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Arts & Entertainment, Theatre

Peer Review: Franc-Jeu theatre company displays innovative spirit in Alter-Ego

by Julie Vanderperre on

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McGill’s francophone theatre company, Franc-Jeu, has come into its own since its creation two-and-a-half years ago. Its latest production, Alter-Ego, was a testament to the progress that it has achieved over time.

Dramatic, emotional, and humorous all at once, Alter-Ego reflected on themes relevant to students. The play explored subjects including modern love and relationships, self-discovery, greed, and the quest for power. It gave spectators the opportunity to question each of these topics as they related to their own personal lives. The troupe achieved this by weaving together three different contemporary plays, making a unique plot with storylines playing off of one another. The plays’  focus on relatable themes were chosen intentionally, in line with the vision that Franc-Jeu has had from its outset.

“At Franc-Jeu, what we’ve always wanted to do is appeal to students, in the sense that it speaks to them in some way or another,” said Max Bouchaud, the director of Alter-Ego.

The various scenes were tied together by the character of the presentator, played by Yoav Hougui, who came on stage periodically with witty quips and musings. Hougui performed with incredible dynamism, providing comic relief in between poignant scenes while also prompting the audience to question the events that were unfolding throughout the play in each of the parallel stories. Six members of the troupe worked together, writing and rewriting dialogue for this role in an attempt to tie the various themes together, while still leaving the interpretation up to the audience.

The entire cast brought energy and passion to their roles, often fueling dramatic exchanges. In one scene, the character of Leah, played by Clarisse Artoré, wielded a knife at her boyfriend Mark, played by Pierre Gugenheim, as strobelights flashed, making the whole theatre feel as though it was trembling along with the glinting dagger.

Creative use of lighting and music, and the addition of videos projected onto the wall of the theatre complemented the scenes well, while the minimalistic set design fit the mood of the play and kept the focus on the actors. These aspects, in addition to the contemporary nature of the play’s subject matter, provided a fresh take on student theatre.

“The role of the company is to rejuvenate the image of theatre on campus, and to open theatre to the largest portion of students possible,” Victor Gassman, founder of Franc-Jeu, said. “We’re obsessed with people who see theatre as boring or would never go see a play. We want to break down these stereotypes.”

This focus on changing outdated perceptions of theatre has been another aim of Franc-Jeu. While trying to come up with a logo for the company, Gassmann realized that many of his peers held antiquated ideas about acting and theatre. Alter-Ego seeks to inject innovation and enthusiasm into each of their plays. A key part of doing so is promoting collaboration among all participants. 

“What I like about Franc-Jeu and Alter-Ego, especially, […] is there is complete freedom [to do] whatever you want […], but also [being asked] what are your ideas about the show and to discuss about it,” said Enzo Constantin who played the role of Theo Jansen, an exuberant businessman and career coach. “Everyone was able to say something and really participate in it.”

Franc-Jeu also seeks to engage as many students as possible through bi-weekly workshops that are catered towards beginners.

“A lot of times people say, ‘I love theatre but I’m a beginner, so I wouldn’t do an audition,’” Gassman said. “Workshops are kind of the passage between the two. We give them confidence to do a real play.”

While attracting student interest is not an issue for Franc-Jeu, the group does struggle with certain logistical aspects of running a large-scale theatre company on campus—namely, securing a space to rehearse.

“There’s a lot of people that want to do theatre,” Bouchaud said. “If we could have access [to a room] for only one week a year, I’m sure so many francophones could enjoy this opportunity to express themselves.”

Currently, Franc-Jeu rehearses for their plays in rooms that they book in the SSMU Building, often at inconvenient hours.

“We can organize a play like this, but it’s not sustainable,” said Gassmann. “The idea for next year is, now that the company has [grown] since two and a half years, it’s to implant it in the university, keeping in mind our focus and desires.”

Student Life

Interior design ideas for your summer living space

by Jonathan Motha-Pollock on

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As Winter semester draws to a close and spring blossoms into full force, it’s time to say ‘out with the old’ to all of the junk that has piled up this year, and ‘in with the new.’ Spring cleaning isn’t just an excuse to declutter, it’s also a chance to do some creative redecorating. 

