Latest News

Off the Board, Opinion

Responding to hate: The danger of condemning without conversing

On Aug. 12, a peaceful protester named Heather Heyer lost her life and many others were injured by the senseless rage of a 20-year-old white male at a white supremacist march in Charlottesville, Virginia. Following the abhorrent scene, on Aug. 13, GoDaddy, the web hosting company of an American neo-nazi website called “The Daily Stormer” announced that it had 24 hours to move the domain to another provider due to having violated its terms of service. Shortly after the website attempted to relocate to Google Domains, Google announced that it would not accommodate the website either.

Increasingly since Donald Trump’s election, companies that once sought neutrality have begun displaying their disapproval of systematic discrimination, violence, and hatred. During Trump’s campaign, HuffPost added an editor’s note to all coverage of him calling him a racist, misogynist liar, among other things. Last month, CEOs stepped down from Trump’s manufacturing council for his failure to condemn the violence of neo-Nazis in Charlottesville. Spotify is in the process of removing racist “hate bands.”

I too, in each of their shoes, would probably have made the same decision. Unfounded hate speech is particularly dangerous on the internet, where it goes unchecked and can more easily incite violence. But shutting down a platform for hatred doesn’t make that hatred disappear. The sad fact remains that with or without the internet, there are people who believe these awful sentiments and will continue for the foreseeable future to spread them through any means possible. Google and GoDaddy’s decisions are commendable, but it’s a mistake to think that revoking website domains will solve the problem entirely. Most importantly, when we encounter people with opposing—and even hurtful—views to our own in our everyday lives, we cannot shut these people out and pretend as if they should not exist. We need to attempt—however trying it may be—to engage with them and find common ground somewhere, even if only on the most minute level.

Furthermore, if a company as powerful as Google shuts its door on alt-right groups, it will only feed their fear that as whites they are becoming irrelevant. It validates their belief that they are being ostracized, neglected, and cornered into a hole in which they cannot exercise their right to “free speech.”

As an aptly titled Vox article tells us, “Research says there are ways to reduce racial bias. Calling people racist isn’t one of them.” Although we must denounce these acts and call them what they are, what is additionally needed is some level of empathy and communication between individuals.

 

Companies with the power to do so must continue to denounce racism, but severing ties with bigoted groups and individuals is not enough to uproot the ingrained, societal attitudes that give rise to their rhetoric.

By empathy, I don’t mean sympathy—only enough empathy to understand that even racist people are still people, whose attitudes stem from the ways in which they learn to view the world. However misguided their perceptions are, they will not change without positive interaction with those with whom they disagree. Companies with the power to do so must continue to denounce racism, but severing ties with bigoted groups and individuals is not enough to uproot the ingrained, societal attitudes that give rise to their rhetoric.

The Vox article cites a joint Stanford and UC Berkeley study on attitudes towards transgender rights legislation, in which a male participant who openly opposes the proposed bathroom law converses with a gay woman. He tells her he doesn’t like “fags.” She, unflinching, responds that she’s gay. After coming to a consensus on how they both care deeply for their respective partners, he comes to the conclusion that perhaps her love is not so different from his own.

Of course, this engagement is extremely difficult to achieve. When tensions reach the point of those in Charlottesville, one cannot simply go up to an opposing protester and ask to have civil conversation. Furthermore, the unfair reality is that this burden often falls on those who are the victims of hate speech themselves. However, starting by engaging with friends or family when they say something derogatory is a first step, even though the temptation in my own experience has often been to shut down and change the subject. It’s a practice that must shape our interactions at McGill, too. Like any university campus, McGill is not composed of perfectly equal and agreeable members. But to be effective, conversation cannot start from hostility or confrontation. It must begin with empathy and a genuine attempt to listen.

In December 2016, a white man phoned in to a televised C-Span segment with Heather McGhee, acknowledging his fear of black people and asking how he could change his prejudice. In October 2016, The Washington Post published a story about Derek Black, son of Don Black, the founder of the white nationalist website Stormfront. After enrolling at a liberal college and actively hiding his life as white nationalist poster boy from his friends, he is ousted one day anonymously online, receiving death threats and hate mail from fellow students. Finally, it took his weekly attendance of Shabbat dinners—upon invitation from a college acquaintance who understood that ostracizing Derek was not going to solve anything—to make Derek slowly realize that he no longer saw himself in the movement he had been surrounded by from birth.

These stories give hope that it’s possible for people to change their perceptions of what sharing common ground looks like. But, the critical element is a willingness to engage by both the discriminatory and the discriminated against.

 

Science & Technology

Can Bill Nye really save the world? A review of the Netflix original series

Bill Nye returns to pop culture through his new show, Bill Nye Saves the World— a Netflix original series released on April 21. The show aims to introduce current scientific issues to the public in an accessible way.

Although he studied mechanical engineering, Nye is known for his appearances as a science communicator. Starting in 2003, he hosted an educational show, Bill Nye the Science Guy, which introduced countless students to basic, but abstract, scientific concepts—including waves and electromagnetism. His demonstrations of scientific experiments captivated his audience.

Despite Nye’s renowned prowess in delivering scientific knowledge, his new show disappoints. The series is politically assertive and sparsely scientific. Rather than presenting and explaining the existing evidence behind many of his shows’ topics, Nye tends to make assertions without backing them up or considering contradictory claims, necessities in properly-conducted science.

