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Arts & Entertainment, Film and TV

Where do I begin?: Rocky Horror

The last time I was in a movie theatre, I wore a dark red negligee, bright red lipstick, and a second-hand sequined blazer that, judging from its shoulder pads, probably once belonged to a Las Vegas business woman in 1987. This was my fourth time attending a Rocky Horror shadow cast show—where a group of actors performs the film as it is simultaneously projected on a screen behind them. I brought along a few friends who were new to the film—or who we Rocky veterans call “virgins”. 

The Rocky Horror Picture Show is a 1975 horror-comedy musical that was a box-office flop at the time of its release, but has since gained a large cult following. Rocky Horror, while shocking to mainstream audiences of its time, is beloved for its open embrace of queerness, gender bending, and unrestrained sexuality. Whether you’ve never heard of the musical, or are only vaguely familiar with the name, the following insider knowledge about Rocky Horror will soon have you putting on a pair of black heels and red lipstick and heading to the cinema. 

The Film  

The plot follows newly engaged couple Brad and Janet, whose car breaks down in the middle of a rain storm. In search for help, they unknowingly knock on the door of a castle belonging to a mad scientist named Dr. Frank N. Furter. The bold and charismatic Frank N Furter, dressed in fishnets and a corset, happens to be throwing a convention to unveil his latest experiment. Brad and Janet quickly become acquainted with a number of convention attendees and household staff, all of whom seem to share Frank’s dubious intentions for the couple. This bizarre opening is just the beginning of what some viewers consider a nonsensical plot filled with ridiculous characters, which may surprise many people who want to draw meaning from the film.  

In order to understand the film’s quirks, it’s important to know that Rocky Horror both parodies and pays tribute to the science fiction genre and horror B-films made in the 1930s to  the 1970s. The production’s creator Richard O’Brien reveals some of these references in the opening song “Science Fiction/Double Feature” as a disembodied voice sings, “And Flash Gordon was there / In silver underwear / Claude Rains was The Invisible Man.” To better understand the inspiration for Rocky Horror’s plot line, characters, and cultural references, check out classic horror films like Nosferatu or It Came From Outer Space

The Music

The film’s soundtrack is glam-rock inspired and always invites the viewer to dance or sing along. The songs vary from “Over at the Frankenstein Place,” a soft duet with funky guitar riffs, to “Sweet Transvestite,” a sassy, sexual, brass-filled ballad. The music is filled with gentle piano melodies and ensemble harmonies. The lyrics vary from being absurdly funny like—“Now the only thing I’ve come to trust / Is an orgasmic rush of lust”—to profound sentiments like—“Don’t Dream it—Be it.” Like any great album, the soundtrack takes time to grow on its listener, so I suggest playing it before watching the film in order to become better acquainted with the musical numbers. A couple of my favourites are “Hot Patootie” and “Rose Tint My World.” 

The Experience 

What might be the best way to first experience Rocky Horror is by going to a live shadow cast show. As a small cast acts out the story in front of the film projection, Rocky Horror becomes a parody of a parody. At the shows I’ve been to, the shadow cast even exaggerates and over-sexualizes some of the more racy scenes. The audience, dressed in costumes mimicking the characters, is even more lively than the actors­. They shout perfectly-timed jokes, squirt water guns, and toss rolls of toilet paper upon hearing, “Great Scott!” It’s the best place to get your freak on among an audience of people that are there to have a good time, laugh, and enjoy the show. 

If you still don’t have any plans for Halloween, I suggest finding a party hat and bringing a few slices of toast—another of the many audience participation props—to Montreal’s annual shadow cast screening of The Rocky Horror Picture Show. 

Fans return for the Rocky Horror Picture Show at Cinema Imperial. (rockyhorror.com)
Fans return for the Rocky Horror Picture Show at Cinema Imperial. (rockyhorror.com)

 

The Rocky Horror Picture Show is playing Oct. 28, 29, and 31 at Cinema Imperial. Tickets can be bought in advance for $17.95 or at the door for $19.95. More details can be found at rockyhorrormontreal.

Laughing Matters, Opinion

McGill’s crumbling brick met with nerves of steel

While slogging through the mire of midterm season, it is beneficial to stop and give thanks for our many blessings. As students walk past the rickety scaffolding that soars above campus this Fall, they should give thanks for the most generous gift our university has given us: Our buildings. According to a Quebec government analysis of the province’s universities, 73 per cent of McGill’s buildings are in poor or very poor condition—the worst rating in the province. Considering the estimated $1 billion cost renovations would entail, it is unlikely McGill will be able to address the problems anytime soon. However, by neglecting its buildings, McGill is giving its students an invaluable learning experience. The students that escape university alive will have nerves of steel, tempered by the flames of four years cavorting around in buildings that have walls propped up with plywood, according to the CBC. Yes, plywood.

