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a, Student Life

Le Chop: Restaurant reviews

by Anina Ratjen and Alycia Noë on

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The only thing better than a delicious dinner out is dishing out less money for the same meal.  For that, there’s Le Chop—an event that has hit Montreal’s restaurants for its second year, where restaurants owned by Tom Nacos Group offer fixed price multi-course menus at reduced prices, ranging from $19 to $27 a person. 

With the exception of the Valentine’s Day weekend–when you’ll have to look elsewhere for a destination to take your sweetheart–the event runs from Jan. 6 until Feb. 28. Here’s a sneak-peak of what to expect from the chopped-cost cuisine. For more information click here. 

Wienstein and Gavino’s

Wienstein and Gavino’s (W&G) lies in the midst of the bars and clubs lining Crescent Street. Although it’s inconspicuous from the exterior, stepping inside the restaurant is like travelling into the heart of Italy. Rustic decor, including brick walls and wooden tables, gives this upscale restaurant a personal, European feel.

The service at W&G never fails to impress, and wait times for tables are rare. Within a matter of minutes one is seated and indulging on bread with what is arguably the best pesto in town.

As part of Le Chop, W&G offers a three-course menu for $23. Their discount menu offers a choice between three appetizers, six entrees, and two deserts, with a vegetarian—but unfortunately no vegan—option for each. Appetizers include classic meatballs, a fennel salad, and calamari. The calamari is soft, with just the right amount of crunchy batter, and is served with two types of Diablo sauces and lemon.

With the main courses ranging from fresh cod to pizzas topped with Italian sausage, roasted red peppers, and oven roasted Roma tomatoes, the menu encompasses a variety of fresh spins on Italian classics. Sticking with a seafood theme, the linguini al gamberi fra diavola, is absolutely delicious. This pasta, with shrimp, tomatoes, chili peppers, and a garlic white wine sauce, is bursting with flavour.

The Capri Cake, a chocolate almond dessert, is a sublime way to top off a meal. It’s basically Nutella in cake form; the dish is served with a side of Nutella and hazelnuts—every chocolate lover’s dream.

Including tax and tip the meal comes to $30.42—a little more than an average student meal out, but worth every penny.  Since every course is practically a meal in itself, the portions are more than ample, and are sure to result in a food-induced coma.

With a couple of weeks of Le Chop left, W&G is worth trying out. It’s the perfect place to take your parents the next time they are in town, or to reward yourself after finishing lengthy papers and midterms.  For those on a tighter budget, W&G also offers a selection of entrees for $10 after 10 p.m. (until 1 a.m.).

1434 rue Crescent
(514) 288-2231
Hours of Operation:
Sun to Wed: 11 a.m. to 11 p.m.
(kitchen) & 3 a.m. (bar)
Thurs to Sat: 11 a.m. to 12 a.m. (kitchen)  & 3 a.m. (bar)

—Anina Ratjen

Newtown Restaurant

Newtown Restaurant. (lenewtown.com)
Newtown Restaurant. (lenewtown.com)

Located in the heart of downtown Montreal on the popular Crescent Street, Newtown Restaurant has gained acclaim partly due to its famous owner, ex-Formula One driver Jacque Villeneuve.

The restaurant’s sleek and trendy style attracts many young costumers looking for a posh atmosphere. Newtown has three different areas, each with its own unique personality. The lounge and balcony are more focused on drinks, while the restaurant serves up classics done well, such as my personal favourite, Le Newtown Burger.

Le Newton Burger is a riff on the Big Mac from McDonalds, where the chef has managed to elevate a fast-food favourite. The massive Angus beef burger arrives at the table topped with oozing sharp cheddar cheese, bacon, crisp lettuce, and the Newtown’s very own special sauce.

Although Le Newtown Burger isn’t included on the special menu for the Le Chop event, students on a tight budget can still enjoy quality food for significantly less money. For a measly $19, you can indulge in one starter, one main course, and one dessert.

While the calibre of the cuisine is the same, the options are somewhat limited. There are two choices for each course. For a starter, you can choose either a tossed salad with a shallot vinaigrette, or lentil soup topped with grilled chorizo. Following the starters, options for the main course include a rich veal blanquette served atop wild rice, or oven-baked cod topped with an onion compote. For a sweet finish, you can treat yourself to crêpes Suzette, which are crêpes flambéed in orange juice; or a classic banana split.

Overall, Newtown offers a crowd-pleasing atmosphere and serves as a reminder as to why classic dishes are classics. Although the restricted choices pale in comparison to the regular menu, if you’re looking for a cheaper option, the Le Chop menu is the way to go.

1476 rue Crescent
(514) 285-6555
Hours of Operation:
Mon to Wed: 11 a.m. to 1 a.m.
Thurs to Fri:  11 a.m. to 3 a.m.
Sat: 2 p.m. to 3 a.m.

