also in this issue

ConU talentechoes at FOFA p. 8

The future of dressage in QC p. 13

Saying goodbye to Bowie p. 10

Social media and eating disorders p. 15

Exotic locations, student budget p. 6

Concordia University’s weekly, independent student newspaper theconcordian.comVOLUME 33, ISSUE 16 | TUESDAY, JAN. 19, 2016 � /theconcordian ¬ @theconcordian theconcordian

theconcordian

life arts music sports

CATs got ourtongueDemanding democratic rights while denying our right to a free press

opinions

News p. 2Editorial p. 14

NEWS EDITOR /// news@theconcordian.comGREGORY TODARO (¬ @GCTodaro)

news

BY GREGORY TODARONEWS EDITOR

A journalist with The Concordian was voted out of a public meeting held by Concordia Against Tribunals (CATs) last week.

Assistant news editor Savan-na Craig was attending the Gen-eral Assembly of CATs in the Hall building on Jan. 12 on assignment. CATs is a group dedicated to get-ting Concordia University to drop charges against students facing tribunals for their actions during anti-austerity strikes last spring.

Early in the meeting—which was open to the public—attend-ees asked journalists in the room to identify themselves. Craig obliged, and that’s when she said the group began discussing whether or not she should be al-lowed to stay.

“At first it seemed alright that I was there,” said Craig. “Then someone brought up the issue that media … has been known to sort of twist words.”

Several attendees expressed fear that having a journalist in the meeting could cause prob-

lems for students who were facing tribunals, including ac-cusations that those who spoke would be misquoted or targeted.

“Everyone seemed very polite at first,” said Craig. “Then, after the media twisting comment, it just seemed like the whole room was staring at me … like I was some-one who was just there to paint a bad view of CATs.”

A student journalist from The

Concordia Against Tribunals votes to remove Concordian reporter from meeting

BY SAVANNA CRAIGNEWS ASSISTANT¬ @savannacraig

The Centre for Research-ac-tion on Race Relations (CRARR) announced that as of Jan. 18 they are no lon-ger representing a former Concordia student’s on-cam-pus battle of an alleged 2015 sexual assault.

The human rights organiza-tion announced on Friday that they accepted the mandate of representing Cathy—a pseud-onym used to protect her identi-ty. However, Cathy has asked for CRARR to no longer represent her.

Concordia received a for-mal complaint against Cathy’s ex-boyfriend on March 24, 2015. Since then, the university has not set a solid date for her tribunal. The case is being held through Concordia due to one of the two assaults having taken place on

campus. The first attack took place at her apartment in Sep-tember of 2014 with the follow-ing attack taking places on cam-pus in February.

A CRARR press release shared on their website on Mon-day said the organization “has been informed of her wish not to further act in her case.”

Executive director Fo Niemi declined to comment out of re-spect for Cathy’s privacy. How-ever, he did encourage “women in that situation to come forward. We are available to help anyone.”

Cathy’s tribunal has been postponed multiple times due to probationary orders, the defen-dant being out of province and issues conflicting her ex-boy-friends restraining order. The conflicts of the restraining order include having both Cathy and her ex-boyfriend in the same room. While the press release stated CRARR would no longer represent Cathy, it did not say if the entire case will be dropped or not.

CRARR is the same organi-zation which helped Mei Ling in the racial and sexual harassment

case against two former ASFA executives. CRARR has repre-sented Mei Ling since she filed the complaint in March 2015. A settlement was approved for an undisclosed amount of mone-tary compensation and an offi-cial apology from ASFA. Although the complaints towards ASFA have reached an agreement, the Quebec human rights commis-sion is still investigating the two executives responsible for ha-rassing Mei Ling. CRARR has also

represented Concordia student Rose Tandel in a $60,000 lawsuit against Le Gym after refusing her boss’ request to stop a Muslim co-worker from praying in May 2013. The case is still ongoing.

An internal study by the uni-versity released in September recommended that Concordia create an all-encompassing pol-icy on sexual violence. Those recommendations are expected to be implemented by the end of the 2015-2016 academic year.

Journalist kicked out of CATs GA

Former Concordia student drops CRARRThe human rights organization had announced they would represent student

Link also identified himself. The reporter told the room he was not there to cover the event, but that he “couldn’t promise he wouldn’t report anything,” Craig said.

Concordia Student Union External Affairs and Mobiliza-tion Coordinator Gabriel Velasco called the trend of kicking jour-nalists out of public meetings “problematic.”

“We need to figure out a

solution,” he said. Velasco said the choice to

vote out the media stemmed from fear that even a simple comment could be taken out of context and used against an in-dividual later.

“There were students there who were going through tribunal cas-es,” he said. “People felt that having their comments reported could be used to jeopardize their cases.”

Concordia’s official policy on the temporary use of space on campus states that spaces on campus can’t “create a climate of intimidation toward an individual or identifiable group.”

Around a dozen members of CATs crashed a back-to-school meet and greet with Concordia president Alan Shepard on Jan. 14, carrying signs and wearing patches with the group’s symbol.

The meet and greet was tak-ing place in the Richard J. Renaud Science Complex on the Loyola Campus. The group, which had previously tried to meet with Shepard, wanted to formally present the president with their demands. The whole encounter lasted a matter minutes.

C A M P U S

C O V E R S T O R Y

CRARR, which represented Mei Ling, is no longer representingCathy. Photo by Marie-Pierre Savard.

Students at a protest against tribunals in September 2015.Photo by Andrej Ivanov.

CITY

Teachers, parents and stu-dents with the Fédération autonome de l’enseigne-ment (FAE) met at Place Gennevilliers-Laliberté in Hochelaga Maisonneuve on the afternoon of Jan 16. to demand more funding towards education. Pas-cale Gringon, a spokesper-son for the Je protège mon école publique group, said the government has reim-plemented $20 million in funding, according to Global News. However, $350 mil-lion in public sector cuts have been made since the start of 2015. Gringon has commented that the gov-ernment was surprised that parents were taking action against budget cuts.

Six Quebec locals have been identified as civilians killed in the terrorist attack in Ouaga-dougou, the capital of Burki-na Faso. A total of 28 people in total have been reported dead. The Quebecers were there for humanitarian rea-sons and were killed in their hotel. La Presse reported Canadian authorities do not rule out the chance of other Canadians being killed in the attack.

Public school budget cut protests continue

On Jan. 17, the Blackhawks took their 11th straight win over the Canadiens, beating them 5-2 in Chicago. CTV News Montreal reported that player Brendan Galla-gher said the Habs will “get out of this.” Gallagher says, “It’s taken longer than we would have liked, but we’re going to get out of this. The only way we’re going to do that is sticking together as a group.” The Habs have faced a drop in goals scored since November when Vez-ina-winning goalie Carey Price sustained a low-er-body injury.

Canadiens lose fourth game in a row

Six Quebecers killed in Burkina Faso attack

BY SAVANNA CRAIGNEWS ASSISTANT

3JANUARY 15, 2016 theconcordian

Tensions are running high between the excecutive team and councilMore troubles, resignations for ASFAC A M P U S

BY GREGORY TODARONEWS EDITOR

Merely three months after electing a full executive team, four executives of the Arts and Science Federation of Associations are on their way out. Vice presidents of com-munications and promotions, academic and Loyola, inter-nal affairs and finance have all handed in their resignations.

ASFA executives and council-lors alike say tensions between the two groups have created a very difficult and unproductive working environment.

“ASFA is a stressful place to be, both as a councillor being criticized by the executive team and as an executive criticized by council,” said outgoing VP inter-nal Mariah Gillis. “I don’t have the time or mental energy for it any-more.”

Gillis, who will remain on the executive team until the end of the month, said she has to take a fifth class this semester due to a miscalculation of her academic credits. As other executives be-gan to announce their resigna-tions, the search for replacements added to her already long list of responsibilities.

Gillis ran with the Support Change slate during the ASFA byelections in October, confess-ing that she expected ASFA “to be a disaster.” Despite the slate’s attempt to bring a new face and culture to ASFA, she said council is still feeling the consequences of the Mei Ling scandal.

“A lot of people have expe-rience with the previous execu-tive [team],” said Gillis. “[Close-ly watching the executives] is a good thing—it’s council’s job, we need them to do that—but it doesn’t give us a chance to be different.”

“I understand why people don’t want to engage with ASFA,” she added, “but it has been frus-trating to come in with that bur-den and try to wade through all of that.”

ASFA president Jenna Cocullo said other execu-tives also felt “quite discouraged” with the dynamic be-tween council and executives.

Gillis said these tensions have caused a sort of apathy amongst councillors.

“I think be-cause there’s this resentment to-wards ASFA, [councillors] only show up because they have to,” she said. When they do, she said “they don’t read any-thing in the consent agenda and get mad when they find out about rules they passed.”

Councillors like Concordia Undergraduate Psychology Association (CUPA) councillor Elizabeth Duong also feel that tensions are high.

“It feels like a ‘councillors versus executive’ environment,”

she said. “It’s not supposed to be like that.”

Duong introduced a motion at the regular council meeting in January last week calling on the executive team to “present fi-nancial income statements sum-marizing ASFA’s expenditures and revenues to ASFA council on a monthly basis,” despite the fact ASFA bylaws already require budget information to be avail-able and disseminated to council.

Duong, who sits on ASFA’s communications committee and

social commit-tee, said even ex-ecutives weren’t aware of their current budgets during meetings.

“It’s not sup-posed to be like that,” she said, adding that she was surprised a slate which in-cluded financial transparency on its platform was not sharing financial documents ade-quately.

ASFA also lost their office manager this year, which Cocullo said is causing “difficulty” in keeping it running.

“It may not be as accessible to students as before,” said Cocul-lo. “We’ve hired an interim office manager, but once things settle down we’ll be doing a callout.”

