silent Shout. And, on this recent effort, Dreijer is profoundly and unabashedly herself.

11 Trial Track: “Wanna Sip”

8.2/10 — CALVIN CASHEN, MUSIC EDITOR

NOVEMBER 14, 2017

theconcordian

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PROFILE 3

MARGO PRIC All American Made (Third Man Records, 2017)

Country singer-songwriter Margo Price has returned with a valiant second album, All American Made. The instrumentation is tight, featuring crisp guitar and classic fiddle. Yet the album never tries to get experimental or inventive within the country template, which was a bit disappointing. However, the lyrics are progressive and descriptive.

In “Pay Gap,” Price sings about institutional sexism and the gender wage gap.

Country music does an impeccable job with direct and descriptive lyrics; Price dives straight into the issues, holding nothing back. On the title track, she paints a bleak image of America. Price seems to have genuine concern in her voice. The image of driving through America, seeing the rust and decay of the small towns, resonated with me to a surprising degree.

11 Trial Track: “All American Made”

8.2/10 — HUSSAIN ALMAHR, ASSISTANT MUSIC EDITOR

FOR EDITOR’S PICKS S THE BEST SONG WEEK RELEASED THIS

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Ralph joins The Darcys on tour Toronto natives to debut new material at M for Montreal this week MAGGIE HOPE ARTS EDITOR

Canadian singer-songwriter Ralph grew up listening to the 70s music her parents would play around the house. She was later drawn to 90s and contemporary pop. So it comes as a bit of a surprise to her when people say her music seems inspired by the 80s.

The Toronto native, who describes her music as “pop, synth, disco-soul,” explained that the reason her songs have been dubbed as “80s-esque” is probably due to the prevalence of synthesizers in her most recent EP. Although she said she “can appreciate elements of the 80s” in her music, Ralph wants to progress toward a more contemporary sound and experiment with genres she is more naturally drawn to.

The singer released her self-titled EP in March and has since been working with a handful of writers and producers to expand her artistry and highlight perspectives outside of her own in her music. Ralph said that before putting out this EP, she hadn’t realized all of its tracks dealt with common themes of love and relationships.

Most of the singer’s creative inspiration comes from personal experiences, whether from her own life or that of others. “I don’t really know how to write songs that aren’t personal,” she said. “I like to be as honest as I can in my music because if it’s honest, people will understand it.”

Ralph recently began working with fellow Toronto musicians, The Darcys. She approached them with a song she wrote called “Screenplay,” hoping to develop it into a duet between exes.

The song describes the all-too-familiar situation of seeing an ex in public and pretending their

(88Rising/Empire)

11 POISON/TONGUE

GFOTY (PCMusic)

11 TOWN CRIER

Oneida (Joyful Noise Recordings)

presence doesn’t affect you. Ralph explained that The Darcys helped add a male perspective to the song, which provided depth and made it relatable.

After completing “Screenplay,” Ralph and The Darcys continued to write together and cultivate a strong creative relationship.

“It came about very naturally, in the sense that their music is similar in theme and that we [also] liked each other,” Ralph said. The possibility of going on tour together at the end of 2017 came up, and it seemed like the best move for everyone. Ralph said they want to “see as many people as possible” and share new material with their combined audiences, both of which continue to grow.

Ralph is working with Canadian producer Stint, who is based in Los Angeles, as well as a team of songwriters from various studios in anticipation of her full-length album. The album is slated to be released next year. Ralph said that, although she is extremely grateful for the male artists who have had a hand in developing her sound, she is currently seeking to collaborate with more women. “As much as I love men and I support men, I want to keep working with as many females in the industry as I can,” the singer said. “If [I] can employ women in music and grow those careers, I want to.”

Ralph and The Darcys will be performing at Petit Campus on Nov. 17 as part of the local music festival M for Montreal.

ROUND-UP

Best albums for surviving winter The coldest days of the year are upon us CALVIN CASHEN MUSIC EDITOR The winter season brings to mind desires for isolation and desolation. Music itself acts as a cathartic medium, capable of supplementing or defining how the weather makes you feel.

Frankly, the two go hand in hand. Here are some essential winter albums that spark similar feelings of solitude.

11 CRISIS Rich Chigga ft. 21 Savage

Ralph is currently on tour with The Darcys. Their second stop will be in Montreal on Nov. 17. Press photo.

GRIZZLY BEAR – VECKATIMEST (2009) Veckatimest is a triumph in every sense of the word. The air of sophistication that defined Grizzly Bear's previous work heightened by even more intelligent craftsmanship. The album's creative width is instantly realized on album cuts such as "Southern Point," a psychedelic folk-jazz fusion that includes bursting acoustic guitars, dense vocal harmonies and sparkling sonics. The most disarming track, “Two Weeks,” is a captivating, dazzling journey. The gorgeous, bouncy piano chords, by contrast, are the album's most instantly gratifying musical motif and has earned the song a spot in the zeitgeist as one of the best indie rock songs of the 2000s.

TORTOISE – TNT (1998) Expected to continue the post-rock faction, Tortoise delved into a new fusion of dub and electronics to turn more heads

with their masterpiece third album, TNT. Enlisting guitarist Jeff Parker to expand their deft musicianship as well as their roots to Chicago's sprawling avant-garde scene, Tortoise returned with an effort brimming with fits of post-modern jazz, dub-informed rock and only slight nods to the German experimental genre Krautrock and electronic textures of their sophomore outing, Millions Now Living Will Never Die. THE MICROPHONES – THE GLOW, PT. 2 (2001) The Microphones's psych-pop horizons reached an undeniable climax in the larger-than-life epic The Glow, Pt. 2. The album marked a significant departure from the willowy, lo-fi folk of the band’s earlier recordings into a noisy blend of penetrative distortion and gorgeously restrained vocals.