—Alycia Noë

 

a, Arts & Entertainment, Music

Barely two years since formation, Kodaline goes global

by Hilary Storm on

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The name Kodaline is enough to stop most people for a second or two as they ponder the possible meaning of this neologism that is pronounced “code – ah – line,” but the word actually represents two distinct things. In the World of Warcraft, it’s the name of the computer game’s “Night Elf Restoration Druid”; in the real world, Kodaline is the made-up title of Steve Garrigan, Mark Prendergas, Vinny May, and Jason Boland’s Irish rock band—which they arrived at independently before hearing of its gaming significance.

Kodaline is signed to RCA records and has been spreading their bizarre name and sentimental sound to all corners of Europe since they founded in late 2011—although they’re still in the new-kids-on-the-block role as far as North America is concerned. This small group of down to earth musicians started off locally in Dublin, but with the major success of their debut album In a Perfect World (2013) and the popularity of their “All I Want” music video, Kodaline is now taking off for a world tour that will make stops in the Netherlands, Switzerland, Germany, Canada, United States, Ireland, United Kingdom and Australia over the next few months.

Lately, waiting for their big musical adventure to begin, the group has been working on developing the sound for their new album while hiding out in rural Ireland. Luckily, I was able to catch an interview with founding member Steve Garrigan during this busy time, in advance of their Montreal shows on Feb. 9 and 10.

After a day of listening to their album on repeat, I gathered that Kodaline has a very raw, emotional, and empathetic trend to their music. Songs such as “All I  Want” and “The Answer” provide a platform for inner reflection and release, as the group uses guitar crescendos and deep percussions with inflections of traditional Irish choruses to map the course of an emotion’s journey through time.

“We really focus on the muses of daily life and struggles,” explains Garrigan. “If one of us is going through a break-up, we write about it; if one of us is having a good day, we write about it. We want people to feel the same emotion we are experiencing in the words and notes of our songs.”

Though Kodaline is working to ensure that their music always retains its honest vulnerability, it doesn’t mean they can’t experiment. Garrigan remarks that the band will be trying new things on their next album such as changing their instrumentals to create a more “diverse vibe.”

“Our goal is [to be appreciated from ages] eight to 80, we think everyone can benefit from our songs,” says Garrigan.

While many young musicians who start to make it in the music industry go full-throttle into all the glitz and glam of the fast-paced scene, this small group of Dubliners—whose growing list of accolades includes selling out their hometown’s O2 amphitheatre, Ireland’s largest venue—have retained their wholesome roots. With other young stars facing DUI charges and other misdemeanours, these young 20-somethings are setting an example of the more stable behavior new social figures should mimic.

When asked about any pre-performance rituals or pick-me-ups, Garrigan responded, “We just sit around drinking Irish tea.” Although I have personally never tried this Gaelic beverage, all members of Kodaline are fanatics and remark that the “lack of properly prepared Irish tea” is their least favourite thing about being on tour. But this small detail is lost as soon as the band gets on stage and begins their performance—the impetus behind their hard work and travel.

“Our favorite part of being on tour is the chance […] to play live every night,” says Garrigan. “Our live shows are our strength, and we love the chance we have to connect to audiences all over the world.”

Needless to say, not only because of their sexy Irish accents and charming sense of humour, but because of their integrity as musicians and sentimentally-packed songs, Kodaline has an appeal to music audiences everywhere who wish to get back to the untainted, community-driven movement of music known by honest self-expression.

Kodaline plays on Feb. 9 at 8 p.m. at La Salla Rosa (4848 St. Laurent). Tickets are $20.93 including fees. They also play on Feb. 10 at 8 p.m. at Corona Theatre (2490 Notre-Dame W). Tickets are $28.15 including fees.

a, Science & Technology, Student Research

Memory-making in action: researchers film brain activity

by Abhishek Gupta on

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This January, scientists at the Albert Einstein College of Medicine of Yeshiva University captured on screen the process of the brain making memories. Using mice to perform their experiments, researchers added fluorescent tags to mRNA (messenger ribonucleic acid) molecules that helped them track these molecules as the brain underwent the active process of creating memories. mRNA carries copies of instructional materials for the formation of proteins from the cell’s DNA.

“It’s noteworthy that we were able to develop this mouse without having to use an artificial gene or other interventions that might have disrupted neurons and called our findings into question,” said Robert Singer, author of the two papers published in the journal Science, to Science News at the Albert Einstein College of Medicine.

This development is crucial because neurons are inherently sensitive and can be damaged easily if the experiments are not performed carefully.

