As a break from his homework, Sam Donald will open up his Ableton music software. Working from his desk, Donald uses his laptop, a small sound card, a mike, and a guitar to produce his own electronic dance music (EDM). Every couple of weeks, he’ll toss a remix online for his friends to check out.
Donald has always been a music fan, having started to learn the guitar at the age of eight. However, he hasn’t always been an EDM fan. In first year, he was involved in an indie rock band.
“That’s really where the electronic music was birthed from,” he says. “One of the guys in my band sat me down and said ‘Look, we’re not going to get famous being a rock band anymore. That time’s past. The real money, or the real career path, is in producing, and the whole DJ thing.’ ”
Since then Donald has been producing music and disk-jockeying both independently and with the group Baers at Montreal venues including Vinyl and Blue Dog.
For Donald, the music itself isn’t the only things that’s important, but also the attitudes that pervade it.
“Something that really started to appeal to me about EDM—I think a lot of people identified with—was the fact that it’s all about unifying and being part of an experience that a bunch of people are a part of, rather than closing yourself off and having this condescending air of musical tastes,” he says.
It’s because of this take on music that Donald sees artists like Bassnectar as a major musical influence.
“He’s a calm soul, a zen personality that is really bringing to light the magic of how music can bring unity to people, and that’s something I really admire,” he says. “I really like musicians who incorporate music into their being and see the music not as something they make, but see themselves as instruments that music can come out of.”
By treating everyone and everything with respect, Donald tries to transfer these notions of unity and equality to his everyday life.
“The most important thing in my music has been getting over the fact that I’m not better than anyone,” he says. “I used to hear a Justin Bieber song and say ‘Oh that’s crap.’ When I started producing, I realized there are all these really honest, hard working people who create a Justin Bieber or Katy Perry song, and to sneer your nose at it, at least for me, inhibited my own progress as an artist.”
Now, Donald is clearly unafraid to draw from mainstream popular music—his latest track is a remix of Miley Cyrus’s “Wrecking Ball.”
Moving forward with his music, Donald is looking to bring some of his rock and roll past into his electric tracks through his guitar.
“It’s been interesting seeing the instruments creep back into what a lot of people consider a lifeless art form—the four to the floor drum beat going on all night,” he says.
Donald says he hopes to pursue a career in the music industry.
“I’ve been looking also at video production with music, which is obviously a growing field,” he says. “In a perfect world, I’ll be in front of crowds of 40,000 in a couple years—but you know I’m not taking away the possibility of the cubicle.”
On September 16, the McGill Faculty of Medicine, along with its four major teaching hospitals, released a joint statement affirming its belief in providing an environment where individuals are free to choose to wear “conspicuous religious symbols.” Today, in light of the proposed Bill 60, the Medical Students’ Society of McGill University wishes to add its voice to theirs.
As medical students, we are incredibly lucky to be able to interact on a daily basis with future colleagues and professors who proudly display symbols of their religious beliefs. Contrary to what our provincial government seems to think, in no way do these symbols prevent them from carrying out their work with empathy and professionalism, just like all healthcare workers should. We consider ourselves lucky to have them as physicians and we strongly believe that they are essential members of our healthcare system. It would be simply unacceptable to us should some of our colleagues be treated as second class citizens and be forced to choose between their job and their religion.
Therefore, we salute our Faculty’s initiative and we hope that the government will realize the importance of an inclusive workplace that is open to all, regardless of their culture, their origins ,or their religion. We also invite the provincial government to consider the impact of Bill 60 on those who will be most affected by it, namely present and future physicians, nurses, or teachers to name only a few. Finally, we will make our opinion known by actively partaking in and contributing to the forthcoming public consultations set to occur at the beginning of the new calendar year.
On behalf of the Medical Students’ Society of McGill University,
Carl White Ulysse (Med-2)
Executive President
Adam Parant (Med-3)
Past President
Sarah Hosseini (Med-2)
Executive Vice-President and Corporate Relations
Thierry Live (Med-3)
Vice President of Internal Affairs
A case involving three McGill student athletes charged with sexual assault 15 months ago has drawn attention to the process by which McGill deals with the conduct of its students.
