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Get to know your SSMU Candidates, Pt I – Interviews

These interviews have been edited and condensed by  Sara Espinal Henao

Photos by Alexandra Allaire, Simon Poitrimolt, Sam Reynolds

See Get to know your SSMU candidates, Pt 2 for the Tribune’s endorsements

VP External

The VP External Affairs represents the Society off-campus at the provincial and federal levels.This individual communicates the Society’s policies and stances to external bodies and agencies and must develop projects and initiatives that advance the interests of SSMU members beyond the Roddrick gates.

 

Sam Harris
Sam Harris

Samuel Harris

McGill Tribune: How does your experience qualify you for this position?

Samuel Harris: Well, I’ve been on the external affairs committee of SSMU all year. I’ve gone to TaCEQ meetings. I’ve also had extensive discussions with this year’s VP External, Robin Reid-Fraser. I feel [that] I have a very good knowledge of what the position entails. Also, I’m fluently bilingual, so I think that’s an important communication skill, especially for this position.

 

MT: You said that it’s important that the VP External is someone who bridges the gaps. How do you think you’ll be able to do that?

SH: I mentioned that I’m fully bilingual, which I think is a big help. I’m Montreal born and raised so I think I have a unique perspective. As somebody who has grown up here my whole life, I’ve been immersed in Quebec politics, society, etcetera.

 

MT: What’s your overall vision of the VP External portfolio?

SH: I see it as generally all relations external to McGill undergrads, more specifically what that means is relations with the government, with other universities, and even with the Montreal community and specifically, Milton-Parc. [At] each of those levels, we want to strengthen and build on those relationships. One thing I haven’t mentioned so far is that I want to have discussion workshops with other Montreal universities, especially the francophone ones, but even Concordia. We’re very geographically close to them, and yet we don’t have [close relationships]…. Last spring we had different opinions, but why didn’t we ever sit down together to discuss them?

 

MT: If you had a superpower, which one would you have?

SH: Levitating, so that I could lie down anywhere with enough resistance that I could basically just sleep anywhere.

 Click here for the full interview with Samuel Harris.

 

VP Clubs & Services

The VP Clubs and Services manages all relations between the SSMU and the university’s numerous clubs, publications, and services. This person is in charge of communicating SSMU’s policies  to these groups, as well as of providing them with support. 

Stefan Fong
Stefan Fong

Stefan Fong

McGill Tribune: What experiences do you have that have prepared you for this position?

Stefan Fong: When I joined McGill, I knew right away that I was going to be a part of a student group because that’s what I had done since high school and following on through CEGEP. I found The Musician’s Collective by pure chance, and it so happened that the semester that I joined McGill, they were looking for four new executives. I joined as a new executive, and since then,  I’ve just been part of that student group at McGill. I’ve been president of The Musician’s Collective for a year now and before then I was VP External and VP F inance. I’ve been juggling both roles because they have never done finance before and I started doing that for them.

 

MT: What would you bring out of that experience to the portfolio?

SF: A great thing about my group is that it’s an overarching network of musicians. And so, part of my job as External when I joined was communicating with other groups and because of that, I’ve gotten to know what other groups have to face. Especially this year, because we’ve got an office and we share the office, I hear everyone’s grievances. I’ve gotten to know a lot of different clubs. I get to talk with them and see what sort of issues they have been dealing with. My job was to talk to Carol Frasier, who used to be the VP Clubs and Services, and also talk to Shayam Patel ,who used to be the VP Finance. This year, I’ve been working a lot with Alison because we just turned into a service. And so, interactions with SSMU have taught me what’s going on.

 

MT: So given your experience, how would you change as VP Clubs and Services?

SF: one of the things that I find unfortunate is the fact that there are three C&S reps … but as clubs, we were never told that these three students are there to help us and to represent us … I think that Alison gets overwhelmed by so many emails from clubs because, as soon as they have a problem, they think that Alison will be able to help them. And it’s true that it’s her job, but 300 clubs sending emails daily, it’s a lot to go through, and some of that work could be shared with the C&S representatives so that everyone would be able to share their responsibility. In that sense, the C&S reps would better be able to represent students on council because they’d be more familiar with the issues that a lot of the clubs are facing.

 

MT: How would you work to address those issues? Specifically?

SF: Each club is like its own island, You have to be flexible and be able to deal with a range of issues. I know one other thing that Alison is working on this year is what is it called Clubpedia. It’s important to make sure that clubs have easy access to this kind of [financial and administrative] information and Clubpedia is a fantastic way of doing it by putting everything in one place. You can go on the website. You can fill out the form directly there. You don’t have to submit it in person.

 

MT: If you could have a superpower, what would it be?

SF: Oh my goodness … I think that it would be really cool to be able to control the elements. That would be pretty insane.

 Click here for the full interview with Stefan Wong.

 

 

VP Finance and Operations

The Vice-President Finance & Operations (VP FOPS) manages the society’s finances and is in charge of setting up and making revisions to the SSMU’s annual budget. This person works directly with executives and student groups on the funding, financial planning, and budgeting of their operations.

Thomas Kim
Thomas Kim

Thomas Kim

McGill Tribune: What experience do you have specifically that qualify you for this position?

Thomas Kim: I did communications and PR for a legal clinic in Ontario. I was responsible for PR for the campaign, so contacting media, and media relations, and outreach. I was also responsible for soliciting corporate and individual sponsorship and donation for the clinic, and was successful in doing both. I have experience in Montreal with event planning. Part of that [involves]  coordinating things with other people, working around multiple peoples’ schedules, creating a budget, revising that budget to maximize profits … as well as promotion and PR …. So, I’ve had a lot of experience working with financial details but also working in outreach initiatives, and that’s what I’m really basing my platform on.

 

MT: What are your tangible, concrete plans for a student-run café?

TK: Well … it’s very difficult to have a tangible plan, given that there is still the lease negotiation going on …. However, what I can say, after the lease negotiation is done, and we are aware of what the contract is and how much money SSMU is required to pay, the step would be to look at the five-year financial plan, and to see if the money allocated for the student-run café is still feasible to allocate. After you examine how much money can be allocated, then you need to take that money and create a budget. Once you have that budget, you take that budget and create a business plan. They have already set a menu—that was researched last year. This year, I hear that they’re in the process of researching equipment and details like tables and chairs. So, assuming that those two things are done, the next step would be the lease and the business plan.

