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a, Arts & Entertainment

Move over, Edward Cullen—there’s a new undead in town

The Twelve is the second book in Justin Cronin’s compelling trilogy about a pseudo-vampire apocalypse, brought about by the volatile combination of ambition and stupidity on the part of several rogue scientists. Following The Passage (2010), The Twelve begins in the aftermath of the second uprising of the virals, or vampires. The storyline takes several chapters to settle in, but it’s worth the effort. What sets Cronin’s work apart from other novels in this genre is his realism: there are believable resolutions to different situations. Familiar characters die; such portrayal makes the story much more engaging.

The prologue opens with a brief recap of the virals’ rise, and introduces Amy, the leading lady chosen by God to save the earth. As one might expect in a story about good and evil, Cronin vividly illustrates the conflict between God and the Devil. Thankfully, this dimension does not overpower the storyline. From then on, Cronin enlists average Joes to wage the second war on the ghouls. From his scenes of harvesting in the communal corn fields with the constant threat of being “taken-up” (converted) by a rogue viral, to those of working in the oil refineries on the Texas coastline, Cronin creates a world we could believe ourselves a part of. The most intriguing aspect of the book is the introduction of a mysterious cloaked woman who, though sharing human features, is working with the virals to destroy the remnants of mankind. Alicia, who was infected with the virus at the end of The Passage, rendering her viral-human hybrid, also blurs the line between her human allegiances and her newfound viral blood. Just when readers relax, the tables turn, and, in Cronin’s words, “you’re running for the hard-box.”

As an English professor at Rice University, it is little wonder that Justin Cronin knows how to craft a trilogy with the power to stay. His home in Houston, Texas, provides the real-life setting that inspired the small southern towns of his novel. The remote settings in the book add to the sense of isolation that mark the characters’ plight, and help Cronin to focus on developing each character’s story with no extraneous detail.

The Twelve’s best feature is its breadth of story. Jolting the reader between characters and plot lines, Cronin teases readers with open-ended stories so that one is never completely sure of who lives, who dies, and who goes viral. That said, when Cronin focuses on one character at a time for several hundred pages, the book can become mundane and tedious. These sections lack the pizzazz we have come to expect from him—it’s a good four pages of action packed, into fifteen chapters.

Although the story assumes an end-of-days tint, don’t let all this talk of the humanity’s demise deter you from picking up Cronin’s latest. It’s actually an optimistic story:

“Everything that deals with ‘the end of the world—is actually a creation story,” says Cronin in an interview with The Independent. “Otherwise, it’s completely nihilistic and nobody would read it.”

At some 1500 pages already invested in this trilogy, this is a creation story not to be breezed through. So pace yourselves. But remember: when in doubt, run.

Plants and Animals looks ahead. (jemzz.wordpress.com)
a, Arts & Entertainment

Montreal trio on new beginnings

Montreal’s own Plants and Animals are no strangers to the music scene. The talented trio, consisting of Warren Spicer, Matthew “Woodman” Woodley, and Nicolas Basque, met at Concordia University and took what seemed like the natural step forward to form an indie-rock compilation.

In the beginning, the trio was heavily reliant on improvisation, taking small stages around Montreal. Spicer (vocals) was quite shy at first, and it was only when he allowed his silence to grow into his signature melodic vocals that the band really took off.

“We’ve become something like a chicken sandwich. Warren is the meat, Woody is the bread that holds us all together and I like to think I’m the sauce that tends to get all over the place,” says Basque.

The majority of their inspiration stems from music in the ‘60s, as well as modern theatre and dance.

“It’s really tough to pinpoint what inspires you musically as a band,” says Basque. “We all have many creative friends, such as Katie Moore and Michael Bryan, that radiate wild, loose, and experimental waves. We find that kind of exposure very healthy.”

Since their formation in 2002, Plants and Animals released a self-titled debut album, in 2003, followed by an EP and three full-length albums. Basque explains that the band’s three newest albums are meant to resemble the transitions between childhood, adolescence, and adulthood.

Parc Avenue (2008) definitely has a naïve aspect to it, along with it being precious and welcoming. La La Land (2010) is much darker and psychedelic, and reflects the experimental stage in someone’s teenage years. We then finally arrive at The End of That (2012), which radiates a certain sense of nakedness, maturity, and simplicity.”

