The Concordian - February 27th, 2018

Concordia University’s weekly, independent student newspaper

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VOLUME 35, ISSUE 20 | TUESDAY, FEBRUARY 27, 2018

Life p. 6

theconcordian.com  /theconcordian  @theconcordian

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A trek into turbulent territory Director Cecilia Aldarondo explores family secrets at the height of the AIDS crisis

also in this issue

news

arts

music

Students invest Bringing Herakles The pop rhythms in their future p. 4 to the stage p. 11 of June Moon p. 14

sports

opinions

Stats on Stingers' We need to teach scoring stars p. 16 kids about sex p. 18

news

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

UNIVERSITY

Concordia president addresses concerns

Alan Shepard says university often does not assign classes to staff under investigation MEGAN HUNT ASSISTANT NEWS EDITOR Concordia president Alan Shepard discussed public concerns about the investigation of the university’s creative writing program and the creation of the Task Force on Sexual Misconduct and Sexual Violence in a press briefing on Feb. 15.

In early January, courses taught by two creative writing instructors, whose names have not been publicized, were reassigned after accusations of sexual abuse and misconduct within the program circulated on social media. Although these instructors have not been teaching since the investigation began, Shepard could not confirm whether they will be assigned any

classes in the upcoming summer and fall semesters, citing legal reasons. However, he did mention the university’s typical response to staff investigations.

“In general terms, if someone’s not teaching because they’re under investigation, they typically wouldn’t return to teaching while they’re still under investigation,” Shepard said. “If somebody’s under investigation, then they’re under investigation, and we don’t mix and match.”

T h e pre s i dent also clarified that the investigation is only reviewing the actions of certain instructors and concerns about the atmosphere in the English department, and not the university as a whole. However, he said the sexual misconduct task force, to be made up of both staff and students, will

be reviewing policies that affect all faculties and departments.

“The task force is a general review of the policies and procedures, a kind of environmental scan,” Shepard said. "Whether there will be any other [department investigations] will be something we’ll determine after we have done the work of the task force."

BOMB THREAT: ONE YEAR LATER Shepard praised the university’s response to the bomb threat made on March 1, 2017, when Islamophobic letters were sent to multiple media outlets, and three of Concordia’s downtown campus buildings were evacuated.

“The Concordia community handled that episode well, particularly our security services […] which is really important in that kind of civic emergency,” Shepard said.

Coming up on the one-year anniversary, the incident has recaptured the public’s attention

with the trial of Hashim Saadi, a former Concordia doctorate student who was arrested in connection with the threat. Saadi’s trial is currently on hold while he undergoes a psychiatric evaluation.

A l t h o u g h t h e u n i ve r s i t y reviewed its safety guidelines following the threat, it was decided there would be no policy changes.

“Whenever we have a major incident, we always do a so-called post-mortem,” Shepard said.

“We felt like our policies and our practices work well, but it’s important to learn from every instance like this.”

Concordia is now subscribed to an emergency response app called Alertus, which immediately notifies app users about emergencies at the university.

“I have it on my phone, and I recommend everyone have it on their phone,” Shepard said.

“In the event that we have some terrible thing unfolding, God forbid, we can send a message.”

Graphic by Zeze Le Lin.

STUDENT LIFE

The perpetual debate about levy fees

Software engineering student launches survey to assess opting out process KENNETH GIBSON VIDEO EDITOR When Jonathan Sugumar, a third-year software engineering student, submitted a message to be published on Spotted: Concordia, he was looking for a project that would engage his passion for user experience (UX) design, which focuses on improving the usability, accessibility and pleasure experienced when interacting with a product or service.

Spotted: Concordia, a Facebook page that allows Concordia students to submit posts that are then published anonymously by page administrators, published Sugumar’s submission on Feb. 12. The post asked if there was anything “annoying to deal with the way it is implemented currently” at Concordia.

“I wanted to see if there was anything that could be improved upon,” Sugumar said, referring to the various ways students interact with school administration and student groups on campus.

One of the most “liked” responses to the post suggested the levy fee opt-out process. This led Sugumar

to launch an online survey on Feb. 18 seeking input from his peers on the “user experience” of opting out of levy fees at Concordia.

Although some levy fees are mandatory, such as those for faculty student associations, levy fees for student groups or activities are required, under item 17 of Concordia’s Policy on Student Associations and Groups, to have an opt-out mechanism administered by the group. Groups that are funded by a levy fee include the Centre for Gender Advocacy, the Sustainability Action Fund, the Concordia Greenhouse and The Concordian newspaper.

However, the policy document does not prescribe specific rules for how the mechanism should work.

The current procedure most groups follow has long been a source of contention for some Concordia students. Students must bring their student I.D. card and student account record to a group’s office on campus during a specific period at the beginning of each semester.

This period usually lasts one or two weeks, although each group sets its own time frame. The fee for each group is often less than a few dollars, and students must go

to each individual group separately to be refunded.

Sugumar’s survey included questions about how often students opt out of levy fees, whether they would prefer an online opt-out system, and why students opt out of levy fees for certain groups and not others.

Based on the 110 responses Sugumar had received by Feb. 26, he said about 65 per cent of respondents said they don’t opt out because the process is too tedious, and 75 per cent said they would use an online system if it was available. Sixty per cent of respondents said factors that influence their decision to opt out includevwhether they agree with the group's mandate, whether they think the group is transparent and how the group spends levy fee money.

In recent years, Spot ted: Concordia has become a popular platform for students to criticize the levy fee system. The page has published more than 10 posts criticizing the system since the beginning of the 2017-18 academic year, with some sharing information on how to opt out. Sugumar said he had frequently seen people

complain about these fees on the page prior to having his post published.

According to university spokesperson Mary-Jo Barr, the process for opting out is outside of the university’s jurisdiction and, therefore, the university could not comment on the difficulties students experience during the process.

Based on the survey responses, Sugumar said he believes the best way to proceed

would be to create a central web page where students can not only opt out of any levy fees, but also read about each group’s mandate and how they spend their levy fee money.

For his part, Sugumar said he feels indifferent about the subject. “At the end of the day, I don’t mind giving a bit if it helps other people’s general student life,” he said.

Graphic by Zeze Le Lin.

FEBRUARY 27, 2018

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MUSIC

CLOrk: Altering our perception of sound The Concordia Laptop Orchestra is changing the way we think about electronic music CANDICE PYE NEWS EDITOR The trend of live electronic music has gained a lot of popularity over the last 10 years. DJs, composers and sound artists in general have taken sound and altered the world’s traditional perception of it completely.

Students and professors in the electroacoustic studies program at Concordia University have made a great impact in the sound art scene as well, creating and manipulating the auditory in classes like the one that serves as the home of the Concordia Laptop Orchestra, otherwise known as CLOrk. The Concordia Laptop Orchestra—an orchestra that is composed of students creating and manipulating sound on their laptops—took off in January 2011 and has since evolved into a “democratic, experimental environment for realizing new ideas, new technologies, new performance and new communication practices,” according to Eldad Tsabary, the founder and director of CLOrk, who has been teaching electroacoustics at Concordia since 2005. Tsabary is now the coordinator for the program.

According to him, electroacoustic studies focuses on the creation, manipulation and perception of sound. It is not about using sound to produce music, but rather using sound as the music.

“The field of electroacoustics is fascinating to me because it is in constant and rapid flux,” said Tsabary. “It is a technology-dependent practice […] and it also transforms really fast artistically, where artists and researchers are constantly looking to update and innovate the modes of creation, mediation and collaboration.”

Tsabary’s role as a professor has focused on the development of aural training and live practices—both

Édward Fuller, right, improvises spoken word at the Concordia Laptop Orchestra's latest concert. Photo by Candice Pye.

fascinating aspects of the field which have influenced his work with CLOrk. Acting as an exercise in improvisation, collaboration and experimental sound, Tsabary uses CLOrk to provide students with the opportunity to collaborate and incorporate the work of other artists, such as musicians, dancers, poets, actors or singers, into their performance.

“The collaborator is often the ‘guest of honour,’ so to speak, ser ving as a shared focus of attention and direction,” Tsabary said. “While the orchestra focuses on a guide and follows their lead, the soloist is inevitably following the orchestra’s voice as well […]

The result is really a conversation.”

At a CLOrk concert on Feb. 8, one of the guests of honour was local performer Édward Fuller. He stood in the centre of the room at a microphone, with no shoes on, surrounded by approximately 25 laptop orchestra members.

He spoke in improvised, poetic,

sometimes broken sentences, guiding and being guided by the orchestra’s sounds.

At the front of the room during their performance, an online chat screen was projected, featuring real-time conversation between each of the laptop orchestra performers, as well as between the performers and the audience.

“When I felt that the orchestra had developed the ability to listen and support a synergistic performance, we added online chat,” Tsabary said. “It provides us versatility, real-time musical discussion and quick, collective troubleshooting when something does not work well. Adding the audience into the conversation is fun, and it breaks down the traditional distance between audience and performer.”

While the performances are often entirely improvised, each class leading up to a concert acts as a rehearsal. In these classes, students meet with Tsabary to discuss and improvise, deciding

what works and what does not.

According to Tsabary, there is a great deal of preparation that goes into a laptop orchestra concert.

“There are technical preparations to make and strategies to develop, like good communications and musical flow. In the first week of the semester, we did not use any mediation means, but simply played, listened to each other, discussed, r aised problems, proposed solutions, tried them out and continued to do so in an iterative manner,” he said.

Ts a b a r y s a i d t h at wh i l e there is never really a specific goal or plan going into one of the concerts, his ideal CLOrk experience consists simply of a “well-balanced collective creation.” Ultimately, he said his wish is for a seamless group experience where each student feels they have contributed equally and is satisfied with the role they played in the process.

One of Tsabary’s electroacoustics studies students, Kasey Pocius,

Electroacoustics students create and collaborate together during a CLOrk performance. Photo by Candice Pye.

participates in CLOrk rehearsals and concerts regularly. They said that while the program does provide experience with live performance, improvising and working in large groups is not explored outside of CLOrk. “I personally find CLOrk works quite well as a continuation of the work covered in the ear training classes, as attentive listening is incredibly important in the laptop orchestra context,” Pocius said.

According to them, the grading system for the Concordia Laptop Orchestra class is very unique, as the students are solely evaluated on their attendance. Pocius said the improvisatory nature of CLOrk does not lend itself to a more traditional grading system, so it is difficult to prevent students from taking the course just to receive an “easy A.” Nonetheless, they are happy with how the last concert went. Tsabary has had a positive influence on the program overall, according to Pocius.