 

MT: So, beyond the student-run café, what specific plans do you have for next year that you’d like to input?

TK: Well, one of my [plans] is long-term financial sustainability. [I want to] look into creating a committee to examine the possibility of SSMU opening an alumni relations office. And that office [would be]incorporated as a charity and a distinctive entity to that of SSMU, so that SSMU can use that office to broaden its revenue input through soliciting individual donations, and be able to give those donors tax receipts—something that SSMU is unable to do given that they’re not a charity, they’re a non-profit.

 

MT: What were you for Halloween?

TK: What was I for Halloween this year? I didn’t dress up ‘cause I was studying in the library that night, and I ended up going out later, so I just said that I was a professor and dressed up really nerdy.

 

Tyler Hofmeister
Tyler Hofmeister

Tyler Hofmeister

MT: What experience do you have, specifically that makes you ideal for this position?

TH: I co-chaired MUS Carnival. It’s an event that has a budget around $100,000 .… I oversaw a committee of 16 people to make sure it went well and I think it went very smoothly. I was chief of staff for my faculty Frosh. I oversaw 32 Frosh staffers for that. I’ve had numerous involvements in business competitions. I was sent to West Point last year when I was a director on McMUN chair. On top of that, before I came to McGill, I worked in a bar. I was a manager and I oversaw well over $100,000 of sales and inventory. I took care of daily sales reports. This is right along what I’ve been doing for a long time. I really think the skills I’ve developed over the past four-plus years are going to translate well to this position.

 

MT: Do you have any particular visions on projects you will bring to McGill?

TH: I think my focus is going to be getting tangible things done …. Things like the student-run café. [Also] currently, there isn’t a formularized method to determine the order of how the committee goes through all the funding applications. So I talked about formalizing a triage process for that and actually publicizing the process .… I think this will help it significantly, specifically for events that have deadlines which require that funding. The second thing was looking at [having] multiple deadlines  [for funding]… [so that] Instead of one giant pile of funding applications, they will come in a more manageable pace.

 

MT: What are your plans with the student-run café and the other space that is becoming available?

TH: I’m kind of putting the café on hold because that will depend on whether or not students want that. After looking through the survey results … the first step would be going over the current business plan, which would break down exactly what needs to be done into a series of steps. For example, going to the Architecture Student Society and getting them to draw out floor plans. Then looking at what the overhead would be, so what would it actually cost, what supplies we need …. This would allow me to fast track it and make sure that it does happen.

 

MT: What were you for Halloween?

TH: I was originally Max from Where the Wild Things Are, but I had the wrong jumpsuit, so I traded with a friend of mine for Tintin. He had the little dog and the safety pinned it to his shoulder, and I had the similar coloured shirt he wears so it was really great.

 

VP University Affairs

The VP University Affairs, manages the relations between SSMU and the McGill administration.  This person organizes represents the Society on all committees and subcommittees of Senate, university selection committees for deans and directors, and through meetings with University representatives. 

 

Sam Gregory
Sam Gregory

Sam Gregory

McGill Tribune: How does your experience qualify you for the position of VP of University Affairs?

Sam Gregory: [There are] two experiences which I bring to the table that I think qualify me the best: The first is this year I’m working as … an ombudsman … for McGill food and dining services. McGill Food and Dining Administration recognized me as someone who was able to work and both represent students and understand where the administration was coming from …. Secondly, this year I’m working at SSMU as the Senate and Committee Secretary General for Haley Dinel, the current VP UA…. I’m in the office almost every day, I know the key issues, I know the methods to address them. I’ve got a very good understanding of the university and the different communities that exist, what they do, and what they’re supposed to address.

 

MT: In your opinion, what is the significance of consultation fairs and how do you see getting more to students to go?

SG: We need to bring the consultation fairs back to the university-wide level. I think there are two ways we can make it more effective … we can have a day with two consultation fairs, one where students can just attend, and a second where students are invited by the administration to bring their points of view, and maybe the administration selects student of lower academic rankings, higher academic rankings from each faculty, so that they can get a broad perspective of students, and so they can move forward on issues like that. The second thing is move consultation fairs to a much more accessible location. What about the new group study area in Redpath? Locations that are open to students and where students who are just walking by in their day-to-day life can come in and partcicipate in the consultation fair.

 

MT: What do you think is the most important part of the UA portfolio?

SG:  I think it’s hands down being the student representation on Senate, and representing students on Senate. There’s lots of other very important parts of it, and like equity’s a key part of it, and libraries—I think the VP UA portfolio is responsible for everything to do with the libraries at the university. But Senate is where a lot of the issues are debated, and where a lot of the decisions are made. And so ensuring that students are represented there, and that we’re representing everyone’s interests.

 

MT: And what were you for Halloween?

SG: I was a palm tree. I had this big thing on my head and hula stuff.

 

Joey Shea
Joey Shea

Joey Shea

MT: What experiences qualify you for the position?

JS: I’m the VP Academic for the PSSA, and last semester I chaired two of the hiring committees for the new political theory prof and the new international relations prof, and the new comparative politics prof. So, on a faculty level, I think that experience directly relates to being able to deal with administration, and also represent student interests.

 

MT: Your platform discusses professionalizing SSMU in a sense. How, specifically, is this going to strengthen the link between students and administration?

JS: The Internship Offices Network is the network that coordinates internships for sciences, agricultural sciences, arts, management and engineering. I want to coordinate with them so that students can do academic internships at SSMU. At the last GA, one of the really good motions that was passed was one on conflict minerals by the girls in the STAND club, and it was a really good motion, really well researched. I want to have the opportunity to have those really  well researched motions at SSMU, and so I think coordinating with the internships office would not only be providing students with internships at SSMU, but it would also be [a way] to have more policy documents on the desk of the administration, and strengthen our policy that way.

 

MT: What were you for Halloween this year?