Though each album’s sound was developed quite differently, each one is recorded close to home.

“We love to record and rehearse at the Treatment Room here in Montreal. All of our gear is there, we know the place like the back of our hand, and we know the people so well. It’s home to us,” explains Basque.

When asked to describe Plants and Animals’ signature sound in a few words, Basque calls it a “vibrant and real with an organic quality.” It is something that “moves a lot, and moves together simultaneously as the chemistry is sonically dynamic.” Compression and saturation in order to please radio standards is something they shy away from, and instead strive for the notions of experiment and surprise.

The End of That sparked an undeniable buzz in Montreal, as well as other provinces, eventually catching on across borders. Previously touring with Wolf Parade, Gnarles Barkley, and Grizzly Bear, Plants and Animals have shown a ready appeal to national audiences.

Following the end of their tour, which winds down in mere weeks, the trio plan to buckle down and get back to rehearsing.

“The direction in which our sound is now going is really exciting for us. We want to try to do something with more texture and depth that is challenging both for us and our listeners,” says Basque.

No matter where this new direction takes them, their sound is nothing short of accessible. What will remain constant are the recurring emotional curves that emerge when listeners least expect them.

“Our ideal fan is someone who can party to one of our groovier songs, and mellow out during a slower one,” Basque says. “Whoever can keep up with the highs and lows of our pieces is welcome at any show of ours.”

Plants and Animals are playing Nov. 16 at The Corona Theatre (2490 Rue Notre-Dame West.) Tickets are $20.

a, Arts & Entertainment, Music

Macklemore & Ryan Lewis: The Heist

After Macklemore & Ryan Lewis partnered up to bring us the acclaimed The VS. EP in late 2009,  some fans feared a sophomore slump. Instead, the duo’s latest release, titled The Heist, plays like a veteran rapper’s ‘best-of’ compilation.

In a surprising turn for a rap album, The Heist provides an invigorating instance of straight talk. In direct contrast to the belief that ostentatious displays of wealth and bravado are de rigeur in rap (see Zadie Smith’s interview with Jay-Z), Macklemore, whose real name is Ben Haggerty, writes only what he knows. The record’s subjects range from the agonizingly candid “Starting Over,” where Haggerty struggles with the shame and disappointment of relapsing into cough syrup use, to the jaunty “Thrift Shop,” an ode to second-hand stores. Haggerty’s songwriting, however, is at its peak in “Neon Cathedral,” the young rapper’s elegy to the solace that drinking provides the hopeless. The theme of substance abuse is well-trodden ground for an artist whose most personal track prior to The Heist was “Otherside,” a song lamenting the cough-syrup epidemic stifling both hip-hop and his own life. The tone, however, never verges on the moralistic—Haggerty readily admits that he’s not a judge, only a storyteller.

Lewis, the duo’s producer and DJ, plays an invaluable part in this process. Since the two began working together, Lewis has coupled Haggerty’s tracks with some of the most captivating beats in recent memory, often employing dense, intricate layers, with his own skill on show in the instrumental “BomBom.”

With Haggerty’s incandescent delivery, and Lewis’ expert production, Macklemore & Ryan Lewis have brought out the most impressive record of 2012. Welcome to The Heist—you’ve pulled it off.

 

a, Arts & Entertainment, Music

Mellowhype: Numbers

Unless you’re a well-versed hip-hop fan, it’s possible that your familiarity with rappers Left Brain and Hodgy Beats only stems from their frequently cited Odd Future involvement. The pair of artists, however, also make up the separate rap group Mellowhype, which recently released their third studio album, Numbers. In comparison to their previous work, the album features toned-down and introspective tracks, and showcases the pair’s recent shift away from adolescent antics to musical, and perhaps even personal, maturity.

In other words, Numbers is less hype, more mellow. In some instances, this leads to artistic breakthroughs, such as with “Under 2,” in which Left Brain touchingly raps about his newborn son. Other times, however, the mellowness is monotonous, leaving longtime fans wishing for some of the adolescent anger and intensity present in their earlier work. Frank Ocean’s appearance on “Astro” adds some star power to the album; the track features beautiful crooning by Ocean with a great Left Brain beat. Earl Sweatshirt, on “P2,” adds excitement as well, though disappointingly mumbles throughout much of his verse.