However, it’s still not clear when things will settle down at ASFA. Cocullo said the sud-

den departure of four executives highlights institutional problems the organization has been hav-ing. Echoing sentiments from her election platform, Cocullo said she hopes to change the struc-ture of the executive team “to better serve member associations and students in a way that’s effi-cient and sustainable.”

VP communications and promotions Cleo Fonseca grad-uated, but has agreed to volun-teer with the organization until a replacement has been found. VP finance Zac Garoufalis has agreed to stick around until he can train a replacement. Ian Campbell, VP academic and Loyola, has al-ready left.

However, with no immediate replacements in sight, it can be difficult to see how the changes ASFA needs will come about.

“Policy change is the only thing that can change ASFA prop-erly,” said Gillis. “But, with this cy-cle of distrust, it’s a catch-22.”

Duong agreed, saying the structure of the executive body needs reevaluation.

“ASFA’s mandates [for exec-utives] are too vague and too big for one person to do on their own,” she said, adding that executives need to receive more training be-fore beginning their roles.

And, of course, the tensions need to be resolved. “We have to work dynamically,” said Duong. “As a team.”

k All our ASFA stories: http://theconcordian.com/ ?s=ASFA

“I understand why people don’t want to engage with ASFA … but it has been frustrating to come in with that bruden and try to wade through all of that”MARIAH GILLIS, OUTGOING VP INTERNAL

A pharmacy in Markham, ON has recently had an estimated $1,528 worth of chewing gum stolen on Dec. 17. York Regional Police Const. Andy Pattenden told Vice News this crime is “incredibly strange.” Security footage shows a man collecting gum cartons off the shelves and throwing them in a garbage bag. Vice News reported the man took the bags of gum outside to a waiting taxi, went back into the pharmacy to fill a second bag—without a customer or employee noticing—and then returned to the cab and drove away.

Foreign Affairs Minister Stéphane Dion is encouraging Prime Minister Justin Trudeau to take part in fighting allies against Daesh. This advice follows the attack by militants in Burkina Faso in which six Quebecers and 22 others were killed. Dion is urging Canada to join allies with the aim of abolishing terrorism, but Canada has offered aid to Burkina Faso authorities. The four militants that are responsible for the attack have been killed, according to The Globe and Mail.

Trudeau advised to join allies against Daesh

The Peterborough Mosque, which was burned down on Nov. 15 in Ontario, is now up and running again. An online fundraiser by the community brought it over $100,000 for repairs—well over the estimated cost of $80,000, according to CTV News. Prime Minister Justin Trudeau reached out and thanked the Kawartha Muslim Religious Association for their work in rebuilding the mosque. “The negative actions of a few were quickly overwhelmed by courage, positivity and grace,” Trudeau said. During the repairing of the mosque community members offered their church as a place of worship for practicing Muslims.

More than $100,000 raised for mosque

Double Bubble bandit walks away with massive haul

NATIONBY SAVANNA CRAIGNEWS ASSISTANT

Graphic by Katie Brioux.

The Concordian

NEWS

Sectionassistants

InDesign

Production assistants

WWW

Online crew w Know how to win at using Adobe InDesign, Illustrator and Photoshop? If you know Quark, that is cute but useless. No one uses Quark anymore.

w A creative eye is ideal, and having your own style to incorporate into our own would be rad too.

w Help our production team lay out different sections each week, and pitch and develop your own unique page designs.

w Be awesome, get literal cookies, win at life.

w Our life editor, music editor, sports editor and opinions editor are searching for assistants.

w Learn how to pitch, write and edit stories. w Decide what stories need to be told, and help us cover them.

w Get the awesome title of assitant editor. It’s like one step below intern, but is still rad.

w Interview people w Wear a trenchcoat. w Copyedit articles.

w Know how to film and edit video? w Can you make podcasts? w Have ideas about how to make multimedia stories? w Want to break the internet with your new and creative ways of curating news?

w Come talk to us. This is a new position so we want to work with you and your awesome new ideas.

Send an email to editor@theconcordian.com with a cover letter, CV and five sam-ples of your work, or drop by a story-pitch meeting at our Loyola office (CC-431) Fridays at 2 p.m. All cool cats are welcome, wizards above a level four are required to sign in. Snacks sometimes served.

hiringIS

lifeLIFE EDITOR /// life@theconcordian.comCRISTINA SANZA (¬ @CristinaSanza)

Shake, strain and serve:a small, well-hidden gem

B A R S

Open a hidden door to discover Montreal’s true prohibition-style cocktail bar, CloakroomBY ANDREJ IVANOVSTAFF WRITER

Maison Cloakroom is a tailor shop that makes ready-to-wear and made-to-measure suits on de la Montagne Street. Upon entering through the old-fashioned wooden doors, visitors face a mirrored wall and turn right to go into the clothing store. But after closer in-spection, the mirrored wall holds a han-dle, which, once opened, leads into one of Montreal’s newest bars, Cloakroom.

Beautifully designed to enlarge the space, most of the walls of the bar are covered in mirrors. The bar itself is made of marble, coasters are replaced with cloth and drinks are served on top of small plates.

Seating only 25 people, the small bar is located in what used to be the store-room of the tailor shop. Co-owner and head bartender Andrew Whibley said that he was inspired to create this traditional Prohibition-style speakeasy from various bars in London, England and especially Attaboy in New York City’s vibrant Lower East Side.

The two head bartenders, Whibley and Simon Lesperance bring their vast respec-

tive know-how to offer everyone an in-dividual experience. Whibley has 12 years of experience in the restaurant business under his belt as well as award-winning cocktail creations. Whibley explained that aside from a planned menu, they want to offer cocktails to suit a person’s taste based on several questions, starting with: “What base alcohol do you like?”

Whibley has put in place a mentorship system where there are always two bar-tenders working. The second bartender proposes a cocktail based on the client’s likes and the head bartender has the final say on what a drink will be.

Don’t be fooled, though, the bar is reasonably priced: a cocktail will run anywhere from $10 to $13 depending on the base.

One thing that makes this bar unique is that everything is made fresh. An enor-mous bowl of fruit adorns the bar, all used for freshly squeezed chasers. The ice is also frozen in large trays, not in a machine.

When asked what he would recom-mend to new cocktail drinkers that come to his bar, Whibley suggested Corpse Re-viver #2. “It’s a Prohibition-era drink that bartenders used to make the morning af-ter a night of heavy drinking,” he said.

It’s a sweet drink made with equal parts gin, lemon juice, Cointreau, Kina Lil-let—an aperitif wine—and a dash of ab-sinthe.

As for the seasoned cocktail drinkers, Whibley recommends his own creation: Riviera.

The bar offers an experience unlike any other in Montreal. It’s done in the truest Prohibition-style to date. No gim-micks, no pretension, just cocktails.

í Cloakroom 2175 de la Montagne St. Sun.-Thu.: 3 p.m.—1 a.m. Fri.-Sat.: 3 p.m.—3 a.m.

The Rivieracocktail recipeby Andrew Whibley

1.25oz Bacardí White0.75oz Cocchi Americano

(White Vermouth)0.5oz Aperol0.5oz Amaro Montenegro0.5oz Lemon juice4 dashes of Peychaud’s (Bitters)

* Shake, strain and serve.

To those brave fellows who dare enter a dirty washroom stallPorcelain Pilgrim: A question of kindnessH U M O U R

BY STEPHEN HOSTAFF WRITER

Ladies and gentlemen, I regret to in-form you that the status of this, your humble Porcelain Pilgrim is somewhat diminished. Seeing as I have already writ-ten on this washroom, I feel as if I have de-volved from a critical reviewer of wash-

rooms held to naught but the highest of standards, to a mere sto-ryteller of somewhat

humorous anecdotes. May Cloacina—Ve-nus of the Sewer—have mercy on my soul.

This morning I had a class in the dreaded and dreary sub-basement of the Faubourg building. The building being a mess in itself, I usually try to avoid its washrooms, for they could not be much better. However, I was already running late and had something of a stomach ache. The experience wasn’t too awful, with the ex-ception of the flush lever which was par-tially broken—one was required to pull up instead of pushing down on it. Fear not, for I used my foot (protected by my boot) to

complete the unsavoury endeavour. I proceeded to class, which went well,

but near the end of it I felt my bowels be-ginning to act up again. I re-solved to make an-other visit after class. 2:30 p.m. approach-es, and there was the usual outpouring of students from every door. I was worried that I wouldn’t be able to find a stall.

There weren’t many students in the wash-room and were in fact mul-tiple stalls open. I made for my previous stall, since I like to think I’m a loyal fellow, but I was disappointed to find that some imbecile hadn’t had the capacity to pull up instead of down and had left all of his waste and toilet pa-per all over the seat and in the bowl. He that doesn’t flush is also the one to leave a mess on the seat—the two vices invariably go hand in hand.

I made my temporary home in the stall next door and began to take the prelimi-nary notes which inform this piece. A three

I heard a flush. Then the sound of more toilet paper. Had I misheard?

The boots turned slow, first one foot, then the other. I heard him sit. What’s this? What a paragon of virtue! This brave fel-low actually cleaned up that virulent mess and made that stall usable once more. I felt a fierce pride for this unknown gentleman, and I nearly congratulated him through the wall but I stopped short, for social norms don’t allow for that.

I was about to exit when a flush came from the stall to my left. It went on and on, a thousand-year flush cycle it seemed. I could only imagine the horror of the oc-cupant as he cringed in the corner of the cramped stall waiting for the violence of the whirlpool to end. I had a fear of the aerosol effect for years, and God, what a nightmare this seemed to me, even with the protective wall between us. I had had enough of this horrid place, and decided to make my own daring escape—I hit the le-ver and booked it.