The show sticks to a specific formula. To start off an episode, Nye quickly introduces the selected topic. Then, a short documentary of field studies—featuring scientists and experts who discuss their field experience and knowledge of said topic—is presented. Finally, he interviews a panel of three carefully-chosen experts. His attempts at humor often sound forced. However, the audience always cheers, further exacerbating the awkward ambience from his forceful jokes.

In some episodes, he expresses his scientific and political stances. During the first episode, he implicitly blames President Donald Trump for the U.S.’s lack of action to limit climate change. Moreover, Nye says that climate change is real without presenting supporting facts, failing to address and debunk alternate opinions and theories.  

The field-study documentary lasts too briefly to properly inform the audience of the issues at hand, even for a scientifically sound audience. The young reporters are knowledgeable and eager, yet Bill Nye acts silly and lighthearted. His immature fist bumps and awkward humor undermine the reporters’ professional attitudes during their field-studies debriefs. Unfortunately, this awkward tone persists throughout the series.

Furthermore, the recruited panel of experts seem to share Nye’s opinions in many episodes, resulting in a lack of diversity of thought. In the ninth episode, about sexuality and gender, the panel unanimously agrees that gender exists on a spectrum, a view that Nye supports. He criticises conservatives by labelling both himself and the members of his panels as “enlightened and forward-thinking.” Moreover, he spends only two minutes out of the episode’s 30 minutes describing the fundamental scientific data behind the gender spectrum, such as genetic determinism—the notion that genes control humans, although their surrounding environment can influence development as well.

In addition, he features actress Rachel Bloom, who performs her song “My Sex Junk” to support his viewpoint for gender spectrum–a notion that gender could be non-binary in between the two extremes of male and female. There are more than 50 different terms to choose from to decide one’s gender identity on Facebook.

Nye applauds Bloom’s dance performance, commenting “that’s exactly the right message." However, while watching the show I got confused with which part of the lyrics was “exactly the right message.” Nye decides to spend some valuable time of the show on featuring Bloom’s ribald performance rather than to explain the science of gender identity. He could’ve extracted some scientific literature about gender identity and present some data. However, Nye seems to be confused between the weight of scientific data and a song to support a scientific claim.

To illustrate “lots of flavors to sexuality,” Nye draws an ice cream analogy to despise the gender binary of male and female. The analogy shows a vanilla ice cream, which represents an acceptable gender, attempting to convert other flavored ice creams, which symbolize less prominent gender, into the vanilla-flavored one. His metaphorical argument is weak because, instead of describing science that illustrates gender spectrum, Nye chooses to assert its existence repeatedly as if the viewing audience is blind and naive.

However, the song and analogy lack scientific backing; they are assertions. Nye seems to rely on his veneer of “the science guy” from his previous show to present his opinions as irrefutable scientific facts. And yet, despite the lack of scientific evidence presented, he concludes the episode by saying “the science says we’re all on a spectrum.”

Watching the rest of the series, after finishing the first episode, did not turn out to be enlightening. The contents are too superficial. Reading two or three articles from Popular Science magazine about the individual topics would give a more holistic analysis of the issues addressed. Every scientist accepts that accurate science can withstand the test of time as we gather increasing amounts of data. However, Bill Nye, the “science guy,” demonstrates that science comes from reiterating statements. This disappointing and uninformative show could strip Nye of his eminent reputation as a science communicator from millennials.

Student Life

The bad news blues: Tackling news anxiety

In today’s political climate, it seems important new stories break every day. It is also without much surprise that people are now more worried than ever by the frequent reports. As noted by story editor Nitsuh Abebe in April in The New York Times, the past year has seen the growth of a collective sense of political anxiety among Americans who were concerned by the outcome of the United States’ 2016 presidential election.

“As the campaign entered its alarming final weeks, therapists reported widespread ‘election anxiety,’” Abebe wrote. “After its conclusion, just ‘Trump anxiety.’”

Considering the number of American students at McGill, 11.3 per cent of the entering class of 2016 alone, residual anxiety from the U.S. election has kept the campus on edge since last November. McGill also faced no shortage of its own controversial news stories, from reports of sexual violence among members of the SSMU leadership, to the resignation of Andrew Potter.

For U2 Arts student Shereen Elaidi, all of the negative news has pessimistically shifted her worldview, to the point where she claims to be less affected by reports of cataclysmic events than she once was.

“I think the news has impacted my life in a negative way,” Elaidi said. “It makes me angry to see the world full of hate and ignorance, and while I think I’ve gotten numb to [negative stories] because such awful news is so frequent, [before 2016] it would cause me to get upset.”

According to a 1997 study published by Dr. Graham C. L. Davey in Psychology Today, a person’s underlying worries and anxieties can be exacerbated by watching negative reports. With the aid of social media, negative stories pertaining to McGill and the world seem to spread faster than ever.

“We asked each participant to tell us what their main worry was at the time, and we then asked them to think about this worry during a structured interview,” Dr. Davey wrote. “We found that those people who had watched the negative news bulletin spent more time thinking and talking about their worry and were more likely to catastrophize their worry than other people.”

