October 13, 2020

The Concordian.

NEWS // TEA Club / Alex Stojda Disqualification / Space Concordia / Social Housing / Canada and Armenia

COMMENTARY // The Woodnote / JK Rowling / Covid Wedding / Mandatory Masks / Being Basic

ARTS // Bidgala / Fine Arts Stories / FNC: Last and First Men

MUSIC // Led Zeppelin’s Anniversary / IDLES Review / Savage Mode 2 Review

VOLUME 38, ISSUE 3 TUESDAY OCT 13, 2020

// theconcordian @theconcordian @theconcordian theconcordian.com

SPORTS // Kelly-Anne Drummond Rugby Cup / Competitve League of Legends

News.

NEWS EDITORS Hadassah Alencar / @Hadassahalencar Juliette Palin / @PalinJuliette news@theconcordian.com

: Y V V A OL I -S

CLUBS

The Themed Entertainment P Association (TEA) makes it way A fly that landed on Vice President’s Mike to Concordia Pence’s head during The first of its kind in Canada, the club will bring a whole new industry to the university

Juliette Palin News Editor

ing the ropes of marketing a club, especially digitally … But so far, everybody we’ve told about it has been very passionate.”

The club will expose students to an industry that isn’t well-known to many.

“We had a lot of interest with the creation of the club, and I think that so many programs and clubs are interested in these types of things — understanding technology, creativity and immersive storytelling is always something people are interested in,”

This year, a new club is arriving at Concordia. The first of its kind in Canada, the Themed Entertainment Association (TEA) will allow the immersive story-telling industry to make ties with our university.

Mitchell Stein, the President and founder of Concordia’s TEA club, has been a passionate member of the TEA for a while now.

As the main association relating to the immersive storytelling industry, it was high time we set up a TEA club in Canada.

“Things that you’ll see in Orlando, Florida or in California, at the Disney or Universal parks, a lot of them have been created in Montreal themselves. So we’re hoping to partner with a lot of those companies to bridge the gap between students and the industry,” said Stein.

Themed entertainment touches any subversive and interactive storytelling experience. An example that most will be familiar with is a Disney theme park, where guests — the audience — are transported into an entirely different universe.

Stein goes on to explain that Concordia is the perfect setting for this club to make its debut to Canadian students.

“What we were hoping to do is tap into the creative and technical side at Concordia because there are so many great [creative and technical] programs. [Many] people don’t know about this really incredible industry,” said Stein.

However, Stein is well aware of the challenges that are associated with this year. A pandemic makes it difficult to get the word around.

“We’re still really new, so I’m still learn-

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said Stein.

Although the themed entertainment industry seems far away, Stein ensures that the creation of this club will open the door for students.

He said, “Something that people always told me was to get involved in the themed entertainment association. Because it is the biggest organization that represents the industry, and everyone who works in the industry.”

The TEA club at Concordia will bridge the gap between companies and students by building relationships. Stein explained that he has already reached out to companies based in Montreal, and is looking forward to working with them.

“A lot of students don’t even know this industry exists, they might know of Disney or Universal, but they dont know of these jobs that are right in our backyards.”

Graphic by @the.beta.lab

Vice Presidential debates makes headlines Hadassah Alencar News Editor

How did an insect steal part of the spotlight?

The hurricane of news erupting less than a month ahead of the U.S. presidential elections can leave anyone with a serious case of whiplash.

Some of the news circulating before and after the 2020 United States Vice Presidential debate: President Trump delayed an economic relief bill to help Americans until after the election; new revelations that former Attorney General Jeff Sessions requested that children be taken away from migrant families at the border in 2018; President Trump refused to participate in a virtual town hall to debate Biden; Trump changed his mind and requests an in-person debate…

But even with the incessant stream of mustread news flooding news feeds and timelines everywhere, this is what everyone seems to be talking about: a fly resting on Mike Pence’s head for two minutes during the Vice Presidential debate.

“The fly” was trending on Twitter before the debate had even finished, with hundreds of thousands of mentions and dozens of Twitter accounts created attempting to impersonate the insect. Etsy shops now sell Pence’s fly apparel, and Biden’s campaign issued a quickly sold-out “Truth over flies” fly swatter.

Why all the focus on such a small matter, compared to all the other much more serious matters that are being published?

During the debate, many more important news-worthy moments happened. For example, Pence discussed the Trump administration’s take on several hot topics, including the Rose Garden ceremony for Amy Coney Barrett.

According to Pence, “It was an outdoor event, which all of our scientists regularly routinely advise.”

This comes after Trump and 22 members of his administration tested positive for the virus following the meeting, described as a “super-spreader” White House event. Attendees did not wear masks nor social distance, and pictures show they also gathered indoors.

In the current climate, a situation like this just becomes a needle in a polluted haystack of controversies. There’s too much to keep up with. To focus on the fly isn’t about getting immune to corruption, or about having a short attention span.

It’s more about being fed up. It is a way to showcase the perfect visual for how some feel about the administration without having to air out all the grievances on a list.

Maybe that’s how the fly got so big.

NEWS

Amid the Nagorno-Karabakh conflict, Canada chooses neutrality

Ottawa suspends all exports of military drone technology to Turkey, as the Azerbaijan-Armenia tensions lead to casualties population, however, its diaspoBogdan Lytvynenko Assistant News Editor

flict is taking place solely on Azerbaijani territory.

Last week, Canada’s ArmeCanada will no longer supply its combat drone technolo- nian diaspora urged the Trudeau government to stop exporting milgy to Turkey, since it alitary drone technology to Turkey, legedly further escalated which includes drone optics the military conflict in and laser targeting systems.

Nagorno-Karabakh, a Since Azerbaijan uses Turkself-proclaimed repubish combat drones against lic that is home to both Armenian targets in NaAzerbaijani and Armegorno-Karanian ethnic groups. bakh, CanOn Sept. 27, bomada was bardment resumed in the alwar-torn territory, killing at least 31 civilians and hundreds of servicepeople. These clashes in the l e g e d l y Caucasus region continue to this supporting the day, with Azerbaijan making ad- Azeri side indirectly.

In response to vances in seven key villages.

These actions are all part of a such reports, Canada suspenddecades-long conflict which began ed all of its drone technology exin the late 1980s. The war in Na- ports to Turkey on Oct. 6. Moregorno-Karabakh (also known as over, Foreign Affairs Minister the Republic of Artsakh in Arme- François-Philippe Champagne dinia) erupted as an ethnic Arme- rected the officials to investigate nian majority attempted to secede the use of Canada’s technology in from Azerbaijan in the south-west Nagorno-Karabakh.

Champagne also stated that of the country.

Long-lasting mountain war- Canada is deeply concerned with fare forced over 800,000 ethnic the shelling of civilians, and that Azerbaijanis to flee the region as “the parties to the conflict must refugees, as well as 230,000 Ar- stop the violence and respect the menians. While Azerbaijan tries to ceasefire agreement.”

According to Sevag Belian, regain control of its territory, Armenian forces remain fully com- executive director of the Armemitted to protecting their own eth- nian National Committee in Canada, Ottawa’s decision to suspend nic group.

To this day, not a single UN exports was very much apprecimember state including Armenia ated by the Armenian communihas recognized the republic as a ty. He explained that Armenia is sovereign state, meaning the con- looking for nothing other than a peaceful resolution.

“The dictators of Azerbaijan and Turkey are willing

to finish the genocide of their ancestors,” Belian told The Concordian, referring to the mass murder of 1.5 million Armenians by the Ottoman Empire in 1915, which Canada recognizes as a genocide.

“Once those two countries stop their aggression, there will be peace in the region. However, once Armenia and Artsakh stop defending themselves, there will be a second genocide.”

Armenia’s perspective, though, differs significantly from that of Azerbaijan. The Turkic nation also witnessed atrocities committed by their Armenian neighbour in February 1992, known as the Khojaly massacre.

The Armenian armed forces committed a mass murder of 613 ethnic Azerbaijani civilians in the town of Khojaly, which is also located in Nagorno-Karabakh. The Human Rights Watch organization described this event as “the largest massacre to date in the conflict.”

Executive Director of the Network of Azerbaijani Canadians, Ismayil Alakbarov, told The Concordian that Azerbaijan is a peaceful nation that has absolutely no interest in war.

“If Azerbaijan wanted to liberate its territories with the use of force, we could have done it 30 years ago,” he said.

In this situation, the numbers are indeed favouring Azerbaijan. Its military budget is five times larger than that of Armenia, while its population of 10 million compares to just three million in Armenia.

Despite Armenia’s small

ra in Canada is actively engaging with the Canadian government.