Could any student, after having faced the dismal lattice of metal that supports the Law Building, possibly fear the job market? Finding a position in a saturated field is nothing compared to the terror that grips the heart of anyone who steps foot in a McGill bathroom. Some stalls have no doors. Others look suspiciously similar to a rest stop one would encounter along a highway.

Finding a position in a saturated field is nothing compared to the terror that grips the heart of anyone who steps foot in a McGill bathroom.

This fear forces students to build crucial skills. The possibility of actual death ensures that only the strongest McGill students survive. If a student doesn’t flatline under the asbestos-hiding ceiling tiles of the Stewart Biology Building, they still must face the makeshift stairs outside the Brown Building. They must then pass the crumbling façade of the Strathcona Dentistry Building, which seems capable of shedding debris at any time. Even if they make it off campus, they can still just fall into a pothole on Sherbrooke. It is a miracle anyone can handle this nightmarish obstacle course—and yet McGill students do. This ‘survival of the fittest’ lifestyle opens any number of new career possibilities. McGill students are among the most qualified university graduates to pursue base jumping, storm chasing, or anything to do with abandoned mine shafts. In today’s economy, every skill counts.

I, too, have personally witnessed this unique form of education. When the pipes at the MORE residence I lived in last year burst, none of its inhabitants seemed fazed. I remember one of my housemates walking nonchalantly into the flooded kitchen, placing a small bowl under one of the ceiling's many drips, and sitting down to do his class readings. This is the kind of attitude that McGill’s buildings foster in its students—one of resilience and resignation.

This midterm season, it’s time to praise the unsung hero: McGill. In its limited budget and consequent inability to fix any of its buildings, the university has prepared its students for their darkest hours. The constantly shifting network of scaffolding numbs us to change and brings us face-to-face with danger. We are equipped to handle the worst, from the pitfalls of the workplace to the collapse our campus as we know it.

 

 

Grey Gunning is a U2 History major and occasional artist. She enjoys climbing, gardening, and cheesy 80's sci fi.

 

 

Art, Arts & Entertainment

Aqua Khoria: A Symphony of Liquid Movement

The ocean swells and roaring waves engulf the misty surroundings. Amidst this stormy seascape, a dancer bursts into frantic movement. His fragmented gestures transform as the audience becomes submerged beneath the water, and mirrors the setting’s fluid  aesthetic. With movement as the joint operator, Aqua Khoria poetically combines dance, music, sound, and environment to venture into a new realm of immersive creation. 

The show stars and is created by critically acclaimed contemporary choreographer and dancer, Peter Trosztmer, in collaboration with renowned composer and music-digital artist, Zack Settel. Their project, Aqua Khoria, is produced by two of Montreal’s leading figures in the contemporary dance scene—Tangente and Danse-Cité. Both companies champion risk-taking, collaboration, and inventiveness—all of which are embodied in the experimental nature of Aqua Khoria.

Trosztmer and Settel’s production program describes the show as “virtual sound bodies set in motion” within a “water-bound road trip, spanning the broad, the deep, the familiar, and the strange.” The following 50 minutes revealed the creators’ description was quite literal. Staged at the Satosphere, Société des Arts Technologiques (SAT)’s immersive dome theatre that forms a 360-degree spherical projection screen, the production exhibits a virtual liquid environment. 

Settel’s animated seascape is projected onto the immense Satosphere theatre screens. The sounds of ripples and waves echo through surrounding speakers. Trosztmer holds sensors, which control the virtual world, enabling his movement to transport the audience through Settel’s creation. Trosztmer becomes the conductor of an audio-visual symphony as his gestures simultaneously summon waves and submerge the audience deeper beneath the ocean to discover sea creatures, shipwrecks, and caves. Consequently, Trosztmer and Settel consider their project as “a huge musical instrument.”

Additionally, Trosztmer dances on a basin of water that serves as a stage in the centre of the dome. As the water begins to ripple in response to his dancing, Trosztmer becomes dripping wet and visually marked by the show’s motif. His movement stimulates the auditory senses with splashes of real water. His performance reaches a dramatic peak as he stands in the centre of the water basin, while a virtual cave is projected on the screens. Water begins to drip with increasing pressure from the centre of the Stratosphere’s ceiling. Trosztmer is showered in water as a spotlight cuts in and out, emphasizing a series of tableaus. The images created are visually striking and leave the audience with powerful impressions of a body yearning for something.