The album explores a plethora of singular styles and all-inclusive moods over the course of 20 staggering songs that transition into one another as seamlessly as the strands of a spider’s web. The album’s kaleidoscope of sounds span across decades of folk music, from pastoral, playful guitar arpeggios ballads to some of the most invigorating flourishes of white noise ever put on tape.

BEACH HOUSE – BLOOM (2012) Bloom may be Beach House’s most expansive and cinematic album, but its ice-covered ambience and skeletal sheen don't warm up much. It's easy to imagine singer Victoria Legrand contemplating past relationships and general discontent with life while singing in her expressive baritone voice. While the endearing intimacy of the album feels much like the typical Beach House formula, with Legrand passionately crooning over vintage keyboards and drum machines, Bloom’s towering heights are enhanced by the LeGrand's philosophical ruminations on personal anxieties.

FOR MORE ALBUM SUGGESTIONS, VISIT THECONCORDIAN.COM

sports

SPORTS EDITOR /// sports@theconcordian.com NICHOLAS DI GIOVANNI ( @n_digiovanni)

MEN’S SOCCER

Season marred by injuries, lack of experience Confidence crushed after 0-3 start to the season, coach Sutton says MATTHEW COYTE ASSISTANT SPORTS EDITOR “It was difficult from a mental standpoint,” said Greg Sutton, head coach of the Concordia Stingers men’s soccer team, about the 2017 season. “I don’t think we were mentally strong enough after the start of the season to be able to get past [a 0-3 start].”

The Concordia Stingers finished the 2017 season in sixth place out of seven teams in the Réseau du sport étudiant du Quebec (RSEQ), with a 3-8-1 record. Two of the team’s three wins were against the league's lowest-ranked team, the Sherbrooke Vert et Or. According to coach Sutton, a mix of inexperience and injuries led to the disappointing season. Sutton said he and the rest of the coaching staff initially believed the season would end with the Stingers making a run for the playoffs.

The Stingers began the season with a series of games against the Université de Québec à Montréal Citadins, Laval Rouge et Or and the Université de Montréal Carabins.

Those teams finished in the top three places in the RSEQ. The Stingers lost all three of

those opening games, scoring three goals and allowing nine.

While the team missed the playoffs for a fourth-straight season, Sutton said he believes their record this year didn’t reflect their quality of play.

“We lost a lot of confidence starting the season 0-3,” Sutton said. “That can play with the boys’ minds. After that third game, we had to dig deep. We put together a few wins. We had some good performances, and we had some immature performances.”

Injuries to key players, such as defenders

Corentin Aussems (fractured ankle) and Mateo Zazo (anterior cruciate ligament injury), early in the season forced the team to rely on younger, more inexperienced players.

“When [we lost] Aussems and Zazo […] we knew we were going to have a challenge defensively and offensively,” the coach said.

“A lot of the [play] starts from the defenders and their ability to move the ball. Those guys have an [offensive] quality that not many of our other defenders have. These were injuries to not only good-quality players, but also quality leaders.”

Head coach Greg Sutton described Karl Gouabé (pictured) and Cameron Rae as being the best goalkeepers in the country. Photo by Alex Hutchins.

Sutton said rookie striker Simon Malaborsa, who finished as runner-up for RSEQ rookie of the year, as well as midfielder Henry Barutciski and defender Philippe Audy, all played well throughout the season. Malaborsa scored six times this season, accounting for nearly half of the team’s 13 total goals.

“We had some players that we were really high on and had expectations for them to be significant parts of our team, and for some reason just couldn’t handle the pressure or just couldn’t handle the strain of being a student-athlete,” Sutton said. “I can’t really say who because there were too many, unfortunately. As much as this game is physical, it’s also mental.”

Moving forward next season, Sutton said he believes the team’s success will come from staying healthy and getting the most out of key players. He’s optimistic that, with the growth and development of younger players, the team can bounce back next season. He added that the team’s goalkeepers, Karl Gouabé and Cameron Rae, are the two best keepers in the country when healthy.

“A lot of things you just can’t control,” Sutton said. “It just really seemed like luck wasn’t on our side this year.”

VARSITY

Stingers buzzing their way onto all-star teams Rugby centre Frédérique Rajotte headlines award-winners as U Sports MVP Despite the players' individual accomplishments, the Stingers went 4-3 during the regular season. They then lost in the RSEQ semi-final against the Laval Rouge et Or.

Running back Jean-Guy Rimpel finished as the RSEQ’s leading rusher with 708 yards. Archive photo by Ana Her nandez.

NICHOLAS DI GIOVANNI SPORTS EDITOR The fall season for Concordia Stingers varsity teams has come to an end, with multiple athletes being named all-stars. Rugby centre Frédérique Rajotte headlined the Stingers award-winners after being named the Most Valuable Player of the Réseau du sport étudiant du Québec (RSEQ) and U Sports. The Concordian breaks down all the individual accolades won

by Concordia’s athletes.

WOMEN’S RUGBY Rajotte led the team with 15 tries this season. She was named to the RSEQ’s first all-star team, and U Sports’s first all-Canadian team. Joining her on the RSEQ first all-star team was second row Laetitia Royer, who was also named to the second all-Canadian team.