On Nov. 1, the Montreal Gazette reported that three current McGill students on the Redmen football team were arrested on April 26, 2012 for charges of sexual assault with a weapon and forcible confinement in an incident involving a former Concordia student. The students, now fourth-years, will appear in court next month for their preliminary hearing.
According to Deputy Provost (Student Life and Learning) Ollivier Dyens, the students told their coach that they were facing legal action following their arrest in April 2012. The coach advised them to inform their parents of the situation and to seek legal counsel.
The athletes continued to play for the squad in the following two seasons (2012 and 2013). Dyens said the students did not explain their charges in detail to the coach.
“If the students had said [they were] under criminal charges […] I think we [would have had] to at least look into it,” he said. “But we have to move carefully with these things because you don’t want to affect the inquiry from the police.”
According to Dyens, the university was informed of the criminal charges in May 2013. Dyens, who officially began his term in September 2013, learned about the case from his predecessor, Morton Mendelson. By this time, the case had already become a criminal investigation handled within the judicial system.
“There was nothing for us to move forward with,” Dyens said. “We have to respect the process. If we start doing our own investigation—asking people questions and everything—we might make it difficult […] for both the prosecutor and the defence lawyers; so we have to be really careful.”
He explained that all students are evaluated under the Green Book—the Code of Student Conduct. If there is an allegation that a violation of the Code has occurred, a disciplinary officer for the unit—in this case McGill Athletics—can impose a sanction or refer the issue to the Committee on Student Discipline.
Dyens added that McGill could not administer the Code of Student Conduct in this case because the alleged misconduct did not occur on campus or during McGill-related activities.
“If I see you doing something illegal—for example in a bar somewhere on St. Laurent Boulevard—and it’s not on the campus and it’s not part of the McGill context, you’re not breaking the McGill Code of Rights and Responsibilities,” Dyens said. “At that point, it’s the responsibility of the court or the police.”
In addition to the Code, varsity athletes are subject to another code of conduct titled the Guide to Varsity Sports for Student-Athletes. This document outlines provisions on McGill’s anti-doping policy, prohibits hazing, and forbids alcohol consumption on team trips, among other restrictions.
“It is considered a privilege and not a right to be a student-athlete, and every student-athlete is expected to conduct himself or herself in a manner that exhibits honour and respect to the team, department, university, and surrounding community for the duration of his or her tenure as a student-athlete at McGill University,” the guide reads.
The athletics disciplinary officer can establish administrative sanctions when the rules in the Guide are violated. According to Dyens, these administrative sanctions could include a suspension from playing on the team.
However, the Guide does not address criminal charges, such as charges of sexual assault.
“You don’t need to put [sexual assault] in a document like this because it’s against the law,” Dyens explained.
Other universities, such as Bishop’s University and the University of Winnipeg, have codes of conduct that athletes must sign. These documents outline the athletic department’s response to criminal behaviour committed by student athletes.
“I will refrain from any involvement in any criminal activity, on or off of campus,” the Bishop’s code reads. “I realize that my failure to abide by the standards described above may result in a temporary or permanent loss of the privilege of representing Bishop’s University as a student-athlete.”
Dyens noted that all McGill staff and students have a duty to report student misconduct once they are aware of it.
“Everyone has a responsibility to ensure that the Code of Rights and Responsibilities is respected,” he said. “This being said, you have to be careful, because the Code […] says [misconduct] has to happen […] either on the McGill campus or in the McGill context.”
The university will decide whether the students will face charges under the Student Code of Conduct following the outcome of the judicial process.
Executive Director of Athletics and Recreation, Drew Love; Associate Director of Athletics and Recreation and Athletics Disciplinary Officer, Philip Quintal; and Redmen football Head Coach, Clint Uttley referred the Tribune to Dyens for comment.
