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Opinion

Hiring tenure-track professors the way to go

The Tribune commends McGill’s commitment to increasing its number of tenure-track staff as part of its academic renewal program. It is a welcome shift from a North American trend of reducing tenure-track professors in favour of course lecturers hired on short-term contracts. Confusion in the campus press, stemming in part from the ambiguous and non-committal language of the McGill budget, had led many to believe that McGill was also reducing its tenure-track hires for the foreseeable future. However, so far as we can tell from the budget, and through clarification by campus administrators, this is not the case.

It is difficult to overstate the importance of tenure, a status that grants the professors who earn it guaranteed employment for life barring just cause for dismissal. For one thing, this is an important means of attracting the best teachers and researchers to McGill. Tenure offers job security and, usually, higher pay. This is significant for professors raising families, especially when hiring the best often means asking people to relocate across municipal, provincial, and sometimes national borders. This administration has argued for high administrative salaries in order to compete for the best in that field; surely the financial concerns of the teaching staff, who actually interact with students, are crucial too.

Tenure is also important for more qualitative reasons. It ensures continuity, allowing students to build relationships with professors over the course of their academic career. It is also a crucial guarantor of academic freedom, keeping professors who pursue controversial or unfashionable research safe from dismissal on such grounds. Of course, tenure can be abused, as when professors use it to protect themselves from suffering the consequences of laziness. Yet academia is, at least in theory, supposed to be a higher calling. PhD students and non tenure-track scholars often face pressure to produce marketable material. A mechanism ensuring a more pure pursuit of knowledge is something we feel is worth defending. That the university has chosen to do so is something we applaud.

Yet concerns remain. Despite a promise to increase salaries for some staff, McGill’s budget promises to cut expenses as bought-out tenure-track professors will be swapped with “replacements … hired at a lower salary and benefit costs (pension contributions) will likely be lower.” As living costs rise, McGill is pushing academic salaries down. This hardly seems like the way to attract the best professors, who after 10 years or more of post-secondary education are, love of the trade notwithstanding, probably looking for an income on which to build a comfortable life.

While the Tribune is encouraged by clarifications from McGill administrators, it is concerned that vague and evasive wording in the budget has created such confusion. The McGill Daily’s claim that academic renewal is “essentially institutionalizing professor turnover,” is dramatic, but not entirely inaccurate. The budget aims to increase the absolute number of tenure-track professors to 1,636 by 2016. After that, it calls for a “stabilisation” of this number, even as it asks faculties to “stabilise or increase (where capacity exists) undergraduate enrolment, and significantly grow research graduate enrolment in the short to medium term.” The only ways of reconciling the goals of stabilised tenure-track staff and increased enrolment are by increasing class sizes—asking staff to work more for their reduced wage—or by decreasing the proportional number of tenure-track professors as contract lecturers or graduate students are hired to handle the boom of students. Both of these options threaten the quality of education at McGill. The administration must be clearer regarding how long it intends to maintain its target level of tenure-track positions, and needs to adapt to changing demographic situations.

There are many elements of the McGill budget worth applauding, but the Tribune has reservations about certain ambiguities as well as about the pay reductions that the budget outlines all too clearly. McGill’s budget deficit is a real concern. But as an academic institution it is at least supposed to have ideals above corporate efficiency. So long as McGill administration’s chief goal is fostering the best possible academic environment, and so long as its actions are consistent with that aim, it will be pursuing a goal the Tribune can endorse.

Opinion

The Extremism Cycle

On his blog for the New Republic, the neo-liberal magazine he owns and edits, Marty Peretz recently wrote of American Muslims: “I wonder whether I need honour these people and pretend that they are worthy of the privileges of the First Amendment which I have in my gut the sense that they will abuse.” This shocking and seemingly racist line, which he later apologized for, is an example of how the always-difficult debate on the role of Islam in American culture has recently become even more difficult, and more uncomfortable.