Five Stingers made the RSEQ’s second all-star team: prop Emilie Bélanger, centre Alex Tessier, winger Olyvia Faille, flanker Geneviève Kasa-Vubu and hooker Melissa Wood.

MEN’S RUGBY The men’s rugby team went undefeated in the regular season and playoffs before winning the RSEQ championship by a score of 35-7 against the ETS Piranhas on Nov. 12.

Centre Charles Debove finished fifth in the RSEQ in scoring with nine tries, but nonetheless earned the conference’s MVP honours. He also made the RSEQ’s first all-star team, alongside seven other Stingers.

Centre Samuel Montminy, fly-half Moritz Wittmann, winger Jean-Christophe Vinette, second row Jackson Marquardt, fly-half Jonathan Banks, and back rows Andreas Krawczyk and Lucas Hotton all made the first all-star team.

The second all-star team included five Stingers: prop Nicolas Krawczyk, back row Malcolm Baird, scrum-half Sebastian Iaricci, winger Julien Mac Kay Cantin and hooker Nicholas Smith.

FOOTBALL The league’s five coaches and the commissioner chose the RSEQ all-star football team.

They unanimously voted Stingers running back Jean-Guy Rimpel onto the team. He finished the season as the league’s leading rusher, with 708 yards. (In comparison, the player with the second-most rushing yards had 348.) Rimpel also scored six touchdowns.

Cornerback Khadeem Pierre earned the title of RSEQ Defensive Rookie of the Year, and was named to the all-star team. He had 19 total tackles this season, adding three interceptions and one forced fumble.

Offensive lineman Maurice Simba and linebacker Mickaël Côté joined Rimpel and Pierre on the all-star team.

Quarterback Trenton Miller led the RSEQ in passing yards per game, with 297, despite playing only four games. He also threw the third-most touchdowns in the league, with six. Receiver Jarryd Taylor finished second in the RSEQ for receiving yards, with 574 in seven games. Both Miller and Taylor were not included on the all-star team.

The Stingers went 3-4 during the regular season before losing in the semi-final against the Université de Montréal Carabins.

SOCCER Both soccer teams missed the playoffs, with the women’s team going 3-7-4, and the men’s team going 3-8-1. One athlete from each team made it onto their respective all-star teams.

Defender Olivier Georges was named a RSEQ all-star for the fourth time in his career, and made the second all-star team for the third time. Georges, who was the team’s captain, played in all 12 games this season.

Midfielder Chama Sedki led the women’s team with four goals and three assists, and was named to the second all-star team. This was the first time the second-year computer engineering student made the all-star team.

NOVEMBER 14, 2017

A N A LY T I C S

Statistics: Hockey's best friend The importance of sports analytics were on full display at this year’s JMSM conference ALEXANDER COLE MANAGING EDITOR Advanced statistics and hockey analytics were a hot topic at the John Molson Sports Business conference held on Nov. 4 at Hotel Bonaventure.

A panel, titled “Grit and Character: The Evolution of Analytics,” was moderated by Concordia journalism graduate Salim Valji, and featured four guests well-versed in the sports analytics world.

Panelists included Sportsnet writer Dimitri Filipovic; TSN, Sportsnet and Vice Sports contributor Andrew Berkshire; Stathletes co-founder Meghan Chayka; and hockey analyst Mike Kelly.

The talk began with each panelist discussing how hockey analytics have changed over the last few years. In the past, goals, assists and plus/minus were ways to track whether or not a player was performing well. However, new statistical measurements, such as Corsi, Fenwick and PDO, have created new ways to gauge a player’s effectiveness on the ice.

Corsi and Fenwick are similar, as both measure how many shots a player takes in relation to everyone else on the ice, while PDO keeps track of a team’s shooting and save percentage.

However, one of the challenges with advanced stats is properly recording what is happening.

“A lot of it is going to come down to video player tracking,” Filipovic said. “Zone entries and loose pucks aren’t something we can quantify right now.”

Due to advanced stats being relatively new, Chayka and Berkshire disagreed, with the panelists said players don’t have much Chayka stating that because the Senators respect for advanced analytics. Valji referenced didn’t win the Stanley Cup with Neil on the an article in which Montreal Canadiens captain team, it doesn’t matter that much. Berkshire Max Pacioretty said he can’t judge a player added: “If character and leadership actually based on a pie chart. mattered that much, the Habs wouldn’t be Berkshire added that stats like Corsi can terrible right now.” make people “roll their eyes,” but that doesn’t The panel ended with each member giving mean they should be dismissed. Filipovic agreed, some advice to students on how to make saying a team’s management should care about it in the industry and how to be effective the new analytics. at delivering analytics to an audience that “You want to look at it from a manager might not otherwise know what you’re and coach level,” he said. “Why bring it to talking about. the players if they don’t care that much?”

“Make what you’re doing as relatable For players to understand their own advanced as possible to those consuming the stats, Chayka suggested the use of visual elements information,” Kelly said. “The ones who be emphasized rather than the actual numbers. are the most successful are the ones who “Heatmaps and visual maps of the ice text you at 10 p.m. with fresh ideas.” are great for showing players their performance,” Chayka said. “You have to know your audience.”

The panel then talked about how a player’s grit and character is different from their stats. Kelly brought up former Ottawa Senators forward Chris Neil, and how he isn’t an effective player on the ice, with 112 career goals in 1028 games, but his grit, From left, Dimitri Filipovic, Andrew Berkshire, Meghan character and presence Chayka, Mike Kelly and Salim Valji talk about advanced in the locker room helped analytics in hockey. Photo by Alexander Cole. the Senators win games.