The mRNA molecules that the researchers tracked help control the direction of another class of molecules called beta-actin proteins that are essential for making memories. By ‘tagging’ the mRNA molecules, the researchers were able to observe the movement of these proteins in real-time inside a functioning brain to look deeper into how the brain works and stores memories.

“Having a long, attenuated structure means that neurons face a logistical problem,” Singer said. “Their beta-actin mRNA molecules must travel throughout the cell, but neurons [also] need to control their mRNA so that it makes beta-actin protein only in certain regions at the base of dendritic spines.”

The first paper out of the two focused on the work conducted by Hye Yoon Park, who is a PhD instructor at the Albert Einstein College and  Singer’s former student. It explains how the researchers developed the mouse model and how the stimulation of the neurons in the hippocampus—the part of the brain responsible for making memories—shed light on the travel paths of the beta-actin proteins to their destinations.

The second paper showed that stimulating the neurons caused beta-actin protein to accumulate precisely in the location needed to form memories.

Researchers watched as flourescent beta-actin mRNA molecules formed in the nuclei of neurons—the control centre of these cells—and travelled within dendrites—projections of the neurons.

“This observation that neurons selectively activate protein synthesis and then shut it off fits perfectly with how we think memories are made,” Singer said.

The results from this study open a window into the intricate inner workings of the brain and spark a further interest in this field that may accelerate our understanding of the human brain.

a, Arts & Entertainment, Film and TV

Oscar shorts

by Morgan Alexander and Mira Sharma on

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For most Academy Awards viewers, the two short film categories represent a void in the ceremony that lacks the familiarity of the other televised fields. To help you avoid the otherwise inevitable unpreparedness, the Tribune compiled cheat sheets that will provide all the knowledge you need to fill out an informed ballot—or you can just see the films yourself. They’ll be screening at Cinema du Parc (3575 Parc) until Feb. 6. Screenings take place at 1:45 and 8:15 p.m. Student tickets are $8.50.

Oscar-Shorts-Live-Action-Ribbon

Live action:

As attested to by famed directors, producers, and actors, the short film is a highly underappreciated art in the world of cinema; short films allow for a purely cinematic experience that forces the viewer to see, hear, and feel in rapid succession.

The five live-action short films nominated for the 2014 Academy Awards ranged from funny to suspenseful; politically-charged sermons to thought-provoking cliff-hangers; but all of them remain unified in their ability to utilize poignant dialogue and meaningful camerawork to display a message far beyond the half-hour time frame.

Anders Walter’s Helium tells the story of a young dying boy, Alfred (Pelle Falk Krusbaek), who is given hope through the stories of a hospital janitor, Enzo (Casper Crump), about the world of Helium, “where sick kids go to get their strength back.” Of all the nominated films, Helium is the most visually striking as it displays in vibrant, fast-moving colors the imaginations of a young-boy. Where Helium falls flat was in its failure to develop the storyline of Enzo, whose fairy tale drives the plot. Despite this oversight, Helium’s strong dialogue makes for an emotionally stirring piece that’s well balanced in humour, seriousness, and childlike wonder.

The Voorman Problem, a UK film from Mark Gill, tells the tale of a psychiatric doctor’s (Martin Freeman) encounter with a prisoner (Tom Hollander) who claims to be God. Overall, this is the most interesting of the five films, somewhat like a psychological thriller without any jump-scares. It’s designed to leave you mouth-agape, wondering what just happened. What I liked most about The Voorman Problem was that it kept me wanting more, as if it was a sneak preview to a new reality TV show. However, in comparison to the other nominated features, it lacks an emotional link.

Avant Que De Tout Perdre (Just Before Losing Everything) tells the story of a young wife, Miriam (Léa Drucker) who escapes with her two children from her abusive husband. Director Xavier Legrand’s film stands out as a result of its suspenseful nature, depicted atypically through images rather than music. The set-up of the movie has the plot unravel slowly, showing a frantic woman who is revealed through context clues to in fact be a victim of spousal abuse. This film leaves you on the edge of your seat up until the last moment; and while its fast-paced camera work keeps viewers on their toes, it allows some thematic concepts to get muddled and be left unfinished.

Selma Vilhunen’s subtitled Finnish film Pitääkö mun kaikki hoitaa? (Do I Have To Take Care Of Everything) tells the story of a family rushing to make it on time to a wedding. This film is the shortest of those nominated, clocking in at seven minutes, and is also the funniest, making good use of visual and situational humour. While it’s a welcome relief to watch in regards to some of the heavier films featured alongside it, this short film fails to rank with its competitors in terms of visual dynamism and thought-provoking story lines. Despite this, it’s still a heart-warming film with a happy, carefree message of love and acceptance.

