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Basketball, Behind the Bench, Sports

Behind the bench: Kevin Durant’s injury shows how fans affect athletes

by Thierry Boliko on

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NBA player Kevin Durant received relentless scrutiny following his 2016 decision to leave the Oklahoma City Thunder for the Golden State Warriors. The decision came after the Thunder infamously gave up a 3–1 lead in the Western Conference Finals to Warriors, and fans have continued to express their disapproval of his decision and its consequent creation of a Warriors super-team. However, few have considered how this decision affected Durant’s personal life. The dynamic between Durant and basketball fans has highlighted a larger issue in sports: How the dehumanization of superstar athletes negatively affects their dynamic with fans and their own personal wellbeing.

The destructive relationship between fans and athletes was recently displayed when Durant strained his calf during Game 5 of the 2019 NBA Western Conference Semifinals. A month later, in Game 5 of the championship finals, Durant ruptured his Achilles tendon after only 14 minutes of play—an injury that threatens his career. Analysts and fans alike immediately sought to place blame, linking the injury to the calf strain. Some believed that a negligent medical staff was responsible for his premature return; others surmised that the Warriors organization pressured Durant to be on the floor. Largely unnoticed, however, was the potential impact NBA fans had on Durant’s decision to return to the starting lineup.

Fans glorify professional athletes due to their unparalleled talent, nationally televised presence, and huge salaries. In so doing, they inadvertently forget that athletes are human, too. This can lead fans to place immense pressure on athletes, affecting both performance and decisions like whether or not to play.

“[W]e’re idolized as superstar athletes, not human beings,” Golden State centre Demarcus Cousins said to reporters after Game 5. “It’s always about what we can do between those lines. That’s it.”

The significance of Durant’s two NBA Championship titles and Finals MVP awards have been diluted given his elite teammates, and his move to the Warriors has been condemned as the weakest by an NBA superstar. This may have culminated in desperation to consistently prove himself, an impulse which he has displayed in the past by using fake Twitter accounts to defend his reputation against criticism from fans. 

Durant’s injury now carries an even greater significance due to the fact that many Toronto fans cheered when he went down, despite the Raptors players urgently waving for the crowd to stop. At this moment, the crowd’s desire for a championship and inability to relate to the man on the floor presented a concerning picture: Fans can become so distant from professional athletes that they forget the compassion that they would normally show their peers.

Two-time champion and Finals MVP Kawhi Leonard of the Toronto Raptors may know better than anyone the feeling of such immense pressure to return: The San Antonio Spurs cleared the forward to play earlier than he felt appropriate after a mysterious quad injury. Despite mounting pressure, Leonard did not give in, opting to sit out almost the entirety of the 2017-18 season and seek independent treatment. 

Durant’s injury invites fans to reflect on how they treat players, bridging the gap between excessive idolization and empathetic understanding. For athletes to retain their humanity, the standard must not be that they either win a championship, as Leonard did, or destroy their body in the same pursuit, as has been the case for Durant. Spurs guard DeMar DeRozan is among a group of players who have taken a great first step by opening up about their depression to help fans understand just how human professional athletes are. It is a two-way street, however, and fans need to meet athletes halfway by respecting, honouring, and loving them not only as competitors, but as human beings.

Sports

Women’s hockey players stand up, sit out

by Zoe Babad-Palmer on

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On March 29, the board of the Canadian Women’s Hockey League (CWHL), an organization that previously consisted of six teams, voted to disband the league due to its financial inviability, irreversibly changing the state of women’s hockey in North America. 

The United States-based National Women’s Hockey League (NWHL) thus became the only professional women’s hockey league on the continent; however, despite first being founded as an alternative to the CWHL, players have seemed unwilling to accept it as the sole remaining league. On March 31, dozens of players tweeted a statement using the hashtag #NoLeague to express their disappointment and apprehension of the future. This was just the beginning, as in the three months since, female players have taken bold actions to fight for control of their own future, even if it jeopardizes their present.

Two days after players first expressed dissatisfaction with the NWHL, reports of an increased financial contribution to the NWHL from the NHL of $100,000 surfaced. This development does not, however, reflect an increase in the NHL’s financial contribution to women’s hockey: Both the NWHL and CWHL received $50,000 each from the NHL last year, so the NHL simply transferred the CWHL’s funding to the remaining league. This contribution is also only 14 per cent of the $700,000 minimum salary for a single NHL player.

