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McGill Swim Team encouraged by promising results

Adam Scotti

On Friday evening, McGill hosted the University of Montreal and the University of Ottawa for a lightning-quick three-team swim meet. The teams sped through the 28 events in just over two hours.  

This was the second event of the year for the Martlets and Redmen as they tune up for the CIS season.

Although Friday’s meet was not officially scored, the three schools swam competitively. Overall, the Ottawa Gee Gees fielded the highest number of swimmers and took home an impressive 15 golds. The University of Montreal Carabins came second, winning nine events,  and McGill ended the meet with five first-place finishes. Despite taking home the fewest gold medals, McGill’s spirits were high as the team expressed their excitement for the upcoming season.

“There were a lot of races to do so everyone had to do a good job of getting up on the block with a positive attitude and diving in and giving it their best, and I think they did that,” said Head Coach Peter Carpenter.  

For the Martlets, senior Maxime Charron won both the 50m breaststroke and the 100m breaststroke, continuing her strong start to the season after a successful performance at last year’s national championships. Sophomore Sophie G. de Tonnacour won the 50m freestyle with an impressive time of 29.27 seconds. Finishing one-hundredth of a second behind her was freshman teammate Rayven Snodgrass.

For the Redmen, star swimmer and two-time all-Canadian Steven Bielby is back for his third year.  He is one of McGill’s most decorated athletes with seven CIS medals, four of which are gold. Bielby finished the 200m individual medley with an incredible lead.  He clocked in with a time of 2:09.70, over 10 seconds ahead of the second-place finisher. He was also on three relay teams.

As the newly elected captain of the Redmen, Bielby is positive about the team’s upcoming season.

“The team is moving in the right direction, so I think we’re doing well,” he said. “I think the team really stepped it up and built on our performances from last week.”  

As for individual goals, he aims to continue his success at the national level and qualify for the International University Sports Federation games in Shenzen, China this upcoming August.

Senior swimmers Joseph Toops and Patrick Mazurek also excelled.  Toops won the 50m freestyle with a time of 24.22 seconds, and was also a member of two second-place relay teams. Mazurek also had a very strong performance clocking 1:59.72 in the 200m freestyle.

With the addition of 12 new recruits—seven women and five men—McGill Swimming has a lot of potential.  Particularly, newcomer Jennifer Darling is one to watch.

“There were some standout swims. Jenn Darling’s 100 backstroke at 1:07, it was potentially the best time for her,” Carpenter said.   

The Martlets and Redmen have their goals set high for this season.  Martlets captain and fifth-year veteran Joanie Stilling is very optimistic.

“I think this year our main goals [are] to do better at QSSFs and try to go for the title,” Stilling said.

Next up for the team is a dual meet against the University of Toronto at home on October 30.  Toronto is a powerhouse, and Carpenter is looking forward to the competition.  

“It’s going to be good for our guys to be able to step up and race hard,” Carpenter said.

Sports

Transgender golfer sues LPGA for the right to play

Golfer Lana Lawless is suing the Ladies’ Professional Golf Association and Long Drivers of America. Why? Because Lana, born a man, holds that the LPGA’s gender policy for entry, “female at birth,” is contrary to California state law. Lawless contends that by prohibiting her from competing, the LPGA is infringing the state’s civil rights law, as she is legally considered female.

In 2008, Lana won the Women’s World Long Drive Championships, organized and held by Long Drivers of America. This year, she’s not allowed to compete because the organization has changed its rules to mirror the LPGA’s. Lana wants the LPGA banned from holding competitions in California until the participatory requirements are changed. She isn’t the first transgender athlete to encounter obstacles. However, the LPGA is far behind most other sporting bodies in its policy.

Way back in 1976, transgender tennis player Renée Richards was denied entry into the U.S. Open unless she submitted herself to chromosomal testing. She fought the ruling by the United States Tennis Association, and in 1977, the New York Supreme Court supported her. Richards played professionally that year and by 1979 was the 20th ranked women’s singles player.

In 2003, the International Olympic Committee Medical Commission called a committee meeting “to discuss and issue recommendations on the participation of individuals who have undergone sex reassignment… in sport.” The “Stockholm Consensus” concluded that transsexuals had the right to compete in Olympic events if: (a) they had undergone sex reassignment surgery before puberty, and (b) post-puberty, that they had been legally recognized as of their assigned sex, had undergone hormonal therapy for a “sufficient length of time to minimise gender-related advantages in sports competitions,” and had undergone external genitalia changes and gonadectomy at least two years prior to the request for eligibility.