While acknowledging the impact anxiety has on a person, U1 Arts student Damian Arteca believes paying attention to reports is nevertheless important, even if most of them are negative.

“It could become problematic if the state censored media [that it] deemed anxiety-causing, which [would result] in misinformed citizens,” Arteca said. “Possible solutions may include trigger warnings, but I believe the end result should be overcoming anxiety.”

Although it might seem impossible for some to not worry about alarming news events, there are solutions to the problem of news-related anxiety, too. First and foremost, both Dr. Davey and Arteca cite the importance of seeking medical help for anxiety and related disorders, if it affects one’s mood at all times, or impedes one’s ability to function on a daily basis. At McGill, students can seek help regarding anxiety and related conditions through McGill’s Counselling and Mental Health Service.

Additionally, there are ways to limit time spent on potentially stress-causing websites, while still allowing oneself to stay informed. One tool to facilitate  this digital escape is StayFocusd, a Google Chrome extension that enables its users to allocate the amount of time allowed on specific websites each day. This can help significantly cut down on mindless scrolling through news and social media sites, thus lowering users’ levels of anxiety.

Looking for good news is also an option. If one wants to read about the highs rather than the lows, there are many resources on the internet that can help. For example, GoodNewsNetwork, which provides positive news stories, and Facebook groups like ‘protect this wholesome content’ can give students a break from negative news stories.

The past year has brought major world changes, and a new presidential era has threatened many people’s outlook on the world, so it is understandable that people are more affected by breaking news. Nevertheless, there are a variety of avenues that media consumers can take to avoid letting news anxiety negatively affect their lives for the next four years and beyond; they can follow different avenues to not let it get the best of them.

 

McGill, News

McGill Scholarships and Student Aid now offering a Youth in Care Bursary

McGill Scholarships and Student Aid will offer the Youth in Care Bursary to applicants for the 2017 Fall term. The new bursary program is designed specifically for students who grew up in the foster care system, intending to lessen the financial load they incur from a lack of parental support. The bursary will award a minimum of $5,000 per academic year for those enrolled full-time in an undergraduate program.

According to a SSMU report, only 13 per cent of Canadian foster youth apply to post-secondary institutions, and less than 2 per cent of former foster care students obtain a bachelor’s degree. The Youth in Care Bursary strives to change these statistics by making McGill more financially accessible.

Cara Piperni, director of McGill Scholarships and Student Aid, was responsible for drafting the program’s eligibility requirements and fitting it to McGill’s student aid resources.

“[With this new program] we’re identifying a candidate and guaranteeing [them] a minimum amount,” Piperni said. “Then, based on their [province, program, and year of study] we’ll match them to the bursary funds that we have.”

The bursary program was initially suggested at Cafe Collab’s March 21 focus group, “Doing it on Your Own.” Cafe Collab, a project within the Student Equity and Diversity of Education (SEDE) Office, hosts a series of focus groups that bring together students from the McGill community to discuss their experiences accessing student services and to share their ideas about how these services can better suit their needs. The aptly named “Doing it on Your Own” workshop focused on reducing barriers to access for students who had grown up in the foster care system.

"One of the themes of the discussion in the Cafe Collab [Doing it on Your Own] workshop was the idea that former youth in care often lack the kind of familial support that many students take for granted,” Parker Finlay, SEDE’s Cafe Collab project coordinator, said. “This is one of the reasons that many former youth in care have to rely on their own means to attend a post-secondary institution.”

Former Students’ Society of McGill University (SSMU) funding commissioner Arisha Khan’s report “Fostering Post-Secondary Success: Support Programming for Students From Foster Care,” inspired the “Doing it on Your Own” session. Now SSMU VP Finance, Khan is a former foster youth who attended the Café Collab session.

Khan did not receive financial assistance from provincial government bursary programs and similar support programs provided by provincially subsidized academic institutions because she never obtained crown wardship status, meaning a provincial government never made her its legal responsibility.

“I had a file since I was six, and I was in and out of homes until I was 18, but I never became a crown ward [of Ontario….] and because I was never classified as a crown ward, I wasn’t allowed to receive those grants,” Khan said. “That is why I struggled financially in school.”

The McGill bursary is different from government-subsidized programs because it does not require wardship for the eligibility of prospective foster care students.

“The McGill bursary […] recognizes that the government may have let you slip through the cracks, but since you’re coming out of the system with this history you’re still eligible for support,” Khan said. “It looks at the issue holistically and not if you fit into one checkbox.”

Melanie Doucet, who also attended the workshop, is a former New Brunswick foster youth, and is a PhD candidate in McGill’s School of Social Work, whose research involves students aging out of care. She thinks the program is a great start toward making McGill a more equitable institution, but that it could go much further.

“$5,000 per year is not going to go very far for a former youth in care, who doesn’t have the typical family support that a non-former youth in care would have,” Doucet said. “And someone who is enrolled [in class] full-time is not going to have a whole lot of time to work part-time on the side to make ends meet […] It’s definitely a good start, but it can definitely go further.”

Student Life

The digital detox: Taking a break from the online world

Emails, Facebook, Snapchat, Messenger, Instagram, Twitter, and repeat. Digital content is never more than a swipe or click away; it has a pervasive presence casting a shadow on users’ everyday lives—and at times, the online world can prove difficult to escape.