Trosztmer and Settel’s artist statement gestures to a variety of possible meanings. The show could be representative of the great unknowns of the world and the subconscious. It could also be viewed as a deconstruction of reality as the performer dances amidst physical and virtual representations of water. The message of Trosztmer and Settel’s production is ambiguous, and alongside the abstract nature of the performance, it encourages spectators to draw their own meaning from the surreal seascape of Aqua Khoria. Whatever the creative duo’s metaphorical vision may be, Aqua Khoria dances on the threshold of the virtual and the real world, venturing towards a new poetic dimension of both contemporary dance and audio-visual creation. 

Aqua Khoria has closed. Tangente’s next production, Fervid Bodies, will run from Nov. 3-5 at 7:30 p.m. and Nov. 6 at 4 p.m. at Monument National, 1182 Saint-Laurent. For more information visit tangente.qc.ca. 

Editorial, Opinion

In support of free menstrual hygiene products on campus

At the most recent Students’ Society of McGill University (SSMU) legislative council meeting on Oct. 13, SSMU President Ben Ger put forward a motion that would—if passed in the upcoming Fall 2016 referendum—have SSMU adopt a Free Menstrual Hygiene Products Policy. The policy would create a $0.90 per semester fee to fund the purchase and distribution of free menstrual hygiene products–such as tampons and pads, to the student body.

The motion rightly acknowledges that SSMU’s obligation to provide menstrual products to students stems from its commitment in its Equity Policy to “leadership in matters concerning the wellbeing of marginalized groups.” 

Current difficulties in obtaining menstrual products on campus can be a significant source of unnecessary anxiety, especially if a menstruating student needs to find such a product unexpectedly before a class or an examination. Presently, such feminine hygiene products are available for purchase at the Arts Undergraduate Society’s SNAX, and in limited and expensive bathroom vendors. 

Menstrual products are an additional expense that female students incur every month for a necessary item. The Motion Regarding the Free Menstrual Hygiene Products Policy would create a more equitable campus for female students by relieving the anxiety and financial barriers currently associated with accessing these products.

 

 

 

 

Whether or not students are personally affected by the provision of free menstrual hygiene products, this motion stands to benefit the entire student body.

The adoption of such a policy at a university like McGill is also an important symbolic move, advocating for the rights of women in education. Education has historically been an area where women have faced discrimination—women were barred from attending McGill until 1884. Menstruation in particular continues to prove a significant barrier to women’s education around the world, as lack of access to proper menstrual hygiene products and stigmatization can discourage girls from attending school. By embracing this policy, SSMU would be taking a step in acknowledging the discrimination women who menstruate often face in education, and the way in which menstruation can impede equal access to education.

In keeping with its symbolic significance, the motion also communicates the importance of this issue to the McGill administration. In fact, the motion calls for SSMU to renew the policy “until McGill, or the Municipal, Provincial, or Federal Government recognize that these products must be classified as Necessary Goods and pass a subsidy program to eliminate their cost and/or supply them publicly.” 

In providing menstrual hygiene products, both SSMU and McGill must make these products accessible to transgender members of the McGill community. While the current motion proposes to provide menstrual hygiene products in gender-neutral bathrooms and at Healthy McGill kiosks, the McGill administration can go even further. Following the example of schools such as Brown University, McGill should provide menstrual products in women’s, men’s, and gender-inclusive bathrooms across campus. 

Providing free menstrual hygiene products is a simple step that can normalize menstruation, communicate that menstruating students are welcome on campus, and reduce the chance that a student would have to remove themselves from their learning environment in order to find a pad or tampon. Whether or not students are personally affected by the provision of free menstrual hygiene products, this motion stands to benefit the entire student body. The motion is not just about women—it is about creating a fairer and more equal university community, where no students are subject to barriers which prevent them from reaching their full potential. All students benefit from being in an environment that minimizes any potential barriers that prevent students from being fully engaged in their post-secondary education. Furthermore, the cost of this improved university community comes at a mere $0.90 per student per semester. This cost is minimal when considered in comparison to other regular expenses students incur on campus for items such as coffee or samosas.

The Motion Regarding the Free Menstrual Hygiene Products Policy will benefit cisgender women and all menstruating people on campus, and is valuable in its advocacy role as a means to encourage further change. McGill students would be making an essential statement by voting in favour of it in the upcoming Fall referendum.