On Oct. 4, more than 1,000 Armenian protesters in Montreal called for peace from the Azerbaijani side. The community’s demands have been successful so far, as it already convinced Ottawa to suspend the exports of its drone technology.

Alakbarov, on the other hand, claimed that “We are seeing big propaganda by the Armenian diaspora here in Canada, who is influencing our members of Parliament.” He also urged his community not to follow Armenia’s example and to refrain from mass protests due to COVID-19 health and safety concerns.

In the end, Canada continues to play the role of a peacemaker and condemns violence in Nagorno-Karabakh from both parties. On Oct. 6, Champagne made it clear that war is not the answer to the conflict. “[Its resolution] can only be delivered through a negotiated settlement and not through military action.”

Both Belian and Alakbarov agreed with the Foreign Affairs Minister’s statement, confirming that diplomacy is the only way forward.

However, as military engagements between Armenia and Azerbaijan are far from over, both parties continue to deal not only with bombardment in Nagorno-Karabakh, but also worldwide misinformation regarding the truth behind this brutal and controversial conflict.

Graphic by Taylor Reddam

The cost of the Renaissance Dam

The construction of the biggest dam in Africa is creating friction Cedric Gallant Contributor The Nile River’s water flow will soon be dominated by human hands as Ethiopia is constructing the biggest dam in Africa on one of its core arteries: the Blue Nile.

The Nile is vital for the survival of the countries down its path. Now that Ethiopia has the power to cut one of its flows, this conflict specifically targets Egypt and Sudan, who historically rely on the Nile’s yearly water cycles to sustain themselves.

The Grand Ethiopian Renaissance Dam (GERD) is a nation-defining opening for Ethiopia. The opportunities that it will bring to this poverty-stricken country is immeasurable as it will produce a reliable source of income and jobs for Ethiopians.

Also, according to the World Bank, only 45 per cent of Ethiopians have access to electricity. This dam will be able to offer service for all Ethiopians with enough leftover energy to offer surrounding countries. So, for Ethiopian Prime Minister Abiy Ahmed, this strengthens his resolve to complete the construction of the dam.

For Egypt and Sudan, the consequences of Ethiopia’s control over the Blue Nile are dire. According to Al-Jazeera, Egypt gets about 90 per cent of its fresh water from the river, and the Blue Nile contributes to 85 per cent of the Nile’s water flow.

Even partially cutting water supply from the Blue Nile could have catastrophic effects for the over 140 million

Egyptian and Sudanese people.

Since 2011, negotiations have been ongoing between the three countries to reach a consensus, but Ethiopia has been shrewd throughout. For Ahmed, keeping up with a bigger country like Egypt is a show of strength for the Ethiopians. According to The Week, Ahmed has the intention to mobilise troops if push comes to shove.

Even with the mediation of the African Union, currently led by South Africa, the negotiations have not progressed.

Ethiopia is still proceeding forward with the dam’s construction, disregarding Egypt and Sudan’s fragile water supply.

Recently, Ethiopia has banned flight activities over the dam’s construction site for security reasons, according to The Ethiopian Civil Aviation Authority. Ethiopia’s reluctance to give further

details will put yet another dent in the everlasting negotiations.

Ahmed said last month at the United Nations that Ethiopia has no intention to harm Egypt and Sudan, but the targeted countries have continued to voice their concerns.

However, the Ethiopian government officially announced that it has every intention to start generating power with GERD’s two established turbines this year.

They are committed to completing this project, even if agreements have not yet been met.

This leaves Egypt and Sudan in suspense; will there be a way for them to reach an agreement, or will the dam be completed beforehand?

Graphic by @the.beta.lab

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News.

NEWS EDITORS Hadassah Alencar / @Hadassahalencar Juliette Palin / @PalinJuliette news@theconcordian.com

CLUBS

What has Space Concordia been up to?

The student-run organization is racing to make it into space Lorenza Mezzapelle Arts Editor

Space Concordia is a student-run organization aiming to foster a professional learning environment in which students can develop their skills via experiential learning.

The association is composed of four official divisions: Spacecraft, Rocketry, Robotics, and Space Health, each one with teams that work year-round to develop projects and research.

“We are a big organization, so each member can decide to join the teams that suit their interest[s] and [schooling],” said Vanesa Gonzales, who is in charge of outreach.

“Most of the time a new member joins one team un-

der one division. Then, as they understand the project, they can take on more than one role.”

The organization involves interdisciplinary work that is open to students of all academic backgrounds.

But Space Concordia hasn’t made it into space … yet.

“The Rocketry division is working on a rocket that reaches the limitation of the upper atmosphere and space at 420,000 feet. It is going to be tested in May 2021,” said Gonzales.

The rocket they are developing is part of the Base 11 Space Challenge, a contest to be the first student-run group to hit the Kármán Line.

The Kármán Line is situated at an altitude of 100 km and defines the boundary between space and Earth.

“Hopefully by May 2021, we will be the first university to make it into space,” said Melize Ferrus, President of Space Concordia.

Until they make it to the final frontier, what’s next for Space Concordia?

“The Robotics division is working on implementing an autonomy software system in their rover,” said Ferrus.

The software would enable the rover to test samples of matter via

spectroscopy, which is used to study the molecular composition of a sample. In this case, the sample would be soil, allowing for them to see if it is feasible to sustain life on other planets.

“We would like to continue developing technologies for remote medicine that can be applied on Earth or [in] space,” said Gonzales.

The Space Health division will continue to do so via Project 1.0, which involves researching the body’s response to force changes by studying the effects of gravity on the heart long-term. The project will be tested on a rocket made by the Rocketry division.

Project 2.0 is to develop a simulated cardiovascular system to study Orthostatic Hypertension, a medical condition characterized by a sudden increase in blood pressure when a person stands up.

But don’t let the words ‘space’ and ‘engineering’ turn you away from Space Concordia.

According to Ferrus, not all members are in exclusively STEM fields. Past and current team members have been students enrolled in Communications, the Faculty of Fine Arts, and the John Molson School of Business.

“We want to be an organization that fosters creativity in any way, and creativity rears its head in many different facets,” said Ferrus.

“It doesn’t matter what your skill level is.

By the time you leave, it won’t be your skill level anymore. We’re happy to foster new talent.”

For more information about Space Concordia visit spaceconcordia.ca.

Photo courtesy of Space Concordia

NEWS

Fundraisers are moving online as the pandemic causes safety concerns Eric Dicaire Contributor

Charities are moving their events online, but some experts wonder if this will be enough to keep donations up.

Every October the Leukemia and Lymphoma Society of Canada hosts a walk in Montreal to raise money and awareness for blood cancer. It usually takes place in Parc Jean-Drapeau.

But this year, the park will be quiet.

On Oct. 24, like many other fundraisers during the pandemic, the event will be hosted online because of COVID-19.

Aptly called Light the Night, the walk is usually recognizable by the lanterns carried by its participants. Christina Cinquanta, the fund development manager for the Leukemia and Lymphoma Society of Canada, Quebec region, said 7,000 walkers attended the event last year.

“Light the Night is one of the biggest fundraisers and celebrations that the Leukemia and

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Lymphoma Society hosts,” said Cinquanta. “But this year we determined that a virtual Light the Night is the most appropriate and responsible thing to do.”

The organizers of Light the Night are now making the event available online in the form of a nation-wide broadcast on Oct. 24. Organizers are also adapting formerly in-person activities to things that can be done remotely.

For example, they will be mailing treat boxes and lanterns directly to the teams of volunteers who helped fundraise for the event.

Cinquanta said that Light the Night Montreal alone raised $1.4 million for the organization in 2019. This year the Society lowered their goal to one million dollars. She is optimistic that they will meet their goal.

“We have teams fundraising every day,” she said. “They’re doing

bingo nights, poker tournaments, raffles — all virtually. They’re doing everything they can.”

The Leukemia and Lymphoma Society’s move to online raises questions about how the charitable sector is adapting to the pandemic more generally.

Many Montreal and Quebec charities have either postponed their events, converted them to online, or cancelled altogether. This scenario has some experts questioning the sector’s dependence on events as fundraising tools.

It is difficult to say how donors have responded to organizations’ efforts so far.

A recent survey by the Institut Mallet suggests that Quebec residents have made more monetary donations during the pandemic than previously. However, 69 per cent of charities reported declines in revenues nation-wide, accord-

ing to a recent report by Imagine Canada.

Daniel Lanteigne, a philanthropy consultant at BNP Performance, has been advocating for charities to start moving away from events and building alternate relationships with donors.

“We have been saying for many years: less events, more discussion with donors,” he said. “So you can get them to a point where they might give a major gift or a planned gift.”

