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Brock’s first-ever Female Athlete of the Year  

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With 60 years of athletic history, Brock University has celebrated countless achievements and memorable moments. Among these, a significant milestone is the recognition of Helen Henderson as the university’s first Female Athlete of the Year in 1972-1973, honouring her remarkable contributions to the women’s basketball team, volleyball team and rowing team.  

During her time, Henderson played for the women’s team, which was not yet part of the Ontario University Athletics (OUA) tournaments, underscoring the lack of recognition for women in sports. Notably, Brock University did not establish a Female Athlete of the Year award until the 1972-1973 season, while the men’s team had been recognizing its Male Athlete of the Year since 1968-1969, just a few years after the university was founded in 1964.   

Henderson’s award was a significant moment for the Badger community, showcasing the talents of a woman who dedicated herself to Brock athletics. Women’s teams faced such neglect that they often had to recruit high-school girls for scrimmages, a stark contrast to the men’s teams, which did not experience similar challenges. Henderson’s experiences shed light on the struggles women faced in the world of sports at that time. In a conversation with Brock University Athletics she said that “[the importance of a female role-model] provides young women with examples of alternative avenues in the sports world.” 

On the court Henderson served as an inspiration for young women, maintaining her influential role in women’s sports by securing her first coaching position immediately after graduating from university.  “I was able to get a teaching job and start coaching right out of university. Being involved in athletics at Brock provided all these pathways for me to gain a reputation in the community,” said Henderson.  

Henderson became a secondary school teacher while also dedicating 33 years to coaching with the District School Board of Niagara. She also served as an assistant coach for Dalhousie University’s women’s team for three years. Now retired, Henderson took on the role of Indoor Sports Lead for wrestling, lacrosse and volleyball for the Niagara 2022 Canada Summer Games.  

Over the years, Henderson has observed a significant evolution and positive advancement in women’s sports since her time on the court. Reflecting on her own experiences, she recognized that her opportunities were limited by the norms of her era. Witnessing this transformation has been a rewarding journey for her.  

“Sports have been my whole life,” said Henderson in an interview with The Brock News. “I’ve seen females transcend various sports networks, females who’ve broken the barrier in the men’s world. They are refereeing at the Super Bowl or coaching in NBA games,” she said. “This gives girls an outlet. They might think, ‘if I don’t make the national team or go pro, I could be a colour commentator, a referee or coach at a high level.’ Today, more than ever, we are witnessing history.”  

In her interview, she reflected on the evolution within the Badger community following the launch of the Women in Sport Group, stating, “I think that’s an admirable endeavour to help motivate young women and get them to think outside the box. If we had something like that in our time, it would have given female student-athletes something to aspire to.” 

As we honour Helen Henderson’s legacy as Brock University’s first Female Athlete of the Year, it’s clear that her influence on the next generation of female athletes is profound. The evolution of women’s sports at Brock stands as a testament to the hard work and dedication of legends like Henderson who forged a path for future female athletes to dream bigger and strive for greater heights.   

As we look ahead it’s crucial to sustain this momentum ensuring that female student-athletes are not only recognized but celebrated. With each new milestone, we honour the women who have come before us and inspire the women who will follow.  

Jeffrey Cairns, former Brock Trustee and convicted pedophile, is released from jail 

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After a parole board found Jeffrey Cairns has a “deviant sexual attraction toward minors”, the former Brock Trustee and St. Catharines philanthropist was released from jail after serving two-thirds of his sentence. 

In December 2018, then-63-year-old Jeffrey Cairns was found guilty of three sex-related offences dating back to 2010. 

At a jury trial held in St. Catharines, the victim, now in his late 20s, testified that Cairns repeatedly molested him starting when he was 14. 

The victim testified that Cairns, whom he had considered to be like a second father, started groping and fondling him. He said the incidents escalated to include masturbation and oral sex according to court documents. 

“You had so much opportunity to use your influence for good, yet you chose to use it for your sexual fantasies with my son and that will leave me with an ache in my soul until the day I die,” said the victim’s mother to Cairns during the trial.  

If the name Jeffrey Cairns sounds familiar, it’s because Brock University named the Cairns Complex after Jeffery’s family when his father donated $8 million to Brock. Jeffrey Cairns snipped the red ribbon alongside his brother John when the building officially opened in 2012. 

Jeffrey Cairns was a longtime community member of Brock’s Board of Trustees and highly influential in the decision to build the Cairns Complex, as well as many other executive decisions at Brock. 

He resigned from the Board the day after being arrested for his crimes in August 2016. 

In 2019, almost one year after Jeffery Cairns’ conviction, Brock officially renamed the building to The Roy and Lois Cairns Health and Bioscience Research Complex to distance Brock from Jeffrey and emphasize the contributions of his parents Roy and Lois. Roy Cairns, whose face is now displayed near the entrance of the complex, was an original investor in the Brock University Founding Fund back in 1962. Roy Cairns died in 2011 after a long battle with cancer which overlapped with Jeffrey Cairns’ numerous incidents of sexual assault.  

Jeffrey Cairns was formerly the president of Charlesway Corp. Ltd., a Niagara-based private equity investment firm which he inherited from his father. He was also the former commanding officer of the Lincoln and Welland Regiment and was involved with Scouts Canada and St. John’s Ambulance. 

Despite being convicted in 2018, Cairns managed to avoid jail on bail for over a year mostly living at his cottage in Kawartha Lakes and at a residence in St. Catharines with few restrictions. 

“He freely moves around the many neighbouring towns and cities – Coboconk, Fenelon Falls and Lindsay – enjoying their restaurants and services. He also is frequently at Sir Sams on winter weekends,” said an area resident in Kawartha

In June 2019, Cairns was sentenced to four years in jail after his appeal failed and the charges remained.  

In 2021, Cairns was released from custody pending another appeal of his convictions. Conditions of his release included that he cannot communicate, directly or indirectly, with anyone under the age of 16. 

Over a four-month period, Cairns attended a grocery store and engaged in multiple conversations with two boys who worked at the store.  

On one occasion he is reported to have grabbed the shoulder of one boy and offered to buy him a birthday present and on another occasion he discussed masturbation with the boys according to the board. Cairns denied making any sexual comments.  

Chief Justice of Ontario Michal Fairburn dismissed the appeal and returned Cairns behind bars. 

The disgraced businessman was denied parole only 10 months ago after the Parole Board of Canada said the 68-year-old convicted sex offender would present an “undue risk to society” if released, citing his continued denial of the offences: 

“In the opinion of the board, you need to add a self-focus on managing your sexual temptations and risk areas. This lack of insight and reliance on outside parties to mitigate your risk areas displays an inability, or unwillingness to address your true underlying risk issues and until you do so, your risk remains undue.” 

Despite the overwhelming evidence of Cairns’ inherent danger to the community, he was released on Aug. 4, 2024, having served two-thirds of his sentence in jail.  

The Parole Board of Canada, in a decision made July 7, imposed “special conditions” on Cairns’ statutory release. 

The board can impose conditions that it considers “reasonable and necessary to protect society” and to facilitate an offender’s successful reintegration into society. 

Cairns is to have no contact with children under the age of 16 unless accompanied by an adult who knows his criminal history and has previously been approved by his parole supervisor. 

He must also stay out of the Niagara region and the Bloor West Village area of Toronto and have no contact with the victim or his family. 

The conditions of his statutory release will remain in effect until his warrant expiry date in December 2025.  

Badgers women’s rugby overpowers Trent in dominant road victory 

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The Brock Badgers women’s rugby team earned a commanding 58-15 win in Peterborough against Trent University, scoring 10 tries in the contest, to move ahead of the Excalibur for fifth place in the Ontario University Athletics (OUA) standings. 

Hannah Tonet, the 2023 OUA Second-Team All-Star, led all players with 15 points coming from three tries, all of which were scored in the opening half. 

The Badgers wasted no time getting on the board in the first, as Laura Brown scored the game’s first points less than two minutes in, bullying her way through the Excalibur defenders for the score. Paige DeNeve, the 2023 OUA Women’s Rugby Player of the Year, followed the try by converting her first of four successful kicks to take the early 7-0 lead. 

Four minutes later, the Badgers showed another element of their dynamic offence, courtesy of fellow 2023 OUA Second-Team All-Star Abigail Wade, using her speed to race down the sideline for the try and extend the Brock lead to 12. 

After Tonet made it a 17-point game, Jordan Smith scored her first of two tries in the game, finding the ball in the scrum and forcing her way around the defenders and into the try zone. 

With the score 22-0, the Badgers kept their foot on the gas, displaying a strong and unified press forcing the Excalibur to turn the ball over near their own try zone. The Trent turnover was proven to be costly as it led to Tonet being pushed in by her teammates for her second score of the half. 

Tonet wasn’t done though, as the Kinesiology major added her third try of the half after being pushed in for the score by her teammates for a second time, showcasing Brock’s size and strength to power their way into the try zone. Jordyn Pitt followed Tonet’s score with another try, Brock’s seventh of the half, as the Badgers were cruising into halftime with a 41-0 lead. 

In the second half, a trio of tries by DeNeve, Smith and Erika Bagshaw grew Brock’s lead to 58-0, as Brock’s 58 points were the most points the Badgers have scored in a game this season. DeNeve finished the game scoring 13 points from one try and four kicks. 

Defensively, the Badgers — who came into the game allowing 42.6 points a game — limited the Excalibur to 15 points, all of which were scored in the second half with Brock having a 58-point lead. 

The Badgers (2-2) will be looking to build upon their strong defensive play versus Trent, when they visit the Waterloo Warriors (1-3) next weekend, a team they beat each of the last two seasons, before concluding their regular season at home on Oct. 5 against the Western Mustangs (3-1). 

For more information on the Badgers women’s rugby team, head to gobadgers.ca. 

Badgers drop Steel Blade Classic as Guelph spoils homecoming weekend 

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Despite a relentless and spirited effort in front of 4,300 fans at the Meridian Centre, the Brock Badgers men’s hockey team fell 6-2 to the Guelph Gryphons in the annual Steel Blade Classic showdown. 

Four consecutive goals by the Gryphons in the first period were enough to seal the victory, winning their first Steel Blade Classic since 2019. In securing the win, Guelph goaltender Cal Schell made 38 saves in his OUA debut for the Gryphons, which included stopping 17 Badgers’ shots in the third period. Schell’s play in between the pipes in the third prevented momentum from swinging into Brock’s favour, which was the case when the crowd was rowdy at the start of the game. 

After an electrifying opening ceremony to commemorate 25 years since the inaugural Steel Blade Classic, the Meridian Centre was in an uproar when Guelph’s Thomas Darcy was called for a tripping penalty less than two minutes into the contest. 

Although Brock’s powerplay was subpar last season, ranking 15th of out 19 teams in powerplay percentage (17.0 per cent), the Badgers found a way to convert on the early powerplay as they look to build powerplay momentum heading into the regular season. Jacob Hoffrogge’s point shot was deflected in the slot by first-year forward Zack Stringer passing Schell, to give the home side the early lead. Stringer’s goal ignited the Badgers crowd as Brock was looking to remain victorious for the fourth-straight Steel Blade Classic. 

But that dream soon turned into a nightmare when four unanswered Guelph goals passed Badgers rookie netminder Samuel Vyletelka in quick succession, who is in his first season with the Badgers after playing last season in Germany with the Augsburg Aussies. 

After Brock defender A.J. Cook blocked a point shot from the faceoff, Guelph’s Julien Gervais pounced on the loose puck finding an open Anthony Tabak who buried it past Vyletelka to tie the game at one. 

Four minutes later, Guelph’s Nolan Forster fended off the Brock defender before beating Vyletelka five-hole to give the Gryphons their first lead of the game, silencing the Badgers faithful who were in disbelief after the Badgers started the game on the front foot. 

The Gryphons’ two goals in the first 10 minutes matched the same goal total they had in the previous two Steel Blade Classic games combined, 120 minutes of hockey, losing 3-0 to the Badgers last season and 6-2 in 2022. 

As such, Gryphons captain Tristan De Jong was looking to lift his first sword trophy, which is awarded to the winning team of the Steel Blade Classic, as the defender doubled Guelph’s lead, putting a backhander past Vyletelka’s glove side to go up two. 

Mere moments later, a defensive lapse by the Badgers allowed Jacob Winterton — who assisted on De Jong’s goal — open space up the ice, receiving the stretch pass on the breakaway and beating Vyletelka to go up 4-1 after one. 

A scoreless yet actionable second period featured scoring attempts by both sides and scrappy hockey, a continuous theme of the Brock-Guelph rivalry series — a series in which Brock swept last season, winning all four meetings. 

But the likelihood of winning a fifth straight against the Gryphons plummeted when Guelph’s Nolan Dunn added a fifth midway through the third to take the four-goal lead. 

Brock’s Andrew Amousse’s first Ontario University Athletics (OUA) goal quickly negated Dunn’s goal, but the Gryphons added an empty netter to seal the 6-2 victory. 

The Badgers now hold a 1-2 record in the pre-season, beating the York Lions 3-0 and losing 3-2 to the TMU Bold. 

Looking forward to the regular season and ultimately the playoffs, the Badgers will need to clean up defensive miscues and poor positioning if they want to compete with the OUA’s best and head back to the U Sports national championships to avenge their quarterfinal defeat to the UNB Reds, which ended their 2023-24 title hopes. 

They will also need to find a new scoring touch as last season’s OUA West MVP Jacob Roach and former captain Jared Marino have graduated, while Tyler Burnie has gone professionally in the ECHL as the trio made up 38 of Brock’s 106 goals last season. 

In searching for answers, the Badgers will have one more tune-up game next weekend in Oshawa against the Ontario Tech Ridgebacks, before opening the regular season in Waterloo with back-to-back games against the Waterloo Warriors and Laurier Golden Hawks on Oct. 3 and 5, respectively. 

For more information about the Badgers men’s hockey team head to gobadgers.ca, and stay up to date all season long through The Brock Press. 

Familiar Faces in New Places: Where 2023/24 Badgers’ stars now call home 

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The 2023/24 varsity season was a tremendous success for the Badgers, as 26 Brock athletes were named All-Canadians, with 81 earning provincial all-star selections. Amongst those stellar performances were some shining stars who took their game to the next level. Here is where some 2023/24 Badger all-stars now call home after graduating to the professional ranks. 

Connor Ungar – Edmonton Oilers 

Following an impressive playoff run which included a national championship quarterfinal appearance, Ungar signed with the NHL’s Edmonton Oilers to be reassigned to their American Hockey League (AHL) affiliate, Bakersfield Condors. 

Last season’s U Sports Rookie of the Year, Ontario University Athletics (OUA) West Goaltender of the Year and OUA West Rookie of the Year posted a 20-6 record — the most wins by any goaltender across the country during the regular season — along with the fourth-best goals against average (2.15) and save percentage (.932) in Ontario, while earning three shutouts which were tied for second-most in the conference. 

The 22-year-old will be looking to compete for a starting role with the Condors this season, with hopes of being named to the Oilers roster in the future. 

Tyler Burnie – Rapid City Rush 

After a season of offensive prowess, finishing amongst the top 17 skaters in the conference in goals (15 goals; 11th in OUA), assists (18 assists; 17th in OUA) and points (33 points; 12th in OUA), the Washago, ON-native is headed stateside to continue his hockey journey. 

The six-foot-five winger is joining the Rapid City Rush of the East Coast Hockey League (ECHL), an affiliate of the Calgary Flames. Looking to bring his skill, size and toughness, Burnie could be the spark that the Rush need as they seek their first Kelly Cup title as ECHL Champions. 

Zach Taylor – HK 32 Liptovsky Mikulas 

The 2023/24 OUA West Defenceman of the Year is heading to Slovakia, joining HK 32 Liptovsky Mikulas of the Slovak Extraliga. 

The Sault Ste. Marie-native finished fourth amongst OUA defenceman in goals with seven and fifth in points with 23 in 27 games. Taylor’s playmaking abilities should help propel the Liptovsky Mikulas offence this season, having finished 10th amongst 12 teams in goals scored in 2023, while finishing 10th with only 18 wins in 50 games. 

Sara Rohr – FC Porto 

Sara Rohr, the 2023/24 OUA Female Athlete of the Year, Brock Female Athlete of the Year and OUA Women’s Volleyball Co-Athlete of the Year is joining FC Porto, who are looking to win their fifth consecutive national championship as winners of Portugal’s First Division Women’s Volleyball League. 

The three-time OUA All-Star is no stranger to winning titles, having won three consecutive provincial titles with the Badgers as a leader on the court. The five-foot-nine setter is the current Brock record holder in assists with 2,677 — 203 assists ahead of Ally Fast’s previous record — as Rohr’s leadership, winning pedigree and tenacity is the perfect mix for a Portuguese side looking to remain victorious. 

Aleiah Torres – Creamline Cool Smashers 

After winning three consecutive provincial championships with the Badgers, libero Aleiah Torres has already won her first title in the Philippines’ Premier Volleyball League. 

Being drafted 12th overall in the 2024 Draft by the Creamline Cool Smashers, Torres joined a team looking to create history — and she helped them do just that. The Badgers 2023/24 leader in digs (234) and digs per set (3.44) was part of the squad that captured their 10th PVL title, the most of any team in the league while winning all three conferences this season to complete a historic grand slam feat. 

Sauli Lianga – Uppsala Volleybollsällskap 

Fellow volleyball star Sauli Lianga is heading to Sweden to compete in the Elitserien, the top Swedish volleyball league, for Uppsala Volleybollsällskap. 

Lianga, who was named to the OUA West Rookie Team in 2019-20, finished last season third on the team in kills (112) and total attacks (293) helping the Badgers reach the OUA Bronze Medal Match, finishing one win shy of advancing to the national championships. 

Looking to avenge disappointment, Lianga brings his offensive weaponry to the Uppsala attack, as his new team looks to improve upon their quarterfinal defeat last season. 

Madeline Nicholson – Uppsala Hockey Club 

Madeline Nicholson is also heading to Uppsala, representing their hockey team that’s looking to win the Nationella Damhockeyligan championship and get promoted into Sweden’s First Division for the first time since 2005. 

Having played three seasons for the Badgers including her time on the 2022 McCaw Cup winning team, Nicholson understands what it takes to be a champion and is looking to bring that same championship mindset overseas.  

The Whitehorse native also brings leadership to a relatively young Uppsala team, having served as team captain of Yukon’s female hockey team at the 2018 Arctic Winter Games and 2019 Canada Winter Games. 

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Want more stories of Badgers stars of the past and present? Follow The Brock Press all year long as we highlight impressive performances by the Brock Badgers over the last six decades, in celebration of Brock University’s 60th anniversary. 

Charli XCX and Troye Sivan bring the heat on “The Sweat Tour” 

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The co-headlining tour is an ambitious demonstration of two pop stars in their prime. 

On April 17, 2024, pop artists Troye Sivan and Charli XCX announced a joint North American tour titled “The Sweat Tour,” or simply “Sweat,” beginning on Sept. 14 in Detroit, Michigan and ending on Oct. 23 in Seattle, Washington. 

“Sweat” is the first tour of shows held entirely in arenas for both artists. For Charli, the tour is a stark departure from her previous shows, which were often hosted in smaller, more intimate venues. However, these smaller settings often worked in favour of her experimental dance pop sound and loyal fanbase, making an arena tour a display of ambition as well as a testament to the success she’s been seeing since the summer.. 

The tour is in support of both artists’ most recent albums, Sivan’s latest LP being Something to Give Each Other and Charli’s the summer-hit BRAT. Prior to the first show, fans of both artists speculated how the show would be arranged, whether songs would be alternated or if both artists would perform a full set one after the other. The tour adopted the former strategy, where each singer performs two to three songs before switching. This strategy comes with the risk of being clunky and inefficient, but neither Charli nor Sivan missed a beat, keeping the show moving at a consistent pace without clutter. 

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Waiting around all afternoon for a close-up spot on the general admission floor is something only die-hard fans would do. There’s certainly a friendly awkwardness to how absurd it is, as I witnessed waiting eagerly for a spot at the barricade for the tour’s Toronto performance on Sept. 18. People are dressed up and talking amongst themselves, bonding over their shared love for the artists to pass the time. 

Upon entering the arena, the stage comes into full view. There’s a mainstage with various scaffolding and platforms towards the back, a white sheet draped in front of it. On either side of the stage there are raised platforms with large screens above them. A plexiglass catwalk extends from the mainstage to a square centre platform reading “SWEAT.” Beneath the catwalk sits another walkway with cages on either side. 

The growing anticipation among the audience as they file in is satisfied by the tour’s opening act Shygirl. Her songs are seamlessly mixed by a DJ, blending rap with house and grime music. She demonstrates a captivating vocal range between sultry, softer vocals and aggressive rap. 