We have all curated preferences as to what music we spend our time getting to know intimately, ultimately constructing our unique tastes in musical genres. While some gravitate towards the legends of recent past such as Pink Floyd and Bob Dylan, others find solace in jazz or swing music that have consumed audiences as early as the 1930s.
Music categorization begins with the notion of the “genre,” a hulk term that generalizes and classifies defining musical elements to describe a sound. We are all familiar with genres like Pop, R&B, and Rock and Roll, which have dominated the industry for decades. A recent rising genre that has taken Montreal and much of North America by storm is Electronic Dance Music (EDM). With now big-name artists such as Flume and Cyril Hahn performing at venues across the city, EDM concerts have been selling out weekend after weekend without any sign of losing their popularity.
EDM, like other genres, are susceptible to offspring—otherwise known as “sub-genres.” This tendency of classifying music types like sub-genres is especially apparent on music blogs, which allows for EDM to remain static as an overarching genre, while new sub-genres frequently emerge from its roots.
EDM as an umbrella term has found substantial popularity, but as a descriptor, the notion lends itself to a slew of implications and generalizations within the music community. As a solution, we find hundreds—if not thousands—of sub-genres that narrow in on particular sounds and styles. From “drum and bass” to “progressive house,” sub-genres within EDM have been multiplying as a constant display of innovative sounds, catching the attention of European, Australian, and North American audiences alike. Electronic artists experiment with their art forms, giving birth to new strains which, inevitably, must be named. Naming new sub-genres has allowed for even more creativity in musical production across the board.
(Wolfey via low-life.ca)
Electronic music as a whole is a moving target. According to a recent McGill BA and Berklee College of Music graduate who goes by the artist name Wolfey, EDM as a term applies to “a vast range of sub-genres including dance, experimental, and ambient.” He described the genre in this sense as “extraterrestrial,” fusing the use of synthesizers, samplers and sequencers to form a bedrock of possibilities for musicians to take inspiration from and for music journalists and fans to identify with.
Like many other producers, Wolfey strives to create an innovative electronic sound that takes inspiration from the past and the present, creating a mixture of ambient electronica, future garage, and post-dubstep. With this resourceful nature, electronic music production helps to expand what constitutes as EDM, resulting in the classification of various sub-genres.
Artists like Disclosure and Rusko practice this categorization frequently. Disclosure has curated a musical identity combining deep house and UK garage with a disco influence, while Rusko birthed a sub-genre of his own: “brostep.” The concept behind brostep is to feature middle register sounds rather than the sub-bass that original dubstep artists such as Skream and Benga usually highlight.
Electronic artists like Disclosure and Rusko speak volumes on how EDM as an existing genre can’t properly describe a newly innovative sound without over-generalizing. Technically, both artists belong under EDM’s umbrella, but labelling each producer simply as EDM does nothing more than orient the listener. Every emerging sound deserves a more specific description, and this is where sub-genres must attach themselves to specific musical combinations in order to solve the problem of broad generalization.
Limiting an artist’s sound solely to an overarching genre pools together thousands of its own sub-genres that in reality deserve distinctions, especially on a reputable music blog. Appropriating proper sub-genres through music-oriented online platforms allows readers to know exactly what strains of EDM they like: perhaps minimal electronica or Intelligent Dance Music (IDM)—other sub-genres of electronic music—or what they dislike: maybe techno or brostep. Sub-genres increase the necessary precision so desperately needed in EDM’s extensive musical diversity.
Music publications such as Pretty Much Amazing and Indie Shuffle are entities that professionally typify music with the use of sub-genres for searching and listening purposes. Jason Grishkoff, the founder of Indie Shuffle, deals with categorization constantly, and welcomes new sub-genres.
“With hundreds of thousands of songs being released every year, you’re going to start to see new ways of describing these emergent sub-genres,” Grishkoff said. Indie Shuffle, along with other music blogs, categorizes each song, remix, cover, LP, or EP they review to whatever sub-genres the writer sees fit, attempting to avoid over-generalization.
