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Off the Board, Opinion

Growing up with immigrant parents—kind of

Though I was not born in my family’s home country of Russia, having parents who were new to Canadian customs had many influences on me. Because I was born in Canada, my background did not provoke much of an identity crisis, but my parents still brought their traditions into our new suburban home. While it took many years to understand, I learned that these cultural quirks were harmless at worst and added to the fun personal narrative that is my life.

Those who keep a fairly balanced diet would know that eating three meals a day is the standard. But no, not I. From the moment I could consume solid food until the age of 14, I ate four proper meals a day. Breakfast, school lunch, home lunch, and dinner. This was how my mom fed me, so naturally, I assumed this was simply the way things were.

Imagine my surprise when I finally started going over to friends’ houses (albeit later than some), to learn that there was one, only one, meal after school.

After a talk with my mom about my daily meal plan, she explained that she thought it was silly to be awake so late and eat so little. She simply ignored the three-meals rule and continued emulating what her parents had done.

Eventually, I was no longer stifled with a 7:30 dinnertime, allowing me to pursue my dream of eating three balanced meals a day. In retrospect, my mother was right to ensure I was not spending six or more hours without eating. As I grew up, I started to learn that my parents were doing what they thought was best for my well-being for no other reason than previously successful traditions. 

While on the topic of food, I can’t leave out tea. Growing up, tea was the only beverage in the house. I seldom drank water, let alone soda or juice. 

At school, I was known as the “Tea Girl,” because every day for lunch, my mom would fill my reusable water bottle with piping-hot tea. As with mealtimes, developing a social life made me realize that tea is not the typical drink of 11-year-olds. However, I embraced the honorary title of Tea Girl. It was a harmless quirk, and frankly, my mom’s tea tasted great.

Growing up in a Russian-speaking household, living in an English-speaking city, and going to a French-speaking school meant some words were lost along the way. It is common for people to forget words in one language and remember them in another, and I sometimes went years before I learned the English translation for common words. Among the list are the words “comma” and “acetaminophen,” but my personal favourite was the word “buckwheat.”

In the Gorbounov household, a fan-favourite breakfast food was cooked buckwheat with milk and sugar, like a dense cereal. Called “grechnevaya kasha” in Russian, the term bears a striking resemblance to the Russian words “Greek oatmeal.” 

Until the comfortable age of 17, I casually told my friends about the Greek oatmeal I had for breakfast. Upon asking my mom, after a laughing fit that lasted four minutes, she introduced the word buckwheat to my vocabulary and explained that the word “grechnevaya” did not, in fact, even mean “Greek.” Telling this embarrassing story to my Russian roommate earned a similar explosion of laughter, but hearing the words “I thought so too!” reminded me that I was not alone in my language fumbles. More than anything, it was an entertaining connection I shared with my multilingual friends. 

Compared to some, my experiences with parents from another country are mild and entertaining. I was lucky enough to rarely deal with clashing cultural differences, and being a second-generation immigrant did not cloud my upbringing. Sometimes though, it is fun to share and enjoy the little things, and for that, I cannot thank my parents enough, even if it earned some confused looks from my peers as I sipped my lemon-infused orange pekoe.

Editorial, Opinion

SSMU Fall 2020 referendum endorsements

 

The McGill Tribune presents its endorsements for the Students’ Society of McGill University (SSMU)’s Fall 2020 Referendum.

Ambassador Fee Renewal: Yes 

The proposed renewal of the $2.00 opt-outable fee would continue to fund students’ participation in academic and extracurricular conferences, competitions, and other events until 2025. Although most activities covered by the fee are currently suspended or online due to the pandemic, renewing the fee will allow campus organizations to engage in them when in-person activities are possible again. Considering that demand for the Ambassador Fund in 2019 greatly exceeded the amount available, student groups evidently need the money to attend external events. These activities are incredibly valuable, as they enrich students’ experiences and give them the opportunity to represent McGill at functions beyond those offered on campus. Moreover, some of these events are financially inaccessible for many students, and the fee is instrumental in ensuring that all students who want to attend them can. The Tribune’s answer to this first question is a definite “yes.”

