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The Canadian College of Naturopathic Medicine booth at the SUS grad school fair. (Simon Poitrimolt / McGill Tribune)
a, Science & Technology

Naturopathic medicine: health care boon or bane?

Last week, SUS hosted its annual Graduate and Professional Schools Fair. Some students were surprised to see the Canadian College of Naturopathic Medicine and the Ontario College of Homeopathic Medicine listed next to the McGill University Department of Human Genetics and the Massachusetts Institute of Technology Sloan School of Management.

The Canadian College of Naturopathic Medicine offers a four year degree in naturopathic medicine. While the first year is devoted to basic medical sciences, the program continues with courses that include homeopathic medicine (a form of treatment that is made with dilute remedies), hydrotherapy (a range of therapies that involve bathing in hot or cold water), as well as health psychology and clinical nutrition.

While the college bills itself as a program that produces primary care providers—a health professional responsible for diagnosis and treatment­—many are skeptical of this claim. Some critics simply accuse naturopaths of quackery, and others point to fact that the wide range of alternative therapies that fall under the banner of naturopathy are inconsistent at best, and dangerous at worst.

Naturopathic medicine deals with not only diet and lifestyle, but also treatments like crystal therapy­—a practice using the ‘healing energy’ of stones­—and drinking magnetized water. Proponents of naturopathy retort that naturopathic treatments are vindicated by individual results.

The National Institutes of Health released a study last week showing that chelation therapy may make patients slightly less likely to experience adverse heart effects. Chelation therapy, a treatment used to remove heavy metals from the bloodstream, has been recommended for a variety of ailments by some naturopathic doctors.

Many cardiologists cautioned against drawing strong conclusions from the study. Skeptics cited some odd results, such as a two-year time delay before patients showed improvement, and the fact that diabetic patients were inexplicably more likely to benefit from the treatment.

Dr. Joe Schwarcz, director of the McGill Office of Science and Society (OSS), is a critic of naturopathy and homeopathy. Last spring, Dr. Schwarcz debated Dr. André Saine, the dean and main instructor of the Canadian Academy of Homeopathy, on the question of whether naturopathic practitioners should be considered primary care givers in Quebec. The debate—a video of which is available on the OSS website—became extremely heated, as a largely pro-naturopathy audience shouted rebuttals during some of Dr. Schwarcz’s presentation.

Dr. Schwarcz attacked what he deemed a lack of reason in the naturopathic practice. He drew on examples of obvious quackery to illustrate his assertion that a naturopathic education does not distinguish between good and bad medicine. One example was a treatment that involved wearing a magnetic cup to augment breasts.

Dr. Saine presented examples of successful naturopathic treatments, and argued that recognizing naturopathic practitioners as primary care providers would help to regulate the profession and improve Canada’s health care system overall by providing desperately needed primary care providers.

While Dr. Saine proudly defined naturopathic medicine as the combination of modern practices and traditional wisdom, Dr. Shwarcz was adamant that medicine should not be a question of wisdom or anecdote, but rigorous testing and a constantly evolving understanding based on scientific fact.

Dr. Schwarcz and Dr. Saine will meet again at the end of the month to debate homeopathy. The debate will take place Tuesday, Nov. 27 from 7pm-9pm in Leacock 132.

a, Opinion

Focus of Remembrance Day should remain individual sacrifice

In the past week, there has been considerable debate on campus about the role that Remembrance Day should play in Canadian life. Some have questioned whether the annual event transcends remembrance, and instead, glorifies war and idolizes a willingness to die for one’s country. Here, a key question emerges: is it possible to separate political motivations from the act of remembering and respecting those who went to war?

Remembrance Day is, at its core, an observance rooted in personal reflection. For that reason, it has different significance for different people. For some, it is a day to honour loved ones lost in war, and to pay respect to those who continue to serve. For others, it is a time to acknowledge the fact that war is a part of Canada’s history that must never  be forgotten.

Although Remembrance Day presents a possible opportunity to question and critique how our society views war, there are other occasions both more pertinent and appropriate for such scrutiny.