The IOC reserves the right to judge athletes on a case-by-case basis and to perform “sex-tests” on those athletes whose sex they find suspicious.

In the world of golf there’s already a precedent for Lawless’ current legal battle. In 2004, Australian golfer Mianne Bagger became the first transsexual woman to ever play in a professional golf tournament. Concurrent with her acceptance at the Australia Women’s Open, the Ladies’ Golf Union changed its policy to allow her to compete in the British Open. Not long after, the United States Golf Association changed its policy as well, opening the U.S. Women’s Open to transsexual women. Since then, Bagger has competed professionally in both Europe and Australia

Still, the LPGA has lagged far behind these other golf organizations and Lawless is attempting to force them to play catch-up quickly.

The issue of transgender athletes fighting to compete is one that will only grow in public consciousness as the issue bceomes more exposed. As more athletes come forward, outdated gender rules will be cast aside.

Nevertheless, the issue is not so cut-and-dry.  Even transgender sports legend Renée Richards criticized Lawless’ efforts, saying that physically strong transgender women could have an advantage (Lawless once weighed 245 pounds), particularly in something like a sprint or a weightlifting event. However, she noted that since Lawless is 57 years old, there probably wouldn’t be too much harm in letting her compete, since she’s not going to be a threat to professionals on the tour.

The question has to be asked though: Is that the right way to judge whether transgender women should be allowed to compete? Only allowing them in if they’re either too old or too bad to beat the “females at birth”? I don’t think so, but I don’t have an answer to what the acceptable parameters are. The only thing that is for sure is that this will be an issue of intense debate over the next 10 years and that the LPGA’s policy is going to come under a Caster Semenya-like level of scrutiny.

Sports

Redmen stay classy but lose nail-biter to Stingers

Maxime Sawicki

The top-seeded McGill Redmen lost to the reigning National Champion Concordia Stingers in the Canadian Intercollegiate Baseball Association Northern Conference Final in a best-of-three series, two games to one. McGill won the first game 5-4, lost 11-1 in the next game, and then fell 1-0 in the decisive third game.

The win advanced Concordia to the CIBA National Championships as divisional champs.

Shortly after the game, McGill learned that they would be advancing to nationals as a wild card, but during the game both thought they were fighting for their playoff lives.

Six teams will go to Windsor, Ontario next weekend for pool play, semi-finals, and the national final. McGill will have another chance to knock off the Stingers there, as both have a legitimate shot at the title.

Fifth-year closer Anthony Carbone was rock solid on the mound. In game one, he entered the game at the top of the seventh with a one-run lead and the chance to put Concordia away. He quickly struck out two batters and forced an easy fly ball to record the save.

“I live for that kind of pressure,” Carbone said. “I’m a wreck on the bench watching the games. I’m so stressed out [but when] I get in the bullpen and start warming up, I start to just calm down and I get on the mound and that’s basically been my element […] I was excited to get into that game.”

Carbone shut out the Stingers when he came on in the bottom of the sixth in game three to keep McGill within striking distance. However, the Concordia pitching tandem of Andre Lagarde and Braden Simpson blanked McGill to preserve the win.

Concordia’s dugout was loud throughout the first game and the volume only increased as the weekend progressed.

When the McGill players were  asked if the noise had any effect on tthem, the response was an unequivocal “No.”

“The guys were telling me on the bench [that Concordia was jeering me], but when I [got] on the mound I really don’t hear anything,” Carbone said. “Whenever they try to get under my skin it doesn’t really work. I just hear a bunch of noise.”

“I’ve been around long enough that that stuff doesn’t bother me at all,” said shortstop Alex Day, the offensive catalyst in McGill’s game one victory. “You come to expect that when you play Concordia, that’s the kind of team they have, and if that works for them, great. We like to think of ourselves as a classier ball club.”

Still, McGill catcher Justin Cloutier was visibly rattled by comments from the Concordia dugout, leading to a brief verbal altercation.

McGill’s Head Coach Ernie D’Alessandro, for his part, would have liked even more noise, but from the bleachers.

“It’s the usual stuff, it’s the parents, it’s the families that come out… but it’d be nice to get the students,” he said. “It’s not close to campus but it’s not hard to get here. Either set up a bus from school to come here or there’s the 138 or the 104 [that] stop right in front of the ballpark… guys are busting their humps, they’ve had a good season [and] it’d be nice to have a little bit of student support.”