Daycare Fee Increase: Yes

The SSMU daycare, which was founded in 1999, provides childcare for 38 children aged 18 months to five years old of both graduate and undergraduate students at McGill. The proposed increase of the non-opt-outable fee from $2.72 to $3.00 is necessary for the maintenance and expansion of the daycare, which has been operating at a near deficit for the past several years. The daycare provides an integral service for student parents and offers important experience for students pursuing work in childcare. Because the daycare is currently unable to meet demand, the Tribune endorses a “yes” vote to ensure that the facility is able to best serve the student body.

Musician’s Collective Fee Renewal: Yes

The renewal of the $0.10 opt-outable fee from 2021-2025 for the McGill Musician’s Collective would allow the club to maintain operations at its current capacity. Founded in 2010, the Collective serves as a hub for the McGill music community and provides services that include teaching and performance opportunities, rehearsal spaces, affordable music lessons, and a supply of instruments available to all students. The club’s services make music accessible to students of all musical backgrounds, from total beginners to more experienced players. The Collective also fosters a sense of community and a unique outlet for creative expression during the isolation many are facing due to the COVID-19 pandemic. The Tribune endorses the renewal of the $0.10 opt-outable fee, as the Musician’s Collective is a valuable service for many students.

Interest in student transport initiative: Yes 

McGill Student Transport (MUSTBUS) is a student-run cooperative that seeks to provide students with a safe and affordable way to travel by bus from Montreal to major cities like Toronto, Boston, and New York City. MUSTBUS ran a pilot route to and from New York in February 2020, with each trip selling out. Priced at around $30 each way, the buses departed from Service Point on Friday and returned on Sunday, with no substantial delays reported. Once it is safe to travel again, MUSTBUS aims to expand its service to other cities and continue to make student travel more accessible. Although the cooperative plans to propose a small opt-outable fee next semester to keep the service affordable, there is no fee increase associated with this question. Therefore, the Tribune endorses a “yes” vote to support the continued development of this project. 

Science & Technology

Gliding, bat-winged dinosaurs surprise scientists

When most people picture flying dinosaurs, they picture beasts like pterodactyls and the pterosaurs. Although iconic to fossils of the Jurassic period, these flying reptiles were not dinosaurs at all, but instead a distant dinosaur cousin called archosaurs that flapped their forelimbs to achieve flight. However, scientists have recently found evidence of another type of flight that is unique to just two species of dinosaurs. One hundred and sixty million years ago, strange bat-like dinosaurs glided across the canopy of prehistoric forests: These creatures were Yi and Ambopteryx.

In a new study, an international team of researchers sought to determine whether gliding and powered flight were possible for these winged dinosaurs. The researchers scanned Yi and Ambopteryx fossils using laser-stimulated fluorescence imaging. This technique uses highly amplified light to identify soft tissue details of wing membranes that are invisible when conducting ultraviolet light analysis, the standard imaging practice in the field. 

Yi and Ambopteryx were scansoriopterygid theropods that lived 160 million years ago during the middle to late Jurassic period, in an area that is modern-day China. Scansoriopterygidae were a family of bizarre arboreal and semi-arboreal theropods with an enlarged fourth digit. Yi and Ambopteryx were not large, weighing only half a kilogram and living on a diet of insects, seeds, and plants. Their membranous wings, similar to those of bats, were formed from the webbed skin between their elongated fingers. 

From their imaging results, the team, which included Dr. Hans Larsson, Director of McGill’s Redpath Museum, used mathematical models to predict the dinosaurs’ flight and gliding capabilities. The predictions were based on the dinosaurs’ weight, wingspan, wing shape, and muscle placement. Researchers concluded that Yi and Ambopteryx were incapable of powered flight.

“The results are clear,” Larsson said in an interview with McGill Newsroom. “These animals were not able to fly like birds. They didn’t have adaptations to even get close to the physical thresholds for powered flight, but their weird membranous wings do give them enough of an aerofoil to have glided.” 

The study found that these creatures had severe deficiencies in flapping-based locomotion and limited gliding abilities, suggesting that they were, at best, only able to clumsily glide between trees. 

To achieve gliding, Yi and Ambopteryx would have had to first climb to an elevated position. As such, it is unlikely that their proto-flying abilities evolved to escape predators on the ground. 

“They are not comparable to living gliding squirrels or lizards, but seem to have come up with a really novel way of getting a large enough wing membrane,” Larsson said. 