As Troye exits the stage, a large green banner reading “brat” descends on all sides of the centre square. The lights flash before going dark, booting up again as the banner drops to Charli standing in the middle, beginning her first performance of the night. She invites Shygirl on stage once again to perform a remix of “365,” teasing the release of the “BRAT” remix album: “Brat and It’s Completely Different but Also Still Brat.” 

A driving factor behind the show’s consistent excitement is the different energies both artists bring to stage. Sivan’s music is upbeat but has a slower pace. His fluid movements and choreography with dancers are hypnotic to watch, evoking a sense of ease. 

Charli’s erratic energy matches the club aspect of her music. On this tour, she performs on stage without the company of backup dancers, dominating the stage with her lone presence. Her antics range from climbing on posts, banging and clawing at the cage and licking the stage. With the amount of times she demands the audience to “put their f***ing hands up,” you’re left feeling guilty for not giving her the entirety of your energy. 

The two perform their collaboration “1999” together in the tail end of the show, the last song before the encore act. Charli finishes off her solo performances with tributes to her older work, starting with the nearly six-minute “Track 10” from her 2017 mixtape Pop 2

The song plays an important role in her discography as the closing track to a mixtape that evolved both her own sound and presented the world with a vision of pop music’s future.  

The final track in her set pays tribute to another staple in her career from her collaboration with Icona Pop on “I Love It.” The nostalgic sound immediately transports audiences to summer in the early 2010s, the performance feeling like a triumphant full-circle moment in her career. 

Sivan’s set concludes with his 2023 hit “Rush,” an instant hit among the audience that has people pushing and jumping towards the barricade. The two finish the show with a collaborative remix of Charli’s track “Talk talk,” drawing out the audience’s energy one last time. 

“Sweat” feels like a victory lap for these two artists, both with long careers in music finally gaining well-deserved success in an arena tour. Their setlists pay tribute to their current successes and their roots. Having made it this far the sky’s the limit for what their future shows will look like. It’s hard not to root for them, even if by the end of the show they leave you drenched head to toe in sweat. 

Brock Musical Theatre announces “Grease” for the 2024/25 season 

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The longstanding club within the Brock community returns to the stage for the 2024/25 season with a beloved classic. 

Brock Musical Theatre (BMT) has been in operation since 2005, playing a vital role in community theatre in and around Brock. An annual musical is a tradition with the theatre, with their most recent shows being Carrie: The Musical in spring 2024 and Cabaret in 2023. 

The club’s executive members Cameron Playter, Zoe Hunnerson, Brooke Lavery, Kashvi Sharma, Emma Clarke and Emily Moore met in the early summer of this year to discuss the selection of this year’s annual musical. 

On selecting the show, the executives decided to aim for a “happy, well-liked show,” noting how the productions in the previous two years, Carrie: The Musical and Cabaret, dealt with more serious subject matter. This caused them to choose Grease from an array of ten possible shows. 

Grease will be wildly different to last year’s production of Carrie, as this will be a more fun-filled, happy show,” said Moore, BMT’s academic representative for the 2024/25 season. 

“Last year our production of Carrie had our audiences positively stunned due to the heavy subject matter of the content in the production, whereas this year with our production of Grease, our Executive and Creative team members aim to provide the audience with a fun and lighthearted night out where they can enjoy a familiar story,” said Playter, BMT’s president for the current season. 

The executives hope that by choosing a well-known movie musical, people will be introduced to musical theatre through a show they recognize. 

Grease is important to us as executives, as we know it caters to various ages and can attract a wide audience. It is a classic however; people attending Brock University now still know it and love it as a movie. A movie musical like Grease is a great introduction for individuals who are not familiarized with musical theatre, hopefully sparking new interests for audience members.” 

This year’s production will also welcome the return of Bri Waters who will be directing the show. Waters was one of the founding members of BMT and returned to direct 2023’s Cabaret

Rehearsals are set to begin in early October and will occur twice a week: two to three hours on a weeknight and on Saturday from 10:00 a.m. to 4:00 p.m. As the pieces of the show begin to form a bigger picture throughout the school year, rehearsals will target different areas: 

“We typically have various types of rehearsals throughout the year, each dedicated to a certain performance area of the production BMT will put on. These rehearsals may be an opportunity to learn choreography, vocals to a song or blocking for a scene of the musical production. Once the content of the show has been learned, rehearsals will turn into run-throughs,” said Playter. 

Grease will be performed in March of 2025. BMT will host numerous events throughout the school year in preparation, including a movie night on Oct. 8, an open mic night at Mahtay Café & Lounge on Oct. 23 and a Paint a Playbill event in November. Attending these events are ways to show support for the club. 

While auditions may be wrapping up in late September, students will have opportunities to get involved as stage crew further into the school year as the show comes together. Members of this crew will be responsible for behind-the-scenes work such as set design and stage coordination. 

Further information about the show will be released throughout the school year on BMT’s social media, keeping students up to date on opportunities and production progress. Whether you’re a long-time lover of the movie, an avid musical theatre fan or a newcomer, Grease is a dazzling love story with something for everyone.  

Additional information about BMT can be found on the club’s Instagram page @brockmusicalt. The club can be contacted via email brockmusicaltea@gmail.com. 

“The Substance” aims straight for the jugular of beauty standards 

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4.5/5 stars 

Horror cinema hasn’t felt this urgent and impactful all year. 

For a genre that relies on the gory and grotesque, the beating heart inside body horror films is their examination of social and physiological aspects of the human condition. Underneath the buckets of fake blood and prosthetic guts, filmmaker Coralie Fargeat uses her latest film The Substance as a sledgehammer to shatter beauty standards around aging. It’s ferocious and brutal, with a commitment to leaving a mark on audiences. 

The film follows aging aerobics star Elisabeth Sparkle (Demi Moore) who is laid off by the network manager (Dennis Quaid) on her 50th birthday. Left distraught, Elisabeth is selected as a candidate for a black-market drug known simply as “The Substance.” A single injection begins the process of cellular division, creating a younger clone of the subject. This gives birth to Elisabeth’s younger self, whom she calls “Sue” (Margaret Qualley) and uses her to reclaim her position in the spotlight. 

Both versions alternate weeks spent awake, the inactive one staying in a coma-like state while the other roams about. The mysterious drug comes with a few conditions: neither version of the subject shall extend their seven-day period and the user must remember that both versions are not independent from the other.  

It’s impossible to review this film without talking about Moore’s performance. Taking on a role this ambitious requires courage and heart; her commitment to conveying Elisabeth’s spiralling dysphoria is apparent in every scene she’s in. It’s common for excellent horror performances to be snubbed by award shows — look no further than Toni Collette in Hereditary — but Moore’s bravery and acting here are worthy of acclaim beyond the genre. 

It would be a wildly missed opportunity to ignore the impressive prosthetics, makeup and practical effects used in this film as well. All things mentioned are used creatively in a grisly way that feels camp in their extremity but purposeful for the story’s intention, harkening back to over-the-top practical effects of ‘80s horror. 

The secret behind the film’s hypnotic rhythm lies in Fargeat’s direction. In most cases, the sequencing of a film is left to the rigour of the editor, though that feels absent here. Fargeat lets the camera linger on the various settings to construct an uncanny Los Angeles, and one that never quite leaves the realm of satire. The wide-angle lenses are used at uncomfortably close and far distances to heighten the unreal, dreamlike environments. 

Fargeat’s worldbuilding is comparable to that of David Cronenberg or David Lynch, abandoning logic to establish an uneasy setting. There are various shots of long hallways in Elisabeth’s home and filming studio, often accompanied by faded and scratchy jazz music. 

Several long scenes are set in Elisabeth’s monochromatic white, windowless bathroom, intentionally meant to evoke discomfort and claustrophobia. The fluorescent lights and floor-to-ceiling tiles create the laboratory of her own torment. It’s never romanticized or subtle, and Moore’s devastating performance makes every ache strike home.  

The film cuts right to the meat of the story even with a lengthy runtime of over two hours, wasting no time evoking a sense of peril from the drug’s side effects. Questions around how the drug will impact Elisabeth’s daily life are quickly answered by the uncomfortable situations she soon ends up in. For instance, her younger self goes on a date on the final evening of her seven days, risking going over the time limit. 

Aside from the ample amounts of mutilation and body horror throughout the film, there are also numerous striking scenes that emphasize Elisabeth’s sadness from Moore’s acting alone. The benefits of her younger self building a life quickly become additional factors in her shame leading her to treat both bodies as separate from the same consciousness. Her psychological conflict is an unsubtle but intentional representation of the ways we alter our bodies, which begs the question: To what extent are we changing for ourselves and changing for the other? Where is the line drawn? 

Thankfully, there is an abundance of absurdist comedy throughout the film to ease the break-neck pace of the violence. It’s the brand of comedy where you aren’t sure if laughter is appropriate, but the relentless insanity that ensues in the third act is an unspoken reminder to just go with it.  

It’s unfortunate to see recent horror films not garner much cinematic acclaim. Perhaps there is still a bias to the genre, with audiences still seeing it as kitschy, midnight cinema. Fargeat has taken the midnight formula and blown it up, aiming for the jugular with this film’s aggressive, confrontational approach to horror as a call for change.  

The shocking, brave filmmaking behind The Substance is a massive stride in dismantling Hollywood’s plastic veneer of beauty standards. It’s a bloodcurdling scream that demands to be heard. 

“Little Big Planet” communism is the solution to predatory game economies 

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Internal video game economies at the very least need regulation, and at the absolute best should seek to emulate the communistic economy of player- and developer-created content that the Little Big Planet video game series perfected. 

The Chinese government made headlines last year when it planned to ban loot boxes among other cheap tactics used by the gaming industry to garner money because it was effectively gambling — which it no doubt is.  

The Chinese Communist Party’s now-scrapped regulation of these predatory business tactics by game companies was a great idea because of the observable negative habits that loot box gambling at a young age instills in children.  

But a deeper issue needs addressing. Internal game economies typically have no competition, meaning supply and demand can be artificially created by the title owner through restrictive access ploys and major inflation on digital commodities. Oftentimes the psychological tricks to get money from players go hand-in-hand with the ability to manipulate an internal game economy in any way the game company wants.  

Before exploring these tactics in detail, let’s get some definitions down. 

A loot box is a digital commodity within a video game and is used in many major titles including the Call of Duty series, Fifa, Clash of Clans and many more. While different games have different avenues for unlocking loot boxes, the defining feature of them is that you pay — almost always with real money somewhere in the process — for a dice roll of some sort on whether you get certain exclusive digital items in a game out of a pool of items. There are also often different rarity ratings attached to loot-box items which determine the degree of the item’s desirability and the likelihood of obtaining it.  

Most of the time these loot box items are simply cosmetic, being things like skins, gamertag calling cards, gun charms and so on. What can be especially frustrating for players, however, is when loot boxes include game-changing items in a competitive multiplayer game, as it gives an advantage to players willing to burn more cash which the gaming community colloquially calls “pay-to-win.”  

For example, backlash against the loot-box items that gave an advantage to players who obtained them in the Call of Duty series caused Activision in 2019 to make all items that have an impact on game balance in that year’s release, Call of Duty: Modern Warfare, only earnable through gameplay. This meant that for the first time in five years, the game no longer had pay-to-win mechanics behind its loot box system.  

While good for the sake of fairness, just removing pay-to-win loot-box items doesn’t solve the predatory nature of these lucrative tactics. Purely cosmetic items in games still often enrich a player’s sense of identity and status, especially the latter when it comes to owning rarer items. Therefore, pay-to-win items or not, the presence of loot boxes pull gamers into a scheme where they spend excessive amounts of real money to eventually land the item they want or one that is seen as rare.  

And with a burgeoning literature showing that loot box use at a young age predicts gambling issues later in life, the practice should be banned for both gameplay-changing items and cosmetic items alike.  

This would be in the purview of government legislation which would have to stipulate something like: Because of the detrimental effects of gambling — especially on children — on top of the ease of market manipulation (because in-game economies have no competitors, as I mentioned earlier) and psychometric ploys to induce FOMO and get more in-game buys on digital items (Fortnite being a major perpetrator of both of these practices), loot boxes should be banned and price controls set on certain inflated items.  

One way governments could implement price controls on in-game commodities is by categorizing similar classes of in-game commodities across a spectrum of games, say weapon skins, and setting a price on that class of items at the lower end of what companies are charging for them.  

One might object that companies have different expenses for making weapon skins and therefore setting a price floor would mean some companies with higher labour costs choose not to make weapon skins anymore. And while this is a possibility, major game companies underpaying developers is an endemic issue in the industry which immediately makes this worry somewhat dubious considering it’s the major companies that often have the most predatory market manipulation tactics with their in-game products.  

Furthermore, many games today make most of their revenue through in-game purchases which can keep them maintained for years after release, often meaning they’re just cash cows being milked to complete atrophy. Floating on in-game purchase revenues can lead to minimal maintenance to the base game and little pressure to create anything new, which is the story behind why Grand Theft Auto Online is still getting new content 10 years later, much to the rightful dismay of some fans.  

However, while major game companies, or smaller ones with aspirations to become corporate giants, are going to need regulation to keep their predatory practices for in-game purchases curbed, there have been game companies that employed low-cost or virtually free exchanges of novel player- and developer-created items.  

My favourite example of this comes from the much-beloved PlayStation-exclusive Little Big Planet series developed by Media Molecule.  

The Little Big Planet games are 3D, from-the-side perspective platformer games set in dreamlike worlds with an overarching antiquarian, arts-and-crafts-y theme. In the main stories for the games, the iconic player-controlled Sackboy, who is a cartoon-proportioned little humanoid puppet made of stitching material, navigates a typical hero plot with a main bad guy waiting at the end of the game. Interestingly, players could earn the materials and items used in the main-story levels by capturing them in bubbles which are sometimes hidden but usually out in the open as a reward for progressing through the game. Once procured through the story, players could then go to their “moon” in the game’s quasi menu called “the pod” and create their own levels using these bubble objects, be they materials, mechanisms, stickers or other items.  

Players could either create a level and publish it for other players to play or spend time in their moon with their friends and mess around with the items they had obtained in a blank-slate level of their own.  

From this, the series developed a rich community of player level-creators, so much so that Media Molecule would give a special stamp to especially high-quality published levels. And this online portion of the game was free besides obviously purchasing the base game.  

But what made the non-commoditized aspect of the series even more unique and in stark contrast to the now highly prevalent predatory practices in the industry today best represented by loot boxes, is that player-created items and levels were exchangeable so long as the object creator put it into an earnable bubble in their published level somewhere. 

This function created a phenomenon of levels being published by players purely as giveaways for the objects they created, especially intricately engineered items like mechs, nuclear bombs, suspension cars, clever useless machines — or just about anything else a person could think up. These levels were created by players who wanted to share their inventions with other players to enjoy on their own moon or potentially use when creating their own levels. 

And again, this entire dynamic had no monetization barriers at all. The online component of these games was roughly founded on the principle of “from each according to their ability, to each according to their needs.”  

While the LBP games had some relatively cheap in-game microtransactions for copyrighted skins from collaborations with other media franchises, there was never a change to the free aspect of online play. Across the series’ three titles, once you purchased the base game, you had access to an online community free of commoditization and founded on mutual aid along with the pure want to share one’s original inventions.  

Some games, like the wildly popular first-person shooter CS:GO, will source player-created content, but often to be sold in their in-game store where they take a cut. And while this system does remunerate the labour of the creator, a price tag bars people who can’t afford to spend money on these items from experiencing these original creations.  

Now consider again those game companies that use loot box mechanics and other psychologically manipulative tactics due to their ability to manipulate both market supply and demand with their in-game economies. If the main perpetrators of those practices instead took a hint from the Little Big Planet model, gaming could not only be less harmful to people’s minds and wallets in the aggregate but could also instill basic social virtues in an overwhelmingly young and therefore impressionable demographic. Virtues, mind you, that everyone sane agrees are important; namely, sharing, invention for the sake of itself and expression free of class distinction. 

“Astro Bot” review: An astronomical triumph 

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Score: 5/5 stars 

I almost exclusively play Nintendo games, which makes it incredibly surprising that the PS5-exclusive Astro Bot has become one of my favourite games of all time. 

Over the last few console generations, the PlayStation brand has become known for its suite of hyper-realistic games that often place a heavy focus on storytelling. It’s largely for this reason that AAA PlayStation releases have slowed down; these games take a long time to develop, meaning it’s difficult to release more than one or two per year. 

Enter Astro Bot, a whimsical 3D platformer that breaks the conventions of what PlayStation has become known for. Not only does it deviate from the typical PlayStation formula, but it’s exactly what the PS5 needs. 

Rather than prioritising long cutscenes or story beats like other major PlayStation exclusives, Astro Bot places its gameplay at the forefront. The game wastes no time throwing the player into the fun: within five minutes, you’ll find yourself soaring into the game’s first stage, a gorgeous series of mountain peaks above the clouds with a flock of flamingos flying right beside you. This moment sets the tone for the adventure: it’s going to be a thrill of a ride, and the game will make sure you enjoy every second of it. 

The gameplay in Astro Bot is similar to what you’d expect from a 3D Super Mario title à la Super Mario Galaxy or Super Mario Odyssey. With your help, the adorable Astro Bot must traverse intricately crafted stages while defeating enemies and finding collectibles on his way to rebuild his spaceship, a gigantic PlayStation 5 console (no, I’m not kidding) and defeat the giant alien who attacked his ship.  

The game has a simple and silly plot that doesn’t mean much while you’re actually playing through the game, and that’s okay. It’s not meant to be a deep narrative; it’s simply a thread meant to give purpose to Astro Bot’s adventure, and the game completely embraces this gameplay-first focus. 

The stages in Astro Bot are wonderfully designed and incredibly clever. During your adventure, you’ll encounter interesting locations that are even more unique than those of Super Mario titles.  

In one stage, you’ll work your way through a sky-high construction site, traversing cranes and bulldozing your way to the end of the stage. Another stage sees Astro Bot thrown into an oversized world where he must explore a gargantuan bedroom. Yet another brilliant stage throws the little robot into a huge casino where you jump on oversized falling poker chips to work your way up. The game is full of surprises and delights, and it never takes its foot off the gas for even a moment. 

While exploring the stages, you’ll want to search every nook and cranny for the collectible Hidden Bots. These lost bots are castaways that were thrown off the PS5 mothership during the alien attack, and it’s your job to bring them back home. There are several Hidden Bots across each stage, and many are hidden in wonderfully clever locations. Some of them will require a keen eye to find, but their hiding spots never feel unfair. 

Speaking of Hidden Bots, you’ll quickly notice that many of them are dressed up like various famous characters from across PlayStation history. While I didn’t personally catch most of the references due to my unfamiliarity with the console’s history, it was great to see all of these games referenced and tied together in such a fun way. With so many references to PlayStation across the entire game, Astro Bot feels like an homage to the brand and honours its history in a way that will delight longtime fans while remaining approachable to newcomers like me. In other words, being knowledgeable on PlayStation history will likely enhance your enjoyment of the game, but it’s certainly no requirement to have a blast playing it. 

It should go without saying, but as a first-party PS5 exclusive, the game looks and runs incredibly well. Its graphics and framerate are wonderful, and the loading time after dying on a stage is virtually non-existent — it throws you right back into the fun in no time.  

Especially cool usage of the PS5’s computational power is seen whenever the game loads in plenty of small objects that can be kicked around. In one stage, the game drops hundreds upon hundreds of apples on the player, and you can have fun kicking them around or running through them. The system tracks the location of each apple, so they stay wherever you kick them. Running around and playing with these objects doesn’t do anything to advance the story, but it’s an incredibly fun and satisfying use of the PS5’s raw power. 

Another excellent use of the PS5 hardware is through the controller, the DualSense. The DualSense dynamically responds to different situations, making various sounds and providing unique haptic feedback depending on the situation. The controller’s adaptive triggers are used creatively, providing resistance when pushing on the L2 or R2 buttons in situations where it makes sense. These might sound like inconsequential additions, but they go a long way in making this a game that truly honours PlayStation and places fun at the forefront. 

As aforementioned, Astro Bot clearly takes a lot of inspiration from Super Mario titles, especially Super Mario Galaxy and its sequel. Certain levels feel like they were torn straight out of a Mario game, such as the ones where you must roll around on a ball through a floating labyrinth, just like the levels from the Galaxy games with the exact same mechanic.  