“He continues to push research in terms of ear training software and practice,” they said. “In the more discussion-based courses I have had with Eldad, he always tries to foster a good environment for discussion.”

While electroacoustics students have learned a lot from Tsabary, he said he has also learned a lot from his students. As a composer himself, Tsabary has noticed his own compositional practice mixing into the laptop orchestra.

“I find it way more exhilarating to create within the group setting than to compose individually,” he said. “It is a lot of fun to allow your ideas to interact and cross-fertilize with others’ ideas and to witness how a collective imagination realizes in a cohesive orchestra performance. To me, it is a next-level type of creation, where ownership is given away in exchange for individual growth.”

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FEBRUARY 27, 2018

BUSINESS

Investing in the future through the KWPMP

Concordia portfolio management program gives students practical experience

MATTHEW COYTE ASSISTANT SPORTS EDITOR The Kenneth Woods Portfolio Management Program (KWPMP) is an investment training initiative that allows eight to 10 students to manage a $2.5-million portfolio every year.

Although the students—called fund managers—have control of the portfolio for the calendar year, there are measures in place to hold students and their investment decisions accountable. Each fund manager is responsible for a specific industrial sector, and they are tasked with all investment swithin that industry.

Reena Atanasiadis, the director of the KWPMP, described how various measures, such as setting guidelines and constraints, ensure the fund managers make investments based on ideals of sustainability while growing their discretionary portfolio.

Once every quarter (every three

months), the fund managers must justify their decisions to a board of professionals who make up the program’s client committee. This committee ensures the managers are investing in a professional manner.

“That’s how it is in the industry,” Atanasiadis said. “It’s this way so that no mistakes are repeated [...]

We’re not just generating returns, but we’re also teaching responsible investing.”

Calvin Truchon, a current fund manager, said the pressure of managing such a large portfolio is a crucial factor for gaining the experience needed in the professional investment landscape.

“Pressure is somewhat spread out by the fact that we manage the fund as a cohesive team,” he said.

“The best way to reduce stress is to work hard and try your absolute best. Whatever happens next is out of your control, and you need to be level-headed to adapt.”

According to Truchon, if a

fund manager loses money on an investment in the KWPMP, there are no real consequences for a bad investment, “apart from feeling bad for yourself [...] and getting grilled by the client committee.”

The emphasis is on providing a learning experience for students.

To become a fund manager, students must spend a calendar year as a research associate at Concordia, which involves taking a six-credit applied investment course, as well as interacting with and learning from current fund managers.

The selection process is “ex t re m e ly co m p e titi ve ,” Atanasiadis said, adding that, in any given year, there are between 50 and 100 applicants. To be selected, students must meet the program’s academic requirement of a 3.5 GPA upon application and maintain it throughout the program. Atanasiadis described the students who are eventually chosen as “desperately hungry”

to join the world of investment.

“Their character is what’s important,” she said. “There are no guarantees. I’ve had to fire students. I’ve put students on probation. Nothing is just handed to them.”

The program was launched in 2000 after a $1-million donation was made by Concordia alumnus Kenneth Woods. Since then, 160 students have graduated from the KWPMP and become what the group calls Calvin Potter Fellows, named after a Concordia finance professor who ser ved as the university’s department of finance chairman for many years.

Ivanna Biloshytska, a fund manager for the 2018 calendar year, said the team works together to decide which investments to keep from the previous year. The team is in constant communication about decisions involving the program and their investments. Before investing, they must prepare an intensive 20 to 40-page overview

of the proposed investment. From there, the managers vote on whether or not to move forward with the investment.

In 2016, the project generated about $118,000 in returns. For 17 years, the KWPMP has focused on giving students a place to learn how to manage real money in real time.

“It helps you become wellr o u n d e d i n t h e i n d u s t r y, ” Biloshytska said. The program is also designed to offer the fund managers a large network if they ever need advice or help regarding their investments.

After graduating from the program, former fund managers usually choose to mentor and help guide the next generation of fund managers, according to Atanasiadis. She called the program a “family” and said fund managers, both past and present, have a genuine appreciation for the program.

Graphic by Zeze Le Lin.

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COMMUNITY

Accomodate seniors, urge Concordia researchers

Montreal announces additional consultation for Age-Friendly Cities initiative

When Montreal mayor Valérie Plante’s administration announced they wanted input from older citizens about how to make the city a more age-friendly place, they did so in a way that excluded the most vulnerable seniors , according to two Concordia researchers.

This month the city of Montreal organized four senior consultation sessions to gather information about how to better address the needs of older citizens. Seniors who could not attend the sessions were directed to an online poll on the city’s website.

On Feb. 7, Kim Sawchuk, the director of Ageing, Communication, Technologies (ACT) at Concordia, and Shannon Hebblethwaite, the director of the engAGE centre for research on aging, sent an open letter to Plante criticizing the consultation process.

Sawchuk and Hebblethwaite wrote that they were pleased the city was developing an action plan to better the lives of Montreal seniors, but said they were worried the consultations excluded the

Graphic by Zeze Le Lin.

MATTHEW LAPIERRE ASSISTANT NEWS EDITOR

people whose voices needed to be heard the most.

In an inter view with The Concordian, Hebblethwaite said older seniors, especially those with reduced mobility, would have trouble attending the sessions. An online survey was no solution, she added, claiming 58 per cent of seniors over the age of 75 do not use the internet.

She also expressed concern that the consultations excluded anglophones because there was no consultation scheduled in the Côte-des-Neiges—Notre-Damede-Grâce (CDN-NDG) borough,

where many of the city’s Englishspeaking seniors live.

“If you don’t design an agefriendly consultation process, how can we trust you to design an age-friendly city?” she asked.

According to Hebblethwaite, since she and Sawchuk sent their open letter, the city has responded to some of their concerns. A consultation session was added for Feb. 26 in the CDN-NDG borough, and a bilingual phone line has been set up for seniors to call if they have questions about the consultation process.

Nonetheless, Hebblethwaite

said she is worried. Winter in Montreal brings icy sidewalks and snowy cobblestones—obstacles that can be difficult for seniors to navigate, especially those with mobility issues.

“Holding those consultations in February makes it dangerous if not impossible for seniors to attend those sessions,” she said.

“We want the city to extend the consultations for a month or two into the spring.”

Hebblethwaite noted that in other cities such as Vancouver and Toronto, paper surveys were posted in public places, like

churches and community centres, for seniors to fill out.

The Montreal consultations are part of the Age-Friendly Cities initiative, which began as a call from the World Health Organization (WHO) in 2007 for municipalities around the world to develop plans to address problems that affect seniors.

The city of Montreal estimates that people aged 65 and over account for 17 per cent of the city’s population and that figure will rise to 21 per cent by 2036.

Social isolation among seniors is one of the major issues Montreal will try to tackle. In 2016, the Canadian government reported that social isolation is linked to a significantly increased risk of depression and dementia.

Hebblethwaite added that language barriers can contribute to feelings of social isolation. For example, English-speaking seniors in Montreal are more likely to be socially isolated than their French counterparts.

“A lot of older, English-speaking seniors came to this province before the language laws, and their children may have left Quebec,” she said.

“They don’t have the same family or social networks [as Frenchspeaking seniors].”

HEALTHCARE

Dawson’s nursing program voices concern

Student, program coordinator express thoughts on hospital staff and equipment shortages MINA MAZUMDER STAFF WRITER “I’m scared to be in [a field where] patient care is given by stressed and burned out nurses,” said Malarmathy K a n a d aya h , a t h i rd -ye a r nursing student at Dawson College. “It’s terrifying.”

On Feb. 26, Lucie Tremblay, the president of L’Ordre des infirmières et infirmiers du Québec, urged the provincial gover nment to implement immediate solutions to address the growing and unprecedented number of concer ns being raised by nurses and the general public about the quality of care services in Quebec.

Kanadayah, who is working as an intern at the Jewish Gener al Hospital, s aid she has observed some of these issues first-hand. “In the unit where I’m working, [they are] sometimes short-staffed due to sick calls,” she said. “I see the tired faces of the nurses [...] because they have not taken a minute to sit since the start of their shift.”

New to the workforce,

Kanadayah said she is afraid these working conditions will affect her desire and ability to do her job well. “I have kept up my kindness to patients, but some nurses have told me that it would not last long,” she said. “That honestly scares me.”

F i o n a H a n l e y, t h e p ro gram coordinator for Dawson College’s nursing department, said she believes nurses face poor working conditions in both French and the English hospitals in the province. “Across the French and English sectors, there are many problems with cut-backs in the healthcare system,” she said.

Hanley, who teaches nursing students in a hospital setting, said she sees how nurses are expected to carry the burden of patient care and deal with staff and personnel shortages. “They are often told that they are not allowed to speak to the media because they work in a hospital setting,” she said.

“When they do, they are risking their positions.”

A c c o r d i n g t o H a n l e y, although the Quebec gov-

ernment is increasing funding to certain hospital sectors, the money isn’t being used efficiently. “Patients are suffering the consequences of having inadequate care because we are unable to do it,” she said.

“We put lots of money into areas that are not necessarily the areas that really need to have money put into them.”

What she has noticed while working with her students in various Montreal hospitals is that there is also a lack of basic equipment. “ T here aren’t enough blood pressure cuffs, oximeters, sheets pillows o r b e d s t h at wo r k properly; there aren’t enough mattresses,” she said, adding that, “young nurses are given very high responsibilities."

Hanley s aid she believes the best s o lut i on wo u ld b e to have a serious

discussion between nurses, hospital administrators and government representatives to confront these issues and find appropriate solutions.

“There needs to be a serious discussion with the Ministry

of Health and the Ministry of Education,” she added. “We need to have a real dialogue with people who really understand the situation in order to move forward.”

Graphic by Zeze Le Lin.

life

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

COVER STORY

An exploration of unresolved family conflict

Memories of a Penitent Heart delves into the height of the AIDS crisis at Cinema Politica screening MACKENZIE LAD ASSISTANT PHOTO EDITOR Cecilia Aldarondo’s documentary, Memories of a Penitent Heart , began with a question: “If we only remember the good things about the people we love, what do we lose?”

Her search for the answer led to the excavation of a guarded family history at the site of her uncle Miguel’s death.

The documentar y screened at the Montreal Museum of Fine Arts on Feb. 15 as part of Cinema Politica’s winter series, in conjunction with the Concordia University Community Lecture Series on HIV/AIDS. Miguel, who died of AIDS complications when Aldarondo was only six, became an elusive figure in her family. A cross-generational game of broken telephone seemed to obscure the circumstances of his death and the nature of his life.