But what happens when one person’s categorization is seen by others as miscategorization? As an artist, Benny Morgentaler of Toronto-based DJ duo No Big Deal pointed
(Benny Morgentaler via soundcloud.com)
out that even the grossly misinformed have an online voice.
“Some people know what they’re talking about and have a deep love of music, while others start a music blog for something to do,” he said.
In that same vein, Wolfey argued that “The best journalists are connoisseurs.” He noted that the problem of miscategorization seems to be a combination of both laziness and a lack of knowledge of proper sub-genres. This is what drives ‘electronic’ to be the most generalized term in music classification.
This division between sub-genres offered by music blogs, iTunes, and streaming sites like Soundcloud, Bandcamp and NPR, leads to healthy discussion within the online music community, just as opposing political communities foster. Well-formulated opinions about genre classifications help to nail down the thousands of EDM strains, which are often determined by the presence of elements such as synthesizers or varying beats per minute (bpm). Whatever Indie Shuffle labels an artist, Pitchfork might see otherwise; that difference in opinion is usually seen as perfectly valid as long as it is coming from another knowledgeable source.
Ben Ryder-Smith, the co-founding publicist of Native PR Group in London, UK attempts to catch publications’ attention with the artists he represents. As a public relations specialist, how an artist’s sound is presented to fans, journalists, and industry professionals is essential to artist development and recognition of genre.
(Diagram via Brontë Martin)
“Everyone is entitled to their own opinion on what bracket a track or band falls under,” Ryder-Smith argued, adding that as long as people are talking about his artists, he’s happy. Still, he reminded us that there are more reputable voices than others. Those voices often belong to industry professionals who have the knowledge and means to articulate their opinions.
This open-minded attitude towards musical classification and discussion is what all music fans and professionals should strive to adopt. Genres continue to evolve, but not beyond recognition. The amplification of emerging musical styles which constitute sub-genres, empower fans, musicians, and journalists alike to explore music without boundaries in order to welcome fusion and collaboration. The coining of strains of electronic music is essential, allowing for specificity to be attributed to defining musical elements. EDM as a genre exists solely as a father figure to its ever-expanding offspring of sub-genres.
The ever-growing realms of music might seem expansive or difficult to grapple with, but there really is something out there that’s known as “industrial breakbeat orchestral electronica.” It’s our job as listeners to find it.
Full disclosure: Brontë Martin is a contributing staff writer at Indie Shuffle.
It was an unfitting end to what was supposed to be a dream season. The McGill Redmen were riding a 19-game winning streak against CUFLA competition coming into the championship game of the Baggataway Cup. The match was held at home in Molson Stadium in front of raucous McGill fans. All that stood in their way from back-to-back trophies was a pesky Guelph squad that was hoping to win its third game in 48 hours. All season long the Redmen had mowed down their opponents through a combination of superior depth and offensive talent, but in their final game of the season, they were unable to do what they had done so often this season. The Guelph Gryphons were the ones to hoist the trophy following a thrilling 14-11 championship game.
The 14 goals represented the highest total McGill had allowed all season, surpassing the previous high of nine against Bishop’s University in their final game of the regular season. On Sunday, however, Guelph withstood the physicality of a stout Redmen defence that featured a whopping five All-Canadians, and used deft passing to expose McGill’s backline. According to McGill Head Coach Tim Murdoch, Guelph took advantage of small lapses in his squad.
“We just got beat a few crucial times defensively; it wasn’t anyone in particular,” Murdoch explained. “They have some really amazing shooters and scorers, and they were just hitting the net.”
Time and time again, McGill’s offensive chances were thwarted by Guelph goalie, Jeremy Snider. In the last minute alone, the hosts were shocked as Snider managed to stop the ball from crossing the goal line after a wealth of quality chances. Throughout the game, the Redmen attack was patient and picked their spots carefully as they worked the ball around the perimeter, probing the Gryphons’ defence. This strategy proved successful initially, as McGill jumped out to an early 4-2 lead following the first quarter.