 

 

 

Science & Technology

Tiny materials, big changes: McGill announces new minor program in nanotechnology

McGill’s Faculty of Engineering launched a new minor program this year that explores into the world of nanotechnology. It’s a relatively young field that focuses on nanomaterials—materials that have one dimension measuring 100 nanometres or less. Nanomaterials are so tiny they often can’t even be seen under a microscope—in fact, a sheet of newspaper is approximately 100,000 nanometers thick!  Types of nanomaterials are further broken down to carbon-based, metal-based, dendrites—a polymer chain of nanoparticles—and composites—combination of nanoparticles with other materials. These nanomaterials have a wide variety of characteristics such as unique thermal, electrical, and magnetic properties.

Matter of this small scale has made big changes to the world around us. A report published in 2010, titled Nanotechnology Research Direction for Societal Needs in 2020, estimates around $2.6 trillion USD worth of products will incorporate nanotechnology by 2020.

Nanotechnology is already incorporated in many consumer products. For example, most sunscreen now contains titanium oxide and zinc oxide nanoparticles because they are more effective at absorbing UV rays than larger particles. Other skin care products, such as anti-aging creams, contain lipid nanostructures, which are biocompatible and can transport chemicals into our cells more effectively. Nanotechnology enhances the production of smartphones and laptops, as it can create computer chips capable of reaching higher processing speeds, resulting in faster and more affordable electronics. There are even nanomaterial paints that are water-resistant, bacteria-resistant, and scratch-resistant.  

Even more innovations are expected to come into a wide variety of consumer products in the future.

“Nanomaterials are going to be very prominent in our everyday lives,” Assistant Professor Nathalie Tufenkji, of McGill’s Department of Chemical Engineering, said.  “We’re incorporating these materials into our everyday consumer products […] we’re putting these materials on our skin, […] in our paints, and electronics that we are contacting everyday.”

The new engineering minor program aims to introduce undergraduates to techniques in nanomaterial characterization and detection, as well as nanomaterial synthesis and processing. These concepts will be covered in courses such as Nanoscience and Nanotechnology, Supramolecular Chemistry, and Design and Manufacture of Microdevices.

Tufenkji, along with Professor Peter Grutter in the Department of Physics were instrumental in organizing this program. The minor is interdepartmental and includes courses in physics and engineering.

“Of course there’s a flipside on how do we best develop nanotechnology to […] take advantage of its promise,” Tufenkji said. “One of the questions […] is what are the potential impacts on our health and environment of nanomaterials?”

Tufenkji believes it is important that Canada has scientists and engineers that are educated in emerging scientific concepts and cutting-edge technology. Giving undergraduate students exposure to nanotechnology research early in their studies is a good stepping stone for further investigation into the evolving field.

For more information on this minor: https://www.mcgill.ca/study/2016-2017/faculties/engineering/undergraduate/programs/bachelor-engineering-beng-minor-nanotechnology

Science & Technology

Reaching the limits of the human lifespan

The longest any human being has ever lived was 122 years. Jeanne Calment of France, who rode a bicycle until age 100, passed away in 1997. Since then, no one has been recorded to live past 120 years.

A paper published in the Oct. 2016 issue of Nature claims to have found an age limit to the human lifespan. The researchers compared the death of the oldest person against calendar years and found that the rate of maximal lifespan growth seems to have hit a plateau.

These results are consistent with the idea that the limit of an organism’s lifespan is encoded in its genetics. For example, fruit flies live for about 40 days, while the Giant Galapagos Tortoise can live for over 170 years. The imposition of a genetic constraint on maximum lifespan may also apply to humans.

However, the exact mechanisms of the aging process are still unclear, though many theories exist. From a physical perspective, the “general wear and tear” mechanism states that aging is the phenomenon of overuse, in the same sense as old cars accumulate problems as their mileage increases.

In the case of progeria—an extremely rare genetic disorder where patients age eight to ten times faster than the normal aging process—general wear and tear damage, such as cataracts and osteoarthritis, is not observed. While overuse is likely a contributing factor to aging, there are other genetic influences at play.

Another theory of aging is genomic instability from mutations and DNA damage. During cellular respiration—the process wherein cells derive their energy—cells produce unstable modecules called free radicals resulting in harmful oxidation. Free radicals are incredibly reactive and can cause extensive damage to proteins and DNA. As more damage is incurred, there will be an increased likelihood of cancer and cell mutation arising from abnormal protein production.

There is some good news when it comes to aging. Globally, the average human lifespan is rising over two years per decade. Better health care and nutrition improve the average life expectancy in developing and developed countries like the United States, Canada, and Germany. There are also drugs going to clinical trial that target cellular aging pathways, which have demonstrated promising results in laboratory animals.