SPORTS BUSINESS

Marketing an NFL franchise

Digital media and the fan experience were the focus of the "4th and Goal" panel

ALEXANDER COLE MANAGING EDITOR

“It’s an interesting dynamic when your team is hosting the game,” Dreesen said. “It’s an incredible opportunity on the hospitality side and on the The intricacies of marketing a National marketing side.”

Football League (NFL) franchise were on Dreesen explained that hosting the Super full display at this year’s John Molson Sports Bowl is also unique because, as the host, you Business conference held on Nov. 4. might not actually play in the game. However, it A panel, titled “4th and Goal,” was moderated is still the best time to show off your arena and

by TSN 690’s Joey Alfieri, and featured Tanya what kind of fan experience you can offer.

Dreesen, the vice-president of partnership Both Pannozzo and Dreesen said the services activation and special projects for the Minnesota offered at the stadiums immerse fans in a new Vikings, and Vincent Pannozzo, the director of experience, and bring them beyond what’s digital and social content for the Miami Dolphins. happening on the field.

Alfieri began the talk by asking about hosting “Stadiums are made to enhance the fan a Super Bowl game. Dreesen and the Vikings will experience,” Dreesen said. “We’re the only team host the Super Bowl in 2018, while Pannozzo and with suites down by the field. We want people to the Dolphins will be hosting the game in 2020. be able to be as close to the action as possible.”

Pannozzo echoed this sentiment, adding that the food experience is also an important part of the game.

He said the Dolphins don’t just offer the classic sports foods, like hot dogs and burgers, but also fancier foods in certain sections of the stadium.

Pannozzoaddedthatasa social media and digital content manager, he is already planning for the 2020 Super Bowl. He said the team’s marketing strategy will From left, Tanya Dreesen, Vincent Pannozzo and begin right after the 2019 moderator Joey Alfieri talk about the NFL fan Super Bowl finishes. experience. Photo by Alexander Cole.

Pannozzo explained that social media is the best way to showcase your team’s brand, but in the past, social media was a bit of an enigma for people.

“Social media used to be the stepchild no one knew who it belonged to,” Pannozzo explained. He later added that the Dolphins now spend all of their digital advertising budget on social media rather than television because that’s where the people are.

For Pannozzo and Dreesen, the team’s performance on the field doesn’t affect the organization’s marketing strategy.

Pannozzo said fans might not want to hear from the team on social media that much after a loss, but the team is always going to keep creating content for the web, regardless of the team's performance.

“Only on the actual day of the game does performance dictate what we do on social media,” he said.

To end the panel, Pannozzo and Dreesen explained how their social channels and marketing strategies bring fans closer to the players. For them, it’s a way to extend past typical media coverage, and tell more meaningful stories.

“We’re not in the business of breaking news,” Pannozzo said. “We want to tell the story of our players in the best possible way.”

“You don’t sell wins and losses, you sell hope,” Dreesen added. “Hope is what brings fans through the door.”

theconcordian

15

SEQUENCE TO SUCCESS

BY MATTHEW OHAYON One of the new “kids” in town this season on the Concordia Stingers men’s hockey team is defenceman Carl Neill. Neill is a former Vancouver Canucks draftee and played alongside National Hockey League (NHL) prospects such as Daniel Sprong, Jeremy Roy and Daniel Audette during his junior career.

In an interview with CJLO Sports on Nov. 6, Neill said he models his game after that of NHL defenceman John Carlson. He said he wants to be “reliable defensively and pretty good offensively.” Neill added that he feels his vision of the ice is the best aspect of his game.

Neill is certainly showing that he can chip in offensively, as he is currently the highest-scoring defenseman in the Ontario University Athletics (OUA ) conference, with 13 points in 10 games. On Nov. 4, in a game against the Royal Militar y Co l l e g e of C a n a d a (RMC ) Paladins, Neill scored a power-play goal and added an assist.

His goal was a blistering shot from the point, which beat the Paladins goaltender, and gave the Stingers a 3-1 lead at that point. The shot was perfectly placed, but it was the events leading up to the goal that made the goal so impressive.

RMC was on the penalty kill, playing in a tight, low-diamond formation, and had to keep a close eye on the Stingers leading s c o r e r, f o r w a r d A n t h o n y Beauregard. That left Neill open at the point, giving the option for any puck carrier facing pressure to pass it back to Neill.

The Stingers cycled the puck very well once they were able to establish possession in the Paladins’s zone. However, after a giveaway, Neill made a heads-up play to keep the puck in the offensive zone by kicking the puck to his stick. He then dumped the puck in deep, which drew the RMC defenders down low once more.

Once the puck was behind the net, Neill was once again left wide ope n at the point . A behind-the-back pass from Beauregard, through the middle of the ice, put the puck on a tee for Neill to send a blast from the point past the RMC goalie.

The combination of Neill’s smarts and Beauregard’s skill wa s t h e b a c k b o n e of t h at sequence leading to success.

opinions OPINIONS EDITOR /// opinions@theconcordian.com SANIA MALIK

Supporting the CSU’s call to end student exploitation School can only teach you so much. This is what makes internships so valuable.

They are an opportunity to get real-world, first-hand experience in your field before entering the job market. But as some posters displayed around campus assert: “Exposure” doesn’t pay the bills.

These posters are part of the 2017-2018 Concordia Student Union (CSU) campaign against unpaid internships. According to their website, unpaid internships became popular after the 2008 economic crash.