In sum, the album could use more energy and variety in its use of beats, sounds and features. As the first effort of a more cultivated Mellowhype sound, however, it can be considered a step in the right direction.

a, Arts & Entertainment, Music

Wintersleep: Hello Hum

Although the Juno award-winning Wintersleep has been lauded as having released ‘the album of their career’ with Hello Hum, not much has changed from their previous work. The band brought producer Dave Fridmann (Flaming Lips; MGMT) aboard for their fifth full-length album, although his presence is not especially noticeable.

With melodies beautifully backed up by intricate guitar picking, the album’s instrumentals remain on par with Wintersleep’s sound in past albums. Lead singer Paul Murphy’s nasally vocal tone, highly reminiscent of Interpol’s Paul Banks and We Are Scientists’ Keith Murray, acts as a distinct instrument woven through each song. Matching perfectly with the tones of the rest of the band, Murphy’s vocals are essential to the creation of their seemingly effortless sound.

Most peculiar is that Wintersleep were able to stay true to their old-school rock sound while adding hints of synths to their music. With soft, elaborate instrumentals and full choruses, it’s hard to tell whether Hello Hum disappoints, in that it has not shown enough progress from their past work, or if Wintersleep is just so musically adept that listeners fail to realize that there’s work being done.

 

Patricia Summersett as Jacqueline. (Susann Hofgraef / Infinithéâtre)
a, Arts & Entertainment

Horrors of war still hit close to home

The premise is intriguing enough: Jacqueline, a female combat officer who served in Afghanistan, wakes up in a dark hospital cell complaining of a phantom pain in her amputated leg. What follows, however, is more phantasmagoric—the brilliant Zach Fraser enters the stage as Jacqueline’s French-Canadian great-grandfather, who was unjustly shot for desertion in WWI.

Alyson Grant’s Trench Patterns is an immersive spectacle. The lighting and sound are outstanding, and Guy Sprung’s direction in this Infinithéâtre production does full justice to the piece’s haunting experience. The play itself seldom departs from the hospital cell setting, which effectively facilitates a “brain in a vat” exploration of Jacqueline’s febrile consciousness. One by one, hallucinatory figures from both wars appear on the platform—vignettes that each pledge the case of abject humanity.

On the surface, the play questions the paradoxical concept of a “just war” and the “good soldier”—nothing new there. Yet what is new, is an ambitious creation a character distressed by a double-stranded memory, which oscillates between her great grandfather’s tragic fate in WWI, and her own participation in the Afghan conflict. It certainly baffles temporal and spatial logic to enact scenes from both wars, almost a century apart, in a hospital ward­­­­—unless this straddling of time occurs in a character suffering from post-traumatic stress disorder. Even so, the show requires some willful suspension of disbelief.

This is especially necessary in Jacqueline’s imaginary conversation with her great-grandfather, and her evocation of painstakingly real scenes from WWI. Of these, she has no first-hand experience—after all, she has only read about them in history books. The audience’s bewilderment mirrors Jacqueline’s disorientation in a play that, for the most part, operates at the expense of logic. Were it not for Patricia Summersett’s riveting performance as Jacqueline, the play may have failed to convince on a structural level—however surrealistic in tone Grant intends it to be.

However, it is Jacqueline’s hallucinatory plunge into history that rescues the binding theme the play desperately needs. In her introduction, Grant notes that her play is about “how a past family member’s life … can shape those in the following generations.” It is Jacqueline’s attempt to reconcile her identity as a soldier with her particular familial history that ultimately rewards a genuine comprehension of what the play alludes to.

Throughout, Jacqueline is either stuck in bed, propped up in a wheelchair, or limping across the stage; all states generate sincere pathos. The title of the play derives its name from the often twisted and zig-zagged patterns of the communication trench in WWI. Jacqueline’s road to recovery, thus, requires not only the psychiatrist (also played by Zach Fraser) and her mother (Diana Fajrajsl) to understand her, but also the audience, to make sense of her long recuperative process, physical and mental, as she interrogates both her past and present.

Grant is evidently an able playwright. Commendably, there is an almost Beckettian tinge to the wonderfully conceived character of Jacqueline. Yet Trench Patterns is very much just a demonstration of potential, raw talent on display; on the whole, it is much too ambitious, and consequently falls a little flat.