My pick for the Academy Award goes to Esteban Crespo’s Aquel No Era Yo, the tale of a young boy (Mariano Nguema) and his experience as a child soldier in Africa. Aside from being an emotional rollercoaster and a cinematic attack on the senses, this film provides a no-holds-barred look into the world of a child soldier. This film is produced in collaboration with multiple projects that aim to help children around the world live safer, healthier, happier lives. By providing a raw, unedited look into the world of a child soldier, this film makes a powerful and lasting statement.

—Morgan Alexander 

Oscar-Shorts-Animated

Animated:

A children’s bedtime story, a phantasmagorical dream, and everything in between make up this year’s animation shorts Oscar nominee pool.

Disney delivers Lauren MacMullan’s Get a Horse, featuring Mickey Mouse (using the archived voice of Walt Disney) and the gang—Minnie, Peg-Leg Pete, Horace Horsecollar, and Clarabelle Cow—in an oddly self-reflective narrative about the evolution of animation. Stylized in their two-dimensional 1928-esque black-and-white renderings, Mickey Mouse and his friends engage in a raucous, simplistic comedy. The film takes an unexpected turn when Mickey is thrown out of ‘the screen,’ landing in the theater’s venue and converted into a colored three-dimensional cartoon. The gang constantly crosses between the 2D and 3D worlds, and even goes so far as ‘rewinding’ and ‘fast-forwarding’ segments of their ‘film’ by using the screen as a vintage flip book.

Mr. Hublot, a French short from Laurent Witz and Alexandre Espigare, tells a heart-warming story of a peculiar obsessive-compulsive man, outfitted in mechanical parts, living alone and adopting a robotic dog from the streets that turns his ordered environment upside down. Set in a steampunk-esque environment, the man comes to cherish his adopted pet and learns to make room in his ‘tin’ heart and ordered living space. Using stop-motion and computer animation, Witz and his team produce a visually intricate feast for the eyes. Yet more compelling is the story of this man and his dog filled with belonging, friendship, and love. You can’t help but root for the tiny robotic puppy we first encounter on the streets.

A Japanese contender, Possessions, directed by Shuhei Morita, is the oddball of the bunch. An 18th century traveling ‘fix-it’ merchant takes shelter from a storm in an abandoned hut filled with discarded possessions that are fittingly ‘possessed.’ The items come to life and break out in song-and-dance in creepy fashion; it makes for some puzzling questions as to Morita’s vision regarding the plot. Though the conclusion leaves more questions than answers, the colours in the animation are vibrant and distinct.

Max Lang and Jan Lachauer bring together the stellar voice talents of Simon Pegg, Gillian Anderson, and Sally Hawkins in Room on the Broom. This children’s bedtime story is distinguished by its simple, bright colours and animation, along with the poetic rhyming narration. Though overly extensive in length, the film does possess the makings of a perfect children’s tale through its delightful humor and morally-sound happily-ever-after ending.

American director Daniel Sousa, along with composer Dan Golden, brings us Feral. Out of all the nominees, this one is the hardest to define. This poetic film tells a story about a wild boy living in the wilderness among wolves who is taken by a hunter to live among a human society. With stark colours and absent dialogue, it’s a visual essay examining the brutalities of nature and human society for an innocent boy, left to navigate both worlds on his own. The entirely hand-drawn animation depicts an expressionistic, surreal reality with its muted sound and metaphorical imagery. Accused of having a vague, inclusive ending, the narrative is poignant and effective in its examination of the binary realities of light and dark; wild nature and civilization; and child and man.

Though it would be thrilling to see Mr. Hublot take the win for Best Animated Short, it would be surprising if the poetically beautiful Feral does not bring the Academy Award home. But in Oscar tradition, Get a Horse, may surprise audiences and take the golden statuette home for its self-reflective examination of the art of animation.

—Mira Sharma

a, Science & Technology

The music of the immune system

by Maral Saghaei on

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Sitting in on an interview with Chair of the Department of Microbiology and Immunology Joaquin Madrenas, it’s easy to be mesmerized by his knowledge, charisma, and aptitude to take on life.

“I feel fortunate; I enjoy everything!” said Madrenas. “[Aside from science, I try to engage in various activities] with my friends and family in an attempt to make sure my life is a continuum.”

One of these activities—music—has shaped both the lectures he gives at McGill and, in June 2012, inspired a Ted Talk about the impact of infectious diseases. In his teaching, Madrenas relates the crescendos and decrescendo, as well as other musical elements of symphonies with the different  phases of disease.

Throughout his career, Madrenas has made influential contributions to science through his publications in many top journals. However, his experiences transcend that in research. Madrenas holds a medical degree from the University of Barcelona and is currently an active professor at McGill.

“I think I [always saw myself conducting research], but my primary vocation has always been medicine,” Madrenas said.