“Unpaid internships, specifically, download the pressure of getting a good education onto the individual while taking that pressure off of the government and the employer,” the CSU’s campaign pamphlet reads.

While some students may have the financial capability to take on this pressure, many students simply can’t afford to dedicate time to a job that doesn’t pay. According to a 2013 Statistics Canada survey, 52 per cent of students between the ages of 20 and 24 relied on employment to fund their education. Other students may need an income to pay for rent, to buy food or to support their children. For many students, earning money is a necessity while in school, and juggling a full course load, a part-time job and an

internship simply isn’t possible.

It might come as surprising to some of you, but unpaid internships are actually illegal in Quebec. However, there are three exceptions listed in Quebec’s Act Respecting Labour Standards. Internships that are either part of a program provided by an approved educational institution, completed at a nonprofit organization with community purposes or part of a vocational training program are not required to be paid in Quebec.

That first exception is of particular significance to Concordia students. While internships for credit can be an exciting way to learn outside of the conventional classroom setting, there is debate over whether the value of that experience merits students giving away their labour for free.

Among the CSU’s calls to action for the provincial government is the need to create standardized criteria for internships. We at The Concordian support this initiative.

In a perfect world, all internships would be paid. But if students are going to be working for free, the government needs to ensure that the line has clearly been drawn between what constitutes a valuable learning experience and what is simply student exploitation.

Graphic by Alexa Hawksworth.

CELEBRITIES

Separating artists from their behaviours

Why it’s acceptable to appreciate the work of people accused of sexual violence BEN FRASER STAFF WRITER According to several news outlets, Netflix has “completely dropped” actor and producer Kevin Spacey due to several sexual assault allegations. With this comes the question of whether supporting Spacey’s projects means you are supporting the actor’s actions.

It is not a new debate, as many famous individuals have been caught engaging in unsavoury and, in some cases, criminal activities. Despite all this, the accomplishments of these people have been and will be remembered more than the individual and their downfalls.

This is why, in my opinion, you can support great art despite the actions of the artist.

Before we talk about the most recent cases, like Spacey and Harvey Weinstein, we should look back at past examples.

Arguably the most famous, or should I say infamous example, is French-Polish director Roman Polanski. Polanski was convicted of “unlawful sexual intercourse” in 1977 after allegedly drugging and raping a 13-year-old girl. Originally, he was charged with five different crimes related to the incident, but eventually took a plea bargain and was convicted on the previously mentioned lesser charge. Despite all of this, Polanski is, and will likely be, recognized as one of the best film directors of all time, with classics like The Pianist.

Another example is Woody Allen. Despite

the allegations of child abuse against him, according to BBC News, Allen is known as a fantastic actor, producer and director.

It isn’t just figures in film though. Some athletes have had very troubling personal lives, yet are regarded as some of the best in their field.

People like Spacey and Weinstein are currently in the news for their despicable actions, but what I wonder is, will they always be? Spacey has starred in amazing projects, like American Beauty, Se7en and Netflix’s House of Cards. Weinstein has produced films like Gangs of New York, Pulp Fiction and won an Academy Award for his work on Shakespeare in Love.

I believe the heinous actions allegedly done by those in the entertainment industry will usually be overlooked in favour of their achievements. While this is an eye-opener on how our society views celebrities, it also points to why a person shouldn’t feel bad for supporting the project or accomplishments of these people.

Using Shakespeare in Love as an example, Weinstein was one of five people to share the Oscar for Best Picture. Should the four others involved in that film suffer because of his actions? Shakespeare in Love also won six other Oscars that year; should Weinstein’s actions muddle the accomplishments of the actors in his films as well? The same argument can be made for Spacey: why should the hard work of those involved with his projects be shunned?

With the fate of House of Cards up in

the air, the city of Baltimore (where the show is filmed) is also at risk of suffering for Spacey’s actions. According to an article from the New York Daily News, the cancellation of House of Cards would result in the loss of thousands of jobs. Why should a camera-man or a craft services employee lose their jobs because of someone else’s misconduct?

When a figure involved with great masterpieces is revealed to have allegedly committed sexual violence, their work should not be what is shamed. A movie may star an actor or actress who has done horrible things, or the film could be produced or directed by a terrible person, but that person is not the only one involved in the project. The art will always outlast the character of the artist, and supporting great art means more than supporting one person involved.

Graphic by Alexa Hawksworth.

NOVEMBER 14, 2017

theconcordian

17

CYCLING

How to stay safe, warm as a cyclist in the winter The weather is changing, but that doesn’t mean you have to avoid bike paths AYRTON WAKFER STAFF WRITER Now that stores have started playing Christmas music, the arrival of winter is inevitable. Don’t let cool temperatures and flurries signal the end of your cycling season. Pedalling around in the bitter cold and snow can actually be a good time.

Yet, before heading out into the great white north, there are a few factors to consider. A good way to ruin winter cycling for yourself is by being underdressed and underprepared. Following a few simple steps will help you avoid frosty misery.

Dressing properly is the foundation of winter fun on your bike. Fingers and toes are the first to freeze on a cold day, so pay particular attention to gloves and socks. A wind and waterproof glove with an insulated liner is the ideal choice but can be expensive. A frugal alternative is to wear nitrile or latex disposable gloves underneath any winter glove, as they provide a fairly resilient waterproof layer.

Thick socks are a no-brainer for staying warm, but don’t go overboard.