As I was making my exit, I noticed the stall to my right was once again filled with unflushed urine. A shame, that hero’s ef-forts had gone down the drain. An allego-ry for the futility of kindness in an uncar-ing and septic world? Perhaps.

MORE OF THIStheconcordian.com/ author/s_ho/

At Cloakroom, bartenders tailor drinks to their customer’s liking, based on their preferred alcohol base. Photo by Andrej Ivanov.

Graphic by Kim Lam Shag Leen.

stall set up, the one to my left was already taken and the other stall just described was to my right, leaving me in the middle. I saw boots enter the stall to the right and

I assumed they would heel spin as soon as they perceived the state of affairs

there. The boots did indeed turn, but to my great surprise they did not walk out but instead I heard the

door close and lock. Is this hap-pening? What does this per-

son intend to do in that disaster of a stall?

I waited with bat-ed breath, the antici-pation doing nothing to ease my constipa-

tion, but such is the price of se-rious journalism.

The boots turned once more and I could feel disappointment

bubbling up, was it simply anoth-er fool come to add insult to injury? To desecrate an already disgraced throne? I heard no splash. The boots remained pointed towards the pot for what seemed like ages. I heard the sound of toilet paper being rolled out, and then the honking of a nose being cleared. I waited on, staring at the boots, hardly daring to blink.

6 JANUARY 15, 2016theconcordian

Curing wanderlust: travelling as a student

T R A V E L

BY OCEAN DeROUCHIESTAFF WRITER

Show me a student who wants to travel, and I will show them the world.

With globetrotters for parents and a child-hood saturated in adventure, I caught the travel bug relatively early. Whether we were roadtripping to the Yukon or spending cumu-lative months roaming Europe, exploring has always felt like second nature to me. I find my-self in wanderlust—constantly needing to ex-plore, travel and experience new cultures.

Nonetheless, as we find ourselves in post-secondary studies, the thought of trav-elling most likely ends up in the back of our minds.

Travelling during university can be a chal-lenge for a number of reasons: a lack of funds, a lack of time, a lack of know-how. But, if you’re wishing to get out and explore, don’t fret. Though planning a trip is hard work, and may seem impossible to do while completing your studies, it’s totally doable.

The first step is figuring out the logistics. Where do you want to go? Who do you want to go with? What’s your budget? How long do you want to go for? How are you going to save the money for this trip? You must think about these things. Do your research. The more you know in advance, the better off you are.

Protip: other than simply planning a trip, there are plenty of ways to travel with purpose. Go on a student exchange with Concordia, teach English overseas, apply for travel grants and enter competitions. You never know what you could come up with if you put the extra time into seeking out alter-native ways to travel.

Finding Accommodation. When plan-ning your trip, one of the most important factors is where you are going to be stay-ing. While there is no shortfall when it comes to hotels, they tend to be quite costly, and often lack the true flavour of the country they’re in. Hostels can provide adequate shelter, but not all of them are safe.

However, not all hope is lost as the streamlined introduction of online services such as Couchsurfing or Airbnb become avail-able to amateur adventurers and seasoned globetrotters alike. For one Concordia student, Couchsurfing did the trick.

Alanna Thornhill, a women’s studies stu-dent spent September to December of 2014 with her friend, Rebecca Sutton, adventuring through Europe. “We toured the more pric-ey destinations first,” said Thornhill. The pair went to London, Paris, Germany and Italy, before hitting Budapest and Prague.

Thornhill and her friend were able to cut costs by using Couchsurfing. Essentially, one has to build a profile and can then begin interacting with hosts all over the world, and requesting to stay with them.

“We couchsurfed mostly in Paris, for two weeks we lived with different people, doing what the locals did,” said Thornhill. “We stayed with an Italian mathematician and went to an Italian cabaret in the middle of Paris. We stayed with him and a Mexican chem-ical engineer named Roderigo, who made us tacos and played Mario Kart.”

As for the aforementioned Airbnb, the service offers trav-ellers the opportunity to browse tempo-rary rentals for all kinds of accommodations, whether you’re staying for two days or two months. Ranging from off-the-grid cabins to tiny apartments tucked away in bustling neighbourhoods, travellers can find a unique place to stay that fits their needs and their budget. According to Priceonomics, on av-erage, Airbnb apartment rentals are 21.2 per cent less expensive than hotel rooms.

Renting through Airbnb gives you a new way to experience a destination by staying in a real home, and you’ll get to connect with the host, as well. It’s also great for travelling in groups, as you can find entire homes or large apartments to rent.

Protip: While you’re travelling, you can bring in some extra money by offering up your pad to Airbnb visitors.

Woofing. However, However, sleeping on strangers’ couches may not be your cup of tea, no matter how comfy that loveseat looks. Perhaps you’d like to put a bit of purpose into your peregrination. Consider working on lo-cal organic farms, which in turn will look after you for your efforts. It’s called woofing.

Woofing can be extremely rewarding, as one travel-bugged student discovered. Jes-se Rannells, a student residing in Halifax, spent roughly seven weeks in the southern areas of Spain while travelling solo. “I ended up work-ing on an organic farm throughout the majority of my time abroad,” Rannells said. “It was cheap and was a great opportunity to meet people.”

In exchange for helping out, the owners of the farm offered Rannells and five other trav-ellers a nice place to stay and good food to eat.

“My job was to look after the animals, which included milking goats, feeding chickens, and locating [the owner’s] wild horses, who roamed

the mountain,” said Rannells. During the weekends,

woofers had their time to spend as they pleased. Ranells would hike from the farm, to the quaint, nearby town of Cazorla. “Locals were thrilled to share a drink with a Canadi-an traveller,” she said.

Both Thornhill and Ranells advise packing light. “I probably had close to 50

pounds worth of luggage. If I were to go again, I would carry less stuff. Two dresses, two pairs of pants, two skirts, five shirts, a lightweight coat, a sweater, socks, and two pairs of shoes,” suggests Ranells. Thorn-hill said that she barely bought anything for herself or her friends back home, the goal of the trip was to consume experiences, rather than souvenirs.

Consider working on local organic farms, which in turn will look after you for your efforts. It’s called woofing.

From couch surfing to woofing, there are ways that students can travel the globe on a budget

Photos by Michelle Gamage. Layout by Pierre A. Lepetit

artsARTS EDITORS /// arts@theconcordian.comELIJAH BUKREEV & LYDIA ANDERSON

To achieve a variety of colours and tex-tures in their works, most students employed reduction, which Elizabeth Xu described as a “really intense technique” that took eight weeks to complete for her piece titled Gullin With My Father. The process involves creat-ing a multi-coloured print using one wood-block. To obtain more than one colour in a print, the woodblock surface must be contin-ually carved between each printing. As more pigments are added to the block, the colours begin to build upon themselves, producing a multi-coloured print.

The woodwork possibilities do not end there and once a woodcut block has been carved or printed onto paper, it can still be manipulated onto any type of canvas, tradi-tional or otherwise.

Furthermore, Off the Block physically encourages viewers to step into a wood-cut world—Xu’s second work, Moonsun, showcases a woodblock print that was burnt into silkscreen. The print was then applied to this fabric and fashioned into a

tent structure that people could stand in.

Madeleine Gendreau’s Dro PP T ca: Lathe L aa t tte invited view-ers to manipu-late the records made with

woodcut prints, while Michael Maclean’s Smoke’n Lines Chair challenged the tradi-tional canvas by applying a laser woodcut textile onto the upholstery of a chair.

Modern technology is still shaping this type of production. “[Today] laser cutters [are used to carve the wood] and they are the latest technique out there,” said print me-dia professor Bonnie Baxter, and Xu said new technological advancements deliver very “photographic results,” such as Abbie Rap-paport’s PRESS START digital and woodblock print, which looks like it came from a camera rather than wood.

“They got it together ... they didn’t have any grants [and] they found the place them-selves,” said Baxter. While the professor was a supporter in organizing the exhibit and the idea was decided on somewhat late, the works are a clear indication of a determined group focused on redefining what woodcut printing can produce. The group fully com-mitted themselves to the work both in the printing studio and in planning event details.

In doing so, the class has widened the in-terpretation of the woodwork used in print media; this often unpredictable medium is shown in traditional and modern ways. The wood acts as a matrix, through which the ar-tistic possibilities are endless.

W Off the Block is open until Jan. 25, Tuesday through Sunday, from noon to 7 p.m. at Popop Gallery (372 Ste. Catherine St. W).

nyone who disregards wood-work as a serious artform

should reconsider their opinion—it is not solely for lumberjacks and car-

penters. Eager student artists from Concor-

dia’s print media program—a program that teaches students subjects such as lithograhpy, screenprinting, digital printing and more—have integrated woodcutting techniques into their work in order to pro-vide viewers with a multisensory, engaging exhibit of woodcut art. The space, locat-ed on the fourth floor of the Popop Gallery on Ste. Catherine St. W, is no larger than a one-bedroom apartment, but it is packed with multiple artworks, all showing diverse articulations of woodblock prints.

Off the Block features mesmerizing prints showing built-up layers of colours and en-gravings. The exhibit, organized entirely by Concordia’s student artists, boasts interac-tive pieces like a life-sized tent draped with linens printed with woodcut designs. Among these different creations, viewers learn how woodcut work is employed both in tradition-al and modernized ways.

Unlike some contemporary art pro-ductions, woodcut prints are laborious with unpredictable results.

“The colours are very difficult because I started with black and [proceeded until] I was at my lightest colour, which was yel-low,” said Ben Salmon-Beitel, one of the 19 featured artists, as he pointed out the intri-cacies of his work East Coast Ruffnecks. He went on to say that applying the colours on the woodcut surface does not necessarily turn out exactly as planned and tiny mis-takes often lead to starting over.