Canada’s new $20 bill, released into circulation last Wednesday, features the Vimy Ridge monument as its key image. Undoubtedly, it is important to honour the sacrifice of Canadian troops in the First World War, but we must also question if we are prioritizing a romanticization of war at the expense of, for example, the promotion of peacekeeping efforts.  Notably, the current Canadian $10 note depicts a female peacekeeper atop the banner “Au service de la paix/In the service of peace.” A new $10 note will be unveiled in 2013.

In the same vein, the federal government’s $60 million advertising campaign for the 100th anniversary of the War of 1812 calls the government’s priorities into question.  Was the War of 1812 as important a ‘turning point’ in our country as the signing of the Canadian Charter of Rights and Freedoms? Remembrance is crucial, but we must consider what these signal about what we collectively value as a nation, and what impact it may have on future generations of Canadians.

Canadian history lessons are a fundamental fixture in primary and secondary education. Which stories we choose to tell—and which we choose to withhold—need to be thoughtfully and critically considered. Glossing over unjust relations with Indigenous peoples—as often happens when the ‘discovery’ of this continent is first presented in school—is an egregious failure to educate about wrongdoing.  So, too, is the selective, one-sided presentation of war. There is a pressing need to critique the way we teach history to children.

Remembrance Day is a day to remember those who died in the service of our country. That is not to say that the event—and the way we observe and remember past instances of war—is above criticism. But the focus of the day should remain on veterans and their individual sacrifice. At the same time, we should continue to question the extent to which our society glorifies war, and the level to which our government weaves narratives of war into national sentiment.

a, Opinion

Demanding student voices at the top

There has been some recent discussion on campus and in some of the student press about the process to appoint a new Deputy Provost (Student Life and Learning). I would like to correct some misconceptions that have been circulated about this process.

The Advisory Committee for the Appointment of a Deputy Provost (Student Life and Learning) was established to advise on this appointment, in keeping with McGill Statute 3.4.1, which states:

“Before recommending an appointment for the office of Provost, Deputy Provost, or vice-principal, the Principal shall have consulted an advisory committee consisting of four representatives of the Board of Governors, four representatives of the Senate and two students. The Principal shall be ex officio chair of the advisory committee.”

It should be noted that, going beyond these parameters, I appointed two special advisors, representing the McGill Association of Continuing Education Students (MACES) and the Macdonald Campus Students’ Society (MCSS). This brought the number of students who sit on the committee to four. (The special advisors do not vote, but participate fully in all aspects of the committee, including sharing their views.)

The establishment of this Advisory Committee was preceded by a year-long consultation process. I hosted many structured meetings with a wide range of individuals, including two retreats with leaders of the Student Societies and Faculty student associations. Students from Macdonald Campus and Continuing Studies associations actively participated in those retreats and offered significant contributions. Considerable and thoughtful feedback from students has thus been incorporated into the search process.

In addition to the representatives from the Student Societies and Associations, the Deputy Provost’s direct reports, and others with knowledge about, experience with, or a demonstrated interest in, student life and learning at McGill, also participated in this consultation. This extensive review was designed to carry forward and strengthen the recommendations of the Principal’s Task Force on Student Life and Learning, and its administrative response, as well as the Principal’s Task Force on Diversity, Excellence,  and Community Engagement.

As part of the review process, the Provost’s Office also investigated policies and practices at peer Canadian and U.S. research universities, with the goal of identifying relevant organizational elements and processes.

To dismiss, as some have, the Board of Governors as out of touch with current student needs is as insulting to these dedicated volunteers as it is inaccurate. Our Board members pay keen attention to all aspects of University life and do not merit such a cavalier, broad-brushed dismissal. As noted by the facts above, there has been significant consultation with students regarding the Deputy Provost (Student Life and Learning) position and search process. As the McGill Statutes require, the Board of Governors is represented on the Advisory Committee.