A tight shoe will feel colder than one that doesn't constrict your foot, regardless of how cozy the socks are. I have the best luck with a pair of regular socks underneath thick wool ones. The army surplus stores on St-Laurent Street sell the classic red-striped wool numbers at an affordable price.

Rosey red cheeks may be cute, but

they hurt when pedaling around the city on your bike. So wrap up your face. A cycling balaclava is a good investment, as it is breathable and provides great coverage from wind and snow. A frugal alternative is to use a cheap neck gaiter that's long enough to pull up over your ears and around your face. Whatever you wear, make sure it is thin so that the fit of your helmet is not compromised.

Layering keeps me comfiest on a chilly day. A bunch of thinner shirts and sweaters under a windproof jacket feels warmer than a big, puffy parka, especially on a bike. Also, the mobility of thinner layers is a huge plus when cycling in challenging conditions. By wearing multiple layers, you can regulate your warmth. As soon as you start sweating, it's going to be really tough to stay warm. Having wet clothing in sub-zero temperatures means you’re going to get really cold. Layering is a great way to avoid this frosty fate, as you can remove certain pieces of clothing when you start getting warm.

When it comes to your bike, it’s best to make sure that it's durable and comfortable.

Buying a new set of brake pads is a great way to welcome the winter. While a wet chain lubricant might make a bit of a mess, it’s worth it because your chain will stay protected from salty road spray. It is also

super helpful to spray your bike down with WD-40—a common and cheap penetrating oil—after every sloppy winter ride as the spray displaces water and stops your bike from rusting.

Riding in the snow is challenging, but you can set your bike up for success.

Lower your seat a little bit so it’s easier to put your feet down if you’re in deep snow.

If you don’t have big, knobby winter tires, it doesn’t mean the snow is impassable.

Take a little bit of air pressure out of your

tires, especially the front one, for a little more grip. Lastly, pedal in an easy gear.

Having your feet spin around with little resistance means your back wheel is less likely to slip.

Enjoy the snow and bundle up, because Montreal is a great city for cycling in the winter. The Maisonneuve bike lane is plowed daily, and most smaller lanes are sanded to keep the road’s grip. Make use of a city that supports winter cycling, and enjoy it.

Graphic by Alexa Hawksworth.

SEXUAL ASSAULT

The link between victim blaming and rape culture Victim blaming is just one of the tools used to silence a person who has been sexually assaulted ERIN LIDDELL CONTRIBUTOR Rape culture is culture that normalizes sexual violence and trivializes a person’s experience with it, according to the Huffington Post. This could be in the form of jokes about rape or songs that insinuate sexual violence. In my opinion, the stigma and attitude surrounding sexual assault in our society plays into rape culture. Victim blaming comes up a lot in conversations about sexual assault, and is a large part of rape culture.

I believe part of the mentality behind victim blaming is people’s need to feel safe.

By asking questions like “What were you wearing?” or “How much did you drink?,” people are able to separate themselves from victims. By finding a way to make rape the fault of the victim, it is easier for people to deny that assault can happen to anyone.

No one wants to believe bad things can happen to good people. But the truth is, sexual violence can happen to anyone at any time—and no one ever deserves it.

Victim blaming will not protect you.

Blaming victims of sexual assault silences others who haven’t come forward about their experience. And while some may argue that society is becoming more receptive to victims looking to share their experiences, there are still far too many publicized cases

of sexual violence that create a narrative where the alleged assaulter walks free and the victim is left traumatized and humiliated.

More than 50 women have accused Bill Cosby of sexual assault—and were faced with criticism and disbelief, according to CNN. Donald Trump has openly bragged about assaulting women, yet he was elected president of the United States. How are victims supposed to feel safe sharing their experiences when history has shown it will only cause them more pain?

According to Sexual Assault Statistics, in Canada, only six out of every 100 incidents of sexual assault are reported to the police.

Someone who speaks openly about their sexual assault is usually met with disbelief, suspicion and blame. There is no guarantee the perpetrators of these crimes will be

punished appropriately. When you throw the possibility of victim blaming into the mix, it becomes nearly impossible for someone to muster up the strength to talk openly about their assault.

Although many women have shared their stories of sexual assault since the Weinstein allegations, it is important to note that this doesn’t mean all victims will now come forward. In my opinion, victims coming forward after the allegations against Weinstein—and even Cosby—increases the fear surrounding the idea of reporting sexual assault. Seeing the way these victims are treated by some media can silence other victims.

Recent cases in Quebec, including a judge making victim blaming comments in court, have reinforced my feelings. Justice JeanPaul Braun said a sexual assault victim was

most likely “flattered” by the experience, and he questioned whether kissing is sexual or if consent is needed, according to CTV News.

The idea that the victim should have been flattered enforces the idea that women should be grateful for any attention men give them.

The judge insinuated the kiss was not a big deal. This is dehumanizing and encourages rape culture.

As a woman, I’ve been subjected to street harassment and crude comments, among other things. The attitude that a victim must have done something to deserve their assault only makes these experiences worse, especially knowing punishments won’t be carried out. I find myself analyzing my outfit whenever I’m catcalled, fearing I did something wrong. Victim blaming affects all of us. If I were assaulted tonight, and if I chose to tell anyone, I would be terrified of what would be said about me tomorrow.

So how can we change this? We need to listen to victims. We have to understand that only one person is to blame for sexual assault—the assaulter. The victim is never at fault, and there is no reason to judge someone who has been assaulted.

No one asks to be subjected to sexual violence, and no one deserves it. We must work to change the conversation around sexual violence because we should no longer be the reason victims are silenced.