The Redmen travel to Windsor for the CIBA National Championship next weekend. They hope to rebound from the tightly contested defeat and return home with the gold.

News, SSMU

Council divided over coffee & tea

A motion was passed at last Thursday’s Students’ Society Council meeting to provide coffee and tea to student councillors at their bi-weekly meetings. This seemingly innocuous resolution met resistance when some councillors objected to the vague wording in the proposed resolution.

The motion, which read, “Resolved, coffee and tea will be made available to councillors during council meetings,” elicited concerns  ranging from where the money would come from to opposition based on principle.

Nick Drew, SSMU vice-president finance and operations, said he thought the motion had been put together at the last minute and cited concerns of poor planning.

“I don’t think we should be allotting student money to pay for councillors’ coffee or tea on a regular basis,” he said. “We all know Council can be long and tedious at times, yet this is what councillors were elected to do by their constituents.”

One of the authors of the motion, Arts Senator Amara Possian, explained that they originally intended to leave space for a discussion of how the beverages would be paid for. However, she said that at the Council meeting, “no one was really interested in talking about it and then the motioned passed.”

Some councillors were concerned that the money for the beverages would be coming from students. Possian said that this was never the intention of the motion, but rather that the cost would be covered by donations from councillors.

“Students’ concerns of paying for coffee and tea are nothing to worry about,” she added.

SSMU VP External Affairs Myriam Zaidi said that the idea of having the beverages paid for by donation was brought up. Others, however, suggested paying for the coffee and tea with money from the SSMU’s investment portfolio, which has seen a $200,000 increase since last year.

“When you have someone reporting that we have $200,000 in our investment portfolio, offering coffee and tea to councillors would be something that we could afford,” Zaidi said.

However, Arts Representative Spencer Burger said he was less concerned with the method of payment than with the general notion behind the motion.

“I don’t necessarily agree with the idea of representatives in any form awarding themselves something,” he said. “I oppose it purely out of principle, [but] I understand where the councillors who proposed it were coming from.”

Zaidi pointed out that most of the debate surrounding the motion revolved around the vagueness of the word “provide” in the resolution and how it would be paid for.

“The motion just says we should provide coffee and tea,” she said. “It doesn’t say we should pay for the coffee and tea, it does not mention any other options for people who don’t drink coffee or tea.”

Some were also concerned with the motion because the SSMU executives recently decided to provide pizza to councillors at every other meeting. Some though offering both pizza and hot beverages would cost too much.

“Executive committee decided we could give pizza once a month just to kind of energize students, but looking at the bill, the cost benefit is not worth it,” Drew said. “It doesn’t add up and it’s not worth spending money on that.”

Zaidi said that the decision to provide pizza was made over the summer as “part of our vision for recognizing councillors’ effort.”

But Drew said that “spending $60-$80 on pizza for 25-30 people is exhausting our resources and it does not even satisfy most people’s hunger.”

Because of the concerns brought up after the passage of the motion and the call for more clarity in the resolution, Possian explained that the motion will most likely be appealed at the next Council, and a new more precise motion will be raised.

“It passed, but it’s probably one of the motions that is just going to fall through the cracks,” Drew said. “It will definitely be discussed at the next Council.”

Arts & Entertainment, Music

Michael Franti & Spearhead: The Sound of Sunshine

Michael Franti & Spearhead is best known for its frontman’s vocal politics. On The Sound of Sunshine —Spearhead’s seventh studio album—Franti continues to preach, spreading a message of positive change through his music. Issues of world peace and social justice aren’t as prominent on this album as on previous ones, but the aim remains essentially the same.

The band’s songs have always been difficult to classify. There are obvious reggae and hip-hop elements, especially in Franti’s vocal style, but the band borrows from funk, jazz, and folk as well, though reggae-folk is the most prevalent. Many of the songs are about love and focus on the need for caring in our personal relationships.

The songwriting is always upbeat and occasionally poignant. “Gloria,” featuring regular collaborator Cherine Anderson, is an uplifting and emotional track that is one of Spearhead’s best efforts. The first couple of songs on the album are some of the strongest: the title track “Sound of Sunshine” is an airy, light-hearted reflection, while “Shake It” is an exuberant exhortation to get up and dance. The Sound of Sunshine ends with a gospel-y number, “The Sound of Sunshine Going Down,” echoing the melancholic end of a day. The album is slow, but it evokes positivity with its lyrics and music.