“I consider myself a physician that had the opportunity to be confronted with patients’ needs, which [I could] tackle through research. I [hope that at the end of my career] I can say that I have contributed to improving the quality of life of my patients.”

Although he doesn’t practice clinical medicine anymore, Madrenas works very closely with human health through research.

“In the lab, we have two lines of research,” he explained. “Both have in common the discovery of novel ways to regulate immunity. We are looking at how microbes learn to live in humans without causing disease and finding out what mechanisms they use in doing so. Those mechanisms could be [useful in] developing templates for new treatments. [We are also looking] to find out how biological membranes are put together to facilitate communication between the [outer and inner] world of the cell.”

(Cassandra Rogers / McGill Tribune)
(Cassandra Rogers / McGill Tribune)

Despite his own research accomplishments, Madrenas now finds gratification from others working in his laboratory. He emphasizes the importance, as a professor and scientist, to change other people’s lives.

“Moments of discovery are tremendously gratifying [and when they come] from one of my students or trainees, they are even more so,” he said. “Seeing your trainee succeed and become successful on his or her own is tremendously rewarding.”

As for what inspires him, Madrenas is a man of values and simple pleasures.

“My family and my wife in particular [are a] constant source of joy and intellectual challenge. My environment is [also a] source of inspiration,” Madrenas said.

He insists that this includes his colleagues and staff at McGill and beyond.

“Figuring out how the things we witness [occur] is also inspirational. I have found it practical to be inspired every day by very little things…. At the end of the day, success is anything that allows you to get a sense of happiness,” Madrenas said. “[It is] an internal sense of happiness, which includes peace, respect and fulfillment. I think happiness is a state of mind, [which] you work on […] One can be very happy while being bored, [just as] one can be happy being challenged,” he said. “At the end of the day, I am a happy person.”

 

McGill Tribune: What do you look for in students who are applying to work in a laboratory?

Joaquin Madrenas: [It’s] a combination of qualities that projects a positive profile for recruitment, [which] include enthusiasm, drive, intellectual brilliance and past track record of achievement [….] I am always looking for brilliant students or trainees to come to my lab to work in our team, so the need to see a fit in [that framework] is also very important.

MT: What is your biggest fear?

JM: Losing the energy to tackle life, becoming disenchanted with everything I see, and losing my ability to be primed by what surrounds me.

MT: What are you reading right now? 

JM: I am reading three books: a biography of Johannes Sebastian Bach, the novel 14, and a book I currently read on the bus on leadership styles.

 

Full disclosure: Maral Saghaei spent summer 2013 working in Madrenas’ laboratory.

a, Opinion

Goodbye and good riddance

by Daniel Braden on

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When people ask me about my post-graduation plans, I often tell them that I’m done with school. I’m looking for a job on a midterm campaign, I tell them, and maybe I’ll head to law school somewhere down the line. But what I invariably add is that I’m not actually done with school, I’m done with McGill. For the past four years this university has been at best exasperating and at worst downright hostile. Through a mélange of inept bureaucracy, rampant grade deflation, and insufferably pretentious and hypocritical undergrads, McGill has routinely been a source of immense frustration.

While I don’t hesitate to brag about my school’s academic pedigree, or whip out the latest turn of phrase gleaned from my latest political science course pack, my praise for what will soon be my alma mater is rather forced. When pressed to elaborate on what I enjoy most about going to McGill, I often cite examples from beyond the confines of the Roddick and Milton Gates. Montreal is a wonderful city, the French immersion is invaluable, the community is warm and accepting, and my friends are among the best people I’ve ever met. However, with the exception of the latter, none of these redeeming qualities hold any extensive ties to this school. A stubbornly anglophone faculty and student-body—coupled with a general atmosphere of superiority—make McGill an island in this francophone metropolis, while the competitive nature of over 20,000 highly qualified students all vying for the same internships makes conferences an act of both preening and self-loathing.

What I have found most frustrating though is the degree of universal indifference and exclusivity that permeates nearly all aspects of McGill life. Never one to offer a helping hand, McGill’s student services are more than happy to let you drown unless you explicitly ask for a lifeline. Whether it’s fulfilling graduation requirements, applying to study abroad, or getting an appointment with student health services, McGill’s administrative and departmental offices are never forthcoming in providing students the tools they need to succeed. Rather they are hidden behind a web of paperwork, outdated and poorly organized filing systems, and scorn for what many faculty and staff see as spoiled students reliant on handholding.