However, once the final product is complete, the long process is typical-ly well worth it. Print media student and artist Nikki Kuentzle’s Engulfed in Flames piece is based off a simple bronze screen print inspired by a collection of David Se-daris essays. “I [decided] to make this work three-dimensional … and I went into more detail with the shingles and the lines on the actual house; I think it turned out better than the screen print,” said Kuentzle.

Artist Hannah Materne’s Sealf adheres woodcut prints that resemble crustaceans and barnacles to hand-collected rocks. “All the barnacles [attached] to the rocks are … abstractions of things that I use to take care of myself,” said Materne as she pointed to her favourite nail polishes, plates and socks

plastered onto the rocks’ sur-faces.

E X H I B I T

Out of the woodwork and into the gallery

Concordia’s print media students integrate woodcutting into their work

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ARTWORK BY(1) Madeleine Gendreau andIris Sautier.(2) Iris Sautier.(3) Hannah Materne.(4) Mathilde Rohr, HannahMaterne, Seb Evans, NikkiKuentzle and MichaelMacLean.Photos by Michael MacLean.

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BY VALERIA CORI-MANOCCHIOCONTRIBUTOR

8 JANUARY 19, 2016theconcordian

P O E T R Y

Kafein’s first Poetry Night of the year a successSafe space allows up-and-coming poets and writers a chance to share their work Graphic by Charlotte Bracho.

BY KRYSTINA SCENNACONTRIBUTOR

The cozy, narrow basement of Kafein, a café-bar located at 1429 Bishop St., was jam-packed as spectators gleefully anticipated performances of several stu-dent poets from Concordia University.

Video footage of David Bowie during his Ziggy Stardust years was projected onto a black overhead screen and played on loop throughout the evening as a way to commemorate the late avant-garde rock star. Contemporary-style photo-graphs hung from thin metal wires in front of a rustic stone wall lined with candles, which enhanced the café-bar’s homey vibe.

Nine performers read their poems in front of a massive crowd on Jan. 12 at Po-etry Night, a bi-weekly event geared to-ward creating a safe space for creative minds to disseminate their poetry. The cre-ativity and humour that each of them dis-played were enough to keep the listen-ers engaged and entertained for over two hours. The readers presented unique ap-proaches to timely and compelling topics such as existentialism, veganism, gender

and social stereotypes, love and more. “We have so many people who are

first-time performers and have only writ-ten poetry in the security of their bed-rooms, so we bring this very comfortable vibe,” said Ariana Molly, the host of Poetry Night.

Molly, who is also the social me-dia manager, events coordinator and art show coordinator at Kafein, kept the eve-ning going with her energetic nature and support for the performers.

“I feel so blessed to be able to offer a space where I can confidently say that everyone is going to be quiet and re-spectful. We don’t tolerate transphobia, sexism, ageism, ableism, none of that,” said Molly.

Since she started Poetry Night two and a half years ago, Molly has given hun-dreds of people a chance to share their poetic talent with the public. The event has attained an international reach that has gone above and beyond what Molly’s expectations were when she first started out.

“We’ve had [performers] from all over the world, people from New York, Aus-tralia, friends of friends, elderly people,”

she said. Molly has

always had an affinity for writing as she attend-ed an arts high school. Al-though cur-rently being enrolled in the photography program at Concordia has put her love for writing on hold, she firm-ly believes that Poetry Night has helped her reconnect with that passion. Her career at Kafein began when she answered to a job posting on Craigslist, and after getting hired as an event host she immediately began to organize Poetry Night.

In addition to the many job titles she currently holds, Molly also works close-ly with Metatron, a local publishing house which frequently publishes poets heard at

Poetry Night on its website. Additionally, a cut of the donations

collected during the night will go to all poets. “If people are paid in any capacity for their art and their labour of love, it’s so rewarding,” said Molly. “It gives a different value and dynamic to that feeling of per-forming and bearing it all for a group of people,” she added.

F I L M

Oscar now within Leonardo DiCaprio’s reachThe Revenant is another major success for Mexican director Alejandro G. Iñárritu

BY ELIJAH BUKREEVCO-ARTS EDITOR

To watch The Revenant is to surrender oneself to its cold and perilous world. It is rare to experience a film in such a visceral way. The camerawork, which cements Emmanuel Lubezki as one of the great cinematographers of our time, blends natural lighting, long takes and

some seamless CGI to achieve a natural-ism that remains picturesque even at its most brutal.

The camera flies around in a controlled and yet liberating fashion—one second it is giving you a close look at a charac-ter, so close in fact that his breath fogs the camera lens, and a short moment later it is roaming above the clouds, offering a ma-jestic landscape, not yet tamed by man.

Inspired by real events, The Revenant tells at once a story of survival and one of revenge. Set in the wilderness of 1823 South Dakota and Montana, the film fol-lows Hugh Glass (Leonardo DiCaprio), a frontiersman on a hunting expedition, as he suffers through a bear mauling only to be left for dead by two of his own men. One of them, named John Fitzgerald (Tom

Hardy), is also the murderer of Glass’ only son. Nearly dying, Glass makes it out of a literal grave to embark on a long journey of retribution, facing the dead of winter and a most unwelcoming environment.

As a story of survival, it is exem-plary, and recalls 2013’s Gravity, also shot by Lubezki, in which an astronaut is trapped in space, fighting to make it back to Earth—not much safer of a place, at least not in the particular time and place in which The Revenant is set.

Any audience can connect to such films on a most primal level—have you ever caught yourself holding your breath when a character is drowning or fight-ing for his life? Imagine that experience stretched to a feature-length film. While it may not sound like a pleasant experience,

it is an immediately enthralling one, and when it involves such a mastery of film-making and acting as can be seen in The Revenant, it becomes something more—a testament to the human will to endure and persist.

As a story of revenge, however, the film is noticeably imperfect, never quite achieving the level of tragedy for which it reaches. While one may feel cold-hearted for not sharing the pain felt by DiCaprio’s character, who is plagued all throughout by visions of his dead wife and son, the emotional disconnect may be a result of the savagery that is witnessed throughout the film.

“God giveth, God taketh away,” says Fitzgerald as he prepares to shoot a young man whose life he had previously saved. People are killed from the start of the film and to the very end, so in a context in which life is essentially worthless, a death does not resonate quite in the same way.

DiCaprio and Hardy are here at the top of their form, delivering intensely physical performances that culminate in a ruth-less game of cat-and-mouse. DiCaprio is known to have been long denied an Academy Award for his consistently for-midable work, but this time, he simply cannot miss. His bruised, bearded face dominates the screen in a relentless ex-pression of agonizing and almost religious resolve, in a role that must have required constant struggle, both physical and emo-tional. Looking at him here is much like looking at a ghost from America’s past, a kind of man who has possibly never been seen at such close range.

Release date: Jan. 8, 2016Director: Alejandro G. IñárrituCast: Leonardo DiCaprio, Tom Hardy, Domhnall GleesonRunning time: 156 minutes

!�!�!�!�!

In his latest film, DiCaprio braved sub-zero temperatures and ate raw bison meat on his quest for the elusive acting award.

9JANUARY 19, 2016 theconcordian

CINEMA

A look AT Bowie’s legacy

David Bowie was always more than a singer. Though he remains primarily known for his innovative approach to music, he also had an irregular but surprisingly rich career as both a stage and screen actor. In fact, Bowie, who studied mime and was at one time interested in playing Buster Keaton in a film of his life, collaborated with

directors as diverse as Martin Scorsese, Tony Scott, David Lynch and Christopher Nolan. It is no exaggeration to say that the man, a singular and natural talent on screen, left his distinctive mark on the world of cinema. Here are some of the roles that defined his career. — BY ELIJAH BUKREEV

MYTHICAL CREATUREAn alien / Nikola Tesla

Bowie’s first role was as an extraterrestrial in Nico-las Roeg’s 1976 science-fiction drama The Man Who Fell to Earth, which was perhaps inevitable, because of his alter ego Ziggy Stardust. He certainly looked otherworldly in an almost effortless way—so frail, his lover carries him in her arms when he faints, his vaguely reptilian features contrasting with his bright orange hair. His character comes to Earth selling new technologies as part of a rescue mission, which parallels Bowie’s last significant role, as the legendary inventor Nikola Tesla, a man of mystical knowledge and possibilities, in Christopher Nolan’s The Prestige.

A DEFIANT HEROJack Celliers, British prisoner of war

The high point of Bowie’s acting career came with Nagisa Oshima’s 1983 war drama Merry Christmas Mr. Lawrence. As Jack Celliers, a rebellious British soldier in a Japanese prison camp, Bowie reached far beyond his natural charisma to deliver a per-formance of lasting emotional power. A daring and dignified leader with a deep sadness on his mind, his character steals the show whenever he appears. Bowie’s acting is in fact so strong that a flashback scene in which he plays a schoolboy, which sounds laughable on paper, instead works as effective alle-gory. It is a role not to be missed.

A BIBLICAL VILLAINPontius Pilate, prefect of Judaea

The character of Pontius Pilate in Martin Scorsese’s The Last Temptation of Christ could have been fully evil or

showy, especially consi-dering Bowie’s love of spectacle, but he is ins-

tead portrayed as a restrained, confident bureau-crat who interrogates Jesus in a half-bored and half-curious manner during a scene that sadly lasts only a few minutes in a 162-minute film. Bowie’s Pilate stands out as a lonely but imperious British voice in a film dominated by American actors.

E X H I B I T

FOFA students’ annual art exhibit returnsThe Echo Game presents work from 12 artists in a playful and charming mannerBY TIFFANY LAFLEURSTAFF WRITER

This year’s edition of Concordia’s Fac-ulty of Fine Arts Undergraduate Stu-dent Exhibition transforms space into a room of whispers and sighs, echoes through space, time and memory.