Greg Thomson is the Research Director at Charity Intelligence.

“Some of these events are very expensive,” he said.

“When donors give $100 to someone who is walking or running, they are really only giving $50 or $40 dollars. The rest is going to covering the costs.”

Thomson hopes that charities’ online experiments will lead to long-term innovation in the sector, particularly in the form of reducing event costs.

In the future he hopes that charities will use lessons learned from the pandemic to bolster their other fundraising methods or re-configure their events to maximize the benefit-to-cost ratio.

“From the difficulties we have, innovation sparks improvement for a lot of these big events,” Thomson said.

Photo courtesy of the Leukemia and Lymphoma Society

CONCORDIA

Former President of ECA on why he was disqualified

Alex Stojda was disqualified as he ran to be President of the Engineering and Computer Science Association (ECA) for a second year Fern Clair Assistant News Editor

In March, Alex Stojda, then-President of the Board of Directors for the Engineering and Computer Science Association (ECA) was disqualified from running for reelection because of a bylaw infraction.

ECA’s bylaw B.4.1.3 states that, “Current executives of another society, association or committee that has financial affiliations with ECA, excluding all ECA appointed committees, shall not be eligible to be the President or Vice-President of Finance of the Association.”

Stojda was disqualified because it was his first year as President of the board of the ECA, and he was on the executive board at Reggies Bar, which has financial connections to ECA. “I disagreed [with the disqualification], but I was willing to rectify the situation and resign [from Reggies] because the ECA is the thing I care the most about,” said Stojda.

He explained that he tried to appeal the decision, and said his bylaw infraction was minimal and easily remedied, but it was not accepted.

He also stated that bylaw B.4.1.3 was added in March 2019, halfway through his term on the executive board at Reggies.

When he became President of the board, he explained, the issue of him also being on the board of Reggies was never brought up.

“In one word, I feel betrayed,” said Stojda. He explained that while he understands that different interpretations of bylaws happen, the issue is that he was never allowed to argue against it, “Or have the three years of my work as an executive on the ECA considered.”

“My offer to resign from Reggies was never addressed and it was never explained to me why that option was unacceptable,” said Stojda.

He admits that he wasn’t surprised by the accusation, as it was election time and it is common for “the dirt to come out,” but he was surprised by the verdict.

A petition created in May to reinstate Stojda garnered just under 150 signatures, but the petition was never acknowledged by the ECA CEO Febrian Francione. Stojda explained that the support for the petition is a significant amount as the average voting turnout for the ECA is around 350 students.

The petition claims that the issue with this verdict is that Reggies does not fit into the bylaws definition of an organization, as it is an independent organization.

It also states that if the bylaw was interpreted correctly it would allow Stojda the opportunity to resign from Reggies and re-run for presidency.

According to Stojda, besides asking CEO Francione to reconsider, there is nothing else he can do, as the ECA doesn’t have a board of appeals.

He believes that if ECA had a similar board, such as the Concordia Student Union’s (CSU) judicial board — an independent judiciary branch of the CSU — he would be able to make it clear that he would resign from Reggies for the new election and have the disqualification overruled.

Stojda also admits that after three years of hard work, this verdict has heavily impacted his mental health; thus, he has decided to stop pursuing the issue and redirect his time to new opportunities.

“Despite all of this, I had a great three years representing the students and I only wish I had a fourth,” said Stojda. “I am worried that the work that I have been doing will be stained by this situation.”

The CEO has not responded or commented on the petition, nor have they responded to any of our communications.

Photo courtesy of Alex stodja

Housing advocates laud Mayor Plante’s social housing move Elyette Levy Assistant Commentary Editor

There’s trouble in paradise as Americans’ beloved entertainment app is threatened to be banned Advocacy groups for social housing in Montreal have praised Mayor Valérie Plante’s use of the right of first refusal law, which gives the city priority in purchasing properties over private buyers for the benefit of the community.

The law, granted by the Charter of Ville de Montréal, was created in 2016 to afford the city greater powers in developing urban planning projects. Since then, the Plante administration has said it would use the law to help tackle the city’s affordable housing problem.

However, some groups representing landlords insist the city’s decision to purchase buildings for the purpose of social housing is a costly mistake.

Matthew Pearce, former CEO and President of the Old Brewery Mission, told The Concordian that the acquisition of Parc-Extension’s Hutchison Plaza in September was a good start. “[The mayor] should see the acquisition of the Hutchison building as the first in an ongoing process of purchasing of buildings that become available.” The creation of the law allows the city to compete with the deep pockets of private developers, he said.

About 20,000 families are currently on the waiting list, he explained.

“There are many people who aren’t homeless but are very precariously housed. Anybody who is without housing should have access to affordable housing.”

However, not everyone agrees with the mayor’s decision.

Martin Messier, President of the Association des Propriétaires du Québec told The Concordian that the right of first refusal should only be used in exceptional cases.

“We think the best way to help the tenant is to provide financial help so that they are able to really choose the location and make sure that we have diversity in a building, so not only tenants with the same profile. I think it’s a win-win for the tenant and the landlord.”

Hans Brouillette, Director of Public Affairs at Corporation des Propriétaires Immobiliers du Québec, said he recognized that the private market is incapable of fulfilling the needs of all tenants. However, he stated that the city’s move was unnecessarily expensive and inefficient.

Aside from buying the property, the city will have to renovate and manage it, he said.

“The same amount of money would have helped many more households if it could have been used to keep tenants in their current apartment in the private market, or even to help them to move to a better apartment.”

“If some types of apartments are not available then the city should support promoters with subsidies to build those apartments,” he said. “It’s all politics. It’s an administration against landlords.”

In response to assertions about the private market’s effectiveness, Darby MacDonald, a community organizer at Project Genesis, told The Concordian that social housing “exists and is successful because it exists outside of the private market that isn’t serving the needs of its people.”

“Subsidies alone won’t resolve issues of people who require housing, and many of those who accept subsidies find themselves in difficult situations,” MacDonald said. One woman, she explained, accepted an apartment subsidy for five years but the landlord renovicted the building’s other inhabitants.

“She’s the only person remaining and doesn’t have electricity.”

“The solution is for the government to step in and take care of the community the way that it can.”

Photo by Christine Beaudoin

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Commentary.

COMMENTARY EDITOR Aviva Majerczyk / @aviva_majerczyk commentary@theconcordian.com

POP CULTURE

An analysis of J.K. Rowling’s transphobia

How J.K. Rowling weaponizes white femininity against trans people Nadia Trudel Contributor In a year of general tragedy, disappointment, and chaos in all regards, I didn’t expect a pillar of my childhood to be destroyed.

This summer, while people across the world were protesting against police brutality and systemic racism, J.K. Rowling, the author of the Harry Potter series, decided to get on Twitter.

She mocked a headline which used the phrase “people who menstruate” following up with a tweet about her fear of biological sex being erased.

She received backlash from LGBTQ+ organizations like GLAAD who called her tweets “cruel” and “anti-trans,” while cast members from the Harry Potter franchise criticized Rowling or spoke out in support of trans rights. However, Rowling did not back down. Instead she wrote a 3,000+ word essay for her website in response to the criticism where she posits herself as a brave defender of women against radical trans activists.

The comment I found most disturbing was when Rowling said, “When you throw open the doors of bathrooms and changing rooms to any man who believes or feels he’s a woman ... then you open the door to any and all men who wish to come inside.”

Here, Rowling proves that she is a product of the media she has been exposed to.

This idea partly emanates from a variety of very harmful tropes in media about trans women; that they are “men in dresses” (perpetuated by the casting of cis men as trans women), that they are men dressing as women to get something (Some Like It Hot, Mrs. Doubtfire, White Chicks, Tootsie, etc.), or that they are crazy and violent (The Silence of the Lambs, Psycho, Dressed to Kill).

With such a historic lack of representation, especially when Rowling was growing up, these types of representation form a lot of negative and incorrect ideas in people’s minds about who a trans person is.

A lack of, and poor representation of minorities has al-

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ways been an issue. However, the history of representation of Black people and trans people is particularly intertwined.

Just as trans people are regularly abused and murdered based on the notion that they are predators or deviants, Black people (particularly men) have been murdered based on the idea that they are dangerous, particularly to white women.

In the post Civil War era, white supremacists and politicians created racial terror amongst white people by frequently using the fear of rape of white women at the hands of Black men. So you can see how harmful Birth of a Nation was (also because it romanticized the KKK leading to its rebirth). Fourteen-year-old Emmett Till was lynched in 1955 after allegedly flirting with a white woman.

