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McGill, News

Midnight Kitchen takes over Shatner’s Room 302

In an attempt to replace the Architecture Café, Room 302 of the Shatner Building is set to become the newest university lounge. The space, which is currently used during mealtime by Midnight Kitchen, will add to the number of student-friendly spots on campus and serve as a space for student dining.

The initiative began over the summer, after Management student Ari Jaffe, a Green Building researcher and former environment commissioner, presented a report that aimed to include sustainability on campus and create more student-run initiatives and food programs.

“We already have Midnight Kitchen, which is great because it provides sustainable vegan food, [but] the closure of the Architecture Café put things more into perspective because we would like to increase places to eat which are student friendly,” said Vice-President Clubs and Services Anushay Khan. “This is a way to increase student-friendly space, but also to fulfill the gap that the Architecture Café created.”  

According to Khan, the lack of space to eat is a problem for students. When they get Midnight Kitchen they either go to the cafeteria or down to Gert’s.   

“The advantage to having this in Room 302 is that Midnight Kitchen already serves there during the weekdays, so one of the things we try to do is to expand their service, and at the same time allow people to come and have a place to eat,” she said.

By modifying the space, she said, Room 302 will fulfill the needs that are arising as Midnight Kitchen expands.

“[Midnight Kitchen] is continually growing, they are very popular, they provide tons and tons of services for student, they are very involved in food politics, and they do serve vegan meals which is not an option that you find very frequently on campus,” said Khan.

The Student’s Society has allocated $1,000 of its space budget for the lounge’s renovation, which Khan hopes to have finished by February. Because other clubs will continue to have access to the room, furniture will be easily removable and flexible to serve other purposes.

“We are not looking to spend a lot of money on the lounge because first of all we are going to try it out, and the hopefully we’ll take it from there. To accommodate as many groups as possible we are not going to buy any material that is fixable into the room,” Khan said.

The lounge will be furnished with couches, tables, and paintings. Details regarding opening hours are still being worked out.

“It’s looking like it will probably be open and free for students to come in and out of from 9 a.m. to 5 p.m. and then after that it would be open for meetings, etc,” said Alex Briggs, U2 mechanical engineering, who works for Midnight Kitchen. “Although it’s much further and not at all in a central location, it will be kind of a replacement for the Architecture Café.”

Additional plans for the space are to run a food co-op and sell products from Organic Campus to allow students to buy food a cheaper prices.

“I strongly believe that it sets a model for what the university should be doing,” Khan said. “I think that is something that SSMU should definitely do, not only to support its service but also to provide alternative space for dining.”

McGill, News

A Shorter Frosh

Adam Scotti

Due to calendar changes made by the university administration, Frosh is likely to change dramatically next year, with a variety of social and orientation events packed into a shorter time frame.

The details of the proposed changes are still being discussed, but a key factor driving them is a later date for first-year students to move into McGill residences.  

In previous years, the university generally scheduled at least a week between the two days allotted for first-year students to move in—usually a weekend, to avoid disrupting downtown during business hours—and the start of class. Last fall, for example, students moved in on August 21 and 22, a full 10 days before classes began on September 1.

Next year, however, the amount of time between the move-in date and the start of classes is set to be greatly compressed. First-year students are tentatively set to move in on August 27 and 28, according to Michael Porritt, McGill’s director of residences, with the possibility for some move-ins to begin Friday afternoon. Classes are scheduled to begin three days later, on Thursday, September 1.

This greatly compressed schedule–the reasons for which remain somewhat unclear–has forced the students who plan Frosh to re-imagine what the event will look like.

Students’ Society Vice-President Internal Tom Fabian, who planned this year’s SSMU Frosh, first learned of the calendar changes shortly after the end of this year’s Frosh. “It’s unfortunate the university did it that way,” Fabian said, referring to the calendar change, “But we can’t do anything to change it now.”

Instead, Fabian and a number of other student leaders, as well as university employees including First Year Coordinator Leslie Copeland and Dean of Students Jane Everett, formed the Integrated Orientation Working Group, which has met regularly to discuss ways to reinvent Frosh.