One such drug is metformin, a U.S. Food and Drug Administration (FDA)-approved medication for the treatment of type II diabetes. The drug has slowed down the aging process in laboratory model organisms. However, researchers will likely have a hard time receiving funding from pharmaceutical companies as metformin is a low-cost drug and therefore not very profitable.

As of now, there is only one agreed-upon method to slow down the aging process: Caloric restriction. In model organisms, restricting the caloric intake while still supplying essential nutrients such as iron and calcium, led to reproducible results that extended an organism’s maximum lifespan. While the underlying mechanism of this process is still unclear, physiological changes such as increased insulin sensitivity, reduced metabolism and oxidation have been reported. Dietary intake restriction is an area of intense research and could yield promising discoveries in the near future.

While it appears that the maximum amount of time any human being could stay on this planet is predetermined by DNA, there is also something to be said about the quality of these years: As the millennials say, “You Only Live Once.”

Student Life

The loneliness epidemic

Loneliness is hard to define because it is premised on a feeling of lack—a lack of contact, of laughter, of connection, of empathy, of dependence. It is a lack that weighs heavy at 8 p.m. on McGill campus as students slowly make their way home—their stomachs growling and vision blurry from hours spent reading under the library’s halogen lighting. It is a lack found in the way students quietly file out of the library at night with their headphones on, passing each other. 

It is the noiseless way that any student filing out of the library feels compelled to reach into their pocket for their phone and call someone—anyone. As they consider calling a parent, they stop themselves short. They don’t really have anything specific to say, they just need to connect with someone. But they worry that if they call just to chat, their parents will assume they’re feeling ‘lonely.’ Slowly they slip the phone back into their pocket, and walk home in silence. This is loneliness. 

“Loneliness is so much more than the absence of people,” Eve Kraicer, U3 English, said.  “It’s having an actual impulse to articulate how you are doing, with nowhere to go and no one to listen.”

Students are often left without people to listen to them because loneliness is ingrained in the university experience. At age 18, most Canadian students transition from high school to university, and suddenly their old web of community-building tools—teacher-organized clubs, required courses, strict meal times, and a structured 8:30-3:30 schedule—disappears. For the most part, McGill students choose their own classes, consulting academic supervisors and health services is optional, and, after first year, students are responsible for determining their own food and housing. For some, this responsibility is rewarding, but for others it can make university an exceptionally lonely space.

In a recent viral article in The Guardian, titled “Neoliberalism is creating loneliness. That’s what’s wrenching society apart,” journalist and psychologist George Monbiot suggests that the brutal competition and pressure students are put under in the education systems of industrialized countries is creating lonely people. 

“Human beings, the ultrasocial mammals, whose brains are wired to respond to other people, are being peeled apart. Economic and technological change play a major role, but so does ideology,” Monbiot writes. “Though our wellbeing is inextricably linked to the lives of others, everywhere we are told that we will prosper through competitive self-interest and extreme individualism.”

Neoliberal societies, as Monbiot explains, are those that see competition as the defining characteristic of human relations. At McGill, this extreme individualism—which prioritizes the success of the individual above the community and fosters extreme loneliness—is ingrained  into the culture of the university. Entry-level class sizes can enroll up to 1,000 people, and students often feel pressured to study before socializing in order to keep up with their classmates. McGill’s academically rigorous setting pits students against each other and the bell curve.

“Usually my friends spend approximately the same amount of time studying as I do, so I don’t need to choose between studying and socializing” Gabrielle Trzcinski, U4 Engineering, said. “However, during busy weeks I sometimes need to prioritize studying over socializing, which can make me feel left out or lonely, and can also add to the stress of trying to get things done on time.”

High academic stress and stakes isolate students from social contact. (Cordelia Cho / The McGill Tribune)
(Cordelia Cho / The McGill Tribune)

 

The competitive nature of university is built into the institution’s landscape. Students are quick to point out the lack of community spaces on campus and common rooms in residences. For example, a singular common room is made for 200 students to socialize in each of the upper residences, and doors that close and lock automatically in La Citadelle and New Residence Hall. The spaces first years are welcomed into in the first week of September are, at the level of  their construction, far from welcoming. This trend continues beyond first year institutions. Many buildings on campus, including the SSMU, are not conducive to social interaction.

“I think the institution, just from its very architecture, creates loneliness,” Noah Witte-Winnett, U4 Arts, said. “Literally, the spaces that exist within the university for people to get together are terrible, like the Madeleine Parent room has heaters that can be so loud you won’t hear what people are saying. The SSMU building in general—there is a whole fourth floor I didn’t know about, with clubs up there.”

