Latest News

a, Editorial, Opinion

Editorial: McGill must address failure in equitable hiring

McGill’s overall failure to fulfill its equity policy is a matter of concern for the university as a whole. In a report commissioned by the Students’ Society of McGill University (SSMU), entitled “Equity in the Hiring of McGill Academic Staff: An Investigation,” researchers found that although McGill has had an equity policy in place since 2007, it has failed to improve equity in hiring practices. Not only has the university done a poor job of providing resources to support equitable employment, it has also gotten worse in its hiring of Aboriginal people and people with disabilities. McGill must improve its mindset towards equitable employment across the university, otherwise it risks becoming a petrified relic of archaic hiring practices, unbefitting a 21st century institution of higher education. It is one thing to have a policy in place, quite another to implement it successfully at all levels of the university.

According to the SSMU report, McGill is far behind other universities, including Dalhousie, Queen’s, Western, York, and Windsor, in terms of its equity practices. The policies at these other universities ensure supervision of overall hiring practices and include proactive measures to include people of colour in positions where hiring decisions and policies are created. Though the exact mechanisms for doing so vary between institutions, it is clear that these universities are doing more than McGill. If the university is to maintain its reputation, it must show that this is true not only for its research and academics but also its equity. Despite its financial situation—the common excuse for a shortcoming at McGill—the university must show that equity is a priority.

Students and the university as a whole must understand that hiring equitably does not mean hiring less qualified candidates. Instead, equity means actively creating opportunities where there were formerly none. Equity in employment is defined by the Canadian government as a policy that “encourages the establishment of working conditions that are free of barriers, corrects conditions of disadvantage in employment, and promotes the principle that employment equity requires special measures and the accommodation of the four designated groups in Canada.” These four designated groups are expanded to six at McGill: Women, Aboriginal peoples, persons with disabilities, members of visible minority groups, members of sexual orientation minorities, and gender identity minorities are included in equitable hiring practices. As of 2010, when McGill’s Senate last published census information based on self-reporting, there had been little change in the amount of representation of any of these designated groups. There has been no further information made publicly available since then.

 

There is a lack of a cohesive framework for implementing that policy throughout the university.

It seems that the administration has been sitting on its haunches for the past nine years. At the administrative level, the Academic Personnel Office (APO) is responsible for overseeing the administrative functions of academic hires; however, its role is limited in terms of employment equity, and so academic hiring decisions rest “almost entirely” within their respective departments, according to the SSMU report. The Social Equity and Diversity Education Office (SEDE) is an important player in the McGill context, but has limited influence on the upper administration. As a result, the departments and faculties under scrutiny in the report hire at their own discretion. The Faculty of Law and the Faculty of Engineering both received employment equity training from SEDE. This, however, was only at the request of the Faculties themselves. This may in part be improved by greater communication between the various actors responsible for hiring, but the policy itself must also fall under scrutiny.

The policy, nearing its 10th year of implementation, is outdated and lacks actionable goals and measures for its progress. Going forward, it must create a policy that will clearly monitor and measure the opportunities for equitable hiring. Currently, there is a definitive lack of transparency in the data on diversity in the student body and staff. For there to be progress, the entire university community must know where it stands. Such measurements must also take into consideration the systemic issues at play whereby people are dissuaded from entering certain fields.

Change must, of course, occur within the administration and within hiring committees throughout the university. The SSMU report contains strong recommendations for what the administration ought to do in order to improve equity, such as establishing an employment equity committee, training those who hire academic staff in equity, and showing more leadership and commitment to equity. Yet there is also work for students and professors. In a 2010 report published by McGill’s Equity Subcommittee on Race and Ethnic relations, researchers found that non-tenured faculty members of colour do not speak out about their experiences in order to protect their employment. Non-visible minority professors must therefore be aware of their own position within an inequitable campus, and communicate this to students. This being said, the onus to invoke change should not fall on minority professors and students. All students and professors must put in a concerted effort to pressure the university to prioritize equity.

Equity is above all a practice. It necessitates an overarching policy that applies and is enforced at all levels of the university. While McGill may not be hiring frequently and must wait for vacancies to open, it must take every opportunity to hire equitably—this includes all possible positions in the university, from part-time staff to tenure-track professors and high-level administrators. Progress has certainly been made, but the overall picture is far bleaker than such optimistic headlines.

 

 

 

a, Recipes, Student Life

Pierogies in creamy mushroom sauce

Unfortunately for students, the temperature is not expected to rise far above zero degrees in the week ahead. In the absence of a tropical breeze or a miraculous climate change, another option to keep warm is to stay home with a hearty dinner; however, when one thinks of comfort food, they shouldn’t be limited to macaroni and cheese or chicken noodle soup. Pierogies, a Polish dumpling usually filled with potatoes and cheese, make for the ultimate warming meal, and can be found in the frozen section of any grocery store. In this filling recipe, they are combined with mushrooms and (optional) kielbasa, a Polish sausage, in a creamy sauce to warm one up on cold winter nights. Be sure to remove the pierogies from the freezer an hour or two before cooking to allow them time to thaw. Any variety of pierogie can be used here, and the recipe can be made vegetarian if desired. Feel free to increase the amount of bell pepper or mushrooms if desired. This recipe makes four servings, but can easily be doubled for leftovers. 