As Mia Brett notes in The Washington Post,

“Though built on white privilege, the protection offered to white women against other groups actually serves anti-feminist goals of infantilizing women and using their safety as justification to enact bigoted violence. In cases where women’s safety cannot be easily weaponized against a Black, immigrant or trans person, the figure of the damsel in distress has evoked little societal response, even if a woman is in genuine danger.”

Similar fears and dynam-

ics are at play in J.K. Rowling’s fears of “erasing sex” and “letting any man who believes or feels he’s a woman” into women’s bathrooms.

I have to acknowledge my own white cis womanhood and the history and privilege and power that comes with that.

Frequently white cishet women delude themselves into thinking that they cannot be oppressive to others because they have been oppressed for their gender, or they believe themselves to be the most oppressed like it’s a competition. This delusion does not make white cishet women good allies.

In her essay, Rowling claims women are being silenced, that they are terrified of trans activists, and that we are living in the most misogynistic period she has ever experienced. She explicitly says that trans lives matter and yet she seems to imply that her comfort is more important. She claims it’s her safety that is being threatened but she has no evidence to back that up because there is none. She cites her experience as a survivor of domestic abuse, as the reason why she is afraid of trans women being allowed into “women’s spaces” and that is very telling of how she views trans women: men in dresses.

We must recognize the sources of our fears when it

comes to the “other” and realize that unconscious bias is at play, even for those of us who so desperately don’t want to be racist or transphobic.

I don’t think Rowling believes herself to be transphobic.

In fact, in her essay she says most trans women pose zero threat, acknowledges that trans women of colour are more likely to be affected by violence, and says she wants trans women to be safe. But whether she realizes it or not, she is using and perpetuating stereotypes which harm trans people.

Her type of transphobia is more subtle but is just as if not more harmful than outright bigotry.

She comes across as reasonable and constructs well-spoken arguments, says she has trans friends and rejects the TERF (trans-exclusionary radical feminist) label, so her arguments will be more “appealing” to people.

She has deluded herself into believing that she is being wrongfully attacked because of misogyny, that she is the victim of a witch hunt. Maybe she doesn’t have any malicious intent — she says she doesn’t — but she is afraid. And a white cishet woman’s fear can lead to real violence and oppression.

Beware this type of white cishet woman and call her out on her bullshit, especially if you are also a white cishet woman.

Graphic by @the.beta.lab

STUDENT LIFE

Wedding on a diet: getting married during COVID-19

When the pandemic strips milestones to the bone Christine Beaudoin Photo Editor Oct. 3rd, 2:30 p.m.: Six people are standing in room 2.17 of Quebec’s courthouse.

The first is a court clerk, the second and the third stand before the first, the fourth and fifth are witnesses and the last is a member of the audience. The occasion: my wedding.

I have never really been the type of person to spend time with my head in the clouds about what my wedding would look like, but I certainly never pictured it like this.

If anything, I thought the guest count would be beyond one. Even though I haven’t been bathing in wedding fantasies since my childhood, when my partner proposed to me on New Year’s Eve, we knew we had a big party to plan.

Fast-forward to March. It seemed to us like we already had it all: a large expanse of land in Rimouski lent to us for free, a lake, space to camp and nearby accommodation, many talented artist friends to set the mood with music and decorations, family members to serve as amazing cooks, near limitless access to alcohol, and many, many cherished guests. Set for Aug. 15, 2020, our celebration was going to be a banger.

Then came the big, the bad, the-still-ongoing COVID-19.

April 10: The Legault government announces that all public events are to be cancelled until Aug. 31. On the Facebook event for our wedding, our guests are notified that the celebration is pushed to 2021, or at least until

it becomes safe to party again.

We decided that in the meantime, we would still get the legal ceremony done. In response to COVID-19, Quebec’s courthouse allowed for a total of only seven guests in addition to the two mandatory witnesses. This was just enough to accommodate the core of our families, except for my brother and his girlfriend who have been avoiding all human contact since the pandemic hit.

Instead of a proper honeymoon, my partner and I planned for a week of relaxing celebration in Mont-Tremblant with

some of the family that had attended the wedding. For the time being, it was the least we could do to underline the milestone.

In late September, as the second wave hit, our nine guests withdrew themselves from the wedding, one by one. Coming from out of town, entering Montreal which was turning into a red zone represented a risk they were not willing to take, even to wit-

ness our union before law in-person. Only via Zoom would they join the ceremony.

Sept. 27: Following a difficult phone call with my mother concerning Montreal’s official red zoning, my partner and I decided to forego our stay in Mont-Tremblant for the safety of our family.

Less than a week from our wedding, we were stripped of our guests, our “honeymoon’’ and our witnesses.

Even though we knew a big celebration would eventually come, and that our relationship would survive these relatively soft hardships, a hollow feeling of despair started to creep up on me.

Sure, we would find new witnesses fairly easily. Sure we would get married. Sure, we would still have a good time drinking champagne.

But, there was a but.

Thursday, Oct. 1: My phone buzzes. Bota Bota, the famous travelling ferry spa in the Old Port of Montreal, is on the line: they are informing me that my reservation for Saturday will be refunded due to their baths needing to be closed, following Legault’s latest announcements.

As such, my latest attempt at making a celebration out of my

marriage got thrown out the window. Out on a long walk to breathe it out, I took a break to sit on the sidewalk and let my tears flow.

But, at least we have each other. That is what weddings are about, right?

Friday, Oct. 2, 10 p.m.: My partner and I are writing our Goldschläger-induced vows when, all of a sudden, his computer screen lights up. Familiar faces are all over it. Confused but only for a short time, I soon recognize that what I have before me is a surprise bachelor/bachelorette Zoom party — and what will become a nasty hangover on my wedding day.

Saturday, Oct. 3: My husband and I are on the rooftop of the hotel, spending the night drinking prosecco with the witnesses and an extra friend.

Although I could count the number of people present on one hand, I was tremendously grateful for all the little things we had been able to do to celebrate. It was as though the Draconian diet on which our celebration was put on made for every little bit of time spent in good company the most savoury bite of my existence.

I can only imagine the blast of flavours that will bring the big wedding celebration, whenever that may be.

Photos by Christine Beaudoin

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Commentary.

COMMENTARY EDITOR Aviva Majerczyk / @aviva_majerczyk commentary@theconcordian.com

OPINION

What’s wrong with being basic? A defense of the Pumpkin Spice Latte Plain black coffee is bland anyway Elyette Levy Assistant Commentary Editor It’s finally Pumpkin Spice Latte season! And you can bet that I’ve already had three since the beginning of the month.

Though, with great power comes great responsibility: each year, myself and other PSL lovers have to fend off the perennial critique that the drink is basic.

To that, let me say two things: a) the pumpkin spice blend that Starbucks uses is no less than fantastic; and b) what’s so wrong with liking basic things?

We’ve come to attribute a lot of things to this idea of “basicness”: the image of a Michael Kors-clad young woman with a Hydroflask® in her hand and Kylie Jenner’s Candy K on her lips, ordering a smoothie bowl at brunch.

To me, this rhetoric is just another, more personal derivative of our performance-driven society. The logic behind it is that it’s okay to deride certain aspects of popular culture because it allows the creation of a cultural hierarchy.

We’ve learned to gauge our place in society based on others’ behaviours. This is normal; humans are social creatures. In our hyperactive, hyperproductive world, though, we are validated by what we bring to society — especially in the midst of a pandemic, as we are bombarded with tips on how to spend our time usefully.

So when we realize that the conversation about who can be more productive or who is working harder is fruitless, we turn to who is more cultured or has more individuality, traits that are measured by our tastes and interests.

If performance is no longer an accurate

determinant of social worth, let personality be.

Twitter user Salvatore Maicki gave a perfect example of this in posting a picture of a textbook page that graphed various elements of our culture into neat rankings (personally, I identify strongly with the tweet’s caption). At the top, you can find highbrow examples like “ballet” or “Hamlet”; at the bottom sit the “paparazzi coverage of Kim Kardashian” and “Grand Theft Auto.” The essence of this unwritten hierarchy is there: the less akin your interests are to the elements at the top of the chart, the lower their considered worth — and thus the lower your perceived value in society.

This assumption does two things: it reinforces the elitist ideas that we’ve based our social constructs on, and it encourages us to see others as two-dimensional rather than as multi-faceted individuals.

Urban Dictionary, a decisively authoritative source on the subject, defines basicness as being “only interested in things mainstream, popular, and trending.” So how do you discern the difference between what is basic and what is simply good enough to be widely appreciated?

Billie Eilish’s music was cool in 2017; now, it’s overly edgy and try-hard. You had good taste if you wore those chunky Filas for the first two months they were trendy, you weren’t if you bought them the day it was collectively decided they were tacky.