Unable to compete with other arboreal archosaurs and early birds, both species are predicted to have become extinct after just a few million years. Despite being a relatively short-lived species, Yi and Ambopteryx’s gliding abilities have important implications for the evolution of flight. Indeed, they represent a unique, but failed, evolutionary experiment, suggesting that dynamic and complex evolutionary pressures were acting upon dinosaurs in the middle to late Jurassic period. Moreover, this failed mode of flight does not correspond to early models of flight evolution in birds: The wings of these species are structurally distinct from those of other flying dinosaurs, which indicates multiple independent origins of flight. 

“We used to think of birds evolving as a linear trend from their ground-dwelling dinosaur ancestry,” Larsson said. “We can now revise this textbook scenario to one that had an explosive diversity of experimentation, with dinosaurs evolving powered flight several times independently.”

The researchers’ discovery suggests that there is a lot more to learn about the evolution of flight, and that widely-held assumptions about evolution can be susceptible to change. According to Larsson, when it comes to figuring out the origins of flight, evolutionary scientists are still just scratching the surface.

Commentary, Opinion

Harm reduction in residences can save lives

For many students, experimenting with recreational drugs is part of the university experience, and a subculture of illicit drug use exists at McGill. To mitigate harmful consequences such as addiction and overdose, floor fellows in first-year residences have historically been trained to practice a harm reduction approach to drug use, based on the principles of non-judgement, compassion, and openness. However, in January, McGill enacted changes that shifted its policies towards a zero-tolerance, abstinence-only approach. This decision can have dangerous ramifications for students since a lack of honest communication about drug use can prevent students from seeking help for drug-related issues. McGill can better protect students in residences by reinstating a harm reduction policy that focusses on safety rather than punishment.

Abstinence-based policies penalize drug users rather than prioritize their safety. On the other hand, harm reduction methods have proven to be more effective than zero-tolerance policies because they destigmatize drug use and encourage users to seek treatment if they want or need it. Accordingly, places that have implemented harm reduction methods have seen decreases in addiction, overdose, and drug-related diseases. However, under the new policy, McGill students who need such support may fear they will be punished for coming forward. This could make them less likely to seek guidance from health and support services, including the Student Wellness Hub. It is unrealistic for McGill to believe these policies will prevent students from using drugs, and it would therefore be more effective for the administration to prioritize making drug use as safe as possible. 

One way to implement harm reduction is to foster open communication, but McGill’s new policy compels students to report any suspicion of drug use by their peers. This creates a hostile atmosphere that pits students against one another and discourages them from being honest with their friends about using drugs. If someone is struggling with addiction, they may be less likely to tell their friends, who could risk punishing the user by reporting them or being punished themselves for keeping quiet. Harm reduction encourages openness and honesty, while abstinence-only policies isolate drug users.

New policies also put significant pressure on floor fellows, who are now obligated to file reports to administration or law enforcement if they learn of a student’s drug use. This alters the role of a floor fellow from a supportive to an authoritative figure, discouraging students from seeking help if they or their friends are facing addiction or an overdose. Many popular party drugs in the city have been laced with opioids such as fentanyl, which makes them especially dangerous. If McGill returned to a harm reduction approach, floor fellows could distribute testing kits to students who intend to use drugs so that they can be conscious of what exactly they are taking. Instead of encouraging floor fellows to report their students, McGill should want students to see them as trusted resources. This way, students using drugs can do so in the safest way possible.

By turning to an abstinence-only policy, McGill is ignoring both the realities of student drug use and the research proving the benefits of harm reduction-based policies. It is impossible to keep drugs out of residences, but it is possible to treat drug use as a health issue and encourage students to receive support if they face problems related to addiction. Condemnation and punishment do nothing to keep students safe. McGill students should call upon Student Housing and Hospitality Services to reinstate a harm reduction policy that includes drug testing kits in residences and further training for floor fellows. In doing so, they could reduce the risk of addiction and overdose and potentially save lives.

Sports

In conversation with Sophia Monahan

Over the course of the pandemic, physical activity has become somewhat of a rarity. Though Montreal is, unfortunately, still in the red zone, sports teams at McGill have been doing their best to stay active. Typically, varsity sports teams are applauded for their adaptability, but various McGill dance teams have shown similar resilience and creativity to keep their season alive.

Sophia Monahan, U0 Arts, is a part of two dance groups: Mosaica and United Groove (UG). Mosaica, founded in 1984, is one of the oldest dance companies at McGill. They do not have a specific dance specialization, but rather invite dancers of all styles to join. UG is a more recent group, formed in 2009, focussing on hip-hop dance. 