Ingredients

1 teaspoon of olive oil 

2 cups of mushrooms (or 4 if vegetarian), sliced 

1 package of kielbasa (optional), sliced

1 onion, sliced 

1 bell pepper, any colour, sliced 

¼ teaspoon of salt 

¼ teaspoon of black pepper 

2 tablespoons of dry sherry wine (or dry white wine) 

1 tablespoon of all-purpose flour 

2/3 cup of milk (dairy or soy)

¼ cup of chicken or vegetable broth

1 (1 lb) package of frozen pierogies, any flavour, thawed 

2 tablespoons of sour cream 

1 bunch fresh parsley, chopped (optional, for garnish) 

Directions

1. Heat the oil in a large nonstick skillet or frying pan over medium heat. Add mushrooms, onions, salt, pepper, bell peppers,  and kielbasa. Sautée for around four minutes, stirring occasionally, until vegetables are tender and lightly browned.

2. Stir in sherry (or white) wine and cook until evaporated. Mix in the flour. 

3. Stir in milk, broth, and pierogies. Bring the mixture to a boil. 

4. Remove skillet from heat and stir in sour cream. Season with salt and pepper to taste. Sprinkle with fresh chopped parsley if desired. Serve immediately. Allow leftovers to cool completely before transferring to an airtight container and refrigerating.

a, Behind the Bench, Soccer, Sports

Behind the Bench: How fans shape ticket prices

The essence of fandom is hard to capture in words; fans tend to have a more familial connection to their favourite team than to other organizations or businesses. The emotions they invest into sports transcend those of any other service that is provided to the common person. Yet, the reality is that every sports team is still a profit-generating business. Unfortunately, most sports fans have limited budgets, so when local sports teams try to incorporate greater profit margins into their business model, the reaction from fans is as expressive as it is swift. 

Famed football club Liverpool FC experienced this situation firsthand when they tried to raise ticket prices and institute new price regulations at their home field Anfield Stadium. Almost 10,000 fans left Anfield during the 77th minute of a match on Feb. 6, with chants such as “You greedy bastards, enough is enough.” This stunning demonstration led to rapid discussions between the Boston- based owner—Fenway Sports Group—and senior management at Liverpool. They decided to cancel their price inflations and also issued a public apology to all their fans.

In response to the controversy, representatives from Spion Kop 1906 and Spirit of Shankly, two of the supporters groups that organized the demonstrations, released the following statement: “More must be done to make football affordable; however, we have always stated that this is a journey that the owners should embark upon, and this is a positive step in the right direction towards fairness and away from greed, but it is only one step.”    

Liverpool management came to the realization that devout fans expect to be treated with the respect that they have shown to their club for decades, even though the demand for tickets at famed soccer clubs is relatively inelastic. This is a reality for many sports clubs with passionate fans, including FC Barcelona, Green Bay Packers, Chicago Cubs, and so on. The sports world is as lucrative as it has ever been. Reflected by rising salary caps, new television deals, and bigger contracts, the common fan does not expect to shoulder a heavier financial burn.

Many cities gain recognition on a national and international level because of their sports teams. Fans are a huge part of the esteem and pride surrounding these organizations, and they are the people who spend their hard-earned money on team gear, memorabilia, and tickets. They are the driving force behind the companies and they do it gleefully, as long as they feel that they aren’t being explicitly manipulated or taken advantage of. When that does occur, fan reaction is deservedly harsh because they are the reason that the team, owner, players, and management all make millions of dollars. 

Any claims by teams that they are not making desired profits should be aimed towards the league itself for poor stadium infrastructure, because even with inflation over the years, ticket prices have still increased exponentially. Teams looking to maximize economic profit cannot discount the unique role of fans as more than a customer, and instead an emotionally invested family member. In the end, it takes more than money to represent how much a sports organization means to people, and that love and passion for these teams should not be exploited.

a, Arts & Entertainment

Staff Round-Up: Kanye West’s The Life Of Pablo (TLOP)

As a long-time Kanye West fan, I knew The Life of Pablo (TLOP) would deliver in terms of innovation, and considering Kanye’s career progression it was easy to guess that TLOP would feature heavily over-processed samples and gospel-esque backing beats with strong hooks and stronger guest artists. Admittedly, the best part of this album is the featuring artists, whose names are neither listed under the track nor the artist columns on TIDAL. Chance the Rapper’s verse in “Ultralight Beam” is clearly inspired by multiple ego-boosting sessions with Yeezy (“I made Sunday Candy, I’m never going to hell / I met Kanye West, I’m never going to fail”), while Rihanna’s appearance on “Famous” turns the track into something sultry and ironically introspective. In terms of outstanding uses of samples, “Low Lights” blows away the competition with its lyrical strength and emotion. 