But these are arbitrary gradings we’ve created to apply simple labels on those who surround us. This “over-valuing” of original-

Mandatory mask laws: Make caring about people normal again Hot take: Public health has no place in identity politics, and comparing public health measures to the Holocaust won’t prove your point Simona Rosenfield Assistant Commentary Editor Since early March, when the WHO officially declared the novel coronavirus disease a pandemic, public opinion evolved drastically. Most notably, the issue has found its way into identity politics.

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Leonard Cohen best said it: “There is a war between the ones who say there is a war, and the ones who say there isn’t.”

At this point in time, we’re somehow in dispute about whether there is a virus, and whether that virus is as dangerous as our government and health officials say it is. To that end, we’re in dispute about the unprecedented measures our government is taking to protect the health of its citizens by balancing the health of the economy and the health of the people.

ity shames us for being interested in anything popular, and pushes this narrative that people can’t be smart and cultured while also religiously watching The Real Housewives of Beverly Hills.

Our tastes and interests are just that: they’re not telltale signs of a boring or daft character. Everyone thinks. Everyone has ambitions, opinions, and principles, and to expect these traits to be entirely encapsulated in aleatory preferences is simply unfair.

I’m an ardent believer in the “let people enjoy things” doctrine, and I have faith that people enjoy things that are considered basic not because they want to follow the crowd (though that may be one of the factors), but because they genuinely enjoy them.

People shouldn’t have to explain or prove themselves to anyone, especially not judgmental folk who roll their eyes at the sight of “PSL” scribbled on a paper cup. So, please, excuse me while I go get my fourth one this week.

Graphic by @the.beta.lab

Here’s a hot take: mandatory mask laws are actually not political, they’re medical. A mandatory mask regulation is not the mark of a political coup. It’s akin to banning smoking indoors or a “No shoes, no service” sign.

Meanwhile, our economic system continues to plunder the lower classes of our society, pusing them to more and more dire living conditions, while the elite few make a casual $8 billion earnings in one day.

It comes as no surprise that, with such a disparity in wealth ever growing, discouraged people experiencing exploitation are at their wits end, and are not about to take one more assault on their liberty. In this cultural landscape, I understand that a mandatory mask is just one more thing you have to do, while you risk your life in order to afford your life. But it’s also a low hanging fruit, and it doesn’t reach the actual issue at hand.

Compounded with a government that’s inconsistently transparent, and cases

continuing to climb in Quebec, it really does feel like our democracy is in crisis.

We, like Nelly, have a dilemma, and it’s getting undermined when we centre mask regulations as a human rights violation.

Despite what the old man yelling at the clouds would have you believe, it is incomparable to relate mandatory masks with the forced branding of Jewish people during the Holocaust. It also acts to undermine a very real issue in our society by misplacing the focus of people’s fears.

I first noticed this comparison in June

during the internationally covered Palm Beach County commission meeting on a mandatory mask order.

At this meeting, one resident, Theresa Roberts said, “I’m also the daughter of somebody who lived through Germany. I know a lot of stories. And this is sounding very familiar to me. You’re forcing people to wear masks. They were forced to wear a star.”

Another resident and Republican candidate for Congress, Reba Sherrill, said at the meeting, “Discriminating against certain groups of people while exempting others is a violation of our civil rights. Following World War II, we Jews said ‘Never again.’” She continued, “We were forced to wear a gold star. Told to get [in] a box car to be taken to a safe place. In reality, what happened?”

I know there is a lot of fear, especially for people in the Jewish community.

Throughout history, Jewish

people trying to assimilate to new societies have been met with violence, and I understand that the fear of history repeating itself is very real. We also lose credibility when we make leaps like this.

We have genuine cause for concern about the safety, privacy, and freedom of people in North America. In Quebec, the Legault government passed a law that entitles police officers to obtain search warrants via the telephone, enabling quick legal access to private residences, for the intended purpose of enforcing COVID-19 restrictions on public gatherings.

In my opinion, this law poses greater issues for human rights violations and discriminatory policing than a mandatory mask law. We have to be smart about where we cast our attention and criticism.

“There is a war between the ones who say there is a war, and the ones who say there isn’t.” Lately, I wonder whether there is a war between those of us who say chaos is a conduit of war and those who say a mask is.

Graphic by Taylor Reddam

STUDENT LIFE

The Woodnote: finishing touches

Zoom-fatigue, red-zone isolation, and finishing touches at the Woodnote Chloë Lalonde Creative Direcor Click here to read more and watch the video Our mailboxes were installed! Life at the Woodnote is starting to really take shape now, I never realised just how much having a mailbox made me feel like a real person.

Since I last wrote, most of the balconies have also been installed, the silver diamond-shaped siding has been finished, and the construction workers have started adding plants everywhere. It looks great!

Despite the exterior of the building really starting to come together, I still think the interior hallways need some work. I can’t help but wonder if the concrete floor will remain as is, and if they will add some kind of trim where the wall and floor meets. Right now, in the first floor hallway, there is about an inch gap where unfinished drywall should

meet the floor.

Tenants received emails from the co-op board encouraging us to join committees. According to a document outlining membership involvement opportunities, several committees are being developed and will be proposed at the Woodnote’s annual general meeting on Oct. 18. These committees include Anti-Oppression, Safer Spaces, Member relations, Outreach, Labour, Arts and specific projects, and much more. Although nothing has come of it yet, I hope that I might be able to have a say in jazzing up the hallways a little bit as a part of the Arts and specific projects committee. I don’t mind the white walls, but some fun, artistic touches and murals couldn’t hurt (think, the murals in the staircase leading up to the greenhouse in the Hall building.)

It would be difficult to coordinate such a project now, under the current red-zone restrictions. Tenants have been asked to limit their interactions with others, in addition to using hand sanitizer at the entrance and wearing masks in the hallways.

All I can say is I’m glad I’m not living alone in this studio apartment. I know others that are, and it must be so challenging to keep from feeling totally isolated. Although

online events have a great way of suggesting this aura of togetherness, the Zoom-fatigue is real and even as an introvert, I miss working around other people in the VA building’s studios. I wish there was a way for us Fine Arts students to work in the common room, socially distanced, with masks on. But sadly I don’t think that is a possibility in the slightest. The common room is still bare, safe for construction scraps, garbage and recycling. I wonder if it will be developed at all this year, and where the garbage and recycling bins will be kept once the common room is ready.

Documenting this move has definitely been an interesting exercise in self-reflection for me, giving me the opportunity to think back on the weeks prior, really notice all of the subtle changes and truly appreciate this space that I have come to love. I hope that this small series will inform and inspire future Woodnote tenants.

This is an exciting place to be, and I’m glad I get to be a part of it.

Photos by Chlöe Lalonde

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Arts.

ARTS EDITOR Lorenza Mezzapelle / @lorenzamezzapelle arts@theconcordian.com

SPECIAL PROJECTS

Fine Arts Stories: sharing work and ideas An online forum to bring Fine Arts students together

So far, the initiative has been well received. Fine Arts Stories creates organic engagement through a website, where students can share what they are working on, leaving platforms such as Facebook and other social networks secondary.

“I think people are ready to try something more gentle and fluid in a non-brand dominated format, and the wider internet is still a place to find connection and intrigue,” said Middleton.

Ana Lucia Londono Flores Assistant Arts Editor Fine Arts Stories is a space where Fine Arts students can openly share their in-progress work and projects. The initiative was created by installation artist and Fine Arts coordinator Tricia Middleton with the help of Gabriel Castelo, a Computer Science and Electroacoustics student.

The idea of creating a space to share thoughts and ideas was born during summer.

“I realized that something semi-centralized that could encompass all forms of making and doing, thought and conversation – perhaps in the way architecture might function as the support for our peer-to-peer relationships within

the institution – would probably be needed,” said Middleton.

While working with Fine Arts’ student-run organizations, Middleton generally attempts to bring all students together through organizations focusing on relationship building within the faculty.

With the pandemic being out of anyone’s control, it seemed like a great opportunity to create a space to foster relationships.

“I wanted to see if I could facilitate a semi-centralized, hybridized outlet that could help people connect in new ways that takes into account [that] many of these people have not yet met one another and will not have the social space of campus to do so this year,” she said.

There are unlimited spaces for submissions. Submissions are non-juried and are being accepted on a rolling basis. The goal is to facilitate engagement between students. Students send their materials to Castelo, who is also helping shape the project, and uploads the works to the website.

Once physical distancing is no longer an issue, Middleton is looking forward to continuing the initiative. For the moment, Middleton is flexible and open to any good ideas to further develop the project.