To suggest, as some have, that the current Deputy Provost as inaccessible and remote is similarly inaccurate, as anyone would know if they had spent some time checking the record of his interactions with student groups who represent both graduate and undergraduate students at McGill. That he hasn’t always acted exactly in the way some might prefer in no way diminishes the quality of his valuable contributions to McGill.

Through his participation in the most senior levels of University administration, the Deputy Provost has been a vigorous champion of the need for a positive environment for student life and learning. For example, he was instrumental in the development of Service Point.

Over the past year, there has been broad consultation and much thoughtful consideration regarding the portfolio and position of the Deputy Provost (Student Life and Learning). These efforts are part of the University’s continuing commitment to be a student-centred University that puts student considerations at the forefront.

Anthony C. Masi is the Provost of McGill University. He chairs the Advisory Committee for the selection of a Deputy Provost (Student Life And Learning).

a, Opinion

Hope and Change

Since leaving Canadian politics, Michael Ignatieff has been forceful, intelligent, charismatic, and well-spoken. In other words, he has become the diametric opposite of the Michael Ignatieff who led the Liberal party to its worst parliamentary showing in recent memory. Speaking at the BBC’s annual Free Thinking Festival, Ignatieff decried the rapid centralization of power in the Prime Minister’s Office and called for party leaders to allow individual Members of Parliament (MPs) more freedom in voting and legislative tasks.

Without this decentralizing step, Ignatieff believes that the Parliament will fall further into dysfunction, as the needs of individual ridings are increasingly delegated to the margins. The tightening of party control has also led to increased antipathy between the parties, with squabbling and catcalls replacing civil relationships on the floor of the House of Commons.

It’s not hard to see where Ignatieff is coming from. The Harper government—like its predecessors—has been characterized by the fostering of animosity among parties, and MPs under his banner are hardly, if ever, permitted a free vote. To be fair, all parties have fallen prey to the temptation of mindless opposition instead of providing constructive solutions. Ignatieff himself famously whipped the Liberal Party during the vote to eliminate the gun registry, against the wishes of some of his rural MPs.

The continued rise of hyper-partisanship are not unique to Canada. The Obama administration faced four years of obstinate opposition from the Senate and House Republicans, which made it incredibly difficult to pass legislation. And while effective opposition is one thing, setting a record for the most filibusters in one session of Congress—as the Republicans have, from 2009 to 2011—is nothing to be proud of.

So what does this mindless, party-line voting and hyper-partisanship get us? Does the 40 per cent of Canadians represented by the Conservative party have the monopoly on all good ideas? Has the impenetrable Democratic state assembly in California produced good policy without Republican input? The answer to all three of the above questions is a resounding ‘No.’ In the absence of bipartisan policy-making, effective policy becomes much more difficult, and at times impossible.

The Affordable Care Act’s passage is instructive. The votes required to get the bill through Congress were 99 per cent Democratic, with no Republican participation in its passage. The bill, while improving the health care status quo, is riddled with compromises made to industrial lobbyists because of this narrow support. Imagine if half of the Republican caucus had been on board with providing a solution to America’s health care problem. Not only would they have been able to have a say in the bill’s final shape, but the integrity of the bill could have been much stronger. Their mindless opposition failed completely.

What can be done to solve this problem? How do we allow individual members of a legislature more freedom? Political scientists have identified that longer-tenured parliamentarians and an increase in the number of parliamentarians overall usually lead to more independent thinking. To that end, some theorists have advocated paying individual MPs more money, to make the job seem more desirable, and thus a potentially long-term career.  Increasing parliamentarians’ salaries would also make the job more appealing to well-qualified candidates, who may otherwise have ignored a career in politics. In Canada, we are also seeing a new influx of MPs thanks to Canada’s growing population. Hopefully larger caucuses will be harder for party leaders to control.

Ultimately, the power to end irresponsible partisanship lies in the hands of the individual voter. As evidenced this past week, voters can penalize obstructionist parties, and usher in a group of representatives determined to reach across party lines, compromise, and get things done.  At the polls, Canadians should prioritize qualities like responsibility and bipartisanship in candidates.  By doing so, Parliament can change for the better.

a, Opinion

When, if ever, can speech be sanctioned?