(Luke Orlando / McGill Tribune)
Connor Goodwin, a junior attackman, was the offensive engine for the Redmen, scoring three goals and adding three assists to cap off an excellent tournament. Kevin Donovan, Leland De Langley, and Anders Bjella all chipped in with two goals apiece. However, the team’s efforts were not enough as the Gryphons turned it on in the second half, outscoring McGill 8-5 in the final two quarters.
Despite the final result, Murdoch expressed pride in his team and their historic record season they had achieved.
“As far as the end of the game, what I was happy to see was that our team never gave up. We were down by four goals and were able to get one back,” Murdoch said. “This loss doesn’t mar an otherwise amazing season: going undefeated—the first time that’s ever happened at McGill—and making it to the National Championship game.”
The path to establishing a McGill lacrosse dynasty does not end here, as a whopping 37 out of 41 players are set to return next season. In addition, Murdoch has shown an unmatched capacity to recruit quality players across North America. Goodwin is one such player who expects to return and is conident that the squad will use the off-season to their advantage.
“We need to just work on our skills; [get] in the gym, get stronger, get bigger,” Goodwin said. “We return most of our guys so we’ll definitely be gunning for a championship next year.”
New York-based Ryan Lott of Son Lux consumes our ears with Lanterns, his third album to date. Available worldwide on Oct. 29, this brainchild is 43 minutes of magnetic yet often indecipherable instrumentation. To say the least, Son Lux’s approach is left-of-field and transethnic, gravitating away from conventionality and familiarity.
This 10-track LP has nestled comfortably in a space slightly less ornate than what we saw on Lott’s previous albums, At War With Walls & Mazes and We Are Rising. Songs like “Lost It To Trying” and “Ransom” incorporate Son Lux’s newly found sonic juxtaposition, which allows for haunting electronica and striking orchestral additives to flourish. “No Crimes” embodies all of this and more, proving its existence as a finessed yet disjointed string arrangement. Lott’s classical musical background is an album theme, simultaneously alluding to his past training and Son Lux’s present sound.
Depicting diversity, peculiarity and sentiment, Lanterns tips its hat off to minimalist layering, evident within “Alternate World” and the highlight single, “Easy.” The latter, as well as “Enough of Our Machines,” particularly features Lott’s introspective vocal abilities, structured alongside the futuristic soul and nostalgic world music elements.
Throughout, Lanterns maintains a hazy, meditative aura, oozing warm complexity with chilling bass saxophone and gentle piano lines. Venturing into even darker territory than before, Son Lux explores a richer trajectory that amalgamates modern R&B and orchestral pop, welcoming us to a state of musical captivation—one that we resist ever leaving.
With a confusing mélange of tempo and genre, Ryan Hemsworth’s Guilt Trips is not a trip to feel guilty about, but rather a twisting, uncertain journey through EDM. Although technically well put-together, this short album could not possibly fulfill any function; Guilt Trips would not fit into any mood, situation or setting.
A producer and DJ from Halifax, NS, Ryan Hemsworth infuses strong hip-hop vibes into his music, but with Guilt Trips, his second album, he seems confused about how to make ‘chillstep’ and dance music simultaneously.
Each track focuses on drums of all varieties and Hemsworth includes other percussive effects, keyboards, extended bass synths, and short vocal samples as well. Some tracks fortunately include vocals, a necessary element to keep the listener interested and fill out the sound. But Hemsworth makes up for the otherwise repetitive nature of the acoustic beat music by keeping the tracks short, the smallest being only 1:40 with the average lasting three minutes.