Unfortunately, it was features like “Low Lights” and stellar guest verses that highlighted just how lyrically weak Kanye was on this album. Tracks that could be great would get yanked down by petty, childish lyrics about Ray-J and former lovers. The most egregious example of this came in “Father Stretch My Hands Pt. 1,” a track that was meant to be a reflective look at Kanye’s relationship with his father and instead opened his first verse with a line about a model’s bleached asshole. However, this album really shines when Kanye returns to his College Dropout roots in tracks like “Waves” and “30 Hours” (which is basically just the updated “After Hours”). Here, Kanye provides the love he promised on Twitter and alluded to with the summer release of “Only One,” and it works well for him, in spite of his claims on “I Love Kanye.” Looking at this album in combination with Yeezy Season 3, the delayed release time, and Kanye’s multiple Twitter meltdowns, TLOP is a performance of insanity, inconsistency, and introspection, and one that far exceeded my already high expectations.

—Morgan Alexander, Managing Editor

After a couple weeks of strategically-placed Twitter beef, Kanye West has graced us with his mysteriously named seventh studio album TLOP. Pablo Picasso? Pablo Escobar? The central character of the album is as uncertain as its musical contents; each song is patchy, sonically and thematically schizophrenic. TLOP starts off with ardent gospel tunes squeezed through Kanye-typical distortion. “Famous” flexes Rihanna’s raw power as she covers Nina Simone’s “Do What You Gotta Do.” It also includes a sample from Simone’s original song, as well as a Sister Nancy sample. Amid the jumble of melodies, and despite the strong female energy, Kanye decides to reminisce about the women who owe him their careers. He gloats about Taylor Swift, “I feel like me and Taylor still might have sex / Why? I made that bitch famous,” a claim that feels neither true nor triumphant. The album includes some entertaining features from Chance the Rapper, Kendrick Lamar, and others, and the haphazard melodic jumps are actually quite interesting—but Yeezus himself doesn’t seem to be saying anything new.  “Wolves” is a standout track; it feels gentle and genuinely concerned about his new family’s notoriety.  The lyrics combine Kanye’s faith and familial devotion: “Cover Nori in lamb’s wool / we surrounded by the fuckin’ wolves,” he warns Kim. This line is scary as hell, and probably the realest thing Kanye spits on TLOP.

—April Barrett, Arts and Entertainment Editor

Laptop-stealing cousins of the world, beware! Kanye West is finally back after one of the most publicized blown deadlines in music history. On third listen, it’s becoming clear that this is likely his best album musically, and his worst album lyrically. He excels on tracks like “Wolves” and the 90-bar monster verse on “No More Parties in L.A.” but he too often devolves to “shocking” one-liners and lazy repetition instead of digging in and delivering the introspection and wit that made his earlier albums so great. Furthermore, he tends to get outshined by artists like Chance the Rapper and Desiigner, often feeling like a feature on his own album. 

That doesn’t matter as much when the album is as well-produced as it is. After listening to the first track, “Ultralight Beam,” it suddenly becomes clear why the album took so long. Its intermittent gospel choir and lush organ stack up against the best of anything Kanye has ever produced, continuing his streak of fantastic album openers. Despite the fact that the rest of the album never really lives up to the gospel vibe he was going for, there’s a lot to like about nearly every song, from the sample of Sister Nancy’s “Bam Bam” on “Famous” to the grimy piano sound of “Real Friends.” The fact that there’s no real narrative or sonic through-line to the album means it can feel more like a jumbled collection of songs than an actual album, but it’s hard to find fault with something this joyful and unique. 

Christopher Lutes, Arts & Entertainment Editor

The much anticipated follow-up to 2013’s Yeezus, Kanye West’s latest album, TLOP, offers a solid snapshot into the sounds, history, and cultural force that surround the self-proclaimed ‘genius’ that everyone loves. The opening track of the record, “Ultralight Beam,” explores a highly somber, gospel-influenced sound, and really sets a serious tone with politically charged lyrics that self-consciously invites listeners to demand more from the album. As a result of the albums heavy reliance on featuring artists, we don’t, however, get to hear Kanye rap himself until the fourth track, “Famous”, where he immediately enters with his much beloved controversy, notably shifting praise from Taylor Swift toward himself, and provides a much needed refreshment with his clean vocals when compared to the auto-tuned voices and relatively generic beats that dominate the preceding tracks.

The album’s features are simultaneously a blessing, as they enable the album to explore a variety of sounds, such as the jazzy feel of the Kendrick Lamar-led “No More Parties in L.A.”, and a curse, as the sheer number of features, particularly coming from the almost featureless Yeezus, ultimately bury and hide Kanye the rapper in favor of Kanye the producer and don’t always provide interesting additions to the album. When Kanye the rapper does emerge, however, he provides some of the album’s most memorable tracks, most notably “30 Hours”, that never fail to generate clear and catchy flow. With the various moments of lyrical intimacy that display a self-reflexive Kanye musing on his hip-hop legacy, the wide range of soundscapes covered by the album, and the occasional great feature, TLOP, despite some of its filler, posits itself as a great overview of the legacy that is Kanye that’s a worthwhile listen for newcomers and hardcore fans alike.