JS: Oh my God. I was so many things for Halloween. Halloween is my favourite holiday. I was Carrie, if you’ve seen the horror film, the ’70s Steven King: the one where she’s covered in blood. I was Nietzsche on Oct 31, which was a Wednesday. I had an existentialism exam on Nietzsche so I dressed up as Nietzsche, it was pretty cool. I was like the only one actually dressed up on campus. I dressed up as the Cheshire Cat from Alice in Wonderland.

 

 

VP Internal

The VP Internal oversees activities for SSMU members, and coordinates faculty, clubs, and student associations to facilitates communication between them.

 

Brian Farnan
Brian Farnan

Brian Farnan

McGill Tribune: What tangible experiences do you have that qualify you for the position?

Brian Farnan: Going into this year, as VP External for [the Faculty of] Arts working with an executive team. With regards to frosh and events planning, I’ve coordinated Arts Frosh, which was one of the biggestfaculty Froshes. Being both an executive and a coordinator, we cleared $17,000 profit …. I knew that I was running for this position since September, so [I’ve been] figuring out logisitics … talking to Mike Szpejda since the beginning of the year, and then attending the working groups that he sits on as well as the larger Orientation planning groups.

 

MT: So, based on all these experiences you have, what professional and personal skills have you developed in that time that will prepare you for SSMU VP Internal?

BF: First, it’s dealing with people. I think that’s a skill I’ve just grown because it’s a skill that you realize you need. It’s being approachable. It’s being open-minded … The other aspect is kind of just like breaking with tradition .… With my External position this year, we [were] in charge of philanthropy. So in years past, it’s been like a charity week … a five-day long, isolated event … I took issue with that at the beginning of the year. So what I did was I changed it, so that I created a committee, it’s called the Arts Community Engagement Committee, and so just doing that job throughout the year, in smaller, more focused ways.

 

MT: What projects would you want to implement next year that are different?

BF: Well, the Simplify McGill is a huge one for me, because I think that these are little, simple things you can do that don’t take a lot of man power, they don’t take a lot of resources…. The Equitable Events Protocol is something that the equity commissioners are working on, that I would really like to get solidified and get included because it kind of links to this other thing that I want to do, which is create a chair on every events committee or at least have a step that is purely consultative before an event gets off the ground …to go through the Equity and Sustainability Chair and just see what their thoughts are.

The other thing … is implement a system that essentially makes the application process for Orientation staff and leaders a lot more thorough …. I would love to [create a] certificate program for Orientation staff and Frosh leaders … essentially just adding more credibility to these positions …. Setting that tone and setting that expectation right away works because… when  they think that they are something important, then they usually reciprocate with behaviour that reflects that

 

MT: What were you for Halloween?

BF: I was a baby. I wore a man diaper and stuff. It was great. Hopefully that picture doesn’t make it into this issue.

 

Julia Kryluk
Julia Kryluk

Julia Kryluk

McGill Tribune: Why are you a good candidate for this position?

Julia Kryluk: I work extensively with the current VP Internal, and I was at the Student Programming Network Committee, which is the main committee that the VP internal oversees, so it plans SSMU’s events. And so, I planned all the events for last year and this year. Also, I’ve done a lot of events for the Science [faculty]. I was a Frosh coordinator this past summer. I was also the Science Carnival coordinator last January. I also sat as the Science Councilor coordinator so I have a lot of experience within SSMU. I’ve seen all the exec reports, what it’s really like to be an Internal. And also working with all the events, having coordinated them before gave me firsthand experience of actually doing these events, as opposed to opposed to only observational experience.

Also part of my platform is integrating all ages events because each year there are many students that can’t participate because they are underage …. So I introduced the idea of an all-ages Frosh at the same time as faculty Frosh run by SSMU that would alleviate the pressure of faculties to decide to plan all these different events where there’s no drinking on top of their other events.

 

MT: You mentioned that equity is a big part of your platform.What specific ideas do you have to promote equity on campus?

JK: Definitely educating students about what is equity and what is an equitable event. That includes first and foremost educating events leaders and coordinators because they are the ones who interact one on one with the students … they are the point of contact with the students …. What matters is to make the average student familiar with that term.

 

MT: You mentioned during last Wendnesday’s the debate having a calendar of events. How are you planning to move this forward?

JK: The first step would be deciding the format… deciding the information we need from science, arts, clubs, and athletics and asking them “do you want to be included in this? ….There’s someone already at SSMU who does things like these and who works on the interactive calendar for Frosh where students can pick the events that they want to go to ….  Often, students don’t know what’s going on. [They] cannot find it in the listserv, or the website had no information …putting it all in one place, and making it inclusive and accessible [would make everything easier].

 

MT: In what way is this better than the listservs? Because at least in the listservs you get everything in your inbox. With the calendar you’d have to go and find it.

JK: The listervs are a good tool, but also people don’t always read them. Also, especially this year they aren’t really regular …. I think that having a second tool is very useful, and where everything is in one place, can also become a primary tool in the future.

 

MT: What were you for Halloween?

JK: I was Wonder Woman.

 

 

SSMU President

The President acts as the coordinator executive of the SSMU. As spokesperson of the Society, this person represents SSMU members at the University Senate and Board of Governors, and maintains relations with the university’s administration, faculty and student associations. Furthermore, as Chair of the Executive Committee, is also in charge of coordinating and overseeing the process of the Council’s agendas.

 

Chris Bangs
Chris Bangs

Christopher Bangs

MT: Why do you think you are qualified for the position?

Chris Bangs: I started my career working with SSMU as the founder of the Independent Student Inquiry …. We were a completely autonomous student group; we worked closely with the VP UA, and VP Clubs & Services [and] Alison Cooper was another founder, so I had this perspective as an outside student group that worked for SSMU support, and worked for students that way. Now, I’m Campaigns Coordinator for SSMU, I work with Equity, Sustainability, Environmental Commissioners etc… I’ve worked with all six portfolios to get things done, and I’ve been very lucky to build these strong connections across [the] university. Also, I’m on the by-law review committee, so we are re-writing the constitution right now, getting into what the SSMU governing documents actually are.

 

MT: Based on this experience in the last year, what’s the biggest issue that you think you’ll have to deal with next year?