The album’s first track “Small & Lost” perfectly illustrates the idea of the entire album; alternating between escalating drum and bass and a soothing female vocalist over keys, the track could be classified as drone, dubstep, trap, or R&B. The album finishes with a surprise: “Day/ Night/ Sleep System” finally includes the rapping Hemsworth’s beats inherently demand. However, he keeps the track slow, focusing on the rapper’s flowing speech and keeping the listener confused about whether to dance, nod their head, or fall asleep.
Although each song impressively combines hip-hop, dubstep, trap, and other genre-specific sounds into a surprisingly harmonious product, the result exhibits why these elements are typically kept separate. This is not an album to dance to, it is not good background music, it cannot be used to study, and it does not present any strong mood. If you want to listen to interestingly crafted electronic music then give this album a try, but if you’re looking for a soundtrack to some kind of activity then choose something else.
Ever since he became the first openly gay active athlete in one of the four major North American professional sports, NBA centre Jason Collins has been widely praised and supported. However, at 34 years of age, his career seems to be nearing its end.
Despite word from his brother Jarron—a former NBA big man himself—that Collins is in the best shape of his life, there appears to be little interest from any NBA teams to sign the journeyman centre. It’s worth asking, however, whether Collins should receive another shot.
The reason that Jason Collins remains unsigned is due to performance and money issues, not his sexual orientation. Some, such as Sports Illustrated author Jeff Pearlman, have suggested that the NBA is letting a golden opportunity for progress slip away by leaving Collins unsigned. However, if Collins is signed on the basis of his sexual orientation, it is not progress, but rather tokenism.
Upon his coming out, some compared Collins to Jackie Robinson. Robinson was the first African American to play in the MLB, ending racial segregation in the sport, while showing courage and poise in the face of blatant racism. However, a key difference exists between the two. Robinson was a Rookie-of-the-Year, MVP, and six-time all-star. He is arguably a hall-of-famer based on his stats alone. He was not a token, a gimmick, or a utility player, like Collins is; Robinson was a top-tier baseball player.
Collins is a role player and has been for almost the entirety of his 12-year career. He has never been impressive statistically speaking, and has not played significant minutes in a number of years. At his best, Collins was sometimes referred to as the “Dwight Howard Stopper,” using his size and strength as a defensive menace against one of the league’s most dominating centres.
At this point in his career, Collins likely only makes sense for a team with a shortage of big men. A contender dealing with injuries at that position could take a flier on him, but he’d likely remain a minute-eater who is unable to contribute offensively.
Even if Collins could provide some value, a lot of teams are hesitant because of the costs of signing such a player. As a veteran player, Collins’ minimum salary is higher than a player with less experience. About half the teams in the league are also above the salary cap, meaning that they would need to pay a luxury tax—on top of the salary—if they were to sign Collins.
There are also those who believe that the lack of interest shown by NBA teams is due to the media attention he would bring. This would certainly be a factor at first, but the frenzy would likely die down as the season moved along.
Others believe that concerns about locker room dynamics have caused teams to shy away from Collins. However, this viewpoint is short-sighted. The NBA is a very progressive league. Upon his announcement, Collins was congratulated and praised for his courage by many big names stars in the league, including, but not limited to, Kobe Bryant, Steve Nash, Tony Parker, Jason Kidd, and Kevin Durant. If a player were to speak out against Collins, he would likely be ostracized, branded as a homophobe, and reprimanded by the league office.
Signing Collins because he is gay would be exactly the kind of differential treatment that has no place in sport. If he is signed, I hope that it’s because he provides real value, and not just for his personal and incredibly courageous decision.
The McGill Martlets’ rugby squad travelled to Quebec City this past weekend for the CIS National Championships. It was the first time since 2005 that the team advanced to the season’s final weekend. They began the tournament playing the no. 1 seeded St. Francis Xavier X-Women—a team they had split their first two matches with earlier in the year. The no. 4 seeded Martlets upset their opponents 19-10 primarily behind the stellar play of junior centre, Caroline Suchorski, who garnered game MVP awards. On Saturday, with a chance to play for the Monilex Trophy on the line, the Guelph Gryphons dominated the Martlets by a score of 31-0 in an ugly affair.