Among students, McGill is lacking in a substantive and hospitable campus culture. Unwilling to coalesce around sports like many other public universities, McGillians are seemingly united only in times of divisiveness. The single largest gathering of students I’ve ever seen was the infamous 2012 Arts General  Assembly,  which brought together thousands of disgruntled and ideologically motivated students for six excruciating hours of caustic debate, recounts, and general vitriol—all of which failed to resolve the issue despite such a massive degree of involvement. Never have I seen a concerted effort on the part of any student organization to actively bring together and involve students with SSMU, the university, or even general social or academic issues. Although many groups will put on an air of openness and inclusivity, it’s as if McGill is one giant mixer where everyone greets each other with a closed fist.

Lastly, there is the rampant hypocrisy that characterizes much of the campus discourse. As a loud and ever-present voice for social justice and staunch opponent of human oppression, the McGill Daily is nonetheless happy to publish article after article brimming with anti-Semitic venom. Look no further than last week’s feature, which not only sought to legitimate a fringe anti-Zionist Jewish group (viewed by many Jews in the way that most Christians view the Westboro Baptist Church) but actively perpetuated grossly offensive stereotypes, such as Jews owning the media and the Israel lobby’s (imaginary) iron grip on Western political institutions.

The duplicity continues with SSMU, which for all its posturing as the sole representative of McGill’s undergraduates puts extraordinarily little effort into providing services in French. Not only is the SSMU executive routinely made up of all anglophone students, but every GA I’ve been to has lacked an English-French interpreter, has had an entirely English agenda, and has seen questions asked only in English, with no translation offered. Moreover they have never bothered to link their efforts towards preventing racist or culturally insensitive costumes at Four Floors to the larger issue of the systematic underrepresentation of people of colour and other visible minorities in the student body, faculty, and staff, despite a mandate which calls for the inclusion and acceptance of these groups.

Am I happy I went to McGill? Yes, the experiences I’ve had and people I’ve met here simply don’t exist in North Carolina. Did I get a world-class education from a prestigious academic institution? Absolutely. But given this school’s blanket antagonism towards harmony and unity, I can safely say that the degree I receive this June will be my last from McGill.

 

Daniel Braden is the creator and curator of “McGill Memes.”

An abridged version of this article appears in the Feb. 4 issue of the Tribune.

a, McGill, News

McGill rescinds ATI appeal, will not pursue discretionary powers

by Eman Jeddy on

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McGill has withdrawn from their pursuit of the jurisdiction to disregard Access-to-Information (ATI) requests, according to a statement released Jan. 24.

The settlement concludes a legal dispute that began in December 2012, when the university sought the right to ignore ATI requests at its discretion due to an increased volume of requests.

The Commission d’accès à l’information du Québec rejected McGill’s initial motion to gain discretionary control at a preliminary hearing last October. The university then announced its intent to appeal  the decision to the Québec Court of Appeal, before negotiations for a settlement officially began on Nov. 27.

The withdrawal of the motion is part of the settlement, in which McGill also agrees to set a timetable for responding to some of the contested ATI requests, with the first set of responses due on Feb. 28.

“Under this agreement, McGill has undertaken to respond to a number of redrafted requests within a negotiated time-frame,” the joint statement reads. “On their part, the students and community members will withdraw certain requests [that were too vague]  but keep their right to file requests for review before the Commission d’accès à l’information of McGill’s responses to the redrafted requests.”

Kevin Paul, one of the students who submitted ATI requests and was named in the settlement, said he believes  McGill’s withdrawal came from a belief that courts would reject its appeal.

“We see the initial motion as a politically motivated effort to block ATI requests from an indeterminate group of people for an indeterminate period of time,’’ Paul said. “McGill has recognized that not only would it not win in courts on this, but that its efforts are bad for public relations.”

Paul said the defendants would now look to McGill to disclose the information they requested over one year ago.

“While we’re happy that McGill has withdrawn its motion, ultimately what we want is an actual disclosure of information,” Paul said. “We want documents in our hands that are neither incomplete nor redacted in unacceptable ways.”

a, Arts & Entertainment, Theatre

Family matters spiral out of control in All My Sons

by Max Bledstein on

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The ‘dystopian suburban soap opera’ has become somewhat of a cliché in recent years. Between Alan Ball’s film American Beauty, Tracy Letts’s play August: Osage County, and David Chase’s television series The Sopranos, writers have managed to wring an impressive amount of drama out of debunking the American Dream. Legendary playwright Arthur Miller provided them a marvelous template to work from with his play All My Sons, currently being performed by the McGill Players’ Theatre.

Director Matthieu Labaudinière emphasizes the American setting of the play immediately with the Tin Pan Alley-era jazz that plays as the house lights dim. As the stage lights come up, we are exposed to American suburbia through the set’s white picket fence, bright red door, and lone rocking chair. Set designer Patrick Higdon also places dead rose petals around the stage and strewn tree branches at its centre to hint at the dark side of the seemingly idyllic world Miller will soon reveal.