This has caused a debate online as to whether Astro Bot went too far in its inspiration, but in this reviewer’s opinion, there’s nothing wrong with taking inspiration from other developers as long as you bring enough new content to the table. And this is something Astro Bot fully succeeds at. The game takes the best parts of Super Mario games and puts its own spin on them before presenting them in a deliciously fun package — and that’s not something to complain about. 

All in all, Astro Bot is nothing less than a triumph and it deserves to be considered amongst the greatest games of all time. Hopefully, this game will show Sony that not every game needs an enormous budget or 10 years of development time to be something special. Astro Bot isn’t just out of this world — it’s exactly what the PS5 needs. 

Astro Bot is available now exclusively on PlayStation 5. 

Inside Brock men’s soccer with Coach Balta 

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I had a chance to connect with Brock University men’s soccer coach, Aleks Balta, following the team’s recent string of losses to discuss the challenges, lessons and path forward for the team.  

The team has lost its last four games, making necessary advances to improve upcoming matches. Their next challenge is set for Sunday, Sept. 15, against Algoma University on Brock Alumni Field. So, how can they secure a win for their upcoming matches? 

In my conversation with Coach Balta, I gathered the answers that Badger soccer fans are eager to hear. Naturally, the pressing question is: What can our team do to succeed? I asked Balta if there was any growth or improvements he hopes to see from the team as the season progresses.  

 “Our ability to keep possession in tight areas as well as just be a little bit more dynamic and create more opportunities in the opponent’s half. The team has good cohesion; […] off the field we have that family environment, it is just about getting everyone on the same page because there are so many new players. Getting everyone to understand their roles and responsibilities is taking some time so as we progress week by week, we are hoping to see growth in the area of attacking specifically,” said Balta. 

Fans probably share concerns about the team’s performance, especially regarding their aggression with the ball, which might be contributing to the recent losses. I asked Balta which specific areas of the game he’d like to focus on and improve in the upcoming matches.  

 “Key moments, like we’ve lost two games in the 90th-plus minute stoppage time, which obviously those games could have gone the other way. Just being mentally strong in terms of not only the work; keeping a cool head in the sense [of] not panicking in the final moments, and just sticking to your roles and responsibilities and finishing out the full match, not 90 minutes out of 92 minutes,” said Balta. 

Mentality is a notable element in achieving victory in sports, and every player needs to cultivate the right mindset. I asked Balta what kind of mentality he would like to see the team fully embrace to improve their chances of winning. 

“Staying locked in on the entire game and playing 80 minutes well and not falling asleep for four minutes or whatever it is. In every game we have played, we had moments where we were very good, but we haven’t had a [whole] game where we played our best and we are locked in. It’s hard to do that over an entire game anyway,” said Balta. 

“Even if I look at that Western first game where we lost at home 2-1, there was a period in the second half where we kind of lost our energy and we were really on the back foot before we achieved the first goal. But it’s just keeping that [positive] mindset that throughout the game, we are not going to drop our level and mentality in terms of fighting. When I say fighting, I mean competing. We are going to compete and not let the other team dictate so much, so that’s important from a mentality mindset.” 

As we discussed the physical and mental aspects the team needs to address, it is important to explore Balta’s vision for the team’s future. I asked him to share what he envisions for the team’s playing style by the end of the season. 

“I think we progressed from last year in terms of the ability to keep the ball; we still need to get better there, and I think that will get better as the season goes on, so the ability to switch play and just maintain possession in tight areas when we get pressured. We work on little details to help get better at that, and I do see us getting better in training. It’s just that Rome wasn’t built in a day. I think we will be more effective in transition,” said Balta. 

Balta is focused on refining various aspects of the team’s performance. With critical matches ahead the focus remains on improving possession, mental resilience, and cohesive play. 

The team’s journey is one of growth and adaptation, and with Coach Balta’s strategic vision, Badger soccer fans have a reason to stay hopeful. The commitment to these improvements will be key to securingturning challenges into victories.  

Some of Brock’s greatest athletic achievements  

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Brock University has a storied tradition of athletic excellence with Badgers consistently achieving remarkable milestones since the university was founded 60 years ago. As we reflect on Brock’s impressive journeys, let’s dive into some highlights that have defined the Badgers’ success over the years.  

1972-1973 Men’s Rowing  

In the early 1970s, the Brock men’s rowing team marked a historic achievement by clinching their second Ontario University Athletics (OUA) Championship gold medal. Commanding the competition, the team secured gold medals in the Varsity Eight, Lightweight Varsity Eight, and Junior Varsity Eight categories at the OUA regatta. Their success extended beyond the OUA as they also excelled at prestigious events including the University of Toronto Regatta, Trent University Regatta, Brock Invitational and McMaster University Regatta. This remarkable season solidified the men’s rowing team’s place as one of the most successful cohorts in Brock University’s rowing history.  

1982-1983 Women’s Basketball  

Throughout the year, the women’s basketball team achieved a school record of 30-3 overall, marking the best season in Brock University history. This impressive performance not only set a new benchmark for the Ontario Women’s Collegiate Athletics (OWIAA) but also earned them a third-place finish at the Canadian Interuniversity Athletic Union (CIAU) championships. Their exceptional talent and success paved the way for the team to become the first women’s team from Brock to be inducted into the Hall of Fame.  

1984-1985 Women’s Fencing  

The women’s fencing team made history as the second Brock women’s team to secure a provincial title, claiming the OWIAA Championship. Their memorable season was highlighted by first-place finishes at four key events: the OWIAA West Sectional I, OWIAA West Sectional II, Royal Military College (RMC) Invitational, and York Invitational. Their consistent excellence throughout the season underscored their dominant performance and confirmed their place as a force in the sport. 

1991-1992 Men’s Basketball  

The men’s basketball team enjoyed a stellar season marked by remarkable achievements. Their journey culminated in a triumphant sweep of the CIA Championship, following their impressive victory as OUA west division champions and ultimately securing the Wilson Cup. With an outstanding overall record of 31-8, the team also claimed victory in several notable tournaments, including the Brock Invitational, Laurier Tournament and Guelph Tournament. Their prowess on the court was highlighted by 14 consecutive wins and a record-setting 285 points from just three-pointers alone. 

2001-2002 Women’s Wrestling  

The women’s wrestling team achieved remarkable success during their time at Brock University, firmly establishing themselves as an outstanding program. In the 2001-2002 season, they claimed the title of the OUA champions and followed this achievement with a championship win at Canadian Interuniversity Sport (CIS). Their exceptional performance earned their coaches, Richard DesChatalets and Mart Calder, the award of CIS Coach of the Year for the same period. Notably, this team also became the first women’s team at Brock to secure a national championship, marking a historic milestone for the university.  

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As we look back on these incredible achievements, it’s clear that Brock University’s athletic legacy is a memory filled with moments of dedication and talent. Many more groundbreaking victories contribute to the rich history of the Badgers. These highlights serve not only to celebrate past successes but also to inspire future generations of athletes to strive for excellence. 

In honouring these milestones, we are reminded that the spirit of Brock’s athletic tradition is growing and fueled by a passion for its outstanding student-athletes. These champions’ legacies follow the continued pursuit of greatness that defines Brock University.  

Exercise enhances your mental health and well-being 

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For students starting to feel the weight of their courseload on their shoulders, regular exercise can be a complete game changer. 

As the school year ramps up and workloads become more intense, students often experience higher levels of stress and anxiety. Fortunately, there’s an effective way to manage these pressures. Incorporating physical activity into your routine can significantly enhance your mental well-being and help you navigate academic challenges with greater ease.  

Taking time to pause from your studies and decompress is essential in university life. Remember, your work will be at its best when you allow your mind to rest. Balancing physical activity with a packed schedule of assignments, lectures and seminars can feel challenging — especially with winter weather approaching. However, finding even just 20 minutes a day for exercise can bring a sense of tranquility to the constant rush of student life.  

The connection between exercise and mental health is straightforward. Physical activity releases feel- good chemicals in your brain, known as endorphins, which can help alleviate pain, reduce stress, boost your mood, and enhance your overall sense of well-being.  

One of the trickiest parts of adding exercise to your routine is finding an activity you genuinely enjoy, one that makes it easier to step back from the chaos of everyday life. To encourage fellow Badgers, I reached out to nursing student Tiana Barrett to share her experiences with exercise and its impact on her mental health.  

“As a nursing major, I have extremely long hours between classes, clinicals and all the additional homework and memorization that I must do, and it feels like every year there is more and more,” said Barrett. It’s important to recognize that constant mental effort can contribute to increased stress levels, which may affect both mental and emotional well-being, creating a cycle of pressure.  

 “There are so many different activities that I do to help myself de-stress and to reset my mind. The big one, and [a] super easy form of exercise that I use to help myself de-stress, is going for a walk. Especially in the evening, taking a break away from all the pent-up stress and energy in my room and on-campus helps me relax and is a nice refresh for my mind,” said Barrett. 

Simple activities like walking and meditation can help your brain release feel-good chemicals offering a chance to unwind.  

 “I find that it cleanses out a lot of my stress, and my feeling of being overwhelmed,” said Barrett. “Ever since I started my daily walks, I have really seen an improvement in how I feel. My mind feels much clearer, and I feel prepared to go back to whatever I was doing with a new outlook. I think that the exercise aspect of my walks helps my brain to slow down and not worry about whatever else I must do when I get back home and just focus on being present in the moment.” 

Well, Brock students, you heard it from a fellow Badger: exercise plays a fundamental part in uplifting your mental health. It helps you stay present, clear your mind, and reflect. Taking time for yourself is often under-practiced, but it’s needed for maintaining your best self and succeeding academically.  

Don’t take this opportunity for granted. Prioritize your well-being to excel in all aspects of your life, stay active, stay balanced and thrive.  

FKA twigs melts into sensation on “Eusexua” 

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FKA twigs’ first single since 2021 is an electrifying call to action, demanding listeners surrender to pure sensation.  

“Eusexua” is the first single from Tahliah Debrett Barnett’s — A.K.A. FKA Twigs — upcoming third studio album of the same name, set to release on Jan. 24, 2025. It will be the U.K. artist’s first full-length album since 2019’s MAGDALENE and her first release since 2021’s CAPRISONGS mixtape. 

The song was also performed with choreography prior to any announcement at the Valentino L’École show in Paris last October. 

The first half of the song emphasizes twigs’ airy vocals, placing them at the front of the mix over thumping drums and a jittery finger-plucked guitar sample that loops throughout the track. The dynamic contrast between the depth of the bass and the compressed plucking adds an agitated quality to the song, each beat a deepening crack in a dam waiting to burst. It expresses twigs’ need to break free from what could be holding her back, while also wanting to time that freedom correctly for the right moment. 

The production gradually progresses, evolving to strengthen her idea of what it feels like to be in a state of Eusexua, a term she coined to describe losing oneself to pure sensation. 

In an interview with Vogue magazine, twigs described Eusexua as a meditative state, “when everything moves out the way [and] everything in your mind is blank.” This state could be induced by being “out all night and losing seven hours to music” or “kissing for hours,” the commonality being total submission to sensation. 

The accompanying music video released alongside the single conveys this through its storyline. The video begins in an austere office, the employees dressed in uniform grey suits to match the environment. This speaks to the antithesis of Eusexua: losing yourself to something you hate, leaving you perpetually burnt out and overexerted. Soon after though, twigs and the employees get into formation and begin dancing, changing their attire to near nudity to represent a raw, instinctual state of mind. 

However, what she makes clear throughout the song is that Eusexua is not a singular feeling at all, but rather an all-encompassing state of being. This is addressed on the chorus with the line: “And if they ask you, say you feel it, but don’t call it love, Eusexua.” She identifies the sensation as highly introspective, something only the individual can recognize by trusting the moment. 

Despite the individual quality of the sensation, twigs ensures listeners that “[they] are not alone,” even if they feel so. Eusexua is a state all can achieve, as the music video demonstrates an entire office of people following twigs in this state. 

The song abandons the high-energy club production in the outro, dialling it back to focus on twigs’ intimate vocals. She introduces a theme recurring across her music: the act of loving so hard that it creates distance with her lover as a result. This time, however, she leaves listeners with the line, “I was on the edge of something greater than before, but nobody told me.” Although there is a permeated sense of longing in the song, twigs knows that greatness lies ahead and coos over the driving production, not wasting a single second. 

As a lead single, “Eusexua” could not be more fitting for its album. It’s sharp, sonically lush and shows listeners that twigs has a precise vision for the album’s execution, leaving enough room for mystery to occupy listeners until its release. She’s at the top of her game and knows exactly where to go from here. 

“Beetlejuice Beetlejuice” is an entertaining nostalgia trip with a few bumps in the road 

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Score: 3/5 

 While the beloved classic’s sequel may be entertaining, nostalgia cannot save it from a plot whose convolution masks its hollowness. 

Surely a Beetlejuice sequel was not on most people’s bingo cards this year. The idea of it sounds like a cash-grab, and while the film frequently relies on nostalgia to put people in seats, there is a beating heart to Beetlejuice Beetlejuice that makes for a perfectly entertaining time at the cinema. 

The film comes as a return to form for Tim Burton. After missing the mark with his recent films, there is a clearer spirit to this one. The opening overhead shot of Winter River is an obvious callback to the original, but in this instance, it feels full of confidence from a well-established cinematic auteur. Whether it’s the recognizable Danny Elfman score or the campy mood, you immediately know you’re watching a Tim Burton movie, which is something his most recent films have lacked.  

Michael Keaton plays Beetlejuice effortlessly as though the original were a recent film. He transforms himself into the character naturally. The subtle nods made to the original movie are welcomed, and he incorporates new jokes into the character seamlessly. 

Another standout comes from Catherine O’Hara as Delia Deetz, whose comedic timing and delivery evoke laughter in every scene she’s in. She delivers punchlines with ease, appearing as comfortable with the character as she was in the original.  

Unfortunately, even with the dedicated performances, the film is held back by its convoluted storylines and lack of stakes.  

The film’s first act introduces several conflicts to be resolved, tracing back to Lydia’s tumultuous relationship with her estranged daughter, Astride. The constant addition of new plotlines creates a barrier between the audience and the film, making it hard for viewers to feel out where the story wants to go. The entire first act feels like window shopping, looking down rabbit holes and wondering which one will be chosen. 

Willem Dafoe, despite being a charismatic delight to watch, is wasted as an otherwise promising new character. He is introduced dramatically, set up to be a pivotal figure in the plot, but aside from a handful of gags, he leaves no impact. 

The greatest filler here is the revenge plotline of Beetlejuice’s ex-wife, played by Monica Belucci. Her presence is captivating and immediately felt onscreen. The potential her character has to impact the story’s stakes would create a solid narrative, but she is left with little to no voice lines, only appearing intermittently throughout the film.  

Unfortunately, both wasted characters fall victim to deus ex machina. Their power and influence are dwarfed by convenient plot points that feel tacked on to move the main narrative forward, even if the film itself struggles to figure out what that is. 

Where Beetlejuice Beetlejuice thrives is its cast. Everyone gives it their all, but the unresolved plotlines are a glaring flaw. It’s a perfectly average horror comedy flick with a handful of nostalgia-oriented jokes all basking in the shadow of the original. 

The metamorphic journey of Magdalena Bay’s “Imaginal Disk”

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Score: 5/5 stars 

The pop duo’s sophomore is an ambitious, conceptual journey overflowing with substance that refines their vision of storytelling through music. 

Inside insect larvae lies structures known as imaginal discs, soft sacs that play a vital role in metamorphosis. During the pupal stage, the larval tissue breaks down, leaving space for the discs to expand and harden into the adult body. This process is entirely instinctual to insects, but to Matthew Lewin and Mica Tenenbaum of Magdalena Bay, undergoing metamorphosis as humans is a non-linear journey that requires more detours.  

Their sophomore Imaginal Disk feels colossal, seeming far longer than its 53-minute runtime. The lyrical and musical evolution throughout the album is comparable to a film narrative, packed to the brim with ideas. The duo’s sound evolves from their previous to feel less homogenous, experimenting with a wide range of instruments that make the listening experience diverse while keeping the story’s vision singular. 

The album opens quietly with “She Looked Like Me!,” sampling a computer starting up, a feature on-brand for Magdalena Bay’s description of their music as “synth pop straight from the simulation.” The track builds slowly with ample breathing room, introducing listeners to the narrator as she describes envisioning a better version of herself just out of reach. 

The second track, “Killing Time” addresses the beginning stages of change. The narrator talks about waiting for change to occur, gradually feeling time slip away as she “waits for the night to creep,” living purely for tomorrow. Trapped in this cycle, she feels her self-esteem slipping as time eats away at her day in and day out, watching the world around her advance. 

The narrator’s wishes are answered on “True Blue Interlude,” when she is presented with a new version of herself as an advertisement. This new self is unlocked through inserting the Imaginal Disk, which, much like with insects, will be the source of metamorphosis. The interlude assures the narrator that this new self is intrinsic to who she is. In this context, it is an external procedure provided to awaken this new self. 

The appealing nature of the Imaginal Disk is swiftly quenched by the next track, “Image.” The sinister tone contrasts the hopeful, angelic chords of the interlude, painting the scene of the narrator’s first stages of their transformation. She pleads to be made in the image of “the doctor,” a character integral to the album’s narrative as a parallel to the standards the narrator projects onto the world. 

Notwithstanding the societal implications of the character, there is something cataclysmic and godlike about them. They are looked at by the narrator as a saviour, someone who can provide judgment about what parts of her identity should be changed. Seeing her other, better self “through a two-way mirror” makes the narrator feel unrecognizable, only further detached from who she currently is. 

The glam-rock “Death and Romance” dials away from the synth-pop sound the duo is known for, with hammering piano chords and drums somewhat reminiscent of ‘70s prog-rock operas. The lyrics describe a situation with a former lover, one the narrator gave their all, likening it to life itself. She can “give and give until it’s all that [she] has,” even if it will inevitably end. 

The song transitions immediately into “Fear, Sex,” a glitchy track that depicts the narrator moments after the relationship has ended. She is left confused, represented by the disjointed production, envisioning a life where she dies alone. For this, she blames the world around her and her ex-lover. 

The relationship’s aftermath is examined closer on “Vampire in the Corner,” where the narrator finds herself yearning to rekindle her former love. They begin to reflect on where things went wrong, as one does, spiraling and fearing they gave too much love, a callback to the all or nothing approach on “Death and Romance.” Their lover takes the shape of a vampire who drains her of energy and love, but this comparison is dualized by her own admittance to sucking the energy out of them as she realizes her own errors. 

It isn’t until the album’s midpoint that the narrator finally realizes her desire to break free from her negative outlook on “Watching T.V.” In spoken word verses, the narrator pines for her bygone lover to “call [her] back someday”, emphasizing the broken state she’s found herself in. Facing self-error is a challenge for the narrator who constantly looks outside herself, be it poor self-image and comparison or relationship issues. By facing “the monsters inside [her],” she feels both pain and joy, reflected in the song’s melody that swings between emotions as she inches closer to improvement. 

The final moments of “Watching T.V.” transition seamlessly into “Tunnel Vision,” beginning with a sustained string tone that echoes the question: what now? The narrator likens their realization to turning car headlights on a dark road. She may not know where the road leads, but her newfound awareness brings them comfort, even as the song erupts into a drum-heavy, prog-rock conclusion.  

The energetic, upbeat tone of “That’s My Floor” is juxtaposed by its sinister lyrics, sung from the personification of the narrator’s sabotaging habits. Her attempts to quickly flee uncomfortable situations only cause her greater distress, comparable to “[taking] the elevator in a fire.” The instrumentation bounces carefree throughout the track, almost as if it’s trying to taunt the listener.  

The ultimate standout on the track list is “Cry for Me,” a boisterous, theatrical climax in Imaginal Disk’s narrative. In an interview with Vulture, Mica revealed that the song is sung from the villain’s perspective. The lyrics come off as ambiguous, oscillating between a villain seeking sympathy and the narrator seeking forgiveness. The duo brings nostalgic sonic elements that echo ABBA but deliver an entirely original result that fits within the album’s overall sound. The song sounds like a culminating point in Magdalena Bay’s sound, skillfully blending synths with live instruments. 

Unlike their debut album, Mercurial World, Imaginal Disk does not loop seamlessly between the final and opening track. This is intentional, as the final track The Ballad of Matt & Mica breaks the cycle of the narrator’s shortcomings. She no longer feels trapped in a loop of problematic thinking, and having broken free from her troubling habits, is ready to move forward; all versions of herself unified. The ending is left ambiguous: does the narrator truly move on? Or is the album meant to loop as a sign of never-ending change? Either could be true, but the finality of the closing track suggests the former as a more optimistic ending. 