Although students try their best to counteract the austere geography of campus—there are incredibly well trained floor fellows in each residence, and the active presence of social groups and initiatives like intramural sports teams,  Midnight Kitchen, and SSMU minicourses—it is difficult to counteract the institutionalized forms of loneliness at university. For Ines Dubois, U3 Arts, first-year residences are a clear example of this. 

“The residences do a good job at fostering communities, but their prices are inconvenient,” Dubois said. “Only people that can afford over $1,000 per month get to make friends, and that’s not right.”

Dubois draws attention to the fact that at McGill, the lack of community spaces on campus turns connection into an experience that is inaccessible to students without the financial means. Currently, for students who live at home or in independent off-campus housing, loneliness is a very real concern. 

Even for those students who can afford the rez experience, the loneliness that is ingrained in McGill’s landscape creates a marginalizing process of maturation that often lets students fall through the cracks. However, the reality is that student life at McGill is not very different from how the real world functions, and independence can also yield unexpected gifts. 

“The older you get [as an individual], the fewer institutions there are that try and help you,” Kraicer reflected. “I think that the experience of growing up is one of learning how to understand and navigate loneliness.”

Like many people, Kraicer says she has experienced her fair share of isolation. In fact, moments of aloneness seem to have become a given in our university setting. Yet, Kraicer is hopeful that there is something to be gained by being exposed to loneliness. She points to the fact that university provides students with a wealth of opportunity to forge meaningful relationships outside the institution. 

“The optimistic part of me hopes that the connections that you make that you have to work at, the ones you make when you’re older […] are more meaningful than the ones you make when you’re in elementary school,” Kraicer said. “I hope that the farther I get from being told how to do this, the more I’ll be able to do this for myself, and I’ll know how to do it in an individual way that works for the communities I want to build, and the communities I need.” 

Solitude or time enjoyed by oneself should not be equated with loneliness, per se. However, there are preventative measures students can take when alone time begins to turn into feelings of disconnection. Whether it’s making recurring dinner plans with roommates or family, scheduling regular mental health check-ups, or simply asking friends how they’re doing and really listening to their response, Kraicer notes that the only way to combat loneliness is through active connection. In this way, a period of loneliness can be a formative experience. Although individualism and competitiveness are intrinsic to the university campus, the students that populate it are also intrinsically social beings. The conflict this creates is at the root of loneliness, but it can also provide the fertile ground in which meaningful communities flourish. 

McGill, News

McGill faces $1.3 billion in deferred maintenance costs

McGill intends to borrow $300 million in the form of bonds over the next five to seven years to tackle deferred maintenance. Large-scale construction projects are set to take place across McGill’s Downtown and MacDonald campuses during this time period. While construction on McTavish and Sherbrooke was commissioned by the City of Montreal, building renovations are coordinated by the university. Over half of McGill’s buildings are in need of major renovations, according to a recent CBC report. The bond issue will be in addition to $48 million that McGill receives annually from the Quebec government for capital improvements, according to Associate Vice Principal (Facilities Management and Ancillary Services) Robert Couvrette.

Couvrette said that $800 million is currently estimated in deferred maintenance. An additional $500 million is needed in areas that are not eligible for government subsidy, such as parking and sewage. 

According to Internal Communications Director Doug Sweet, campus buildings have been stabilized with scaffolding in compliance with Quebec law and the focus is now on masonry work and heating, ventilation, and air conditioning (HVAC) replacements.

“We have taken steps to make sure that our campus is safe and secure,” Sweet said. “I wouldn’t say that there’s an unsafe building on campus.”

Couvrette noted that the Macdonald-Stewart Building, the Strathcona Anatomy and Dentistry building, the James Administration Building, and Wilson Hall will be prioritized for upcoming masonry work. HVAC replacement priorities include the Rutherford, University Centre, and Wong Buildings.               

McGill campus construction projects often have a long timeline. Robert Selby, building director for the Macdonald-Stewart Building, stated that work on the building’s roof began in 2013 and that the building was stabilized in Fall 2014.

“We did the roof, and right after that they started doing stabilization of the building,” Selby said. “They were two different things, but as you do one thing you discover the other. You open [a building] up and you don’t know what you’re going to find.”

Further masonry work on the building is set to begin in May 2017 and is expected to last a year and half. The budget for this project is $26 million, according to Couvrette. The recently completed Arts Building portico cost over $1 million and took a year to complete due to difficulty in procuring materials.