On May 2, over 200 female collegiate and professional hockey players in Europe and North America tweeted identical statements announcing that they would not play hockey in North America until a sustainable league with a living wage and health insurance was created. Among these players were superstars like Hilary Knight, Marie-Philip Poulin, and Kendall Coyne Schofield.

This movement, usually referred to with the hashtag #forthegame, is certainly bold and may put some players’ careers at risk. It might seem like a long shot, but it is not a step backward for women’s hockey. Those involved in #forthegame are pausing to consider the best way to improve the sport for both current and future players. Girls deserve to dream of a hockey career in which they can simply play hockey, without worrying about affording equipment or missing practice because of their day job. Every player involved should be commended for having the bravery to speak up and sit out one season in order to ensure the long-term growth of the sport.

On May 20, the CWHL Players’ Association’s Twitter account was renamed to the Professional Women’s Hockey Players Association (PWHPA). Instead of merely creating a loose hashtag movement, the players showed how serious they are by taking legal steps to band together. The PWHPA lists the organization’s goals as creating one viable professional North American women’s league, providing support to players who are sitting out, and advancing the game. Currently, the account is spreading word about hockey camps to ensure that, even without the ability to see their favourite stars play, young girls will still be able to develop their skills and pursue their passion.

The creation of the PWHPA shows that the players involved do not think that the NWHL is sufficient, and that they have good reason to be skeptical. While the NWHL said in April that it would expand to Montreal and Toronto for the upcoming season, a May 30 press release tentatively pushed the expansion back to the 2020-2021 season, with no guarantee that it will happen at all. Additionally, two NWHL teams have recently lost their connections with the NHL, halving the number of official connections. By separating from NWHL teams, the NHL may send the message that it does not believe in the league’s model, or that it fears the NWHL may go the way of the CWHL.

Neither the PWHPA nor the NWHL is perfect, but one thing is certain: There are many female hockey players involved who are fiercely passionate about making their sport better for future generations. Whether the right path forward is with the NWHL, a possible NHL-backed women’s league, or something completely different, players are taking charge and they’re not backing down.

Arts & Entertainment, Music

The best of Roy Juno is yet to come

by Sophie Brzozowski on

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From a band that seems so effortlessly cool, one might expect a certain degree of aloofness from the members of Boston-based dream rock project Roy Juno. Seated around a plastic table in a dusty canvas tent, however, all four members were positively glowing with pride following their Aug. 2 performance at Osheaga.

“It’s one of those stories I’ll tell my grandkids,” songwriter Sayak Das said in an interview with The McGill Tribune of the experience of recording Roy Juno’s first EP Gone Mad from his house in Boston, Massachusetts. “[…] You know, like about how I was pretty much naked in my room with the AC off so I could record vocals properly—it was so hot and it was so muggy that we barely get anything done […] or about how these guys cleared out the living room and set up the drum set, and they all recorded at the same time! Which is badass!” 

Indeed, though the band is barely a year old, Roy Juno’s story is already one worth hearing. Following the dissolution of their two-person project, Dreamer and Son, Das and drummer Josh Parra met bassist Henri Young at an audition for a wedding band. Having recently graduated from the Berklee College of Music, Das and Parra were searching for a team to realize an artistic vision they’d been unable to achieve on their own. Their connection was near instantaneous, and it was not long before the three musicians were writing and recording together. Lead guitarist James Marino would become the final piece of the puzzle when he joined Roy Juno in Dec. 2018.

 The creative chemistry between Roy Juno’s four members is immediately apparent from their recordings, and it is always a pleasant experience to encounter that same chemistry live, on stage, and in conversation. 

“Every aspect of every skill that we have is showcased in this band,” Das said.“[…] and that was a tough thing for me, working collaboratively, but the reality is, [the band] has great ideas.”

The emphasis that Roy Juno places on their creative independence is integral to their creative process. Their first three singles were recorded in Das’ house and produced in part by the musicians themselves.

“It’s the band’s mission statement,” Young said. “[…] we just want to accomplish as much as we can ourselves, on our own.”

Having recently graduated from one of the more esteemed music schools in North America, Young, Parra, and Das also spoke about the process of navigating their musical identity beyond the university context.

“This band is all about freedom,” Das said. “It’s really amazing to be able to use an institution like that independently, away from it […] a lot of the things I’ve learned there […] I have to think of them as tools not rules.”