While technology can help to foster creativity and aid with time management, it also quickly becomes a distraction from the same work it is supposed to facilitate. Students especially are all too familiar with its compulsive influence: One minute they’re doing an academic reading, the next they’ve unwittingly spent an hour scrolling through their Twitter and Facebook feeds.

While educated millennials remain the most avid consumers, tech’s influence extends to far broader demographics. These days, a large majority of developed countries’ general population owns at least one technological device. As of November 2016, nearly eight in 10 Americans owned a desktop or laptop computer. The same report indicates that 95 per cent of Americans own a cell phone of some kind. Of that 95 per cent, over three-fourths of Americans possess a smartphone.

Such widespread ownership can lead to unfettered, if not often excessive, exposure to technology for many. In 2016 a study found that adults in the United States consume around 10 hours and 39 minutes of media on average every day.

This behaviour has led researchers to investigate its psychological and neurological consequences on users. Chiungjung Huang of the National Changhua University of Education in China recognized similarities between internet and technology addiction and other compulsive behaviours such as substance abuse. The human brain finds itself trapped in comparable cycles of dependence between the two; with both technology use and substance abuse, the mind pathologically pursues a reward, sometimes regardless of cost, which can be reflective of addiction. Models used to measure the extensiveness of technological addiction—such as the Chinese Internet Addiction Scale (CIAS)—assess the main consequences of an individual’s compulsive behaviour. These symptoms include obsessive use, withdrawal anxiety, the development of tolerance to screen time, interpersonal and health-related issues, and time management problems.

Laura Wiebe, U4 Arts, identifies similar patterns in her own media consumption behaviour.

“Always keeping up with what is happening to my friends and what is going on right at this second sometimes becomes a little too much for me, and I lose focus on what I am doing and what actually matters,” Wiebe said. “When you are always […] assuming that someone is doing something more productive than what you are doing, it can lead to negative thoughts.”

One solution to help alleviate the negative effects of digital dependency is a detox. The digital detox simply requires that obsessive tech users refrain from interaction with electronic devices for a designated period of time. The flexibility of the duration—a detox can last anywhere from a few hours to a few days—makes it an easy habit to incorporate into one’s daily life.

Wiebe likes to accommodate digital detoxes into her busy academic schedule. She frequently spends the day on campus without her phone, which she leaves at home, or shuts off her laptop for a few hours at a time.

“I usually do some sort of digital detox, even just for a few hours, each month, and then during the summer I will [restrict myself to] weeks, sometimes months of limited screen time,” Wiebe explained.

Rebecca Jacobson, a recent graduate from the Schulich School of Music in Violin Performance, takes a different stance on the digital detox: She prefers to engage in short digital detoxes while she works out.

“Running is sort of my designated time away from my phone so I don’t feel obligated to respond to texts, and since I often run on the mountain or in parks, I can listen to what’s around me and pay more attention to my surroundings,” Jacobson said. “It’s a nice way of slowing my life down.”

By spending time away from their electronic devices, digital detoxers reap essential mental health benefits. They are able to better focus on their needs, rather than that of others constantly clamouring for attention on the other side of their screen.

“Sometimes it’s overwhelming to be constantly connected and expected to respond to people about plans,” Jacobson remarked. “So I think this meditative alone time, combined with physical exercise, has been really good for my mental health.”  

In order to successfully engage in digital detoxing, mindfulness is key. Setting a purposeful intention for the detox, such as reducing anxiety or concentrating on developing more meaningful face-to-face relationships, can help with the motivation to respect one’s time away from technology. Furthermore, easing into the process by setting oneself reasonable time limits will guarantee a better chance of success.

“I would recommend starting with shorter periods of time and actually doing something in the time you’ve set for yourself,” Jacobson said. “Read a book, or exercise, or spend time with friends, so that you’re naturally distracted

With a little preparation and effort, a digital detox can help reduce the anxiety associated with overindulgent screen exposure, promote the development of real-time relationships, and also offer the hindsight necessary to navigate the technological world more consciously.

“You will think it is so hard for the first few times,” Wiebe said. “But then you will start to realize that you really don’t care what is happening on Instagram at 2 p.m. on a Wednesday.”

 

News, SSMU

SSMU and CDN release report on Gendered and Sexualized Violence policy

After more than three months of consultations with the Community Disclosure Network (CDN), on July 5, the Students’ Society of McGill University (SSMU) announced that it had completed the first draft of a SSMU Gendered and Sexualized Violence Policy (GSVP). The draft is currently being reviewed by student groups on campus identified as stakeholders for their work against violence in the McGill community. The CDN also released a report summarizing their consultations with survivors and stakeholder groups to the public. The report outlines the CDN’s recommendations for the creation of pro-survivor frameworks for the disclosure of gendered and sexualized violence at SSMU, and lays out a schedule for the creation and implementation of the policy. The CDN plans to finalize the policy in February.

Efforts to develop a SSMU GSVP began last school year after both former SSMU vice-president (VP) external David Aird and former SSMU president Ben Ger resigned following allegations of sexual and gendered violence respectively. Current SSMU VP Internal Maya Koparkar credits the CDN with bringing to SSMU’s attention its serious lack of structure for reporting cases of sexual violence and holding perpetrators accountable.