A great way to conceptualize any visual aesthetic when redesigning a living space is using themes; they help to achieve a particular vision, while maintaining consistency and harmony among the different visual elements of a room. Although designing a space according to a theme can sound a bit daunting, in reality it can be quite a straightforward, inexpensive, and even fun endeavour. Not to mention it helps to make a living space stand out among the banal apartments that are all too common among students. All it takes is selecting the correct theme.

Nautical stateroom

The nautical theme is great for summer, especially in rooms with a lot of natural light, since a seafaring aesthetic can feel relaxing and dream-like. White, gold, navy blue, and woods work for this theme because they are reminiscent of the colours and materials of a sailboat. For rugs, bedspreads, and curtains, go with blues and whites. Furniture and trimming can be golden or wooden.  Appropriate props and furnishings include porthole mirrors, ship-in-bottles, and anything anchor-related. The more boating materials, the better, so rope is key for this theme—use it to to tie back curtains or to make DIY spiral coasters.

Literary cottage

This homey theme makes staying in with a glass of wine feel cozy and comfortable. For the first half of this theme, books are important—the more, the better.  In fact, an overabundance of books completes this look (think stacks or piles). If you can come to terms with cutting up books, almost any arrangement of printed book pages on a wall makes for a cozy aesthetic. Just remember, novels have nicer pages than coursepacks. For the cottage element, wood is key. This can be incorporated using furniture, but also with wooden props; oars, frames, and animal figures are all good options. Those lucky enough to have a fireplace should always keep a log on hand since a roaring fire ties this theme together for visitors.

Monochrome minimalist

This classic theme is a fitting choice if you don’t want to do a lot of work, but still want friends to think you’re design connoisseur. Be warned though, a constantly clean room is necessary for this look to maintain its wow factor—a room can’t be minimalist if its floor is covered in clothes and dirty dishes. Black-and-white is a sophisticated and refined colour scheme that is very suitable for minimalism, however, the occasional pop of colour can contrast the shades and emphasize their sleekness. As the name suggests, there shouldn't be too much clutter in a minimalist room. To complete the look, lamps should be slender, beds should be low, and furnishings generally clean in look and functionality. Wall hangings are encouraged, but in moderation, and smaller pieces work to emphasize the expansiveness of the walls. Don’t be afraid of blankness or empty space—just imagine how good the room’s Qi flow will be

floorball
Hockey, Sports

Make Canada great again (at hockey) with floorball

by Joshua Shapiro and Erin Lieberman on

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I speed down the rink as fast as my legs can take me, stick in hand, and defenceman on my tail. With a few minutes left in a tie game, one goal away from furthering our playoff run, I see my teammate coming down the opposite wing. With a quick saucer pass and a one-timer, we’ve taken the lead.

I wasn’t playing hockey. In fact I was playing a sport that included no ice—floorball. This variation of floor hockey, developed in Sweden in the 1970s, is played in a gym with lightweight plastic balls and relatively short sticks. The fact that it is played indoors enables the sport to be played year-round, similar to futsal, an adapted, indoor version of soccer. Floorball is popular in many European countries but is only played at a grassroots level in Canada. 

Floorball-playing countries have become talent hotbeds for hockey, similar to Brazil for soccer. Sweden–winner of the last two World Floorball Championships–has produced more and more NHL stars over the years. Floorball’s effect on improving Swedish and Finnish goalie performance is especially evident, and some NHL goalies credit floorball for improving their agility and reaction time. Swedish goalie Henrik Lundqvist played floorball, ex-superstar NHLer Peter Forsberg is a strong advocate, and Toronto Maple Leafs legend Borje Salming has created a line of floorball equipment.

Floorball can improve hockey skills and ensure a legacy of Canadian hockey players. Floorball is similar to futsal which, according to New York Times bestselling author Daniel Coyle in The Talent Code, “places players inside the deep practice zone, making and correcting errors, constantly generating solutions to vivid problems.” This makes it perfect practice for ice hockey. 

The very design of floorball enhances hockey-specific skills. It is played in a small gym, resulting in more opportunities to touch the ball. The lighter stick allows for quicker hand motions, improving reaction time. Shorter sticks also mean the player is closer to the ground, giving them greater control of the ball. More important, perhaps, is that the ball is very light, giving enhanced responsiveness to touch. The ball has dimples like a golf ball to make it more aerodynamic; in fact, the ball flies faster than an ice hockey puck. Once again, increasing the speed increases the coordination required on the parts of players in all roles. Moves (dekes) can be easily created in floorball. Additionally greater control of the ball allows for more manoeuvrability and creativity, which can then be transferred to the hockey rink. The evidence suggests that floorball should be incorporated into off-ice training in Canada.