 The band also spoke about their disappointment in the general cynicism surrounding the music industry, citing much eschewed tools like recording software and music streaming services as being constructive, and even essential, to their creative process.

“It’s never been easier, in terms of musical generations, to express yourself, to get your ideas out there […] I think the people who say the internet is holding them back, I think that’s an excuse,” Young said.

Roy Juno’s members admit that they are not sure quite what to make of themselves yet. Their current body of work is a representation of their musical journey and consists largely of members’ older material that they had reworked together. Now that they’ve established a relationship and a unique sound, the band looks forward to crafting something that is entirely their own.

 “These are going to be the first true Roy Juno songs,” Das said. “[…] phase two of Roy Juno is a blank slate.”

Roy Juno’s music is available to stream on Spotify. 

Arts & Entertainment, Music

In the kitchen, and on stage, with Munya

by Katia Innes on

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Osheaga 2019 saw no shortage of exciting acts from around the world, so Québécoise singer Josie Boivin, better known by her moniker Munya, found herself at home at Parc Jean-Drapeau. Hailing from Saguenay, Quebec, Boivin trained professionally in opera, and then briefly in jazz voice at the Université de Montréal (UdeM) before leaving to embark on her solo career.

To the casual listener, Boivin’s time spent in the UdeM practice rooms may not be apparent at first. But Boivin’s soprano stretches with ease on tracks like “Des Bisous Partout” and “Trop Tard,” and Boivin attributes her music’s  dreamy quality to her use of major and minor sevenths. It’s clear that she has technical sophistication as well as musical ingenuity.

Boivin’s education and influences have resulted in a sound that she aptly dubbs “new synth folk.” Though she features prominently on the synth keyboards, the meandering guitars and the delicate vocals that accompany them evoke pastoral drives and charming love stories. Boivin attributes her preoccupation with dream pop to her parents’ musical taste.  “As a kid, my parents really liked French music, so my mom loved Francois Hardy, and I think she’s still a big influence in my music. I love the ‘60s and ‘70s,” Boivin said in an interview with The McGill Tribune.

All the while, Boivin’s traditional education in music has informed her work. She cites classical composers, such as Claude Debussy and Erik Satie, as well as jazz legends Ella Fitzgerald and Bill Evans as her musical influences.

Though Boivin underwent a conventional formal musical education, her beginnings as Munya were less typical: As booking space was slim, she set up her own studio in her sister’s kitchen.

“She would go to work from 9 to 5, [and] I would put my stuff on the table, and just make sure everything [was] perfectly back to normal when she got back,” Boivin explained. “I just started making music in the kitchen and had no expectations. I was just following my heart and making some beats.”

This determined, do-it-yourself tenacity served Boivin well, propelling her to produce three EPs—North Hatley, Delmano, and Blue Pine—in less than a year. Drawing energy from her family, the Montreal music scene, and her friends, Boivin sees her homespun roots as fundamental to her craft and performance.

“For me, right now, I feel like [honesty is how] I can best introduce myself to my audience and my crowd, and that’s also how I make music. Just with my guitar and my keyboard, my sampler, and I feel good about it,” Boivin said. “Because, it’s just like who I am. Really, there’s no b-s. That’s how I make music.”

Though Osheaga brands itself as Montreal’s largest music festival, Boivin sees it not as her final victory, but a springboard for more opportunities.

“Last year, when I released my first EP, I had no expectations, and now here I am, I just played the Jazz Festival, [and] I’m playing at Osheaga, like, ‘What the hell?!’” Boivin said. “Playing with all the other bands—I love Beach House, Mac Demarco, all those—it’s so inspiring for me and a good support for me. Like, people like my music, okay, I’ll just make more songs then!”

Munya will be opening for Charlotte Cardin Aug. 17 at Église St-Matthews New Hope Luther in Sudbury, ON, presented by SiriusXM. Her music is available to stream on Spotify and Bandcamp.

Montreal, News, Private

Uber JUMP e-bike–share service competes with BIXI in Montreal

by Emily Yun on

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The ‘bike-share boom’ continues to grow in Montreal this summer, as Uber-owned JUMP bikes enters the market dominated by BIXI Montréal.. However, seasoned cyclists are wary of bike-share users’ lack of attention to road cycling safety, as this unmindful behaviour leads to more road confusion and bike accidents. 

According to Onur Koçer, a volunteer at McGill’s Flat Bike Collective and ‘all-season’ cycling commuter, Bixi customers often ignore road rules like proper passing procedures.