CB:  The lease. I don’t have any more information than the average student, so I hope that’ll get resolved this year, and they say that it will.

 

MT: They said that last year too.

CB: Yeah, it’s been three years now, so we’ll see, it could be a glaring issue. But I think the largest one, and the one that’s on students’ minds the most is these budget cuts and this tuition hike. The combination of them, I think, is really disastrous for McGill, for McGill students, and for the university system as a whole.

That’s something I really want to work with: [trying] to stop the hike and the cuts, and then working within McGill to make sure [that] if we have to have the funding cuts, they’re done in an equitable and fair way .… I want to make sure [that] that the cuts, if they have to go through, are maybe more confined to expenses like lawyers’ fees and administrators […] not [necessarily] contributing to student life or faculty on campus.

 

MT: Last year, as you said, you were a big part of the Independent Student Inquiry. How do you foresee actually working with the administration, rather than maybe creating something that’s separate from their own policies?

CB: Clearly, the Independent Student Inquiry was independent of McGill, but it wasn’t independent in the context of opportunities to engage. As we worked with the VP UA, we met with the principal, we met with the Deputy Provost Student Life and Learning [Morton J.] Mendelson, Dean Manfredi, who was conducting a review of the provisional protocol, to talk about it with them .… I am working very closely with the Board of Governors right now, with Divest McGill, and I probably, as President, would sit on the Board of Governors, and [be] the student, outside of the students on the Board of Governors right now, who has the most experience actually dealing with the body. And so I think that I have very strong allies there, I’ve worked closely with them, and I think that I’m going to approach it with cautious optimism, especially in the context of the new principal and the new DPSLL.

 

MT: What are the most important ways that your platform differs from your opponent’s?

CB: She has a focus on mental and physical health, and I think that’s really great. I think that what I’m most excited about is how to translate these vague ideas into very concrete things. So when I’m talking about mental health, I [have] two very concrete things I want to do:

The first one would be to have a 13 cents per semester mental health fund, so that would raise $6,000 a year, and that could go to fund things that come out of this program, but also things like student research and conferences, puppy petting in the library, special support for students with disabilities, or disadvantaged students, etcetera. The other idea is, a motion, or a referendum question [because] student services are paid for entirely by students, McGill doesn’t pay for it at all … they don’t provide any direct funding. And so they charge about 1.5 per cent of the money that students give to student services … and they’re going to try to raise that by a couple percentage points, and half the money that we are giving to student services is going straight to James Admin, instead of things that we need …. I’d want to give the choice to support these really great frontline services [without increasing the] percentage fee that [the university is] charging.

 

Katie Larson
Katie Larson

Katie Larson

MT: How has your experience working with SSMU qualified you for the position of President?

KL: I have been working with SSMU for a very long time now, around three years. The second year I started as VP external of Music Undergraduate Student Association, and so I sat on SSMU Legislative Council. And then last year, as President, I worked with Maggie and the other student Presidents. This year, I’m back as Legislative Councilor and Internal again, and I’ve put a lot more time into committee work, doing events, Steering Committee, external affairs, and funding. So it’s been a really good experience. The first time I did the SSMU thing, I was working a lot for Clubs & Services …. And then I worked there this summer as one of the culture/project coordinators. So I have a pretty good grasp on how it works day-to-day and what really goes on and where it is really going.

 

MT: What’s your vision for SSMU?

KL: Something that I see as a challenge but also as an opportunity is to really try to get more face time with students, both with SSMU executives as they’re representing so many different students …. [And I will] try to have as much of an open door as possible.

I also really want to keep the push going towards collaboration between the student associations, [and] the student groups on campus. Since I’ve been here working in them, I’ve seen it really go from the first year I did it … and since that’s where my background is, I’d like to bring that forward and see how we can get services involved in that.

Within the university, I [also] think that the things that the university should be really looking towards are from the student services perspective. Mental and physical health [are] always an issue here. [There are] ways to improve that, not necessarily from a budget perspective [only]. I think having to commit to better communication about it or just keeping the website updated; just little things to make sure that everybody knows how to help themselves, even possibly asking each other how to partner or work with other things around the community to increase those services would be interesting.

On the academic side, two things that we have discussed at length with Professor Mendelsson, [are] advising and course evaluations, that is [deciding] when [course] evaluations [should] happen. [And also] making sure professors are following the rules about the syllabi. We’ve discussed different ways that it could be remedied. It’s just something that needs to be pushed through the channels, especially at Senate and at academic policy committee. I think that could happen next year.

Within SSMU, I’d really like to review the way that we do student staffing executive positions, because as President, I’d be in charge of Human Resources, [I would be] looking for other sources of funding, whether it be government or provincial grants to come in, to have us increase student staff hours or jobs if we can. And for the executive positions, they need to be more clearly defined in the constitution and by-laws so that the mandates can be clear and people can have more of a way to feel that they’re really empowered by legislation for the job to move forward with it.

 

MT: Do you have any plans to bolster GA participation, or do you have any plans for the GA now?

KL: It’s absolutely a necessity to have [a GA] when we need it. So for example, last year there were 1,000 people at a GA because there was a serious issue, which was on going on strike or not. So that’s an example [that if] people really want to make a strong decision, the platform needs to be available for it to happen. However, I don’t think that it’s necessarily productive or helpful if we’re just telling people, “Oh, come to the GA. Make a motion because we have to have a GA motion.” There’s not really any substance behind it. It’s not really helping anybody.

Still from Salon Carmen, one of Fokus’ official selections. Directed by Alex Cherney. (Courtesy of TVM)
a, Arts & Entertainment

Now playing: homemade McGill movies

A few weeks after the Oscars, Student Television at McGill (TVM) is returning with its own annual film festival—albeit on a much smaller scale. The Fokus Film Festival, now in its seventh year, comprises of a series of events, including a 72-hour filmmaking competition and the screening of the submitted films, which will take place at Cinema du Parc on Mar. 21. Thrown into the mix is a viewing of Salt of the Earth (1954), which is the sole connection to this year’s theme of blacklisting and censorship in a Red Scare-era film industry.

Unlike the era’s House Committee on Un-American Activities, TVM does not reject many of its “crowdsourced” films. This brings in mixed results both in the films’ cohesion to a central theme, as well as their overall quality, although a few outstanding pieces are bound to carry the festival.