The tree branches represent a central motif in the drama. The Kellers plant the tree to which the branches belong in honour of their son Larry, an air force pilot who has been missing in action for three years. As the play opens, Joe Keller (Oren Lefkowitz) and his neighbours Jim Bayliss (Ben Mayer-Goodman) and Frank Lubey (John Hanchar) discuss the fallen tree and the effect it will have on Joe’s wife Kate (Julianna Astorino), who clings to the notion that Larry still might be alive.

The Kellers’ other son, Chris (Matt Smith), is introduced shortly, and here we begin to see Miller wrestle with issues of class and education. As Joe peruses a copy of the local paper, Chris asks to read the book review section. Joe scoffs at Chris’s desire to be educated, and Chris shows an equal disdain towards his father’s philistinism.

Miller continues to probe the depths of these issues as we learn more about the characters. Joe owns a local factory that produces aircraft machinery. Chris, on the other hand, aspires to use his education to escape blue-collar life. The tension between these two philosophies forms a central pillar of the drama.

Much of the play’s interest derives from the relationships between these men and the two most prominent female characters, Kate, and their former next-door-neighbour, Ann Deever (Noush Kadian). Ann comes to visit for the first time since Larry, her former lover, went missing. We soon understand her motivations, as she and Chris are revealed to be romantically attached and intent upon getting married. Though Joe accepts their marriage, Kate’s attachment to Larry and her refusal to acknowledge his death prevent her from coming to terms with the relationship.

Although Miller initially presents Kate as the character who is most removed from reality, the delusions which cloud the judgements of both Chris and Joe rise to the surface as the play progresses. Both Chris’s idolization of Joe, and Joe’s refusal to admit the precariousness of the situation involving him and his ex-business partner Steve (Ann’s father) seem more and more absurd as Miller provides more information about each of the characters. By the end, we see the extent of the denial under which the three of them live under.

The complexity of these roles require the actors to embody a wide range of personas throughout the drama, and they manage (for the most part) to convey the tolls which the strife takes upon their characters. Astorino’s portrayal particularly stands out. She depicts both Kate’s initial plucky aplomb and the devastation of her self-realization to deliver a wrenching performance.

All My Sons is a deceptively complex take on the American suburban melodrama, and the Players’ Theatre has delivered a strong interpretation that deftly navigates the play’s many intricacies. Miller’s play probes issues of class, family, and war; this production makes a strong case for the continued relevance of its takes on those topics in the present day.

Though urban Montreal might sometimes feel far-removed from small-town American life, All My Sons shows the universality of the emotions it depicts.

All My Sons starts at 8 p.m. on Jan. 29—Feb. 1 at Players’ Theatre. Student tickets are $6.

a, News, SSMU

SSMU to consider severing ties with Quebec student roundtable

by Cece Zhang on

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The Students’ Society of McGill University (SSMU) could seek to leave the Table de concertation étudiante du Québec (TaCEQ), after fellow member association at the Université de Sherbrooke (REMDUS) voted 73.2 per cent in favour of leaving the student federation Friday.

TaCEQ is a federation of student associations that represents approximately 60,000 students from three universities in Quebec, and aims to share resources in research and congregate to lobby the Quebec government, according to its website.

The REMDUS referendum to leave TaCEQ was consultative, as the results will need to be ratified in the association’s General Assembly (GA) on Feb. 6. However, according to REMDUS President Marie-Pier Boisvert, it is likely that the results will be ratified.

“[The referendum] is strictly a consultation, it’s not decisive, and it’s going to be up to the General Assembly to decide,” Boisvert said. “But what I have in mind right now, is that they’re probably going to accept […] the referendum’s results.”

SSMU Vice-President External Samuel Harris said it would be unlikely that REMDUS would not leave.

“I don’t think they could ever strongly contradict results that strong,” Harris said. “We’ll see what happens though.”

According to Boisvert, the referendum was prompted by an accumulation of frustrations by the members of REMDUS, the most recent of which was TaCEQ’s failure to hold a congressional meeting to reform the organization.

“[We felt] it’s high time TaCEQ changed some of its oldest practices,” Boisvert said. “There always seemed to be some sort of hold up from one association or another [.…] We’ve been trying very, very hard to have this congress for reform, and we felt like we were the only ones who really wanted it.”

If the results of the referendum are upheld, only three student associations from two universities would remain in TaCEQ: Université Laval’s postgraduate student association (AELIÉS), Université Laval’s undergraduate student association (CADEUL), and SSMU.

In order to be a recognized student federation, an organization must have student association members from at least four different academic institutions.

According to Harris, who serves as SSMU’s representative to TaCEQ, SSMU now faces the uncertain future of its relationship with the federation.

“We’re reflecting right now,” Harris said. “The question is, is it worth staying without [REMDUS]? I think it’ll be extremely difficult to make it work.”