Arts & Entertainment, Music

Ice Cube : I Am the West

“Ice Cube is the West Coast” is the mission statement for his new album. But after 16 tracks loaded with self-indulgence, Cube and his small posse of gangster no-names, has-beens, and never-weres can’t give a decent reason for why he deserves the title of “Best in the West.”

The album isn’t all bad. Tracks like “Life In California,” “Y’all Know How I Am,” and “I Rep That West” have strong, quick hooks over catchy beats, but it’s the lyrics that drop the album from tolerable to vapid. The first half dishes out the phrases “West Coast” or “California” ad nauseam, while the second half bashes Kanye West, Lil’ Wayne, Eminem, and sends a huge “F-you” to the American system that took Ice Cube out of the slums of L.A. and made him a multimillionaire.

There was a time in the early 1990s when Ice Cube could have said he was the best in the West and all of California would have believed him. But it’s 2010, and he just doesn’t have the same storytelling style or energy he had on his ‘91 classic Death Certificate. The concept of representing your side of the country is irrelevant today, and it makes Ice Cube sound bitter, cranky, and short on material. If he doesn’t realize this soon, he’s going to wonder why the incessant gratitude and appreciation he shows for California isn’t mutual anymore.

Arts & Entertainment, Music

The Postelles : The Postelles

The Postelles are an English accent and a few cheeky lyrics away from being a full-fledged Arctic Monkeys knockoff, but unfortunately their debut lacks the complexity of a Monkeys tune. Instead, it’s pretty straight pop. The instrumentation is minimalist at best (though not at it’s best when it’s minimal), with the light guitar lines and virtually fill-free drums taking a backseat to the vocals.  

The album picks up a smidge on “Boy’s Best Friend,” a nicely structured song with the welcome introduction of backing harmonies. However, its novelty is short lived, as the following tracks show little variation on the vocal driven “hit you over the head with pop hooks” theme. This homogeneity leads to the album’s biggest problem: it’s forgettable. The songs are too similar, and for what it is, it’s simply not grabby enough; I couldn’t even pick out the single, but the Internet told me it’s the opener, “White Night.”  

The album feels like an EP rather than a full-length. It’s got some good ideas, but the execution isn’t fully thought out. There’s potential here, sure. But in the wake of so many emerging indie pop bands, it’s hard to know whether or not the Postelles will get a chance to come back swinging.

Arts & Entertainment, Music

Bonjay : Broughtupsy

Broughtupsy is the fresh debut album from reggae/dancehall duo Bonjay—and fresh is exactly what it is. Fronted by singer Alanna Stuart and produced by beats/effects master Ian “Pho” Swain, Bonjay brings an invigorating mix of dancehall rhythms and crisp hooks to the floor, displaying ample evidence that these two have the savvy and experience needed to pack a club. Their influences are harder to pin down. In addition to their aforementioned reggae roots, they incorporate a blend of R&B, soul, and hip-hop, cemented by an indie rock songwriting sensibility.

Broughtupsy brings the jungle to your living room. At only six songs that play in just under 20 minutes, the album is short, but it’s the kind of record that can and should be listened to more than once. From the background chanting of the persistently groovy “Stumble” to the slick, eerie piano riffs on “Creepin,” Broughtupsy remains consistently enthralling, even on the short interlude track “The Small Hours.” Much of the credit should go to Stuart’s varied vocals, which keep the tracks fresh when they’re in danger of becoming repetitive. The dub horn is admittedly overused and the stream of beats barely leaves the listener time to breathe, but that’s all part of Bonjay’s charm.

Arts & Entertainment

Literary launch lacks laughs

Local literati were out in full blazered regalia on October 5 for the re-launch of Montreal humourist Jonathan Goldstein’s first novel, Lenny Bruce is Dead, originally published by Coach House Books in 2001. The 41-year-old Goldstein, author of two books, contributor to Chicago Public Radio’s This American Life, and host of CBC’s popular radio show Wire Tap, read selections from the novel, which came out this month. The event also featured a jazz set and musical interludes from three members of the local band Nutsak, whose drummer, Howard Chackowicz, later recorded a scripted segment with Goldstein for Wire Tap.

The back room at Casa del Popolo, where the reading took place, was filled completely, and included several potential contestants in a Jonathan Franzen look-a-like contest. The audience hummed and drank until a woman from Mile End bookstore Drawn and Quarterly asked for quiet and introduced the band and the author to enthusiastic applause, and even a few rowdy cheers.