There is not a moment that feels unwarranted on Imaginal Disk. Its narrative flows harmoniously between tracks, each one bountiful with musical and thematic depth. The songs are lush and even outside the narrative are catchy and complex with endless replay value. No idea is left behind; everything Imaginal Disk offers stays on the table from start to finish. It is meant to be replayed, reheard and rediscovered, as all extraordinary albums are.  

An overview of BUSU’s first advisory council meeting 

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As the fall semester begins, BUSU is working to raise awareness about the ways to get involved in the university through the union. 

On Sept. 10, BUSU held the first of three advisory council meetings of the school year. Students filled Isaac’s patio to receive a background on BUSU and their initiatives, discuss how the student union operates and learn about the committees they can join to amplify their voice in various sectors of the university. 

Their presentation began with an introduction from BUSU’s Vice-President of External Affairs, Mark Chrabalowski, explaining the technical side of BUSU’s involvement with the university and stating that their mission is to make student experiences at Brock as good as possible. 

He then explained the importance of joining clubs on campus, noting that they are a great way to find a community among your peers. 

The presentation continued into a list of the notable things BUSU adds to the student experience, namely the many events that happen during the school year, a health and dental benefits plan, the U-Pass for Niagara Regional transit and overall advocacy for the representation of all students in the university. 

Next was an overview of the student executive team and their roles at BUSU, hearing official introductions from BUSU’s President Anusha Pahuja, the Vice President of University Affairs Carleigh Charlton, the Vice President of External Affairs Mark Chrabalowski, and the Vice President of Student Services Shinaya Peris. 

Following this, BUSU’s General Manager Robert Hilson shared a few words about the importance of getting involved at your university and how the students’ union can be a vehicle to do so. 

The student executive team then recapped what they and their Board of Directors accomplished this summer, the highlights being updated club policies to streamline club funding and efforts put into sustainability initiatives. 

The next tasks for the Board of Directors are executive priority approval and BUSU 2023-2024 audit approval, the latter of which will be available online. 

Lastly, Carleigh Charlton took the floor to explain BUSU’s six committees that students can join: the President Advisory Committee, the Vice President of University Affairs Advisory Committee, the Vice President of External Affairs Advisory Committee, the Vice President of Student Services Advisory Committee, the Clubs Advisory Committee and the Elections and Referendum Committee. 

All committees centre around helping the BUSU executives achieve the goals they set out for the school year, while also providing them with feedback and being a voice for students on the matters at hand. 

The President Advisory Committee focuses on the “strategic direction” of BUSU. 

The Vice President of University Affairs Advisory Committee appeals to those who are interested in advocacy and student representation at the university.  

The Vice President of External Affairs Advisory Committee focuses on giving students a voice at municipal and provincial levels. 

The Vice President of Student Services Advisory Committee is concerned with hosting events and working with Brock’s clubs. 

The Clubs Advisory Committee deals with the funding and budgeting side of running clubs. 

The Elections and Referendum Committee helps to run February’s Board of Directors election.  

The next advisory council meeting will occur in December, with another following in March. 

If you have questions before then, more information about BUSU’s advisory council and their general goals and operations for the 2024-2025 school year can be found at www.brockbusu.ca 

NDP withdraws support from Liberal gov’t, ending supply-and-confidence agreement 

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On Sept. 4, Jagmeet Singh announced via X that the New Democratic Party (NDP) is prematurely withdrawing from their supply-and-confidence agreement with the Liberal government. 

The supply-and-confidence (SACA) agreement between the NDP and the Liberal government was instated in March 2022 and planned to last until June 2025. The agreement meant support from the NDP on the Liberal’s decisions on issues of budgeting, specifically “on budgetary policy, budget implementation bills, estimates and supply” and votes of confidence, according to a news release from Prime Minister Justin Trudeau.  

The agreement would not allow the NDP to move, nor vote for, any type of non-confidence motion against the Liberal government.  

In exchange for committing to the SACA, the Liberal government promised to prioritize tackling issues valued by the NDP. 

Although the NDP managed to pass several important laws through the leverage this deal gave them, like replacement worker legislation, 10 annual sick days for employees of federally regulated workplaces and the Sustainable Jobs Act, the cost of strategically supporting the Liberal government was not worth it to Singh. 

In his announcement, Singh said Justin Trudeau will “always cave to corporate greed,” calling the Liberal party “too weak, too selfish and too beholden to corporate interests to fight for people.” 

Singh finished his announcement by encouraging Canadians to choose “hope” in the next election and to support the NDP’s goals of restoring financial relief and improving healthcare for Canadians. 

The NDP’s withdrawal from supporting the Liberal government comes only a few days before Montreal’s byelection to replace the resigned Liberal MP David Lametti. With a record 91 candidates, there was a clear need for the NDP to establish themselves and make their issues with the Liberal party evident to voters. 

Several NDP priorities that were supposed to be fulfilled under the SACA are now up in the air with the rescinding of the agreement. These priorities include the national dental care program, which currently only covers 2.4 million Canadians but was intended to cover approximately nine million according to CBC News reports, and the creation of a national pharmacare program. 

Looking forward, the NDP’s lack of support for the Liberals places the government on unsteady footing. Since the Liberals hold a minority of seats in Parliament, 154 of 338, without the NDP’s vote of confidence they are more vulnerable to being subjected to an early election if they are faced with a non-confidence vote. 

Conservative party leader Pierre Poilievre is already planning to conduct a non-confidence motion against the Liberals as soon as possible, according to CBC News reports. His first chance to do so will be Wednesday, Sept. 25, when a vote on a Conservative motion is planned to occur. 

To maintain a vote of confidence, the Liberals would need MPs from opposing parties to vote in their support, thus an early election is not certain but now possible. 

A conversation with BUSU’s President and VPUA 

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As the new academic year begins at Brock University, it’s time to meet the student leaders who will be representing Brock students and advocating for their interests.  

The Press spoke with Anusha Pahuja, your all-new BUSU President; and Carleigh Charlton, the returning favourite Vice President of University Affairs (VPUA); to discuss their journey to student leadership, their priorities and what we can expect from them this year. 

A Journey to Leadership 

Sitting in BUSU’s office, Anusha, a fourth-year student with a BA now pursuing a bachelor’s in psychology, talks about her experiences doing advocacy work at Brock.  

“I was part of the Residence Action Council in my second year,” said Anusha. “I was advocating for resident students there, so very nice. I was trying to get some more townhomes in trying to speak to my students.” 

Anusha worked with BUSU for two years as a front desk coordinator, an advocacy coordinator and was an OUSA delegate for the spring 2024 general assembly. 

Over the last year, Anusha has served as the Smart Start Assistant and Brock Ambassador, as part of the student recruitment office. 

During her four years at Brock, Anusha has also had an opportunity to work with the Indian and Hindu Student Associations. 

“That’s been my journey, and all of those roles have allowed me to give back to students, to learn more about students, help them in any way possible and just advocate for them.” 

When asked about her hobbies, Anusha revealed she’s “the biggest dancing fan and I think the team has realized this.” Anusha also has a background in painting which she picked up from her mother who is “a very good artist.” 

Carleigh, a fourth-year political science major, has had a major hand in most of Brock’s student governance since their first year. Carleigh previously served on the BUSU Board of Directors (Vice-Chair), the Clubs Policy Committee and the University Senate Academic Review Special Committee.  

Carleigh was also a BUSU delegate at the previous 4 OUSA General Assemblies, a Gender and Sexual Violence Peer2Peer Support team member in the Brock HRE office and participates in Brock Model UN.  

“Hobbies are my hobby,” Carleigh said. “There’s a lot of knitting and painting that happens and then not. But in general, I really like to do puzzles, and I have a few puzzles around the office.”  

Carleigh also talked about watching Dungeons & Dragons streams such as Dimension 20 which takes up much of their free time and spending the remaining time with their pets.  

“I have a very giant golden retriever and a very little cat. I spend a lot of time just taking this giant dog to the park, which is nice because it gets me out of the house,” said Carleigh. 

Carleigh shared their motivation for returning as VPUA, expressing the importance of supporting students both academically and socially.  

“It’s where the two intersect in terms of: OK, we need to have a student voice talking about these policies and things, but then also we can help support students with those events where you get to meet a couple people, and not feel lonely and that really helps me on the other end of academics,” said Carleigh.  

A Vision for Change 

Both Anusha and Carleigh stated that they are focussed on making meaningful changes during their terms.  

Anusha emphasized the importance of setting clear priorities as a team and in collaboration with other student groups at Brock.  

Carleigh nodded in agreement, elaborating on the core values that guide their work with BUSU: transparency and communication. Carleigh highlights the importance of keeping students informed and involved in BUSU’s decision-making process.  

“I think that’s a hard part. A lot of times for students, there are decisions being made for you, but not necessarily with you. And those decisions affect students a ton,” said Carleigh. 

Many of their friends weren’t aware of some of the resources BUSU offers, while Carleigh was only privy because of their connection to BUSU. Maintaining those resources — such as the U-Pass, Health and Dental benefits, tax clinics, legal clinics, financial support, etc. — and raising awareness for what BUSU offers is a major part of Carleigh’s plan for this year.  

Projects which Anusha stated she wishes to continue and expand on include BUSU’s efforts to support students facing food insecurity. The Free Grab & Go breakfasts have been a key feature around Union Station which complements BUSU’s Food First program. These initiatives address the growing issue of food insecurity, which has significantly increased among post-secondary students in Canada since the pandemic.  

Carleigh highlighted the ongoing efforts toward completing the New Student Centre that BUSU has been working on. In the last referendum, 79.9 per cent of participating students voted in favour of the new building, allowing progress to continue steadily with completion expected by Fall 2027.  

Carleigh will also be sitting on the Niagara Transit Commission’s Public Advisory Committee to support the commission in providing an affordable, accessible, reliable, safe and convenient transit system for everyone in the region. 

Facing Challenges Head-On 

Brock University is currently facing a financial deficit of $37 million and that comes with a host of challenges for the student union to deal with.  

Active involvement in conversations with Brock’s Trustees and fostering discussions in the Senate is essential, Carleigh noted, to ensure that students’ voices are heard, and student needs are met. 

“I think those conversations budget-wise are going to be a challenge,” said Carleigh. 

The executives acknowledged the major challenges affecting students at Brock and across Canada, including affordability issues related to food insecurity, housing scarcity and unfair rental practices. Carleigh highlights BUSU initiatives such as the legal clinic and the pop-up market, which offers “pay what you can” options for students. 

Mental health was also discussed to be a major concern with students and BUSU is working to make as many resources accessible to students as possible by working with Brock directly.  

Running a student union isn’t without its challenges. Anusha is candid about the pressure that comes with leading such a large and diverse student body.  

“You want to make sure you’re listening to all voices, not just the loudest ones,” Anusha said. 

Anusha and Carleigh both expressed the need to work as a team and anticipate challenges they’ll face throughout the year before they happen.  

Despite this year’s challenges, Anusha noted that strong communication within the executive team and direct connection to the student body are the keys to building a successful and effective student union.  

“Everybody’s working in a different portfolio. We want to see each other in the loop because that’s how we are going to succeed as a team. And I think just with students, we want to find more ways to connect with them.” 

What’s Different 

When asked about what will be done differently from last year, Anusha stated her commitment to keeping the team together, working together and finding ways to create a proactive environment so all individuals can shine.  

Carleigh expressed their desire to form a better work-life balance so their priorities can be met without the significant burnout that occurs near the end of the school year.  

The executives were also asked about ways they plan to avoid any controversies this year which have unfortunately become the status quo in years prior.  

“What has happened in the past has happened. We definitely don’t want to repeat anything, and nothing’s going to happen. But we’re going to try everything possible to avoid any of those situations coming up again — and again, transparency and communication are key,” said Anusha. 

Carleigh brought up that BUSU recently transitioned from electing executives to a hiring process last year. They suggested that James — the first BUSU president hired and subsequently fired — was an anomaly, not a pattern. 

“I also think it’s important to know, obviously the situation that happened last year is the first year of the hiring process, and so it was a very specific situation. But these are hard roles that require very specific values and skills and, in any job, literally anywhere, lots of people don’t make it,” said Carleigh. 

When asked whether there are any plans to increase the number of staff to what similarly-sized universities have to prevent worker burnout and unpaid overtime, the executives shared their perspective.  

“There are definitely conversations in terms of making sure that all the staff have a reasonable workload, so you don’t have people burn out and then [people] aren’t able to complete [their work] but I’m also just always impressed with the amount of things we get done… Just because the other schools need more people to do it, we don’t need to triple in size if we are succeeding,” said Carleigh. 

Anusha recognizes the risk of burnout and other mental stressors that come with these roles — the most important student jobs on campus, leaders of the second largest non-for-profit in Niagara — and she emphasizes the importance of a step-by-step process to deal with these problems through communication and empathy instead of letting them linger.  

Final Thoughts 

Both executives expressed their hope for progress and good governance this year. “I just want to let [the students] know that we’re here to help with your concerns. We’re not just sitting in our offices and taking salaries from your student dollars and not doing anything. We are doing a lot of work, and we will continue to do so as transparently as possible,” said Anusha. 

Carleigh expressed how she’s looking forward to answering your emails, questions and concerns.  

“At the end of the day, we’re students, we’re here for the goal to succeed academically, to do our bit, to do our studies. We want to have students focused on that, and also give them an experience that will help them as they graduate from Brock, and also let them know that BUSU and Brock are always going to be there with them. I think we just want to keep continuing to reiterate that,” said Anusha. 

Mark Chrabalowski, Vice President of External Affairs; and Shinaya Peiris, Vice President of Student Services; were unavailable during this interview. 

Ethel Cain’s cover of “For Sure” is beautifully intense and entirely original 

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Score: 5/5 

Turning the original three-minute track into almost 10 minutes of beautifully heavy ambience, Ethel Cain masterfully brings a completely new and mesmerizing soundscape to the Midwest emo classic “For Sure” by American Football. 

In late July, revered Midwest emo band American Football announced two new versions of their debut album American Football to be released on Oct. 18 for the album’s 25th anniversary.  

Alongside a 2024 remaster of their magnum opus, the band is releasing a collection of other artists’ covers of their songs, each remade with their own stylistic flares. 

Ethel Cain’s cover of “For Sure” came out on Sept. 5 as the second single from American Football (Covers). The track begins by setting the tone of the rest of the song. Synth notes come in one by one, overlapping to create a wholly enveloping atmosphere of sound.  

After taking 30 seconds for the sound to ease into full volume, the iconic deep string plucking progression, seemingly the only element aside from the lyrics that are used from the original song, slowly comes in. Each chord echoes on its own before the next is plucked, emphasizing the intense heaviness of the sound. 

The bass line repeats endlessly as the synth notes play lightly in the background. Close to the two-minute mark, Cain sets the scene of the track as the faint sound of birds chirping in the distance briefly enters the song, sounding like the faded remnants of a wistful memory. 

The lyrics begin after the first two minutes. Cain’s voice floats over the guitar as she slowly sings “June seems too late / delayed,” drawing her voice over each vowel and dominating the sound of the track. 

As the lyrics continue, Cain’s layered voice becomes more of an instrument in the track, almost indistinguishable from the synth but distinctly conveying the message behind the song’s heavy hum as she sorrowfully questions if her circumstances are “maybe for the better.” 

She beautifully communicates the speaker’s built-up angst toward the still vague situation they are in, longing for something unreachable yet bitterly aware that nothing can be done except accepting things as they are. 

Exactly halfway through the song, all the tension built up over the first five minutes breaks when Cain asks “whether this uncertainty is / for sure” and a surge of heavy guitar replaces the synth as the driving force of the track. 

The song basks in the heavy guitar for several minutes as Cain continues to sing the words “for sure” repeatedly while a hypnotizing steady drum beat plays in the background. The middle of the song has an intensity that gives the sound a physical body, making it heavy enough to weigh down the listeners’ shoulders. 

The song begins to wind down eight minutes in as Cain’s vocals reclaim dominance on the track and the heavy guitar dissipates into the background. 

As her voice begins to fade out, the intensity of the song goes with it. When the instrumentals get quiet and the tension fades, Cain masterfully ends the song with the original string-plucking progression it began with. 

Trading angst for suspense and simplicity for a deeply layered sound, Cain transforms American Football’s track into an entirely new listening experience. While the original song uses a lighter sound and mostly relies on the lyrics themselves to tell the story, Cain’s version forces the listener to feel the story. She builds suspense through the sound and breaks the tension with a gut punch of abrupt heaviness. The song envelops the space around the listener before Cain’s voice comes in to tell the story behind the intensity. 

Cain’s rendition of “For Sure” is nothing short of beautiful. She skillfully maintains the original song’s core elements while adding a transcendental quality that makes it uniquely hers. This track is better described as an experience rather than simply a song and fantastically pays tribute to 25 years of American Football

Don’t put your life in the hands of a rock ‘n’ roll band because they will throw it all away 

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The announcement of Live ’25, the Oasis reunion tour, has taken the world by storm. But will the iconic English rock band make it to the stage in September 2025? 

Brothers Liam and Noel Gallagher, members of Oasis, have announced their return to the stage following a 15-year split. But following a post on their Instagram page highlighting tour dates on Aug. 27, fans around the world have been speculating on whether they think the turbulent duo will make it through the year.  

Oasis was founded in Manchester, England in 1991 under their original band name The Rain. Younger brother Liam Gallagher (vocals and tambourine) formed a group around friends Paul Arthurs (guitar), Paul McGuigan (bass guitar) and Tony McCarroll (percussion) who were later joined by older brother Noel Gallagher (lead guitar and vocals).  

After being signed to the independent record label  Creation Records, the band recorded their debut album Definitely Maybe in 1994. The following year, Oasis went on to release their hit album (What’s the Story) Morning Glory? which included world-renowned singles “Wonderwall,” “Don’t Look Back in Anger” and “Champagne Supernova.” The band continued their ascension to all-star status when they released their third album Be Here Now, which quickly became the fastest-selling album in UK chart history.  

But in 2009, 12 years after the success of Be Here Now, Noel Gallagher announced that he would no longer be a part of the band minutes before Oasis was set to perform at the Rock en Seine festival in Paris. 

While it may have come as a shock to some Oasis fans, anyone who had seen the band perform at the iTunes Festival in July of the same year likely had a pretty clear idea of the band’s future. Clips of the Oasis set at the festival are still widely circulated and are often cited as being an example of the tension running rampant between the two Gallagher brothers. 

While the band managed to stay together for over nearly 20 years, the relationship between these famous siblings had been tumultuous from the very start.  

In April 1994, Liam and Noel spent the entirety of an interview with NME’s John Harris bickering over a variety of topics, one of which was how much they hated each other.  

In September 1994, Liam hit Noel over the head with his tambourine during a concert in LA before insulting him, resulting in Noel storming off the stage and briefly “quitting the band.”  

In the spring of 1995, Noel is said to have hit Liam over the head with a cricket bat after he invited a group of visitors into the studio.  

In May 2000, Liam questioned the paternity of Noel’s daughter which resulted in Noel leaving the band again. This time, he did not return for the rest of Oasis’ European tour.  

In October 2005, Noel told an interviewer that Liam was “frightened to death” of him, going on to say “I can read him and I can f**king play him like a slightly disused arcade game. I can make him make decisions that he thinks are his but they’re mine.” 

And finally in 2009, a few months before he officially left the band, Noel told Q magazine that his brother Liam “is the angriest man you’ll ever meet. He’s like a man with a fork in a world of soup.” 

Yet, somehow after all of this, the Gallagher brothers have come together once again to bring their iconic masterpiece, Oasis, back to stages in the UK. While we may never know exactly how they came to resolve their decades-old dispute, it isn’t improbable that Liam called Noel, something that Noel predicted he wouldn’t do in an interview before a gig in Seattle in June 2023.  

During the interview, Noel speaks to the camera as if he is speaking directly to his brother, saying “I f***king dare you to call me. I dare you to call me. And you won’t call me, because if you do call me I go, ‘Actually that’s a good idea. Actually, that might work.’ Then the ar*e falls out of his trousers because then you’ve got to be in the same room as me and we both know how that ends up.” 

It isn’t as though there isn’t love between the two men, with Liam confirming on X (formerly known as Twitter) that he saves a seat at every one of his shows for his brother Noel.  

While the demand for said tickets is predicted to ‘absolutely dwarf’ that seen for Taylor Swift, with all of the shows selling out almost immediately even after the band added multiple additional dates, fans around the world are already joking about the need for concert cancellation insurance for their tickets.  

Although Liam and Noel’s turmoil-filled history suggests that they might struggle to remain amicable with one another until next fall, the answer to the question of whether Oasis will make it on stage in September 2025 can only come with time.  