Most importantly, floorball is primarily practiced in Canada, which makes players feel comfortable taking risks and experimenting—an essential part of acquiring skills. Coyle has stated that “it makes absolutely perfect sense to me that [floorball] would be a wonderful way to spend time in the deep practice zone.”

Before the last Olympics, due to insurance risks, the Canadian men’s Olympic ice hockey team decided to run a ball hockey practice. While the players largely treated the activity as a joke, maybe the idea was a step in the right direction. Instituting floorball as a dry-land training for junior and professional hockey teams, promoting the sport among Canadian youth, and further developing leagues, camps, and other programs will help Canadian hockey grow.

Fight Band
Arts & Entertainment, Behind the Bench, Martlets, Men's Varsity, Music, Sports

Playing out of pride: The story of the McGill Fight Band

by Morgan Alexander on

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On a late night in 2006, Ted Smith and a few of his friends went out for drinks. The night led them to Bar des Pins, where they entered as buddies and emerged as a band—more specifically, the Fight Band—McGill Athletics’ leading pep squad.

The Fight Band is a staple at McGill sporting events, using crowd-pleasing songs, and organized rowdiness to pump up the crowd and get inside the heads of its opponents. Fast approaching its 10th anniversary, the band exists as a perfect balance of rabid sports fanaticism, and musical talent.

“I think a lot of people when they come to Fight Band, expect it to be a concert band like the one they were a part of in high school,” James “Hutch” Harris, trombonist and former brigade leader said. “They actually see what we’re about, and what we’re actually allowed to get away with at games, like the cheers we have and the rowdiness we bring.”

As brigade leader,  rowdiness was central to Harris’ role. Though the brigade leader isn’t the leader of the troop—that role would fall to President Cameron MacPherson, saxophonist—Harris is, in essence, the face of the institution. The Fight Band controls the chants, pumps up the crowd, and pays attention to the game play too, making sure not only to loudly support their team, but to also to get in the heads of the opposing team.

“Being a brigade leader, you definitely learn how to get under a player’s skin, without using any vulgar language,” Harris explained. “Although the gratitude from the home team is always the best part [of being on the Fight Band…] when the visiting team reacts—if I can just get under their skin a little bit—that’s a great feeling.”

Only rarely does the band perform at away games, generally staying in the safety of their own court or field, where they can easily transport their instruments. That’s something that the athletes likely appreciate, the lack of fans at McGill games in comparison to other universities. 

“I think when there’s no one in the stands we play even more for the athletes because we can be heard more and we are their only crowd a lot of the time,” MacPherson said, “I feel like that’s my main motivation for going to games, to make sure [the athletes] feel supported.”

That support doesn’t stop at the court. The band heavily emphasizes the social side of the group, and the friendship that holds it together.

“I came to the [McGill School of Continuing Studies] to take language courses,” explained Stefan Kammerlander, a tenor saxophonist from Germany. “I really didn’t speak English at all, but everyone was so nice to me, they helped me translate stuff. I think it’s a really really nice group [….] Most people stick around for the people here.”

 The family aspect of the group isn’t a new thing either. In a 2010 interview with the McGill Tribune, Taylor Stocks, who then served as the band’s premier, also emphasized the tight-knit community that is Fight Band.

“We’re a nice family,” she said. “They’re a group of people you can always count on for stuff, the right combination of nerd and love.”

The “nerd” aspect of the family also comes up a lot, given the background of most of the players. Think high school band geeks plus some accomplished musicians who didn’t want to go into the Faculty of Music, but still really wanted to perform.

“I was in serious concert bands, and I didn’t think I was good enough for the serious McGill stuff,” cornetist James Beecroft explained. “I saw this, and I thought ‘perfect I can keep it up,’ […] you play twice a week and you’re fine.”

The band is made up of students from multiple faculties, and while there are currently only undergraduates on the band, graduate students and professors are all welcome to join.

“As a call to Education students who want to conduct, we essentially act like a high school band,” French horn player Kaitlin Sundew Winter said. “I think [conducting us would be] good practice for them.”

While having some music experience is helpful for members to get started, there are no auditions to join Fight Band, and anyone is welcome.