At Thursday’s SSMU Council meeting, Arts councillor Ben Reedijk argued that SSMU should leave TaCEQ, pointing to the $17,000 that SSMU contributed toward the federation this year.

“TaCEQ is very tenuous; we don’t really know what’s going on with it,” Reedijk said. “I’ve been very frustrated with it, and I don’t really feel like SSMU would be responsible to its constituents if we continued funding it past the point where we really have to, at this stage.”

Harris said the decision for SSMU to withdraw from TaCEQ could be made in several different ways, as early as this semester’s referendum period.

“I think it was a [SSMU] Council decision that created [TaCEQ] in the first place, so arguably, some would say Council could [vote to leave],” Harris said. “The most transparent way would be by referendum [….] The referendum period will have higher turnout, and I’d be more willing to do that.”

TaCEQ will be holding a meeting on Feb. 9 to discuss the organization’s future, as it is currently engaged as an intervener in a court case regarding students’ right to free association with student societies. These legal and financial obligations will continue to tie the student associations together over the next few months.

“We have other things we need to clear, financially,” Boisvert said. “Even if we disaffiliate, we’re still going to be a part of [the TaCEQ court case]. We want to stay close to these other associations [….] There are no hard feelings; we want to have those links.”

 

a, Men's Varsity, Sports

Basketball: Ogundokun puts up career numbers as Redmen cruise

by Aaron Rose on

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After back-to-back road losses, the stumbling McGill Redmen (6-2) regained their moxie as they coasted to a 70-49 win over the Concordia Stingers (6-4) on Saturday night. The team continued its perfect record at home and jumped from third to first in the division thanks to a Laval win over Bishop’s. Concordia’s offence had no answer for McGill’s dominant man-to-man defence as the Stingers shot a pitiful 32 per cent from the field.

With over 400 fans in attendance on Saturday, Love Competition Hall had no shortage of energy. Prior to the game, Redmen Head Coach David DeAveiro stressed the importance of protecting home court and turning McGill into a place no team wants to play.

“I think our guys understand that we always have to defend our home court,” DeAveiro said. “We know we’re good at home, now we [just] have to win some tough games on the road.”

After a heartbreaking loss at Concordia last Thursday, DeAveiro refocused the team while emphasizing hustle and controlling the boards.

“We watched the video [of the] Concordia [game] and I thought that as well as Concordia played, we really beat ourselves,” DeAveiro said. “We talked about fixing two things, […] not letting anyone out-hustle us today, [and] we got out-rebounded last game, and I think we [out-rebounded] them 50-31 tonight. So we addressed the things we thought needed to be addressed, and the kids responded really well.”

The host’s response came early as the Redmen snatched the game’s first eight points. After a poor showing at Concordia in the team’s previous matchup, freshman guard Dele Ogundokun was scorching hot, registering a career-high 21 points along with seven boards and a pair of steals.

“My teammates were giving me the ball, [I was] attacking the glass, and just doing what I needed to do for the team,” Ogundokun said. “Tonight’s win was [just] a whole team effort.”

McGill forward Francois Bourque’s rookie season has been nothing short of spectacular, as he recorded his fourth double-double this season with 12 points and 11 boards. Veteran forward Vincent Dufort just missed the double-double mark with 11 points and nine rebounds. While point-guard Simon Bibeau’s return didn’t make a huge difference in the game, his 15 minutes on the floor gave third-year guard Ave Bross some much needed rest after being the team’s primary facilitator in the Redmen’s previous three outings.

(Wendy Chen / McGill Tribune)
(Wendy Chen / McGill Tribune)

Defensively, the team played well, as it held the Stingers to a season-low 49 points. The Redmen held Concordia stars Mukiya Post and Adam Chmielewski to just 11 and nine points respectively after the tandem combined for 45 points in the previous game. “We tried some different things with [Chmielewski] this game; we tried to play different guys on him, [we] put a fresh guy on him, [then] a taller guy on him,” DeAveiro said. “We just changed it up so that he didn’t get the same look over and over again.”

The Redmen have regained their composure just in time for a crucial home-and-home series with the Bishop’s Gaiters on Jan. 30 and Feb. 1. In the teams’ first matchup on Nov. 28, the Gaiters choked up a 10-point halftime lead in a resounding 81-63 Redmen win. After Bishop’s fell to Laval on Saturday, the Redmen and Gaiters are now deadlocked at the top of the conference at the halfway mark of the season. The team that comes out ahead next weekend will establish a tight grip on the race to win the RSEQ.

 

Vincent Dufort attacks the paint. (Wendy Chen / McGill Tribune)
Vincent Dufort attacks the paint. (Wendy Chen / McGill Tribune)
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