“Art and thought is the mediator we usually use to conduct such relationships in our faculty, and this online forum is intended to facilitate this if possible,” said Middleton.

Students can submit their work to Fine Arts Stories at fineartsstories.ca

FILM REVIEW

Last and First Men: a warning to humankind Not your usual sci-fi movie Lorenza Mezzapelle Arts Editor “Listen patiently.” Tilda Swinton’s voice reverberates against an orchestral score while the camera pans out on a sculptural installation. Then, the screen goes black.

Directed by Jóhann Jóhannsson and

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originally released in 2017 prior to his passing, Last and First Men, presented by the Festival du nouveau cinéma, is not your average sci-fi movie.

Based on Olaf Stapledon’s 1930 science-fiction novel Last and First Men: A Story of the Near and Far Future, the film tells a message from billions of years into the future.

The message is an alert to humanity, warning them of their inevitable extinction.

If you’re looking for an action-packed sci-fi movie, this is not it.

The experience resembled that of watching a nature documentary (Swinton might just be David Attenborough’s female counterpart). Her narration, which is similar to a dramatic audiobook reading, spans the length of the film and can be heard over the liturgical-style instrumental music composed by Jóhannsson himself.

The film offers an abstract anecdote of a post-apocalyptic world; there is no acting, there are no characters. Throughout the film, the camera pans over grayscale futuristic architectural details and archaeological sites.

The stark architectural elements, which are socialist-era monuments and can be recognized as Spomeniks from the former Yugoslavia, contrast Swinton’s smooth voice. Her narration is at once compelling and deadpan.

Like watching a documentary or walking through an exhibition gallery, Last and First Men requires full and undivided attention.

Jóhannsson’s film captures what it means for a film to be considered art.

INITIATIVE

Bidgala: breaking the rules of the art market Building a community for artists and entrepreneurs María Escalona Contributor “Community, empowerment and innovation,” I say to myself three times for luck after I end my interview with Sam Tenenbaum and William Lande. I repeat it as a mantra because after our talk I, as an artist, feel excited and hopeful for the future of the art world that they have helped create. Its name is Bidgala.

You may be wondering, what is Bidgala?

Co-founder Tenenbaum explains it as “An online community and marketplace that empowers artists to take charge of their careers and their artwork.” What better way to describe the project than that?

Now, you may wonder where my new mantra appeared. “Community, empowerment and innovation,” the founders replied when asked what three words describe Bidgala. All of this came from the idea of bringing innovation to an (already) powerful community of artists missing a better platform to rise.

This story starts with entrepreneurs and ends with entrepreneurs supporting other entrepreneurs. Long-time friends Tenenbaum and Lande not only grew up together and with the same entrepreneurial vein in them, but also weren’t interested in 9-to-5 office jobs, like many artists feel.

They went from making profit reselling shoes, school supplies and anything they could find, as teenagers, to being students at John Molson School of Business, as young adults. They are currently finishing their undergraduate degrees, while simultaneously founding the very first business of its kind that doesn’t need another platform to stand on its own. It will certainly break all the rules of what we know of the art industry.

What do I mean by that?

If artists use many platforms to sell their art already and that the “rules” are constantly changing, what new does Bidgala bring to the table, you may ask? I may respond simply by saying there was never a place where an emerging artist could be representing themselves, creating connections and a clientele, exchanging with other artists, building their brand, fulfilling their own criteria and no one else’s, and making money all in the same website. Now there is.

The project, born from this friendship, started at the beginning of 2020 as they “saw all of these artists doing what they love to do but [not] generating any income with it,” said Lande. They realized that most of their artist friends were struggling to enter the art market and sell their work because the industry is

very limiting and lacks the opinions of the artist themselves. Tenenbaum and Lande decided to change that by asking them about it.

They have conducted interviews and focus groups, and research on the different social media platforms that artists currently use to promote their work in order to identify the specific needs of artists. They assert that they will continue to do so to constantly improve the experience where the focal point is the artist’s agency.

Before Bidgala, artists wanting to sell artworks outside of their immediate circle often

needed an intermediary that would link the buyer to them, like galleries do. This has been changing for a few decades as a result of artists’ centers, collectives and community-based exhibitions, as well as the arrival of social media and online marketplaces like Etsy, Instagram and Facebook. Tenenbaum and Lande thought of Bidgala as an original and independent platform that creates direct communications between the artist and the buyer with all the features of a social network. Those who create can now sell their artwork from the comfort of their homes while interacting with the community.

Bidgala will officially launch for sales at the

end of October but is already available for artists to create their profiles. Artists have complete control of their uploaded artworks as they decide the prices, the descriptions and the handling of the pieces, as well as the general image of their brand. The site is designed to be easy to use for both sellers and buyers, and will include features of commenting, liking, sharing, bidding, and even live chatting with agents and curators about the artworks.

The commission of 30 per cent in each sale presents a competitive and fair option, not only to artists who are often imposed a 50 per cent commission in many galleries, but also to the creators and members behind the platform.

Bidgala aims to be a safe, accessible space that welcomes every individual that wishes to interact within the community, without any restrictions or criteria. There will be a section of the website where the users can exchange, interact and learn from each other about art and all its branches, as well as special features for different communities like LGTBQ+ people, Indigenous folks, and more.

Bidgala has also been selected to be part of District 3, a program that supports and empowers initiatives that create social impact because they consider it important to contribute to causes like Black Lives Matter through events, donations and fair opportunities in the industry, as a way of giving to the community they want to help build. Pre-quarantine, the launching of the website was planned to be an event with the goal of raising funds for different groups involved in the Black Lives Matter movement. Even though the physical event was cancelled, Bidgala still plans to donate part of its commission towards this cause.

“Artists need a community now more than ever, especially with COVID,” said Lande. “Artists are one of the most powerful communities in the world and when something resonates with them, they share it,” he told me, explaining why the community aspect of Bidgala is crucial in this new system. “We wanted to give artists the tools and support that they need to follow their dreams.”

When you say “Bidgala,” that is what the future of art sounds like. Now repeat with me: community, empowerment and innovation.

Bidgala is set to launch at the end of October. Visit thebidgala.com for more information.

Graphic by Lily Cowper

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Music.

ALBUM REVIEW

MUSIC EDITOR Louis Pavlakos / @louispavlakos music@theconcordian.com

es his verse with by screaming “Wa-ching,” and continues to use onomatopoeia to describe war sounds in this effort to create an anti-war anthem. Nevertheless, it appears as though he is making an attempt to have some profound commentary on how war is evil without actually making any commentary.

Whether it be through hilarious analogies or direct call-outs, IDLES have never shied away from telling it as it is. “War” both lacks direction and does not really offer any critiques. Instead of making some great points about why the band is anti-war, Talbot would have gotten his anti-war message across better if he sang about those issues instead of mimicking cannon sounds.

Despite being buried in uncertainties and lacking a clear narrative, Ultra Mono does have its highlights. The second single, “Grounds,’’ is definitely one of the album’s best tracks given the contrasting effect between the clear percussion elements, the layered heavily distorted guitar riffs, and the closest we’ll ever get to hearing Talbot rap. The production is also reminiscent of a hip hop track, which creates a nice contrast from “War.” Nonetheless, Talbot culminating his last verse with “So I raise my pink fist and say, ‘black is beautiful,’” was quite unnecessary and highly offensive. This implies that Black people require validation from white people in order to feel secure in themselves. Although Talbot might not have intended to sound offensive, comments of that nature made me ducer Kenny Beats while having both Warren question whether the band’s intentions with Ellis from Nick Cave and the Bad Seeds and composing political music are genuine.

Jehnny Beth on a few tracks.

Additionally, many IDLES fans includIDLES released a handful of singles pri- ing myself were not impressed with “Ne Touor to their release which really set the tone che Pas Moi,” which was purposely worded for what to expect. Having made their mark incorrectly and consists of a riot grrrl-esque onto the punk scene with their brutally honest song about consent featuring Jehnny Beth on and political music critiquing capitalism, tox- the backing vocals as a finishing touch. The ic masculinity, racism, and Brexit, the band’s thought of having cisgender, white men write ethos has revolved around self-love, which is a song on behalf of women and femme-idenwhat this record is essentially about. tifying people just does not seem right.