Wow, the Minecraft movie looks terrible

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On Sept. 4, Warner Bros. Pictures debuted the first trailer for the upcoming Minecraft movie, and it looks positively dreadful. 

The film, oddly titled A Minecraft Movie, has been in the works for a long time. It was first mentioned in 2014 by Markus “Notch” Persson, the original creator of Minecraft who eventually sold his indie studio (and the beloved game) to Microsoft for a whopping $2.5 billion

The idea to create a movie based on Minecraft was — from a creative perspective — a strange one. If you’re somehow unfamiliar with the game, it allows players to flex their creative muscles in an infinite procedurally generated world, where they must find resources to survive and eventually use those same resources to build any masterpiece they can possibly think of. It’s a game that encourages players to use their imagination and create their own path to thriving in the wild. 

The reality is that this movie never really had a chance of working out well. The game has no characters with personality traits and no real storyline, putting the movie adaptation at an immediate disadvantage. One might argue that the base player avatars Steve and Alex are the game’s main characters, but these are really just templates that the player can easily replace. Likewise, there’s no plot besides the endgame goal to defeat the Ender Dragon, which has no buildup or plot significance — it’s just a task to complete to roll the credits. 

And yet, despite already knowing that the movie had no chance of turning out well, I was still surprised at just how awful the first trailer looked. 

Let’s begin with the most obvious issue: the visuals. The naturally spawned creatures within the world, referred to by players as “mobs,” are incredibly creepy. Their proportions are similar to the blocky mobs from the original game, but the movie replaces the original art style with realistic textures, leaving mobs looking monstrous rather than endearing.  

The best example is the horrifying pink sheep shown near the start of the trailer. While the game’s original blocky art style makes the sheep’s proportions cohesive with its overall look, the movie’s version — complete with realistic fur, teeth and eyes — looks like a failed lab experiment begging to be put out of its misery.  

While there was a similar design choice made with the Pokémon creatures in 2019’s Detective Pikachu, that film worked a lot better for two reasons: first, the more believable proportions of the characters didn’t completely ruin their designs, and second, that movie intentionally leaned into the creepiness of its monsters, making it an intentional design decision, where the Minecraft movie feels like its designers just didn’t fully think it through. 

It’s going to be difficult to sit through 90 minutes of these scary monsters, especially when I hold their original designs so close to my heart. These are iconic designs, and it feels like the movie is spitting on them. It would have been much better if the movie were animated rather than live-action and stayed true to the game’s original look, much like the many wonderful fan animations that exist on the internet. In fact, one fan completely animated the movie’s trailer, and it looks infinitely better than the live-action slop we’re getting. 

It’s also incredibly unlikely that the movie will be visually revamped before its release like what happened with 2020’s Sonic the Hedgehog after its first trailer garnered a similarly negative reception. While re-animating Sonic was a lot of work for the team behind the movie, that was only one character.  

For the Minecraft movie to receive a visual “fix,” it would require its team to erase just about everything they’ve done across the movie’s world and basically start from scratch — after all, if they’re going to adjust the mobs, they’d have to adjust the complete environment for the sake of visual cohesion. Plus, that still wouldn’t fix the problem of having live-action characters within an animated world. 

It’s simply not going to happen. 

There are plenty of other problems with the trailer, such as the human characters. 

Notably, Jack Black’s performance as Steve is incredibly underwhelming, especially after he triumphed in his performance as Bowser in last year’s The Super Mario Bros. Movie. It’s likely no fault of Black himself: his introductory line is fairly cringe-inducing and has subsequently been meme-d all over the internet. Plus, he doesn’t look anything like Steve from the original game; it looks like they simply tossed Black a teal t-shirt and called it a day. 

The other characters aren’t much better, with similarly cringe-worthy lines (“ugh, this guy is such a tool bag”) and a feeling of being visually misplaced within the game’s world. Indeed, as many viewers have pointed out, it is glaringly obvious that the actors are just walking in front of a green screen. At no point does it really feel like they’re within the movie’s world; they always look out of place. 

In terms of plot, the movie is using the incredibly basic motif of “real-world people get sucked into video game world,” not unlike 2017’s Jumanji: Welcome to the Jungle, another movie starring Jack Black. It feels like the least creative route that the film could have taken. In my opinion, it would have been much more interesting to see a story that naturally takes place solely within the world of Minecraft, although this would still have been very hard to pull off given the original game’s lack of a dedicated plot. 

There are so many other questions presented by the trailer: Why is the light source coming from behind every single character even when they’re facing each other? Why did The Beatles allow their music to be used in this trailer? Why is the film titled A Minecraft Movie instead of Minecraft: Movie Edition? And, most importantly, how did the crew manage to find a way to make Jason Momoa not handsome? 

Given all my critiques, you might be wondering how I would’ve made this movie if I were given full creative control over it. The answer is simple: I wouldn’t have made the movie at all. 

Minecraft is a game about infinite freedom, creativity and player expression. There was never any possibility that it would translate well into a 90-minute film with dedicated characters and a structured storyline. The unfortunate reality was that the film was doomed from the start. It’s like trying to make a movie adaptation of a blank piece of paper: the original paper is a blank slate that encourages people to think creatively about what they might draw on it, but when a team creates a movie about it, they’re only sharing their interpretation of what they’d like to draw. Much like the Minecraft movie, these confines and restrictions defeat the purpose of the source material — the creativity it inspires in each person who encounters it — and it becomes frustrating for those who have grown attached to it. 

The Minecraft movie looks absolutely dreadful, and it’s a shame to see the beloved game’s IP misused in this way. It’s only a matter of time before we can see the entire movie when it releases on April 4, 2025, allowing us to finally experience the full discomfort and terror that the movie has to offer. 

They’ll have one Brock, on the blocks 

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The Lego Club has big plans for their second year, the biggest being further progress on a thirty-six-foot squared model of Brock University. 

The Lego Club at their Community Fair table; featured are Jaiden Dahlke (top left), Jarred Polege (top right), Luke Edmonds (bottom left) and Lucas Michlik (bottom right).

When last interviewed by the Press, Lucas Michlik and Jaiden Dahlke discussed their plans as first-time executives of a then brand-new club. Now, with a year of experience under their belt, the club is making headway on their Lego Brock Model, by far their most ambitious project yet. 

Michlik and Dahlke hosted their first club meeting on Friday, Sept. 13, but their work on the Brock Model continued throughout the summer as they worked tirelessly with “core” club member Luke Edmonds to design the iconic Schmon Tower, the surrounding Rankin Family Pavilion, the front of the Goodman School of Business and the bus loop.  

“It’s just crazy,” said Dahlke about Edmonds’ designing abilities. “He can look at the campus and… he immediately knows what Lego parts to use.” 

The model is micro-scale — meaning it’s built to a smaller scale than the traditional minifigure-scale you would see in most sets — and planned digitally on the Lego designer software Stud.io. Their most up-to-date design, the one you see overhead, consists of 5,046 meticulously planned Lego pieces which fill a three-foot squared space — but the plan is far from complete. 

Michlik estimates that the completed model will contain around 25,000 pieces, stretching six feet long and six feet wide. The Cairns complex itself could be two feet long. While they’ll be unable to work at the same pace they did over the summer, Michlik and Dahlke are hopeful they’ll be able to complete the design by the end of the school year. Actually building the model, however, could be imminent — at least building what they’ve already designed. 

The Lego Club executives hope to start building the Brock Model as soon as January, but their plans are heavily reliant on the financing they’re able to secure from BUSU: “I don’t know how much funding they have this year. Building the whole thing depends on how much funding they have and they’re willing to give us,” said Michlik. 

In their best-case scenario, Michlik says they might receive the full funding for the Brock Model — which they’ve estimated at around $10,000 — this year. 

“We got a decent amount of money last year and we presented in November,” said Micklik. “This year we’re presenting in September so we’re ahead of the game.” 

Their hope about funding comes from the interest he says they’ve received from both BUSU and the President’s office in making the Brock Model a permanent fixture of the university. 

“We would be happy giving it to Brock,” said Michlik. “I think it’s a cool project for a university campus.” 

However, funding and interest play an important part in determining what the final product will look like. “It’s hard to say because I don’t know how far we’re going to go with it,” said Michlik, especially as he and Dahlke are approaching the end of their degrees. 

BUSU’s response to their upcoming funding presentation will determine much of the Brock Model’s future: “If they’re really encouraged by this and they say let’s do the whole [campus], or let’s just do this and Mackenzie Chown and South Block, it really differs. They might say let’s do the residences as well; let’s do the whole parking lot.” 

Regardless, the Lego Club believes this is not only an exciting project for Brock and its students, but one that could light a spark in universities across the continent: 

“As a Lego club, I think doing something like this — and then especially donating it to Brock — is just so valuable, not only for the club and us ourselves but for the university.  

“I think it would be something most universities would probably get on if they saw our project, so I think getting that out there would be really cool and it makes Lego seem less like a toy and more like a creative outlet or even art,” said Michlik. 

And art it promises to be, whether it be a full model of the campus or just the central buildings they have at the moment: 

“You’re like, ‘wow, that’s Brock made out of Lego, that looks like Brock!’” said Michlik. 

The Brock University Lego Club has many plans and ideas for this year, especially after “[learning] how many people actually love Lego,” said Dahlke. This includes a trip to Toronto’s Bricks in the Six — an opportunity for students to see custom Lego creations closer to the scope of the Brock model — and a lot more building, not just the Brock Model but other Lego sets, big and small. 

A custom creation from last year’s Bricks in the Six.

“A lot of larger Lego sets are prohibitively expensive for a casual Lego [fan],” said Dahlke, referring to the larger kits which can cost hundreds of dollars. The club is a “good way” to “see these sets and be involved in building them.” 

The Brock Model is an exciting part of a club with exciting plans, and depending on how the next month goes, the Schmon Tower may be meeting its new baby brother in 2025. 

To stay updated about the Brock University Lego Club, students can follow their Instagram and ExperienceBU pages. Students interested in the upcoming Bricks in the Six trip are encouraged to fill out this Google Form. 

Ronaldo becomes first player to reach 900 goals: A timeline of the legend’s goal scoring career 

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Love him or hate him, Cristiano Ronaldo’s 900 and counting career goals is an accomplishment that fans and foes alike should cherish, as the 39-year-old becomes the first player in history to reach the 900-goal plateau in competitive matches. 

It’s perfectly fitting that when Ronaldo scored his 900th career goal, he was sporting a Portuguese uniform in Lisbon, the Portuguese capital, the city in which he began his illustrious career. 

Since his Sporting Lisbon days in the early 2000s, CR7 — as fans commonly call him — has scored goals in all corners of the globe, representing some of the top international clubs at the world’s most prestigious soccer events. 

While Ronaldo’s glory days are behind him, now playing in the Saudi Pro League, a player of his magnitude both on and off the pitch only comes around every few generations, so let’s celebrate the player that he is, Mr. 900-plus goals. 

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As a teenager, expectations were high. 

Leaving Madeira at age 11, the Portuguese island where he grew up, Ronaldo ventured for a life of opportunity after growing up in poverty. He wanted to follow his passion to become one of the greatest footballers, which he is today. 

Ronaldo joined Sporting Lisbon in 1997, playing for their youth clubs before making his professional debut off the bench on Aug. 14, 2002. In his first full match on Oct. 7, 2002, playing the entire 90 minutes, Ronaldo scored a pair of goals to kickstart his tumultuous goal scoring run which has exceeded two decades long. 

The Sporting Lisbon phenom ended up scoring a trio of goals in 25 appearances that season, but more importantly for Ronaldo, gazed into the eyes of the world looking to add soccer’s brightest star to their roster. 

After a record transfer to Manchester United as a teenager and becoming the first Portuguese player to play for the historic club, Old Trafford — the home of the Red Devils — was where Ronaldo’s career excelled, reaching new heights at a very young age. 

At age 18 on Nov. 1, 2003, Ronaldo scored his first of 103 career Premier League goals, which was also his first goal in a United uniform. He ended up scoring six goals in his first season in England, none bigger than scoring the first goal in Manchester United’s 3-0 victory over Millwall to win the 2004 FA Cup for his first professional trophy — the first of many throughout his career. 

Ronaldo continued to earn trophies throughout his career, finding his offensive breakthrough during the 2006-07 season. 

Following a rather quiet second and third season when compared to his standards, the Portuguese striker scored 23 goals across all competitions during the 2006-07 season, leading the Red Devils to their first Premier League title since 2003. 

Individually, Ronaldo won the Professional Footballers’ Association’s Player’s Player of the Year award, Fans’ Player of the Year award, Young Player of the Year award and the Football Writers’ Association’s Footballer of the Year award to become the first player to win all four major awards in the same season. 

Ronaldo outdid himself the following season scoring a league-leading 31 Premier League goals to win the Golden Boot as Manchester United repeated as Premier League Champions. In the UEFA Champions League, Ronaldo scored United’s only goal in their victory over Chelsea to be crowned Europe’s top team during the 2008 season. He went on to win his first of five Ballon d’Or trophies that season (2008, 2013, 2014, 2016 and 2017) and be named the 2008 FIFA World Player of the Year. 

In 2008-09, Manchester United won the Premier League title for the third consecutive season, following 18 league goals by Ronaldo who finished his initial United stint with 118 goals in 293 games across six different seasons. 

In the summer of 2009, Ronaldo was moved to Real Madrid for a then world record transfer fee of 80 million Euros, scoring half of his career goals while representing the Spanish giant. 

In his first season with Los Blancos, Ronaldo found the back of the net 33 times before elevating his game to an even higher level, scoring 53 goals in 54 games in 2010-11, leading Real Madrid to the La Liga and Copa del Rey titles. 

A year later, Ronaldo reached the 60-goal plateau for the first time in his career, kickstarting what was a remarkable run of scoring 60 or more goals in four straight seasons, accounting for an incredible 253 goals in a four-year span.  

Ronaldo netted 451 goals in 438 competitive games over his Real Madrid career, scoring 312 goals in La Liga, 105 in the Champions League, 22 in the Cope del Rey, six in the Club World Cup, four in the Spanish Super Cup and two in the UEFA Super Cup. 

In his nine-year Real Madrid career, Ronaldo went on to win four Champions League titles, three Club World Cups, three UEFA Super Cups, two La Liga titles, two Copas del Rey and two Spanish Super Cups. He also won the Ballon d’Or on four different occasions and was named as the UEFA Best Player in Europe three times. 

Following his glorious Real Madrid days, Ronaldo moved to Juventus for three seasons, where he buried 101 goals with the Italian club which included a Serie A title in 2019-20, winning the 2020 Supercoppa Italiana and the 2020-21 Coppa Italia. 

Ronaldo ended his European club career by returning to Manchester United in 2021 for a brief year and a half stint, scoring 27 goals in 54 games before moving to Al Nassr of the Saudi Pro League where he currently has 68 goals for the club. 

On the international level, Ronaldo has scored the most goals amongst men’s international goal scorers with 132 goals for Portugal. His 14-career UEFA European Championship goals rank first in the competition’s history as Ronaldo is the only player to score three or more goals in multiple tournaments. 

Ronaldo’s defining moment in a Portuguese kit came at the 2016 UEFA European Championship, scoring three goals in seven matches, guiding Portugal to their first major trophy in their history after defeating hosts France, 1-0. 

Now at 900 (and counting) career goals, the only thing left to knock off his soccer bucket list is to become a World Cup champion, and he will have an opportunity to write a storybook ending to a marvelous career when the 2026 FIFA World Cup comes to North America. 

Students can opt out of BUSU’s Student Health Plan and save $350, but should they? 

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Brock students paying for university insurance should know what they’re getting: here’s an in-depth look at the Student Health Plan. 

For any student, having the security of a university insurance plan can be incredibly comforting. But do you know exactly what that entails? And what about students who pay for coverage but already have insurance through their parents? 

With the Sept. 30 opt-out deadline approaching, Brock students may be tempted to forgo this expense to save some money. While that might be the right decision for some, students should be informed about what it means to opt-out and what exactly they’re paying for if they decide not to. 

While Brock itself has a plethora of health services for both mental and physical ailments on campus, accessible for every student who pays the mandatory Health Services Fee — the price of which ranges from $7.40 to $32.77 according to the 2024 fees for both undergraduate and graduate students — these are not the extent of student health coverage. 

Beyond the care the university provides, there’s also off-campus services students get coverage for when they pay into BUSU’s Health and Dental Insurance plans through studentVIP, which costs a combined $343.30. 

Drug Coverage 

For the Student Health Plan’s drug coverage, Brock students can receive 50 to 100 per cent coverage depending on the drug and their provider, with the best coverage coming from Direct2U Prescriptions.  

Drugs included are brand-name and generic drugs “which legally require a prescription” — with coverage applying to both but only for the cost of the lowest-priced option — standard preventative vaccines, contraceptives, diabetic supplies like test strips and needles, Hepatitis C medications up to $1,500 in a lifetime and smoking cessation aids and remedies up to $300 in a lifetime. 

Drugs not covered under this plan are fertility drugs or treatments, Gardasil vaccines — for HPV prevention — anti-obesity drugs or products and erectile dysfunction drugs. 

Dental Coverage 

The BUSU dental insurance ranges from 15 to 80 per cent coverage and applies to various procedures.  

Covered at 80 per cent are complete oral examinations once every five years, limited and recall examinations once every 12 months, complete series periapical or panoramic radiographs once every five years, bitewing radiographs once every 12 months, one 15-minute dental polishing unit every 12 months, two 15-minute scaling units every 12 months, fillings, extractions including wisdom tooth extractions, and anesthesia when in conjunction with surgical services. The last listed service, “other dental coverage” including endodontics and periodontics, is only covered at 25 per cent. 

studentVIP strongly recommends that students get predeterminations from their dentists for extensive procedures to prevent unexpected costs, and any dental coverage required due to an accident is covered under accident coverage. 

Vision Coverage 

Brock students with vision impairments, not uncommon with the long hours of screentime inherent in students working at computers, can receive 80 per cent coverage through the BUSU Student Health Plan.  

This covers eye examinations up to $150 per 24-month period as well as frames, lenses and contact lenses up to $200 per 24-month period. 

Some specifics to this coverage are that frames, lenses and contact lenses must be purchased from a Canadian provider to be eligible, frames are only eligible if purchased in conjunction with prescription lenses, and that coverage excludes expenses incurred for non-corrective sunglasses and safety glasses. 

Laser eye surgery is not covered. 

Extended Health Coverage 

Here is the area that most students are likely unaware of yet has the most far-reaching implications and possibilities. Much of the Extended Health Coverage applies to practitioners, with 100 per cent coverage provided for the following services, so long as they don’t exceed the established limits. 

Services with chiropractors, podiatrists, chiropodists, osteopaths and speech therapists have a maximum of $50 per visit and $500 per benefit year (combined); services with registered massage therapists (RMT) and physiotherapists have a maximum of $50 per visit and $500 per benefit year (combined); services with naturopaths, acupuncturists and dieticians have a maximum of $50 per visit and $300 per benefit year (combined); and services with psychologists, psychotherapists, social workers and clinical counsellors have a maximum of $1,000 per benefit year.  

The only other specified rules on the studentVIP website are that a prescription is required for RMT services each new policy year, mental health practitioners must be registered according to the titles listed above and psychotherapists must be in good standing with the college in their province, registered with Medavie Blue Cross and be issued with a provider number. 

In addition to services, students can get 80 to 100 per cent coverage on other medical expenses like one pair of custom orthopedic shoes per benefit year, $200 for orthotic appliances per benefit year, $500 for medical equipment and supplies per benefit year, $300 for hearing aids per five benefit year period and $1,000 for ambulance transportation to the nearest treating hospital per plan year. The first three expenses on this list must have an accompanying prescription for a claim to be accepted. 

Travel Coverage 

Not to be confused as free airfare to your Spring Break vacation, the travel coverage included in BUSU’s Student Health Plan covers a variety of unexpected expenses one might experience while travelling, including emergency medical assistance, repatriation of mortal remains, trip cancellation, lost luggage, airfare in specific medical cases, psychological coverage abroad and more. This plan covers 365 days per trip up to $2,000,000. 

Travel coverage can be incredibly helpful when students are travelling abroad, or international students are travelling to and from their home countries, but injuries and illness incurred as a result of “reckless behaviour,” as studentVIP’s website explains, will not be covered.  

Accident Coverage 

BUSU’s accident coverage may be the most prescient for Brock students. While many of these other services have to be sought out, accidents arrive suddenly and without warning. studentVIP describes an accident as an “occurrence due to external, violent, sudden, fortuitous causes beyond the insured’s control, which must occur while the student is insured under this policy.” 