One of his critics, New York Times columnist Nicholas Kristof, argued that Peretz’s statement is reflective of “how venomous and debased the discourse about Islam has become.” That one sentence indeed did not help Peretz make his argument, which was otherwise well thought out.

In the blog post, Peretz argued that there has never been any serious condemnation by Muslims of the heinous actions of some of their co-religionists. He pointed out that when Muslims kill other Muslims in the Middle East and Africa, few Muslims publicly speak up in criticism.

Peretz was roundly criticized for his line, “Muslim life is cheap, most notably to Muslims,” for which he did not apologize. Peretz also wrote: “I want to believe that Muslims are traumatized by the unrelieved murders in Islamic lands … This intense epidemic of slaughter has been going on for nearly a decade and a half … without protest, without anything.” This is in contrast to when, for instance, the Israeli intelligence agency killed a Hamas operative in Dubai a few months ago, and the world was outraged and protested vehemently. There seems, to both Peretz and to me, to be a double standard at play here.

Kristof, who called Peretz’s statement racist, said the “suggestion that Muslims don’t value human life is … a slur.” But describing the sad state of affairs does not mean he is encouraging it. Peretz wasn’t making a racist comment, but simply noting the absence of free discourse and open dialogue in Muslim societies. If Muslims do disagree with the actions of their fellow Muslims, they seem to stay mostly quiet about it, whether out of fear or just ignorance.

My main problem with Peretz is that he tends to generalize. He writes that there has not been a “single demonstration aimed at Muslim or Arab interests or their commitments to foreign governments and, more likely, to foreign insurgencies and quite alien philosophies.” It is unacceptable for a prominent writer to generalize that all Muslims have the same views and loyalties. Throughout the article, he uses specific, cherry-picked examples to indicate that all Muslims act and think alike, which only reflects his ignorance about Muslims, and especially Muslim-American culture.

This generalization can have consequences beyond inaccurate reporting. Newsweek quoted a Taliban operative who argued that by virtue of the protests against the “mosque” near Ground Zero, “America is doing us a big favour. It’s providing us with more recruits, donations, and popular support.”

The kind of extremism exhibited by the mosque’s opponents—and by Peretz at his worst—only supports the cause of Islamic extremists, and undermines those American Muslims who might otherwise be more confident in speaking out against their violent brethren.

Arts & Entertainment, Music

Hurley – Weezer

Not content with the status quo of band photos and random artsy shots as album art, Weezer took a new route with their newly released album, Hurley (an ode to television’s Hugo “Hurley” Reyes, Lost’s resident “dude”).

Gone are the sunny days of Beverly Hills, the Playboy Mansion, and islands in the sun. Here, frontman Rivers Cuomo’s songwriting draws on heavy themes of failed romances, self-destruction, and nostalgia. Life has been difficult for the band in recent years: their previous album, Raditude, was a critical flop. Cuomo certainly has had inspiration flowing from under a dark cloud.

The record’s first single “Memories” is a relatable but otherwise forgettable rock song where Cuomo wishes the chorus away with a desire “to go back there,” wherever life was good. Cuomo strikes a chord with the lyrics, but the accompanying melodies fall flat.

But it’s not all bad. Gems include the acoustic “Unspoken,” a recount of a messy split, and “Hang On,” which features geek-chic actor Michael Cera on backing vocals.

The standout of the album lies in “Smart Girls,” a power-pop burst with catchy hooks and chugging guitars guaranteed to implant itself in your brain for days on end.

Although a definite change in direction from past works, Hurley is still a little hit-and-miss. Forget the first few songs and continue on to what Weezer does best: quirky pop anthems with engaged, clever lyrics—cocktail toast to love, pain, and wasted youth.

Arts & Entertainment, Music

Business Casual­ – Chromeo

Chromeo’s third album delivers the same blend of 80s synth-pop as previous efforts, replete with catchy hooks, tasty guitar riffs, and smoothly polished production. There’s nothing new about what P-Thugg and Dave 1 are doing, but there’s no denying that they are damn good at it. As with previous albums, Business Casual relies on a couple of standout songs to elevate the otherwise seamless blend of tracks. “Night By Night” is a guitar-driven number, reminiscent enough of Journey to ensure repeated play without getting stale. Their first single, “Don’t Turn the Lights On,” is brilliantly written and sure to have you singing along with them: “Don’t turn the lights on/ ‘Cause tonight I want to see you in the dark.”