Their singles “Mr. Motivator,” The most consistent and interesting el“Grounds” and “Model Village” all consist- ement of the record is its instrumentation ed of the combination of clever lyrics and up- as IDLES manage to move away from their beat guitar-driven instrumentation which signature bass and percussion-heavy, minseemed to be quite reminiscent of their pre- imal-guitar-effects sound. With this album, vious work. In fact, all of those tracks man- there is quite a focus directed towards creatage to grab people’s attention within the first ing intricate and powerful guitar riffs through Sun Noor few chords. Although the singles suggested the experimentation of guitar pedals. Ultra Contributor another excellent number by IDLES, there Mono demonstrates their growth in terms of Following the release of their critical- are a few uncertainties when it comes to the musicianship which is admirable and presly-acclaimed sophomore record, Joy as An Act band’s intentions with their message, as it ents a glimpse of what to expect from the band later on in their discography. of Resistance in 2018, the Bristol post-punks comes across as disingenuous.

The record commences with “War,” IDLES have recently returned with their follow up effort. Given an extensive world tour which is both loud and eerie, consisting of a and endless positive buzz around their past clash of instruments to create this huge sound releases over the past couple of years, Ultra building up. Frontman Joe Talbot commencMono was undoubtedly going to result in becoming one of their biggest records to date.

The band recorded the album at La Frette Studios in France over the course of the past year, with a handful of collaborators. In terms of the production, the punk quintet worked with producer Nick Launay — who has previously worked with Talking Heads and Kate Bush — and Grammy nominated engineer Adam Greenspan once again. The band also worked with the highly requested hip hop pro-

IDLES: Ultra Mono

Ultra Mono is quite a roaring and experimental record but often lacks direction when it comes to addressing political issues

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ALBUM REVIEW

21 Savage & Metro Boomin: Savage Mode II

The Atlanta rapper and St. Louis super-producer team up once again and deliver a more-than-worthy successor to 2016’s Savage Mode

Wesley McLean Assistant Music Editor In hip hop, the sequel album has historically been hit-or-miss. Much like in film, the sequel has a lot of pressure to live up to the legacy and quality of the original, and for every triumphant follow-up, there’s been a disappointing letdown. With Savage Mode II, 21 Savage and Metro Boomin set out to be bigger and better the second time around — and bring Morgan Freeman along for the ride.

When the rapper/producer pair teamed up for the original Savage Mode in 2016, Metro was on a sensational run and 21 was one of the THINKPIECE

exciting new faces in hip hop. The project’s eerie, ominous trap sound, paired with 21’s monotone delivery and haunting tales of street life were a match made in heaven, even with the hellish soundscape. It was massively successful, launching 21 into a new realm of stardom and further cementing Metro as one of the genre’s best producers.

With so much to live up to, it would’ve been entirely understandable for the duo to succumb to the pressures of making a sequel and fall short. Fortunately, that’s not the case, as this is a rare occurrence in which the sequel completely trumps its predecessor.

With Savage Mode II, the pair have delivered a follow-up that improves on nearly every aspect of the original, while understanding exactly what made the first so special. A lot of Metro’s production mostly maintains the dark, brooding tone of the original, though there are several moments here that showcase his range as a producer. The biggest difference on this one is that the quality of the instrumentals has improved tenfold and they’re extremely dynamic and cinematic. His work here feels less like he’s producing an album and more like he’s scoring a film.

Another aspect of this album that gives it that movie-like feeling is the narration that appears throughout, courtesy of Morgan Freeman. From his opening monologue to his final words on the closing track “Said N Done,” Freeman has moments peppered throughout the

project in which he delivers words of wisdom to the listener. He immediately sets the tone for the album and his appearances throughout perfectly emphasize the album’s lyrics and themes.

The instrumentals and narration do a fantastic job of setting the framework for 21 to succeed, and he does not let that foundation go to waste. This may very well be the best he has ever sounded in his career. Lyrically, he’s sharper than ever and while he’s still quite monotone, his flows and delivery have drastically improved and have given his lyrics more punch.

The diversity that Metro Boomin brings to this album’s soundscape also pushes 21 to be more adventurous, both in terms of style and content. With some more introspective moments, a couple of relationship tracks, the lavish “Rich N**** Shit” and the seemingly N.W.A.-inspired “Steppin on N****s,” he seems comfortable on almost any instrumental Metro throws his way.

Savage Mode II is a blockbuster sequel that shines in its cinematic approach thanks to incredible instrumentals, a much more refined 21 Savage and guest narration from Morgan Freeman himself. It’s a testament to the improvement that 21 and Metro have shown over the years, honing their respective crafts since their first collaborative effort. Ultimately, this sequel will stand as a benchmark in both of their catalogues.

The day Led Zeppelin cemented themselves in history

50 Years Later, Led Zeppelin III is still a massive shift and it paid off massively Elias Grigoriadis Contributor From the moment drummer John Bonham and guitarist Jimmy Page connected on “Good Times, Bad Times” and introduced the world to Led Zeppelin, very few could claim to have had as influential or successful a run. Twelve years and eight albums later, Robert Plant and John Paul Jones — along with Bonham and Page — have one of the most impressive discographies in the history of music.

One of the most pivotal moments was the release of their third record — Led Zeppelin III — which celebrated its 50th anniversary this year on Oct. 5. Following the successes of Led Zeppelin I and II,

Plant and Page took refuge from the incessant touring in a small cottage in Wales. Once there, they fully embraced the folky, psychedelic, and — most notably — acoustic sounds they had been toying with over the past few months.

The 18th-century cottage in the Cambrian Mountains in Wales was where the majority of the album was written. The result was a collection of songs that were a sharp turn away from what came to be expected of Led Zeppelin.

The shock following one of the biggest hard rock bands re-

leasing acoustic material was not unlike the reaction to Bob Dylan going electric just five years earlier. It was vitriolic, with many people accusing the band of selling out or “going soft,” when in reality the signs were already there. They had already experimented with some of the sounds found on their third record and it should come as no surprise that they built on it.

Their previous record, which was appropriately named Led Zeppelin II, had a much more bluesbased sound, so they were willing to experiment with other sounds

and techniques. The writing was on the wall for a massive shift in style.

Plant — along with the rest of the band—went from high-flying, rock-n-roll sex gods to hippie farmers and they seemed perfectly at home in those roles. While “Immigrant Song” was all you would expect from the hottest band in the world at the time, the record’s opening track was the only hard rock song in the album.

Even though songs like “Since I’ve Been Loving You” and “Out on the Tiles” have electric instruments, the same sound that runs through the entire album is still incredibly present. While the entirety of the project wasn’t written during Page and Plant’s Welsh vacations, it’s impossible to deny its influence.

This record was a massive commercial risk. From an artistic standpoint, however, it seemed almost inevitable. In more than one interview Page and Plant explained how the band had been experimenting with similar sounds for some time and a full-length project seemed more and more like a natural evolution of “Zep’s” style and aesthetic.

One could write a series of novels on Led Zeppelin III. It’s a groundbreaking album that both stunned and divided fans in a way that only cemented their legacy as one of the most technically proficient and versatile bands of all time.

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Sports.

SPORTS EDITOR Alec Brideau / @alecbrideau sports@theconcordian.com

ESPORTS

A League of Legends World Championship like no other Esports without in-person viewers leaves much to be desired

Liam Sharp Assistant Sports Editor The annual League of Legends World Championship is no stranger to highlights and upsets, and this year is no exception.

Through two weeks of the championship, the level of competition is at an all-time high, and the record-breaking viewership numbers on the broadcast streams suggest Worlds 2020 hasn’t skipped a beat.

The COVID-19 pandemic has forced Riot Games, tournament organizers and developers of League of Legends, to proceed without fans in attendance, meaning highlights that would normally have a sell-out arena going wild are now being greeted by a deafening silence that even broadcasters struggle to fill in.

Patryk Surowiak, President of the Concordia Esports Association (CESA), believes that esports are built on fan interaction and attendance above all else, including the video games themselves.

“It’s true that at its core, esports is played on a computer at home,” Surowiak said. “But the industry has grown so much over the years, where it’s now entirely built on the fans and these in-person events that draw the attention of thousands of people from around the world.”

As President of the university’s club, created for casual or competitive gaming enthusiasts, Surowiak does a little bit of everything. He helps team coordinators get their teams and players together, helps set up the intramurals in accordance with Athletics and Recreation, and handles conversations with outside partners and sponsors.

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Surowiak is also a proud and skilled gamer. He currently plays at a semi-professional level in Riot Games’ free-to-play multiplayer tactical first-person shooter Valorant, but it was the studio’s first hit game in League of Legends that captured Surowiak’s attention as a teenager back in 2012.

“I made a new friend in my first year of high school who introduced me to the game,” Surowiak said. “From there, I was

instantly hooked and got really interested in the competitive side of the game, especially the professionals at the time.”

While Surowiak has broadened his gaming library over the years, he credits League of Legends for sparking his overall love for esports that has persisted to this day.