Despite imperfect conditions this year, Monahan explained that having practices over Zoom can have many benefits.

“What’s really nice about the Zoom platform, especially on UG, [is that] there are a lot of students who are not in Montreal,” Monahan said in an interview with The McGill Tribune. “One girl is actually doing a roadtrip across America, and she can do this while she’s still in the dance crew since it is on Zoom.” 

For Monahan, dancing is almost as natural as walking. She shares her journey as a dancer and the many different styles of dance that she competed in. 

“I began dancing when I was three [years old] at a community centre in Ottawa,” Monahan said. “I loved it so much that I began increasing my hours by one extra hour of dance a week pretty much every year. I also switched to a real studio at the age of 12 and that’s when I started competing in ballet, jazz, acro, contemporary, hip hop, and lyrical. I’ve been super involved in the last six years from Grade 7 to 12, and I was even more involved in my last year of high school, as I did competitive [dance] for two separate teams back home in Ottawa.”

Monahan added that no matter how gruelling the training was, she kept dancing because she enjoyed it.

“I was training over 30 hours a week,” Monahan said. “I stuck with dance because I love how challenging it can be. You can never be perfect and there are always things you can improve on.”

When she arrived at McGill, Monahan did not want her dancing career to end. 

“[At McGill] I did not want to stop dancing and lose the fitness aspect of it [….] I really wanted to continue in any way possible, so I joined the two teams,” Monahan said.

Dance has been an integral part of McGill’s Physical Education Department since the early 1900s. The department played a key role in spreading modern dance in Montreal. During the department’s start, almost all classes were taught by Ethel Mary Cartwright, the department’s original director, and dance only continued to grow at McGill from there, especially with the hiring of Thelma Wagner as a dance teacher in 1938. Wagner founded the Dance Club, which still puts on yearly productions

The dance diploma program shut down in 1990, 20 years after movement classes became a part of the Faculty of Education. Yet, today, dance at McGill is still alive and thriving, with over a dozen groups dedicated to different forms of dance. 

Dance teams have remained creative in their operations during the pandemic. Recently, on Nov. 8, Alegria Contemporary Ballet Company, Recreational Dance Company, K-Rave, and Mosaica collaborated to hold a virtual dance-a-thon. The event will donate 50 per cent of their proceeds to Big Brothers Big Sisters, a local youth mentoring program. 

Offering students a creative and physical outlet is incredibly important in a year as stressful as this one. The McGill dance teams have set an impressive example for all clubs trying to remain active during this pandemic, by continuing to provide a space for activity and self-expression.

 

Arts & Entertainment, Theatre

Tuesday Night Cafe Theatre takes theatrical activism to the radio

Although the COVID-19 pandemic has considerably hindered live theatrical productions at McGill this year, Tuesday Night Cafe (TNC) Theatre has persevered. State of Denial, written by Rahul Varma and directed by Zachary Couture, U3 Arts, was TNC’s first production of the year, and instead of taking to the stage, it took to the radio waves. State of Denial premiered on Oct. 29 on SoundCloud and was broadcast on McGill’s radio station, CKUT 90.3 FM until Nov. 6. 

The play is primarily set in 1996, and follows Odette (Emily-Rose Njonde, U1 Arts), a Rwandan-Canadian documentarian who travels to Turkey to record stories about the Armenian genocide for a film project. After meeting Sahana (Andrea Kilajian, U4 Arts), an elderly Muslim woman, she is shocked by Sahana’s stories of the Armenian genocide. Odette becomes determined to share Sahana’s stories with the world, no matter the cost.

Each act of the play was approximately an hour long, broken into a Thursday evening performance of Act I, followed by a Friday matinee performance of Act II. While the auditory medium of radio had the potential to alienate actors and audiences, the cast successfully adapted to the format. The pacing of the recording felt natural, and the use of sound effects greatly enhanced the listening experience for viewers. The narrator, voiced by Max Clark, U3 Arts, grounded the play’s context and made the transitions and settings of the show easier to understand.