“We found that there was a lot of confusion in some of the processes for people [who] had experienced sexual violence, not just in a SSMU context,” Koparkar said. “In general, a lot of people would come to SSMU and we didn’t really have a framework to direct people to proper resources, or to help them deal with any issues they might be having if someone was an officer or was involved in the situation.”

According to a representative of CDN who wished to remain anonymous, the group was initially formed to collect disclosures from those affected by Aird’s actions and draw attention to the SSMU’s systemic flaws. After successfully urging SSMU to take action against Aird in a pair of statements and his resignation, the CDN continued to play a strong role in advising SSMU executives as they developed the policy. According to the CDN representative, a strong ongoing response to disclosures of sexualized violence is crucial to ensuring that the McGill community does not become complacent following the resignations.

“It’s really important that we acknowledge that because of what happened, calling out one person isn’t going to fix the problem,” the representative said. “The problem is going to continue to exist and we need to put the procedures in place in order to protect people in the future.”

According to the CDN report, the policy will include a number of means for achieving ongoing and improved justice for survivors. The CDN’s suggestions are organized into three categories:   Pro-survivor Frameworks, Implementation, and Accountability. Among the suggested reforms are training for all SSMU executives and other staff on how to handle reporting and disclosures, a focus on proactive and reactive measures on campus, the creation of a guide to the policy and reporting structures on campus accessible to all SSMU members, and continued lobbying of McGill University to change its existing Sexual Violence Policy.

Community engagement was central to the creation of the GSVP. Forums for feedback, which were used to consult the McGill community during the first round of drafting, will be implemented for the second draft in September. SSMU executives have also been reading responses to an online feedback form which will remain open throughout the summer and into the next phase of policy drafting. According to Koparkar, SSMU is communicating developments of its policy to McGill administration, which has its own sexual violence policy. However, the policy should be created primarily by a community of SSMU members, especially those affected by gendered or sexual violence.

Queer McGill (QM), one of the stakeholder groups identified by the CDN, will be reviewing the first draft of the policy before its public release in the fall. According to QM Administrative Coordinator Mads Motush, some people think it is very important that survivor-based support is central to the development of the policy. Others, however, see it as difficult emotional labour being done for free for SSMU by the stakeholder groups. While Motush is very optimistic about the long-term success of the policy, they admit to having doubts about the implementation and its timeline.

“There are a lot of good ideas going around but it's going to be hard to implement them,” Motush said. “I'd never underestimate the power of student groups, but the timeline they've proposed so far just seems unrealistic to me, to have it all done by the end of Winter semester. I would love for that to happen, but the stakeholder groups are meeting only for the first time [in late August].”

Although the CDN representative believes that the GSVP is an important step towards justice for survivors, gendered and sexualized violence can only be reduced through personal and interpersonal accountability,

“Abusers are trained in the language of consent,” the representative said. “Just because people have taken consent training courses or say they’re feminists doesn’t mean they’re incapable of violence and abuse. We are all capable of violence, and we need to check each other and ourselves.”

Arts & Entertainment, Comedy

Chris Fleming plays Chris Fleming in his Just For Laughs Show

YouTube comic Chris Fleming catapulted to virality in 2012 with the release of Gayle, a series in which he plays the eponymous Gayle Waters-Waters, helicopter mother and suburban housewife extraordinaire. But while Fleming has been tied to Gayle for most of his career, he has recently been touring the continent as himself. Fleming brought his absurdity and hilarity to this year’s Just for Laughs for the first time ever, in his new stand-up show Showpig.

For someone so distinct looking, Fleming’s face is surprisingly malleable—a skill that makes for quality impressions and bizarre sketch comedy. Standing at a gangly 6’3” with a mop of curly hair and oversized glasses, he bears a striking resemblance to a young Howard Stern. To convincingly play 40-something housewife Gayle, he simply takes off his glasses and puts on a tank top. Fleming seems to have a knack for playing middle aged women; he considers himself identical to United States Secretary of Education Betsy DeVos, an impression which he developed into a sketch of its own.

“When [DeVos] first came out, I was like, oh I look exactly like that, and she was funny, in a horrible, horrible way,” Fleming said.

Fleming is also frequently confused with an entirely different Chris Fleming—a 50-year-old paranormal researcher.

“People will call me up frantically asking me, ‘Chris?! Why are you doing a séance in West Virginia? You’re not equipped to do that,’” Fleming said. “But what’s really most insulting is that people say ‘yeah he looks good for 50,’ like they’re not even that surprised. I’m freaking 30.”

Irreverent and absurd, Fleming moves and speaks at light speed. Gayle spits out verbose, Parmesan-related demands at her husband just as quickly as she sprints to her mailbox each morning to pick up her William Sonoma catalogue. Yet despite his strong command over speech and movement, Fleming gives little credit to his training at Skidmore college, where he studied theatre and dance.

“I think study is an over-generous term for people majoring in theatre,” Fleming quipped. “I didn’t get cast in anything, so in my senior year to get credits I had to beg to be the props master. In this really degrading moment, I had to grovel to be the props master and to convince the theatre chair that I was passionate about props.”

Instead, Fleming’s passion for comedy grew out of his involvement in a college sketch troupe, where he met his current collaborator and Gayle director Melissa Strype.