“I try my best to watch all the Worlds matches with video on demand but it’s been hard with games taking place in Shanghai,” Surowiak said. “At the end of the day it’s Worlds. I wouldn’t miss it for anything.”

While esports as a viewing product has suffered slightly from COVID-19, there has never been a better time for the indus-

try. The practice of social distancing has forced many to sit tight in the confines of their homes, and gaming provides a convenient distraction for people looking for social interaction and competition.

Surowiak described the experience of arranging events as President of the CESA during the pandemic as difficult.

“We usually hold viewing parties for Worlds at the school, and last year over a hundred peo-

and partners that would have bolstered the Concordia esports association.”

This year, the CESA and its Rocket League team will be competing in the Ontar- io Post-Secondary Esports League. The Concordia team will be the only Quebec school represented in the yearlong collegiate tournament that began on Oct. 5.

The eventual return to in-person normalcy will likely cause the esports’ surge to stagnate, but the industry has been forever popularized in a meaningful way.

The League of Legends World Championship is drawing people’s attention more so than ever as one might expect from a year devoid of social interaction.

H o w ever, regular fans realple showed up,” Surowiak said. ize that this year’s tournament “It was a fun event that will be a bittersweet memobuilt gaming fans, ry. Ultimately, no matter how friendships, and spectacular the matches, ultimately helped viewers will remember how grow the club.” it could have been if not for Instead of the pandemic. another year of development and growth You can catch the refor the club, Surowiak faced a maining Worlds action live number of unprecedented chal- or on-demand at the official lenges. The pandemic ultimately League of Legends esports forced him to cancel most of its site: esports.com.

2020 events.

“At the pinnacle, esports Read the primer to the biggest wasn’t too heavily impacted esports event in the world here.

by COVID-19,” Surowiak said.

“However, for the Concordia club, it was definitely a major hurdle. The club was prepared to Graphic by Taylor Reddam work with multiple new sponsors

RUGBY

The Stingers win a special edition of the Kelly-Anne Drummond Cup The Concordia Stingers and Montreal Carabins come together to honour former Stinger Kelly-Anne Drummond — while respecting social distancing Alec Brideau Sports Editor

CW: Domestic violence On Oct. 3, the Concordia Stingers and Montreal Carabins women’s rugby teams came together for the Stingers’ annual Kelly-Anne Drummond Cup, to honour the legacy of the former Concordia student and Stingers rugby player.

ly-Anne Drummond Cup title. Trafford said this year’s cup gave the team a moment of relief, especially without a rugby season to play.

“Since we’ve had nothing else to strive for this year, this was even bigger for us,” Trafford said. “We’ve been practicing for a while, even if it’s on hold now with the red zones. Yet, we didn’t have anything to strive for recently, so that was something really exciting. It gave us a goal. We want to keep the cup home, because Kelly-Anne was a member of the Stingers family, and still is in our hearts.”

Every year, the team aims to raise awareness about domestic violence while raising money for Women Aware. Setting a goal of $1,000, the Stingers surpassed it in less than a day, with the money raised currently sitting at over $6,000.

Head coach Jocelyn Barrieau said she’s not often shocked by things. However, she was blown away by the money the team has raised so far.

“We set the goal of $1,000 because we usually raise around a thousand every year, and we wanted to make sure that we would raise a similar amount,” Barrieau said. “I never thought that we would raise more than $5,000 in one day.”

Barrieau said she hasn’t really processed how great this year’s special edition of the cup was, but it felt great to have some sense of normality again.

“I’m just so impressed, and [feeling] emotional about the whole thing,” Barrieau said.

“We were looking forward to the competition, calling it a game day and talking strategies with team meetings and all. It was so nice to feel like we were competing again.”

Trafford said the way the cup was competed for this year, with social distanced activities because of COVID-19, was an incredible initiative from the Stingers and Carabins.

“It’s been an amazing turnout,” Trafford said. “We also raised more money this year than we ever did, which is fantastic. Also, from a team perspective, it’s definitely the most effort I’ve seen from anybody on the team in the five years I’ve been here. We had girls up at 2 a.m. already out running to start the challenges, so it was cool to see.”

The 16th edition of the cup was competed for differently this year because of COVID-19; instead of playing a game of rugby, the Stingers and Carabins competed in a 24-hour walk-run challenge to raise money for Women Aware, a community-based centre providing long-term support to victims of domestic violence.

There were three challenges taking place between the clubs, with each challenge representing a point; the team to win two of them would be declared the winner. The idea to find a way to make the competition happen actually came from the Stingers players, as they still wanted to commemorate Drummond despite COVID-19.

Drummond was a former player who was killed by her boyfriend in 2004. Fifthyear player and captain Kirsten Trafford said the team discussed over video chat to make sure they would still compete for the cup this year despite being unable to hold a rugby game.

“We thought about the possibility of challenging another team in any possible way,” Trafford said. “There were other rugby teams over the summer that were doing challenges to keep everyone active, and we came up with the idea through that. We just sort of [built] the competition that way.”

Using mobile app Strava, the first challenge consisted of walking or running during the day; the team with the most kilometres at the end of the day would win.

The second part of the competition was totaling the distances of the three players with the most kilometres from each team; Graphic by @the.beta.lab the team with the most kilometers would win.

Finally, the last challenge, which was mostly proposed by the Carabins and then added to the competition, asked teams to do various physical and artistic activities. Players had to film themselves while doing specific things, and were rewarded points for their performances. The team with the most points at the end of the day would win the challenge.

The Stingers won all challenges, successfully defending their Kel-

The Montreal Impact needs a new superstar The team lacks offensive power since departure of soccer legend Didier Drogba Alec Brideau Sports Editor Every Montreal Impact fan remembers when the team acquired Didier Drogba in 2015. The international soccer star, who’s now retired, played in Europe and at the highest levels of the game, and had an immediate impact on the team during his debut in the Major League Soccer (MLS).

Soccer is one of those sports where just one goal is often enough to win the game. Drogba, who played the position of striker, scored 11 goals in his first 11 games in Montreal. He concluded his time with the team with 23 goals in 41 games, playing in 2015 and 2016 for the blue, white and black.

The Impact qualified for the playoffs in both of Drogba’s seasons with the club. In 2016, it was the third time in five MLS seasons that the Impact qualified. However, the team hasn’t made the playoffs since. Last year, the Impact finished the season ranked 18th out of 26 MLS teams, winning only 12 of their 34 games and scoring just 47 goals.

Last year, the Impact added forward Bojan Krkić — known as Bojan to soccer fans — to the team, with hopes to get back what Drogba was bringing to the team: goals, offensive power, and the kind of starpower that puts the Impact on the map.

Unfortunately, it didn’t work as planned. Krkić didn’t perform as expected last season, scoring three goals in eight games. This year, he has only one goal in 10 games. Krkić clearly isn’t the Drogba replacement the Impact hoped he would be.

Montreal sports fans are passionate and want to see their teams win. It’s a sports city with a constant enthusiasm around the local teams. However, when things aren’t working, people can often be quick to ask for change.

It’s hard to acquire such talented superstars like the team did with Drogba in 2015. Yet, it really makes a difference to invest a bit more for a better player. At the end of the day, the team will be rewarded one way or another; even financially, as more fans will pay to come to live games with a superstar on the team.

Since Drogba’s departure, the future has been looking bleak for the Montreal Impact. Getting a new star on offence is a must.

Graphic by @the.beta.lab

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Editorial:

The Concordian is hitting the airwaves again Introducing The Concordian Radio Hour On Wednesday, Oct. 7 at 4 p.m., we aired the first episode of The Concordian Radio Hour, our new show on CJLO 1690 A.M. While we’ve been on the air before, we wanted to try something new this semester and bring you auditory versions of our favourite articles, often read by the authors themselves.

We’ve divided our show into five segments, one for each section of our publication: News, Commentary, Arts, Music, and Sports. You’ll hear everything from album reviews and personal reflections to updates on current events and local sports happenings.

The idea was to extend The Concordian’s outreach. Especially during this enduring pandemic, access to print media and posts online are not always enough to sustain and promote the voices that make The Concordian, The Concordian. The show aims to bring the same community focus and energy we’re known for in our publications, but delivered freely to anyone with an A.M receiver or an internet connection.

Accessibility is, after all, a major idea that guides how we write and publish here at The Concordian. We want to make this publication a site where local and underheard voices can express themselves. With CJLO 1690 A.M, we can literally give voice to these stories. Through our media outreach, whether it’s through words printed on the page or spoken on the airwaves, we hope our stories not only reach and inform a broader audience, but give the Concordia community more ways to reach out and speak.

This is The Concordian.

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