“If I am [cycling] and a Bixi is trying to [pass me] from my right side, I am really confused, and that happens quite often,” Koçer said. “You need to be aware that you are also responsible for other people who bike and yourself at the same time. I don’t really feel that so many people show that kind of awareness of responsibility toward other people.”

JUMP bikes are pedal-assisted electric bikes that can travel up to 32 kilometres per hour. The system is ‘dockless’: Users can pick-up and return bikes from any bike rack within the service area, in addition to at designated docking stations. Users can reserve and pay for bikes by using the Uber app. 

Emily MacLean, another volunteer at The Flat Bike Collective, is concerned that disregard for road rules will worsen as e-bikes, which are more powerful and faster than traditional bikes, become more widespread. 

“[E-bikes] will take the problems with Bixis and exacerbate them. Bixi has lots of pros, but I don’t know how many of those pros will go along with [e-bikes],” MacLean said. “I am a little bit wary about the e-bikes. [But], they could be helpful, maybe they will surprise us.”

Although widespread bike sharing may create safety concerns, these services also offer an alternative to driving that is non-polluting, time-saving, and more active. Robert Couvrette, the McGill associate vice-principal of university services, says that bike shares are a welcome addition to campus life. 

“The increased accessibility of such modes of transportation is good news, as it likely encourages more members of the McGill community to use active transport,” Couvrette said. “Cyclists are asked to always be vigilant and respectful of pedestrians, who have the right of way on the downtown campus.”

In a 2016 study at the Technical University of Denmark, researchers found that riding style is a crucial factor in e-bike user safety and that e-bikes carry a specific set of safety implications. According to the study, e-bike trips are on average shorter, faster and more frequent than those taken on traditional bikes, and other road users often underestimate the bikes’ speeds. 

Presently, the Quebec Ministry of Transportation has not passed any regulations limiting the speed of e-bikes, however, the Highway Safety Code mandates that riders wear helmets. Furthermore, the City of Montreal released new regulations to ensure dockless bike-share vehicles are still properly managed by their companies.

“The City of Montreal is only responsible for the supervision of the parking of dockless vehicles and their operating licences,” Serge Tsoto, the City of Montreal press correspondent wrote in an email.

Science & Technology

Yoshua Bengio on the future of AI

by Krithika Ragupathi on

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Turing Award recipient and McGill alumnus Yoshua Bengio, best known for his seminal work on artificial intelligence (AI), is the latest recipient of the Killam Prize, a $100,000 award given to outstanding scholars. Bengio is the founder of the Montreal Institute for Learning Algorithms (Mila), a world-renowned AI research institute. 

He attributes his success, in part, to Canada’s investment in curiosity-driven research. 

“We have been successful in AI […] in great part because we have a research funding system that allows professors to learn some subject that no one cares about, but that may have great potential in the future,” Bengio said in an interview with The McGill Tribune. “I would like there to be more of it, but at the same time, I realize that we’re really lucky in Canada to have the system we have.”

Bengio has been a vocal opponent of autonomous, AI-driven weapons. In 2017, he co-authored an open letter with other prominent AI researchers calling for the Canadian government to support an international ban on the use of lethal autonomous weapons—which operate without meaningful human control—at the United Nations.  

Another recent concern with AI is deepfakes, which are artificial—but highly realistic—videos created using generative adversarial networks (GANs). GANs were developed by Bengio and colleagues in 2014, and essentially use two competing neural networks to produce novel data that resembles existing data. In light of a recent fake video of Nancy Pelosi, digital policy pundits fear that both crudely manipulated videos and more sophisticated deepfakes will be used in further smear campaigns against political candidates. 

“It’s an issue right now in the courts and media—people take for granted that if there’s a picture, it’s true,” Bengio said.

According to Bengio, deepfakes are currently easy to detect, but the arms race between deepfake producers and detection software will continue. A researcher behind a recently developed method of identifying deepfakes conceded that although it will be especially difficult, deepfake-makers will likely adapt to the new technique. 

Deepfake texts also pose a problem. The creators of a revolutionary AI text-generator called the GPT-2 model refused to release their entire research for fear of potential misuse. Despite these concerns, though, Bengio remains optimistic about the future of AI.

“Think about how access to the Internet is increasing our ability to have access to more knowledge,” Bengio said. “It is going to depend on how we choose to deploy these [tools]. If we do it in a mindful way rather than just driven by maximizing profits, I think we could do something pretty good for society.”