Graphic by Zeze Le Lin.

18

theconcordian

NOVEMBER 14, 2017

RECONCILIATION

Rights and respect for the Ktunaxa Nation

What the disparity between the government’s promises of reconciliation and their actions means ANISA SCEGO CONTRIBUTOR It seems as though every time I tune into the news, there is a story of injustice involving Indigenous peoples in Canada.

From the original injustice of colonisation and residential schools to the increasing number of missing and murdered Indigenous women whose cases have only recently been looked into, there is a large gap of inequality between Indigenous and non-Indigenous Canadians. Not to mention the housing crisis, high rate of suicide and the gap in the quality of healthcare and education, according to The Globe and Mail. Through all of that turmoil, one word shines through and gives me hope that the Canadian government wants to take positive steps to correct these wrongs. The word is reconciliation.

The Oxford English Dictionary defines this term as "the restoration of friendly relations.” The federal government seems to want to restore friendly relations with all Indigenous people, but in my opinion, the Canadian government and people still have a long way to go to achieve true reconciliation.

On Nov. 2, the Supreme Court of Canada ruled that a Jumbo Glacier ski resort will be built on sacred land that belongs to the Ktunaxa Nation in British Columbia, according to The Globe and Mail. When asked about

the situation, Kian Basso, a member of the Montagnais Nation, suggested: "The government should negotiate with the Ktunaxa Nation and try to figure out a way to meet in the middle.”

As an Indigenous person, he said he believes “it is only right that we respect the land and the people that were here before us. So I do not agree with the government taking this land because it does not belong to them, but I am not against the idea of building things on that land either. If they should build something, then it should be done with respect to the people living there and should be discussed between the two parties.” Basso’s statement refers

to the lack of respect between Canada and Indigenous peoples—an issue that demands more discussion.

The Ktunaxa Nation has occupied the land in question for more than 10,000 years and use the land to worship their sacred grizzly bear spirit, according to CBC News. However, I believe it’s important to note that the Charter of Rights and Freedoms "protects the freedom to worship, but does not protect the spiritual focal point of worship.”

This statement upsets me because it sets a double standard. I believe that if a church were to be torn down in order to build a ski resort, or any other luxury establishment,

there would be public outrage. For the Ktunaxa Nation, their land is sacred to their culture and spiritual beliefs. I believe spirituality is equivalent to religion, so why are their beliefs not represented in the Canadian Charter?

Jill Goldberg, a specialist in Indigenous education, said, "When I heard the story, I thought, how is this even possible when we are in a time of improving relations?"

She also pointed out the lack of representation in the Supreme Court. There is not one male or female Indigenous judge among the nine appointed judges. "If we want authentic reconciliation, we need to listen to them,” she added. “Let them lead the way, and let them participate. In short, true reconciliation cannot happen if we ignore those that are affected by the decisions.”

Realistically speaking, it isn’t surprising that the government places more importance on building entertainment establishments than respecting the wishes of a minority group.

But when we see these stories emerge in the media, we should ask ourselves: when will Canada truly understand and take action against any and all types of injustice toward Indigenous peoples? When will we live in a country known for respecting not only the people inhabiting it, but their beliefs too?

When will the value of words be strong enough to overcome any disparity between promises and actions?

Graphic by Zeze Le Lin.

RACISM

The history and inappropriateness of blackface Looking into our province’s relationship with blackface and why it must be condemned SASHA TEMAN CONTRIBUTOR This Halloween, a high school vice-principal in Montreal sparked outrage over his use of blackface for his costume. Jocelyn Roy, the administrator in question, showed up to Collège de Montréal dressed up as Jamaican reggae icon Bob Marley for a Halloween costume parade. This ended up offending many students.

Given that Roy’s use of blackface wasn’t well received by students at his school, he quickly removed both the costume and the face paint. He later apologized for the incident.

There is a long history behind blackface.

More than a century ago, Montrealers attended minstrel shows at local theatres for entertainment. People would gather to watch these musical comedy performances, which featured white actors wearing black face paint, according to CBC News.

Blackface minstrel shows originally started in the United States, but were common in Quebec from the late 19th century up until the 1950s, according to the same source.

Historically speaking, blackface was born from discrimination against black people and against integrating actors of colour on stage.

Blackface is truly intertwined with Canadian history. According to CBC News, Calixa Lavallée, the composer of the Canadian national anthem, was a member of a blackface troupe that toured

North America for several years. According to Quebec’s Bibliothèque et Archives Nationales, Montreal’s oldest permanent theatre, the Theatre Royal, was home to multiple successful minstrel shows known at the time as “Soirées éthiopiennes.”

According to CBC News, Blackface minstrel shows never failed to sell out theatres—even after they fell out of fashion among professional theatre troupes. In the 1920s, these minstrel shows experienced a revival within several Montreal communities since they were considered cultural events for white audiences.

Ever since blackface first emerged as a theatrical art form, it has ridiculed people of colour. White performers portrayed slaves and free blacks, while using insulting and degrading stereotypes about black people. Examples of these include the aggressive man with his lustful eye on white women or the freed slave who couldn’t pronounce his words correctly but aspired to be part of high society, according to Esquire. All in all, blackface humiliates black people, but it also desensitizes white audiences to the hidden horrors of slavery.

I believe Quebec has a bad reputation surrounding racism. A book that explores Quebec’s relationship with anti-black racism and provides more insight on the issue is Policing Black Lives: State Violence in Canada From Slavery to the Present by Robyn Maynard. I believe instances of blackface and general anti-blackness are still common here, given that the province

is renowned for being rather inconsiderate towards unfamiliar races and ethnicities.

