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a, Student Life

Navigating the next steps: graduate school applications

Undergraduate degrees today are gradually becoming the high school degrees of yesterday. According to Shawn O’Connor, founder of Stratus Prep New York’s test preparation and admissions consulting firm, graduate degree programs are increasingly receiving more and more applications.

O’Connor regularly travels with universities’ admissions groups across North America. On Nov. 11, the Political Science Students Association (PSSA) brought in O’Connor, who shared advice from an insider’s perspective on applying to graduate schools, law schools, and business schools. Topics included financial aid, personal statements, and standardized testing.

He explained the long-term importance of putting together a strong application in order to get into the best schools.

“Graduate school is a brand which you will purchase, [one] that you will be associated with for the rest of your life,” O’Connor said. “If you go to business school at McGill or [the University of Toronto], which are the top two [business schools] in Canada, your median starting salary will be 85,000-86,000 American dollars. If you go to business school in the United States, your starting salary will be between on average 115,000—145,000 dollars. These are the best schools in the world; you will be getting a global degree.”

According to O’Connor, graduate schools have two aims: they want their acceptance rate to be low, and their yield rate to be high. Yield rate is the number of people who accept their offer of admission; it’s considered a matter of brand strength. To increase their yield rate, universities offer scholarships to the most compelling applicants.

O’Connor said that universities sort applications into three categories based on GPA and standardized test scores: “auto admit,” where exceptional marks guarantee admission, but essays and recommendation letters are important for scholarship prospects; a “debate” category where GPA, LSAT, essay, and recommendation letters are equally important for admission; and “auto rejects,” where the applications will never be looked at by a human, but will be sorted by software.

Getting into the “auto admit” category takes foresight and effort, which students don’t necessarily realize.

“It’s not last minute; [applications] actually take a lot of preparation, so this was good slap in the face to wake you up,” event attendee Guellermo Renna, U3 Arts, said.

 

O’Connor’s tips for success

Standardized tests

You should begin planning for standardized testing in advance. For business and graduate school, you’ll need a four month window to study because the standardized tests are easier. For law school, you need a six-month time frame. Never take the February LSAT exam; since it is not publicly released, it includes more difficult questions. Instead, take the June exam, and keep the October one for backup.

Applying for financial aid

Canadian students often assume they cannot afford schools in the United States. Schools like Georgetown and Columbia are good options; they give around 50 merit-based scholarships. Furthermore, by applying to multiple schools—for example, 15-16 schools in the U.S. and six to seven schools in Canada—if you receive a scholarship at a lower-ranked school, you may ask a higher-ranked school to which you were accepted without scholarship for merit-based aid. A school may oblige in order to prevent you from turning down their offer to keep their yield rate high.

Personal statements

The personal statement is imperative, and any “optional” or “diversity” essay is not really optional. A personal statement should be about why you want to go into law, business, or graduate school, and why that particular school. The optional statement is for the applicant to get personal, and write a memorable story. You should not write about your study abroad experience—that’s the number one thing that people write about in the U.S. Be distinctive. Law schools want to know what type of law the applicant wants to practice; they want the applicant to have a purpose, and not just go to law school for “self-discovery.”

Recommendation letters

Business schools prefer insight from someone who has worked with the applicant, whereas law schools desire people with high credentials to share insight on the applicant’s achievements. For other graduate schools, the letters must come from someone working in the specific discipline for which the applicant is applying. The more customized the letters of recommendations are to the applicant, the better.  You should prepare materials for professors to aid their recommendations, for example, letters for law school and PowerPoint slides for business school.

a, Student Life

Kazu: a hidden treasure of Japanese cuisine

Who would have thought a restaurant barely the size of a bedroom would serve impressive food? With its handwritten menu thumbtacked to the wall, most people would walk by without giving Kazu a chance. A hole-in-the-wall authentic Japanese restaurant that opened in 2011, Kazu may not have the best outward appearance, but the food surely delights.

Kazu’s sign is easy to miss, as it blends in along the main strip of downtown Montreal, but the long lines extending daily from its door pique the interest of passersby.

Inside, the service is quick, efficient, and friendly, meeting the high customer demand. Mistakes may occasionally occur due to the distracting environment, but the hosts always try their best to ensure the best experience. Unlike other eateries, they apologize if, for example, they forget your drinks.