Is there free speech on our campus? That depends on who’s talking. According to the libertarian Justice Center for Constitutional Freedoms (JCCF), when it comes to protecting controversial speech, McGill University—like most Canadian universities—fails miserably. In the wake of these accusations, we must rethink the boundaries we set between offensive speech and simply controversial speech.

It’s worth noting that the report has received sparse coverage in campus media. Aside from an editorial the Tribune ran last week (“Safe Spaces on campus do not repress free speech”), there has been no mention from the other two main English campus outlets—the McGill Daily and the Bull and Bear. Nor did the news sections of any of the major campus papers reach out to either the Students Society of McGill University (SSMU) or the McGill administration for comment.

While the JCCF report devotes a significant portion of the report to discussing onerous protest regulations imposed by the administration, it reserves particularly pointed criticism for SSMU.

Upon looking at SSMU’s Equity Policy, we are confronted with the clash of good intentions and good policy. Intended to create a safe and accepting campus environment for historically disadvantaged groups, the policy is criticized by the report for employing an overly broad definition of “oppression”—allegedly broad enough for the speech of students and clubs to be chilled because of nebulous conceptions of ‘offence.’

On its face, the Equity Policy, and the broader concept of a speech code, is incongruous with our conceptions of free speech.  In the ‘real world,’ while there are sanctions for libelous speech and active incitements to violence against groups, we generally see speech as something that can and should be equally accessible to everyone regardless of one’s political views.

However, one of the major differences between the university and the outside world is the fact that a person can walk away from hateful, prejudiced, or simply hurtful speech, in a way that one can’t meaningfully do on a university campus. On the university campus, one can’t meaningfully feel whole or accepted if there are not norms of tolerance.

This is why there was a justified uproar about some costumes worn at SSMU’s Four Floors Halloween party several weeks ago. The focus of the controversy was the appearance of costumes depicting blackface. This particular costume is uniquely problematic because of its origins in minstrel shows—plays shown in the Jim Crow South that depicted blacks as generally inferior. This is a case in which it is fair to declare something ‘out of bounds,’ not simply because it references such hurtful history, but also because it does not provide any redeeming intellectual value.

On the other hand, the party also featured costumes invoking Mexican stereotypes. When the Latin American students’ organization on campus was asked to comment on these costumes for a piece in the McGill Daily, they responded that while the stereotypes were bad, they did not constitute an offence because the mockery was “not intentional.” This response was not printed in the paper, but it reveals the dilemma in trying to make campus a safe space for the marginalized; offence and oppression are all in the eyes of those who feel offended or oppressed.

This is the crux of the question. As the Equity Policy stands, any perceived slight upon one’s identity can become grounds for sanction—as we saw in several incidents last year, such as with respect to a pro-Israel event where organizers were sanctioned as “oppressive” because of the title of their event, “Israel A-Party.” The challenge is to create a policy that limits discriminatory speech in circumstances when there is clear intent to harm—or actual harm—and to err on the side of free speech in cases in which the offence is less clear.

To this effect, the least disruptive solution might lie in simply interpreting the policy correctly and as written. There are two key questions on SSMU’s page for potential complainants: first, “Is the issue an interpersonal or political one that may not require SSMU involvement?”; second,  “Is there an imbalance of power involved?” Several of the more controversial applications of the Equity Policy, from the earlier-mentioned sanction against the pro-Israel event, to intra-executive disputes inside student organizations, would not have merited serious consideration under a more literal interpretation of those sections. SSMU, for example, was under no ‘requirement’ to involve itself in the complaint over the Israel event, as the dispute was not even that the event’s content was discriminatory, but rather that its original title, “Israel A-Party”—which intended to counter-message Israeli Apartheid Week—did not sufficiently adhere to the political views of the complainant.