There are numerous levels of coverage that BUSU’s plan includes, ranging from maximums of $1,000 to $50,000, depending on the severity of the accident: covered in the threshold of $1,000 to $2,500 are seat belt indemnities, accidental dental expenses, funeral expenses and hospital indemnities; covered up to $5,000 are deaths via accidents, natural causes and suicide, bereavement expenses, brain death indemnities, cosmetic disfigurement indemnities, day-care indemnities, bereavement expenses and education indemnities; covered up to $10,000 are accident reimbursement expenses, home alterations and vehicle modification expenses; covered up to $15,000 are family transportation expenses, occupational training expenses and rehabilitation expenses; covered up to $20,000 are repatriation expenses; and covered up to $50,000 are deaths via accidents, brain death indemnities and cosmetic disfigurement indemnities. 

Most of these expenses will likely never be incurred by the majority of Brock students, but it is good to know what type of security net the BUSU Student Health Plan can provide you in worst-case scenarios. 

— 

Knowing what sort of coverage you have is incredibly important, both for the security net it provides and for the extensive external services you can have covered if you seek them out. If you’re paying the $350 to get covered, you should know how to get the most out of it.  

And if you’re already covered under a parent or someone else’s policy, it is absolutely worth comparing your prior coverage with the BUSU coverage. For one, it could lead you to keep the BUSU Student Plan should it be a better plan for you; alternatively, you could already be covered for everything examined here and more, thus making your payment into the Student Health Plan a waste of money. 

To see the Student Health Plan coverage in its original writing as well as health care providers who provide deals for students, see the studentVIP website. This is also the website where students can opt out of the Student Health Plan, make claims and more. 

Does AI have a place in novel writing? NaNoWriMo seems to think so 

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NaNoWriMo is facing serious criticism following comments calling the condemnation of AI usage “classist” and “ableist.” 

In the creative writing sphere, November is known to many as National Novel Writing Month thanks to the non-profit organization of the same name, typically shortened to the acronym NaNoWriMo. However, aspiring novelists will face a challenge even greater than writing 50,000 words in just 30 days: deciding whether or not to use a resource that has come under immense scrutiny over the last few years. 

The most recent controversy surrounding NaNoWriMo came when they posted a statement explaining that “to categorically condemn AI would be to ignore classist and ableist issues surrounding the use of the technology.” 

It continued by saying that the “financial ability to engage a human for feedback and review assumes a level of privilege that not all community members possess… [and that] some brains and ability levels require outside help or accommodations to achieve certain goals.” 

Responses were swift and critical: writers put NaNoWriMo on blast and several board members and sponsors stepped away from the organization. Cass Morris, a fantasy writer and editor and now ex-board member, told CBC that AI would demolish the integrity of the challenge and that “it’s very, very sad that they [NaNoWriMo] are lighting themselves on fire.” 

Silvia Moreno-Garcia, a past participant in the challenge and author of novels like Mexican Gothic and Gods of Jade and Shadow, posted her discontent in a series of threads on X: “It’s a ghoulish thing to see big corporations trying to suck the humanity, the journey, the personal experiences, out of everything. If you want the real benefits of NaNoWriMo, instead of destroying your soul, call a friend and make a writing day.” 

The arguments from creative writers against the company mainly revolve around the opinion that generative AI is a bane to creativity, quality and humanity as a whole.  

In a statement on his website, which also detailed his resignation from the NaNoWriMo board, Daniel José Older said: 

“It kills jobs and it kills plants and animals. Also, it makes cursed, soulless garbage. And it steals s*** (and I mean s*** affectionately here) without permission, s*** that people worked hard on and poured their heart and soul into, and repurposes that s*** into said cursed soulless garbage.” 

Older refers to the detrimental effects that artificial intelligence has on the environment as well as the serious issue of generative AI training models to generate or alter text via writing from authors who were never informed, thus stealing their intellectual and creative property. 

Critics say that NaNoWriMo made the ‘pro-social justice’ comments as a veil to justify their partnership with the AI-powered writing assistant Pro Writing Aid, an argument that is exemplified by Laura Elliot, who wrote on X that “disabled writers do not need the immoral theft machine to write because we lack the ability to be creative without plagiarism — encouraging AI is a slap in the face to all writers and this excuse is appallingly ableist,” using NaNoWriMo’s own phrasing against them. 

NaNoWriMo has since edited the post that garnered so much flack and released a note to the community clarifying their initial comments. In the note, the organization explains that they’d seen “vitriolic” debates on their social media channels about AI and “wanted to send a clear signal that NaNoWriMo spaces would not be used to bully or delegitimize other writers.” 

Here, NaNoWriMo alludes to their latest bout of criticism regarding one of the main moderators of NaNoWriMo’s Young Writer’s Program, whom it was revealed in 2023 had been grooming children for over a year without any intervention from the company. This, combined with another controversy regarding NaNoWriMo’s partnership with Inkitt, a company of known scammers, had many authors boycotting the organization long before their comments about generative AI. 

Despite trying to redeem themselves, NaNoWriMo’s recent comments have done little against the waves of criticism that continue to batter against their administration. 

This November, new and young writers looking to write 50,000 words will have to decide whether to do so through this organization, fraught with controversy, or to do as Moreno-Garcia suggests and simply “call a friend.” 

Toronto International Film Festival plans to expand with support from government funding 

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The Toronto International Film Festival (TIFF) aims to boost Canada’s involvement in the business side of filmmaking in addition to attracting excited audiences — and the Canadian government is lending a hand. 

TIFF kicked off on Sept. 5 as crowds in downtown Toronto anticipated the screenings of several new films from all over the world. Last May, TIFF’s Chief Executive Officer Cameron Bailey announced plans to host a “content market” during their festival by September 2026. 

According to their media release, TIFF’s content market will function as a space for creators to acquire or sell “screen-based projects, intellectual property, and immersive and innovative content across all platforms.” 

In support of the festival’s expansion initiatives, the Canadian government announced in 2024 that they plan to invest $23 million over three years into TIFF. 

Toronto’s tourism and entertainment economies are largely influenced by TIFF’s success according to the government’s federal budget report. At the core of TIFF’s expansion initiatives is the effort to show Canada’s significance to filmmaking and explore their potential to be a “North American hub” for international business trade in the entertainment industry, says Bailey. 

Bailey, in an interview with Deadline, claimed that investing in the content market and establishing it as “official” will draw in roughly 6,000 more delegates from the entertainment industry, bringing the usual 5,000 in attendance up to 12,000. 

Although the Canadian government pledged a significant amount of money to TIFF, their investment in the festival is not a regular occurrence. 

The federal government has not contributed a significant financial investment into TIFF since their project in 2010 to build the TIFF Lightbox: a stunning cinema and culture centre taking up the first five storeys in Toronto’s Festival Tower. Spread across the five floors, TIFF’s Lightbox has six theatres, two restaurants and several event spaces. 

TIFF’s Lightbox recently became a controversial project, with many people debating whether the money put into it was justified. 

TIFF’s expansion initiatives are also occurring only recently after experiencing the loss of their sponsor Bell Media in 2023 after 28 years of sponsorship. Bell Media was the face of TIFF’s Lightbox project but withdrew from the festival last year, deciding not to renew their contract. 

TIFF’s expansion plans have a heavy focus on film industry trades, probing the question of where the festival is sitting after its recent history of losses, though Bailey reassures that TIFF has enough support to fill the void left by Bell Media’s withdrawal from the festival. 

TIFF representatives remain hopeful looking towards their new initiatives and their plan to bring more film industry trades to Canada. 

“I think there is so much more we can do by providing bigger, more robust infrastructure, and more opportunities for people to meet,” Bailey told Deadline

TIFF is hosting its 49th year of film screenings this week from Sept. 5 to Sept. 15.  

Although TIFF’s initiatives are still in the planning stages, this year’s festival remains an anticipated event for filmmakers and film enthusiasts alike. 

NFL and Taylor Swift: The misogynists are right, but not for the reason they think

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Taylor Swift showed up in a recent NFL promo, and the internet is up in arms about it.  

For months, Taylor Swift has been criticized for the amount of televised screen time she is given when she attends NFL games to cheer for her Kansas City Chiefs tight end boyfriend Travis Kelce. While many people have pointed out that Swift likely dislikes having a camera pointed directly at her face just as much as everyone else, her appearance in a 30 second NFL promo clip has stirred more controversy.  

Within two seconds of the video beginning, Swift can be seen shouting her support from her luxury box. Five seconds later, watchers are shown a similar clip of Swift with Donna Kelce, Travis Kelce’s mother. While one mention of Swift might have been acceptable considering fans also get a glimpse of Dolly Parton wearing the famous Dallas Cowboys cheerleader uniform, Swift is then shown a third, fourth and fifth time throughout the promotional advertisement. In fact, Taylor Swift is shown more than any one NFL player (including her boyfriend).  

As was typical in the past, the internet was quick to hate on the pop star for simply taking up space somewhere people have decided she doesn’t belong. While it is absolutely telling that much of the anger directed at Swift’s presence has come from men, it isn’t untrue to say that Taylor Swift doesn’t belong in an NFL promo clip. At least, not more than once.  

Although it makes sense why the NFL decided to include the pop star in the promo, with ratings skyrocketing amongst women 12 to 49 after Swift and Kelce began dating at the beginning of last football season, other players’ families aren’t being advertised so frequently. While Brittany Mahomes, Patrick Mahomes’ wife, is not a world-famous pop star who is currently in the midst of one of the biggest tours of all time, it doesn’t change the fact that the NFL should be focusing on their players, not their players’ friends and family.  

The general argument amongst Swift’s supporters is that the pop star would have had no control over her inclusion in the promo, but this simply can’t be true. Taylor Swift is more than just a name, it’s a brand and a corporation, and there is absolutely no way Swift’s team would have allowed her to be included in said promo without their approval. While perhaps the singer herself didn’t make the final decision on her screen time, it would be naïve to think that the people connected to her didn’t.  

Personally, I don’t agree with all the hate Swift is getting over the promo because as the original poster and owner of the content, the NFL should be the ones bearing the brunt of the anger. They created the video, they posted it on their social media and knew what they were doing including Taylor Swift. It was a marketing tactic that benefited them way more than it did her: no one is going to see the singer for the first time in an NFL advertisement and suddenly become a fan. Swift, with a $1.3 billion net worth, is worth way more than any currently working NFL player so it comes as no surprise that the NFL wants to profit off her being a supportive partner to Travis Kelce.  

While Swift and her team almost certainly signed off on her inclusion in this controversial promotional advertisement, solely hating on Taylor Swift and not the male-dominated realm of the NFL seems like another example of misogyny at its finest.  

Editorial: NDP breaks with Liberal pact; what now?  

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The NDP’s exit from the supply-and-confidence deal with the Liberals gives them an opening to bring the party back to its social-democratic roots; whether they will or not is the question that could give the Conservatives the federal ticket in 2025.  

On Aug. 27, NDP leader Jagmeet Singh announced in a video that he’s “ripped up” the NDP-Liberal supply-and-confidence agreement that would have kept the Liberals in a minority government until the deal was set to expire in June 2025. Singh cited the Liberals’ partiality to corporations as the impetus for exiting the deal.  

The supply-and-confidence agreement (SACA), for all of its slow implementation on certain programs, did create real gains in terms of expanding dental care, implementing federally backed paid sick leave and banning scab labour — all policies that are thoroughly the result of the NDP side of the equation, no doubt. 

However, Singh is right that the Liberals have continued to show their mixed loyalty to corporate powers. And the longer the NDP stayed in the deal given Liberal shilling to corporations, the more the NDP left itself open to attacks from the Conservatives on hypocrisy claims.  

The recent federal action to force binding arbitration on striking rail workers of the two largest rail companies in the country, effectively forcing them to get off the picket lines and back to work, should have been enough on its own to push the NDP out of the SACA. To be fair, the forced arbitration on the strikers may well have been the final straw for the NDP leadership’s alliance with the Liberals as after Singh visited picket lines of striking rail workers in late August, he asserted the Liberal government’s decision crossed a line.  

The forced rail strike arbitration is just one among many other examples of Liberal class warfare that makes the NDP leaving the deal with the Liberals a shrewd decision.  

With all that said, leaving the SACA isn’t going to be a panacea for the NDP’s future vitality.  

While leaving SACA is a solid first step to repairing the NDP’s image, gaining more power in legislatures will require the party to provide a renovated vision of a Canada that is militantly protective of the working class through robust policy changes to the status quo of the last four decades.  

Ironically, Poilievre has become a kind of ugly rhetorical reflection of Singh in that they’re both overly reactive to the Liberals without providing concrete policy-driven visions — albeit the NDP is better on balance here — for how to create better lives for everyday Canadians.  

Returning to the labour strike, for example, neither Singh nor any NDP official channel suggested something that even a columnist in the centre-right Globe and Mail argued should be done to the oligopoly of Canadian rail companies in the wake of the strike to diminish rail employers’ power; namely, nationalize them.  

The lack of an overarching vision of the power in a social democratic approach to key political areas — the budget, railways, housing, etc. — has been a continual problem for the NDP since leadership shifted toward the centre after Jack Layton died in 2011.  

The NDP’s subsequent leader to Layton, Tom Mulcair, for example, was famously blasted by Trudeau in 2015 for needless austerity over wanting to balance the budget instead of continuing deficit spending. In his rebuttal to Mulcair, Trudeau correctly pointed out that deficit spending is what’s needed to stimulate the economy. To add insult to injury, Paul Martin, chief usherer of austerity-based fiscal policy in Canada, made the empirically borne-out observation that running a balanced budget or worse, a surplus budget, would be taking money and therefore jobs out of the economy in response to Mulcair’s statement. 

Singh, on the other hand, hasn’t made a misstep as big as Mulcair’s budget mishap. Still, when Singh signed off on the Liberals’ federal budget this year, he pointed out his approval of policies that help working-class people and marginalized groups, things like free access to birth control, school lunch programs and other specific welfare-adjacent policies — but that was it. While this reluctance to be more overarchingly standoffish on the Liberal’s fiscal policy may have been a product of the SACA agreement, the fact that Singh didn’t appeal to anything larger about the budget itself is concerning for a party with a lineage in the social-democratic tradition.  

Voters need to have a distinct sense of what an NDP-led government would do with the budget, such as the programs they would fund and new confiscatory taxation plans that could capture accumulated wealth at the highest end of the earner spectrum. Another key to this approach of concretized vision-building for the future of the country should be harkening back to how past social-democratic oriented budgets led to so many material benefits in the 20th century, with steeper progressive taxation brackets and government intervention essentially building the middle class.  

David Moscrop’s recent piece in The Walrus revealed that even insiders of the party today are aware of the lack of a positive vision from the party’s leadership, and recognize it as being a weakness that is still not being addressed.  

Equally poignant in Moscrop’s op-ed is his pointing out that the NDP hastily voted to remove references to socialism in its constitution in 2013. On the heels of the massively popular, grassroots Bernie Sanders campaigns wherein Sanders explicitly called himself a democratic socialist, it’s clear that the once taboo term is having a revival it hasn’t seen in decades. Therefore, New Democrats should embrace popular aspects of democratic socialism as many of the once heretical reactions against nationalization, free education or expanding worker autonomy and control of production through legislation are becoming attitudes of a bygone era.  

This doesn’t mean the NDP should simply appear more radical or socialist as a cynical ploy to get in slightly more social-democratic policies compared to the Liberals. If there’s anything more politically disastrous than the NDP’s lean into the “conscience of the Liberals” rhetoric in the last 10 or so years, it’s radicalism as a vague gesture with no substance.  

Trump may have shown that that kind of populist rhetoric with little substance works on the right, but the left and centre is a different constituency. Instead, like Sanders, NDP leadership needs to put down radical policy and have rhetoric that meets the inherent radically progressive nature of said policy.  

Sanders is once again instructive here. In Sanders’ proposal to make college free and pre-empting the tired “But how will you pay for it?” question, he outlined on his campaign website how a small tax levy on Wall Street exchanges could pay for the whole thing.  

Thus, when Singh calls out the Weston family or other major corporate beneficiaries of the recent greedflation, he should take a page out of the Sanders campaign and connect it to how increasing the top income tax bracket and increasing profit taxes on a Galon Weston would be how he could pay for dental care for all Canadians.  

Whether the party continues its reactive and middle-brow vision of fighting for the working class is largely going to be a function of whether party leadership wakes up and realizes that the symbolic significance of breaking with the Liberals provides a ripe opportunity to address how their rhetoric and programming is quickly becoming uninspiring and stale.  

Canadians are ready now for a new social-democratic — and even, mainly for younger Canadians — democratic-socialist vision of the country. And the NDP are more poised to deliver now than they have been in a long time. 

Highlights from a BUSU summer 

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BUSU met four times in the summer: here’s what they did. 

The new year at Brock has seen the return of the Brock University Student Union (BUSU). In fact, BUSU was working while much of the student populace enjoyed their summer vacations, meeting a total of four times over the summer. With their first meeting of the school year approaching, there’s no better time to look back at what BUSU was talking about in preparation for this school term. 

To make their meetings public, BUSU posts recordings of their meetings on a YouTube playlist attached to their main channel. As of now, the two uploaded videos have a combined 140 views. This article will go over the highlights from each, but the best way to know what’s going on is to see it for yourself, so take a look. 

Meeting #1: June 24, 2024 

The first BUSU meeting of the new term was called to order at 6:15 p.m. with 12 members in attendance. The BUSU Board of Directors quickly approved the agenda of the meeting and returning board members approved the minutes from the last meeting. With the introductions out of the way, they got into their first order of business: electing a Chair and a Vice-Chair. 

Four members put their names in the bid for Chair: Hinkal Patel, Charlie Martin, Brielle Kaminsky and Mohiz Imtiaz. Patel’s primary platform rested on her love of student involvement and her experience on the board last year, where she put forward two motions, the most notable being a re-working of the Remembrance Day plan.  

Martin cited his journey to becoming a lawyer as instilling in him “a deep respect for honesty and adherence to guidelines, principles that [he] believes are fundamental to effective governance.” He promised that if elected Chair, he would ensure that the board’s decisions “reflect the values of integrity, transparency and overall student welfare.” 

Kaminsky, a master’s student at Brock, discussed her experience with parliamentary procedure, including formal training and two years as the Board Chair of the International Council of Student Leaders (ICSL) for the Golden Key International Society; she also chaired a BUSU board meeting the year prior.  

Imtiaz discussed his experience with multi-national organizations like World Vision and the Ontario Young Liberals, as well as his passion for student advocacy and his desire to put BUSU in conversation with other student governments in Ontario. 

The poll resulted in a tie between Patel and Kaminsky, which was subsequently broken with a re-vote that saw Brielle Kaminsky elected as Board Chair. 

Next, candidates came forward with their bid for Vice-Chair. Mohiz Imtiaz, Hinkal Patel and Charlie Martin didn’t have much to add after their speeches for Chair, but new Board Member Irene Charley came forward with a year of experience on the BUSU Advisory Council (BUSU-AC, formerly known as BUSAC), experience as a club executive. 

The poll resulted in Charlie Martin being elected as Vice Chair. 

Due to connectivity issues on Kaminsky’s end, Martin was thrust into his role and took over to chair the meeting as it entered an in-camera session at 6:42 p.m. 

The Board moved out of camera at 7:44 p.m. and launched into a presentation from Kayleigh Rossetto, BUSU Director of Governance, Advocacy and Clubs on three Green Levy requests. The Green Levy is a student ancillary fee of $1.22 per credit on every undergraduate student, which comes out to “approximately $100,000 a year” and is “used to fund sustainability initiatives that BUSU does,” said Rossetto. 

The three requests were as follows: $23,500 for waste sorting at Isaac’s, $740.82 for plants and supplies for Isaac’s patio and $17,404 for eco SWAG. 

Board members seemed most concerned about the increased student labour costs of the waste sorting at Isaac’s, an estimated number of $14,000, up from the $11,730.10 spent in the 2023-24 school year. Rosetto explained that this increase was due to the increase in minimum wage. 

A subsequent question was centred on the eco SWAG fund, a startingly steep cost which Rossetto’s report writes “can be used to cover the difference between a cheap, low-quality item and a higher cost, eco item” made of sustainable resources “as per the Green Levy Memorandum of Understanding.”  

The breakdown was as such: $5,740 for BUSU Sweaters for Advisory Council and 2025 BOD Sweaters, $9,180 for Food First Totes for exam kits and food first events, $798 for lunch storage containers and $1,686 for drink tumblers. Each category also included “general BUSU promo and giveaways” following the descriptive items. 

Rossetto explained that the cheap SWAG from the past was incredibly poor quality and likely often ended up in garbage cans and landfill sites; she also explained that this eco SWAG has been in circulation in previous years and they’ve received “good feedback from students that have gotten them.” 