“We play music of all levels, we only ask [that you] can play the instrument, not that you have mastered it,” Harris said.

“We’ll give you a cowbell if nothing else,” MacPherson added. “One of the founders didn’t play an instrument.”

The band’s original founder, Smith, is still spoken about with reverence and adoration. Smith, the “illustrious founder,” was an avid sports fan, who joined with a friend who played in his high school marching band.

“Ted was just really into supporting sports teams,” LeeAnn Ramsay, piccolo player, said. “I think they were just trying to recreate some of that excitement that you get in a football game in the United States.”

Inspired constantly by Smith, and driven by an urge to be a loud and proud support system within the McGill community, the band has begun moving beyond the scope of varsity performances. They’ve played for Management Undergraduate Society events, were featured at Open-Air Pub this past fall, have made appearances at Bar des Arts, Blues Pub, and Gert’s, and were featured on the Rick Mercer Report on CBC. This year, they’re working to get the McGill community more interested in coming to games through their new Song Contest, where students can suggest a song for the band to perform.

“The Song Contest is our way of trying to connect more with McGill’s sports fans and the athletes,” MacPherson explained. “We’re always trying to come up with new ways to support the teams, and if playing their requests in the stands helps us win, then we’re doing our job.”

At the end of the day, it all comes down to enjoying the music, and supporting the athletes.

“I think we’re always trying to improve our musical abilities, so it’s not strictly about the sports,” MacPherson said. “But, it’s not strictly about the music either, we’re really out there to support the athletes. That’s the fun part.”

Opinion

Information overload is an overblown fear

by Emma Whitehall on

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For the past few years, the term ‘information overload’ has saturated numerous media outlets, from reputable scholarly journals to more mainstream magazines offering solutions to an apparent epidemic sweeping the modern world. The argument contends that the accessibility of information online, from go-to search sites such as Google and Wikipedia, to social media outlets, are overwhelming our cognitive functions. Simple decisions are portrayed as burdens and procrastination is to blame for a generation lazier than ever before. These sorts of claims, however, are something that hard-working young students would undoubtedly take issue with. Fears of information overload are clearly overblown, particularly in the case of highly-educated students. Worries about too much information should not overshadow the agency of individuals in navigating online realms.

The other side of procrastination implicated in information overload is termed decision fatigue. Not only has technology increased the amount of information out there, it has increased the speed at which we handle it. Higher levels of productivity require more decisions every day for each individual. Professor Daniel Levitin suggests that we are in fact limited to the number of decisions we can make a day under sound mental judgment.

 

Too much information may be a potential source of additional stress, but it is is not the cause for reduced productivity.

In the day-to-day lives of students, it’s plain to see that there are more choices and decisions to make, ranging from food products to career paths. Levitin contends in his work The Organized Mind: Thinking Straight in the Age of Information Overload that the raw amount of data humanity has produced in the last 10 years is greater than the sum total we had created previously.

Greater availability of information—made obvious by the negative connotations of the word overload—actually has the potential to impair cognitive functions. There is undeniably more information for each one of us to parse through in our everyday lives, and as a result, procrastination has become a more prominent issue in modern society. The focus on procrastination has created an endless discussion and supply of articles that all claim to provide the step-by-step solution to conquering information overload. Yet despite this discourse, people are still productive. Too much information may be a potential source of additional stress, but it is is not the cause for reduced productivity.

Information overload may be what unconsciously leads students toward a ‘short’ Netflix break or a full-on downward spiral of procrastination; but most students emerge from said breaks to continue on with their responsibilities. Students are so aware of the danger posed by Facebook feeds filled with entertaining videos that they will temporarily turn their wireless connection off to get a paper written or even employ a friend to take away their cell phone until a particular task is completed. Students have adapted to the availability of distractions. The issue therefore resides not in the access to information, but how individuals manage their own responses to that information.

Procrastination and decision fatigue can clearly be problematic results of the pace at which we receive information today. That being said, students and professionals make use of coping techniques that fall in stride with Levitin’s suggestions featured in Forbes. People take breaks, write to-do lists, prioritize, and do their best to focus on one task at a time. As students paying for an education, productivity is still of a high enough importance to encourage adaptation to the challenges that accompany the ease of accessibility to a multitude of distractions.