Appropriately titled The Echo Game, the 2016 exhibit brings together students from multiple disciplines, such as gradu-ate students from the department of de-sign and computational arts and under-graduate students from the department of art history. This collaborative approach to the exhibit is meant to illustrate the quality of creative work from the under-graduate Faculty of Fine Arts students, while playfully exploring work that tran-scends time. It invites the viewer to take part and engage in the different ways that the featured artists have incorporat-ed the concept of the echo into their re-spective pieces.

On display are paintings, photo-graphs, sculptures, videos and instal-lations from 12 different artists. The exhibit as a whole pulls you in with its minimalism and ephemeral qualities. Each piece is distinct and stands out in its own way, hauntingly beckoning for you to lean in, immersing yourself in the work as you attempt to tease out the meaning behind it.

One of the particularly noteworthy pieces is Jacinthe Derasp’s video installa-tion Hermes. Derasp’s piece is an explo-ration of the synchronicity of audio and visual elements. A mysterious, beast-like spiked paper construction writhes and curbs in on itself for the camera, its pa-

per sur-face crin-kling and crackling with ev-ery move-ment. The viewer is pulled in by the flowing movements of the form as well as the sym-phony of rustling paper. As the video pro-gresses, the form’s movements gradually become more frantic and frenzied.

Another exceptional piece is Annika Steimle and Rihab Essayh’s Home. This sculpture, a re-interpretation of an icon-ic post-war bungalow, challenges what a home really means. Is it where you live now or where you come from? The two artists’ work, a white form hanging from the ceiling, resembles a ghost, an echo, a memory of a place far away or even not yet found. It makes you stop and think of the different ways people approach the notion of what a home really is and what it means to you.

What stands out the most about the exhibit is how, as a viewer, you catch dif-ferent snapshots of the artists’ person-al reflections in each piece, the world viewed through the eyes of another. These snapshots echo through the gal-lery, inviting you to learn more and gain a new perspective. These echoes take different forms, ranging from nostalgia of a home far away to the embodiment of past generations.

The works included in the FOFA gal-lery are mesmerizing and incredibly cre-ative. For further appreciation, pick up a booklet at the front desk in order to bet-ter understand the artist’s intentions for their work.

W The exhibit runs until Feb. 19 and is open from 11 a.m. to 7 p.m. You can see the work in the York Corridor Vitrines in EV 1.715 at 1515 Ste. Catherine St. W. Admission is free.

ECHO GAME(1) “Home” by AnnikaSteimle and Rihab Essayh.(2) “This is not a testamentof my love and devotion”by Fannie Gadouas.(3) Untitled (Sandbox #3)by Terrance Richard.

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musicMUSIC EDITOR /// music@theconcordian.comSAMUEL PROVOST-WALKER

Remembering the music of David BowieR E T R O S P E C T I V E

On Jan. 10, 2016, musical icon and pioneer David Bowie passed away after a long battle with cancer. Though he may be gone, this legend’s body of work truly speaks for itself; filled to the brim with wild sonic experiments and an equally wild aesthetic, it’s a truly rich discography dictated predominantly by

mood, with each new era showcasing a new side of the singer/songwriter. In honour of Bowie’s contributions to the medium, let’s take a trip down memory lane and rediscover each of his transformative phases.

— TEXT BY SAMUEL PROVOST-WALKER, LAYOUT BY PIERRE A. LEPETIT

1967-1969Psychedelic Pop eraSporting a mod haircut and playing an assortment of supremely English psy-chedelic pop rife with London slang, his 1967 self-titled debut was something of a critical and commercial failure.

1969’s self-titled sophomore album bore the hit single “Space Oddity,” though the album itself proved less than fruitful on the charts upon release.

1970-1974Glam Rock eraBowie kicked off the ‘70s with a daring take on late ‘60s hard rock (The Man Who Sold the World), confident and snarky folk rock (Hunky Dory), a cinematic glam rock opera (The Rise and Fall of Ziggy Stardust and the Spiders from Mars) and a distilled version of all three sporting an immediately iconic album cover (Aladdin Sane).

1975 & 1976Blue-Eyed Soul PeriodThough falling deeper into substance-abuse, Bowie’s pop-ularity also rose to a deafening peak with Young Americans, his self-described “plastic soul” album. Its follow-up, the ex-tra-terrestrial soul album Station to Station, hinted at eras past and future while showcas-ing an assured grasp on genre-bending song-writing, its opening title track a frightening, cocaine-fueled 10 minute suite.

1977-1980Berlin Trilogy & Scary MonstersRelocating to Germany in an effort to kick old habits, Bowie collaborated with ambient pioneer Brian Eno, incorporating elements of krautrock and other dispa-rate sounds to his already eclectic genre pool. Though commercially uneven, Low, “Heroes” and Lodger remain some of his most critically acclaimed darlings.

1983-1993Pop/New-Wave eraProduced by Chic guitarist and brainchild Nile Rodgers with the help of his co-writing partner and bassist Bernard Edwards and Stevie Ray Vaughan on lead guitar, Let’s Dance proved a large enough pop hit to sway Bowie towards delving even deeper into pop music, sacrificing much of the foundations he had built.

1995-1999Reeves GabrelsDrawing from the explosion of cathar-tic industrial rock finding its way into the mainstream and produced with the helping hand of Brian Eno, 1995’s 1.Outside provided a frightening soundtrack to a dystopian fu-ture. The album proved taxing for many but incredibly rewarding for most, showcasing a new side to the musician’s oeuvre. Subsequent albums Earthling and ‘Hours...’ found Bowie expanding to electronic sounds with producer Reeves Gabrels.

His post-Berlin follow-up, 1980’s Scary Monsters (And Super Creeps), successfully bridged both of Bowie’s audiences, its hit single “Ashes to Ashes” topping the UK charts.

2002-2016Elder Statesman eraFollowing the release of 2003’s Reality and his subsequent heart attack in 2004, Bowie remained mostly dormant throughout the next decade. That all changed in 2013 with the release of the career-spanning The Next Day. Adorned with a crudely edited take on the classic “Heroes” cover, the album served as a welcome look back at an artist who simply had no need to prove himself to anyone.

All signs regarding David Bowie’s well-being are present in Blackstar and yet no one could predict his pre-mature passing. In keeping his illness a secret from the public, he trans-forms his last hurrah into a solemn performance, his death serving as the final puzzle piece. In this regard, Blackstar is both eerie and poignant, many of its cryptic lyrics finding confirmation. “Lazarus” serves as a draining message from the afterlife, whereas the album’s last three tracks run the gamut of emotions in the face of certain death. Though diffi-cult and haunting, Blackstar is a mas-terful exit by one of music’s most transgressive voices.

A Trial track: “Lazarus”

— Samuel Provost-Walker

BlackstarDAVID BOWIE 1

(ISO/Columbia, 2016)

9/10

Leave Me Alone HINDS

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(Lucky Number, 2016)

Trying to say something new with-in the context of garage-tempered beach-pop is like trying to reinvent the wheel. Hinds aren’t refined by any stretch of the imagination, but the quartet’s proclivity for fuzzed-out guitars tighten their sloppy exe-cution. Hinds’ debut Leave Me Alone presents itself with the charm of a toothy grin. It’s music that’s intrinsi-cally meant to soundtrack hazy sum-mer ennui. The record kind of hangs in the air; weightless, non-confron-tational, unperturbed by the world around it. Leave Me Alone is a scuzzy patchwork of textbook garage themes, a genre predicated on idle-ness. It’s a musical outlet meant for amateurs and a suitably-sized style for Hinds to explore.

A Trial track: “Garden”

— Calvin Cashen6/10

QuickspinsGet the playlist: spoti.fi/1ZJ409y

PHO

TOS: B

RIAN DU

FFY, FRAN

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CKENFELS

11JANUARY 19, 2016 theconcordian

Heaven Is a Place

LSD AND THESEARCH FOR GOD

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(Deep Space, 2016)

If shoegaze often feels like a genre hamstrung by rigid requirements, the slew of My Bloody Valen-tine knock-offs surely don’t help it. Though LSD and the Search for God fall squarely in this camp—with shrieking, reverb-drenched tones reminiscent of Kevin Shields’ signa-ture stamp—their knack for catchy songwriting has elevated them slightly. Following up on a sole nine-year-old EP, Heaven Is a Place is as expected as it is inoffensive, its shim-mering psychedelia mostly obscur-ing its mindless lyrics. While clos-er “Without You” recalls early The Verve at their most jam-based, LSD are ultimately beset by the genre’s most tried and true basics.

A Trial track: “Without You”

— Samuel Provost-Walker5/10

In the years since SikTh left the mu-sic scene, their signature brand of groove-based technicality has tak-en the metal world by storm; bands like Periphery and even TesseracT owe much to the manic six-piece. Opacities, their first release in near-ly 10 years, delivers exactly what fans have come to expect with few frills. Dual vocalists Mikee Goodman and Justin Hill pass shrieks and gutturals like a ball as the band’s rhythm sec-tion pummels forth through bass-heavy breakdowns and intricate fret-board gymnastics. If it doesn’t feel as enlightening as their wacky 2003 debut or its follow-up, Opacities nonetheless serves as a welcome re-turn for one of metalcore’s more ad-venturous voices.