From the bar, you can observe the chefs as they quickly turn out delicious food. One highlight of the menu is the shrimp burger—a homemade shrimp patty served on a lightly toasted bun with spicy mayonnaise, crisp lettuce, and a thin rice patty that provides a much-needed crunch. This lightened-up burger is the perfect fusion, serving an American classic with a Japanese flavour profile.

Another highlight is the 48-hour pork bowl, which serves juicy, tender pork atop onions and a generous bed of rice. The fresh ginger adorning this dish further enhances the deep pork essence developed through slow simmering.

Kazu is well-known for having some of the best ramen in all of Montreal, but this crave-worthy dish is served only at lunch (Monday, Wednesday to Friday, and Sunday) from 12 p.m. to 3 p.m. Their claim to fame lives up to the hype, as the delicious broth isn’t overly salty like many other ramen houses, and the noodles provide a perfect textural contrast to the soft egg and edamame bean toppings. Since this seemingly simple dish is actually quite difficult to make, Kazu’s ramen is an impressive reflection of the the chefs’ understanding of Japanese cuisine, and is further enhanced with a few homemade seaweed chips for more umami.

Kazu is also vegetarian-friendly, since the chefs make their own homemade tofu. They take pride in serving well-cooked vegetables in a creative fashion, such as their eggplant dip and rice balls.

If you’re a more adventurous eater, you can venture to try pork neck and cheek, tuna belly, or kimchi. Originally a Korean delicacy, kimchi is a spiced, fermented cabbage that provides the ideal juxtaposition between piquancy and a slightly sweet quality to soothe and tantalize the tongue as you eat. For dessert, there are homemade soft ice creams in flavours that include wasabi and black sesame.

To experience the delights inside Kazu, however, you must have patience. Complaints regarding the wait times—which can reach upwards of half an hour—are common. For the busy student, there is a way around this issue. The eager eater can call ahead to place an order for pick up (unfortunately, Kazu still doesn’t offer a delivery service). Something else to note is that prices at the cash-only restaurant tend to be slightly higher than average because the chefs insist on sourcing only quality ingredients.

Nonetheless, Kazu does not disappoint with its boldly-flavoured Japanese dishes that excite all palates.

 

1862 Saint Catherine Street West (514) 937-2333

Mon., Wed.-Fri., Sun: 12:00-3:00 p.m., 5:30-9:30 p.m.

Tuesday: closed

Sat: 5:30-9:30 p.m.

a, Science & Technology

Research brief

Traffic Lights

Arguably the very worst part of commuting is hitting one red light after the other, and it’s all the more frustrating when you’re hitting these reds while driving on an otherwise empty street.

A University of Toronto Postdoctorate Fellow, Samah El-Tantawy, recently installed a new system in Toronto traffic lights as part of a Toronto-Cairo pilot program. The aim was to increase traffic efficiency by designing an artificial intelligence program that allows traffic lights to communicate with each other and use decision-making strategies using Game Theory, rather than the current system of a centralized command center using algorithms.

“In lay language, [traffic lights] act as a team of players cooperating to win a game—much like players in a soccer match, where each player [wants] to score, but at the same time, considers the ultimate goal of the entire team which is winning the match,” El-Tantawy said in a University of Toronto press release, according to Yahoo! Canada News.

Essentially, the lights are able to use up-to-date, real-time information to make logical decisions that will keep traffic flowing smoothly. This system was installed on approximately 60 intersections in Toronto and reportedly reduced traffic by around 40 per cent. Commute times were also cut down by approximately 25 per cent, meaning that the widespread implementation of this technology could have huge implications for urban traffic congestion, as well as carbon emission levels.

a, Arts & Entertainment, Music

Sebastien Grainger – Yours to Discover

In this LP, Canadian Death From Above 1979 singer/vocalist Sebastien Grainger deftly embraces the breezy Los Angeles style into his past punk persona. After signing with Saddle Creek Records in 2008, he is now releasing his second solo album Yours to Discover. The album flows from one electronic synth ballad to the next, allowing for the listener to get lost in the hypnotic haze of Grainger’s cool vocals and upbeat guitar riffs.