Though the working group has yet to make any firm decisions, Fabian said, a number of proposals are currently under consideration. Frosh and other orientation activities will most likely be divided in two, he said, with three days of events before the start of classes and an additional two days the following weekend. In addition, orientation activities—such as Discover McGill, an event typically held before Frosh kicks off—will probably be more closely integrated with Frosh.

To fit both Frosh and orientation activities into fewer days, Fabian said, he is considering tying SSMU Frosh and the various faculty Froshes more closely together. Students may buy just one Frosh ticket next year, he said, rather than two separate ones, and SSMU Frosh may be compressed into one day.

Arts Undergraduate Society President Dave Marshall, one of the working group members, said that he is optimistic about the changes, he said, but hopes that the faculty Froshes retain their individual character.

“It would be a shame if the faculty orientations didn’t happen, because a lot of the stuff the AUS runs during Frosh is for students to understand what their role is, what the Faculty of Arts is,” he said. “There’s something very different about the way Science Frosh runs and Arts Frosh runs.”

Fabian is also considering several other changes to Frosh, such as recruiting upperclassmen to volunteer as leaders for the entire orientation week instead of simply selecting Frosh leaders.

“One thing I’m thinking about is having drink tickets,” he said, which could replace the bracelets that have allowed students to receive unlimited rounds of beer in previous years. The tickets might also be valid for food items, Fabian said.

Each of these proposals remains tentative, Fabian said, but he hopes to present a preliminary Frosh schedule to the Integrated Orientation Working Group by the end of next week. He also plans to bring his proposals before SSMU Council.

“The finalized schedule is going to take some people aback,” he said, “but everyone will have to adapt.”

News

Arts Undergraduate Society to challenge Montreal in court

Arts Undergraduate Society President David Marshall will be representing the AUS in an upcoming legal battle with the City of Montreal. The City ticketed and fined the AUS $2,500 in February 2010 after a member of the Arts Undergraduate Theatre Society posted an 8 ½ x 11-sized flyer advertising a then-upcoming production of Cabaret. Marshall and the AUS believe they have a basis for defence and have pleaded not guilt to the charge.

“When I initially got the ticket, I had no idea that this law existed,” Marshall said. “I had no idea what the potential consequences were, and this didn’t come in until [Friday] morning, so I had no idea there was actually any evidence to back it up.”

Marshall said the initial ticket the AUS received contained only minimal information, and he was unsure of how to proceed. Upon requesting and eventually receiving more details from the City government, Marshall received a photo of the poster in question and had a better understanding of the situation. Marshall said he thinks the law is unjust.

“The citation came with a letter reminding us that this law was in place to help keep the city clean,” he said. “It’s completely ludicrous, the idea that you can’t put up a piece of paper on a public light post steps away from the university and if you do, [the punishment is] not a slap on the wrist but a substantial fine.”

Marshall also said that he does not believe the City has any grounds to impose such a fine since the Quebec Court of Appeals struck down this law as unconstitutional several months ago.

“The law itself was declared invalid, so technically there’s no way we should be charged under it,” Marshall said.

In mounting a defence, the AUS has found itself in a tricky financial situation, as the cost of hiring professional lawyers would far exceed the cost of the fine.

“Twenty-five hundred dollars is not peanuts, but at the same time, if we’re going to pay a lawyer to consult, to come to court, to do all that, we’re going to spend more than $2,500 on legal fees,” Marshall said.

Therefore Marshall, after receiving the support of the AUS Council, will be representing the AUS in any and all of the future proceedings. He said that he has been unofficially consulting with numerous lawyers and legal scholars on the situation and believes the AUS has a fighting chance to avoid paying the fine. Marshall emphasized that he is mainly representing the AUS simply because it is cost-efficient.

“I don’t feel as though I am fucking around with the AUS’s future,” he said.

One twist to the case is the fact that the Arts Undergraduate Theatre Society, not the AUS, posted the flyer. Julian Silverman, a co-producer at the AUTS, expressed his and the AUTS’s pleasure with the support of the AUS.

“We’re glad that Dave [Marshall] is on our side and willing to support us and speak for us,” Silverman said. “And the postering is sort of a funny thing. You see posters around all the time and we’re sad to know that we were singled out compared to everyone else.”

Marshall said he wants to avoid taking the $2,500 out of the AUTS’s yearly $20,000 budget, but if the AUS is forced to pay, both organizations will shift their focus towards fundraising.