The pursuit of free speech and the pursuit of a tolerant campus are not inherently conflictual ideals.  What the JCCF report reminds us is that, while our campus is generally well-intentioned when it comes to student expression, it is too willing to craft vague, nebulous regulations that are used by some to stifle the speech of others. Solving this issue could come in the form of a rewritten Equity Policy, but the most immediate solution is to simply interpret the policy more strictly than it has been.

a, Arts & Entertainment

Frances Foster: dream catcher extraordinaire

Frances Foster’s paintings are a look through the eyes of another—an exploration of mind and memory. The Montreal-born artist and Dawson college alumna has received much praise for her work, on display in U.S. and Canadian collections throughout the past 20 years. Her solo painting exhibit Selective Memory marks Foster’s return to Montreal.

Selective Memory showcases Foster’s talent for conveying the ephemeral. The exhibit’s title alludes to Foster’s statement that her work is a “study in memory and dream fragments threaded back together.” Drawing upon old memories, dreams, and daydreams, the exhibition explores the residue and impressions of past events, kept on as snatches of image and feeling.

Like half-forgotten dreams, Foster’s paintings are blurred, subdued, fragmented, but oddly and strikingly beautiful. Greens and blues dominate, undercut by neutrals that ground the fleeting images presented by the artist. Forms—faces, heads, bodies, landscapes—emerge from the colours like tendrils emerge from steam. It seems effortless, and as dream-like as the artist intends.

Oil paint is supplemented by beads, gold leaf, feathers, jewel fragments, and glass. In addition, a number of techniques are put to outstanding use, adding to the show’s intriguing nature. Foster employs impasto, the technique of thickly layering paint to add a 3D effect, sometimes sparingly, sometimes with abandon. The palette knife seems to be one of her tools of choice, seen in her application of paint to imitate plaster. With thick and smooth brush strokes, as well as cracked paint, Foster adds to the impression of ancient, forgotten memory.

Though all her paintings are beautiful and engaging, one is particularly striking: blues, pinks, and yellow-greens are blended together to bring to mind a Renaissance painting of sky and cloud near sunset. A small bald head, with empty background for eyes, thickly and Impressionistically pasted on with khaki paint and dabs of gold, adorns the centre of the canvas. The empty eyes stare out at the viewer, the implied nose and mouth stubbornly set. A feather is placed to the right of the head, stark white in contrast to the rest of the painting.

Foster’s show is impressive: multi-media, multi-dimensional, multi-faceted, as well as deeply, remarkably, and gracefully layered. She takes a great deal of the good in contemporary art and makes it even more emotive, even larger than life. Yet she also translates it into something intrinsically human and makes it accessible, understandable, and meaningful. Everyone can relate to these paintings and that feeling of déja-vu, of trying to desperately grasp on to the memory of last night’s dream the moment you wake up, of trying so hard to remember that one little detail that someone said happened last night. Foster takes those feelings, paints them, and then shares them.

Selective Memory runs until Jan. 11 at the Wilder & Davis Gallery (237 Rachel est). Free admission.

a, Arts & Entertainment

Could Be Good

Comedy: Mike Delamont at the Mainline Theatre

Comedian Mike Delamont, who has sold out performances from coast to coast, brings a trio of shows to Montreal this week. Mike Delamont: Husky Panda, as well as the acclaimed God Is a Scottish Drag Queen and its sequel, will enjoy a four-day run.

Nov. 14-17, Mainline Theatre (3997 St-Laurent Blvd.) Single tickets $17.

Theatre: Di Komedyantn (The Sunshine Boys)

Yiddish is dwindling, but the Segal Centre is keeping the language alive with its Dora Wasserman Yiddish Theatre series. This week, viewers have a chance to see Neil Simon’s comic tale of two estranged vaudevillians brought together once more, translated to Yiddish.

Nov. 13, Segal Centre (5170 Côte-Ste-Catherine). Tickets starting from $12. 

Music: Hip Hop Karaoke at Le Belmont

Every third Thursday of the month, amateur rappers and karaoke buffs converge on Le Belmont. Pick a song from the event’s playlist or send your favourite track to the organizers, and rock the mic like Run, DMC, or Jam-Master Jay.