A Trial track: “Behind the Doors”

— Samuel Provost-Walker6/10

MORE OF THIS:http://theconcordian.com/

?s=Quickspins

OpacitiesSIKTH

4(Peaceville, 2016)

C L A S S I C S

Revisiting Arcade Fire’s transformative debutBefore winning Grammys and topping the charts, there was FuneralBY CALVIN CASHENSTAFF WRITER

Montreal’s music scene is somewhat of an anomaly. The city’s perennial pros-perity in the arts is indebted to the pow-er of the public. Montreal music, for in-stance, is highly conducive to success. That wasn’t always an uncontrover-sial opinion to endorse, however; before Montreal music gathered endless adu-lation, devoted fans and an endless stream of crit-ics coining it as the next big thing, the chances of a band securing anything outside a niche seemed few and far between. Enter Arcade Fire.

Ah yes, Arcade Fire. Ex-aggerated as it may seem, Arcade Fire changed the face of musical autono-my forever. The collective embodies the spirit of true Montreal artistry; experi-

mental, divisive, and absolutely wonderful. In 2004, the group’s magnum opus

Funeral was immediately regarded as a modern classic by numerous outlets, from Pitchfork Media to The Village Voice. Arcade Fire mania was at its peak. Funeral was a big deal. A very very big deal. If putting it out of perspective weakens its value, then it should be a record enjoyed in moderation, every listen eliciting feelings of nostalgia with a hopeful eye on

the unknown future.It’s an invigorating ex-

ample of creative and structural friction, forged by the cavernous and evoc-ative ambience of post-punk. The 15 musicians on Funeral are given equal time to carve a sonic space. Alluring strings and pia-no exhibit the record’s true elegance, creating a subtle dichotomy of delicacy and urgency.

The record is also bereft

of space; there’s not a single musical note that isn’t accented by a feverish yelp or an emphatic climax. Win Butler’s emotional anecdotes are on equal ground with the instrumentation. With the virtuosity of multiple string players, Butler chisels Funeral into a cathartic experience. He addresses the anxieties of growing up, the familiar bonds of friendship, lyrical themes that resonate on an unrivaled degree.

Extended diatribes on Funeral are far too common. Some perceive its grand scale and embracement of beauty as a frivolous grab bag of hackneyed ideas. Critique the record if you must, whether it’s addressing oddball characteristics or its unashamed penchant for eccentrics. The Sex Pistols were never considered para-digm punk relics in their heyday, but they were given time to establish themselves.

Twelve years of ubiquity has done Funeral well. The main takeaway from Funeral shouldn’t be its contentions, it should be its perpetual ambition. Arcade Fire wasn’t aiming for success, they were looking to make an impassioned decla-ration. Before this debut fostered sprawl-ing artistic possibilities, Montreal had a bit of an identity problem, at least musical-ly. Whenever the concepts of music, in-fluence and their collaborative duties are discussed in the same conversation, au-diences are immediately divided. Naysay-ers usually denounce Arcade Fire as the most horribly overrated band ever. Bloat-ed and frivolous are among some of the callous descriptions often heard. Truthful-ly, a justifiable criticism of Funeral is virtu-ally non-existent. C’mon, it’s Funeral.

Funeral turned indie rock on its head and proceeded to ascend ever so gracefully into our hearts. Most impor-tantly, Funeral captured that pulverizing indie rock sound that mingles with the likes of post-punk and baroque pop. It gave Montreal a definitive musical iden-tity. A record that contributes to the zeit-geist is one thing but a record that can’t be replicated is the greatest feat there is.

It’s an invigo-rating example of creative and structural fric-tion, forged the cavernous and evocative am-bience of post-punk.

Arcade Fire’s thrilling debut Funeral is available on Merge Records. Though the band members are currently at work on solo projects, we can expect more from the band following their multi-Grammy award winning album Reflektor.

Recorded at Montreal’s Hotel2Tango, Funeral was released on Sept. 14, 2004 to rapturous, unanimous acclaim.

sportsSPORTS EDITOR /// sports@theconcordian.comALEXANDER COLE (¬ @a_cole39)

W O M E N ’ S H O C K E Y

Stingers fall to the Carabins by a score of 2-1The Concordia women’s hockey team lost on Jan. 15 to the RSEQ division’s best team BY SABRINA AHNCONTRIBUTOR

On Jan. 15, the Concordia Sting-ers women’s hockey team lost to the Carabins from Université de Montréal at Ed Meagher Arena by a score of 2-1.

Going into Friday’s match, the Stingers were hoping to turn things around after having lost their last two games. Their last game against Ottawa had been close and so was Friday night’s tilt against the Car-abins. What killed the Stingers was their start and penalty troubles.

Early on, the Stingers fell to a 1-0 deficit after constant pressure from the Carabins. This was the result of a cou-ple of turnovers in the neutral zone. The Stingers weren’t able to clear the puck and the opposing team was able to sneak a shot from the right circle behind goal-tender Katherine Purchase.

The Stingers continued to strug-gle throughout the first period, but with three minutes left they had their first real chance at the net when forward Claudia Dubois managed to dangle by a defense-man and tried a high shot, which missed the net.

“It was the first period. We came off a little bit slow and they came out to really

play,” said Stingers captain Erica Porter.The Stingers started the second period

on the power play after Maude Laramée of the Carabins got called for tripping. The home team did not manage to score and only seconds after the penalty expired, the Carabins managed to score anoth-er goal off of a tic-tac-toe play in front of the Concordia net.

Down 2-0, the team turned the second period and the game around. The rest of the period, the Stingers continuously pres-sured the Carabins; working hard along the boards and managing to win puck battles they had lost the period before.

The Carabins then took another pen-alty, giving Concordia the opportunity to come back. The Stingers had racked up a few minutes in the offensive zone. The team was cycling the puck well and once the penalty had already expired, they managed a shot from the blue line. The initial save was made, but Stingers for-ward Ann-Julie Deschenes managed to corral the puck and swipe it behind the Carabins goaltender to cut the visiting team’s lead in half.

The second period ended with the Stingers having most of the momen-tum. They were determined to come out and have an even better third period, but

the team quickly got into penalty trouble. They took two back-to-back penal-ties early on, cutting their momentum and giving the visiting team a chance to increase their lead.

In the end, the Stingers’ penalty kill was perfect, but losing six whole minutes to defending lessened their chances of winning and the Stingers failed to make a comeback.

“We did great on our penalty kill, but that definitely breaks some of the 5-on-5 momentum,” Porter said.

The loss brought the Stingers record to 3-8-2 on the season, which puts them infourth place in the RSEQ division.

� The Stingers’ next game will be a home game against Carleton on Jan. 24.

M E N ’ S B A S K E T B A L L

Stingers sweep Citadins in home-and-homeThe Concordia men’s basketball team defeated UQÀM at home in a close match on Jan. 16

BY CASEY DULSONSTAFF WRITER

The Stingers entered their home game on Saturday, Jan. 16 against the UQÀM Citadins with a chance to earn a sweep in their home-and-home series.

On Jan. 14, the Stingers defeated the Citadins 74-61 and were eager to defeat them for a second time. Saturday after-noon’s game proved to be exciting as the back and forth pace between the two teams created an exciting atmosphere. In

the end, the Stingers prevailed 71-66 to win the last leg of the home-and-home.

Earlier in the game, the level of in-tensity was quickly elevated, with both teams matching each other after each basket. The Stingers took control of the match in the middle of the first quarter because of back-to-back three-point shots by forward Ken Beaulieu and guard Jaleel Webb. The score was 21-10 after the first quarter.

In the second quarter, the Citadins got a hot start from forward Henrilo Londole as he scored the quarter’s first six points. The Stingers started the quarter cold which allowed the Citadins to cut the lead to five points at 21-16. Concordia then rebounded as Beaulieu increased the Stingers lead to 16 points. The Citadins got a late three-pointer by guard Charles Miller in the quarter which cut the Sting-ers lead to 11 points.

The start of the third quarter was sim-ilar to the second quarter as the Cita-dins scored five unanswered points to cut the Stingers lead to six points. Late in the quarter, after the Citadins ended up cutting the Stingers lead to six points, Stingers forward Schneiders Suffra-rd took control of the game and scored six straight points to end the quarter. The Stingers led 50-45 after the third quarter.

PICTURED(1) “Home” by AnnikaSteimle and Rihab Essayh.(2) “This is not a testamentof my love and devotion”by Fannie Gadouas.Photos by Kelsey Litwin.

PICTURED(1) Ricardo Monge goes upagainst a UQÀM defender during their win.(2) Ken Beaulieu goes up for a dunk in the Stingers win.Photos by Brianna Thicke.

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The fourth quarter started with a Cit-adins basket by guard Kewyn Blain. The Stingers responded with a basket scored by Suffrard. In the middle of the quarter, the Citadins ended up taking their second lead of the game off of a three-pointer by guard Greishe Clerjuste. Both teams con-tinued to trade shots in the last few min-utes of the game. Stingers forward Michael Fosu’s basket with 45 seconds left was the turning point as the Stingers scored six straight points after that to ensure the vic-tory.

“I was very happy about how the guys responded after [UQÀM] took the lead, they stuck to the game- plan and made big shots down the stretch,” Stingers head coach Rastko Popovic said.

Fosu, who was a large part of the team’s victory, said that game was a tale of two halves.

”In the first half, I felt like we were imposing our will on them and then in the second half, we were acting casual and thinking this game was going to be easy,” Fosu said. “Luckily we were able to bounce back and hold them down.”

� Up next, the Stingers will play the 6-1 McGill Redmen—currently ranked second in the country—in a home-and-home series starting on Jan. 21.

13JANUARY 19, 2016 theconcordian

S H O W - J U M P I N G

Quebec riders looking for new places to competeNegotiations are underway to save the Blainville Equestrian Park from closing downBY BRIANNA BALLARDSTAFF WRITER

The provincial equestrian circuit in Quebec may lose one of the main fa-cilities used during the season. The search for an alternative has many equestrian athletes in and around Mon-treal worried about the future of provin-cial competitions in Quebec.