“At this point, with the budgetary difficulties we’ve had this year, if we have to pay, we’ll probably have to work with them to increase their fundraising a little bit so we can make up the difference in funds,” Marshall said.

“This is not AUS’s fault at all, this is ours,” Silverman said. “So we would be fundraising those funds [to pay off the fine]. As much as the AUS is helping us out with the problem, it’s not their problem. We’re positive that we won’t have to [fundraise], hopefully we won’t have to.”

Whatever the outcome, Marshall seems excited thay such a case that could have repercussions for other student groups.

“There’s something to be said for cases like this where the law needs to be navigable enough so that people like us can get through it without spending a year on it and getting legal advice or at least bringing a lawyer into a courtroom,” Marshall said. “This seems to be a little bit ludicrous that putting up a piece of paper and there’s a $2,500 fine that affects all of our students, but I’m really hoping that we’re going to be able to rally a lot of our community support and get through it on our own.”

Arts & Entertainment, Music

Local band makes their mark

chartattack.com

     If you haven’t been paying attention to Canadian independent music for very long, you may not have heard of the Mark Inside. The Toronto band recently released an EP titled False Flag, its first album in over three years. False Flag is a follow-up to the band’s debut album, 2006’s Static/Crash, released on Canadian label MapleMusic. Following disagreements with the label over recording and releasing a sophomore album, the band left MapleMusic and took their sound into their own hands.

     “We got in touch with Jim Abbiss in England, who produced the Arctic Monkeys,” vocalist and guitarist Chris Levoir says of the band’s change in direction. “[He] really wanted to focus on how we sound live, and added a lot of subtleties to the recordings.”

     After choosing 12 songs to record out of 50 the band brought to Britain, Abbiss got more involved with the band. “He started a label just to sign us,” Levoir says. “That also prolonged the release of the EP for some time.”

       Despite long periods of uncertainty, The Mark Inside has re-emerged with more energy and enthusiasm for recording and performing.

     “After this long of us playing together, we kept at it because we really do like playing shows,” Levoir says. “As a band, we’ve gotten more into the ethics of writing songs, instead of stringing things together. We’re trying to make real compositions.” The band’s new songwriting and performing style can be seen in the tracks on False Flag and during their explosive live shows. The indie scene in Toronto is different now than it was when the band arrived from surrounding towns seven years ago.

    “As it’s gone, it’s been a lot tougher to make money playing shows,” Levoir says. “People are able to get really specific in their tastes and only experience the things they already like.”

     But despite such difficulties and changes in the scene, some things have stayed the same. Most importantly for the Mark Inside, the same group of artists that first migrated to Toronto has remained strong.

     “The community is very important,” says Levoir, citing local bands Cuff the Duke and Anagram as long-time friends.

     “It’s important to have friends you can socialize with and respect as well.” The influence of these groups can be heard in The Mark Inside’s aggressive rock sound, combining heavy guitar riffs, introspective lyrics and energetic rhythms that bring the energy of a live show into each song.

     That level of respect and friendship has also resulted in more private shows in lofts and other small venues. Levoir says that he loves the cheap beer and the intimate environment you only get in smaller venues. “You really get to hang out and meet the band. That’s the kind of show we like to play.”

     The Mark Inside will be touring in the upcoming months, and currently enjoying radio play on popular outlets like CBC Radio 3. The band is also gearing up for the release of their full-length second album in the spring.

     “I think we’ve become more aggressive as a band,” Levoir says. “We’ve changed the way we describe ourselves to others. Our focus and enthusiasm is really showing through.”

The Mark Inside plays Le Divan Orange on January 14.

Arts & Entertainment

Preserving the art of Michael Jackson

Michael Jackson was no stranger to controversy. While the man revolutionized the world of pop music through his timeless songs and innovative dance style, he was plagued by an abusive father, a jealous family, and claims of child molestation in his adult life. Since his death in 2009, though, most people have chosen to remember him as a pop legend who reshaped the course of music history.