Trench Patterns runs through Nov. 18 at Bain St-Michel (5300 St-Dominque); Tuesday to Saturday at 8 p.m. and Sundays at 2 p.m. Student admission is $20.

a, Opinion

Allocation of international fees must be considered in context

On Oct. 19, McGill Principal and Vice-Chancellor Heather Munroe-Blum spoke at an event hosted by the Montreal Council on Foreign Relations, and called for Quebec to increase international student enrollment. In her speech, which also highlighted the advantages international students bring to Quebec, Munroe-Blum brought attention to the the way the province handles the allocation of international tuition fees.

As it currently stands, most of the tuition paid by international students at McGill does not stay at the university. Instead, McGill only receives the portion of fees corresponding to in-province tuition. The rest—often upwards of $10,000—is retained by the province and redistributed across all Quebec universities.

Some critics of this system assert that universities should keep most, or all, of the international fees. They cite a number of advantages to reform. For one, international students would benefit more directly from the steep rates they shell out per semester, since their fees would go directly to their own university. Furthermore, because recruiting and retaining international students is expensive, many—like Munroe-Blum on Oct. 19—argue that universities like McGill, with a large proportion of international students, should profit more from their investment in attracting international students.

To come to a thoughtful conclusion on this subject, one must consider the purpose and role of Quebec’s higher education system. Above all, the system’s goal is to educate the entire province.  The current model reflects this: just as in-province tuition fees and provincial taxes are distributed evenly among the province’s educational institutions, all Quebec universities currently benefit in equal measure from international student investment.

Addressing the situation is not as simple as just asking for international student fees to be returned to individual universities. One must place the issue within the greater Quebec context. Quebec’s values are defined by a sort of social communitarianism, and education is hardly an exception. These past months of student activism have clearly demonstrated the value Quebeckers place on post-secondary education that all citizens have access to. An egalitarian distribution of international funding across all universities reflects this philosophy.

When international students  choose to come to Quebec, they become, in some measure, guests of the local system. Quebec society prides itself on an accessible education system that does not favour some institutions over others. We must take this into consideration as debate continues on this issue.

a, Opinion

Who is responsible for making the GA more relevant to students?

On Oct. 23, the Students’ Society of McGill University (SSMU) released the results of the online ratification for its fall General Assembly (GA). The online vote ratified two motions—one to rename SSMU’s Breakout Room, the other to build a rock climbing wall in the SSMU building. Compared to the disappointing voter turnout for the GA itself, which failed to maintain a quorum of 100 students, nearly 3,000 people voted in the online ratification, surpassing the required quorum of 10 per cent of the student body. By requiring approval from a much larger percentage of the student body, the online vote acts as a check on a forum potentially dominated by a small, impassioned group of students well-versed on a specific issue. The online vote has acheived this by making the vote easier and more accessible to students unable or unwilling to attend the Assembly. 

At the same time, more could be done to make this form of participation more relevant and visible. While quorum was exceeded by three per cent, a remaining 87 per cent of students still did not participate in the online vote. The Tribune’s editorial board was split on the following question: does responsibility for ensuring greater participation rest on SSMU, or with the student body itself?

Point: Better participation must come from students

The online vote’s success proves that the GA reforms of President Josh Redel and the SSMU executive have come to fruition. Certainly there are always improvements to be made, but the fact is more than 13 per cent of undergraduate students voted online this year. In previous years, voting was limited to live participants at the GA. SSMU frequently struggles to attract even one per cent of the student body to attend in person for the whole evening.

The ratification’s success also shows that students respond to improvements in the voting process. Anyone who voted online knows that it took less than three minutes, and was easily accessible through the new SSMU GA website, which has information on the motions and legislative process.

The question is how much easier students need voting to be. SSMU, it seems, has done its part in encouraging those it represents to vote. While there could always be more publicity, more outreach, and more communication, the onus now lies with students to share their opinion, if they have one.

The truth is that most students do not have strong opinions about changing the name of the SSMU Breakout Room. And while a rock-climbing wall would certainly be an exciting addition, the issue is not likely to attract the attention of over 21,000 students. Perhaps this points to a problem in the kinds of motions presented at the SSMU GA, but as it stands, the GA merely reflects the initiatives of those willing enough to submit a motion.