In September, the City of Blainville an-nounced that the Blainville Equestrian Park would be shut down and replaced by soccer and baseball fields. The park has hosted competitions on the provin-cial equestrian circuit for over two de-cades. It typically hosts six competitions during the Quebec show-jumping season each summer, which represents half of all Quebec provincial competitions, accord-ing to the Fédération équestre du Québec (FEQ), as well as competitions for other disciplines such as Western and dressage.

Now, Quebec and Montreal equestri-ans are looking for other options.

Saint-Lazare is a prominent eques-trian community in Quebec, as many equestrian athletes originate from and train there, according to equestrian ath-lete and Saint-Lazare resident Kennedy Simpson. Two provincial competitions are already held in Saint-Lazare every spring and are run on private property, but athletes say the number of competitors have been dwindling.

“A lot of people are turning to the On-tario circuit or even competitions in the States,” said Simpson. “Ontario competi-tions are very well-organized. There are a lot of different divisions at different levels, the prize money is a lot better, there are a

lot more participants too, so there’s more of that actual competitiveness.”

She also said that with the closing of the Blainville Equestrian Park, this situ-ation could continue to get worse for the Quebec cir-cuit. There has even been talk of including compe-titions held in Ottawa in the Quebec circuit, mean-ing that points collected by Quebec riders in Otta-wa would count towards their Quebec point total, according to l’Association de Chasse et Saut d’Obstacles du Québec (ACSOQ).

Saint-Lazare Mayor Robert Grimaudo s a i d t ha t w h i le   t h e eques-trian community of Saint-Lazare is very important to the town, the town it-self doesn’t have the means to host large provincial competi-tions.

“Are we equipped? No. Is [our eques-trian community] important? Abso-lutely,” said Gri-maudo, adding that while the town does not have a facility like the one in Blainville, he believes the local barns are perfectly capable of hosting

provincial competitions. “The town does support the Saint-Lazare Horse Shows and will continue to sup-port them.”

The number of com-petitors in the Saint-Laza-re shows have gone down considerably in the past six years, according to the FEQ. There were 89 entries in 2009, compared with 57 entries in 2015. This is a comparison between di-

visions that were held in both years; di-visions that were dropped before 2015 or new divisions that appeared after 2009 were not includ-ed in this data. This is a trend seen not only in Saint-Lazare com-petitions, but in competitions held across the province.

In the past, Quebec competitions drew in large numbers of spectators from the various communities.

Olympic team members such as Ian Millar, Jill Henselwood and Eric Lamaze also attended and competed at these events.

According to L’ACSOQ, it is currently looking for alternative facilities that can accommodate competitions next year. They are also in negotiation with the Société Équestre de Blainville to try to come to a compromise, where the park would be renovated to accommodate the soccer field, the equestrian facilities and a baseball field.

S A R A H & T H E H A B S

What happened to the Montreal Canadiens?A look at how the team has fallen into one of the league’s worst losing streaksBY SARAH KOSSITSSTAFF WRITER

The more the Canadiens lose, the more fans want to know: What happened to the team who had a record breaking start?

Some blame the injury bug. Car-ey Price’s immense role had to be filled by backup goaltenders Mike Condon and Dustin Tokarski, who were then blamed for losses. Other fans argued on social media that Max Pacioretty was wrongfully given the captaincy and that he doesn’t know how to lead the team to success.

In my opinion, management tried to fix some of these problems by calling up

rookies to fill gaps in the lineup and by acquiring goaltender Ben Scrivens

from Edmonton. They then sent the un-derperforming Tokarski to Anaheim via a trade, while injured players made their way back into the lineup.

But nothing has worked and the team keeps losing.

Part of the reason why the Habs are un-derperforming is that the team had adapted to having arguably the world’s best goal-tender behind them. Price constantly keeps his team in the game by making saves that so few goaltenders can make, which allows for some defensive error. Like most goal-tenders, Condon and Scrivens can’t make those saves, although they are doing an honourable job trying to fill Price’s skates.

This is why the team needs to do bet-ter defensively. P.K. Subban is known for his fancy puck moves which everyone ap-plauds when they work, but ignore when they don’t. A lot of the time Subban ends up losing the puck and is unable to get back on time to prevent a goal. For as many good plays that Subban makes, he makes just as many bad ones.

Andrei Markov also needs to do better. While he has had some good games, he of-ten makes bad decisions and leaves players alone in front of the net.

As a whole, the defensemen on the team need to play it safe and not take un-necessary risks until they get Price back to bail them out when they mess up.

Offensively, the team is struggling too.

It’s impossible to win games if you don’t score goals, and none of the players who are consistently supposed to score are cur-rently producing. Pacioretty isn’t produc-ing and neither is young forward Alex Gal-chenyuk.

Galchenyuk’s lack of offense is not the only thing negatively impact-ing the team. Last week, according to multiple media outlets such as the CBC, Galchenyuk’s girlfriend was arrested on domestic abuse charges for allegedly punching him.

While Gal-chenyuk him-self didn’t commit the crime, the sit-uation creates bad press for the team and just adds to their list of growing is-sues. It might also frustrate fans who believe that the players

should focus on hockey and not on their social lives.

At the end of the day, there are too many things not working with the Cana-diens right now and too little is being done to fix these problems. Some fans have ex-pressed over Twitter that the team’s strug-gle will end with the return of Price, but he will simply fix the defensive problems. Un-

less he starts scoring goals, he’s going to

need some help.

MORE OF THIStheconcordian.com/author/s_kossits/

Blainville Eques-trian Park plays host to many show-jumping competitions during the season.

Photo by Kennedy Simpson.

opinionsOPINIONS EDITOR /// opinions@theconcordian.comDAVID EASEY

P O P C U L T U R E

Saying goodbye to our favourite charactersWhy does it feel like we’re losing a loved one when a beloved celebrity dies?BY NATHALIE LAFLAMMEHEAD COPY EDITOR

Thursday began like any other day. I woke up, made some coffee, and turned on my laptop to check out what was going on on social media. That’s when my day quickly took a turn for the worse: I learned Alan Rickman had died. He was 69 years old.

I quickly found myself reading ar-ticles on his best moments as an ac-tor, compilations of his most memora-ble scenes in the Harry Potter franchise, Tweets mourning his loss from actors he worked with and his friends. The next thing I knew, tears were rolling down my face, and I had an uncomfortable ball in the back of my throat, warning me the sobs were about to come.

What was wrong with me? I had nev-er met this man, and yet I was crying over the news of his death (and I don’t cry very often). Reading the comments on the many BuzzFeed articles on Rick-man, I saw that I was not alone—people everywhere were genuinely upset that he had passed away. Why was that?

To me, and to many others, I’m sure, Rickman’s death hit especially hard be-cause of his por-t r a y a l o f P r o -fessor Snape in the Harry Potter franchise. Rick-man dying fe l t like Snape, a fic-t ional char ac-ter, was dying al l over again . But the sadness came from deep-er than that.

Like so many other ch i ldren around the world, the Harry Potter series was a very important part of my childhood. I can still remember my mother reading me the French translations of the novels before bed; I would always beg her to read just one more page. Later, I read the books myself, in English this time. Going to see the movies at the the-atre was a ritual: the movies always

came out a few days before or after my birthday, and going to see it was al-

ways something I associated with being one year older. Although t h a t t r a d i t i o n ended with the last movie, it is st i l l something I look back on fondly.

I know that Rickman is not Snape, but see-i n g t h e a c to r portray him on-s c r e e n f o r 1 0 years still made it feel that way. It was, after all, the role he was best known for.

W e ’ ve l o s t many stars in t h e l a s t f e w years . Just this week , David

Bowie died, as well as René Angélil. In February 2014, Philip Seymour Hoffman died. A few months later, we lost Robin Williams (I cried that time too).

Although we may not realize it, these celebrities played important roles in our lives. Seeing them on screen through-out the years made us feel like we knew them. We associated with some, quoted others, reminisced about our favourite scenes. Maybe celebrities dying hits us so hard because, in a sense, we are los-ing a part of ourselves—the person or child we were when we first watched a movie, or listened to a song for the first time.

It feels like more and more of our beloved celebrities are dying. I’m not sure if this is a fact, or just a sign that we are growing up—actors who starred in our favourite childhood films are growing older, just like us.

There is one positive note to all of this: whenever we are feeling nostal-gic, all we have to do is turn on the T.V. Our beloved actors will live on forever on the screen, and will be there for us when we need them the most. Always.

Although we may not realize it, these celeb-rities played important roles in our lives.Graphic by Kerby Rosanes.

E D I T O R I A L

CATs want a democracy, but only when it benefits them

Define democratic rights, right now. What comes to mind? Likely things we readily exercise here in Quebec, such as the right to vote, to protest, to be innocent until proven guilty. What about freedom of the press? That’s usually another qual-ifier for even the most basic of democra-cies.

But here on campus, there is a student group protesting the violation of their right to protest while blocking our right as a newspaper to be a free and unrestrained media outlet.

Concordia Against Tribunals is protest-ing the persecution of 25 student protest-ers involved in the anti-austerity move-ment from the spring of 2015, claiming that the university is violating the stu-dents’ democratic right to protest. But when it comes to freedom of the press, CATs is less inclined to see the injustice.

Namely, they’re busy kicking us out of public meetings on Concordia property because they’re afraid of us, or some oth-er ridiculous reason.

Which, as a student publication, we’re pretty baffled by. After all, we’re the little guys too, often afraid of being sued (we have very limited resources) or constant-ly scrambling to get quotes from people who don’t believe it’s worth their time.

We don’t go to meetings to try and throw protesters under the bus. We go to meetings to do our job—letting those who

were unable to attend know what they missed. We’re informants and watchdogs, not snivelling little tattletales.