An example is Quebec’s problem with racial profiling. Part of the blame might also be directed towards the French-Canadian media and their lack of attention towards the insensitivity of using blackface. As recently as 2015, a Quebec actor wore blackface to portray hockey player P.K. Subban in a comedy sketch, according to The Globe and Mail.

Despite its comedic intent, the use of blackface is blatantly racist and disrespectful towards black people. Even though it is nearly 2018, many people all over the world still think it’s acceptable to paint their skin a darker

colour while pretending to be a different race. Race relations in North America still remain fragile, after several killings of black men and women by police officers in the United States and Canada’s own alarmingly high number of black prisoners, according to the Toronto Star. Nowadays, the use of blackface is highly frowned upon. It does not celebrate, honour nor pay homage to any culture or ethnicity.

Overall, I believe it’s important that people, not only in Canada but also around the world, become more conscious of blackface, because it is just part of the larger issue of anti-black racism.

Graphic by Zeze Le Lin.

extra

Comic by Libby Hopkinson.

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M T c SANDRA HERCEGOVÁ SANIA MALIK T KATYA TEAGUE ID AN o U C m m H S AL T CO IC Concordia University’s I G N SP RA ED life@theconcordian.com opinions@theconcordian.com S editor@theconcordian.com E li N T R O P I F T sa LO H I C weekly, independent IBU A L RT S OR Co R B o ar gra REN S E T nc spo EXAN EDI ph Fre mina bier, ORS DI wstudent CEOPINIONS ord newspaper TOEDITOR rts i D T e ASSISTANT LIFE ASSISTANT EDITOR c F g Q O e s E R @t @t YEE Alm oli, lore as R st u kl y i a U GR i he R CO he AS de , ind niv Mu ahr, Nath ncia m Wa A ELISA BARBIER BURGER co MANAGING EDITOR co TTYSON e rs nt 35,ep nc LE Ar HO PHI nc ntu Ali an rra NI SISTA VOL. 12 o ne ISSUE r o C V cia L e iet ic h CH rdi .

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34 co L E c h PO c a A e B L o o , B l p S m U Mia Anhoury, Joyce li, J Chan, m H eBen AN managing@theconcordian.com . 7, , IS er D I RT S HE PHOTO EDITOR eff ussa be OR SINE T 20 SU GI rey iErin OU n SS Matthew Lapierre, KA AD C ARTS EDITOR 17. E 1 OV E D I T bu ENFraser, M TYALEX 9 R Z O AN OR HUTCHINS s O AN ine Liddell, COOUR COVER THIS WEEK A T PY NI MAGGIE HOPE ss@ POR Mina AG Mazumder, Matthew “ VE EA ED CO Bla photo@theconcordian.com ER RT GU ITO the PO ck Ohayon, Joyce Salem, Anisa Scego, K A PY E arts@theconcordian.com G AD R PRODUCTION MANAGER HI E c R rap Hi on IN S W Cornett” T D V E co O Sasha Teman, s“Professor I RE E h O T t R Olivier Sylvestre, i R o O r EE c R I LOREANNA LASTORIA dia r T E b y I K Hutchins.

A G RS ASSISTANTS S PHOTO VA BECC N y FO NZ Mo by Alex n.c I F F Photo N O lor R A O PAyrton G M Wakfer om AN n ASSISTANT ARTS EDITOR co LERI AKIRUBEL L production@theconcordian.com t a L en h.”

LU dve O O G MEHARI D py A A c W eY @t CO GER rtis VER RPO NA CO US ee he MACKENZIE CHLOË LALONDE ing TIS RI GE LAD ON . co RI-M ST ME T @t IN NO R FOLLOW US ON   nc PRODUCTION ASSISTANT O A h G B  O ord NO eco OA T H RY I BUSINESS MANAGER O N  ian QU nc M U CC RD N E HYACINTH WOURMS R A CC L O E E ord PORPORINO .co H T I W O R H ORENZO IO JA m ian IES FD EE 12 -431 YOL TINGCOME TO OUR WEEKLY C A .co GRAPHICS EDITOR P.M FR A C MI OB LIE L IREbusiness@theconcordian.com MUSIC EDITOR AT KLY m ID AMSTORY .

MEETING AT DA LOS SERE AFLA CTO A ZEZE LE LIN PIT Y A PU CALVIN CASHEN dir VID KOV BIN MM RS S LOYOLA CAMPUS CH T THE ect EA AC E graphics@theconcordian.com NEWS EDITORS . music@theconcordian.com WR E ors SE ITE CC-431 FRIDAY AT @t Y VICADVERTISING MANAGER ÉTIENNE LAJOIE Ed he .E ito co DI 7 nc GRAPHIC ASSISTANT T. 12:00 P.M. 141 rial CANDICE PYE ord RUPINDER SINGHB BAGRI ASSISTANT MUSIC EDITOR iadvertising@theconcordian.com ui She offic an.

ALEXA HAWKSWORTH news@theconcordian.com co Mo lding rbro e HUSSAIN ALMAHR m PITCH. WRITE. EDIT. (51 ntre CC oke S a ext 4) 84 l, QC 431 t. W ASSISTANT NEWS EDITORS . 74 8H 99 242 4B BOARD OF DIRECTORS HEAD COPY EDITOR 1R 4 IAN DOWN SPORTS EDITOR 6

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NOVEMBER 14, 2017

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