Essentially, SSMU is the voice of the student body. It should not be their job to make students have a voice; their job is to make it easier for students to share their voice. Considering that students can now vote online, watch livestreams of the GA, express concerns to the GA “mood watcher,” learn about motions on the website, and do all of these things from their smart phones, it’s now time for students to participate in the dialogue. They have no reason not to.

Counterpoint: SSMU has more to do

While a seamless ratification is certainly a success for SSMU’s reforms to the GA, it is not enough. The online vote is a necessary but insufficient step in the right direction. Voter turnout of 13 per cent is an improvement, but it is not an accomplishment. The onus remains on SSMU to make these motions more visible and relevant to students.

This begins and ends with SSMU demonstrating motions’ relevance to students. Beyond a series of emails, the small percentage that voted did so without any other prompting by SSMU: there were no posters calling for participation, elucidating that a rock-climbing wall was at stake. The key to increasing student involvement is not only to clarify how a motion is submitted—which the SSMU’s website does—but to transcend each motion’s “whereas” clause to communicate to students what is really at stake.

A broader discussion needs to take place about why students should care about their student government. This discussion needs to come from SSMU, and not only because this is appropriate and within its purview as a group elected and funded by students. SSMU is the only group that is in the position to have this discussion; out of all of the groups on campus, SSMU has the funds, the reach, and the mandate to engage and represent all students.

In order to attract the remaining 87 per cent of the student body, SSMU’s first goal should be to facilitate participation from all groups on campus. This includes a more active role from the rest of the SSMU councillors, in particular faculty representatives, in directly engaging their own constituents in the voting process. It also includes fostering a culture of participation among first years—reaching out to residences and holding student government workshops, or allowing students to vote before grabbing dinner by setting up a station in residence lobbies.

It will always be incumbent upon student government to demonstrate why students ought to engage in student politics. SSMU built the GA, and SSMU uses the GA as one of its ways to pass motions. The student society derives legitimacy from the active and direct engagement of its constituents in such a forum. As such, it is SSMU’s job to continue to work towards a solution to the GA problem. We can complain about the lack of student engagement until we’re blue in the face, but that will change nothing—particularly as students most likely will not be listening.

a, Opinion

The faults—and merits—of anonymity in ‘hacktivism’

A hacking group calling itself Team Ghostshell recently unveiled “ProjectWestWind,” a leak of 120,000 files taken from the servers of post-secondary schools globally. The list of 100 institutions whose servers were compromised included the University of British Columbia and McMaster University. The group posted the leaked files alongside a statement encouraging a discussion of the direction in which higher education is headed.

This sort of ‘hacktivist’ action has grown popular in recent years, following the example of high-profile groups such as Anonymous and WikiLeaks. These groups work outside the scope of the law, which is generally vague in this realm due to lack of legal precedent. They justify their actions on a moral basis, but there is always an element of risk when working on the fringes of legality.

As a result, many of these organizations—Team Ghostshell included—work under a veil of anonymity. Most notably, Anonymous has succeeded in garnering considerable attention in the mainstream media. Working in anonymity allows such a group to execute and advertise its projects on a large scale without having to fear for their own personal security. These projects are not lucrative, and those who take them on have lives outside hacking—day jobs, families, and friends. Obscuring their identities allows them to avoid compromising these other components of their lives.

Other organizations have chosen to put forward a public figure to represent the group—the most notable example being WikiLeaks founder Julian Assange. Throughout the height of his organization’s release of leaked diplomatic cables, classified videos and correspondences, Assange was immensely visible in the media. He made appearances on talk shows and presented a human face for the world to associate with WikiLeaks. The risks of this approach are evident, as Assange is currently trapped in Ecuador’s embassy in London, which has granted him diplomatic asylum while he sorts out his legal struggles.

Despite the risks, there are some undeniable advantages to Assange’s method. Many of these groups claim to seek increases in government accountability and transparency—a bit of a contradictory stance for organizations that are shrouded in secrecy. Julian Assange gave WikiLeaks a sense of legitimacy that demystified it, and his voice advocated the organization’s cause to the public. By contrast, Anonymous’ press releases and announcements are delivered in a robotic, ominous voice, one that would not be out of place in a dystopian science fiction movie. This inaccessible delivery of their message precludes them from much of the media attention they might receive otherwise.