“I started sensing that something was really amiss in the way that he was talked about,” Aldarondo said. A persistent curiosity sent her back a generation to the height of the AIDS crisis in New York City, where her uncle lived at the time, and to the doorstep of his lost lover.

“It is a personal film; it’s about family,” Aldarondo said. “It’s a film about memory.”

The story is guided by the tangible, material objects that house these memories: handwritten letters, dusty negatives, reels of Super 8 home movies, photographs—a seemingly endless trove of assorted archives. Aldarondo unpacks them on screen, weaving in the residual people and places from Miguel’s life through intimate interviews and the construction of a family tree with new, unexpected branches.

The film grapples with the complexity of Miguel’s identity, fractured by the social circumstances of his life. His experience as an immigrant in New York City, at a time when racism, homophobia and the stigma around AIDS were pervasive forces, placed Miguel in the precarious position of a cultural outsider.

The nuances of his identity were reserved for specific audiences, none of whom accepted Miguel in his entirety. “Popular depictions of bigotr y tend to be

Polaroid photos of Miguel and his family, as seen in Memories of a Penitent Heart.

A collection of family photographs, as seen in Memories of a Penitent Heart.

extreme,” Aldarondo said of her uncle’s limited belonging in American society. “The story of exclusion tends to be more subtle.”

Over the course of the film, Aldarondo resurrects Miguel as the multidimensional person he was, not just who his family wanted him to be remembered as: Miguel the son, the brother, the uncle, the friend. He was also known as “Michael” the American actor to some, and Miguel the gay man, the Catholic, the Puerto Rican, the outsider to others.

It was important for Aldarondo to recognize the overbearing presence of religion throughout Miguel’s life, starting with his upbringing in an ultra-religious family in Puerto Rico. “Part of what I think about is the secularization of narratives around AIDS, and the way in which we talk about this notion that religion was only ever bad for queer people,” she said. “It forced me to try to see things in a more nuanced way.”

Aldarondo had to acknowledge her own contemporary biases and relationships with the people involved to reconcile the social and cultural chasms opened up by time.

“It’s an ethical minefield,” she admitted.

Bridging the gap between generations also meant navigating the devastating aftermath of the AIDS crisis. “I was really ill-prepared for the level of pain and unresolved grief that they all felt as a community,” said Aldarondo about members of the gay community who knew Miguel.

The documentar y depicts how the AIDS crisis, as well as the art, activism and social repercussions it produced, doesn’t occupy the same space in contemporary dialogue as other social movements from the past.

Like Miguel’s story, the epidemic is largely Cecilia Aldarondo is the director of Memories remembered through the of a Penitent Heart . Photo by Mackenzie Lad. lens of the mainstream media, a depiction that isn't necessarily representative of the is, in itself, a political act, she explained. entire complex struggle. Aldarondo If Memories of a Penitent Heart is a walk learned that identity politics were down memory lane, then it is also a trek deep as present among the commuinto turbulent, uncharted territory. Though nities affected by the AIDS crisis the film began as a search for closure, it as they were in Miguel’s own life. becomes apparent that an ultimate resolution “I do think of the film as a kind can’t be reached. “It’s not like we know the of intimate activism,” Aldarondo definitive story of Miguel,” Aldarondo said. said, referencing the feminist “He’s gone. It’s more about his absence.” phrase: “The personal is political.”

As much as the film is about revisiting Even as she encountered criticism old wounds left by shame and denial, the that personal narratives do not belong healing process takes place in the aftermath. in activist documentaries, Aldarondo Memories of a Penitent Heart fills in the gaps remained steadfast in her belief that in memory so that what’s gone isn’t forgotten. individual, human stories are the way “In a crisis like the AIDS crisis, there were to access bigger social issues. Telling so many people jockeying for power over stories to a mainstream audience that that moment,” Aldarondo said. “It’s trying to would have otherwise gone unheard sort of give him his moment back, in a way.”

FEBRUARY 27, 2018

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HEALTH

Empowering yourself with knowledge

Women’s health research discussed at panel hosted by the International Women’s Forum MINA MAZUMDER STAFF WRITER

to your brain,” Posluns said.

On the topic of breast cancer, Nathalie Tremblay, Three notable women at the CEO of the Quebec Breast the helm of major health Cancer Foundation, said organizations spoke about new technologies, such as the most recent statistics, artificial intelligence, and research and innovations large amounts of medical data concerning women’s health have allowed researchers at a panel discussion hosted to tackle the disease in its by t h e I nte r n at i o n a l earliest stage. “You can see Women’s Forum (IWF) at biomarkers and mutations Concordia on Feb. 23. without having the ver y According to Dana difficult biopsy and wasting A d e s- L a n d y, t h e C E O time in trying newer theraof the Heart and Stroke pies,” she explained.

Foundation of Quebec, In addition to widely cardiovascular disease is known tips, such as eating the leading cause of prehealthy, exercising regularly, mature death for women in drinking moderately and Canada, and 78 per cent of From left, Dana Ades-Landy, Lynn Posluns and Nathalie Tremblay discuss women’s health on Feb. 23 at Concordia. not smoking, Tremblay said women with cardiovascular Photo by Mina Mazumder. women can lower their risk disease are misdiagnosed. of breast cancer by “knowing “Most of them are sent home with an if your mother has it than if your father your genes [and] family history.” She warned. “It’s killing young woman.” antidepressant,” she said.

While many causes of brain-related does, but we do not know why,” she said. nonetheless emphasized the importance of Although inaccurate information is Since there is no cure for Alzheimer’s engaging in physical activities, specifying diseases are still unknown, Lynn Posluns, prevalent on the internet, Ades-Landy the president of the Women’s Brain Health disease yet, Posluns stressed the impor- that they should be consistent rather than said it is crucial that women trust medical Initiative, said researchers have found a tance of prevention. “One third of all intensive: “Thirty minutes every day for professionals and other reliable sources, definite link between hormonal issues and dementia cases are avoidable. Most five to six days, or one hour for three days, including the Heart and Stroke Foundation’s people don’t realize that,” she said, and moderate to slightly high [intensity].” brain health. website. “Your doctor should be a sound For example, the risk of dementia adding that Alzheimer’s begins to cause Lastly, Tremblay’s message to young source of information,” she said. increases dramatically among women brain damage 20 to 25 years before a women was to be their own advocate. “You One common misconception about who have a hysterectomy and double person experiences visible symptoms. own your health, and you are responsible. heart disease is that it only affects older Among the proven methods of preven- Don’t wait for people to tell you that you oophorectomy prior to natural menopause, people, but “the face of heart disease and according to Posluns. Similarly, “you’re tion is learning a new language, “which have an [illness]. Empower yourself. Make stroke today is changing,” Ades-Landy more likely to have Alzheimer’s disease can add seven years of cognitive benefit changes to have a better life.”

ADVOCACY

A space for feminists and books L’Euguélionne bookstore advocates for the feminist community in Montreal CATHERINE HANSEN CONTRIBUTOR

OLIVIA BURWELL CONTRIBUTOR

As soon as you step foot in L’Euguélionne, it feels like home. This feminist bookstore in the heart of the Gay Village is a well-lit, colourful space with clean decor. In b u s i n e s s s i n c e D e c e m b e r 2016 , L’Euguélionne is the first bookstore to strongly advocate for the feminist community in Montreal since the 1970s.

Specializing in women’s literature, L’Euguélionne also offers books aimed at diverse identities, from queer and anti-racist to asexual, two-spirited and anti-colonial.

The bookstore often organizes a variety of literary and feminist events, such as the book launch of Ciel by Sophie Labelle held on Feb. 8. A few days later, the bookstore hosted the play Black Boys, which explores identities of queer black men.

“I decided to partake in the feminist movement because of [many] experiences in my life. It kind of came naturally,” said Stéphanie Dufresne, a graduate from Concordia’s women’s studies program.

She co-founded L’Euguélionne alongside Nicolas Longtin-Martel, Sandrine BourgetLapointe, Camille Toffoli, Karine Rosso and Marie-Ève Blais.

“Slowly, with [reading about feminism] and talking with people who had a feminist lens, it made me make sense of my reality,”

she said. “It made sense to be a part of this what makes it a movement and not just a looked down upon,” Dufresne said. movement.’’ personal belief,” she said.

She encourages young women to learn Dufresne said she did not have a feminist The founders of L’Euguélionne organize more about feminism, whether that’s by reading upbringing, and so it was not always clear to events in support of feminism regularly to feminist blogs or books by authors like Roxane her how she could participate in the feminist increase knowledge about the movement Gay. “We need knowledge to properly fight movement. in the Montreal community, particularly this battle,” Dufresne said. L’Euguélionne “It’s not a clearly defined movement. among younger generations. is located at 1426 Beaudry St. It’s next There are so many ways to be a feminist, and “If young girls grow up in a world where event will be a panel discussion for the some of those ways are incompatible,” she saying you’re a feminist is trendy, even though launch of a book concerning research explained. “I would disagree with many of it might be superficial at first, it is better than on LGBT families, held on Feb. 28 from the reasons why some people are feminists, growing up in a world where feminism is 5 p.m. to 7 p.m. Entry is free. but no one is the authoritative figure to police anyone for their reasoning.”

Dufresne said she believes it is healthy to have debates and discussions about feminism, because it isn't a stagnant movement.

“I think everyone who calls [themself] a feminist knows what it means for them, and that is enough,” she said. “But it is healthy to engage in debate with other people.”

According to Dufresne, by critiquing definitions of feminism and listening to diverse voices, the movement can grow in strength and popularity.

“If [feminism] becomes a shared understanding, that is L’Euguélionne opened its doors in the Gay Village in December 2016. Photo by Catherine Hansen.

8

theconcordian

FEBRUARY 27, 2018

VIRTUAL REALITY

Cinema and the digital world Concordia’s president speaker series featured alumnus and entrepreneur Félix Lajeunesse KIRUBEL MEHARI ASSISTANT PHOTO EDITOR Once a Concordia film production student, Félix Lajeunesse is now the co -founder of one of the largest virtual reality companies in the world, Felix & Paul Studios. At a panel discussion on Feb. 12, he shared insight on how he and his team built a virtual reality studio from scratch with nothing but a dream in mind.

“When I studied film production in 2003, the dream was to be a film director,” Lajeunesse said. “At that time, I would have not have guessed that I would end up doing work in a different medium than cinema.”