Luka Ciklovan, Staff Writer

The opening track of TLOP, “Ultralight Beam” is an affirmation of faith: Faith in God, faith in yourself, and faith in Kanye- and Kanye would like to convince you that these are all the same thing. “This is a God dream,” Kanye calls. A gospel choir responds with a soaring, vast proclamation of that statement. In this line Kanye seems to introduce a new age; the line represents a pivot in the path of culture, art, fashion, and celebrity. Then Chance the Rapper comes in: “I made Sunday Candy, I’m never going to hell / I met Kanye West, I’m never going to fail,” he raps, then sings “This is my part, nobody else speak; this little light of mine; glory be to God, yeah”. Chance at once lauds his own success while contributing much of that success to Kanye himself. This apparent contradiction is essential in Kanye’s “gospel”. “Ultralight Beam” is an anthem; a resounding introduction to an album that as a whole seems to be a manifesto of everything Kanye stands for.

Kanye once said, “if you’re a Kanye West fan you’re not a fan of me, you’re a fan of yourself”. Everything about TLOP supports this statement; Kanye practices an extreme form of self-esteem that has garnered huge amounts of criticism- but why? Is humbleness, modesty, and being apologetic really the way to success? In Kanye’s case, certainly not. “Low Lights” and “I Love Kanye” are particularly representative of this concept. “Low Lights” delivers a spoken word performance that, astoundingly, blurs the line between Kanye and God. “I Love Kanye,” while definitely the most obvious track on the album, is the most interesting. “What if Kanye made a song about Kanye, . . . Yo, that’d be SO Kanye!” Kanye raps, at the end laughing at the line “I love you more than Kanye loves Kanye”.

Kanye believes in himself, but more importantly, Kanye believes in you. In his Saturday Night Live performance of “Ultralight Beam” he smiles gleefully during Chance’s rap and Kelly Price’s solo, like a proud father. TLOP, with at least a dozen features, is a celebration of Kanye but also a celebration of some of the most talented people in the music industry today. Musically, TLOP is excellent. “Waves”, featuring Chris Brown, is expansive and totally immersive. “Wolves” delivers an exciting surprise; at the end we hear the voice of Frank Ocean, a lone wolf himself, coming out of the woods in a rare and highly anticipated appearance. TLOP is loaded with talent, but it’s also a statement loaded with controversy. The album, just like Kanye himself, is an outrageous expression of talent and self-love.

Evelyn Goessling, Staff Writer

It’s Kanye’s world, we’re just living in it. After four name changes, a near-dystopian fashion show and a last minute postponement (#BlameChance), TLOP is finally here, and man, is it weird. TLOP is easily Kanye’s most diverse record to date. Every track feels meticulously crafted to give us every possible side of Kanye in 2016. We get the old Kanye (the chop up the soul Kanye) on tracks like “No More Parties in LA” and “Real Friends.” We get hell-raising, scorched-earth trap fireworks on “FACTS” and “Father Stretch My Hands.” Still, there are songs like “Wolves” and “Fade” that sound like nothing he’s ever done before. It’s a mess at times, but man is it a beautiful one.

It’s become common knowledge that Kanye records always have great features, but TLOP might feature his best supporting cast yet. Kendrick Lamar slays over a slippery Madlib beat on the aforementioned “No More Parties in LA.” Somehow, Kanye lured Frank Ocean out of whatever cave he’s been hiding in to deliver a scene-stealing turn on “Wolves.” And then there’s Chance, the new king of Chicago hip hop, who delivers what must be the best verse on the record on “Ultralight Beam.” Chance deserves additional credit for saving “Waves,” a towering pop-rap monolith that might just be TLOP’s best song.

Fans put up with a lot of shit from Kanye. To be honest, he seems like a crazy person most of the time. But then he puts out a record that makes all the twitter rants and the egomaniacal ranting somehow manageable. The Life of Pablo is one of those records. It was well worth the wait. 

Eric Noble-Marks, Staff Writer

Rooney rule
a, Behind the Bench, Football, Sports

Behind the Bench: Rooney Rule Ramifications for Female Representation

Diversity and minority visibility in professional athletics has recently made international headlines, with the inauguration of new professional women’s sport leagues, such as the WNHL, the MLB implementing programs to increase female and minority job candidates, and new awards like the British Ethnic Diversity Sports Awards recognizing the diversity of elite athletes. Most recently, the NFL—a league notorious for an administration littered with middle-aged white males—has inaugurated a new rule to encourage more women in administrative roles, complementing their diversity-encouraging “Rooney Rule.” The Rooney Rule is over a dozen years old, and was inaugurated to combat bias against ethnic minorities applying for coaching jobs and front office positions. Now, in addition to interviewing at least one minority candidate when filling football operations positions, NFL teams must interview at least one woman to fill league executive office positions as well.