     Yet even in death, the proclaimed “King of Pop” could not escape the harsh glare of the media spotlight.  Inquiries into his suspicious death, financial issues, and the mysterious conceptions of his children dominated headlines for many months following his death. And just when it seemed that most of the world had moved on, it was announced that a new Michael Jackson album, titled Michael, would be released in late 2010. Following the release of This is It, a movie compiled of rehearsal footage for the concert that never happened, the album was touted as an introspective look at the mystery behind Michael Jackson. The question can then be raised: Was it ethical to release a posthumous album of Michael Jackson songs?

      As always, there are two sides to this story. One side claims that Jackson would have released these songs anyway; that sales of a new album would greatly benefit the children he left behind; and that, most importantly, this is what fans wanted. The contributors to his album defended its release, claiming that many of the songs were nearly ready for circulation. Lastly, let’s not forget how some people—say, Akon—claim that this album only helps to keep Jackson’s legacy alive. It went to the top of the charts soon after its release, and isn’t that exactly what Jackson would have wanted?

     Despite these admittedly valid points, it isn’t a stretch to call this album a cash grab by people who didn’t really care about Jackson’s legacy. Jackson had always been a perfectionist with his music, and to release an album posthumously that wasn’t given the final once-over by the man himself not only screams pure greed, but also disrespect. With all the media attention Jackson faced in both life and death, as well as the overall financial success of a concert movie and DVD (other Jackson products that have faced some backlash), it was no surprise that Sony took advantage of their collection of unreleased tracks. And while the album has sold moderately well, it has also faced some poor reviews, reinforcing the fact that Jackson would never have wanted to release these unfinished and unpolished songs.

     This is It, the movie (and eventual  DVD) of Jackson’s rehearsal footage for the concert that was cancelled following his death, met some criticism as well. Would Michael Jackson, a renowned stickler for perfection, have wanted his fans to see him rehearse? The concert itself was a hard pill for some fans to swallow, as they saw Jackson as being too frail for the concert in general but being forced to go through with performing due to money problems and pressures from Sony and AEG. However, at the very least the film was a heartwarming tribute to the icon; according to many critics, the Michael album only feels rushed and incomplete, something the pop star would have been disinclined to release. Say what you will about Michael Jackson and his dubious lifestyle, the release of Michael is just another case of money running the show.

Arts & Entertainment, Film and TV

Black Swan

daemonsmovies.com

Darren Aronofsky’s Black Swan, likely to be a strong Oscar contender, was one of 2010’s most exciting films. A psychological thriller set in the dramatic world of ballet, the film stars Natalie Portman as Nina Sayers, a tortured ballerina on her descent into madness after winning the star role in a production of “Swan Lake.”  The film is smart and sexy, showcasing Portman’s incredible talent. Mila Kunis, Vincent Cassel, and Barbara Hershey round out the stellar cast. The film also contains elements of a sexual thriller. Portman plays a shy, timid dancer who becomes mentally and physically corrupted by her new role in a premiere ballet company with an overtly sexual director, played by Vincent Cassel. Kunis is the beautiful temptress who stands to take Portman’s place if she falters, and Hershey plays Portman’s mother, an overly protective and frightening woman with hints of an incestuous crush on her daughter. The film highlights the darker side of the dance world. Without being too cliché, Aronofsky crafts a stylish and haunting fishbowl of passion and cutthroat competition that finds its protagonist losing her sanity to the art form to which she has dedicated her life. The film challenges the audience to toe the line between reality and total madness, guessing which parts of the film are genuine and which are only happening in Nina’s head.  Abandon all hopes for a storyline that makes much sense, and go see Black Swan for its twisted beauty.

Arts & Entertainment, Film and TV

The King’s Speech

aceshowbiz.com

The King’s Speech has garnered considerable Oscar buzz since its release in December, and not without merit. The film is one of the most compelling of the year, and has been commanding audiences with an interesting storyline, superb acting. and beautiful cinematography. The King’s Speech follows the Duke of York (“Bertie” for short) who unexpectedly assumes the throne following the abdication of his older brother Edward, and must overcome his fear of pubic speaking resulting from his debilitating stutter. The film follows Bertie (Colin Firth), as he navigates the rigid boundaries of royal life in the years leading up to his coronation and the onset of the Second World War. It centres on the relationship between the King (known as Prince Albert prior to his coronation) and his eccentric speech therapist Lionel Logue (Geoffrey Rush), whose unconventional treatment methods push Bertie to go deeper into his personal history and childhood experiences to determine the real reason for his speech impediment.