Admittedly, many sections of the album can be perceived as a bit dry. A good portion of the tracks are rather repetitive in nature, and Grainger’s need to be groovy and mellow is far overdone in “I Want Sebastien Grainger.” However, the album does contain a number of surprise highlights that exude creative passion and excitement. “The Streets Are A Mess” is an excellent head-bobbing track that intersperses heavy beats with Grainger’s iconic synth hooks. In terms of lyrical depth, “I’m Looking For A Hand” exposes a lot; underneath the relaxed beats, a raw, frantic undertone that displays the vulnerability that comes with moving into a solo career.

Overall, the album lives up to its name. Fans of Grainger should be excited to experience the album’s move from his punk-rock past into a more pop-leaning future. New listeners can find their niche either in his toe-tapping beats within “Waking Up Dead” or in his smooth, romantic melodies within “Going With You.”

 

a, Behind the Bench, Sports

The beauty behind the brawn

It’s the closest you can get to floating: the light whisper of feet brushing over canvas, the natural rhythm of the body, and the push and pull of the dance. Everything quiets when you step on the floor; it’s just you and your partner.

I always get weird looks when I characterize my favourite sport, because what follows can only be described as one of the most painful and violent activities ever practiced. Dislocated shoulders and elbows are expected; broken orbital bones are common; and it’s not a normal night unless one or both participants are covered in blood by the end of the evening.

I am, of course, talking about mixed martial arts (MMA)—and I love it.

MMA is, perhaps, the most misunderstood sport covered by major media outlets. It can be tough to see the appeal in an activity of which the only purpose appears to be putting the other person in a hospital bed. Fighting sports have been described as barbaric, chaotic, dangerous, and pointless.

I, on the other hand, vehemently disagree. This past weekend, the Ultimate Fighting Competition (UFC) hosted UFC 167, the 20th anniversary of the world-renowned MMA event. While the organization has not been immune to the parasitic presence of media—primarily seen through the superficial creation of “rivalries” and trivial muscle flexing—the essence of the sport has remained the same. Fighting cannot be about playing to the crowd or seeking the spotlight; the participants must remain locked-in at all times, or risk losing the contest. Once the referee drops his hand, the world quiets down and there exists nothing but the other person in the ring.

I appreciate martial arts the same way a sommelier savours wine, or a cigar expert smokes a Cuban. It may be strange to say that a sport that hits as hard as MMA has depths of accents and nuances, but it truly is all about the subtleties. Whether it’s Muay Thai, Brazilian jiu-jitsu, boxing, or wrestling, each specialty excels in the smallest of details: the half millisecond when an opponent drops their hand, the minor shift in hip position, the angle of foot placement, or the slight intake of breath before a jab. Similar to other art forms, it is the minutiae that gives fighting its beauty.

Martial arts are extremely intimate. It is the very definition of contact sport, which coincidentally is its biggest strength. There are no lies or pretenses within the ring; what you give within the lines is what you have. Contrary to appearances, this creates the highest level of respect between opponents. Losing within the ring allows for no excuses—defeat means you aren’t working hard enough. This breeds a culture of constant improvement and elevated skill—the holy grail of competitive sports.

I started martial arts when I was eight years old. My mom signed me up for karate class, and I hated it. However, as I grew older, martial arts anchored my life as things changed; I could always count on a good workout session to gather myself. My appreciation for the sport only grew as I became a sensei and began teaching karate; they say that getting your black belt only means that you’re ready to learn.

As I began to explore and experience other martial arts, I realized that they all shared a common theme: the values of hard work, patience, dedication, and respect. How can you not believe in the value of hard work when you see your technique improve after countless repetition? How can you not be humbled and develop respect for others when you’ve been tapped out a hundred times by those smaller than you?

Martial arts in every form embodies the beauty of sport in a very basic way. At its core, fighting is about maximizing your physical and mental potential, both in and out of competition. Whether it’s Ronda Rousey defeating her opponents through impeccable technique, Royce Gracie breaking the boundaries of Brazilian jiu-jitsu, or Bruce Lee living Jeet Kune Do as a philosophy for life, martial arts act as a vehicle for self-discovery and elevation. Fighting, as with all art forms, is never as simple and blasé as it first appears.

a, Arts & Entertainment, Music

Stones Throw: skipping through hip-hop history

Chronicling almost 20 years of eclectic activity, Jeff Broadway’s Kickstarter-funded film ushers viewers into the vinyl-lined living rooms of the founders of L.A.’s Stones Throw record label, crafting a social history of underground hip-hop against a backdrop of crate digging, studio sessions, and release parties.