Nov. 15, Le Belmont (4483 St-Laurent Blvd.).  Doors at 10 p.m., admission is $10 after 11 p.m.

Dance: Aszure Barton & Artists: Busk & Awáa

The renowned Aszure Barton, former Alberta native, brings two dynamic dance productions to Montreal this week. With Busk attracting worldwide acclaim, this is a rare chance to see one of contemporary dance’s master at work.

Nov. 16 and 17, Theatre Maisonneuve (Place-des-Arts, de Maisonneuve Blvd). Tickets starting from $30.60. 

Music: HODIE (This Day)

Musica Orbium, together with the I Medici di McGill Orchestra (McGill Medicine’s own staff and students) and the Concerto Della Donna women’s choir, presents several choral pieces,  including Ralph Williams’ HODIE (This Day).

Nov. 18, 7:30 p.m. Notre-Dame-de-Lourdes Church (4949 De Verdun St.) Student and unemployed tickets are $20.

Brandon Vickerd - Chopper. (K. Jennifer Bedford / Courtesy of Art Mûr)
a, Arts & Entertainment

The introspective and the aesthetic

The temptation to force similarities is there, but the styles and aesthetics seem decidedly different.

Upstairs, blurred dreamlike photographs of the Danish landscape are in a room adjacent to motorcycle-inspired sculptures. A floor below, photographs with sharp geometric angles hang across from colour-coded diagrams with a sociopolitical focus. Similarities between these four pieces are few and far between.

“These are four solo shows in one single space,” notes Ève De Garie-Lamanque, a curator at the Montreal gallery, Art Mûr. Though its November exhibition might be without a unifying theme, all four pieces adhere to the gallery’s general philosophy—that is, aesthetics alone do not suffice; art also needs to provoke thought.

This is particularly clear in Nicolas Grenier’s exhibition: Proximities. His oil paintings explore the dystopia in society by showcasing the absurdity behind its current structure. After spending four years in Los Angeles, Grenier grew increasingly aware of the city’s strong social contrast. His studio was located in Skid Row, where the visible presence of a large homeless population served as a stark contrast to the city’s more affluent regions.

“Many people associate L.A. with Hollywood and celebrities,” comments Grenier. “They often overlook the working class.”

In his piece, We Enjoy the Proximity of Others, a colour-coded diagram depicts the division of society through political affiliation. Though the categorization seems neatly organized, the piece’s irreconcilable tone mocks the strain of integrating a broad socio-political spectrum into a simple diagram to create “a well balanced community.” The diagram serves as a legend to a larger oil painting of urban arrangements. The desolate landscape guides the viewer’s attention to the shell and structure of society, leading the viewer to question the ideas of integration and mindless adherence to the current societal framework.

Next to Grenier’s work is Jakub Dolejš’ The London Set. His photographs hold an enigmatic quality: sharp angles composed of glass, mirrors, lights, and occasional chromatic bursts all twist perceptions. Photographs like Smoke and Mirrors hint at deception, but Dolejš suggests that his work is more about empowering the viewers. His images carry clues to render his work less abstract and more contextual, but the opus requires the viewer to unravel its mystery. The observers themselves choose what to see, depending on their mental and physical state.

Ewa Monkia Zebrowski’s en passant also features photographs, though largely of a different nature. In contrast to Dolejš’ strict, static structures, Zebrowski endows her images with a natural fluidity and dreamlike movement that resemble distant memories. Soft, blurred hues of the Northern Danish landscape mimic a half-painting half-photographic appearance, creating an image that seems equal parts memory and reality. Time, travel, and impressions all merge to create a sense of self against barren and powerful countryside scenery. Pinned to the wall on thin paper, her photographs evoke a different feeling from those of Dolejš’ that rest behind shiny glass and dark frames.