 

Student Life

Taking advantage of Montreal’s summer season

by Emma Whitehall on

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Gone are the days when the image of summer school was a punishment to keep free-spirited kids away from their dreams of sweet summertime. In university, the reasons for choosing to enroll in summer classes can range from lightening the course load during the traditional school year, keeping up with a scheduled graduation date after setbacks, or even an attempt to fast-track one’s degree. Whatever the motivation may be, summer school at McGill is not to be dreaded, but cherished. 

The classes that McGill offers in the summer are almost all one month long, so class hours are significantly longer than they would be during a normal semester. Classes can actually become more enjoyable and engaging when you are able to allot them more time and attention.

The greater amount of daylight also makes waking up and getting to classes much less of a burden. These sunny days are also great for exploring new study spots that simply are not accessible during most of the year, most notably the Lower Field lawn. 

Summer in Montreal is not just for school. Although most students spend a large portion of the year in Montreal trying to avoid being outside for extended periods of time, the summer scene in Montreal offers some outdoor activities that will shed a whole new light on the city. A greater inclination to explore the city by foot or bike in the warmer weather provide numerous opportunities to find very cool areas that may otherwise have gone unexplored during your time at McGill. 

While the snow can be pretty, the view from Mont Royal is undeniably more beautiful with some foliage on the trees. Aside from Parc Mont-Royal, Montreal boasts some other beautiful parks slightly further outside the McGill bubble that are definitely worth the visit. Parc La Fontaine is still relatively close to campus, and is often the location of outdoor yoga classes in the summer. For a more extended day activity, rent a bike on the Canal Lachine and travel west to arrive at Parc René Lévesque, which juts out into the Saint-Lawrence River at the end of the canal—a far point of the city that few students get the chance to visit.  Although the Atwater and Jean-Talon markets are open year-round, they have a more lively vibe in the summer that makes market shopping a more enjoyable activity. 

Another noticeable difference in the summer is the chance to enjoy the patio experience of some of Montreal’s best restaurants or bars, because happy hour—or lunch hour—truly is much better on a patio. In terms of nightlife and entertainment, summer also tends to be the time of year that a lot of big concert tours travel through Montreal. This year’s big names include Tori Kelly, Justin Bieber, Janet Jackson, and Ellie Goulding—and these are just some of the shows that can be attended. Last minute tickets can be purchased on the website Vivid Seats. While there is no guarantee that tickets can be snagged, on the off chance they are purchased, the website can be a great, affordable option. 

While they can go unnoticed, a small feature that adds to the summer experience is the proliferation of beautiful gardens downtown. Last summer, a short stroll west on Rue Sherbrooke from McGill exposed passersby to rows upon rows of beautiful tulips. 

While most students often try to get away from McGill following their last Winter final, the summer months in Montreal are patiently waiting to display all they have to offer. From the very little changes that summer brings to the city’s energy, to the chance to enjoy a class on a deeper level and the opportunity to gain a more holistic view of Montreal, working in at least one summer month into your time studying at McGill is something every student should consider.

Editorial, Opinion

Editorial: Advancement of McGill’s mission statement in conflict with corporatization of the university

by McGill Tribune Editorial Board on

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It is difficult for students to comment on the McGill’s behemoth bureaucratic nature. Various administrative levels seem oceans apart from the day-to-day educational pursuits of the student body. As a line gets drawn between administrators on one side, and academics and students on the other, all members of the McGill community must ask themselves: “Who is a university for?” The answer to this question must be one that balances the practical needs of a public university facing austerity measures with the priorities of maintaining McGill’s place as an accessible research institution. But such a balance is not the reality of McGill’s situation.

The corporatization of the university is a nebulous concept, and is directly related to answering the question of “Who a university is for.” Ever since the 2008 financial crisis, universities across North America have had to clamber to find new sources of funding. The effects have been a particularly bitter pill to swallow in Quebec. Universities, in response to defunding, face higher competition to attract the best students and achieve top rankings, as well as greater competition for a more limited number of research grants. Students and faculty members have less influence on priorities because of the reduction in funding from non-corporate grants. Corporatization also refers to the influence of private sector actors who become more influential vis-à-vis traditional university stakeholders, as private financial backing becomes more essential to university research and operations.

Some of this distance may be accounted for by McGill’s frugality, which, to be fair, is not its fault; but a lot of it must also be boiled down to who McGill considers to be important stakeholders.