“[Sketch comedy] prepared me , the gruelling all night hours of that, editing, and getting poison ivy [while] filming sketches,” Fleming laughed. “Getting poison ivy is going to prepare you better than anything for a life in the arts.”         

Even with all his academic and extracurricular experience, most of Fleming’s inspiration comes from growing up in rural Massachusetts and working odd jobs in Los Angeles. Fleming worked as an SAT tutor in Orange County, a job that would later be the basis for an episode of Gayle, when Gayle locks her daughter’s SAT tutor to a radiator so he can be on call 24/7. Gayle’s intensity is hardly an overstatement; Fleming recalls similarly baffling encounters with over-involved parents during a past stint as a tutor.

“One woman would just leave me voicemails like, ‘Hi Chris, what happens if the essay question just sucks?’” Fleming said. “At 1 a.m. she left me this voicemail, and I’m like ‘Well I don’t know Vicky, how am I supposed to answer that?’”

With his tour of Showpig winding down and Gayle on an over year-long hiatus, the future is murky for Fleming. However, he has long charmed audiences both real and virtual with his well-timed anecdotes and off the wall antics, and is certain to continue to break out of his YouTube shell.

Arts & Entertainment, Comedy

Peeking into the ‘New Faces of Comedy’

Having helped launch the careers of Amy Schumer, Kevin Hart, and Hannibal Buress, the Just For Laughs (JFL) comedy festival’s New Faces of Comedy showcase has become a coveted career milestone for young comedians internationally. Each year, comics selected are given six minutes to showcase their best material for audiences in Montreal and prove themselves to be future comedic legends. Following this year’s festival, The McGill Tribune chatted with Blair Socci and Christi Chiello—two New York-based stand-up comedians and New Faces—about their careers, and what keeps them going back onstage every night.

 

Blair Socci

(Courtesy of Just For Laughs)

 

For Blair Socci, attending JFL as a member of the first New Faces cast was the cherry on top of a wild year. Over the course of her fifth year as a stand-up comic, Socci wrote and published a cartoon titled Rodney Loves Blair, celebrated the third anniversary of her monthly show Nacho Bitches, which she hosts with Guys We F@#ked’s Corinne Fisher, and started her own podcast, How to Be A Beefy Woman.

Socci was a fan and follower of stand-up comedy for some time before trying her first set, after a former boyfriend introduced her to it. Looking back, she admits to showing all the signs of a wannabe comedian, without recognizing it in herself.

“I was working at W magazine, I was an intern in New York, and I pitched an article on Michael Che, who had just had like one week at Saturday Night Live,” Socci said. “And I interviewed him, and I was asking all these questions about his first time on stage, and […] I didn’t understand that I was like, asking those questions because I wanted to start [stand-up].”

It wasn’t until leaving that relationship that it ultimately dawned on Socci to try her hand at stand-up. Counterintuitively, the numbness she felt while going through her breakup gave her a sense of fearlessness about going on stage.

“My legs shook the first like, eight times I was on stage,” Socci admitted. “But considering, I was pretty uninhibited because I was so upset about the breakup. My attitude was kind of like nothing can hurt me more than I feel right now. So, yeah, and then I started comedy and now it’s been like, five years.”

Since starting in comedy, Socci has written for humour publications like Reductress and Splitsider.com. In 2016, she was cast on MTV’s feminist prank show LadyLike. More recently, Socci started her own comedy podcast, titled How To Be A Beefy Woman. The idea for the podcast came from Socci’s own experiences with feeling masculine, or ‘beefy’—a topic she touches upon in her stand-up comedy with similar candor.

“I grew up with a bunch of […] older brothers, and they had all their friends around and it was just like, a very masculine environment,” Socci said. “I think of [the word ‘beefy’] as just like, all the things I’m interested in. Like, I always had a super athletic body, […] I have a lot of jokes in my act about like, red meat and steak […] how I judge men by how they eat their steak cooked [….] So that’s kind of what that’s about, but we talk about food, we talk about embarrassing stories, and we talk about how to live real large.”

Many comedy podcast listeners tune in with the expectation of laughing—a reality that can feel like added pressure for the hosts. Yet, Socci tries not to get caught up in feeling the need to be nonstop funny on How To Be a Beefy Woman in the same way she would during a stand-up set.

“When you’re interviewing your friends and they’re comedians, [being funny] just kind of happens naturally,” Socci said. “I don’t need to have a laugh every moment, like there’s gonna be real moments where you’re just talking normally, but usually it gets pretty crazy naturally without having to even worry about like, making it too performative.”

As she recovers from a busy week at JFL, Socci is now turning her attention towards writing new material. Achieving milestones like being cast in New Faces leaves many comedians overwhelmed by the prospect of “what’s next.” But Socci feels exhilarated, rather than anxious, by the idea of working toward growth and improvement in the future.

“I’ve never stuck with anything the way I’ve stuck with comedy,” Socci said. “I do feel so connected to it, and it’s something that like, you could never be done with or master, there’s always work. Even people 25 years in, you know, are still like, trying to get better. And I love that because it keeps me so engaged every day.”