Since the Rooney Rule was implemented, minority coaches have gained more visibility behind the bench, perhaps because the rule has worked to counteract racial stigmas within the league. Currently there are five head coaches of colour in the NFL. Before the Rooney rule, only seven head coaches in the history of the NFL history were minorities. Behind the numbers, however, is a radically different story. Perhaps most tellingly, the number of minority coaching hires have stagnated, and even slightly declined, over recent years. The rule has definitely ensured that more minority candidates have been interviewed for NFL positions, and yet  most coaches and executives are white. The same candidates tend to get recycled through a variety of teams, and most of these candidates are white. Though teams are required to interview minority candidates, it’s no guarantee that those candidates will be hired. 

One cannot help but wonder whether this problem will recur in the hiring of women. Setting interviewing standards for women certainly gives talented females visibility in the hiring process, but implementing the rule just creates a soft quota that must be filled solely in the initial interviewing phase—as opposed to actually empowering women vying for a front-office position.

But similar to how the Rooney Rule de-stigmatized the visibility of minorities in professional football positions, the expansion to women might achieve a similar end, even if the outcome is not as pervasive as intended. Already in 2015, even without the rule, women have found employment in viable positions within the league. This year, Sarah Thomas became the NFL’s first female full-time official, Jen Welter became the first female to hold a coaching role when the Arizona Cardinals hired her as a pre-season intern, and Kathryn Smith of the Buffalo Bills scored a full-time coaching role—the first female to do so. Undoubtedly, all of this is progress, and through their actions, the NFL has asserted that they are committed to advancing this progress even further. Even though elements of the rule perhaps don’t go far enough in ensuring gender-equality, it’s definitely a positive first step.

Unfortunately, the rule is limited to a small number of professional leagues. Neither the NCAA nor the CIS have adopted similar rules for executive positions, and though the NCAA mandates gender equality in athletics with Title IX, many schools have been known to exaggerate, or even lie, about the amount of rostered female athletes to fulfill their quotas. In terms of executive positions, in the CIS only 72 out of 480 head coaches were female in 2013, and only two of those women coached men’s teams. The issue is nuanced, with questions about the qualifications of females wanting to coach remaining a legitimate problem, but the predicament remains the same: There are not enough female representatives in coaching and executive positions in athletics, at both the professional and collegiate level. Since the NFL recruits heavily from NCAA collegiate teams, they are in a unique position to pressure these collegiate teams to put similar gender-leveling rules in place – because though some professional leagues have taken a necessary initial measure to increase visibility, collegiate leagues noticeably haven’t, and they probably should.

In terms of representation of females in executive and coaching positions, McGill does adequately. Almost every varsity team has female representation on the coaching staff, the head of strength and conditioning— Laura Strenger—is a woman, and females are well represented on the executive committee. Though McGill seems to not need a policy to ensure female representation in athletics, other institutions might. And though McGill certainly has female representation in athletic administrative positions, it is by no means an equal representation in comparison to their male counterparts. Programs to develop the coaching or business prowess of female athletes while they’re still in university might allow them to be viable candidates for future front-office positions in sports. In the meantime, however, implementing a policy like the Rooney Rule across all leagues across North America would be a good first step in developing future female leaders in athletics.

Bodywash
a, Arts & Entertainment

Album Review: Bodywash – Bodywash

On their debut EP, Bodywash (the McGill band formerly known as Cult Classic) sticks to a relatively simple synth-pop—or “cream pop,” as the band puts it on their Facebook page—formula. Although it is not a harbinger of anything groundbreaking, it is more than worth checking out for any fan of chilled-out, easy-listening tunes. In what appears to be a diplomatic move, the band has opted to equally showcase the dreamy, cool-bored voices of Chris Steward and Rosie Long Decter, giving them each two songs in which they take the lead. Of Steward’s half, “This Cruel” is the standout; the opening is peppered with delayed guitars, setting a distinct, sonically interesting tone and creating a lush atmosphere for Steward’s pleasant, wistful vocals. As for Long Decter, while “Some Place You Can Leave” is noteworthy for providing a slight departure from the rest of the EP with more of a ‘50s doo-wop beat, “Clothes” is filled with a more earnest yearning and a gentle sultriness on the singer’s part. This  blends nicely with Steward’s backing harmonies and the guitar vibrato provided by Steward and second guitarist Adam Macpherson.

Thematically, Bodywash does not venture out of the ordinary and mostly sticks to the tried-and-true topics of budding or fizzling relationships. That being said, the band exhibits a certain kind of dexterity in crafting songs that sound fresh and ready to be played at any late night party worth its salt. “If only you could be this cruel,” croons Steward, coming across as both hopeful and helpless. His grasp on how to effectively articulate romantic woes can be heard in his lyrics on “Nothing At All” and “This Cruel,” while the entire band collaborated on the writing process for “Some Place You Can Leave” and “Clothes.” As far as production and sound mixing go, kudos to all those involved, in and out of the band, for putting out an independently made EP like Bodywash (recorded at McGill’s music studios) without needing to suffer any reduction in sound quality. 