“We had to find different stones in different quarries that have the same colour and same shape to be able to replace the stones that we were unable to repair,” Couvrette said. “If we didn’t find the right stones the Arts portico would look like a pizza.”

McGill’s masonry construction projects are usually auctioned to St-Denis Thompson or Atwill-Morrin, two of Montreal’s largest contractors.

“Every project goes to public tender, but because of the nature of this very specialized business, more often than not those big firms will win most of the contracts,” Sweet said. “You see that all over Montreal, not just at McGill.”

Couvrette emphasized the need to prioritize certain projects due to limited funding and limited capacity of construction firms in Montreal to complete the projects. Prioritization is given to projects that have a direct impact on student learning environments.

U3 Arts student Serisha Iyar feels that the poor condition of certain classrooms on campus make for a challenging learning environment.

“In Arts 145, the chairs and desks are broken, since everything’s attached the chairs fold down, but half of them are cracked so you don’t really want to sit in them for a really long lecture,” Iyar said. “I’ve had various classes there and it’s stuffy since there’s not a lot of ventilation, so there’s not a lot of air circulating for you to breathe properly, especially in the winter.”

Many of McGill’s buildings, which are over 100 years old, are considered heritage buildings, and thus face strict regulations to be restored according to code.

“If for example, [a heritage building] has a slate roof, we have to replace [it with] slate […], or if it has copper flashing around the edges, we have to replace [it] with copper. We can’t just slap aluminum and asphalt shingles on these buildings,” Sweet said. “That’s why McGill’s maintenance costs are higher than those of most other universities. We have a greater number of heritage buildings to look after.”

Arts & Entertainment, Music

Alex Frankel of Holy Ghost! goes solo

Alex Frankel has been hard at work. In May of this year, he released the nu-disco, 80s-nostalgia EP Crime Cutz with fellow Holy Ghost! bandmate Nick Millhiser. He’s featured on the Classixx single “I Feel Numb” and has performed with the group throughout the year, including gigs at Lollapalooza and on Last Call with Carson Daly. Along with brother Zach, Frankel recently opened up the wildly popular Frankel’s Delicatessen—a Jewish deli located in Greenpoint, Brooklyn.

And if all that wasn’t enough, on Sept. 30, Frankel quietly released his first ever solo EP, Negative Space. The retro collection features four tracks laden with a groovy, pop-funk sound and candy-coated aesthetics and its dance beats are reminiscent of “Do It Again” from Holy Ghost!’s 2011 self-titled album. Negative Space is catchy in a bubblegum pop way, taking aspects from modern pop and disco alike. 

When asked how it felt to produce his own solo music, Frankel emphasized  the importance of all the help he’s received.

“I wasn’t really alone. Technically, Nick was still involved in the sense that I would send him mixes […] and he was really helpful as an ear,” Frankel said. “I had a lot of people help out, [like] Ryland Blackinton [of Cobra Starship] and Dave from Chromeo.”

Holy Ghost! is known for its remixes, having produced two successful mix albums in the last few years and reworking songs by Phoenix, MGMT, and Moby. Remixing, in a way, has helped Frankel with his own music because it serves as a starting point for his creative output.

“We used the remixes as a real way [to] learn about production. We were really lucky […] to have friends who would ask us to do remixes,” Frankel said. “Whether it was remixing LCD Soundsystem or Phoenix, getting a look inside their session was really interesting and informative, and it certainly influenced our productions.”

Currently, Frankel is on tour with DJ duo Classixx through over twenty cities, having stopped in Montreal on Oct. 20 at Le Belmont on Saint-Laurent. It’s not Frankel’s first time performing as an opening act—in the past, he’s opened for LCD Soundsystem and Chromeo as part of Holy Ghost!. 

“I would give it all to Classixx for getting me out to do this with them,” said Frankel. “[Originally,] we were just going to come out and I was just going to sing [“I Feel Numb”] with them, and then Michael and Tyler [from Classixx] were like, ‘Dude, you should […] really play some of the songs you’re working on!’ [And then] everything came together so quickly.”

This fast-paced workflow certainly is a change for Frankel, as this is his first time performing alone and without childhood best friend Millhiser. 

“Most of the time an opening can be really hard,”  Frankel explained when discussing life as a solo artist. “The headlining band can be […] mean and purposely [disruptive], or won’t let you ride on their bus. But this has been sort of a dream. Compared to tours I’ve done in the past, this is very comfortable.”

During his performance, Frankel could be seen bobbing along to his own tracks, alternating between singing and playing the keyboard. Like his music, his presence is electrifying—his dancing invigorates the audience to dance along with him. Within a few minutes, the Belmont is transformed into a club-like scene. 