 

Christi Chiello

(Courtesy of Just For Laughs)

 

 

Christi Chiello’s upbeat nature is contagious; her comedic style is sharp and witty, and her naturally quirky voice draws the audience in from the minute she puts her mouth to the mic. After a successful year that included facing Jimmy Carr in Comedy Central’s Roast Battle and the advent of her podcast Talking Funny with Christi, the New York-based comic charmed Montreal audiences at JFL in late July as a member of the second New Faces cast.

Chiello’s positive energy conveys a natural comfort onstage, which she has developed ever since starting theatre in her early childhood. In fact, she moved to New York City immediately after high school to pursue a career on Broadway. While studying various fields in acting, Chiello came across improv theatre, and soon after, stand-up comedy—and soon fell in love with the format.

“My dream was to be on Broadway, and when I moved to New York, […] in acting school we had to take these improv classes, and I really enjoyed doing that, and I found myself just wanting to do comedy,” Chiello explained. “I started taking classes at [Upright Citizen’s Brigade], because I liked doing improv in acting school, and then I realized that I don’t like improv, I just like standing on my own, talking.”

Chiello admits to having a slow start to her career, when she would perform at open mic shows no more than once per month, yet still called herself a comic—something she laughs at now that she goes on stage almost nightly. Looking back, Chiello also recognizes the integral role that her unique voice played in guiding her jokes at the start of her career. In fact, Chiello attributes much of her success in Roast Battles to the comedic value behind her sweet, non-threatening disposition. But as she grows as a comedian, Chiello is learning to write jokes that are more authentic to who she is, rather than the image of herself that she projects onstage.

“I realized really early on that I have an interesting voice, and if I say dirty things and bad words, the shock value is present,” Chiello said. “When I first started I just relied on that way too much, and you know, I’m just now learning like what I should be writing about. Like, it took me years. And I still don’t know. I think that a big [thing] I thought to myself all the time [was] ‘What should I joke about?’ I just always looked at myself as an outsider looking in, being like, ‘Oh what would that type of girl talk about, instead of just thinking like, ‘What do I want to talk about?’”

As she searches for her comedic voice, Chiello heavily employs trial and error to perfect new material. Even after years in stand-up comedy, she performs in open mics frequently in order to test out a joke she’s just written in a low stakes setting.

“I’ll just have a thought [of] like, ‘Oh, that’s something I should talk about!’ and I’ll make a note of it in my phone, and I’ll be like, ‘Ok well I gotta go to an open mic tonight and try it out,” Chiello said. “It’s just like, kind of having an idea, and then going on stage and riffing, literally just talking for three minutes to see if anything funny is coming out of my mouth. And then I record every single set I’ve ever done, I record the audio on my phone, so I’ll go home, listen to it, and listen and be like ‘I can hear when people laugh,’ and be like ‘Oh ok, I should keep that part and then lose the other three minutes,’ so I kind of write a lot as I perform too.”

Chiello’s love for performing has ultimately kept her in the stand-up world despite its plethora of challenges.

“Even at its worst day, I love stand-up more than I could love anything else,” Chiello said. “They always say like, if you are happy doing something else and you also do stand-up, you should do the something else. If something else makes you happy, do that. Because […] choosing this career is so challenging and it, you know, has so many hurdles […] But my life would be so empty without it.” 

McGill, Montreal, News

McGill and Montreal mourn the loss of Eleanor Stubley

On Aug. 14, Montreal police reported that they had found the body of Eleanor Stubley, associate professor and associate dean (Graduate Studies) of the McGill Schulich School of Music, in the southwest borough of Montreal. Stubley had been missing since Aug. 7. While police have not disclosed many details of the case to the public, no foul-play is suspected.

Eleanor Stubley earned her Ph.D. at the University of Illinois at Urbana-Champaign before coming to McGill to teach music history and musicology in 1988. Stubley, who suffered from multiple sclerosis, joined the McGill faculty as a university lecturer and became an associate professor in 1993. Nearly two decades later, in 2006, Stubley was appointed as director of graduate studies for the School of Music.

Teaching primarily graduate students, Stubley was known for her creativity in interpreting music and developing theories on performance and philosophical topics in music.

One of Stubley’s main focuses in her academic career was what she called “the musical experience of body and place.” Her own research and work largely embodied the idea of how music and the body are intertwined.

As both a musician and a scholar, Stubley created music and words. Over the years, she wrote more than 20 research papers on musical performance. In her most recent multimedia project, “Moving Words/Moving Hands,” Stubley centered on the duality of her own hands and their ability to create profound thoughts and musical notes, though the project was left unfinished due to her passing.

“Using the hands of an architect, dancer, painter, sculptor, cartographer, and interpreter for the deaf as lenses through which to understand the embodied knowing of my own, I develop an account of musical expression as transformative act which recognizes the infinite possibilities of the hand and music in all of its variety,” Stubley wrote of the project in her curriculum vitae.

Stubley’s dedication and creativity touched the lives of many of her colleagues, including Assistant Professor of Early Music Lena Weman, who worked alongside Stubley in the School of Music and grew to know her well. In an email to The McGill Tribune, Weman wrote fondly of Stubley as a professional genius.

“Eleanor Stubley was one of the most exciting, challenging and intellectual persons that I have ever met in my entire professional life,” Weman wrote. “Working closely together with her was always a great challenge. Her demands were always the highest but at the same time, she always accepted when things went wrong [….] Her passion for musical performance as well as caring for all students was her driving force.”