In addition to paintings and photographs, Art Mûr’s exhibition also includes a sculptural installment. Brandon Vickerd’s Chopper features sculptures inspired by the mechanics of the motorcycle. Having shared a studio with a custom bike shop, Vickerd noticed how many of the bikes remained “unrideable, yet beautiful.” The artist explained “in art, there’s often the debate between form versus function.” Vickerd’s work mainly centers on the former, with a whisper of the latter. The bare essentials of his abstract works diverge from their motorcycle origins, but the metals, steels and car paint still possess a dormant speed and power reminiscent of the sculptures’ ancestry. The sleek elegance of his work captures a craftsmanship that, in our age of disposables, seems too often forgotten.

With four distinctively different styles, Art Mûr’s November exhibition caters to diverse artistic tastes. However, each show relies on a combination of thought and sight that supports Art Mûr’s philosophy. The enjoyment of the exhibition not only depends on the visual experience, but on the questions and ideas that each work stimulates.

Art Mûr’s fall/winter exhibition line-up runs until Dec. 22 (5826 rue St. Hubert). 

a, Arts & Entertainment, Music

The Coup: Sorry to Bother You

The outspoken, openly communist The Coup did not produce their sixth album, Sorry to Bother You, with easy-listening in mind. Rather than concerning themselves with typical hip-hop mainstays like money and women, The Coup use music to disseminate ideology

The album keeps its distance  from the over-produced hits often popular today, and offers a refreshing escape from mainstream radio. Sorry to Bother You doesn’t stick to conventional ideas of rap. The Coup’s front man and producer, Boots Riley, chose unusual instrumentation to vary the band’s genre-blending pieces. The album has a wide variety of musical contributors as well, from instrumentalists to groups like Das Racist.

“The Magic Clap” uses a signature clapping rhythm to drive speedy lyricism. The song’s original touch, however, comes with the accordion in the background. “Strange Arithmetic” is a catchy combination of synth and repetitive verse, forming Riley’s call for teachers to show students “how to fight for what’s needed.” “Your Parents’ Cocaine” would resemble a cheeky schoolyard chant with its heavy employment of kazoos if it wasn’t criticizing the aristocratic one per cent. “Violet,” on the other hand, is a more low-key affair. It feels intimate, and the call and response between Riley and Silk-E, alongside its addition of classical string instruments, makes it an interlude for the rest of the album. Another highlight is “The Guillotine” which has a memorable melody and enticing group chanting.

Sorry to Bother You’s title itself is, perhaps, a nod to listeners’ reactions to the album. As a creative effort, it dutifully delivers its message over, and over again. In combination with its heavy political views, however, it could alienate or attract on its views alone. Either way, one can’t help but notice that Riley wants more than to sell records.

a, Arts & Entertainment, Music

Donald Fagen: Sunken Condos

If one had to sum up Donald Fagen’s latest offering, Sunken Condos, in a single word, it would unquestionably be ‘smooth.’ From the funky five-minute opener “Slinky Thing,” the album establishes a mood of sultry reverie that holds (although admittedly not always so effectively). Nevertheless, the nine tracks constitute an accomplished, confidently suave release .

The album’s strength is Fagen’s lucid lyricism. He avoids the abstract un-interpretability of some former works, instead offering a series of insightful witticisms and enjoyable allusions (“Memorabilia” is a standout on this front).

Some tracks, “Slinky Thing” notable amongst them, exude the chilled-out jazz ambiance one may have come to expect from a Fagen album. The proficiency with which this is accomplished legitimizes the release as an evolution, rather than a mere continuation, of Fagen’s work. Others—try “Miss Marlene” for a falsetto-heavy example—go further toward stretching the man’s repertoire, in this case through their dramatic emotional intensity.

‘Smooth’ is, however, by no means synonymous with interesting. The album, while remaining innocuously enjoyable throughout, falls short of the originality or creativity  that one hopes for, and expect, from such a mature and accomplished musician. The end result is somewhat uninspired, and comes across as perfunctorily lacklustre more than flawlessly mellow.

Despite this, Sunken Condos  is an enjoyable and thoroughly listenable work from a man, whose impact on today’s music scene is undeniable. It’s worthy of at least a few spins, if only to experience just how ‘groovy’ a 64-year old can be.

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