What makes Chromeo so popular has nothing to do with their committed and near-perfect evocation of a bygone decade—that’s something they’ve been doing for a while now. Despite mixing it up a bit on this album—they wrote a song in French, “J’ai claqué la porte,” in tribute to their hometown Montreal—what will continue to carry Chromeo to commercial success is their ability to get people on the dance floor with their ‘80s-inspired singles (and remixes of those singles). By next week you should expect to hear their crooning vocals layered over break beats at a club near you. When you do, don’t forget to sing along.

Opinion

Scrap the Quebec Tuition Model

Unlike some students at McGill, I have been largely satisfied with Heather Munroe-Blum as our Principal. Her administration has brought common sense and innovation to a university defined by bureaucracy and hierarchy. The recent creation of the Service Point, for example, is a welcome change.

More than her peers, Munroe-Blum has advocated strongly for tuition reform in Quebec. She lobbied aggresively for this in McGill’s recent report to the Quebec National Assembly, and she has been taking flak for the decision, which however was made correctly, and has been a long time coming.

Quebec has simply never had a sustainable tuition model. To paraphrase Margaret Thatcher, the state eventually runs out of other people’s money. A financial double-edged sword threatens McGill’s potential—a government whose contribution is consistently weak, and also students’ demands that tuition rates be frozen at artificially low levels.

The Quebec model is loved within this province, and despised in the rest of Canada. This is because it is paid for, in part, by the nearly $8 billion in equalization payments that flow to Quebec City from Ottawa every year.

There is no solid evidence that the Quebec model improves education. In fact, Quebec lags behind Canada for proportions of young people holding a university degree. Quebec’s graduation rate lies well below the OECD average. Meanwhile, Quebec has had the lowest rate of increase of those holding degrees in the entirety of Canada since 1992.

At the expense of quality, infrastructure, and competitiveness, Quebec’s universities have suffered from obscenely low tuition rates that don’t even serve their intended purpose of improving access to post-secondary education.

The problem is only compounded by the grant system; at least, what can barely be described as a grant system. While Quebec falls safely in the middle of Canadian provinces in terms of general operating grants per student, it does not compensate for artificially low tuition. The result is that Quebec falls chronically below the funding per student of nearly all other North American jurisdictions.

The Quebec model is dying, and will probably not survive the deficit cutting that will define government legislation for the foreseeable future.

I would never argue for the American tuition model. Munroe-Blum is certainly not making that argument. Her suggestion is reasonable: raise tuition to the Canadian average, where more students are going to school despite the increased cost of education. By increased cost, I do not mean to a level that will suddenly force low-income students out of university. That hasn’t happened in Ontario, Alberta, or British Columbia. It will not happen in Quebec. We must balance the affordability of our education with a simple reality: someone has to pay for it, and if we don’t, the government won’t either.

So I give this message to Munroe-Blum: soldier on. You are rattling sabres that other Quebec universities refuse to. In the end, it will give this university the resources it needs to achieve its potential. These are sabres that need to be rattled.

Arts & Entertainment, Music

Business Casual – Chromeo

Chromeo’s third album delivers the same blend of 80s synth-pop as previous efforts, replete with catchy hooks, tasty guitar riffs, and smoothly polished production. There’s nothing new about what P-Thugg and Dave 1 are doing, but there’s no denying that they are damn good at it. As with previous albums, Business Casual relies on a couple of standout songs to elevate the otherwise seamless blend of tracks. “Night By Night” is a guitar-driven number, reminiscent enough of Journey to ensure repeated play without getting stale. Their first single, “Don’t Turn the Lights On,” is brilliantly written and sure to have you singing along with them: “Don’t turn the lights on/ ‘Cause tonight I want to see you in the dark.”