Stubley’s musical and scholarly influence extended far beyond the Roddick Gates. From 1998 to 2014, Stubley served as the Musical Director for the Yellow Door Choir, a Montreal-based group focused on bringing music into the local community and donating proceeds of their performances to local charitable organizations.

Dianne Urhammer, a member of the Yellow Door Choir, was constantly inspired by Stubley’s ambition and love for music.

“She was very ambitious and very talented, musically,” Urhammer said. “She never missed rehearsal. [The choir is] still trying to get used to the idea that she is gone.”

Canadian film director Donald Winkler worked with Stubley on “The Pines of Emily Carr,” a film adaptation of Jean Coulthard’s original composition. In an email to The McGill Tribune, Winkler recalled Stubley’s passion and determination.

“[‘The Pines of Emily Carr’] was not a simple project, combining as it did musical performance, simultaneous narration, and complex visual effects,” Winkler wrote. “All through, [Stubley] maintained her poise and her sense of humour, and in the end I was proud of what we achieved, and grateful to her for having provided the opportunity.”

Album Reviews, Arts & Entertainment, Music

Landing softly: A conversation with Japanese Breakfast at Bar Le Ritz

Japanese Breakfast–Brooklyn-based singer and guitarist Michelle Zauner’s solo project–released their sophomore album Soft Sounds From Another Planet (Soft Sounds) on July 14.

Zauner was once the frontman of the emo indie band Little Big League, where her yelping vocals and decisive lyrics earned the Philadelphia band the designation of “underrated.” Zauner became a natural standout in indie rock; her confidence, emotive voice, and confessional writing began drawing a solid fanbase and critical attention.

In 2014, when Zauner’s mother was diagnosed with cancer, she moved back to her hometown of Eugene, Oregon. It was during this period that Japanese Breakfast emerged. In the months after Zauner’s mother died, Psychopomp, Japanese Breakfast’s first album, began recording.

Psychopomp, released in 2016, cuts deeper than Zauner’s Little Big League material. The album’s sound ranges from dream pop to pop punk, but its lyrical themes are what leave an impression; the shock, anger, and daze of loss are palpable throughout the record.

The death of Zauner’s mother became the story of Psychopomp, and preceded any conversation around Japanese Breakfast. Delivering the album as such a distinctive emotional entity made every line more urgent and meaningful. As a project that materialized from such a powerful event, to which listeners connected with so deeply, Zauner had set a high bar for herself.

Initially, Zauner felt unable to match the emotional weight of Psychopomp on her second album.

“I felt like [Psychopomp was] my death record, that’s my grieving record, I can’t write that again,” Zauner told The McGill Tribune. “I wanted to make something like science fiction, like a very heavy handed scifi concept musical.”  

Zauner intended to go this direction largely because of the emotional labour that putting out such a personal record as Psychopomp required.

“I was really exhausted of talking about my mother’s death to strangers everyday, and to interviews all the time, or to kids who would just come up after shows and share that they lost their parent,” Zauner explained.

Although a space rock musical was her plan for the form of Soft Sounds, after writing “Machinist” she found she couldn’t keep up the charade.

“It just felt so phony and I just couldn’t dial it in for another 10 tracks,” Zauner said. “So I just thought to myself ‘I can never get over my mother’s death, it will always be a part of my narrative.’ I can’t just not write about that experience anymore.”

With this second start, Zauner and co-producer Craig Hendrix recorded Soft Sounds in just one month, October 2016. The pair played all instruments on the tracks, a recording setup Zauner called more “intimate and private”. Both sonically and lyrically, Soft Sounds reflects a maturity–Zauner explained how being two-years removed from her mother’s death helped her compose the lyrics to her songs.

“I think a lot of [Soft Sounds] is about giving myself advice,” Zauner said. “Trying to think of death and trauma as kind of outside of yourself, a little more objectively. Like, that happened and it’s not like the universe is out to get you, it’s just part of life.”

In terms of Soft Sounds’ actual sound, Zauner explains that, while she always aims for the pop song format when composing, genre isn’t something she to which she adheres.

More than anything I try to make every song have its own world,” Zauner said.

This effect is noticeable on the album. Opener “Diving Woman” is a synth-heavy shoegaze track, while songs like “Road Head,” “Til Death,” and “This House” jump from trip hop, to Roy Orbison-inspired 50s pop, to a stripped-down acoustic ballad. Whatever the world each song inhabits, the production is meticulous in its respect of each genre. In this regard, Zauner simply believes she allowed herself to follow what excited her.

I just really had the courage to follow whatever creative path was interesting.” Zauner said. “[…] I just kind of chased whatever was interesting to me.”

The whims of this chase are apparent on the album, but not in a way that sounds jarring or hobbled together. Each song-world feels equally sincere and full of energy.

Letting herself to chase these whims is what, at the end of the day, allows Japanese Breakfast to continue flourishing as a project beyond Zauner’s initial period of grief.

“I think the more I bar myself from writing something the more stuck I’ll be, in general,” Zauner said, when explaining the importance of Japanese Breakfast as a personal project. “I spent four years trying to be tough in Little Big League. Once I started just making music that interested me [that’s what] helped people connect with my work.”

Read the latest issue

Read the latest issue