L ajeunesse's talk , led by professor Daniel Cross of the Mel A portrait of Félix Lajeunesse, the co-founder of the world-renowned virtual reality company Felix & Paul Studios. Photo by Kirubel Mehari.

Hoppenheim School of Cinema, was part of Concordia’s president speakers series on digital futures. The and his partner, Paul Raphaël, focused on “You feel like you’re there. You feel involved investing in a medium that conversation discussed virtual reality building a camera to create an immer- present inside the story, completely wasn’t considered an industry yet. It (VR) technology and its application for sive, 360-degree experience. Their goal immersed, emotionally and psycho- payed off, however, as Lajeunesse and users around the world was to experiment with 3D technology logically, but you can’t say hi to the Raphaël got their first investment from VR technology and projects immerse that would give viewers an immersive people in [that] world,” Lajeunesse said. Phoebe Greenberg, the founder of the viewers in different worlds. In the early cinematic experience rather than just Creating Felix & Paul Studios has given Phi Centre, a multidisciplinary art centre years of Felix & Paul Studios, Lajeunesse an interactive one.

Lajeunesse and Raphaël the opportunity in Montreal. Lajeunesse said Greenberg to collaborate with notable figures, such believed in their project and gave them as Barack Obama, Reese Witherspoon and the financial backing to get the company LeBron James. Their team is composed started. of filmmakers, as well as engineers, Lajeunesse said believing in their programmers, sound technicians and vision for Felix & Paul Studios is what others who diverge from the traditional kept him and Raphaël going as creatives. filmmaking crew.

“We had to find a way to sell our Lajeunesse said he chose the medium dreams,” he said. “We had to find a way of VR because it shares stories from the to package our desires and our vision perspective of the viewer, not the director. of whatever we were building and sell For example, a simulation created by it, to convince people that there was a Felix & Paul Studios gives viewers the business case inside of it.” at Canada’s Largest International University opportunity to feel like they are sitting For more information about Felix face-to-face with former U.S. President and Student Travel Expo & Paul Studios’ upcoming projBarack Obama. ects, check out their website at A c c o r d i n g to L a j e u n e s s e , t h e i r business model was risky because it FELIXANDPAUL.COM

Explore Your Future MARCH 3

PALAIS DES CONGRÈS DE MONTRÉAL

FREE ADMISSION Expo: 1 pm - 5 pm Free Seminars: 12 noon - 5 pm

www.studyandgoabroad.com Comic by Libby Hopkinson.

FEBRUARY 27, 2018

theconcordian

9

HORTICULTURE

Lazy gardening 101

Plant care tips and tricks for those who suck at gardening text and photos by

ALEX HUTCHINS PHOTO EDITOR

If you’re anything like me when it comes to gardening—meaning you kill 75 per cent of all plants you touch, but are still first in line whenever Plantzy has a liquidation sale—then this article is for you, wannabe master gardener.

I have about 30 plants and counting in my apartment that are thriving, surprisingly, so I’m clearly qualified and in a position to be giving advice about plants. (Shout-out to my roommate who takes care of literally everything plant-wise whenever I’m slacking hard, which is basically all the time). So here’s my fool-proof, totally legit, how-to guide on care for low-maintenance indoor houseplants. Don’t worry, all of this advice has been approved by Concordia Greenhouse official Paul Fournier.

GENERAL TIPS FOR HOUSEPLANTS: LL Only water your plants when the soil

LL Most indoor houseplants can’t handle

has dried out. Stick your finger in the direct sunlight. Some can in small amounts soil, and if the first two centimetres are (see examples below), but as a general dry, it’s time for some H2O. Waterting rule, just avoid it. Unless the species proportions typically depend on how you have requires direct light, indirect, large your plant is and how quickly the medium-low light conditions are ideal. soil dries out. On average, you should be checking your plants about once a LL Developing roots from plant clippings week, and more frequently as ambient in water instead of moist soil can be heat increases. effective for some houseplants—but not all. If you choose to start with water, make LL Re-potting, or “potting up,” should be sure that, once the roots have grown to done yearly. Increase your pot size by about one centimetre, you put them in about five centimetres in diameter each soil. Many plants, if left in water for too time. Keep in mind though: commercial long, will develop a water-root system pots are sold in inches! Do not increase and their growth will stagnate. Once this your pot size by five inches. A pot that’s happens, the plant is likely to suffer when too big will cause root rot. Also, be transferred to soil. However, some plants sure to give your plants fresh soil when can be left in water permanently and will re-potting. grow very well (see examples below).

POTHOS (EPIPREMNUM AUREUM) SUNLIGHT: Medium-low, indirect (no direct sun) | SOIL: All-purpose BONUS TIPS: Pothos’s are one of the few houseplants that tend to thrive just as well with a water-root system as they would with a soil-root system. (For all the broke students reading this who are not willing to spend money on dirt, just leave your pothos in a mason jar with water). They also grow well in the shade of other plants.

SNAKE PLANT (SANSEVIERIA TRIFASCIATA) SUNLIGHT: Indirect-low (will tolerate a bit of medium sun) | SOIL: Succulent mix is best (can manage with all-purpose) BONUS TIPS: Some succulent care rules apply to this plant—mainly avoid over-watering. Many plants belonging to the sansevieria genus have similar care requirements: Starfish, Silver Queen, Robusta and Bird’s Nest, to name a few.

SPIDER-PLANT (CHLOROPHYTUM COMOSUM) SUNLIGHT: Medium-indirect is best (but will grow in almost any type of light) | SOIL: All-purpose BONUS TIPS: If you add a bit of fertilizer every time you water your spider babies, they will grow like crazy—even during those dreary winter months. They are one of the easiest plants to propagate and, like pothos, thrive with a water-root system.

ZZ PLANT (ZAMIOCULCAS ZAMIIFOLIA) SUNLIGHT: Medium-low, indirect is best (but will tolerate a bit of direct sun) | SOIL: All-purpose BONUS TIPS: ZZ plants like to be “pot-bound,” meaning they thrive in a pot that constricts them.

(Yearly re-potting rules still apply). They’re also very forgiving if you forget to water them, or forget that you’ve already watered them.

WEEPING FIG (FICUS BENJAMINA) SUNLIGHT: Medium-low, indirect (no direct sun) | SOIL: All-purpose BONUS TIPS: Weeping figs don’t like to be moved! Find that sweet spot, and leave ‘er be.

An important gardening lesson that can take years to learn (you’re welcome) is that all plants have a mind of their own. Trial and error is key when developing your green thumb, and don’t always trust the internet—shocker, I know. Everything you’ve just read here are merely suggestions. More than anything else, it’s important to pay attention to your plants and how they adapt to your specific growing conditions. Even if your methods are unconventional, if they work, keep doing whatever your plants seem to like.

Get started on your garden by hitting up the Concordia Greenhouse plant sale on March 6 from 5 p.m. to 8 p.m.

etc

FEATURED CONCORDIA ARTIST

CAMILLE NGUYEN

Camille Nguyen is a graphic designer from Montreal, Canada.

In 2010, she graduated with a DEC in graphic design from John Abbott College and continued her studies at Concordia University in computation arts and modern Chinese language and culture. Camille enjoys photography and cafe crawls, so she created an Instagram account called Eonnigiri for coffee shop lovers like her. Trendy, cute and informative, Eonnigiri is the perfect place to see where to study and catch up with friends in Montreal!

Instagram: @EONNIGIRI Website: WWW.CAMILLENGUYEN.COM

Etc is a space dedicated to showcasing Concordia artists!

Submissions can be sent to production@theconcordian.com

arts

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

THEATRE

Growth in adaptation and collaboration Concordia student leads cast and crew in production of Autobiography of Red

ADAM HONIGMAN CONTRIBUTOR

"Not everybody has to follow the script that society imposes on you."

Phoebe Fregoli, a Concordia creative writing and women’s studies student, was drawn to McGill University’s Tuesday Night Cafe (TNC) Theatre by their 24-hour playwriting competition. After receiving critical acclaim for her play Be Tween— which was expanded into a full production early last year—she was inspired to adapt one of her favourite novels, Autobiography of Red, into a play for her follow-up production.

Fregoli’s biggest challenge was turning the verse novel into a traditional dialogue format. She left the majority of Anne Carson’s original words intact while writing the play, only adding or changing them when adapting the story to a different platform.

Autobiography of Red is a loose adaptation of the ancient Greek myth of Herakles' Tenth Labour Cattle of Geryon, wherein Herakles travels to the far-off island of Erytheia to retrieve Geryon’s cattle, slaughtering the winged monster, Geryon, and his two-headed dog in the process.

Carson’s 1998 novel modernizes the myth into a metaphorical coming-of-age tale.

Now, the focus is on Geryon, a young winged boy coming to terms with his sexuality and abusive childhood while ending up in a love triangle with Herakles and his lover, Ancash.

Most of the cast learned about auditions through Facebook and jumped at the opportunity to connect with such a powerful and beloved story. José Camargo, who just finished his undergraduate degree in philosophy and psychology at McGill, was able to connect very closely with his character, Ancash, because of the similarities between Ancash’s homeland of Peru and his own homeland of Colombia.

“I think the play is a celebration of queerness in particular, but also just being different in general,” Camargo said. “It celebrates that not everyone is the same—that not everybody has to follow the script

-José Camargo

Mich Cota (left) was given the lead role of Geryon (seen

that society imposes on you.”

Mich Cota, a massive fan of the novel, was delighted to hear about the play and speechless when she was eventually cast in the lead role. “It’s so nice to come so close to this book in such a big way,” she said. “It’s just such a beautiful experience for me.”

TNC is a student-run theatre company associated with McGill’s English department but open to students from other universities.

The theatre encourages experimental and subversive plays focusing on issues of diversity and underrepresented voices in Quebec.

The theatre itself is a small, intimate affair, seating only about 30 people. Red lights illuminate the room as an operatic score sets the mood for what is to come.

The set design is simple, with a large bed being a mainstay on the left side of the stage, while kitchen tables, café chairs and patio porches get swapped

Alex Huard performs as Tango. Photo by Sadie Mallon.

onstage with Seraphina Lewin as Babysitter). Photo by

around with efficiency for each new location.

Simple sound effects, elaborate lighting cues, some convincing pantomimes and a hefty dose of imagination on the audience’s part help transform the small stage into a delightfully engaging sight. It’s simple in presentation but complex in its design.