“We usually play most of what we get,” says festival director Molly Bower. “Most of the films we get are really well made; a lot of thought is put into them. And so we’re always proud to show them.”

Fatal Occupation, the project of students Sarah Leitner, Hannah O’Rear, and Emma Baker, began as an assignment for their class in the study of cinematic horror. The film was conceived during the student uprisings in Montreal—a time when ‘occupation’ described a type of protest more often than a type of employment. The movie’s antagonist works as a security guard; a serial killer with a flashlight as a murder weapon and a penchant for student protestor homicide. The short film follows him across the campus, making reference to both horror movie tropes and McGill in-jokes, and works by making satirical jabs in the right places as well as taking a neutral political stance.

Less than half of the films were shown at Fokus’ press screening, and the 72-hour filmmaking competition took place while this article was being written, so perhaps the best is yet to come. But the most impressive film so far is Ruffle, by Alexander Kasstan. Set to “New Error,” by German band Moderat, and shot in reverse motion, the work chronicles the brief journey of a man walking through a park in France. The chosen track, which advances as steadily as the man’s gait, is featured prominently, and gives the impression of a music video. Although Kasstan didn’t have this concept in mind originally, he has since contacted Moderat, and hopes to get an endorsement from the band.

Much like CKUT, or the McGill Tribune, one of the mandates of TVM is to educate students in the production of a medium that is not widely embraced by a specific McGill department. Fokus realizes this goal by providing a vehicle for students to get their films seen by a broader audience, and encourages those who wouldn’t normally show their films publicly to participate.

“TV McGill is a really great source for learning production,” says Leitner. “That’s where I learned everything, and their equipment is amazing.”

“It’s a skill that takes a long time to develop,” adds Bower. “For the people that are able to learn it while they’re here, without any program at all, it’s a miracle.”

TVM’s Fokus Film Festival runs this Thursday, Mar. 21 from 6 to 9 p.m. at Cinema du Parc (3575 Avenue du Parc). Admission is $6 in advance and $7 at the door.

Owen Nelson, Jazz Performance, U4 (Sacha Pereira da Silva / McGill Tribune)
a, Student of the Week

Student of the Year

Owen Nelson – Jazz Performance, U4

 

McGill Tribune: Has it been at all difficult to balance your time between a performance major and a business minor, given how different they are?

Owen Nelson: For sure. Music takes a lot, a lot, a lot of time in your schedule. You have to do rehearsals that are two to three hours; a lot of times, students are in two or three combos in a semester, and they’re in a big band or a choir. So you have to budget your time really well. Being in business, it’s definitely been a challenge making time for music and academic courses. Because a lot of times, music students, they don’t spend time in the library, you know? They’re focused on that one degree. So for me, I’ve focused a lot of time on business.

 

MT: In arts courses, the standard set up is: midterm, paper, final. Is there any sort of standard format for most of your music courses?

ON: It really depends on the class. For jazz performance, we have to do music theory, and that’s more written. We have to do composition classes, where we learn how to write music, so that’s more ‘you have to write basically a song every week, and then you have to perform it in front of the class.’ And then there’s an improvisation course, where you learn how to improvise over songs. So that’s really performance-based; you basically create your own melody on the spot, over a song.

 

MT: Do you have a favourite course or professor that you’ve worked with?

ON: I think so far, my favourite professor has been Gary Whittaker, in the business school. He taught an entrepreneurship course, and it was really cool because he’s not an academic; he’s a real businessman—a successful businessman. It was really cool to learn from someone who has actually been successful in business. He taught us how to write a business plan, and how to make business deals and how to negotiate. That was by far the best course I’ve taken.

 

MT: Can you tell me about the music competition you recently won?

ON: Yeah, I’m in a band called Static Gold, and we just played a battle of the bands at Le National, and the winner of the competition gets—I think—35 hours in a recording studio, a free music video, a show in Toronto, and promotion or something. We get to play a show at Club Soda on May 19, so we won, and we’re going to be playing there.

 

MT: And what about your plans to play in Ibiza this summer? Can you elaborate on those?

ON: I met a DJ when I went travelling to Spain, two summers ago. My heart was broken, and I just bought a ticket to Madrid. I was playing my saxophone in the streets for money, and having an adventure, and I met a DJ who invited me to a party on top of an apartment building. So we played all night, until like 5 a.m. on top of this building, and we’ve stayed in touch ever since. So we’ve been recording together, and he got a residency at a club on the island of Ibiza, and he asked me to come play with him.

 

MT: So how long are you planning on staying there?

ON: I’m planning on being there for a couple of months, and then I got a job [lined up] in Palm Beach, Florida, after, so I’m moving [there].

 

MT: How did it come about that you are going Atlanta to record with Pastor Troy? 

ON: Pastor Troy is one of my childhood idols. I was bullied pretty badly in high school, and I would listen to his music for inspiration. A couple of months ago he was on the radio, and I called the radio station and asked them if I could talk to him. So I did, and he asked me to send him my music. Now I’m talking to his manager about…. going down there. It’s in the works, I’m crossing my fingers, and really hoping it works out.

 

MT: What did you guys talk about when you first called the radio station?

ON: I basically told him that his music helped me get through a lot of things in my life, and how much I appreciated him. We talked about martial arts, and he told me that he wanted me to teach him some kickboxing, and that I should send him my music.

 

MT: What’s been your favourite event or activity that you’ve taken part in at McGill this year?

ON: Probably when my band played at Open Air Pub [OAP]. It’s always awesome to do that.

 

MT: What’s your lucky charm?

ON: I guess when I play the saxophone, I have a power stance, and I feel invincible. Actually, I have two. It’s like my turbo-mode.

Irish Stew. (Images from www.babble.com, www.missigs.com)
a, Recipes, Student Life

Irish stew with dumplings

Stew with dumplings – Serves 6-8. A genuine Irish family recipe to help alleviate your post-St. Paddy’s Day blues. This quick recipe is easy to prepare, and will definitely fill you up. Reheated leftovers are also delicious! 