Our Vinyl Weighs a Ton weaves diffuse material into a cohesive whole, meshing hazy, digitised-VHS transfers of early Lootpack television spots with glossy, bleached-out views of its California locations. Its all strung together by a propulsive Madlib score repurposing beats from key label releases. The documentary tracks the development of Stones Throw from its origin—a vehicle for the music of Charizma & Peanut Butter Wolf, aka founder Chris Manak—through its gradual assembly of a roster of unheard heavyweights operating under various guises: Madlib & Quasimoto, MF Doom & Madvillain, and producer James Yancey, aka J Dilla.

Broadway takes an admirably democratic approach to his subject. He dedicates as much space to the current crop of Stones Throw artists and to the commercial misfires endemic through the label’s post-Dilla period of reorientation, as to the first generation of MCs and producers, with whom the label remains most closely associated. The narrative is non-linear, frequently winding back to remind us of overlapping timelines and tracing the individual threads of careers that would later intertwine. Eventually, it stretches beyond its initial geographic parameters to visit Detroit and New York, exploring the fringes of the underground music scenes the label now serves.

Stones Throw remains distinct among contemporary labels, maintaining a uniquely ‘boutique’ identity. Its roster reflects the idiosyncratic tastes of its major players, and the audience is well-exposed to the raw material that makes the stable significant, whether through Talib Kweli’s praise for 2004’s Madvillain LP or Tyler, The Creator’s enthusiasm for Connecticut trio The Stepkids.

Our Vinyl’s crop of talking heads is involved and insightful, supported by the first-person testimony of the Roots’ ?uestlove and punctuated by the awed recollections of Kanye West, who describes the “pressure bust pipes” mentality  common among underdog institutions.

The film’s most commanding passages regard its heavy hitters, some of whom did not survive to contribute to the narrative. A chapter on J Dilla’s Donuts, relaying memories of Yancey walking to the park as a child wearing 45s on his wrists like bracelets, pulses to the rhythm of the record, the strain and grind of its refigured soul loops conferring additional weight upon late footage of the producer. Throughout, Broadway and Madlib successfully combine video and audio to work cinematically: in a rephrasing of Dilla’s Lightworks, synced to complement the metallic pounding of record pressing machinery on-screen, or in the expletive-deletion bleeps censoring Tyler’s effusive Stepkids praise, seemingly modulated to a piercing frequency in keeping with the label’s house style.

Above all, the documentary functions as a reminder of the label’s accomplishments: its tracking shots scan across shelves and through studios, and linger on stray Yesterday’s New Quintet records, or half-forgotten MED LPs, each a product of the label’s low-key, steadily-prolific operation. In a music-documentary saturated climate that thrives on rediscovery, Our Vinyl Weighs a Ton provides a valuable focus on a music source that has continued to thrive both in and out of the spotlight, whether or not anybody’s listening.

 

Our Vinyl Weighs a Ton plays again at 6:45 p.m. on Sunday November 24 at Cinema du Parc, as part of Rencontres Internationales du Documentair de Montréal (RIDM). More information is available online at RIDM.qc.ca.

a, Student Life

Market Cooperative crafts initiative to support local artists

The twinkle of festive lights decorating downtown Montreal is a sign that stores will soon be overcrowded with shoppers in search of gifts for family and friends. As an alternative to this pre-holiday tradition, McGill’s Local Artists Market on Nov. 21 provides an opportunity to buy gifts you probably won’t be able to find in the mall.

Organized by the Market Cooperative and the McGill Farmers’ Market, Thursday’s market will take place in the SSMU Ballroom and will feature around 44 vendors showcasing and selling their work.

About half the expected vendors are students, and the rest are people from the Montreal community. Vendors will sell everything from photography and homemade candles and soaps, to jewelry and locally produced tea and food. Local bands will also provide live entertainment.