“I’ve been [to Montreal] probably like ten times,” said Frankel. “I love the Belmont. The last time I came here with Holy Ghost!, it was a really crazy, incredible show.”

He planned on stopping by his favourite Montreal haunts like Schwartz’s Deli, although now that Frankel has his own deli business in Brooklyn, it’s not too hard to compare the two. 

“Schwartz’s is great, [but] ours is better, if that’s what you’re asking,” he said, with a laugh. 

News

AMUSE general assembly authorizes strike mandate

With 82 per cent approval, the Association for McGill University Support Employees (AMUSE) pursued a mandate on Oct. 20 to authorize the union to strike.

AMUSE began in Fall 2008 in hopes of unionizing work study employees. According to the AMUSE website, there are currently 1,500 union members, representing both casual and temporary employees at McGill. Approximately 55 per cent of McGill’s non-academic employees are members of AMUSE.

Since May 2015, AMUSE has been at the bargaining table to discuss the renegotiation of its collective agreement with representatives from McGill’s administration. The agreement determines the rate of pay, benefits, and other non-monetary privileges of support employees at McGill.

AMUSE’s monetary demands, which include increasing the number of job titles and reevaluating wages for its members, were all denied by the university. The AMUSE negotiation team hopes that bringing a strike mandate to the table will reverse McGills decision. Communications and Outreach Officer of AMUSE Maxim Baru, who is a member of its negotiating team, explained the union’s strategy.

“Having a strike mandate does not mean that we will be on strike,” Baru said. “It just means that the negotiating team can come back to the employer the next meeting and say, ‘We have the strong strike mandate.’ It will pressure [the administration] into being more willing to negotiate with us.”

Some union members voiced their dissatisfaction with the vote. AMUSE Steward for Phonathon Nikki Derochie was outspoken in her opposition to the vote. Derochie’s job entails acting as the liaison between casual employees at Phonathon and AMUSE.

“We have a group of 70 people [at Phonathon] and I don’t think anybody else is in the room tonight from that group, so I am speaking on behalf of 70 people with my vote,” Derochie said. “I’m really disappointed, just because of the precedent that’s been set in the past. I remember the McGill University Non-Academic Certified Association [MUNACA] strike. A lot of the membership was blindsided by that because within [a week] of the strike mandate vote, MUNACA went on strike, and not a lot of people expected that.”

Despite concerns of under-representation, the AMUSE negotiating team was quick to remind the assembly about the urgent need to take action. Claire Michela, president of AMUSE and member of its negotiations team, stressed the urgency of taking action.

“[The administration] said, ‘We can’t bargain on your terms at all because you have an ongoing complaint with the Pay Equity Commission,’” Michela said. “They don’t want to have an administrative burden of changing things now and then changing things again in a year. Our members can’t wait a year. Our members have contracts of four months, of one month, of one day, so they can’t wait a year to have better pay.”

The administration declined to comment on the ongoing negotiations. According to a report released by McGill describing meetings between AMUSE and the university on Sept. 12 and Sept. 14, McGill pledged to assess the financial impact of AMUSE’s monetary demands and to present this assessment at their following meeting on Oct. 14. AMUSE noted that all of these requests were denied by the University at the Oct. 14 meeting. McGill has yet to release a report on the Oct. 14 meeting.

“They said that they would bargain based on our previous categories, but we think that those categories don’t represent our membership and that they’re unacceptable,” Michela said.

In the original collective agreement between AMUSE and McGill, support employees were separated into three classifications based on the difficulty of their jobs. Employees’ minimum pay rates for the three classes are $10.85/hour, $11.22/hour, and $12.24/hour respectively. The collective agreement categorizes workers into one of three classes based on the number and complexity tasks and the level of autonomy given to the worker.

“We synthesized [the three] job titles that we currently have […] into 33 distinct job titles, and wages that reflect those job titles,” said Michela. “We used the university’s own job evaluation form to do this [….] We adjusted the salaries accordingly. We came up with, all wages would be above fifteen dollars an hour.”

In addition to the monetary demands, AMUSE is demanding a number of non-monetary concessions including creating McGill ID cards for non-student support staff and requiring work study jobs to be clearly posted for the public.

A previous version of this article included inaccurate information regarding the 2011 MUNACA strike. It took place on Sept. 1, one week after the Aug. 24 strike vote—not 24 hours after the strike vote. In addition, a previous version incorrectly stated that the Class A minimum pay rate is $10.55/hour when in fact it is $10.85/hour. Finally, the version incorrectly attributed Maxim Baru's quote to Bradley Powell. 

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