Oftentimes McGill’s priorities feel disingenuous and distant from the student experience. Some of this distance may be accounted for by McGill’s frugality, which, to be fair, is not its fault; but a lot of it must also be boiled down to who McGill considers to be important stakeholders. For example, the administration’s response to the Divest McGill campaign this past week shows that it prioritizes the viewpoint of certain alumni and potential donors over current students, faculty members, and the alumni who returned their diplomas in protest.

Professors are also increasingly disillusioned by the corporate university structure. Many feel the pressure of having to find funding for their research. Various studies in 2013 found that Quebec universities are underfunded compared their peers across Canada. Quebec’s share of federal research funding fell from 30.5 per cent in 2003-2004 to 25.4 per cent in 2008-2009; in 2014, Quebec university funding declined by 4.6 per cent while other universities in Canada saw increases. Acquiring funding is more competitive, earning a tenured position at McGill is more difficult, and class sizes are growing. McGill may provide support for research, but it must do so selectively. McGill therefore leans towards financial pragmatism; in so doing, it makes a value judgment as to which experiences are valuable and which are not.

Part of the answer to the question “Who is a university for?” is in the mission statement of McGill: “The mission of McGill University is the advancement of learning and the creation and dissemination of knowledge, by offering the best possible education, by carrying out research and scholarly activities judged to be excellent by the highest international standards, and by providing service to society.” As such, the corporatization of the university should be viewed as alarming; while McGill must make money somehow, internalizing the rationale and structure of a private corporation cannot mean losing sight of who a university is for—namely, society and its curious minds.

Lucius
Arts & Entertainment, Music

Lucius becomes one with the music

by Audrey Carleton on

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On March 28, Lucius, a five-piece band led by singers Holly Laessig and Jess Wolfe, performed at Theatre Fairmount as part of its tour to commemorate the release of its second album, Good Grief. While its first album, Wildewoman, has been praised for its soulful ’60s vibe, its new album moves in a different direction, taking on an ’80s pop sound. To Peter Lalish, guitarist for Lucius, this distinction in sound comes from the fact that unlike the band’s first album, Good Grief was written from scratch as a collaboration between the band’s members. Lucius’ lead singers, female powerhouses Holly Laessig and Jess Wolfe, met at Berklee College of Music and began working together in 2003. It was only until they moved to New York four years ago that they met Lalish and the other two members Dan Molad (drums, vocals) and Andi Burri (drums, guitar, and vocals), coming together to form Lucius as it is known today.

“Wildewoman was [made] starting from a lot of different moments in time,” Lalish explained. “[Good Grief is] one story that [combines] all of our crazy different personalities and musical tastes all in one […. Writing this album was] the first time that we all realized how much we each love Nine Inch Nails, and we each love old school hip hop, and we each love Harry Nilsson, and [even] classical music.”

Coming to a final consensus can be challenging while taking so many opinions into account, however. As Lalish noted, taking all five voices into consideration presented a challenge that also pushed their musical sound in a different direction from their first album.

“Each of us in the band are all songwriters,” Lalish explained. “You put five songwriters in a room and you have five different perspectives on the same thing, and so that can be a challenge by itself […] it’s sort of like everyone’s opinions, and it turns into this big stew pot. And you have to sort of see where the voice is, and all of that. So I think that those drastic changes [in our sound] are really just from having more opinions in the room.”

The band was not shy to showcase its hard work on this album during the show, with lively performances of many of the new songs. Starting off the show with “Madness,” a passionate transcription of a dream, Laessig and Wolfe assumed position across from each other in symmetry center stage, singing passionately in unison. A few songs later, they quickly picked up the audience’s energy with “Almost Makes Me Wish for Rain,” utilizing the full stage space by walking in different directions and assuming various positions on the stage, standing close and interacting with a lively first few rows. Later, for “Born Again Teen,” the pair moved their mics to stage right, facing each other in symmetry while head-banging to the bouncy 80’s-sounding pop song.

The band's engaging stage presence throughout the show included far more than its versatility in stage location, however. Two-thirds of the way through the show, Laessig and Wolfe left the stage completely, leaving the other three members to play what sounded like an improvised drum interlude for several minutes. The move left audience members a bit disoriented, but nonetheless entertained. The girls returned several minutes later in completely new outfits to coolly continue the show as though nothing had happened.

When prompted about the costume change after the show, Lalish explained that costume changes serve more than the purpose of keeping the audience on their toes.