“The idea is to really bring people like McGill students, the Montreal community, musicians, artists, sort of everyone together into a community space where goods [are available],” Market Cooperative Co-founder Sam Gregory said. “People can find things for around the house, for Christmas, [and] for the holidays.”

Gregory and co-founder Amelia Brinkerhoff started the Market Cooperative in 2012.

“It was a venue that was lacking at McGill to show off [people’s] passions or creative hobbies on the side and really share it with the community,” Gregory said.

He stressed that the Market Cooperative is “not just for the holiday season.” Since their first event in February 2013, Gregory and Brinkerhoff have held several markets to provide opportunities for students and others in the community to share their artistic and creative work.

“Having low table prices mitigates the risk of trying out new ideas and crafts,” said Madeleine Pawlowski, a repeat vendor as part of the jewelry-making sister duo, Les Arts Plastiques. Pawlowski is an Arts student at McGill, while  her sister Alicia Pawlowski is a graduate student at the University of Alberta studying pediatrics.

(via marketcooperative.org)
(via marketcooperative.org)

“Market Cooperative is on its way to having a loyal and diverse following, and once it does, it’ll be an excellent testing ground for artists and crafters who want to see if they can make a go for it if there’s a real demand for their products,” Pawlowski said.

For the consumer, the market atmosphere provides an enriching and cost-effective shopping experience with the organizers bringing in reasonably priced vendors who aim to meet student interests.

“[A student] could go to Urban Outfitters and buy something there that’s 50 or 60 bucks, or they could come to the market and get something that’s locally produced, supporting the local economy and the community,” Gregory said. “It’s going to be more sustainable because it’s made in local places, not being shipped […] and it’s going to be more affordable, too.”

On a broader community level, the founders hope to better connect McGill with the rest of the Montreal community.

“It’s giving that opportunity to create a sense of belonging in the city and interact,” Gregory said. “Markets are a great place for people to come together. [Market-goers] spend half an hour walking around and they’ll see friends and they’ll chat.”

Pawlowski noted the more practical advantages of the markets for vendors.

“[Bringing] together the McGill crafters and Montreal ones […] fosters a connection between both communities, and [they can] share their experiences and knowledge of ‘what works’ in the handmade world,” she said.

Despite their plans for two upcoming markets in the Winter semester, the cooperative currently faces several challenges because they do not fit into SSMU’s framework due to their current operational structure. The non-profit organization generates revenue through the sale of tables to the vendors, of which a small portion goes towards a stipend for the four main organizers.

“Because of that, we can’t be a student club and there [are] a lot of barriers,” Gregory said. “[SSMU] is not supporting us being an [Independent Student Group], or seeing value in us. That’s been one of the biggest frustrations for us, [since] we’re paying $800 for the ballroom [….] Every market, we’re just trying to cover the cost.”

Internal groups, such as student clubs and Independent Student Groups, receive priority room booking in the SSMU Building, and do not have to pay for the rent. Since the Market Cooperative is an external group they have to pay rent for the ballroom, which means they have no money leftover to help the initiative grow.

According to Gregory, the Market Cooperative is not looking to become a student club because the associated bureaucracy would unnecessarily complicate the market’s operation. They hope to find a way to move past these hurdles—for example, by negotiating a lower rental fee.

“We’d like to see a compromise so we can pay half price,” Gregory said. “$400 less is $400 more we can put into the market to help it grow.”

McGill’s Local Artists Market takes place Thursday, Nov. 21 in the SSMU Ballroom at 11 a.m.-6 p.m.

a, Science & Technology

When philosophy and linguistics meet neuroscience

Jeremy Cooperstock studies human-computer interactions in an effort to augment environmental awareness for the blind community, treat lazy eye syndrome, and train medical and music students, among other endeavors. As an associate professor of the department of electrical and computer engineering and director of McGill’s Shared Reality Lab, he was just one of many distinguished speakers to address the undergraduate community at the Student Association of Cognitive Science’s (SACS) fifth Annual Cognitive Science Research Day on Nov. 13.

“Cooperstock’s presentation covered some of the lab’s latest research,” said secretary of SACS Ponarina Aleksandra. “[He discussed] music lessons facilitated by computer mediated human-to-human interaction and a fascinating computer generated surface that appears indistinguishable from real snow, ice, and even ocean waves.”