 

Stew:

2 cups cooked meat, diced (any of

lamb, beef, pork, etc.)

2 cups water

4 onions, sliced

4 potatoes, diced

1 carrot, diced

½ cup cabbage, chopped

¾ tsp. salt

Dash of pepper

Dash of mace (spice)

 

Cook meat thoroughly (method will vary depending on which type of meat you use). Then, fill a deep stew pot with water and the cooked meat. Bring water to a gentle boil, then lower to medium heat. Chop vegetables and stir into pot along with seasoning. Simmer gently for 30 minutes. About 15 minutes before serving, add dumplings without stirring, and cover pot tightly. Cook for an additional 15 minutes; serve immediately.

 

Irish Dumplings. Irish Stew. (Images from  www.babble.com, www.missigs.com)
Irish Dumplings. Irish Stew. (Images from www.babble.com, www.missigs.com)

Dumplings:

2 cups sifted all-purpose flour

½ tsp. salt

3 tsp. baking powder

¼ tsp. baking soda

3 tbsp. margarine or shortening

1¼ cups milk

 

Sift together flour, salt, baking powder, and baking soda. Cut in margarine or shortening. Add milk. On a floured cutting board, gather dough into a ball and knead 20 times. Roll out dough about ½ inch thick and cut into circles with a floured cutter. Place on greased cookie sheet. Bake at 450 degrees Fahrenheit for 12 to 15 minutes.

a, Student Life

A handy new way to think about your John Hancock

How do you take notes in class? On your laptop right?

Most of us learned to print the alphabet the same way, using the same models, and often the same,  techniques. Although there is a universal model for handwriting, the way we form letters varies greatly among individuals. That’s because we all approach the process of writing in different ways. In fact, the way you write may say a lot about your personality.

Handwritten class notes have gotten uncreasingly uncommon, and the less we write by hand, the more out of practice we become. As laptops, tablets and handheld mobiles are becoming our media of choice, some are saying that handwritten text is becoming an irrelevant method of communication altogether. In this context, graphology—the reading of an individual’s personality structure through the analysis of their handwriting—shifts some focus once again to an increasingly esoteric habit.

Graphologists like Toronto’s Annette Poizner, author of Clinical Graphology: An Interpretive Manual for Mental Health Practitioners, believe that handwriting can be useful for a variety of purposes other than communication. Most importantly, they tout the use of handwriting samples by mental health specialists to gain insight into patients’ personality traits and emotional dispositions. The practice may have positive implications for university health centres looking to broaden access to counselling and mental health.

An interview with Poizner provided plenty of insight into the scientific theory behind graphology and its uses. Handwriting, which Poizner describes as “the written trace of each individual’s preferred rhythm, style and habitual manner of moving,” is used in what is called projective personality assessment. In the assessment, psychologists evaluate subtleties such as the length of pen strokes, the size of writing, the shape of letters, which side of the margin is left wider than the other, and the fluidity in penmanship. According to Poizner, these attributes can tell a graphologist with a sharply trained eye a great deal about someone with whom they have never even spoken. If graphology was implemented into traditional counselling and psychology services, a patient could conceivably send over samples to be analyzed, and allow professionals a considerable understanding of the patients’ personalities even before their first face-to-face appointment. Analysis of drawings and written material can be used in this manner as well.

Is this tactic truly scientific or just a ruse, in the vein of fortune telling or tarot reading?  Can it really produce scientifically accurate and meaningful results?

Poizner cautions that graphology is more of a “therapeutic tool” than an empirical scientific measure, and emphasizes that graphology should always be used alongside other more traditional assessment methods. However, she underlines that previous research participants in observational studies examining graphology done at the University of Toronto have reported positive experiences with handwriting analysis. In general, researchers found that participants were more eager to participate and respond openly to therapeutic evaluation after first encountering these more unconventional method. Knowledge gleaned from graphological analysis were used to help guide discussion in subsequent face-to-face appointments. Notably, these  insights were particularly useful in the context of family and marital therapy, as they provided substantial context about patients’ personalities and communicative differences.

Even if students remain skeptical about the true effectiveness of graphology—as does this author—Poizner thinks students should recognize the field’s growing relevance. Recently, studies and publications on graphology have been well-received by the Canadian Psychological Association, and the Canadian Association of Spirituality and Social Work. Although graphology is not currently widely-practiced in North America, it could be an up-and-coming influence on the practices of psychiatry, psychology and social work. Professionals and students alike may find it worthwhile to give handwriting and graphology a second look, as a means of getting to know themselves a little bit better.

a, Student Life

Ask Tribby

Dear Tribby,

I decided to move in with three close friends from residence, but over the course of the year, I’ve realized that we really shouldn’t have been roommates. I still value my friendships with all three girls, but I only want to live with one of them in the upcoming year. That being said, I’m not sure if she still wants to keep living with the other two, although I do know that they get on her nerves as well. Should I just stick it out, and try to get her to find a new place with me, or start from scratch with completely new roommates?

Ready for a change

 

Dear “Ready for a change,”

Roommate problems can have long-term repercussions which you may have to deal with on a daily basis. If you want to move out and find a new place, I suggest that you follow your instincts rather than act out of the fear of ruining a friendship. These girls are clearly important to you, but you’ve got to consider what you’re willing to put up with. A lease is a full 12 months, meaning you’ll have to live another uncomfortable year with the three of them should you decide to stay.

My advice for you, is first, to communicate. Talk it out with the girl that you want to live with. You may be nervous about her reaction, but it’s worth it to be honest with her—wanting to explore other living arrangements doesn’t make you a bad person! Just open up a light conversation with her to see where she stands. If you two happen to be on the same page, then great! You can then bring it up with the other two girls. However, if she had no intentions of moving out, then don’t waste time including her in your plans for next year. You can find other potential roommates, or start house hunting on McGill Classifieds, housing groups on Facebook, and Craigslist.

Next, you need to be proactive. The biggest problem right now is that you are racing with time! The faster you decide your living plans for next year, the faster you can find new roommates and begin the apartment hunt.

Don’t rush your decision, but don’t waste time guessing what people are thinking, either—just ask. The sooner you decide, the easier you’ll make it for your currrent roommates anyway. They can either find a new roommate, or search for a new house of their own. Good luck; I hope you find something that’s the right fit for you!