A further issue with operating in secret is the communicational disconnect in an organization without specific hierarchical structure. In many of these organizations, members may be anonymous even to one another. In such an environment, all those involved certainly share a common ideological standpoint, but risk failing to advance the discourse beyond ideology. Team Ghostshell’s recent large-scale hack was a chance for it to spark discussion and have its ideas heard, but rather than a pointed critique, it offered a generic, disjointed message which only spoke of change in the broadest terms.

When a hacking group circumvents the law on ideological grounds, it needs to cover said grounds as incisively and effectively as possible. Failure to do so brings into question the validity of the organization, and takes out of the question any notion of its place as some sort of purveyor of vigilante justice. As with any other company or organization, if it is unable to carry out its purpose, a restructuring or changing of priorities is in order.

In many cases, the condition of anonymity is an impediment both to a group’s ability to construct a coherent message, and to the public’s reception of this message. While not every group will have a member willing to throw himself or herself into the spotlight in the way that Assange did, there are certainly steps to be taken to soften the image of the shadowy, anonymous organization.  It begins with specifying how change needs to happen.

In a world where online presence and social media have made self-marketing easier than ever before, it is not unrealistic to expect these groups to follow through on their projects with a clear, coherent statement regarding what they are seeking to prove. If nobody understands their message, then what’s the point?

a, Opinion

Democracy’s weakest link: uninformed voters

As the presidential election campaign in the United States reaches the home stretch, one thing has become abundantly clear—barring any truly egregious mistakes by either campaign, this election is going to be particularly close. Thanks to the quirks of the Electoral College, the results in what are popularly known as ‘swing states’ are acutely important. However, the voters that are still in play in most of these states, ‘undecided voters,’ are, by many accounts, generally under-informed about the campaign. Typically, they consider themselves too busy to actually keep up with the issues, but still vote out of a sense of civic duty.

The first question this prompts is: how are these voters deciding? According to a trove of political science research, voters with ‘low information’ on the candidates, policy proposals, or the campaign itself, often use heuristics—mental shortcuts—to narrow down their choices. Much of this academic research has focused on what these heuristics are. In general, they include partisan party identification, visible physical characteristics, such as gender and race, candidate job occupations, and most disturbingly, ballot positioning.  Past research has found that the order of candidates’ names on the ballot can influence voters’ decisions.

Political campaigns have come to believe that ‘low information’ voters can be swayed by even more trivial cues. In the tightly contested 2008 Obama-Clinton Democratic campaign, strategists put a concerted effort into getting candidates onto ‘soft’ entertainment and lifestyle television programs, based on the belief that a decisive group of voters would be swayed by their haircut and clothing preferences, among other things.

So what can be done? Many of the historical ‘checks’ on American democracy were crafted with the express purpose of preventing the rule by an uninformed mass. Some have argued that a renewed fear of uninformed voters is simply a new manifestation of this old elitist loathing for the common man. However, the point of democracy, especially as opposed to a more totalitarian form of government, is not simply that citizens will vote in elections. Rather, the point is that a representative mass of the population, armed with proper information on policies, would reach generally better decisions than an autocratic dictatorship.

So what is to be done? The inevitable first response is to improve civic education at the primary level, but education can wear off as people age. The more immediate solution, at least in the case of the United States, would actually be to eliminate the Electoral College and replace it with a raw popular vote-based system. This would bring the entire country into play, instead of a select few states with particularly fickle populaces, and solve or at least ameliorate the problem of ‘low information’ voters in two ways. First, candidates would have to talk to a larger cross section of the country, rather than ignoring states with clear party leanings. This would revive voter engagement by making their votes matter more substantively. Second, the area in play during the election would be extended from a group of about seven states, thereby reducing the influence of easily persuadable ‘low information’ voters in ‘swing states’ to begin with.

The optimal solution to this whole problem of the ‘low information’ voter is not to keep them from participating in elections, as the harm of such efforts would far outweigh any benefit gained. Rather, we should give them the information to participate more gainfully, or to reduce their influence to the point that they aren’t the decisive demographic in our elections.

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