Having been relegated to the bronze medal match, McGill faced the OUA champion Queen’s Gaels. Suchorski once again led the team in scoring with two tries and won match MVP honours. However, this time her efforts came up short as the Martlets fell 32-24 in a back-and-forth affair that was not decided until the 69th minute. In total, six lead changes were recorded during the physical contest.
Senior forward Julia White and sophomore winger Deanna Foster were named to the all-tournament team, while senior fly-half Brianna Miller was named CIS Player-of-the-Year.
Redmen and Martlet Soccer
The Martlet soccer team traveled to Stade CEPSUM on Friday evening for the division semifinal game against the RSEQ-leading Montreal Carabins. McGill entered the match with an 8-3 record against conference opponents, having tallied one loss and one tie game against the Carabins this season.
On the day, McGill not only had to go up against Montreal, but also the 100 km/h winds that blew through the city on Friday evening, wreaking havoc for the game plans of both squads. The teams remained scoreless until the second half, when Montreal’s 21-year-old Constance de Chantal scored a mere four minutes out of halftime. Despite the Martlets’ front-line effort to keep the team in the game, McGill was shutout for the sixth time this season. Carabins midfielder Steffy Roy-Ouellet put the game away for Montreal when she scored in the 87th minute of the game to seal the match, 2-0.
It was a similarly tough night for the McGill Redmen, as the team fell 3-0 to the division-leading Montreal Carabins. The Redmen have played well this season—despite their 4-5 record—and have shown the ability to play up to Montreal’s level in the regular season.
However, McGill’s game plan fell apart when the team was forced to shift from an offensive-minded attack to focus on defence after the Carabins’ Maxime Laurey scored in the 44th and 70th minute of the game. That set the table for Marcellin Bilali-Ibaku, who iced the game in the 83rd minute, dropping the Redmen out of post-season play.
Redmen hockey
The McGill Redmen hockey team secured their spot atop the OUA East division with a pair of wins on the road over the weekend against RMC and Concordia. David Rose and Ryan McKiernan paved the way for the 9-1 victory over RMC with two goals apiece, while freshman forward Jan Kaminsky led the team with four points. The Redmen offence generated a school record 75 shots in the blowout victory. Rookie backup goaltender Jacob Chouinard stood tall in net, stopping 19 of 20 shots to improve to 3-1-0 on the year.
In the second contest of the weekend sweep, the Redmen stifled the Concordia attack en route to a 3-1 win in the 27th annual Corey Cup classic. McGill sent 54 shots at Stingers’ goaltender Antonio Mastropietro who was almost unbeatable and kept the game from getting out of hand. After trailing 1-0 heading into the final frame, the Redmen finally sent one past Mastropietro on the powerplay. First-year winger Neil Prokop—who notched a goal and an assist—broke the tie with the game-winner just over 6 minutes into the period.
The Redmen return home for back-to-back games on Nov. 8 and 9 against OUA West divisional opponents Guelph and Western.
6. Add vegetables and stir well into rice-meat mixture.
7. Just before serving, stir eggs carefully into rice, coating as much rice as possible, until eggs are cooked.
—Leah Brainerd
Simple savory salad
(via thehungrygiant.net)
Here is a tasty and colourful salad that is sure to tantalize your taste buds and renew your love for leafy greens!
Salad
1 package of mixed greens, washed
1 bell pepper, diced
1 carrot, shredded
½ cup cherry tomatoes, halved
½ cup cheddar cheese, shredded
¼ cup sunflower seeds, toasted
Dressing
½ cup olive oil
1 tbsp apple cider vinegar
1 clove garlic, minced
1 tsp Dijon mustard
1 tbsp dried onion flakes
Instructions
Wash and prepare all the salad ingredients and place in a large bowl. Set aside. Mix together all dressing ingredients and let sit for 20 minutes to allow flavours to blend. Toss the salad and add the dressing. Enjoy!