The Brooklyn-born, Montreal-raised Goldstein (pronounced “Goldshtyne” by the Nutsak bassist) approached the stage in a Yankees cap and, of course, a blazer, nursing a half-finished pint of beer in his hand. He propped up his notes and stood before his ogling, cheering audience, sticking out his belly as if sporting a phantom paunch. He read 15 brief sections from his novel, counting them down one by one so that the audience wouldn’t fear it might go on forever. Between each segment Nutsak played an reinterlude, providing colourful and often comedic emphases at the end of each story (often not more than three sentences long), achieving an effect much like that in This American Life. Goldstein joked  that the four performers used to be in a spoken-word band that broke up over “creative differences.” He said, however, there was “still that same energy.”

Most of Goldstein’s stories, however, were short, forgettable vignettes, reminiscent of the first scene in Woody Allen’s 1979 movie, Manhattan. Woody Allen’s character is trying to to begin writing the first chapter of his autobiographical first book after the iconic black-and-white footage of Manhattan, which is accompanied by George Gershwin’s jazz symphony “Rhapsody in Blue” and an eruption of fireworks over Central Park.

He read aloud and repeatedly dismissed his own ideas: “Ah, too corny. Too corny for a man of my taste.” Another idea is “Too angry, I don’t wanna be angry.” And another: “No, it’s gonna be too preachy. I mean, face it, I wanna sell some books here.” He finally settles on an idea, and it works perfectly.

The segments Goldstein tonelessly read were almost all what Woody Allen, or really anybody, would have dismissed as a series of first-draft sketches that should have immediately been tossed aside. Goldstein didn’t toss them aside, but rather convinced some gullible schmuck to publish them—now, twice—in a volume described by one reviewer as containing “almost as much white space as there is type.” The label “experimental” can only be taken so far before it stretches into an epithet, a line Goldstein seems to have crossed without ever realizing it was there.

Arts & Entertainment, Music

Dan Mangan is nice, nice, very nice

bcscene.ca

It’s challenging to listen to Dan Mangan’s song “Robots” without singing along with the refrain: “Robots need love, too / They want to be loved by you.” Those words may or may not be true, but you believe them when you hear them.

Perhaps Mangan, the 27-year-old singer-songwriter from Vancouver, isn’t really singing about robots. But your interpretation, he says, is as good as his.      

“I think the truth is that once you’ve written something and you kind of put it out there into the world, it’s going to take on different forms to you,” Mangan says. “I like the idea that songs are ever-changing and are never actually finished.”  

Having just returned to Ottawa from a three-week European tour with his band—including guitarist Gordon Grdina, drummer Kenton Loewen, and bassist John Walsh—Mangan will begin a month-long tour of Canada, entitled “Peculiar Travel Suggestions,” on October 25.  

“We’ve done a lot of touring in bars,” Mangan says. “This tour does have some bars on it, but we’re also doing some churches and halls, some places that are a little bit less chaotic.”

Not that he was casting any judgment on chaos.

 “I really enjoy playing bars,” he says. “You’re helping to kind of create a party.”  

But with the success of his most recent album, Nice, Nice, Very Nice, which was nominated for the 2010 Polaris Music Prize, Mangan has more freedom to write his own ticket.

“There are aspects of playing shows in more kind of civilized places that you feel like you can come across with a real concert from start to finish,” Mangan says. “It can be a more cerebral experience. For the time being I’m excited to take it into more intimate venues.”

Having spent about two months on tour with his band, Mangan is happy to feel less like a solo artist, which is how he first started touring, and more like a member of a tight, cohesive group.  

“I feel less and less like I’m writing songs and then having people play along,” he said, “and more and more like I’ve got a bunch of songs that are mostly written and then bringing them to the guys and saying, ‘What do you guys want to do with this?'”

Mangan feels he can rely on them to do something he would not have foreseen: Grdina and Loewen are jazz musicians, while Mangan’s music is more indie folk.  

 “It’s nice because they bring out all kinds of flavours that other musicians might not, and I get to drag things out of them that they might not normally do as well,” he says.

He and his band have been working out about three or four new songs while on tour and will use the upcoming shows to hone them on stage. Mangan plans on cutting a new record with the new material in December when he returns to Vancouver. Still, he doesn’t regard his other songs as essentially complete.  

“[It’s not good] if you can’t find anything relatable in the song each time,” he says. “I think that’s the most important thing—to just try and live a song every time that you play it.”

Dan Mangan plays La Sala Rossa, October 25. Tickets are $18.

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