Yours truly,

Tribby

 

Dear Tribby,

I’m worried a good friend of mine may be suffering from depression, or even contemplating suicide. I’m afraid to confront them about it directly, but I feel like I need to do or say something. What should I do?

Worried Friend

 

Dear “Worried Friend,”

Since you mentioned that you are good friends with this person, have you tried talking to him or her about it? Chances are if this friend trusts you enough and is the type of person that is willing to share, he or she may tell you how they’re feeling and why. If, however, this individual is more reserved with their emotions, then obviously don’t start your conversation with, “You look horrible, do you want to talk about it?”

Some people may feel like you are trying to force them into telling you why they’re feeling down.  Instead, try to indirectly figure out what the issue could be,  by spending more time together and observing their behavior in different settings. With many coffee shops around campus, you could go out on a Saturday afternoon and just hang out. This way, you might be able to figure out if anything big just happened in their life, such as the loss of a family member, a breakup, or bad grades. Through casual hangouts, you can better gauge if a serious problem exists, or if you were just getting worried over nothing.

However, if you do realize that something really is wrong, and your friend is reluctant to open up about it, you can bring up the McGill Nightline. Whether as a direct suggestion that they might like to talk to someone anonymously, or mentioned casually in passing, make sure they know that is a resource available to students (McGill Nightline: 514-398-MAIN [6246] 6 p.m.-3 a.m., during the school year.) Or, at the end of the day, if they tell you that they’ve been feeling very depressed lately but don’t want to talk about it, you can give them the number to the McGill Counseling Service as well. They offer counseling appointments, group therapy sessions, and emergency crisis drop-in hours. The drop-in hours go from 9:00 a.m. – 4:00 p.m. Monday to Friday in the Brown Student Services Building, and counseling sessions are by appointment.

The bottom line is to pay more attention to this friend. If you receive any weird texts or phone calls from them, seek help immediately. After all, it’s better to go through a false alarm than to ignore your instincts and let the situation deteriorate.

Yours truly,

Tribby

 

Got problems? E-mail [email protected]

Adam Gopnik, literary titan and art connoisseur. (thewalrus.tumblr.com)
a, Arts & Entertainment

Celebrated author Adam Gopnik dishes advice

When Adam Gopnik was growing up in 1970s Montreal, he chose to steer clear of CEGEP. Instead—like Will Hunting—he simply went to the library and read. The choice appears to have paid off. Since completing his BA in Art History, the McGill alumnus (’80) has become an esteemed author, with three National Magazine Awards and a George Polk Award for Magazine Reporting to his name. His essays in the New Yorker magazine, where Gopnik is a staff writer, deal with a wide range of topics. From art, to science, to anthropology, they remain edifying without verging on the pedagogic, imbued with a light, measured humour. After his recent Macnamara lecture on learning and mastery at McGill, the Tribune spoke to Gopnik about the process which led to his literary success.

MT: You came to writing through art criticism. How did you develop the interest to write on other topics?

AG: I don’t know that I ever did, really. It’s like the matrix—more of a three dimensional illusion of erudition than the real thing. The truth is I never really wanted to be an art critic in particular, it just was an accident of my own personal history that I found myself in New York City with a scholarship to do graduate work in art history. It was a way of getting from Montreal to New York. Once I’d done that, I had a certain expertise in art … that was a very natural thing for me to be writing about. But the art history was much more instrumental to my ambitions as a writer, than writing was instrumental for my desire to be an art historian, or an art critic.

 

MT: Did it provide a base of historical context and a cultural awareness, or is it just the fact that you read so much?

AG: Yes, it did—I got my basic training in … research [when] doing academic work in art history, but the simple truth is I think I would’ve done exactly the same things that I picked up in art history. The real foundational moments in the making of my own mind came from going into a library when I was 16 or 15. I think those were really the crucial years, and the experience of digging deep in a library and taking pleasure in it, finding that it’s a reliable source of pleasure for me—that shaped my mind. My mind worked better at that age than it has since, and to the degree that I’m able to do good work now, I really feed off the capital that I’d accumulated in those years.

 

MT: What is a key piece of advice for someone who wants to write?

AG: There’s a piece of practical advice I always give. The key to actually writing things is taking the mental task of writing, and transforming it into the physical task that your mind and intuitions are invariably smarter and truer than you are. It always happens to be that the things that people like best or enjoy the most in my own writing are things I was scarcely aware of when I was writing them. It just seems to be the seamless, the obvious, the self-evident way. So the trick with writing is to trust your own mind, and to simply put the words down on paper, or in pixel form, and the only way to do that, that I’ve found in 30 years of doing it, is to simply centre it not in your head, but in the pit of your stomach, and make it a task like riding a stationary bicycle at a health club. And when you succeed in making it a physical task, you can astonish yourself in spite of the relentless and never-ending exasperations and aggravations of the task of writing. Just as if you go to the gym every day and ride the bike for 40 minutes, your lungs expand; if you sit and simply try and write as though you were riding a bike, your work expands. It’s the same advice that every writer always gives, that you just have to apply yourself to it; but I mean it in a more encouraging sense: you don’t have to apply yourself to it intelligently, you just have to apply yourself. If you have anything to say, if you have any reservoir of wit or feeling in your mind, it will be expressed.

MT: What is the most important thing for students to get out of their university experience?

AG: Nobody knows what will prepare you for the work you’re going to do, and the work you’re going to have. I did art history, and that turned out to occupy a very small part of my life. It’s part of my pleasures, because I love going to museums and galleries, but it’s not what I ended up writing about. All of that effort—memorizing lists of post-impressionists, or the iconography of the Pergamon Altar—was wasted. But of course, in another way, it wasn’t, because what’s at the core of education is accomplishment—that is, mastering something, whether it’s a system of guitar chords, or magic tricks, or the name of post-impressionists, or the iconography of the Pergamon Altar. Once you’ve demonstrated to yourself that you’re capable of mastery, then any kind of mastery you tend to approach in life tends to yield much more easily to you. The thing I would tell any student is master something; really learn it, whether it’s the piano, or the history of science.