What makes Chromeo so popular has nothing to do with their committed and near-perfect evocation of a bygone decade—that’s something they’ve been doing for a while now. Despite mixing it up a bit on this album—they wrote a song in French, “J’ai claqué la porte,” in tribute to their hometown Montreal—what will continue to carry Chromeo to commercial success is their ability to get people on the dance floor with their ‘80s-inspired singles (and remixes of those singles). By next week you should expect to hear their crooning vocals layered over break beats at a club near you. When you do, don’t forget to sing along.

 

Arts & Entertainment, Music

Passion, Pain, & Pleasure – Trey Songz

Trey Songz continues his steady rise to the top of the R&B charts with Passion, Pain, & Pleasure, his fourth album in five years. R&B and hip-hop may be almost one and the same these days, but with only two songs featuring shared vocal time, Trey pulls his own weight from start to finish.

The album, which he claims is his best yet, can be split into three sections: intimacy, heartbreak, and advice. The slower, more sensual songs like “Love Faces” and “Massage” are well produced and display Trey’s fantastic vocals. Almost every song is about sex, but what makes them all so great is Trey’s knack for describing feelings over blatant sexuality. His gentlemanly lyrics make it easier to sympathize with him when the heartbreak tracks like “Please Return My Call” and “Made to Be Together” inevitably roll around. But instead of feeling sorry for himself, Trey recovers and delivers his most poignant moment in the track “Unfortunate.”

Despite what is otherwise a seamless album, both his rap features are completely unnecessary. Drake’s appearance on “Unusual” falls flat lyrically and is completely forgettable. And if you still aren’t sure if you like Nikki Minaj, listen to her appearance on the club single “Bottoms Up.” I can’t decide if she’s unbearably obnoxious or the most entertaining woman in hip-hop. But at least Trey Songz has all bases covered, which is great news since he considers anything less than third base second rate.

Arts & Entertainment, Music

Senior – Royksopp

Ask Röyksopp fans to describe the band’s sound and you will get answers like “bold and bright yellow, like sunshine” or “beats with a fresh kind of energy.” But upon listening to the more ominous ensemble of tracks on their newest release, Senior, I found that anything but sunshine came to mind.

On Senior, the Norwegian duo has taken an unexpected turn in the style of their downtempo creations. While predecessor Junior is a set of solid disco tracks focused on colourful harmony and vocal work, this instrumental follow-up represents its introverted, darker sibling. “The Alcoholic” is a tune for contemplative rainy days while the middle track, “Senior Living”—the uncontested highlight of the album—freezes time with a graceful maturity.

These wistful tracks and their unique sound production are undeniably beautiful. However, Röyksopp fans who enjoyed the vigour and energy of the band’s earlier albums’ might lose patience with Senior’s drastically slower pace. This is not to say that it is stale; on the contrary, listeners have the chance to discover a different side to the electronic music visionaries.

To all fans of downtempo music, Senior is Röyksopp’s most free-form album to date, with more attention than ever given to sound exploration.

Arts & Entertainment

When Dinner goes Down the Red Carpet

Celebrities have been known to make outlandish scenes on the red carpet—whether it’s for publicity, a personal crusade, or a political statement involving sporting a meat dress. For those of you who saw the recent MTV Video Music Awards, you know what I’m talking about. Not since Jennifer Lopez’s Dolce and Gabbana V-neck that went all the way down to her navel have so many jaws dropped so fast. You can thank Franc Fernandez for his carnivorous couture creation. Fernandez, the designer of Lady Gaga’s dress, created the unusual garment out of slabs of meat, complete with a matching hat, purse, and shoes.

As usual, Gaga justified her dress by saying it was a political statement, this time in response to the U.S. military’s “Don’t Ask, Don’t Tell” policy. The statement was meant to convey that if we don’t stand up for our rights, we will have no more power than the meat on our bones. Funny enough, when Gaga told Ellen DeGeneres about her ploy, she responded by giving Gaga a bikini made out of kale.