Much of the show is anchored in Cota’s delicate and innocent portrayal of Geryon, who slowly matures over the course of the production. Every single character in this show is played with depth and reverence. Annah-Lauren Bloom’s Mother is overwhelmed but always loving as she cares for Cota’s Geryon and Connor Miles’s headstrong Brother. She is offered only a few brief moments of respite by Seraphina Lewin’s warm and protective Babysitter.

Geryon’s trip to Peru brings him in contact with Alex Huard’s evocative Tango, a dancer who offers some helpful words, as well as a brief romantic fling with a charming

Sadie Mallon.

waiter, played by Rafaël Khoury. Jess Waters’sGrandmother offers some of the show’s funniest moments with her dry wit and always controlling demeanor.

“We’ve spent a lot of time building up these emotional frameworks through which to understand each other’s characters and through which to make something available to the audience,” said Stephen Lawrence, who plays Herakles. He is currently finishing his thesis in media studies at Concordia. “I think, if you invest in this experience, there’s a lot there to unpack as a viewer.”

“I feel extremely lucky,” Fregoli said.

“Lucky to be surrounded by a group of individuals as hardworking, positive, committed, talented and creative as we have here in this production.”

Autobiography of Red plays from Feb. 28 to March 3 at the TNC Theatre on McGill’s downtown campus. More information can be found on the play's Facebook event page.

José Camargo as Ancash (left), onstage with Cota as Geryon. Photo by Sadie Mallon.

12

theconcordian

FEBRUARY 27, 2018

NUIT BLANCHE

Calling all art enthusiasts and night owls What to catch at the 15th edition of Nuit Blanche on March 3

CUJAH ANNUAL CONFERENCE The Concordia Undergraduate Journal of Art History (CUJAH) will be hosting its seventh annual conference series, which includes the opening exhibition for the Art Matters festival, (Dis)CONNECT: Alienation and Art. The theme of this year's conference "reflects on how art has contributed, instigated or rebelled against states of society throughout history and in the present," according to the event’s description. Over the course of two days, seven panels (comprised of students and professionals) will discuss topics like women and their bodies in art, and spaces of exclusion. More information can be found on the conference’s Facebook event page.

WHERE MB 9-EG, MB building WHEN Feb. 27, 2 p.m. to 8 p.m. and

Feb. 28, 2 p.m. to 7 p.m.

This is the first solo exhibition to be displayed at Station 16 Gallery, and it features the work of Montreal street artist Whatisadam (WIA).

The exhibition’s description invites guests to enjoy WIA’s pieces in a “cozy chalet setting,” specifically suited to Canadian winters. WIA has a distinct style to his work, which incorporates iconic Canadian symbols and imagery. In collaboration with Nuit Blanche, there will be a vernissage at the gallery on March 3, from 6 p.m. to 1 a.m. The artist will be in attendance.

WHERE Staton 16 Gallery, 3523 St-Laurent Blvd.

WHEN March 3 to 24

SENTENCE, SOUFFLE ET LINCEUL EXHIBITION Opening on the night of Nuit Blanche, this exhibition features the work of Jannick Deslauriers. The pieces, built out of mesh, silk and tulle, resemble machinery and man-made structures. This contrast of a harsh subject portrayed with delicate materials makes this collection particularly fascinating. The exhibition’s statement by Martha Robinson says that “Deslauriers’ work challenges the viewer to consider consequences—'sentence’—by way of the ephemeral.” There will be a vernissage held at the gallery on March 3, from 3 p.m. to 5 p.m.

WHERE March 3 to April 28 WHEN Art Mûr, 5826 St-Hubert St.

BLUEPRINTS EXHIBITION Concordia fine arts undergraduate students Jose Guillermo Garcia Sierra and Alexia McKindsey co-curated this exhibition, which is in collaboration with the Art Matters and Art Souterrain festivals.

The exhibition's description explains that "the relationship between the artist and their work is directly guided by and linked with the passage of time." The works in this show aim to explore that relationship and express that time is somewhat ambiguous in the process of creating an art piece.

WHERE March 5 to 16 WHEN VAV Gallery, VA building

Graphic by Zeze Le Lin.

#CHALETLIFE EXHIBITION

MAGGIE HOPE ARTS EDITOR As part of the Montréal en Lumière festival, the annual celebration of Nuit Blanche encourages the Montreal community to see what local galleries and venues have to offer. The festivities extend well into the early hours of the morning, and almost all events and activities in collaboration with Nuit Blanche—over 200 in total—are offered free of charge. It also includes a seven-kilometre outdoor circuit lined with art installations and projects, called Art Souterrain. It’s definitely worth braving the cold for.

DHC/ART: thegiftsofthegifted with Projets hybris 451 AND 465 ST-JEAN ST.

Located in the heart of Old Montreal, DHC/ART is a must-see gallery during Nuit Blanche. The space sits at the end of a strip of galleries that run along the canal (Galerie Michel-Ange, M Galerie d’art and Galerie LeRoyer, to name a few), so it would be the perfect beginning or conclusion to a leisurely stroll down the cobblestones.

For its contribution to the festivities, DHC/ART is teaming up with local “interdisciplinary creation company” Projets hybris. Their collaborative exhibition, which was inspired by the gallery’s past exhibitions, L’OFFRE and Bill Viola: Naissance à rebours, will be interactive and performative. According to the gallery’s press release, “throughout the evening, the audience’s participation will have an impact on the performers’ gestures.

Materials and objects will be fiddled with, deconstructed, assembled; fragments of conversations will be noted and transformed.” This unique exhibition will only be on display for a week following Nuit Blanche, so be sure to catch it while it’s up!

Ymuno Exhibitions: The Dollhouse at the End of the World 372 STE-CATHERINE ST. W., STUDIO #530

Ymuno Exhibitions, a gallery space run by two Concordia alumni, will be opening its doors for the public to experience its current exhibition, The Dollhouse at the End of the World. This installation was created by the IFPP Collective (Incubator for Phantom Pregnancies), which is comprised of local artists Dana Dal Bo, Emily Jan, Csenge Kolozsvari, Tammy Salzl and Sandra Smirle. The all-female group met while completing their MFAs at Concordia, and have since been combining forces to produce unique and engaging content. Each of the women specializes in a different type of art practice, which makes their collective work especially intriguing. The exhibition’s press release boasts that “the work tackles the state of the world today, [...] to give birth to a recombined apocalyptic aesthetic.”

Thomasson and Owen Coolidge. Nuit Blanche will serve as the exhibition’s vernissage, which will run from 7 p.m. to 1 a.m. The event’s description invites visitors to engage in “an interactive space for creativity and dialogue.”

This event will kick off the Art Matters festival, which will include a variety of exhibitions and events running until March 27. More information can be found on the festival’s website.

Eastern Bloc & Never Apart: Noche en Blanco, Latinx (Re)mix 7240 CLARK ST.

5587 PARK AVE.

Eastern Bloc, a new media production and gallery space, is teaming up with the non-profit organization Never Apart to showcase the talents of Latin-American artists in two parts. From 8 p.m. to 10 p.m., there will be two multimedia installations; the first is a video titled 1000 by photographer and artist Andrés Salas, and the second is a multimedia installation titled Holy Numbers made by artist Claude Périard. From 10 p.m. to 4 a.m., the space will transition into the aural portion of the evening. DJs, including DEBIT, Pituca Putica, Teo Zamudio and Rodrigo Velasco, will create a lively and warm environment featuring “Latino and club beats,” according to the gallery’s press release. This would be a great place to warm up and recharge after a night out in the cold!

As part of this year’s edition of the Art Matters festival, Espace POP will host an exhibition featuring the work of Joffré Roy-Beauregard, Sarah Da Silva Marques, Diana Lazzaro (Gar), Matthew Halpenny, Gabrielle Marin, Timothy

For more information about Nuit Blanche and a full list of participating venues, visit the festival’s website: https://www.montrealenlumiere.com/ en-CA/programmation/index/nuit.

Espace POP: (Dis)CONNECT: Alienation and Art

theconcordian

FEBRUARY 27, 2018

13

OSCARS

Our predictions for Best Picture

Three Billboards Outside Ebbing, Missouri and Phantom Thread are this year's frontrunners

ALEXANDRA COLATOSTI SOCIAL MEDIA COORDINATOR The time has come to catch last-minute screenings and fill out your Oscar ballots before the Academy Awards air on Sunday, March 4.

This year’s competition for Best Picture is stacked with nine nominees.

While the Oscars and awards season in general tend to be racked with controversy, this year’s scandal has less to do with the nominees and more to do with the treatment of women and minorities in the film industry, culminating in the #TimesUp and #MeToo movements.

The Academy can pat themselves on the back for acting on said controversy early this year. Firstly, by not inviting alleged sex offenders to attend the show and, secondly, by nominating one woman and one person of colour in the Best Director category. However, this doesn’t necessarily mean they will do due diligence when it comes to selecting this year’s Best Picture winner.

There is a certain type of film that gets awarded Best Picture every year, and while it isn’t always easy to define what type that is, it makes it simpler to narrow down which films won’t win. This is why the beloved Lady Bird and important Get Out are among those that can be ruled out of the competition this year. Despite their nominations and support from general audiences, they don’t quite fit the mold of a typical Best Picture.

Here’s a breakdown of the nominated films most likely to win.

Three Billboards Outside Ebbing, Missouri

Every year there seems to be at least one film in the Best Picture category that doesn’t resonate with general audiences— at least not right away. This year, that film is Three Billboards Outside Ebbing, Missouri.

The film follows Mildred Hayes (played by Frances McDormand) who, frustrated with the stalled investigation into her daughter’s murder, paints three billboards in order to get the sheriff’s attention. While met with

Guillermo del Toro is set to win Best Director for The Shape of Water, which could signal his film receiving a similar accolade.

mixed reviews from critics, the film has swept the Best Picture category at every awards show so far, and it will likely earn the same recognition at the Oscars next week. But does it necessarily deserve to?

Three Billboards certainly tells a haunting story about humanity and family, and it’s rich with powerful performances by veteran actors, which is right up the Academy’s alley, making it most likely to bring home the golden statue.

The Shape of Water

Guillermo del Toro is a director known for making emotionally charged and visually beautiful films, and he handles the strange premise of The Shape of Water with a special tenderness. The film is set during the Cold War in 1962 and sees a lonely, mute cleaning lady (played

by Sally Hawkins) form a special bond with a top-secret science experiment—a creature that is part fish, part human.