State of Denial deftly examined the heavy material of state-sanctioned mass murders and genocides. The production did an excellent job of addressing grave topics by effectively balancing the necessary facts and the nuanced emotions of the characters and story, providing the right amount of information without feeling like a textbook history lesson. Couture excellently wove together the plays’ myriad of narratives. Although Odette’s actions spur the plot progression, it is her close relationship with Sahana that changes the course of both of their lives and the emotional centre of the play. The similarities in the characters’ experiences are slowly revealed, bridging the individual gaps between the Armenian and Rwandan genocides to reach a larger theme of shared experiences of trauma.

Though State of Denial relies on specific historical narratives, the play does not simply act as an educational lesson: Its ability to maintain a strong narrative structure through Couture’s direction and the efforts of the cast creates an emotionally resonant core.

In dealing with such serious topics, the production respectfully navigated its subject matter for both the performers and the audience. In one scene, Sahana tells Odette the story of an Armenian girl named Sinam, who had experienced firsthand the horrors of the genocide and the lack of accountability taken for it by the Turkish government. Sinam’s story is extremely heartbreaking and graphic, with the narrator giving a trigger warning in the middle of the scene. This interruption did not disrupt the flow of the show, and provided needed context for the audience’s wellbeing. Despite taking place far away from the other contexts of the play, the raw and brutal truth of Sinam’s story resonates equally with the other characters and the audience.

The denial alluded in the play’s title becomes apparent as audiences listen to all the characters shielding different truths in different ways. From the state ignorance and violence that allow for genocides to occur, to the evasions and ignorance over individual identities, practically everyone in the play denies something about themselves. The show cautions against this notion, demonstrating that the only way to genuinely move forward from horror and tragedy is to be internally and externally truthful. 

 

Arts & Entertainment, Internet, Pop Rhetoric

Where do I begin: 5-Minute Crafts

No contemporary filmmaker has captured the absurdity and fragmentation of our postmodern condition better than 5-Minute Crafts (5MC). The YouTube channel and Facebook page are best known for producing short video compilations of “life hacks,” typically named something along the lines of Brilliant hacks and crafts for your home that you’ll want to try right away! 

Although this description may sound innocuous, viewers will quickly find that these hacks are, at best, an inspiration for better DIY projects, and at worst, simply unhinged. For example, in the aforementioned video, 5MC recommends tucking in bedsheets with a spatula, turning a plant pot into a fully functioning sink, and using a drill to clean glassware. But as bizarre and impractical as these videos are, I can’t help but watch them in their entirety every time. Like their 90 million Facebook followers and 69 million Youtube subscribers, I am completely and utterly engrossed by the absurdity of 5MC’s DIY transformations. 

The channel

Believe it or not, 5MC videos are not made by aliens who are poorly attempting to replicate human activities and hobbies. The channel is owned by TheSoul Publishing, a studio based in Cyprus, and the company produces over 500 original videos each month. The strategy of quantity over quality works well with social media algorithms, making 5MC currently the fifth most-subscribed channel on YouTube. With this in mind, it’s no wonder the team at TheSoul continues to churn out increasingly crazier DIY ideas—all of their feasible ideas were used up long ago. 

The name of the channel itself is mysterious—I have no idea where the “5-Minute” part comes from. The length of the videos range from three to 15 minutes, and crafts like making an epoxy table or an edible coffee mug take much longer than five minutes to make. Much like the breakneck speed at which the crafts are presented, the “5-minute” idea rejects realism and the idea of linear time in favour of simplicity and productivity. 

The videos

Most 5MC videos use a point-of-view shot from the perspective of the anonymous life-hacker. This format is commonly associated with cooking channels like Tasty and beauty channels like MetDaan. I’d venture to guess that this format’s popularity on social media lies in the feeling of personal productivity that is evoked by merely watching the video. You might be goofing off during a lecture and scrolling on Facebook, but at least you’re learning how to make a lamp out of ping pong balls in the meantime!

My favorite part of the 5MC video is the short skits that come before the crafts, particularly common in their “sewing” videos. They usually play out something like this: A girl spills wine all over her shirt, so she makes a face, wags her finger at the camera, then proceeds to cut up the shirt—while she’s wearing it!—to create a hideous off-the-shoulder crop top. As much as I love seeing the final result of these crimes against clothing, I appreciate 5MC’s attention to plot and character. 