Recent strides made in AI research are advancing various areas of science and technology. Last year, a study published in Nature Medicine revealed that Google DeepMind’s AI can interpret 3-D eye scans and make more efficient referral decisions than expert physicians. DeepMind is also being trained on weather forecast data to predict the power output of wind turbines up to 36 hours in advance, leading to increased energy efficiency. 

Bengio believes that the future of AI will benefit from collaboration.

“Having more people at the intersection of some domain and AI is something that society will need a lot in the future,” Bengio said.

He also promoted the power of self study, urging university students to leverage free and open-source tools for learning instead of simply relying on professors or courses. Bengio offered a final piece of advice for students interested in pursuing a research-oriented career.

“I hope people will take the time to think because big advances in research actually come from a place where you have quiet and time to think and you’re not in the rush of producing something tomorrow,” he said. 

Science & Technology

World Oceans Day highlights pressures on marine environments

by Margaret Wdowiak on

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On June 8, humans dumped 13,000–15,000 pieces of plastic into the ocean. At the same time, we were celebrating United Nations (UN) designated World Oceans Day, which raises awareness about oceans’ importance to humanity. It also connects people worldwide through social media, encourages participation in partner organizations, and inspires year-round action to protect and restore marine ecosystems. 

Covering 71 per cent of the planet’s surface, oceans are a major source of food and medicine, provide most of the world’s oxygen, and act as a sink for carbon dioxide. World Oceans Day is a harsh reminder of the major threats posed by pollution, overfishing, climate change, and habitat destruction.

Pollution

Annually, 13 million tonnes of plastic are dumped into the ocean, killing 100,000 marine animals that often die after tangling themselves in or ingesting plastic debris, leading to internal injuries and starvation. Plastics also introduce chemicals into the water and greenhouse gases into the air. These chemicals can remain intact for centuries or instead degrade into microplastics, which introduce toxins into the food chain. 

Other man-made pollutants, such as chemical fertilizers, enter the food chain after small marine organisms consume them. Nitrogen-rich fertilizers result in massive algal blooms that rob the water of oxygen, creating ‘dead zones’ where only a few species can survive. Meanwhile, oil spills can poison animals and destroy the insulating capability of fur and the water repellency of feathers, causing mammals and birds to die of hypothermia. Noise pollution from ships disrupts the migration, communication, and reproductive patterns of whales, and it can even kill invertebrates like squid.

Overfishing

Over the past century, humans have depleted the majority of the planet’s fish stocks, leaving fewer fish and marine invertebrates to reproduce and sustain healthy populations that can withstand future fishing efforts. Size-selective fishing, often used as a conservation measure, lowers genetic diversity, while trawling along the seafloor can destroy fragile environments. Additionally, millions of animals not targeted by fishermen—referred to as bycatch—are caught, though technologies that exclude non-target species are now required in some areas. Aquaculture, the world’s largest-growing food industry, comes with problems of its own but is increasingly viewed as a sustainable alternative to fishing for many species.

Climate change

Arguably, the biggest threat to the oceans is climate change. Aside from sea level rise, global warming is making oceans hotter, reducing oxygen levels, and forcing species to relocate to new areas. Furthermore, extreme and unpredictable weather associated with climate change can damage coral reefs and other coastal ecosystems. 

A striking effect of this ocean warming is coral bleaching, a stress response to environmental changes that has become more common in recent years. When under stress, algae leaves the coral, causing it to turn white and making it more vulnerable to future pressure. Coral is also bleached by acidification, the result of large quantities of carbon dioxide dissolving in oceans, which makes water more acidic and threatens the growth and survival of organisms with calcium carbonate skeletons and shells, such as corals and shellfish.

Habitat destruction

Coastal and marine habitats are home to a wide range of organisms and are essential for the overall function of ecosystems. Coastal development and aquaculture can destroy vital habitats and fish nurseries, such as estuaries and mangroves, while destructive fishing techniques like deep-sea trawling scrap entire habitats from seamounts and underwater mountain ranges. Pollution, tourism, and climate change also destroy marine habitats.

While World Oceans Day is a reminder that humans are dangerously threatening the marine environment, all is not lost: Through education and global coordination, the event inspires the development of new and ongoing solutions to mitigate humans’ impact on the earth.