Gaga certainly makes it no secret that she is a crusader for gay rights, an undoubtedly worthy cause. However, while Gaga may be standing up for the rights of some of her fans, her dress alienates others who might have strong views on the treatment of animals, such as PETA supporters and vegans.

PETA dissenters aside, what about the fact that a dress made out of raw meat is just plain gross? Does Gaga really stand wholeheartedly behind the rights of her gay fans, or is she simply trying to generate even more publicity for herself via her never-ending fashion shenanigans? There is no doubt that Gaga has a palpable amount of drive, ambition, passion, and intelligence to elevate herself to the position of fame that she now holds. She once famously told an ex-boyfriend that someday he would not be able to order a coffee without seeing her face or hearing one of her songs.

This prediction has come true, and Gaga has certainly had more than her fifteen minutes of fame since the release of her first single,  “Just Dance,” two years ago. And it would seem that if the 24­-year-old can keep up her never-ending stream of shocking videos, ridiculous red carpet appearances, and quote worthy sound bites, her reign over the world of pop music could sustain itself. Hopefully she has enough tricks up her sleeve left for that.

Arts & Entertainment, Film and TV

Easy A: good girl gone bad … sort of

teaser-trailer.com

Everyone loves a good comedy, and in that respect Easy A does not disappoint. The movie tells the story of a scrupulously ordinary high-schooler, Olive Penderghast (Emma Stone), whose clean reputation becomes unexpectedly tarnished when uber-Christian classmate Marianne (Amanda Bynes) spreads a rumour that she lost her virginity over the weekend. Although Olive was the one who originally started the rumour, this is quickly forgotten as the situation snowballs throughout the first half of the film.

After Olive helps a gay classmate avoid bullying by pretending to have sex with him at a party, a further string of similar requests from other sexually-starved boys follow in quick succession. By the end of the first half, the situation has reached a point of crisis where Olive’s reputation has been compromised by her desire to help others. All she can do is ridicule the rumours of her fake trysts by caricaturing them with absurd outfits and outlandish behaviour, at which point her inability to stand up for herself becomes particularly apparent to both the audience and the other characters.

The first part of the film is enjoyable due to the way director Will Gluck effectively situates the action in the setting of Ojai, California, making it both realistic and entertaining to watch. Sped-up shots of the high school campus mimic the hyperactive transfer of rumours through texts, emails, and Facebook gossip. Scenes of Olive walking down hallways surrounded by scrutinizing eyes subtly convey the alienation and objectification that comes with her predicament.

The film is carried by a strong performance from Stone, but is also sure to attract viewers due to its cast of mainstream Hollywood names, including Penn Badgley as Olive’s main love interest. However, the majority of the comic relief that makes Easy A successful comes from Olive’s progressive Californian parents, played by Stanley Tucci and Patricia Clarkson, who deliver an endless stream of hysterical one-liners. The film also features Malcolm McDowell, whose brief appearance is worth mentioning only for the blunt delivery of his line that a public school principal’s job is “to keep the girls off the pole and the guys off the pipe.”

With its glib, quick-witted humour and satirical portrayals of high school drama, Easy A has a strong script, carefully combining popular elements of previous box-office hits like Juno and Mean Girls. The script also pays more than a passing tribute to The Scarlet Letter as an inspiration for the plot (Olive and her peers study the book in English class), from which Olive takes the red A she boldly wears—complete with corsets and Ray Bans—for the majority of the film. Olive’s parents comment that she “kind of looks like a stripper, [but] a high end stripper, for governors and athletes.”

Ultimately, what makes Easy A a success is also what makes it somewhat unsatisfying. The depiction of Olive’s outsider status is something that anyone who has gone through high school can relate to. But such dilemmas rarely resolve themselves this neatly. The cheesy Hollywood ending to Easy A—which I won’t spoil for you—will keep the average moviegoer happy but remains formulaic, trite, and entirely outside the realm of common experience. By presenting the ideal resolution, Easy A leaves the audience on the outside, just like Olive.

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