The experience

Oddly enough, I have never actively sought out to watch a 5MC video. I don’t subscribe to their YouTube channel, and I haven’t liked them on Facebook, yet these videos constantly appear on my timeline. This is probably due to the algorithms of social media websites, but then again, I actually watch the full videos every time. They appeal to my short attention span, seeking instant gratification through endless scrolling, but the content itself resonates on a larger scale of our culture of productivity and efficiency. 5MC could be read as a covert parody of the neo-liberal idea of maximizing productivity and capital, wasting no materials or time in an attempt to be endlessly thrifty and useful. The videos show you supposedly practical ways to recycle and save money, but making a chair out of egg cartons rather than simply buying a new chair is an awe-inspiring level of insanity. The resulting feeling of disgust and wonder at this absurd spectacle is well worth the watch.

Commentary, Opinion

Gyms are not a COVID-19 risk

On Oct. 26, Quebec Premier Francois Legault announced that Montreal’s red zone restrictions would be extended until Nov. 23. This, among other things, means that gyms and fitness centres in the Montreal region are to remain closed. 

A group called Centres d’activités physiques du Québec, composed of some 200 fitness professionals, stated that they planned to resume operations despite this directive, defying the government restriction. Due to the threat of large fines, however, many have since backed down. 

Still, this pushback is necessary for the government to be held accountable for the restrictions it is implementing—specifically, on what basis it is implementing them. There is very little data to support the idea that gyms are unsafe: There have been no recorded COVID-19 outbreaks linked to gyms or fitness centres in Montreal. In fact, a Europe-wide study, commissioned by EuropeActive and conducted by Sheffield Hallam University and Kin Juan Carlos University, found that of the 62 million visits to the gym, there were only 487 reported positive cases, making the average infection rate only 0.78 per cent per 100,000 visits. Another study conducted in the U.S. by the IHRSA and MXM collected data from fitness clubs that opened during the beginning of May, and found that of 49.4 million check-ins, the incidence of COVID-19 cases was 0.002 per cent. According to these studies, the risk of COVID-19 spreading at gyms appears statistically insignificant. The Quebec government’s decision to close gyms, therefore, seems misguided—and ought to be challenged.  

As the winter months approach, opportunities for outdoor exercise will dwindle. Days will get darker and colder, and the few outdoor fitness activities people have been able to do will quickly become more difficult. In order to help fight the virus, it is imperative for people’s physical and mental health that they are able to exercise. Many Montrealers are already facing increasing isolation due to red zone restrictions. Many work or study at home, live alone, or are unable to see their friends and family. If they are also not able to exercise, their overall health and well-being will undoubtedly suffer.

Students in particular will suffer if gyms remain closed. McGill students are facing a primarily online fall and winter semester. This means most students spend much of their time sitting at home on their computer, rarely—if ever—on campus or interacting with their peers and professors. Some students live alone, and due to restrictions, do not often leave their homes. If the government is asking them to sacrifice their ability to exercise as well, it must provide sufficient evidence to support that decision.

Aspects of the government’s current strategy, which has Montreal constantly in and out of lockdown, are ineffective, as was pointed out in a leaked report from Montreal’s health authority. Some restrictions, such as those in place for gyms, are implemented without proper evidence to support them and without considering the other effects they may have. This reactionary strategy seems only to take into account overall case numbers. This results in enforced restrictions and closures, some of which, like those on gyms, are not based on evidence and can potentially be detrimental to people’s health and well-being. The government needs to devise a consistent long-term strategy that factors in more than simply the overall number of COVID-19 cases, and consider the effect their restrictions will have on not just case numbers, but also on people’s well-being. 

Some of the government’s policies in response to COVID-19 are haphazard at best. Gyms do not appear to pose a significant threat for COVID-19 transmission. People need to try to get back to some semblance of a normal life, as the current approach to tackling the virus strains our overall well-being. In the coming months, gyms are not going to be detrimental to health, but rather essential for it.

Album Reviews, Arts & Entertainment, Music

‘Positions’ never reaches its climax

Over the lightly plucked strings of Positions’s opening track, “shut up,” Ariana Grande sings, “All them demons help me see shit differently / So don’t be sad for me.” The self-assured lyrics swiftly address the emotional core of her two previous LPs, Sweetener and thank u, next, with a nonchalance meant to herald a new, more carefree era in the pop superstar’s music. For the most part, Positions is just that: A continuous slew of understated R&B beats paired with the bravura of Grande’s vocals, escaping track after track into the simple joys of vibing with someone you may not love, and having lots of sex with them, too.  