The reaction from CATs made us re-alize there is a lot of ignorance floating around out there about what it is we do, and what it is journalists can do.

Here are some basics. If your actions and words are not a

matter of public interest, there is no way we can report on you. If you’re having an affair, skipping class, or are an anarchist, we have no right to drag your private life into the papers and write about you without your permission (unless you are the mayor of Toronto and smoking crack during your downtime).

However, if you are in public office, or are using students’ money to do things (maybe like running ASFA, or the CSU) your actions become public interest and we have the right to report on you, in the context of your involvement with student funds.

If you talk to someone, and know they are a journalist, all of your words are quotable. Reporters will usually tote around recorders to ensure that we are fair to our sources and quote them ac-curately, and make sure when someone says something contentious that we have proof of what they said days or years down the line if a source claims we mis-quoted them. It’s legal protection for us and a tool to ensure our accuracy, not a

device used to manipulate you. Also, “off the record,” and “without at-

tribution,” are requests that a journalist can comply with out of politeness, but not out of legal obligation. This goes back to the ‘anything you say to a journalist while knowing they are a journalist they have a right to use,’ bit.

Now, there are shady reporters out there who don’t identify themselves and still try to get quotes. This is what defines a bad journalist, who is likely going to get their ass sued real fast, and is not—ever—what we encourage (or allow, for that matter) at The Concordian.

Now, let’s apply this quick lesson to CATs voting to kick our news reporter out of their public meeting.

Our reporter was there to let the gen-eral public know what happened during the meeting, which is what students fund us to do. We did not have the right to go around the room and name everyone there, but we did have the right to quote anyone who stood up at a public meeting to voice their thoughts and opinions.

Concordia’s policy on the temporary use of university space forbids the in-timidation of an identifiable individual or group, which means our student report-er was supposed to be protected from a room full of hostility against the media.

What’s more, a reporter for The Link also identified themselves, but said they

were not currently writing an article and were not kicked out of the meeting. That reporter—having identified themselves as such—had just as much of a right to pub-lish anything said in that meeting as our reporter, yet they were allowed to stay.

Which brings us to our final and summed up critique: CATs, you are act-ing with ignorance. If you want to hold a meeting then we have the right to be there. If you want the protection of your democratic right to protest, stop blocking our democratic right to be free and unre-strained media.

Scratch us and we’ll scratch back. Your move, CATs.

15JANUARY 19, 2016 theconcordian

H E A L T H

A new breed of eating disordersSocial media is promoting binge eating disorder, bigorexia and orthorexia

BY ALESSANDRA BARBACONTRIBUTOR

Check your social media accounts—Twitter, Facebook, Instagram. I am almost certain that amongst your friends’ posts you saw at least one of the following hashtags: #cleaneating #fitisthenewskinny #gains.

Sound familiar?So the question is, when does an in-

terest in having a healthy lifestyle cross over into an unhealthy obsession? It’s clear social media is facilitating a new breed of eating disorders.

As a registered dietitian, I regular-ly see the relationship between food and the psyche in my clients. We are in an age where, yes, we have made a lot of prog-ress on body image and acceptance, but new unattainable body standards are still being portrayed by some of the most fol-lowed celebrities and social media stars. These filtered, perfectly lit images of men and women are helping propagate a new breed of eating disorders.

While still relatively uncommon in

Canada, 2.8 per cent of females and 0.5 per cent of males are affected with eating disorders according to the National Eat-ing Disorders Association. Despite these low diagnosis figures, many struggle with body image issues, and develop obses-sive behaviours while seeking gratifica-tion online. Some examples of obsessive behaviour can be a strictly regimented diet that is inspired by a lot of the fitness and nutrition accounts on popular social media platforms.

According to The Entrepreneur, in 2014, the average millennial spent 5.4 hours per day on social media. That’s a lot of time being exposed to these new body standards. And because many of these images are from friends or so-cial media stars who are more relatable and accessible than the celebrities of old, this could cause increased concern and a mentality of ‘if they are doing, it so should I.’ We have to remember that social me-dia is just a slice of the whole pie of a per-son’s life—a slice that often doesn’t in-clude anxiety, feelings of inadequacy and questioning where we belong, which is a

common, yet seldom-discussed part of being human.

Working within the realm of dietet-ics, I’ve realized that food and exercise are just one aspect of a healthy lifestyle. Taking care of your mental and spiritu-al health and nurturing your passions are key to staying balanced life. Social media is a tool used to engineer our life through a lens, but it is just that: a lens.

Think before you post. If you are get-ting satisfaction from the number of fol-lowers or the amount of likes a photo re-ceives, you are treading into an unhealthy territory. Additionally, if you’re taking in-spiration from social media to attain an unrealistic body image or to follow a fad diet, then the risks become more danger-ous. Visit a registered dietitian or another healthcare professional if you are inter-ested in your health and wellness to give you the best guidance tailored to you.

If you suspect someone you care about is suffering from orthorexia you can consult the National Eat-ing Disorders Association’s website at nationaleatingdisorders.org.

Let’s get some terminology on the table from the National Eating Disorders Association.We are probably all familiar with anorexia and bulimia but there are some new terms that are reflecting today’s trends in ex-treme health and fitness:

Frequently binging i.e. eating very large amounts of food. People with BED could be over-weight, obese or normal weight. Symptoms could include:

1. Eating very rapidly, in largeamounts, without being hungry.

2. Feeling that binges are outof control.

3. Feeling depressed andguilty after binging.

Also known as muscle dysmor-phia, is a disorder where a person becomes obsessed with the idea that they aren’t muscular enough. Mostly men are affected by this disorder with an average age onset of 19. Symptoms could include:

1. Ignoring other importantactivities and responsibilities just to maintain exercise regime.

2. Avoiding situations wherethe body is exposed to others.

3. Continuing to exercise, dietand take drugs despite negative consequences.

An obsession with avoiding foods perceived to be unhealthy. Surprisingly, this eating disorder tends to affect men more than women.Symptoms could include:

1. Spending most of the timeplanning, shopping, and eating meals.

2. Isolating oneself fromothers.

3. Being very critical whenstrict diet restrictions aren’t followed and feeling very proud when they are.

BIGOREXIA

ORTHOREXIA

BINGE EATING DISORDER

Want to be part of our (inter)stellar team?

Drop by our story-pitch meetings Friday at 1 p.m., at our Loyola

office CC-431. Pitch stories, pick stories up, and

meet the team. Meow.

Graphic by Charlotte Bracho.

Know the symptoms

etc

The Concordian’s editorial teamWe tell your stories since 1983.

EDITOR-IN-CHIEFMICHELLE GAMAGEeditor@theconcordian.com

PRODUCTION MANAGERPIERRE A. LEPETITproduction@theconcordian.com

NEWS EDITORGREGORY TODAROnews@theconcordian.com

NEWS ASSISTANTSAVANNA CRAIG

LIFE EDITORCRISTINA SANZAlife@theconcordian.com

ARTS EDITORSLYDIA ANDERSONELIJAH BUKREEVarts@theconcordian.com

MUSIC EDITORSAMUEL PROVOST-WALKERmusic@theconcordian.com

SPORTS EDITORALEXANDER COLEsports@theconcordian.com

OPINIONS EDITORDAVID EASEYopinions@theconcordian.com

PHOTO EDITOROPENphoto@theconcordian.com

PHOTO ASSISTANT OPEN

ONLINE EDITORDORI JULIANonline@theconcordian.com

GRAPHICS EDITOROPENgraphics@theconcordian.com

COPY EDITORSNATHALIE LAFLAMMEJESSICA ROMERAWALID MARAQAcopy@theconcordian.com

PRODUCTION ASSISTANTSOPEN

CONTRIBUTORSAndrej Ivanov, Stephen Ho, Ocean DeRouchie, Krystina Scenna, Tiffany Lafleur, Valeria Manocchio, Calvin Cashen, Brianna Ballard, Sabrina Ahn, Casey Dulson, Sarah Kossits, Alessandra Barba

cthe

Concordia University’s weekly, independent student newspaperVOLUME 33 | ISSUE 16 | TUESDAY, JAN. 19, 2016

Cover graphic by Pierre A. Lepetit

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Tweets of the week

These tweets characterize the tragic loss that the world has experienced this week. Once again we have lost some tremendous talent in the beginning of 2016.Some people knew Alan Rickman as the Harry Potter villain (or hero?) Snape, others will remember him for his role in Love Actually, Die Hard, and as the blue caterpillar in Alice in Wonderland. Celebrities took to Twitter to express their loss.

@Jk_RowlingThere are no words to express how shocked and devastated I am to hear of Alan Rickman’s death. He was a magnificent actor & a wonderful man.

@_JuliannemooreI will miss the great Alan Rickman.

@CelinedionRené Angélil est décédé ce matin à sa résidence de Las Vegas après un long et courageux combat contre le cancer.

@_Snape_ His memory will live on. Always

@annetdonahue I hope David Bowie and Alan Rickman are partying super-hard because that’s the only mental picture that will make this week bearable.

@WarwickadavisSo terribly sad to hear of the passing of Alan Rickman. Honoured to have shared the screen with him. #Marvin #Snape He’ll be sorely missed.

1454 RUE MACKAY514.937.2884

fade2brooklyn

fade2brooklyn,mtl

Instagram Snape by

@Iw

anttogotocanadaInstagram

Snape by@

Talwdot

Ode to the dead

—By David Easey

a slash of green lightswift and ruthlessemptiness following suit

for death has now claimed you taken from us too early their fate sealed by the merciless gods

adored by generations admired by their peers may their spirits wander freely

let solace be achieved may they rest in piece

while the threads of memory shall endure the test of time

A D V E R T I S E M E N T