While it hasn’t received as much backing as Three Billboards, del Toro’s film is a favourite among film critics. He is poised

Phantom Thread stars the legendary Daniel Day-Lewis and newcomer Vicky Krieps.

to take home the award for Best Director, so that could mean his film will receive the same honour.

it absolutely should), you can count on it winning Best Costume Design.

Phantom Thread

Christopher Nolan’s war drama is exactly the kind of film you’d expect to see in the Best Picture category.

Dunkirk tells the story of the evacuation of Allied soldiers from Belgium, Britain, Canada and France, who were cut off and surrounded by the German army during World War II. The film is overwhelming in its quiet, subtle beauty and features many breathtaking moments with little dialogue.

It should win based on cinematography alone, and it has picked up awards for editing and sound. While there is a slight chance the Academy will surprise us by awarding Dunkirk a win for its visual elements, it seems unlikely against livelier, more Oscar-friendly counterparts.

If there is a dark horse in this race, it’s Paul Thomas Anderson’s Phantom Thread. The simplistic, yet luring and imaginative tale of romance might just succeed in overtaking previously mentioned frontrunners for the win, but it could also get lost in the shuffle. Set in 1950s London, the film follows acclaimed fashion designer Reynolds Woodcock (played by Daniel Day-Lewis) as he meets and falls in love with Alma (played by Vicky Krieps), a young waitress. As Alma takes on the role of muse, assistant and somewhat of a mother figure, the imbalance in their relationship becomes more perturbed and, eventually, takes a toll on her. In Phantom Thread, Day-Lewis is at his most vulnerable, while newcomer Krieps holds her own against an acting legend. This is Anderson’s best work to date, and while it’s unclear if it will take home Best Picture (even though

Dunkirk

Call Me By Your Name

Sadly, the film that captured many hearts when it premiered at the 2017 Sundance Film Festival has lost momentum leading up to the Oscars, despite being the favourite to win for many months. It’s unfortunate, because the film is a major accomplishment for director Luca Guadagnino and lead actors Timothée Chalamet and Ar mie Hammer. S et in northern Italy during the 1980s, the film follows 17-year-old Elio (Chalamet) as he spends his summer falling in love with 20-something Oliver (Hammer).

The romance unfolds with the crushing honesty that comes with first love, and Guadagnino makes sure to include everything from the sexuality to the awkwardness. Slated to become a cult-classic among teens and lovers of romance dramas, it doesn’t seem as though Call Me

By Your Name will be bringing home any major awards this year, and that’s a shame.

music

Quickspins

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

PROFILE

The sounds of Forever

Local artist June Moon is a multi-faceted songstress

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

Recently Added

Recently Added 11 CATCH IT Iceage (Matador) 11 LOOK ALIVE BlocBoy JB ft. Drake (OVO Sound/Warner Bros.)

11 SO BADLY JMSN (White Room Records) 11 NERVOUS YOUNG INHUMANS Car Seat Headrest (Matador) 11 4 LEAF CLOVER Ravyn Lenae ft. Steve Lacy (Atlantic/Three Twenty Three)

2 The cover for Forever’s forthcoming EP. Courtesy of June Moon.

CALVIN CASHEN MUSIC EDITOR Forever pulls influence from music of the future and past, blurring the lines of what it means to be a pop musician in 2018. Her music occupies a realm of groove-oriented pop that def ies simple categorization. The Montreal-based songstress combines a rhythm-sensible sound with tender vocals. All of this works in tandem with a driving backing beat that would fit snugly on any club playlist. I had the good fortune of talking to her before her show opening for Austra at this year’s POP Montreal festival.

June Moon took on t he moniker Forever as a means to express herself creatively. She explained that she uses the name not just as a musician, but as the name she works under as a general artist. She has dabbled in various other forms of media, including a venture called Café Lanai with Michael Brock and a monthly radio show on Arbutus Records’ n10.as radio.

Yet, music is really where Moon funnels most of her creative energy. Taking cues from Rihanna as her main source of inspiration, each of her songs is an exploration of femininity in an industry dominated by the male perspective. She asserts this through the softly articulated timbres of her voice, which exude both desire and a need to be understood.

H e r f i r s t e p o n y m o u s E P, w h i c h came out in 2016, fully embodies this theme. What makes the project especially unique, though, is the way Moon approaches her craft. “A lot of my creative approach is improvised,” she said. “I have to align myself creatively and prepare myself depending on who I am working with.”

This method of artistry is what injects Moon’s music with a spontaneous spirit.

Each song comes to life in a different way. According to Moon, her music is initially born from a beat, sometimes a melody that springs into her head, or a lyric. “I just feel a vibe and go from there,” she said.

Her first EP was co-produced with Project Pablo and widely acclaimed online, spawning an iTunes and Spotify Global Viral 50 charting single, as well as receiving airplay from the likes of BBC Radio 1 and Double J. Moon's most recent musical venture included producer spots with local talent Ouri. The two worked closely on the latest Forever EP, which consists of six sultry pop gems. According to Moon, the project sees the singer indulging in her innermost pop ideals, exploring the possibilities of melody and mood to their absolute limits. “It’s super up-tempo,” she said. “My first record was kind of hazy and a bit blurry.”

Last year, her first EP got a co-release with The Vinyl Factory, who have pre-

viously worked with The xx, Daft Punk and Massive Attack. Although a date has not been set for her upcoming EP, its first single, “Falling,” was released in May along with a video in July. Moon has also just been confirmed for the 2018 South by Southwest festival and is expected to announce a set of tour dates this year.

For now, Forever’s backing band has consisted mostly of close collaborators and friends. Ouri joined the singer on-stage at last year’s POP Montreal festival.

In addition to flexing her talents as a singer, Moon mentioned that her radio show acts as a second avenue for her to express herself. The show’s name, Flip Phone Forever, is a mentality the singer reflects in real life. She quite literally has a flip phone. This is a mid2000s aesthetic Moon aims to emulate in her music. “I’m obsessed with my flip phone,” she said.

Moon expressed a deep admiration for vocalists. The radio show and her musical outings, among other things, allow the musician to share commonalities with the vocalists she admires.

“I’m inspired by my peers. My friends do amazing artistic things, and I love having this vehicle to collaborate with them. They’ve all been on my show.

“I have all these projects, but they’re entwined,” she said. “They’re all part of my palette.”

CAR SEAT HEADREST Twin Fantasy (Matador)

Will Toledo’s re-recording of his 2011 album, Twin Fantasy, has been making love with my ears for weeks. The original version was a home-spun package of neurotic lo-fi pop, rich with quirk and wit that managed to load enough melodic sensibilities and muscular riffage to jumpstart a promising career. With this revamped rendition, Toledo has churned out his first mini-masterpiece under the Car Seat Headrest moniker, an album born of eroticism, biting irony, sexual confusion and self-medication. Now evolved from a charming imitation of his most obvious influences, Toledo zeroes in on the teenage experience with remarkable insight, all the while proving himself to be a miraculous talent capable of crafting some of the most forward-thinking guitar pop out there. Seriously, if you consider yourself a fan of transformative indie rock, you need to listen to this album.

11 Trial Track: “Beach Life-in-Death"

9.1/10 — CALVIN CASHEN, MUSIC EDITOR

FEBRUARY 27, 2018

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ROUND-UP

The best albums of 1999

U.S. GIRLS

In a Poem Unlimited (4AD) Meg Remy’s approach to music, an idiosyncratic mix of post-punk fury and sultry pop-rock, finally takes shape on her fantastic new album. In a Poem Unlimited is the sound of frustration taking form in a vacuum of pensive meditations. “You’ve been sleeping with one eye open because he always could come back, ya know?” she sings on “Velvet 4 Sale.” This is channelled through a near-transcendental level of lyrical observation. The music shines with the spirit of disco-leaning pop idols like ABBA and Cyndi Lauper, while churning out lyrics informed by skepticism and the delegation of male authority. But these nods act as an aesthetic backdrop to Remy’s more complex compositional ideas. “Time,” the album’s thrilling seven-minute epic, hurls forward an impetus of screeching sax and post-punk dance beats; Remy’s vocals are absolutely commanding among them. The album rages with a cathartic force, pleading for change in a world that refuses to.

11 Trial Track: “Rosebud”

8.8/10 — CALVIN CASHEN, MUSIC EDITOR

Recently Added

Recently Added 11 LEMON GLOW Beach House (Sub Pop)

11 TIME

U.S. Girls (4AD) 11 MAKE ME FEEL Janelle Monáe (Bad Boy/WEA) 11 CONFIRMATION Westerman (Blue Flowers Music) 11 STYX Lanark Artefax (Houndstooth) 11 ONLY ACTING Kero Kero Bonito (N/A)

The year that marked a new millenium and new possibilities CALVIN CASHEN MUSIC EDITOR The year 1999 will go down in history as one of the most underappreciated years in music. As overlooked as the year is, though, it also stands as the most transformative. With a slew of albums that literally changed the course of some genres, 1999 is bound to stand the test of time.

TH E D I SM E M B E RM E NT PL A N EMERGENCY & I The Dismemberment Plan’s third album is a firework of passionate songwriting, wrapped tightly in a sheen of indie rock bombast and emotion. The D.C. quartet left little-to-no breathing room in these compositions, packing every song with a hard-to-pin-down genre. The band wore their influences proudly, flexing their knowledge in everything from old-school soul to hip hop and especially techno.

The final mix is a brilliantly catchy and thrilling look at what the future sounded like in 1999. Yet, it’s a sound that’s so effortlessly executed you could make the argument that it’s the very future manifested in song.

WILCO - SUMMERTEETH Jeff Tweedy’s project, Wilco, is known for melding alt-country elements with the heart of indie rock. On his most accomplished album to date, Wilco decided to strip all of those old-school elements in exchange for a more synth-heavy sound. What resulted was an album of classic pop and sheer ambitious musical breadth never before heard from the band. Summerteeth blazes with sharp insight. If Tweedy still isn’t considered the next Bob Dylan, Summerteeth could be his calling card. The album is chockfull of lyrics that are so beautifully relatable and sentimentally simple they could take a jab at your heartstrings with nearly every listen. “Over and over and over again I say that we’re just friends / Forget the implications / Infatuations end / If love’s so easy, why is it hard.”

NUMBER GIRL - SCHOOL GIRL DISTORTIONAL ADDICT If given enough time and an international following, Japanese cult favourite Number Girl could have taken over the world. School Girl Distortional Addict is a record marked by pure teenage emotion, and the band couldn’t make those influ-

ences more obvious. With songs named after The Pixies, and a sound reminiscent of 90s noise bands, Number Girl was a band by and for the kids. Don’t let that sway you, though. These songs are jagged and include emotional twists and turns that navigate the very centre of teenage heartache. The vocals are buried among the mix, but lock into a core that’s riveting when at its most climactic.