“One, it’s like a little bit of a breather for [Laessig and Wolfe],” Lalish explained. “Instead of screaming the whole show, they get a minute to go back there and catch their breath. And then it’s also a moment for the guys to act like idiots and just make noise on stage, which is always fun.”

Costumery is a large part of Lucius’ identity as a band. Laessig and Wolfe always dress and style their hair in unison, thus placing emphasis on their sound: Two voices as one, or put-together harmony.

“They’re always doing this two-headed beast sort of music,” Lalish said. “It’s not always in harmony, a lot of it’s in unison, and that is kind of a rare thing [….] I think it was less of a reaction of ‘Let’s get some attention doing this,’ and more of like ‘Let’s really make an attempt at becoming sort of one thing that this is a reflection of that sound, that one kind of projected voice. [Laessig and Wolfe] have two really really different personalities. I think this allows them to find a common ground in their songwriting, […] I think to them it is important that they can step into these shoes and be able to perform on stage as this thing that’s maybe a little bit outside of themselves, but it has even more power, I think, that way.”

The band’s power was ever present during Monday’s performance, captivating the audience song after song. After leaving the stage a second time, they quickly summoned several minutes of applause from the audience, and returned for an encore by popular demand, bringing with them the members of their opening act, Pure Bathing Culture. The two bands silenced a once-rowdy audience with a collaboration on Elvis Presley’s “I Can’t Help Falling in Love With You” that was eerily beautiful and passionate. Several songs later, Lucius ended the show with a song off itsfirst album, “Genevieve,” bouncing around the stage, playing drums, and head banging, and summoning the same level of energy from the dancing crowd. If there was anything to take away from the concert, it’s Lucius’ power to keep an audience engaged with theatrics, energy, and powerful voices.

Off the Board, Opinion

Off the board: Still trapped in the ‘comfort women’ issue

by Natalie Wong on

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Last November, I wrote a feature about the “Comfort Women”—the euphemistic term for women captured during the Second World War by the Japanese Imperial Army as sex slaves. A month later, Japan and South Korea reached a settlement to their longstanding dispute over the comfort women. The settlement includes an apology from Japanese Prime Minister Shinzo Abe and an $8.3 million aid fund from Tokyo for former comfort women.

While this event was praised by international observers, including the US government, many are still not satisfied. Advocates and former comfort women have presented issues with the deal in its current form. For instance, Japan’s apologies and compensation only extend to the comfort women from South Korea, despite remaining survivors and families in other countries across East Asia that suffered under Japan’s terror. Furthermore, the 46 remaining women survivors in South Korea were not consulted on the deal’s terms.

Yet one aspect that has not been in the limelight is Japan’s unchanging attempt to nationalize and whitewash historical educational agendas, which is a barrier to reconciliation among all those affected by the Second World War in Asia.

In December 2015, around the same time that Tokyo and Seoul reached the agreement, a joint statement was released in Perspectives on History published by the American Historical Association. Fifty Japanese scholars—of whom 48 were affiliated with a Japanese institution—demanded corrections to information on comfort women in a high school history textbook Traditions and Encounters: A Global Perspective on the Past, published by McGraw-Hill Education.

Yet one aspect that has not been in the limelight is Japan’s unchanging attempt to nationalize and whitewash historical educational agendas, which is a barrier to reconciliation among all those affected by the Second World War in Asia.

In late 2014, Japan’s Foreign Ministry told its New York consulate general to ask McGraw-Hill to change the depiction of comfort women in the same textbook. McGraw-Hill continues to stand by the textbook and its historical content.

Distinguishing between governmental intervention and academic peer review, Alexis Dudden, a professor of history at the University of Connecticut, said, “It’s not natural that a government intervenes in academic publication [….] Imagine if Ambassador Caroline Kennedy sent three people from the American embassy in Tokyo to various publishers of school textbooks to examine how Japanese textbooks portray the attack on Pearl Harbor.”

These developments are alarming in the face of the Tokyo-Seoul deal. Recently, Japan’s Ministry of Education, Culture, Sports, Science and Technology came out with a list of approved high school textbooks for the 2017 academic year. This list was produced under Prime Minister Abe’s instruction to the education ministry to only approve textbooks promoting nationalism and positions supported by its right-wing government—which entailed screening information about comfort women.