The Green Levy requests were put to the board and passed 8-0-1, thus concluding the first BUSU meeting of the new term. 

Special Meetings 

The BUSU Board of Directors met twice more before their next meeting, both “special meetings” that occurred entirely in-camera and thus were not recorded or uploaded. However, the minutes from both meetings are available on BUSU’s website, even if they are limited in their information. 

The first Special Meeting was held on July 15. Before going in-camera, the board approved the agenda of the upcoming meeting, 11-0-0, as well as the minutes from their first meeting with a vote of 10-0-1. They spoke in-camera from 6:06 p.m. until 8:00 p.m. and then adjourned the meeting. 

The second Special Meeting was held on July 22 and went much the same. The agenda and the previous meeting’s minutes were approved, both with a vote of 9-0-0, before the board went in-camera at 6:05 p.m. They moved out of camera at 7:08 p.m. before adjourning the meeting. 

Meeting #2: July 29, 2024 

The second board meeting featured much more of BUSU’s policies being discussed, wherein there were some important developments and discussions. 

After approving the current and prior meeting’s minutes, Rossetto went into a presentation on proposed changes to the Clubs Policy: her draft was essentially entirely reconfigured, but this was for the sake of readability and not due to vast changes to the policy. 

Notable alterations to Policy 500 included the addition of a new BUSU Clubs paid position, that of the Clubs Administrator, who assists the Clubs Manager and oversees most of the administrative work regarding clubs; the cleaning up and clarification of the disciplinary actions that can be taken against clubs if they violate the policy; and clarification on the new clubs election software implemented last year. 

A significant change was the establishment of a new policy document comprised of the clubs funding information from Policy 500, called Policy 501. The main focus of this document was the establishment of new guidelines for the Clubs Advisory Committee (CAC) when granting funding to Brock clubs. Last year saw a small crisis as clubs funding ran out in November, leaving many groups unable to receive any financial help from BUSU. This year, the board hopes to amend that mistake, thus the implementation of new guidelines which can be found in the recording of this meeting and the policy itself. 

To further alleviate BUSU’s financial limitations, Rossetto explained that clubs are encouraged to apply for their entire funding for both terms earlier in the year to avoid getting left in the dark. A policy change that reflects this encouragement is that the Clubs Manager would be able to approve or deny any request under $3,000, a number up from the $1,500 in the old policy. 

Rossetto also explained the new Clubs Code of Conduct and responded to Board Members’ concerns, namely her inclusion in the Clubs Advisory Committee, to which she responded that she’d been doing work with clubs for some time now. 

There was a brief mention of a referendum much further down the road regarding in increase to the clubs levy, but not at the moment. They’ve also considered a cap on student funding, which could be implemented in the future but for now is only speculation. When it came time to vote, the motion to update the policies was passed. 

The board then moved in-camera at 6:38 p.m. and didn’t move out of camera until 8:04 p.m. 

Next on the agenda was a seemingly simple request for the approval of a Business Continuity Proposal: essentially a business plan should a disaster strike, like an IT data breach. The proposal outlined that in the case of a crisis, decision-making powers shift to the General Manager, currently Robert Hilson. The reason for this was “continuity”; while the BUSU President and their contact information might change from year to year, general manager is a more set-in-stone position. 

Another facet of this proposal came up when Mohiz Imtiaz asked whether students would be consulted in a situation such as this, to which the answer was no because there would be no time in an emergency such as the one indicated in the proposal. This was enough for the board members, and the motion to approve the Business Continuity Proposal passed. 

The last two topics on the agenda were reports from General Manager Robert Hilson and President Anusha Pahuja. 

Hilson’s report touched on sustainability efforts, like the new light fixtures in the Student Alumni Centre reportedly saving BUSU $12,450 a year; the new voting system, which is reportedly saving BUSU $6,000 a year; an ongoing financial audit, the results of which should be available by this month; and BUSU’s advocation for Metrolinx to offer a bus to Hamilton after night classes in 2025-26. 

Pahuja’s report was focused on the efforts of the BUSU executive in preparation for the school year, which included the hiring of a new VPSS, the next steps for the new student centre and the finalizing of club policies. 

With those reports concluded, the meeting was adjourned at 8:31 p.m. 

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BUSU’s summer meetings discussed numerous relevant topics, including the allocation of student fees, upcoming initiatives and policy changes. These may not seem like the most exhilarating of conversations, but the devil is often in the details, and watching these meetings is an important part of keeping updated on what’s happening at Brock. Remember, this is your school and your student union. 

You should know what they’re talking about. 

Future BUSU Board of Directors meetings will be posted to the BUSU YouTube playlist mentioned above. 

Editorial: Gaza and the neoliberal university’s faux progressivism  

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Nothing exposes the fraudulent progressivism of the university today more than administrations’ reactions to the student protests that erupted across campuses several months ago. 

On April 17, students at Columbia University set up an encampment on their campus grounds demanding that their university disclose their investments and divest from any firms directly or indirectly related to funding Israel’s military.  

On April 30, I arrived at Columbia to document the encampment. In just 13 days, the Columbia student encampment became the ground zero of a widespread student-protest movement for Gaza across North America — with a strong showing on Canadian campuses as well. The encampment movement even spread to some campuses overseas.  

The night before I arrived in New York City, the Hamilton Hall building on Columbia’s campus — now dubbed “Hind’s Hall” by students in honour of the six-year-old Palestinian child Hind Rajab who was killed by Israeli forces — was overtaken by students causing a campus-wide shut down. The sieging of Hind’s Hall has since been lionized by a Macklemore song in its name. 

By the time I reached Columbia’s campus, checkpoints had been erected on all the main entrances to the campus allowing only essential staff and students into the campus grounds.  

I had planned to see the student encampment and interview encamped students, but my plans were thwarted as the campus perimeter was under heavy lock and key with the New York Police Department working in conjunction with a private security firm to keep all entrances to the campus interior tightly monitored.  

As I loitered on Amsterdam Avenue outside the campus’s main entrance checkpoint, which was adjacent to the recently sieged Hind’s Hall, I managed to speak to a visibly distressed employee of Columbia’s student newspaper, the Columbia Daily Spectator, whose coverage on the encampment and its ensuing student-administration conflict has been exceptional.  

I asked the editor what his thoughts were on the then-recently issued threats by Columbia’s administration that encamped students who failed to leave the campus grounds would be suspended: 

“It’s ridiculous. From what I’ve seen and where I’ve been, the encampment has been completely peaceful. They are students expressing their rights to protest as Columbia sort of built itself as [representing]. The threats of ‘you won’t be able to graduate,’ ‘you won’t be in good standing with the University,’ ‘you’ll be on disciplinary probation for a year’ is completely ridiculous,” said the Daily Spectator editor.  

The Spectator editor is correct to point out the hypocrisy of Columbia’s response to the encampment given their inclusion of famous campus protests in their historical timeline webpage.  

In fact, Hamilton Hall had been occupied by students during the protests against South African apartheid with the same — eventually successful — demands of divestment from financial support to the apartheid regime. In that case, the school’s administration didn’t call in any police to remove students during the three weeks it took to broker a peace deal with the occupying students.  

Hamilton Hall was also occupied during the 1968 protests which, again, is listed in favourable terms on Columbia’s website’s timeline page. The page mentions the administration’s caving to the demands of students upset at their tuition dollars supporting military agencies among other issues the administration ultimately capitulated to.  

By contrast, during these protests Hamilton Hall was cleared out not even 24 hours after it was overtaken by students by a riot police division that N.Y.C. Mayor Eric Adams ordered in. Adams used building glass being broken by the students as a pretext to deem the siege as “violent” — no people were hurt, mind you — and commence a full-on siege of the building with a riot van. 

The University signed off on the NYPD proposal for a riot police siege and what was a scene of fraternal chanting by supportive students outside Hamilton Hall quickly turned to frightened chaos as a line of police marched down the avenue with riot shields to make way for their riot van. An automated message blared out of a speaker threatening the arrest of any students who got in their way during the re-siege operation.   

And arrest they did.  

As the party I was with stayed close to the media teams on the sidewalks covering the riot police clear-out, many a brave protestor who defiantly stayed put against the front entrance of the campus side of the street were zip-tied and taken away by the police.  

They were dragged down the street one after the other to the shouts of supportive protestors.  

Police drones flew within a few feet of the student protestors who moved to the sidelines snapping photos that were rumoured to be used to suspend identifiable students or at least scare them into going home. It was largely futile.  

After a few hours, the riot police cleared all the floors of Hamilton Hall, arresting the occupying student-protestor contingent within.  

Student protesters, curious onlookers and media crews eventually dissipated as rain started to fall after the successful re-siege.  

In the face of student activism against Israel’s destruction of Gaza, which, as of writing, has produced a death count of over 40,000 mostly innocent Palestinians — many of them children — supposedly progressive universities have largely opted to crack down on their own students and continue funding the genocidal actions of Israel, or at least not disclosing whether they are or not. 

Students can’t help but feel they’re being manipulated when the same universities that market themselves as progressive through rhetoric around fostering accepting spaces for minorities and generally caring about the plight of the disempowered are treating student protests the way Columbia did.  

What transpired at Columbia compounded a feeling in me that had been gradually building since the Press had a run-in with the spinelessness of our own university administration on Gaza. 

Though Brock University didn’t have an encampment (there was a protest held during this past year’s convocation event), the university has been no exception to the type of negligent stance that Columbia and all the other universities that turned their back on their righteous student protestors have maintained.  

In November 2023, a department of Brock University cohosted an antisemitism workshop as part of a two-part event for Holocaust Remembrance Week.  

After images surfaced online of alleged Islamophobic imagery at the workshop, it was revealed not only that the image was in fact used but also, through audio evidence obtained by the Press, that the presenter at the workshop told a Gazan student in attendance that her civilian relatives who had died in South Gaza from Israeli airstrikes were murdered because they failed to move. With this confident declaration, the presenter completely relinquished any blame for the deaths of the Palestinian student’s relatives by Benjamin Netanyahu and the Israeli Defense Force (IDF) as they continue to bomb civilians.  

When it became clear the Press was actively investigating the controversy, what followed was a series of distracting tactics against our coverage. These included unfounded claims of irresponsible behaviour, including a rumour that I had shouted at a rabbi, not to mention legal intimidation, harassment of our staff and claims with no evidence that our coverage of the controversy was antisemitic.  

But the wild and egregious claims made against the Press by those willing to look the other way on Israel’s genocidal action were not as disappointing as the failure of institutions that theoretically should be in favour of speaking truth to power to remedy the situation; namely, the media and the university.  

A piece on the workshop controversy done by the St. Catharines Standard shortly after the new year centred on complaints received by B’nai Brith (B.B.). The article’s angle was highlighting B.B.’s concerns on the Press’ exposé which, according to B.B., made the Jewish community at Brock feel “unsafe” and that there was a “heightened level of anti-Semitic incitement on campus.” 

While the article author tried to keep a neutral approach, they allotted double the comment time to the B’nai Brith representative compared to my comments. They then alluded to the Press’ evidence (the voice memo we obtained) of the event’s speaker making the cruel anti-Palestinian comment at the Gazan student and the Islamophobic image in the following way:  

“An article in the Brock Press written by editor-in-chief Haytham Nawaz reported Muslim students in attendance were also troubled by the presentation, which it said included anti-Palestinian and Islamophobic rhetoric. [my emphasis]”  

Mind you, the Press offered the reporter who wrote the words the voice memo evidence we had of the statement made by the workshop speaker for their reporting to which they showed a dismissive interest, directing me to an email. There was no follow-up. 

Then, lo and behold, when the article was released the only possible allusion to said evidence in the Standard’s coverage is that our article reported “anti-Palestinian and Islamophobic rhetoric.”  

Through the willed lack of investigative rigour for the truth of the situation by the Standard, what is a verifiable fact through substantive evidence was rendered into hearsay through cynically employed neutral language and omitting concrete evidence.  

Then, there was the failure of Brock University to address their active complicity in the comments made and images used at the event co-hosted by Brock HRE.  

Brock’s administration, like the Standard editor, took an ostensibly neutral line on the controversy. They provided the following comment to the Press during the aftermath of the workshop fiasco: 

“Universities serve society through the cultivation of enquiring minds, but we acknowledge that our freedoms are accompanied by a responsibility to foster civility in critical dialogue. We recognize that members of the University community may hold strong and opposing views on the longstanding conflict in the Middle East and we remain steadfast in our commitment to providing a safe and supportive learning and working environment for all. There is absolutely no place on our campus for hate speech, antisemitism or Islamophobia.” 

Notice how nowhere in this statement does the University apologize for co-sanctioning an event that led to telling one of their own students, whose relatives in Gaza were murdered by the Israeli military, that those relatives’ cruel fate was the result of their own ignorance instead of Israel’s complete and certainly intentional disregard for civilian life.  

The Brock administration’s response to the workshop debacle, using language of inclusiveness and supporting “critical dialogue” parallels the double standard of Columbia’s response to their encampment while they tout their inspiring history of successful student protests.  

A perplexing question follows from these patent double standards: If Western universities today are accused by the right as being bastions of the radical left, how come the majority of them, such as Brock and Columbia, have had such contemptable reactions to the injustice being committed on Gazans. 

The answer lies in the political ideology of neoliberalism with its decentralized market-first orientation leaking into how universities increasingly operate and how their administrators think.  

Cultural theorist Gayatri Spivak noted that before the neoliberal revolution had cemented by the 1980s, “the university” had as its referent a community of scholars. Post-1980, Spivak argues, the referent of the university became the administrative bureaucracy.  

Spivak isn’t wrong; the ratio of administrators to teaching faculty in academies today sees the former outnumber the latter by staggering numbers as the common sense of neoliberal management is that the professional-managerial class (PMC) are the only people who are fit to govern major institutions in society. This is largely because the PMC is perceived as economically minded, emphasizing the cold reality of efficiency and numbers uber alles.  

What this means is that all the inherent virtue which higher education instills into society through the creation of a more understanding and productive population are warped into a caricature for marketing to get more enrollment and tuition.  

The logical outcome of this mismatch of ideals engendered by marketized bureaucracy in higher education is that liberal-diversity representation politics becomes a paper tiger for more effective forms of progressivism. This is best represented in the goals that DEI (diversity, equity and inclusion) departments set for having a certain number of “x” or “y” classes of people enrolled or receiving grants to make up for disparities. The subtext of these initiatives is that, yes, this disparity exists, and we can help make sure only a minority of individuals from this underprivileged group can also win the rat race.  

This dynamic has the multiplicative effect of drawing in more enrolment from minority populations with the hopes they can be the face of the individualist success story that capitalist societies saturate the culture with.  

The appeal to diversity and safeguarding against hate speech in Brock’s comment to us, while having co-sanctioned the very event that facilitated hateful speech, shows that the faux-progressivism of the university is founded on a flimsy perverse logic of diverse representation and protection of minority classes for the sake of appearing progressive to maximize potential tuition across different groups. 

This is not to say that things like DEI initiatives at college are regressive or not beneficial in some ways, but that they are the absolute limit of the neoliberal university’s pretences to the utopian ideals of egalitarianism and being ethical which are inherent qualities of education.  

The common response to student activism from university administrations about Gaza — censorship, police crackdown, gaslighting language about values of preserving differences of opinions between conflicting peoples — reveals that their being the central site of the production of shallow diversity politics is largely a ploy to paper over its bottom line of wanting to not alienate a portion of its tuition-paying clients by doing what’s right.  

Not doing what’s right in this case comes with the added benefit of these very universities that crack down on their protesting students continuing to invest and profit from firms which are complicit in a plausible genocide.  

Brock and Columbia’s respective screwups on Gaza are instructive for a larger issue needing urgent addressing: university censorship on and financial aiding in the destruction of Gaza that protesting students find appalling reveals the ethical and intellectual bankruptcy that private-sector thinking has imposed on our primary educational institutions.  

It’s time for a change in the university system, and while that will require a whole overhaul of the political-economic order that has reigned for the last five decades, axing the fief-like administrator bureaucracy — of which the costs are one of the main reasons for tuition reaching ridiculous levels in recent decades — would be a good start for now. 

Fun campus workouts with zero hassle  

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Brock University offers plenty of ways to stay active without signing on to anything competitive.  

Many students believe that being active means competing and joining scheduled clubs, but that’s a misconception. 

From intramurals and personal training to drop-in and beginner classes, enjoy your favourite activities without the pressure to perform for anyone except yourself.  

Intramurals 

Intramurals are perfect for pursuing your athletic passion without the commitment of a school team. Teams are available in men’s, women’s and coed formats throughout the fall, winter and spring semesters.  

To enroll, present your valid Brock student ID card at the Walker Sports Complex Welcome Desk in the upper-level lobby. For a fee, you can join as an individual and be placed on a team or even create a team with your friends.  

A wide variety of sports are offered every week from popular ones to new experiences. There’s even a league where you play a different sport each week with the excitement of a surprise each time.  

Whether you were a superstar in high school or have never played a sport before there are opportunities for everyone to get involved. For popular sports, you can choose from different levels: Comp A for newcomers, Comp B for those with some experience, and Comp A for seasoned players. All you need to do is find the right fit for you and join the fun. 

If playing in a league is not your style, don’t worry, there are other ways to stay active without the competitive edge.  

Personal training 

If you want to hit the gym but feel held back by your routine or lack of knowledge about gym equipment, don’t let that stop you. Brock University offers personal training for students to help you get started and make the most of your workouts.  

Personal training is available in various formats with different fees to suit students’ needs.  

A two-person course offers either ten or sixteen sessions. This format allows you and a workout partner to train together under the guidance of a personal trainer.  

Individual training packages are available in options of sixteen, ten, five or three sessions. This format provides one-on-one sessions with a trainer focused solely on your needs.  

Personal training is a fantastic way to establish a healthy routine. You’ll receive a professionally crafted schedule customized to your preferred pace and goals.  

Beginner classes  

Brock University offers many beginner fitness classes from Sept. 30 to Nov. 28.  

Fitness class programs will have either five or eight sessions.  

Classes are fun and engaging for all kinds of participants. You can join the interactive Glow Zumba or try the hybrid Yogalates.  

To explore different classes without the commitment, take advantage of “Try It Free Week,” offering free drop-in trial classes from Sept. 23 to 26.  

These beginner classes are a fantastic way to kick off your school year. They provide something to look forward to and help promote a positive attitude towards your workouts.  

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Physical activity isn’t just about competition, it is about enjoying the environment where you choose to be active. Go at your own pace, and most importantly, have fun with your workout. 

Brock University offers many ways to stay active in a healthy and enjoyable manner, so take advantage of these opportunities and flex your fitness. 

For more information on intramurals, fitness classes and personal training, visit the Brock University Recreation website. 

Mustangs outpace Badgers 2-1 in dramatic finish  

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On Friday night, the Brock Badgers men’s soccer team crumbled under pressure during a home game defeat against the Western Mustangs.  

This marks the team’s third loss out of four games they’ve played in the season so far.  

The game was exciting, keeping the crowd on the edge of their seats as the goals started pouring in after the 80th minute, leading to a final score of 2-1 in favour of the Western Mustangs.  

The first half was equally matched with neither team scoring and the ball being evenly distributed across both halves of the field.  

During the game, the frustration from spectators and coaches was palpable as neither team could seem to find the back of the net.  

“Ref where are your cards? Do you not have them on you?” a frustrated spectator shouted while cheering for the Mustangs.  

As the second half started, the competition began to grow.  

Observing the second half it was clear that physical contact was ramping up. Tensions rose, and the aggression became even more intense.  

Badger players Czarnecki, Medeiros and Petrilli each received one yellow card during the game. Mustang players Bontis, Ferreira and Solomon also each received a yellow card.  

As complaints from the crowd grew and players became desperate for a goal, Western seized the moment, scoring the first goal in the 85th minute.  

Mustangs’ player Saadi scored the first goal with a shot that struck the bar and went into the net, thanks to a perfectly placed corner kick by teammate Alqahwaji.  

After minutes of celebration and relief for the Mustangs, the Badgers wasted no time in scoring their own goal.  

In the 89th minute the Badgers were awarded a penalty kick. 

Anticipation was high as Badgers player Czarnecki aimed to level the score with a goal that would tie the game if he could get it past the goalkeeper.  

The feeling of unease radiated through the crowd; it was tangible in the air — this was truly a crucial moment for the Badgers. 

Czarnecki approached the ball preparing for the kick, while the Mustangs goalkeeper jumped up and down, running side to side, determined to prevent the ball from entering his net.  

Czarnecki secured the goal as the ball soared past the outstretched arms of the Mustangs’ keeper.  