The event also included talks from other professors within the department, including associate professor and neurologist Lesley Fellows, and Kristine Onishi, who teaches child development (PSYC 304). Fellows focused her presentation on describing the use of brain lesion studies to gain insight into the inner workings of the frontal lobe and valuation (decision making) systems. It was clear that the audience was intrigued with her research and made eager use of the opportunity to ask questions.

Onishi focused on exploring the way infants understand the world. She presented various studies to address two major questions: what and how do infants know about the sound structure of their own language, and do infants have a bias for speech sounds over other sounds?

Morgan Sonderegger, associate professor of linguistics, also attended the event. Sonderegger presented an overview of the varying stability of sound systems within individuals and communities. He used the television show “Big Brother” to complete this research.

The purpose of Cognitive Science (CogSci) Research Day was to draw awareness to the work conducted by professors at McGill University that relate to the field of cognitive science—this includes computer science, psychology, neuroscience, linguistics, and philosophy, or will connect ideas between those topics.

“[We wanted to] allow undergraduate students to explore the potential fields that their studies can lead to and encourage students to engage with professors outside of the lecture halls,” VP academic of SACS Nicole Lai said.

The SACS council selected researchers that fit into the program’s interdisciplinary profile. “Since the council is comprised of students with interests spanning many disciplines, we were able to come up with a list of researchers [based on the professors we knew],” said Guido Guberman, a  neuroscience stream representative.

“My favourite part of Research Day would be the question and answer periods after each professor gave their talk,” Lai said. “The conversations and interactions between the professors and the students was the main purpose of the conference, so these sessions were what I think most of the students attending were coming for.”

“[These sessions] were the most helpful part of Research Day since it allowed students to pose their own questions about current research,” Lai said. “It serves as a good starting point for students to decide what kind of research they would eventually like to pursue.”

a, Martlets, Men's Varsity, Sports

Sports briefs

Martlet Volleyball

The Martlets (6-3) took to the court against the Montreal Carabins (7-2) for the first of four regular season meetings. McGill defeated no. 2 ranked team in the country three sets to none in rounds of 25-21, 25-20, and 25-19. Ashley Norfleet, a sophomore power hitter, led the way for the Martlets with 11 kills and 10 digs, while middles, Marie-Pier Durivage and Virginie Hebert, added seven kills apiece. The home team dominated the Carabins in hitting efficiency, posting lopsided stats of .207 to .182, and .345 to .212 in the first and third sets respectively. Third-year setter Yasmeen Dawoodjee posted a remarkable 24 assists in helping set the tone for the Martlets’ style of play.

Despite their strong start to the season, McGill has struggled to defeat perennial rivals Sherbrooke (5-4) and Laval (7-2). In order to make the playoffs this season, the team must learn to stay consistent and finish off games. In two losses against Sherbrooke and one against Laval, the Martlets failed to close out sets and lost by narrow margins. The team will travel to Sherbrooke, Quebec to play in the RSEQ-AUS Interlocking League Tournament this weekend from Nov. 23 to Nov. 24.

 

Martlet Basketball

The McGill Martlets (2-0) beat the UQAM Citadins (2-1) 54-44 this weekend, as the two teams faced off for the first of three matches this season. Sophomore forward Mariam Sylla led the way for the Martlets, posting a double-double of 14 points and 10 rebounds, while shooting 6-of-11 on field goals and going a perfect 2-for-2 on free throws. 5’6” point-guard Francoise Charest followed Sylla with 13 points, while guard Helene Bibeau added nine.

McGill defeated the Citadins primarily on the back of its shooting prowess from three-point range and the free throw line. The Martlets shot 20 per cent from range and 62.5 per cent from the foul line, compared to 14.3 per cent and 41.7 per cent on threes and free throws for UQAM, respectively. Both teams were also subpar while handling the ball as McGill had 30 turnovers while the Citadins posted 29.

The Martlets will face the Concordia Stingers (1-1) this Thursday, Nov. 21 at 6:00 p.m. in Love Competition Hall. McGill will look for their 10th consecutive win against RSEQ opponents dating back to Feb. 1, 2013.