All in all, it’s a professional, very listenable (if too “safe”, creatively) start for what is sure to be an up-and-coming band in Montreal’s extensive music scene. For a group that emerged out of the ashes of what was once “that great band at OAP,” they have certainly come a long way, and McGill should be proud to call Bodywash one of its own. They may be struggling to shed their image as a university band, but for now, their unique history with the school only serves to separate them from their competition.

a, Campus Spotlight, Student Life

Campus Spotlight: Vent Over Tea

Many of the mental health services at McGill take place in a formal office setting, and some require a wait time from a few weeks up to two months. Vent Over Tea offers a different approach—one that requires little wait time and can take place at any café in the city. 

Sarah Fennessy, co-founder of the program and recent McGill graduate with a B.A. in psychology, first proposed the idea for a casual, empathetic listening-based service last April on Spotted McGill. From there she recruited a small group of volunteers to form an organization which pairs together a student who needs to vent and an empathetic listener. 

“We will meet you at any café in the city and it appears like a conversation between two friends, which makes the service more approachable,” Fennessy explained. 

The ability for conversations to take place within a cafe or any other casual venue is what sets apart Vent Over Tea from other mental health services offered at McGill. Providing a comfortable space, and an ideal audience for the person venting to talk through their issues with is the fundamental goal of the program. 

Though not a substitute for other mental health treatments, for some, speaking with an empathetic listener has proven to be just as effective as traditional forms of therapy. In a study by Hans Strupp and Suzanne Hadley, two researchers at Vanderbilt University, college-aged males with mild symptoms of depression were gathered and then split into three groups. Two groups of men were treated by a psychologist, and the third group spoke with a professor who was described as an empathetic listener. According to the study, “Patients treated by professors showed, on average, as much improvement as patients treated by professional therapists.” This inspired Fennessy and the other co-founder, Chloe Chow, to co-ordinate a similar service for students. 

Chow, another recent graduate from McGill with a B.Sc. in psychology, explained that ‘ventees’ undergo training through a mandatory active listening workshop in order to learn how to be effective listeners, such as using open body language and good eye contact. Many are also trained in mental health crisis counselling, and have experience with organizations like McGill Nightline and Sexual Assault Centre of the McGill Students’ Society (SACOMSS).

“We look for people that are committed to helping others,” Fennessey said. “To interview people I would vent to them and see if I was comfortable, and if they could facilitate the conversation [….] We chose the people who were described by friends as the person they would go to talk to.” 

Chow and Fennessey have both been ‘ventees’ and claim that the one hour session is a gratifying experience for them as well as for the person venting.

“Sessions usually start with them very stressed out and by talking it through you can watch them solve the problem on their own and gain some clarity just from talking about it,” Fennessey said. “It’s really rewarding.”

Letting clients come to their own decisions is an important aspect of the program. Ventees are instructed to ask questions that help their partner look more deeply at what is bothering them, and through doing so come to their own conclusions. 

People come to vent for many different reasons—the most common being relationships, academic stress, and stress about the future. The goal for the volunteers is not to give advice, but to allow people to talk through their current challenges.   

“Everyone is coming because they really feel like they need to get something off their chest,” Chow explained. “What we want to bring back with this service is a sense of interconnectedness—to make [people who are venting] feel validated and heard.” 

For now, Vent Over Tea is currently in a transition period. They are remodeling their website and are hoping to have an app soon to link “venters” with “ventees” more easily.

“We always make the joke that it will be like a Tinder for venting,” Chloe said.

Fennessey and Chow are currently contenders for the Dobson Cup—a competition that provides mentorship for student entrepreneurs at McGill. The winners of the competition are awarded funding for their business to grow, and if successful, the two are hoping to expand the program outside of the McGill community.

“The goal is to be accessible to anyone in Montreal who needs to vent, and ideally we would want the service […] to be available in any city,” explained Fennessey. “Everyone in every demographic has something to vent about.”

This article was corrected on Feb. 18. The Tribune regrets these errors.

podcast
a, Arts & Entertainment, Music

Beyond Serial: Five podcasts worth your time

1. Mordern Love: The Podcast

Modern Love has long been a staple column of the New York Times as a weekly glimpse into the surprises and tribulations of modern dating and relationships. Modern Love: The Podcast brings these stories to life with readings from actors such as Broadway star Lauren Molina and American Horror Story actress Sarah Paulson. Listeners are also privy to a follow-up interview with the author, where the epilogue of their sometimes-successful, sometimes-harrowing tales brings to life the diversity and oddity of modern life. 

Best Episode: Episode 4: “An Interlude of Clarity.” The perfect date ends in the emergency room and just gets better from there- for a little while. Brian Gittis’ tale reveals that it’s okay if a magical night doesn’t last. 