 

Adam Gopnik’s latest book, The Table Comes First: France, Family, and the Meaning of Food, is available in stores now.

Troubled youth indeed. (Courtesy of Victor Tangermann)
a, Arts & Entertainment

TNC Theatre’s latest production hits close to home

Highly character driven, Based on a True Story follows the lives of ‘troubled’ youths and the biases attached to their lifestyle. Director Isaac Robinson and his talented ensemble examine human problems in this piece of devised theatre, as the cast animate semi-fictional characters that they each helped to write.

The audience is first thrust into Danny’s (Justin Lazarus) mind, who begins the play by breaking down the fourth wall and staring down the audience members. Indeed, the entire script boasts an awareness of the audience with its use of confessional monologues. Lazarus dynamically reveals the world through Danny’s drug-influenced eyes, and his perception of how others view ‘people like him.’ He captures the audience’s attention with his frantic energy, interspersed with glimpses of his softer side, as he talks about the love of his life, Camille (Kim Drapack). After overcoming some early nerves, Lazarus’ ability to shock the audience with Danny’s highs and lows is stunning. He is crazed, calm, vulnerable, and desperate, sometimes all in one breath—and leaves the audience wondering, “Who would Danny be if he wasn’t high?”

Opposite the erratic Danny is the hilariously loveable Stevie (Cara Krisman), his faithful second in command. Together, the two feed off  of each other on the stage. Krisman’s physical performance is scene stealing, whether she is fumbling around with her much loved wine bottle, searching for “the thing that tastes like what she wants,” or espousing her desire to stay sober so that she can be an artist. She presents Stevie’s struggle with care, uncovering the layers of her character.

Caught in between Lazarus and Krisman, Drapack is sometimes lost. Her character Camille acts as a calming influence on Danny, but points out that he only ever listens to Stevie anyway. As a result, it is difficult to find a purpose for Camille, other than that her world revolves around Danny. The writing for this character is weaker than the others, as her development is left until the end of the play, and reveals more about Danny than her.

The performances of Emily Doyle, playing Judge Parks, and Michael Ruderman, as Officer Davis, are notable. They bring depth to characters who could have easily been conveyed as two-dimensional villains trying to maintain an unjust order. Like Danny, an imperfect hero, Parks and Davis are both sympathetic, staying true to Robinson’s determination to show no clear right or wrong. Ruderman is striking. His honesty is evocative, and it is hard to condemn his character’s excessively violent arrests.

Set designer David Costello captures the stark contrast between the two battling worlds, simply by breaking the stage in two. He uses the intimate space wisely. Judge Parks’ courtroom and Officer Davis’ police station claim one side of the stage, neatly decorated with poster boards, while the other is cluttered with beaten up chairs and graffiti, the latter painted by art director Vanessa Chazelle.

Although the writing is weak in some areas, causing the play to drag, the well-directed acting provides a strong backbone for this ambitious collaborative project. Based on a True Story takes a hard look at its characters, and reinforces the fact that everyone has their own demons to confront.

TNC Theatre’s Based on a True Story runs from Mar. 20 to 23 at 8 p.m., Morrice Hall (3485 McTavish). Student tickets $6.

Suuns: Images Du Futur
a, Music

Suuns: Images du Futur

Suuns’ lead singer Ben Shemie refers to the environment in which his Montreal band recorded Images du Futur—the Quebec student protests of last year—as, according to the press release, “a climate of excitement, hope, and frustration.” But if the album is a political statement, it would be best described as resigned apathy.

Shemie has occasional bouts of angsty singing through his gritted teeth, as on album opener “Powers of Ten” where his vocals gain momentum from an anxious guitar riff. On the rest of the album, however, Shemie tends to mumble and croon, channeling a muddier Thom Yorke.

Shemie’s voice is quite beautiful, which is why it’s a shame he throws it away so easily. Three quarters way through the album, Suuns sounds tight on “Bambi,” with a throbbing, randomly arpeggiated bass and a sharp, insistent guitar melody, punctuated by a strong snare drum. Over his band’s excited noise, he sighs, “To want to can’t you feel / Maybe you can see / To want to can’t you see / Maybe they be.” On some parts of this album, one simply wishes that Shemie would just spit it out.

The rest of the band has a refined post-punk sound that has obviously been carefully moderated to provide enough space for a rhythm that lopes along with confidence. “Edie’s Dream,” with its mellow, laissez-faire beat, is a perfect example of this—a highlight of the album. Images du Futur, as a sophomore effort, contains snapshots of brilliance. But for this to have been a fully realized soundtrack to Montreal’s uncertain future, Shemie should have worked harder to see eye-to-eye with the rest of his band’s vision.

BrightonMA: Oh Lost
a, Music

Brighton MA: Oh Lost

“We weren’t built to last; we were built to explode,” croons Matt Kerstein. The lead singer of Chicago-based quintet Brighton MA delivers the line evocatively in “Bulletproof,” the opener for the group’s sophomore release Oh Lost—and at first, one is tempted to believe him.

Unfortunately, the sonic vitality seen in “Bulletproof” is the exception rather than the rule on an album largely in the same mold as the indie-rock multitude. The shimmering, trembling guitar chords soon give way to pedestrian soundscapes—forgettable at best, and sagging at worst.

A low point comes during “Thirst,” when awkwardly syncopated notes steadily drill into one’s skull, like maggots feasting into carrion.

That said, Oh Lost is not devoid of merit. “Sweet Delusions” is a standout, with its smoky bass line and guitar solos that rip its chords to shreds. “Good Kind of Crazy” channels a calm, rustic sweetness, charming listeners with clear instrumentation, and lyrics about the “summer breeze” and “swinging through the back porch screen.” Perhaps the most valuable asset for Brighton MA is Kerstein’s vocals, which are front and centre in nearly every track (and for good reason). Kerstein’s voice is nuanced, raw, and weathered, cutting through often listless arrangements with power and confidence.

In this day and age, it is not enough for indie-rock bands to simply push vague themes of ‘youth’ and ‘rusticity.’ Oh Lost’s melodic and lyrical mediocrity is not a death knell for the group—but it certainy is a wake-up call.

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