The King’s Speech depicts British history from a unique perspective, with director Tom Hooper focusing on the personal relationships and royal family dynamics that are often mocked or ignored in films about the monarchy. Firth, Rush, and Helena Bonham Carter as Bertie’s wife, Elizabeth Bowes-Lyon, bring this personal story to life, and supporting cast members Guy Pearce and Michael Gambon add depth to Bertie’s brother and father who have stifled Bertie for the majority of his life. The film is also aesthetically pleasing; the cinematography and set design are rich with depth and colour and show the stark contrast between royal and common life in the Great Depression. The King’s Speech is a memorable portrayal of a reluctant king, whose perseverance in overcoming personal obstacles was essential to his status as a beloved historical figure in wartime Britain.

Arts & Entertainment, Film and TV

Tangled

diggapic.com

  Although some have objected to the latest Disney flick’s name, Tangled is more than a movie about a girl with extra-long hair. It re-imagines the classic fairy tale “Rapunzel” by following the princess on her first day out of the tower. The film switches up the tried and true princess story by reversing stereotypes, featuring cupcake baking pirates, a scoundrel for a love interest, and an unexpected twist.

      As the voice of Rapunzel, Mandy Moore is enchanting yet relatable; she’s simultaneously anxious and creative, restless and hopelessly indecisive. Her relationship with bad boy Flynne (Zachary Levi) is heartwarming, heartbreaking, and strikingly modern. Tangled also moves beyond traditional Disney artistry with its breathtaking animation and influence from the Rococo painting “The Swing,” which harkens back to the Golden Age of Disney when backgrounds were painted by hand in rich oils. However, the use of 3D lends splash of realism to backgrounds, characters, and swashbuckling scenes. The animation featured in Tangled mirrors the movie’s greatest strength: the ability to be old yet new again. It brings you back to the good old days of Disney on VHS, while taking a solid step into the 21st century.

Arts & Entertainment, Film and TV

The Fighter

indiegeniusprod.com

David Russell’s The Fighter is based on the true story of a struggling boxer and his colourful family. Starring Mark Wahlberg as up-and-coming fighter Micky Ward, the film centres on Micky’s struggle to make it in the ring, while surrounded by his trainer and half-brother Dicky (Christian Bale), and his domineering mother and countless sisters. Fed up with his constant losses in the ring, Micky leaves his family behind for a more professional training regime, with the help of his girlfriend Charlene (Amy Adams). As Micky pulls away from his family, his brother Dicky, a one-time hometown hero who constantly touts his former glory, becomes increasingly unreliable and falls deeper into his crack addiction and criminal tendencies.Wahlberg easily endears audiences who are eager to see the conclusion to Micky’s story, and Bale as his washed-up brother shows his chops and versatility as an actor. Adams’s Charlene is also a force to be reckoned with, as demonstrated in scenes of harsh exchanges with Micky’s mother and sisters. Overall, the combination of impressive acting, authenticity and detail, and high entertainment value make The Fighter a film that will impress at the Oscars this year.

Arts & Entertainment, Film and TV

True Grit

movies.ign.com

Even if you’re not generally a Coen Brothers fan, True Grit is a must-see. The directing duo’s latest film stars Jeff Bridges, Matt Damon, and Josh Brolin and introduces 14-year-old Hailee Steinfeld as Mattie Ross, the narrator of the Western. When Mattie’s father is killed by villain Tom Chaney (Brolin), she hires U.S. Marshal Rooster Cogburn (Bridges) to track him down and avenge her father. Texas Ranger LaBoeuf (Damon)—pronounced humorously as Le Beef—is also on the hunt for Chaney. Although True Grit was snubbed at the Golden Globes, it has far surpassed the Coens’ 2007 “No Country For Old Men” in box office revenue, and the buzz has only increased as Oscar season starts. A masterful reimagining of the 1969 original—which starred John Wayne as Bridges’s character—the film, along with its many talented actors, is sure to win some Oscar gold. Be sure to get your cowboy boots on before catching it in theatres, ‘cause this one’s got some kickback.

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