TH E FL A MING LIP S - TH E SOF T BULLETIN In typical Flaming Lips fashion, The Soft Bulletin points towards a band teetering on the edge between gonzo experimental pop and straightforward rock catchiness. As the follow-up to their ambitious four-disc album, Zaireeka , The Soft Bulletin marked the band’s most daring and emotionally complex work.

The compositions are loaded to the gills with lush orchestral pop. Atop that, there’s an otherworldly undertone gliding along these songs, clearly reflecting the band’s more refined sonic palette. The sound is like a multi-layered cake, rich in texture and expansive in its beautiful grandiosity.

Graphic by Zeze Le Lin.

sports

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

MEN’S HOCKEY

A good look at statistics from Stingers stars Anthony Beauregard and Massimo Carozza’s point production gave team a chance to win NICHOLAS DI GIOVANNI SPORTS EDITOR It wa s a re g ular sea so n to remember for forwards Anthony Beauregard and Massimo Carozza on the Concordia Stingers men’s hockey team. Beauregard led all of U Sports in points with 60 (19 goals and 41 assists), while Carozza’s 35 points (15 goals and 20 assists) were the most among rookies in the Ontario University Athletics (OUA) conference.

The two players on the Stingers’s top line benefitted from each other’s success for most of the season.

However, at the beginning of the season, both were playing centre on different lines. Beauregard, who joined the Stingers midway through last season and scored 17 goals in 11 games, had four goals and four assists in the first five games of this season. He played with a few different wingers, including Philippe Hudon, Alexis Pépin and Scott Oke. Carozza played his first five games centering Antoine Masson and Charles-Éric Légaré. He started his season well for a rookie, scoring two goals and two assists.

However, in the Stingers’s sixth game of the season, on Oct. 28 away against the Queen’s Gaels, head coach Marc-André Élement decided to mix his lines up. He put Beauregard and Carozza on a line together for the first time.

“Carozza was a centre, and we just decided to put him on the wing. He has a lot of speed,” Élement said. “Those two click together and they [had] success, and I’m really happy about their season.”

In that game against Queen’s, Carozza and Beauregard assisted on three goals together. Two of them were to Dominic Beauchemin, and the third was on the overtime-winning goal to defenceman

Carl Neill. Their next game, on Nov. 3 at home against the University of Ontario Institute of Technology (UOIT) Ridgebacks, the Stingers won 6-2. Beauregard had two goals and four assists, while Carozza scored three goals, all of which were assisted by Beauregard.

The way they played told the rest of the league they were a threat offensively, and they haven’t been separated since.

They have played 23 games together, with Beauregard scoring 15 goals and 37 assists for 52 points, and Carozza scoring 13 goals and 18 assists for 31 points. Between the two of them, they have either scored or assisted on 57 of the Stingers’s 91 goals since they were put together, with both players getting points on 26 of those goals (Figure 1).

“He’s such a good player,” Beauregard said about Carozza. “He has good speed and good hands, and we try to keep the momentum [going] every game.”

According to Carozza, it didn’t take much time to get used to playing with Beauregard once they were put together.

They already knew each other from training over the summer, and Carozza said he developed chemistry with Beauregard after only a few practices.

“We’re really good friends. We like to joke around a lot, we’re both jokers, and we clicked right away,” Carozza said. “On the ice, we try to take it serious.”

It takes a company of three to make a line, and they’ve played with Philippe Sanche for most of the season. He scored 15 goals in the regular season, with 14 of his

goals assisted by either Beauregard or Carozza, including six from both his linemates (Figure 2). Sanche missed a few games near the beginning and end of the season. When he was out, captain Hudon played on the top line.

“With both Phils—Hudon and Sanche, whoever comes on our line—we produce,” Carozza said.

“It’s been easy for me. We work well together, and it shows on the ice.”

The Stingers had success when their top line scored. When Beauregard scored a goal, the Stingers went 12-2-1. Considering their total record of 18-7-3, when he didn’t score, they went 6-5-2. As for when Carozza scored a goal, Concordia had a 8-2-1 record (Figure 3).

With so many wins attributed to the pair’s scoring, head coach Élement knows how valuable they are to the team. He said, ideally, both Carozza and Beauregard will remain with the Stingers next season, but he knows each of them could leave the team to play professionally.

Beauregard said he doesn’t know what his Concordia future holds.

“I’m just concentrated on this year,” the second-year forward said. “You never know what’s going to happen in two months or next year. I just try to be focused here.”

Carozza, on the other hand, said he wants to get his degree first. He’s currently in independent studies. He added that he has an Italian passport and would consider playing in Europe.

“I want to continue playing hockey,” he said. “Just because I didn’t get a pro contract this year doesn’t mean I can’t get it in two, three or four years.”

The Stingers play the McGill Redmen in the OUA East final, starting Feb. 28.

Graphics by Zeze Le Lin.

FEBRUARY 27, 2018

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MEN’S BASKETBALL

Stingers set to tip off RSEQ playoffs Head coach Rastko Popovic says team needs to forget about past semi-final losses

NICHOLAS DI GIOVANNI SPORTS EDITOR Any university basketball fan knows the end of February means the start of playoffs.

After a long regular season, the best teams battle across the country to determine who will win their conference championship. For an eighth-straight season, the Concordia Stingers men’s basketball team will compete in the playoffs.

“It’s going to be fun, and we are excited to get to this time of the year,” said head coach Rastko Popovic. “We are looking forward to the challenge.”

The Stingers will host the Réseau du sport étudiant du Québec (RSEQ) semi-final against the Université Laval Rouge et Or on Feb. 28.

The Stingers went 2-2 against the Rouge et Or this season. They lost the first game, 83-66, on Nov. 12 in Quebec City, then lost the second game at home on Jan. 25, before winning the third game two days later on the road, 84-61.

On Feb. 24, the Stingers beat the Rouge et Or, 71-59, in their final regular-season game before the playoffs.

“We kind of adjusted what we wanted to do defensively [after] the first game,” Popovic said. “We have to force them to do things they don’t like. They’re not a great shooting team, and we’ve done a good job this year at mixing up some defences versus them.”

The Rouge et Or have three of the top scorers in the RSEQ with Frantson Démosthène, Joël Muamba and Alexandre Leclerc. Popovic

said Démosthène scores a lot in the paint, Muamba’s speciality is mid-range shots, while Leclerc could score from three-point range.

“You’re not going to fully stop them because they could put the ball in the basket,” Popovic said. “For us, it’s important to make sure we don’t give Leclerc any open threes, or don’t give Démosthène any offensive rebounds and second-chance points.” The head coach added that limiting those players’ scoring chances is easier said than done.

As for the Stingers, they will need to rely on their veterans to provide offensive scoring.

Fifth-year forward Ken Beaulieu, third-year centre Schneiders Suffrard and fourth-year guard Ricardo Monge led the Stingers in scoring this season.

Popovic said Monge, the team’s captain, has consistently worked hard for most of the year. “He does [well] on both ends of the floor every night,” Popovic said. “He often has to guard the best [player] on the other team.”

Popovic added that Beaulieu had a strong second half of the season, improving his rebounding. “We’re going to need Ken to do all the little things to help us win.”

Beaulieu, Monge and Suffrard are the only players on the team who experienced the Stingers’s two semi-final losses in the past two seasons.

In the 2015-16 season, Popovic’s first as head coach, the Stingers had a 10-6 record but lost to the Université du Québec à Montréal (UQAM) Citadins, who had a 7-9 record, in

the first round. Last season, the Stingers once again had a better record than the Citadins but lost in the do-or-die game.

“Hopefully they’ve learned from those situations,” Popovic said about his team. “Sometimes, you have to go through those situations to learn what’s necessary to win.”

However, Popovic said he will need his players to focus on playing the game against the Rouge et Or, and forget about the past.

“The team that makes the least mistakes is going to win the game,” Popovic said. “We n’s basketball team will The Concordia Stingers me have to follow our game plan in the RSEQ semi-final.

Or face the Laval Rouge et and really understand what’s Photo by Alex Hutchins. necessary to beat Laval.”

The Stingers will eventually have to beat McGill if they want to win the championship.

Photo by Kirubel Mehari.

SOCCER

New head coach trying to make an impact Montreal Impact set to kick off 2018 season with new management and many new players coach Robert Duverne, who was Garde’s fitness coach when he coached Lyon and Aston Villa.

Garde is making a huge statement, and is clearly trying to run the club the way he did at Lyon. Will a European management style work in North America? Many past MLS coaches have tried with little success.

In order for Garde’s French style to be successful, he will need to adapt his tactics to a North American game. That’s not to say he needs to play the North American way, but rather change his French style to conform to a more physical, less-skilled MLS game.

Graphic by Zeze Le Lin. NICHOLAS DI GIOVANNI SPORTS EDITOR After a disappointing 2017 season, the Montreal Impact is preparing to kick off the 2018 Major League Soccer (MLS) season. They missed the playoffs by 11 points with a 11-17-6 record last year.

Based on a new coaching staff and new players, The Concordian is trying to figure out how the Impact can have a bounce-back season.

CHANGING OF THE GARDE After losing nine of the last 10 games in the 2017 season, the Impact fired head coach Mauro Biello. In comes Rémi Garde, who further changed the team around by hiring his own coaching staff. Garde previously coached Lyon in France, and Aston Villa in England.

Besides keeping assistant coach Wilfried Nancy, Garde has brought in assistant coach Maxence Flachez, a former youth coach at Lyon; goalie coach Joël Bats, Lyon’s goalie coach for the past 17 seasons; and fitness

FRESH FACES ON THE FIELD The Impact has a new-look roster this season, with 10 new players replacing the 12 departed ones.

The biggest change came at defence, where the team needed it. Last season, they allowed 58 goals in 34 games, the seventh-worst mark out of 22 teams in the league. The Impact traded away leader and 2015 MLS Defender of the Year Laurent Ciman for full-backs Raheem Edwards and Jukka Raitala, while right-back Ambroise Oyongo signed in France and veteran Hassoun Camara retired. Garde signed six-foot-three defender Zakaria Diallo, and Canadian international full-back Michael Petrasso joined the team. The Impact hopes the new defence will solve their issues.