Positions’s sonic cohesion, though, is its biggest weakness. Without the producing genius of Sweetener‘s Pharrell Williams—who made what could have been repetitive tracks into endlessly loopable listens—Grande too often breathily croons her lyrics over indistinguishable low-tempo riffs. “nasty” and “six-thirty” lack the sparse string arrangements that liven the album’s highlights, and are as forgettable in their sound as the one-night-stands that Grande sings about. In “34+35,” Grande coyly asks, “Can you stay up all night? / Fuck me ’til the daylight,” without the vocal acrobatics needed to keep the chorus’ unabashed sexuality exciting for the entire song. Sex is hardly new in Grande’s discography, but without the euphemistic playfulness and catchy hooks of past hits like Side to Side and Into You,” too much of Positions overstates its horniness to the point of boredom.

The album’s best moments, then, are featured when Grande explores the more personal sentiments underlying Positions’s flirtations. On “off the table,” a more cautious Grande sings about the uncertainties of finding love again until she rushes to the end of her chorus with, “Just want to know, is love completely off the table?” framing the line more like a desire than a question. In these brief moments, songs like “pov” and “safety net” feature the same earnest lyricism that cast doubt on Positions’s easygoing attitude, though the sincerity of Grande’s singing can equally be found in the album’s lighter tracks. Like a breath of fresh air to the LP’s dull assembly, “my hair” is a jazzy, tongue-in-cheek bop where Grande flexes her vocal range as she sings about letting her hair down for a lover. The song’s subject matter is a clever and intimate reversal of the singer’s most publicized feature—and unlike so much of Positions, Grande finally seems to be embracing her album’s concept, letting loose and just having fun with it.  

Emerging Trends, Student Life

How the absence of nightlife has affected McGill student culture

Going out to clubs and bars is a huge part of social life at university, especially at McGill. Due to public health restrictions introduced amidst the pandemic, it could be a while before students will be able to have a night out again. Beyond the current negative impacts on students’ social lives, the loss of nightlife may change the way students blow off steam in the coming months. 

Zenya Hendricks, U0 Arts, is currently living in Carrefour Sherbrooke. Hendricks expressed her disappointment regarding the first year experience amidst a pandemic. 

“I wasn’t particularly interested in partying [before university] because I don’t drink, but I was hopeful that I could make friends with people who wouldn’t mind if I didn’t drink and I would still be able to experience the Montreal nightlife with them,” Hendricks wrote in a message to the Tribune

 Nightlife acts as an outlet for student connection outside the academic context. Previously, for many first-year students, going to pubs and clubs was a quick way to get to know people, as well as explore Montreal. 

“I wanted to come to Montreal instead of staying home this semester because I wanted to meet lots of like-minded people, but since there are so few ways to do that now, I have very few friends, with whom I can’t even meet,”  Hendricks wrote. “We’re cooped up inside our dorms most of the time, unable to meet with friends very often, with ridiculous workloads that often don’t take into account the fact that many of us are feeling depressed and/or anxious.”

However, some students are handling the circumstances by exploring different hobbies with the new-found alone time. In a Reddit poll of McGill students surrounding the topic, 53 out of 262 student participants said they were trying a new hobby, while 112 said they were playing video games to pass time, and the rest were either on virtual hangouts or learning new skills. It seems that students are finding new ways to unwind, attempting to fill the void that nightclubs have left. 

For Gabriel Richard-Gaudet, U1 Arts, the absence of the city’s nightlife has allowed him to develop a new hobby. Richard-Gaudet has used the newfound time to develop his music production skills, an interest developed while reminiscing about club music. 

“I really miss some aspects of going clubbing, like the music, so I thought instead I could try and recreate some of the sounds I hear myself,” Richard-Gaudet wrote. “I’ve been producing beats with my roommates and we’ve been having a great time just playing with sounds. My other friends like to make beats and sing as well and we just recently got signed into a student record label, [called Green House Effect].”

For students like Richard-Gaudet, the loss of nightlife can also lead to a potential gain: More time for other activities or to connect with our peers in novel ways. However, this may not be possible for all students, especially those living in residence by themselves or those residing outside of Montreal. For these students, it is important to be reminded that these are unique circumstances and these difficulties will not be permanent. The days of dancing the night away in a club will return soon.

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