Arts & Entertainment, Music

Overlooked at Osheaga: Four acts you shouldn’t miss

by Katia Innes, Sophie Brzozowski on

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With big acts such as Tame Impala and Kaytranada gracing the Osheaga main stages, it is easy to overlook the lesser-known artists who are playing the afternoon slots. All the while, this year’s lineup boasts a breadth of up-and-coming artists covering diverse genres and styles, and it would be remiss to discount them. The McGill Tribune has compiled a list of promising Osheaga acts that shouldn’t be missed.

Teke::Teke

Aug. 2, 3:45-4:30 p.m., Scène des Arbres

Seven established Montreal artists; one tribute band to the legendary surf rock guitarist Takeshi ‘Terry’ Terauchi. Though it started as a side project between friends, Teke::Teke has evolved into a force to be reckoned with. Fusing the sounds of Japanese eleki music with modern genres such as shoegaze, noise, and post-rock, Teke::Teke’s sound is entirely their own. It’s rare to find a band with such a unique sound playing a major festival, so this set is definitely one to catch.

Where to start: Their debut album Jikaku

(TEKE::TEKE / YouTube)

MorMor

Aug. 3, 2:20-3:45 p.m., Scene de la Vallée

Plucked from obscurity by none other than Daniel Cesar, Toronto local Seth Nyquist, who performs under the moniker of MorMor, is one of the most exciting up and coming Canadian artists to grace the stage this festival season. Combining refined and urbane beats with gritty guitar riffs, MorMor’s sound is familiar yet fresh. Overtop the sophisticated noise, Nyquist layers pensive, poignant lyrics, resulting in an all-encompassing musical experience.

Where to start: His song “Heaven’s Only Wishful,” accompanied by a beautiful music video. 

(Samuel Engelking / nowtoronto.com)

Bambii

Aug. 4, 2:00-3:00 p.m., Scène de l’Île 

Bambii’s no stranger to the Montreal music scene, as she has graced Igloofest, Piknic Électronique, as well as the ever-shifting Moonshine stage a handful of times. This Toronto DJ is on a mission to reclaim the dance floor from what she saw as traditionally misogynistic customs, such as bottle service and restrictive gendered dress codes, and free up space for everyone in the groove. Expect an intricately mixed set that draws from her Carribean heritage and a myriad of other inspirations including dancehall, house, global music, and more.

Where to start: Her Boiler Room set in London, U.K.

(BAMBII / AFROPUNK)

Roy Blair

Aug. 4, 2:20-3:00 p.m., Scène des Arbres

Although he might not be a household name (yet), Roy Blair has cultivated a dedicated following, thanks in part to his background vocals on multiple songs in BROCKHAMPTON frontman Kevin Abstract’s album American Boyfriend. Now, Blair boasts over 12 million SoundCloud streams, and a debut album of his own, 2017’s Cat Heaven. Blair’s woozy tracks on suburbia, grief, and adolescence are sure to resonate with the under 20-Osheaga audience.

Where to start: His track “Thunder,” a SoundCloud gem. 

(www.coupdemainmagazine.com)
Arts & Entertainment, Comedy

Listen up: Comedy podcasts take over Just for Laughs

by Gabe Nisker on

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The comedy world is dynamic and, at heart, an audial medium. On July 27 at the Just for Laughs festival, podcasts You Made It Weird With Pete Holmes and How Did This Get Made? presented live shows. The McGill Tribune saw—and heard—it all, and here is a breakdown of the two standout podcasts.

You Made It Weird With Pete Holmes

The lovable Pete Holmes was like a Swiss Army knife at the 2019 Just For Laughs festival: In addition to his own club show, he hosted the annual New Faces showcases and even brought out his ‘Mean Pete’ alter ego for midnight roast battles with Pistons basketball-player-turned-comedian Blake Griffin. When it came to his podcast, his flexibility continued to shine through. Noticing a pair of children in the front row, Holmes quickly engaged the pair in the show and learned that the 12-year-old’s favourite swear word was ‘double-dicking.’ He then shifted gears and brought out Saturday Night Live alum Fred Armisen for a goofy conversation, chock full of impressions and sing-along songs. To round out the evening, Holmes brought out several more guests—comedians Chris Fleming, Alonzo Bodden, Sam Jay—and one from the audience, the ‘Roastmaster General’ Jeff Ross. The group enjoyed lightly jabbing each other; for one, Bodden interrupted Holmes’ and Fleming’s conversation about the musical Grease with a comment about the show’s inherent whiteness. The musical, and the discussion of race, came up once more when Fleming name-dropped musician Bruce Springsteen.