—Evelyn Goessling

2. Not Too Deep with Grace Helbig

True to its name, Not Too Deep avoids profundity and instead dives into the absurdities of the everyday and imagination with questions like “Who would you throw a plate of cold spaghetti at?” and  “What is your favorite emoji and why?” In Not Too Deep YouTube star and author Grace Helbig chats with other YouTubers and celebrities of the so-called “internet space” about their projects as well as some of their most ridiculous life stories, such as Uber rides, Tinder dates, and fan encounters. Helbig’s slightly awkward but endearing sense of humor works wonderfully in tandem with the wide range of humor and creativity showcased in her guests. Internet sensation Tyler Oakley, singer and YouTuber Troye Sivan, and EpicMealTime star Harley Morenstein are among some of the most entertaining visitors to the podcast.  

Best Episode: “Ep. 25 with Shane Dawson.” The stories Shane shares in this episode are just as outrageous and hilarious as his personality. In one a Craigslist encounter goes terribly, terribly wrong; in another Shane meets LA’s craziest Uber driver. 

—Evelyn Goessling

3. The New Yorker Radio Hour

The New Yorker Radio Hour has all the virtues of The New Yorker in podcast form: impeccable style, content, and production distilled into an hour of easygoing conversation. Host David Remnick’s interviews are thoughtful, sensitive, and playful. The podcast features a variety of artists, writers, musicians, politicians, and stories about and interviews with other fascinating personalities. It showcases a vast spectrum of human passion and creativity with a mash up of essays, interviews, and dramas (in one interview director Charlie Kaufman “talks puppet sex and existential dread during a tour of the Whitney Museum; in another two cartoonists discuss “the virtues of dogs versus cats, and other big questions of the cartoon world”). If the weekly magazine is too long or too much to keep up with this is the podcast for you. 

Best Episode: “Episode 6: Two Writers and a Rock Star Onstage,” featuring Patti Smith and fiction writers Jonathan Safran Foer and George Saunders. Patti Smith discusses her new book M Train, a memoir and love story to New York, poetry, travel, and the smaller things in life. 

—Evelyn Goessling

4. Radiolab

This science podcast covers a broad range of topics, investigating how science, culture and history intersect in ways that we don’t often consider. Each hour-long episode includes three segments that relate to a particular idea—like colours, words, or the Galapagos Islands—and challenges the listener to approach this idea from a novel angle. Often, an episode can succeed in altering the way we experience and appreciate our world and question aspects of life that are taken for granted. Hosts Jad Abumrad and Robert Krulwich gather interviews and information from both experts and average people with particularly interesting stories to tell. 

Best Episode: “Update: New Normal,” investigates whether humanity has the capacity to permanently change ingrained aspects of its behaviour through stories about a commune of peaceful baboons, domesticated foxes, and America’s first transgender mayor.  

—Selin Altuntur

5. This American Life

This American Life is a weekly podcast that explores a theme through first person accounts of moving life stories. Often, segments explore relevant experiences and current events in an innovative, ironic and humorous way. This podcast is particularly good at getting listeners to see banal everyday situations, like online trolling, calling the wrong number, and unfunny parent jokes, in a new and insightful light. 

Best Episode: “If You Don’t Have Anything Nice to Say, SAY IT IN ALL CAPS” recounts three instances of the internet turning on everyday people. Looking at the issue from the perspective of both victim and troll, this episode addresses human universals in a way that makes you feel for the faceless bullies behind your computer screen.

—Selin Altuntur

a, McGill, News

Smoke-Free campus town hall sparks controversy

The McGill Senate Smoking on Campus Working Group held a town hall meeting on Tuesday, Feb. 9 to discuss establishing a smoke-free campus. The meeting, led by Medicine Senator David Benrimoh, included a brief presentation of proposed smoking shelters as a solution to reducing secondhand smoke on campus, followed by an open discussion.

“The purpose of this town hall was to get as many people as possible to talk about […] smoking in general on campus and our approach to that,” Benrimoh said. “What we’re talking about today is the right to smoke everywhere—so not the right to smoke, not whether smoking is evil or good, not any of those things—just in our community, [and] on our campus: How do we want to manage people’s right to smoke in certain places for reasons of student health and wellness?”

According to Benrimoh, one such method of approaching the matter is education.

“We want to work with partners like Healthy McGill to address the things that make people smoke or the things that [make] it harder to quit smoking on a university campus,” Benrimoh said. “So things like stress, […] social smoking […], weight loss, and other university-specific causes.”

Another part of the proposal focused on providing resources for smokers who may be interested in quitting. If McGill does choose to implement such a policy, the university would offer cessation resources and services to current smokers. These services are also being considered as alternatives to a smoke-free campus.

“We’re actually meeting with Health Services […] later next month to discuss what kind of services they’d be able to offer,” Benrimoh said. “We’re not expecting everyone to want to quit tomorrow, but maybe some people want to reduce, some people want to quit, some people don’t know [or] want to think about it; we want to cover that broad range.”

Another possibility is the construction of smoking shelters around campus. If built, the shelters would become the only areas on campus where smoking would be permitted. Currently, the university policy follows provincial law, which prohibits smoking within nine metres of building entrances.