The midfield is also younger and more dynamic. Ignacio Piatti, 33, and Marco

Donadel, 34, are the only midfielders over the age of 25. When attacking midfielder Blerim Džemaili returned to Italy to play for his former team, Bologna F.C.—which is part-owned

by Impact owner Joey Saputo—the Impact acquired Algerian midfielder Saphir Taïder from Bologna. The Impact will miss Džemaili’s offensive skills and chemistry with Piatti, but Taïder is younger and more skilled, so it will be exciting to see what attack he can bring.

O CAPTAIN! MY CAPTAIN! With former captain Patrice Bernier retired, the Impact needs a player, or multiple players, to take over and become a leader. Goalie Evan Bush has been with the club since 2011, while Piatti is entering his fifth season with the Impact. Donadel, defender Víctor Cabrera and forward Dominic Oduro are the only other players who have been with the Impact since before the 2016 season. Each of them will need to step up their roles as leaders to integrate everyone into a unified team.

With an inexperienced group, the Impact needs maturity from their young stars. Samuel Piette, the 23-year-old Repentigny native, could be considered one of those leaders.

The same goes for forward Anthony JacksonHamel, who scored the second-most goals last season, with nine.

With so many changes to the Montreal Impact, fans will see how they perform together starting March 4 in Vancouver against the Whitecaps.

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

Transforming tragedy into change We all know that routines can seem permanent, because they rarely change.

Be it your school schedule, your workplace routine or even the way you wake up in the morning. It can be challenging to change circumstances that have always been a certain way. Making changes can seem even more impossible when it comes to systemic issues. So we at The Concordian want to dedicate this editorial to acknowledging the fact that change is happening.

We believe our society is on the brink of changing things that have been problematic for a long time. A shift is occurring, and although it isn’t completely transformative, it’s the beginning of something greater. Take a look at the victims of the Marjory Stoneman Douglas high school shooting in Florida. The students have become outspoken advocates who vow to bring an end to school shootings, according to The Guardian. Cameron Kasky, a 17-year-old survivor of the Florida shooting, started the #NeverAgain movement in the hopes of achieving this goal.

Emma Gonzalez, an 18-year-old Marjory Stoneman Douglas student, has also been recognized for her passionate speech at a gun control demonstration in Fort Lauderdale three days after the shooting. These students are just some of the many people who are stepping forward and challenging the

system. They are calling out the National Rifle Association (NRA) in the United States and politicians who refuse to reform gun control laws.

This is inspiring to see at a time when mass shootings in the United States are much too common. We at The Concordian feel hopeful when we hear these students’ speeches and their determination to bring change to their country. Celebrities are inspired as well, with Oprah Winfrey and George Clooney, among others, donating millions to support a nationwide March for Our Lives protest next month, according to The Guardian.

This is a parallel to the #MeToo movement—people are using their voices to change the way things have always been.

Sure, celebrities are becoming involved too, but we at The Concordian believe change begins at a grassroots level—it begins with average people spending their time and energy on a cause they truly believe in.

We also believe it’s necessary to bring attention to injustices and problems in our own country. Recently, 200 Montrealers gathered near Concordia for a vigil to honour Colten Boushie, a 22-year-old Cree man from Saskatchewan. Boushie was killed by a white farmer named Gerald Stanley who claims he shot Boushie in the back of the head by accident in 2016, according to the Toronto Star. An all-white jury acquitted Stanley of

murder, and every Indigenous person who showed up to become a potential juror was rejected, according to the same source. This has sparked dozens of protests across Canada.

Since September 2017, a GoFundMe campaign to keep the memory of Colten Boushie alive has raised over $180,000, according to Global News. Hundreds of people are demanding #JusticeForColten and change to the Canadian justice system, according to The Globe and Mail. In 2016, Aboriginal people represented about five per cent of Canada’s population, but accounted for 24 per cent of homicide victims, according to Statistics Canada. This has to change—Canada’s justice system must be reformed in order to bring justice to Indigenous people.

According to CBC News, the federal Justice Ministry will review the criminal justice system, including sentencing and the overrepresentation of Indigenous people in prisons.

Social issues are finally

gaining some traction, and we at The Concordian believe it’s important to keep that momentum going. Change is a difficult thing to create, especially in a world where injustice and tragedy seem to be around every corner. But we believe the time has come to use our voices and support those who create change, so that together, we can build a better, more just world.

Graphic by Alexa Hawksworth.

SEX EDUCATION

It’s time to talk about the birds and the bees Quebec’s sex education plan for children is the right way to demystify the body CALLIE GIACCONE STAFF WRITER Sex education is a tricky topic. For years, we as a society have tiptoed around the idea of implementing a program aimed at providing a greater understanding of sex in elementary schools. Now, Quebec school boards and other provinces, including British Columbia, Alberta and Ontario, are attempting to do just that.

This coming September, all Quebec elementary and high schools will implement sex education, even in kindergarten.

At age five, young Quebecers will learn the proper terms for female and male body parts and be taught how a baby is made, according to CBC News. In grade one, students will learn about gender stereotyping and will be introduced to the issue of sexual assault.

At ages 10 and 11, students will learn about the importance of cyber safety and how to identify predators and dangerous situations.

Society today mainly approaches the topic of sex as a uniquely adult conversation.

In my opinion, sex education shouldn’t have a minimum age, and it’s reckless to exclude children from this conversation. According to the Canadian Women’s Foundation, 96 per cent of Canadians believe all sexual activities should be consensual, but only one in three Canadians understand what giving

consent means. This is an issue that needs to be addressed early on, and it starts with knowledge of the body and natural human impulses. When children learn about their genitals and why they may have urges and needs, they will begin to understand how they can satisfy those urges, in a sex-positive and age-appropriate way. Without these steps to understand the issue, those urges get suppressed and shamed. This can cause an abundance of emotions and overall confusion, according to The Guardian.

According to CBC News, understanding one’s body and the bodies of those around you could be a catalyst for a healthier body image. A healthy body image is when a person understands their body and feels comfortable in their own skin. If a person understands how their genitals function and

understands that they shouldn’t be ashamed, they can be confident with themselves. We must demystify our body because, after all, it makes up who we are.

According to CBC News Toronto, over 100 parents pulled their children out of Thorncliffe Park Public School and started homeschooling them due to a similar curriculum change at the school in 2015.

The principal tried to convince parents to send their children back to the school, but they refused. Many of these parents claimed the content was being presented too early and is dangerous for children, reported CBC News Toronto.

I understand how the change in curriculum could be a shock for parents. However, I

think it is detrimental and irresponsible for parents to think their children should not receive sex education, especially in 2018. No matter what, students today— young children included—are exposed to sex more often in entertainment, with easily accessible internet porn and explicit images. It’s difficult to avoid such subjects, so early sex education arms children with knowledge to help them make proactive decisions and have more confidence when doing so.

Another misunderstanding is that receiving sex education at a young age could be a catalyst for kids having sex earlier. The reality is that people have sex when they’re young regardless. According to the Ontario Physical and Health Education Association (OPHEA) and Statistics Canada, 35 per cent of Canadian youth reported having their first experience of sexual intercourse before the age of 17, and more than 68 per cent reported having intercourse before 20.

It's naive to assume these numbers would increase because of a better understanding of sex and health. Sex education does not encourage sexual activity among young students; it teaches them necessary information about the topic. I believe teaching young children about sex is vital to creating an educated, respectful and empathetic future generation.

Graphic by Alexa Hawksworth.

FEBRUARY 27, 2018

EDUCATION

Stop ranking jobs and life choices

Graphic by Alexa Hawksworth.

"Here's to the ones who dream, foolish as they may seem"

LYES MAHOUCHE CONTRIBUTOR “What are you going to do with a degree in (insert name of arts/ humanities program here)?”

I keep hearing this everywhere, and to an extent, I get it. In a myopic way of viewing things, it makes sense—getting into an engineering, finance or science program will lead to a more financially secure future. That said, since when did we hold the safer path in such high esteem? Why would you look down upon a person who chooses a path they’re passionate about?

I don’t understand it. I personally admire people who choose to study what interests them, not what will guarantee them a stable salary. People who are ready to take the risk. I admire the artists, the musicians, the writers, the painters, the dancers—our society would be nothing without them. Same goes for the sociologists, linguists and anthropologists who try to make sense of the messy world we live in.

Don’t get me wrong, I have just as much respect for doctors and engineers.

But I believe they get enough recognition.

I believe everyone should pursue what they’re good at—or at least try to do what they do best. We need to stop looking down on people who choose paths that don’t fit our lifestyle standards. We need

to stop ranking career and life choices.

In my opinion, employability shouldn’t be the sole consideration when choosing a university program. University should be about more than getting a piece of paper that will allow you to work. You may say I’m biased and anti-sciences, and you’d probably be right to a certain extent. I used to be in a science program.

I went into health science in CEGEP just because I could. I didn’t like it, but I didn’t hate it. It was an interesting experience. But by the end of it, I knew it really wasn’t what I wanted to do for the rest of my life. Like the first Matrix movie, my science curriculum did not need a sequel.

I vividly remember when I started telling people I did not want to continue in the sciences, even though my grades were good enough for university programs. They really thought I was making a grave mistake. I’m not talking about my parents, as they actually didn’t really care whether I changed my major. It was my friends, most of whom were in the same program. To them, it was unfathomable that someone would choose an arts or humanities degree over a science one.

Unfortunately, I’ve heard the comment that no one really “chooses” an arts or humanities program—they only get in because they can’t survive the science path. Luckily, I didn’t really care

about their opinion. I chose to go into psychology for a year at UdeM (yes, I’m a double agent). I didn’t like it, so I left.

Then I chose to apply to the journalism program here at Concordia. Yes, I chose to enter a dying—or changing, depending on who you ask—industry over JMSB. I have never been happier going to school, and I have never looked back on my hypothetical scientific career.

Of course, not everyone in sciences has this disdain for humanities programs. I really don’t want to generalize this belief in any way. However, I keep reading and hearing these kinds of divisive comments, and it’s just sad.

I know some people just joke around about those who pursue more creative paths in order to “trigger” them, but I do think these jokes stem from an obnoxious belief that is much too widespread.

I don’t like the efficiency-centric mindset we see so often in universities.

I feel as though the humanities and arts are decaying because too many students choose to pursue corporate career programs in university. I am not convinced we’re headed in the right direction. Don’t let negative comments discourage you.

We need people everywhere: in medicine, engineering and economics, but also in humanities and arts. I strongly believe that whatever you want to do, give it a try—you’ll never know if it’s the right path for you otherwise.

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