The show concluded with a discussion of the grander nature of life itself. The spiritually-minded Holmes enjoys discussing God and the afterlife on his podcast, and the night’s enriching discussion touched on topics such as self-worth and learning to deal with superstitions. 

 

How Did This Get Made?

The moment host Paul Scheer took the stage at Olympia Saturday night, the crowd roared. Scheer, along with co-hosts Jason Mantzoukas and June Diane Raphael, spent over 90 minutes discussing a terrible movie. They warn live crowds a week in advance, so as to allow their audience to watch along and enjoy the group’s nitpicking for all its worth. This show centred around the 1982 action film Megaforce, which was particularly terrible as its impossible-to-understand story of warring nations was poorly edited. The three hosts highlighted the low-lights, discussing Megaforce’s plot holes, star Barry Bostwick’s tight costume and headband, and the film’s many vehicles with lasers.

The podcast has an almost cult-like following at this point, and with over a thousand people in attendance, the crowd had risible energy. The movie may be bad, but the company is good: Scheer, Mantzoukas, and Raphael know how to lead a good time. From the moment the show began, they had their crowd enthralled and engaged—Scheer even travelled around the room and up to the balcony to take questions and comments from passionate fans, some of whom wore costumes to match the film.  Somehow, the energy in the room only went up throughout the night.

 

Student Life

Understanding summer success in the era of FOMO

by Gabriela McGuinty on

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It is a Tuesday morning in London, England and I am working on the third floor of a monstrous glass building. Meanwhile, thanks to worldwide internet access and the reach of social media, I am made fully aware of the fact that a group of high school friends are lounging on a beach in southern Spain. The drastic difference in summer plans highlights an important challenge that many university students, particularly at this time of year, are plagued with: How to balance the competing pressures of work responsibilities and a social life, while also navigating financial restraints. There seems to be no pathway to a perfect summer. However a student chooses to spend their summer, ‘FOMO’—the fear of missing out—is almost inevitable.

Compared to the constant activity of the academic year, the relative leisure that summertime affords may be a catalyst for self-reflection, discovery, and planning for the future. This extended period of time can lead to anxiety-inducing comments from peers and parents surrounding summer plans; not only is there pressure to find the ideal summer job or internship, but also to live a unique experience that can be the metaphorical cherry on top of a CV. This pressure is exacerbated by social media, as one is constantly exposed to the seemingly amazing summer break that others seem to be having and inherently becomes trapped in a downward-spiraling FOMO trajectory. 

For many university students, summer is the time when the journey to success is simultaneously challenged and promulgated. After months of juggling extra-curricular activities, exams, and papers, students are sprung into the world of internships, short-term employment, and precarious labour by a mixture of necessity and pressure. In today’s corporate culture, there is still largely a belief that success can be measured by the number of hours you put into your office job. A 2016 article published by the World Economic Forum argued that the usual understanding of success normalized two assumptions: Firstly, that those who strive to reach the top are inherently better than those who do not, and secondly, getting to the top is the only thing that matters. At McGill, this mentality manifests in an intense, work-hard-play-hard environment.

Yet, there is also an emphasis on ‘self-care’ that emerges during the break, one that encourages students to relax and take time off from work. The expectations of both options are then hyper-exaggerated through social media platforms that advocate for either 50-hour work weeks or month-long jaunts to the coast. The pressure to have an amazing, Insta-worthy summer is just as poignant as the insistence cultivated during the academic year to obtain a 4.0 GPA. In both scenarios, success is shaped by societal views that convince people they are either not living up to their full potential or are fundamentally missing out on something. 

While the value of hard work, personal success, and subsequent compensation cannot be discredited, it is extremely important to expand on society’s definition of success. Students must diverge from the antiquated status quo where office work and pulling long hours are seen as the key to obtaining a “good life.” This life cycle devalues taking time off and contributes to feelings of FOMO in people who are stuck balancing their duties and pleasure. Yet, when discussing success, students should strive to pursue what they perceive as valuable, beyond the confines of what is deemed successful. In the simplest of terms, finding a healthy relationship between work and a social life comes with balance. So when people ask me what I did this summer, I’ll take a moment and say: “It was a success” –  not because I went on some earth-shattering voyage or got the work experience of a lifetime but because I finally acknowledged a balanced lifestyle which helped me accept and even enjoy my day to day.

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