“The idea is to create a place to smoke that’s out of the cold, that’s convenient, that’s close to people who already smoke, but that would sort of isolate the smoke from people who don’t want to get secondhand smoke,” Benrimoh explained.

In a survey distributed in faculty listservs in the weeks preceding the town hall meeting, over 600 students shared their thoughts on the topic of smoking on campus. While the majority seemed to be in favour of smoking shelters, the survey saw varying opinions towards smoke-reduction in the comments section.

“An outright smoking ban across the entire campus would be [heavy-handed],” read one comment. “[The university] should keep in mind that smoking is addictive and forced withdrawal has negative consequences for smokers (thereby making it harder for them to study). The smoking shelter idea sounds promising.”

One student smoker left a comment speaking out against the campaign for a smoke-free campus.

“School is stressful,” reads the comment. “I like smoking cigarettes. Don’t take that away from me. The campus is large, and making it entirely smoke free would be a huge inconvenience for people who want to smoke, especially after dark. Who is standing around inhaling second degree smoke in the winter? Seriously, if I can buy cigarettes I should be able to smoke them. It’s my campus, too.”

Ultimately, according to Benrimoh, as well as other members of the working group, what this initiative lacks are the voices and opinions of smokers on campus. There were almost no smokers present at the town hall, despite the group’s best efforts to attract them to the meeting. “We’re really trying to get smokers to give their opinion,” Benrimoh said. “It matters to us.” 

Arts Senator and member of the Smoking on Campus Working Group, Erin Sobat, agreed that one of the working group’s main goals moving forward would be to obtain more feedback from smokers.

“This was the first of several consultations to hear from students on this issue,” Sobat said. “We had a good discussion with those who came, but definitely need to reach out to more smokers themselves.  Our priority is finding ways to reduce student exposure to secondhand smoke while developing a more supportive environment for students who want to quit or cut down. Transitioning to a smoke-free campus is one option, but one we would only pursue with more effective cessation and support resources in place.”

a, McGill, News

MISC hosts inaugural Indigenous Knowledge Holder Series

Over the past week, McGill has hosted the Indigenous Knowledge Holder Series, held by the McGill Institute for the Study of Canada (MISC) as part of the Canada on the Global Stage Series. Events included a student writing workshop, conferences, and presentations on the resurgence of indigenous communities. 

Indigenous History Professor Allan Downey, who was responsible for organizing much of the week’s events, spoke to the importance of learning from indigenous knowledge holders.

“As part of the newly established indigenous studies program, we developed [this] idea of an inaugural […] series, which invites an indigenous knowledge holder to spend a week at McGill and in the community to share their scholarship, work, art, or advocacy,” Downey said. “Indigenous knowledge holders, whether they be wampum belt holders, storytellers, artists, activists, hereditary title holders, or academics, encompass generations of knowledge of indigenous communities, and the series seeks to act as a bridge between that knowledge and the institution, while placing an emphasis on community collaborations and partnerships through things like community workshops and presentations.”

According to Downey, the indigenous knowledge holder who the series was constructed around is Leanne Betasamosake Simpson of the Alderville First Nation. 

“Leanne is a prolific Mississauga Anishnabeg Storyteller and activist who has played a significant role in the decolonization and resurgence of indigenous nations through her literary and social activism,”  Downey said during his introduction to Simpson’s presentation. “[Simpson has] and really helped us to imagine a reality that we cannot yet face or experience as indigenous peoples,”

Simpson has published two books of short stories and poetry, Islands of Decolonial Love and This Accident of Being Lost, as well as many papers and academic books such as Dancing on our Turtle’s Back. Simpson focused her talk around her writing, particularly spoken word poetry, as well as the issues indigenous people in North America face. 

“Indigenous bodies are not just flesh and bones, but they are political orders,” Simpson said. “They house all of the relationships that give us meaning. But indigenous bodies are in the way of natural resources, Indigenous bodies get in the way of settlement, Indigenous political orders get in the way of Canadian sovereignty. Indigenous bodies attached to and in love with Indigenous land is a problem for settler-colonialism.” 

Simpson closed her presentation with an anecdote concerning the future of indigenous territory in Canada.

“A couple of years ago, I was one of the people involved in the Idle No More movement, and in my travels around speaking to the issues that we were bringing up at the time, I kept getting asked the question ‘what do you people want anyway?’” Simpson said. “This is my answer to what do you people want anyway: I want my great-grandchildren to be able to fall in love with every piece of our territory [.…] I want them to live without fear, because they know respect. Because they know in their bones what respect feels like [.…] I want them to be valued, heard, and cherished by our communities and by Canada.” 

Will Straw, director of the McGill Institute for the Study of Canada, lauded Simpson in his closing remarks of the Thursday keynote. 

“In my job, I have to read a lot of books—because I’m a professor—but in the last long, long time, the book I have learned the most from is Dancing on Our Turtle’s Back, which I really think you should all read,” Straw said.

Read the latest issue

Read the latest issue