 

Martlet Basketball

The Redmen (2-0) trounced the UQAM Citadins (1-2) 87-52 this past Saturday as the team won its second conference game. Shooting-guard Vincent Dufort and forward Nathan Joyal both notched 17 points, and veteran guard Simon Bibeau added 12 points in the victory. McGill shot an incredible 51.6 per cent from the field, making 33 of 64 shots, and also had made 8 of 16 three-point shots. The Redmen led the game throughout, scoring a dominant 31 points in the second quarter to open up the lead to 52-30 by halftime.

The Citadins’ Alexandre Bernard led the way for UQAM with 20 points, while Philippe Tamba and Marvin Pierre tallied 12 apiece.

McGill posted a worrying 20 turnovers for the game, with freshmen guard Dele Ogundokun and forward Francois Bourque posting five turnovers apiece. However, the mistakes should decrease as the team settles into the meat of its regular season, as the 10 rookies on the Redmen roster mature.

McGill will play the winless Concordia Stingers (0-2) on Thursday, Nov. 21 at 8:00 p.m. in Love Competition Hall.

a, Arts & Entertainment, Film and TV

Heroes of Hebrew humour

Although Jewish people represent only 0.2 per cent of the world’s population—according to a Hebrew University of Jerusalem study—they hold a much larger portion of social attention when it comes to comedy. Director Alan Zweig made the documentary When Jews Were Funny to investigate why Jewish people have been so famously humorous throughout the 20th century in the United States. The film does not give any definitive answers, but does offer funny ones, as Zweig interviews various Jewish comedians between the ages of 30 and 80, ranging from Howie Mandel to Bob Einstein.

This documentary feels like an E! channel special where a panel of comedians give their opinion on a celebrity or current event, except it lasts a full hour-and-a-half, and all of the comedians constantly refer to the fact that they are Jewish. By featuring only comedian interviews and short clips from Jewish 60s stand-up acts, the repetitive documentary loses any ability to engage the audience beyond the substance of the interview responses. During the entire film, the camera never moves—it is always the same distance from every comedian’s face. This static approach gets boring well before the 90-minute mark.

However, the film is not meant to be a visual spectacle; it focuses on the content of the dialogue, which ranges over many topics while remaining firmly centred on Jews. The inclusion of two generations of Jewish-American comedians brought some interesting disparities to light. Older comedians don’t see any connection between their Judaism and comedy, while the current generation attributes all of their success to their Jewish upbringing and lifestyle. The comedians’ responses to the same questions vary quite significantly, some making light of dark periods of Jewish history while others express strong outrage at any hint of anti-Semitism. Some do not see any pattern of Jews being funnier than anybody else, while others see humor as fundamental to Jewish life as food.

Due to the documentary’s narrow topic and fairly homogenous cast, it sometimes shifts into awkward territory. The film increasingly makes borderline anti-Semitic Jewish jokes or stereotypes as it progresses, while using the term “we” as if to reassure the viewer. However, these comments made me, a non-Jew, uncomfortable, knowing that if I ever repeated any of these jokes, I would immediately be branded as racist.

Judy Gold, one of the comedians interviewed, says it’s fine to say anything as long as it’s funny—and the comedians are amusing. Obviously their humour is evident while telling jokes, but it also seeps through when they are answering serious questions. Over the course of the film, each comedian tells their favorite “Jewish joke,” which are amusing and help to illustrate the culture this film hopes to explain.

There is no final opinion on what, if anything, makes Jews funnier than any other ethnicities. But there is a deep exploration of the psyches of over a dozen Jewish people in the entertainment business, a format that isn’t necessarily enlightening, but is interesting nonetheless.

When Jews Were Funny does not produce any startling information. Is not particularly well-shot, and offers no surprises. It seems to simply be a film where Jews can talk about being Jewish. For anybody deeply interested in modern Jewish culture or willing to watch a 90-minute film for a dozen good jokes, this film could be worth checking out. Otherwise, it’s flat, repetitive, and frankly, a little bit offensive.

 

When Jews Were Funny was originally released on Sept. 10 and makes its Montreal debut from Nov. 25 to Dec. 5 at Cinema du Parc (3575 Parc). Student tickets are $8.50.

 

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