Such parallel movements—one of political reconciliation and the other of historical contestation—are a reminder that the comfort women issue is far from over. Japanese scholars attacking McGraw-Hill for information on comfort women is only one symptom of the whitewashing of Japan’s history. Its own national curriculum, revised for the upcoming academic year, confirms the unchanging nature of its historical revision.

Keeping history alive within education is integral, not only to hold wrongdoers accountable, but to ensure that history doesn’t repeat itself. Japan’s war history accounts for a large portion of geopolitical tensions today, and as new generations emerge, the importance of historical accuracy regarding the war is essential.

According to Mariko Oi, in a BBC article, “Japanese people often fail to understand why neighbouring countries harbour a grudge over events that happened in the 1930s and 40s. The reason, in many cases, is that they barely learned any 20th century history. I myself only got a full picture when I left Japan and went to school in Australia.”

There are long ways to go in all post-war treaties—but the first step is always acknowledgement of actions. While political diplomacy has inched forward in the deal between Tokyo and Seoul, true reconciliation between Japan and the nations of comfort women will not occur—nor last—until Japan acknowledges its actions within classrooms and stops meddling in the historical education of other countries.

 

Natalie Wong is a U2 student in political science and communications. She has a bottomless appetite for food, journalism, caffeine, live music, and naps.

@McGillTribOp | [email protected]

 

 

 
Science & Technology

Delving into the data: The science of predicting elections

by David Cohn on

More in Science & Technology:

The 2012 United States presidential election was the culmination of an 18-month-long campaign that saw voters bombarded with debates, ads, endorsements, and relentless media coverage. There were also dozens of factors for voters to consider when deciding which candidate to cast their ballot for, from stances on policy to questions of character and everything in between.

Given all of this, it would be extremely difficult to predict who any particular segment of the voting public will choose. Yet Nate Silver, a baseball statistician turned political analyst, achieved unprecedented success by correctly predicting how all 50 states would vote.

Silver had access to the same polls as other analysts, yet the remarkable accuracy of his predictions suggests he (and his mathematical model) saw patterns in the data that nobody else did.

Silver’swebsite, FiveThirtyEight, named for the number of votes in the Electoral College, has been forecasting the results of Republican and Democratic presidential primaries, ever since primaries began in February. His predictions are based on three main factors: State polls, national polls, and endorsements.

Silver’s simplest model, described as “polls-only,” does more than simply average the results of the most recent state polls: Larger polls count for more than smaller ones, and each polling company is assigned a reliability rating based on the accuracy of their past polls, which determines how much weight that company’s polls are given.

His “polls-plus” model also takes into account how candidates are faring in national polls, as well as the number of endorsements that they have received from sitting members of the House of Representatives, from senators, and from state governors. 

(FiveThirtyEight.com)
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Of course, even the most sophisticated models aren’t right in every case, but when models and polls alike miss by spectacular margins, it’s clear that some factors were not accounted for. One such case is in Michigan, where Bernie Sanders won the Democratic primary over Hillary Clinton despite being given a less than one per cent chance at victory by Silver’s models. 

Major news networks remained confused even after votes began to pour in, with the Associated Press waiting until 11:30 PM to call Michigan for Sanders. One large election returns provider, Decision Desk HQ, even called Michigan for Clinton earlier in the evening, despite the fact that she was trailing by more than five per cent.

The election night hesitations were largely due to the fact that Wayne County, which contains Detroit and a relatively large percentage of non-white voters, a demographic that has favoured Clinton, was among the last to finish reporting its votes. Clinton ended up winning Wayne County by over 20 percentage points, and the statewide non-white vote by 29 points, but this was not enough to overcome the lead that Sanders had built in rural areas with a higher percentage of white voters.

The day after the primary, Carl Bialik of FiveThirtyEight, discussed in an article just what had gone wrong with the polls. The main factor was that polls had mistakenly estimated the demographic of the electorate. Voters under 30 made up a much larger percentage than expected and Sanders won over 80 percent of their votes. Another consideration was the surprisingly large number of voters who self-identified as independents. There were twice as many as expected, and Sanders won their vote by 43 percentage points.

The message, after all of the dust had cleared was that elections, much like weather, are complicated and chaotic systems. These systems are incredibly difficult to predict, and mistakes come with the territory, but the more that statistics are used to analyze them, the greater our understanding of them grows.

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