The Badgers were overjoyed as they realized they had tied the game and may well secure a win. However, it wasn’t long before the Mustangs captured their opportunity, scoring the final goal of the game.  

After surpassing 90 minutes the Badgers began to slack on their defense, leading to a major shift in the game.  With minimal defense guarding the net, Mustang player Ribeiro found his teammate Bontis in the open lane, and Bontis took a firm kick at the ball.  

The ball went straight into the net making it a 2-1 Mustang lead, shattering the hearts of Badgers fans. 

It was a long, rainy game with players soon becoming exhausted. This defensive mistake cost the Badgers a potential win.  

Despite the tough loss, the Badgers achieved some personal records. Goalkeeper Miskolczi made three crucial saves against the Mustangs, matching the season high and starting the season on a strong note.  

The season is far from over and the Badgers have the chance to turn these hard-fought games into victories as they continue their journey. 

Clark and Reese showcase talent not rivalry  

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Amidst rumours of a rivalry, WNBA rookies Caitlyn Clark and Angel Reese are proving their game is all about brilliance, not beef.  

The tension narrative between Clark and Reese first emerged during their college days, with Reese at LSU and Clark at UIowa.  

Was what sparked this narrative simply the tendency to place two standout women against each other, or was there a clash on the court between these highly competitive stars that gave body to the constant tales of rivalry? The answer is the former.  

Although trash talk is common in men’s college basketball and the NBA, the intense competition between these two women attracted negative attention and fueled false rumours. 

Both Clark and Reese denied these rumours.  

“I’m just one that competes, and she competed, so I think everybody knew there was gonna be a little bit of trash talk throughout our entire tournament,” Clark reveals during her interview with ESPN. “It was not just me and Angel. LSU deserves the win they played so well, and like I said before I’m a big fan of hers,”  

Shortly after Clark’s interview Reese addressed the rumours in a separate interview. 

“Me and her have never had beef. We’ve always been super competitive every time we play against each other,” Reese stated during an interview with ESPN’s First Take . “It’s fun. She does it. I do it. A lot of players do it. Not just women, men do it as well.”  

Since completing their college years both women have broken records in the WNBA, silencing their haters and establishing their legacies in the process.  

Reese left viewers amazed with her standout moments as her inaugural WNBA season ended. In her rookie year alone, Reese became the first rookie in WNBA and NBA history to record consecutive 20 rebounds since the legendary Shaquille O’Neal did the same. Reese also managed to set a record for the most double doubles in WNBA history.  

Despite the hype around the accused tension with Clark, Reese remains focused on making her mark and establishing herself as a memorable player in the league.  

Not only has Reese sparked a new era for the WNBA, but Clark is also making numbers for herself, paying no mind to the past rumours and focusing on her journey forward.  

Clark also set WNBA records, including the first rookie triple-double marking in Indiana Fever history. During the beginning of the season, Clark became the first rookie in WNBA history to record over 400 points. After making headlines with her assist numbers Clark became the first rookie to surpass 240 assists.  

The takeaway of these rumours is that social media has distorted the truth with a misogynistic narrative, that fierce competition between two women is impossible without tension and problems. Even though both women are undoubtedly exceptional and are breaking rookie records never seen before, the media is still focused on the already disproven rivalry between them.  

In the meantime, what’s being overlooked by online discourse and commentary is the boost in women’s basketball viewership ignited by the competition between Clark and Reese. During their LSU vs. UIowa match, The Bleacher Report noted that the tournament set a record for most watched women’s basketball game with an average of 12.3 million viewers surpassing the Elite Eight of the 2024 NCAA tournament.  

Shifting the focus from accused rivalries to the undeniable impact Clark and Reese have had on women’s basketball is crucial to the sport. Clark and Reese’s competitive spirit has not only elevated their personal careers but also boosted visibility within women’s basketball.  

The rise of Germany’s far-right political party proves that hatred doesn’t just go away 

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Far-right ideology is resurging in Germany at levels not seen since World War II, signalling a political shift that is completely surprising yet at the same time makes all too much sense. 

The rise of the far-right party Alternative for Germany (AfD) has seemingly come out of nowhere, as the party won a “historic” election in the eastern state Thuringia. And historic it was. This marks the first win for a far-right political party in Germany since 1945, with AfD’s victory coinciding with the 85th anniversary of the beginning of the Second World War. 

But how did we get here? Anyone familiar with German culture understands that the country largely exists within a culture of shame, a shared collective guilt among the German people over the atrocities committed by the Nazis during the Holocaust. In Karl Jaspers’ 1947 book The Question of German Guilt, the philosopher argued that national guilt would be necessary for the reformation of Germany after the war. 

Yet, with almost a century separating the modern world from the beginning of the war, we must begin to wonder if this longtime shame — along with new generations of Germans never having experienced the war themselves — has resulted in an eventual desire for philosophical retaliation. 

This would draw a parallel to one of Adolf Hitler’s motivations behind World War II. After the end of the First World War, Germany was left in a state of bitterness over the Treaty of Versailles, which imposed reparation payments on the country and limitations on their military. The building anger amongst the German people gave rise to far-right political parties such as the Nazi Party, who promised to rebuild Germany’s image after their humiliating defeat. 

Fast-forward to modern day, and Björn Höcke, the AfD’s state leader in Thuringia, seems to feel similarly about his country’s shameful past. 

“Germans are the only people in the world who plant a monument of shame in the heart of [their] capital,” Höcke said to supporters in Dresden, referring to the Memorial to the Murdered Jews of Europe located in Berlin. Höcke described Germans as “brutally defeated people” and said the country needs a “180-degree turnaround” on the way it remembers its past. 

Höcke’s words echo a feeling reminiscent of the German people immediately after the First World War: one of bitterness at the way his country recognizes their past and resentment toward the weakness he sees in this approach. It’s likely that he, too, would take issue with the economic pressure placed on Germany by the Treaty of Versailles, but that’s not the problem here. This resentment (both after the First World War and in modern day) seems to be part of a reactionary movement borne of a culture of shame. 

Höcke, a former history teacher, was fined €13,000 after he used the Nazi slogan “Alles fur Deutschland” (“Everything for Germany”) during a 2021 rally. The phrase, along with the Nazi salute, is illegal in Germany today — an exact representation of the shame that Höcke so deeply loathes. 

While the AfD hasn’t progressed to genocidal ideas similar to those of the Nazis, their policies already sow the seeds of division and hatred toward other races and cultures. This is easily observable in a series of ads run by the party in advance of Germany’s 2017 election, with some particularly standout taglines reading “Burkas? We prefer bikinis;” “New Germans? We’ll make them ourselves;” and “Islam? Doesn’t fit in with our cuisine,” with the latter ad featuring a baby pig in reference to observant Muslims not eating pork. 

The rise of AfD and political figures like Höcke are causing unrest amongst the German people. The party seems especially popular across eastern Germany, with the party performing much better in eastern state parliamentary elections. This signals an unexpected return to the division between the two halves of the country, which were separated by the Berlin Wall until its collapse in 1989. 

Indeed, the rise of AfD not only allows us to see a glimpse of the division that once plagued Germany, but their increasingly popular hatred is a concerning step backward for a country which has spent the last 79 years proving it has learned from its mistakes. 

As many German citizens continue to oppose the far-right party, it appears unlikely that they will win the federal election, especially since other prominent parties are strictly opposed to cooperating with them. Even if a federal victory is not in their near future, however, the AfD’s mainstream rise within the country is a sign that hatred is perhaps never fully vanquished — like a bad rash, it will continue returning again and again. 

Perspectives on the success of this year’s BadgerFest 

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Another BadgerFest has come and gone thanks to the efforts of BUSU and many other hard-working individuals. 

It’s gone by many names, but frosh week activities have always been a crucial and exciting part of the Brock University experience, and this year’s BadgerFest was no exception.  

This year, BUSU supplied new and returning Badgers with various events to ease them into the fall term, ranging from calm and creative to boisterous and boozy. 

While this editor was unable to attend every event, I was fortunate enough to talk to some of the people involved. Here’s just a few of the highlights from a week of fun and friendship. 

Sexy Bingo 

Drag performances have become a core part of BUSU’s identity in past years, and this year’s Sexy Bingo continued to prove that statement true. 

While previous years have seen the inclusion of Condom Blackjack, this BadgerFest was gambling-free. Instead, lucky participants got to watch a number of performances put on by local drag queens. Said performances had the Ian Beddis Gym quaking with cheers and applause when finally, Brock’s mainstay Vanity a la Mode came out to crack some jokes and give out some prizes. 

“Sexy Bingo was so much fun,” said Vanity. “The students’ enthusiasm always leaves me in such a great mood. I love hosting and meeting the students. The vibe was great. I’m still on a high from the event.” 

Returning Badgers will know Vanity from shows and performances put on in recent years. “Someone from the university reached out to a friend who couldn’t do the event but recommended me and the rest is history,” said Vanity about how she came to perform at Brock in the first place. “That was about 10 years ago. BUSU treats me so well when I come for bingo — that and the students make me come back year after year!” 

“I absolutely love making people happy and being the life of the party, so this gig is one of my favourites. I love that it’s become such a popular event, I look forward to it every year!” said Vanity. Indeed, this year’s bingo was so popular students stood against the wall just to watch and cheer. If Vanity calls, Badgers will answer. 

Community Fair 

Clubs at Brock are some of the most essential facets of the student experience, and this two-day event was almost entirely dedicated to them. At the rows of tents and tables sat club executives eager to talk to students and add to their ranks. 

“My community fair experience was very positive. All our club executives enjoyed it as well,” said Lucas Michlik, President of the Brock University Lego Club, whose Lego giveaway and bright poster attracted passersby. Although he wished BUSU had provided cold water instead of ice cream and energy drinks, he said that “the event was very well organized by BUSU, and there were some great clubs and people involved in the day.” 

Thanks to the fair, Michlik was able to talk to students about various club plans, like the Lego-Grams (Roses) and Lego Christmas Ornaments fundraisers, as well as the Brock Campus LEGO Model the club is planning. 

“It was great to see such a diverse group of students interested in our club and activities,” said Michlik, noting that not only did he speak to first-year students, but also upper-year undergraduate and even MA students. By the end of it, Michlik believes over a hundred students discovered the Lego Club, a number he said was “fantastic.” 

This sentiment was also shared by Ethan Huffman, new President of the Brock Creative Writing Club, who was surprised by “not only the amount of people that attended the fair and came to our booth, but also the variety of students.” 

“It’s one of the rare times you get to see people of different interests from all over Brock gathered in one place, interacting with one another,” said Huffman. “It really helps motivate club executives like me to continue working to give something to the community. I’m really thankful for all those who attended, and for BUSU [for] organizing and continuing to run this event.” 

“I expect because of the BUSU Community Fair, our club will be larger than it has ever been,” said Huffman. 

Alex Francoz attended the community fair as both the President of the Brock University ASL Club and a representative for Brock’s Varsity Fencing Team, and found the event helped both organizations’ community outreach: “Both fencing and ASL are niche, and getting the word out their either exist at Brock and are something that a student can participate in is really difficult… [especially] for the ASL Club, as it’s both small and lost a lot of traction post-COVID.” 

Both Huffman and Francoz were impressed by the new passport system established by BUSU for this Community Fair. 

“Those were fun and both brought more people to the ASL booth and made me feel more involved while I walked around. It also gave me an excuse to go to some booths that I wouldn’t normally attend,” said Francoz. “Overall, a great two days, with lots of cool stuff around.” 

The Community Fair was a fun and festive event, and one that will continue to breathe life into the community of student clubs at Brock for years to come. 

Movie Night Under the Stars 

Brock students may not have been able to sit beneath real stars on Weather Station Field due to an unfortunate bout of rain, but Gym 2 served as a suitable replacement for a social screening of Deadpool

“We had a great turnout, including people lining up almost two hours in advance of [the] doors opening,” said Avery Lowe, a senior producer at BrockTV, who hosted the event.  

“I tried to keep count of the amount of students there but I easily lost count. I know it was way over a hundred though because we ran out of our free blankets — we had a hundred — pretty quickly and students just kept coming.” 

Lowe was behind the promotional material for the Movie Night, which included an edited video that inserted logos and event information into a clip from the movie as well as “BrockTVPool stickers” which were handed out at the event.  

“This was my first time taking the reins on a project like this. Once we picked the movie, I had a ton of ideas floating around my head on how to promote it. Thankfully my manager, Joel, was very open to hearing my ideas and helping me execute them,” said Lowe. “[That’s] what I enjoy most about work like this. I’m able to learn and get help for what I want to do to make the best products for the students.” 

“I personally find BadgerFest important, especially for first-year students, because it’s a way to get out there,” said Lowe. “It’s a way to meet new people or get to know your roommates better. It’s a way to see what the school and BUSU [have] to offer. I think it’s a great [way] for students to start to find their footing in university life.” 

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Overall, this year’s BadgerFest was another success. Still, it is only a taste of the extra-curricular activities available at Brock, so if any of these events or interactions piqued your interest, follow the thread. You never know where it could lead you by the end of the year or even the end of your degree. 

To learn more about those mentioned in this article, you can visit their Instagram accounts: @vanityalamode_ @brocklegoclub @brocku.aslclub @brkfencer @brockcreativewriting @brocktv 

Stay active and engage with the community with moveSTC 

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St. Catharines Mayor Mat Siscoe announced the launch of a new challenge to inspire residents to stay healthy and engaged with the community this fall. 

September may be off to an exciting start with outdoor events and parties to keep Brock students moving around, but as the summer days begin to dwindle and the air starts to cool, it can be increasingly difficult to stay active. This is especially true when schoolwork ramps up and students find themselves relegated to hours of sitting in front of a computer screen, day in and day out. 

Still, remaining active is not an impossible task, even during midterms, and it could be easier if students keep up with St. Catharines Mayor Mat Siscoe’s newly launched initiative, moveSTC

moveSTC is an activity-based event wherein Siscoe recommends three different challenges each month with an exercise and a goal to reach. These challenges vary in difficulty and are meant to “accommodate different fitness levels, accessibility needs and busy schedules.”  

Siscoe posted his monthly recommendations across various social media accounts, including Instagram, Facebook and X. They include 30 minutes of yoga a day, 45 minutes of strength training three times a week and 15,000 steps a day. 

Whether you’re specifically following the challenge or staying active in some other way, participants are encouraged to share their progress using #moveSTC and connect with their community. After all, exercise can seem like a solitary and unmotivating practice when doing so alone. 

As a further incentive to stay active and healthy, St. Catharines is offering monthly giveaways for those who officially declare their participation via the tracker sheet at www.stcatharines.ca/moveSTC. By putting in their contact information, favourite activity and the number of days they exercised during the month, participants have the chance to win gift cards, membership passes and event tickets. Winners are selected at random on the first working day of each month, and those who share their progress on social media as mentioned above will receive extra entries in the raffle. 

Brock students have plenty of options on and around campus when it comes to getting physically active. Perhaps the most well-known is The Zone, Brock’s fitness centre, but there are plenty of other ways Brock students can stay fit and engage with Mayor Siscoe’s new challenge, including walking outdoors. Whether it’s one of the many trails around the university or someplace a bit further, like Morningstar Mill or St. Johns Conservation Area, St. Catharines and the surrounding region offer a multitude of opportunities for eager Brock students to get more exercise. 

Mayor Siscoe’s activity challenge is a great opportunity for Brock students to stay active as the weather drops and the urge to stay inside, skip class and watch Netflix grows stronger. 

Maintaining a healthy lifestyle is one of the most important things you can do as a student — despite its difficulty in conjunction with classes and homework — and moveSTC could be your ticket in. 

Local bookstores to visit this fall 

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As students get back into their busy school routines and the chilly fall weather returns, reading is a great way to temporarily escape the outside world and de-stress. 

Luckily, St. Catharines is home to a variety of locally operated, independent bookstores stacked with stories from all different genres, periods and locations of origin.  

Regardless of the type of books you’re looking to find, here is an overview of some bookstores in St. Catharines to consider visiting this fall or the next time you are in the market for a new story to take you away. 

The Write Bookshop 

On 285 St. Paul Street, The Write Bookshop is a used bookstore that is home to a plethora of books.  

In this two-storey bookshop, the copies are stacked from floor-to-ceiling in every section, guaranteeing that there will be at least one book of interest for everyone. 

The store carries books in almost every genre you could imagine, ranging from classical literature, science fiction and mystery to other genres of writing like poetry, philosophy, non-fiction science texts, film and literature analyses, biographies and countless more. 

The Write Bookshop exclusively buys and sells used books at a fair price. Many of the copies at the store are in good condition; some even have insightful notes in the margins from their past owners. 

The shop is open from 12 p.m. to 5 p.m. Tuesday to Saturday. 

More information about The Write Bookshop can be found on their Facebook page. 

Thistle Bookshop and Café 

Located at 50 Lakeport Road in Port Dalhousie, Thistle Bookshop and Café houses a variety of new, never used books. 

Having opened recently in 2020, the bookstore has already established itself as a must-visit local destination for book lovers. 

Thistle Bookshop also sells books from several genres, ranging from their large fiction section that includes recently released novels and classical literature to their non-fiction sections carrying books from specific genres like music biographies and art history texts, for example. 

Since the store has a café inside of it, Thistle Bookshop is a great place to grab a beverage and read a new book in a quiet and calming atmosphere. 

The shop is open from 9 a.m. to 5 p.m. Sunday to Wednesday, and 9 a.m. to 9 p.m. Thursday to Saturday. They also have an online store at www.thistlebookshop.ca

Someday Books 

On 21 King Street in downtown St. Catharines, Someday Books is another independent local bookstore committed to bringing a wide selection to their customers. 

The store has a clean, aesthetically pleasing design that is complimented by their stretching wall of books, creating the perfect atmosphere for quietly searching through various titles. 

Someday Books sells many popular books and is always up to date with housing new releases as soon as they can. 

Notably, the store also has a significant number of texts written by Canadian authors. 

Someday Books is open from 11 a.m. to 6 p.m. from Tuesday to Friday, and 10 a.m. to 5 p.m. on Saturday. They too have an online store which can be accessed at www.somedaybooks.ca

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Book shopping is a fun fall activity, and reading a new book can be a relaxing way to de-stress any time of year. If you need some leisure time between classes, reading is always a great way to pass the time and take a step away from the stressors of university life.  

Chappell Roan’s “Good Luck, Babe” skillfully navigates the nuance of queer relationships 

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Chappell Roan has taken the world by storm, and her newest track “Good Luck, Babe!” has proven that pop music can be more than basic electricized beats and severely flat and undynamic vocals. 

Kayleigh Rose Amstutz, or as the world knows her, Chappell Roan, is a 27-year-old musician from Missouri who has recently skyrocketed to fame. Following the release of her debut album The Rise and Fall of a Midwest Princess and an insanely successful few months opening for Olivia Rodrigo on her GUTS Tour, Roan has quickly become a household name

Her newest track, “Good Luck, Babe!,” released on April 5 and has since gone viral on TikTok. 

A synth-pop anthem, “Good Luck, Babe!” doesn’t stray from the musical excess that populated The Rise and Fall of a Midwest Princess. Instead, Roan’s newest single builds on that extravagance, settling in beside the rest of the singer’s discography with the use of her signature 1980s-inspired synth dance beat.  

Starting with a high-hat heavy drum sequence, “Good Luck, Babe!” doesn’t lose momentum as it progresses, even though the track maintains a mid-tempo throughout. This is because Roan uses her powerful vocals to move the pace along.  

Opening with the lines “It’s fine, it’s cool / You can say that we are nothing but you know the truth,” Roan is reproachful, alluding to the heartache narrative that the rest of the lyrics explore.  

This narrative centres around a complicated connection between the singer and her lover, with one party refusing to acknowledge what the two of them know.  

Continuing with “I don’t wanna call it off / But you don’t wanna call it love” furthers this narrative, Roan’s contempt barely hidden beneath the surface of her persona. 

Launching into a simple yet incredibly effective chorus, Roan shows off her impressive range, singing in a bright falsetto. The lyrics “You can kiss a hundred boys in bars / shoot another shot, try to stop the feeling” highlights the age-old story many queer people know intimately: having to let go of a lover because they are deeply in denial about their own sexuality.  

Both the track’s musicality and Roan’s narrative skills contribute greatly to the breathtaking nature of the song, showing a great deal of craftsmanship when it comes to developing the story she is trying to tell. Maintaining the track’s catchy sound while also providing lyrical magnificence can be hard, but Roan manages to do both with grace and skill.  

Concluding with the reminder “You’d have to stop the world just to stop the feeling,” Roan nudges her lover towards the truth, but to no avail.  

A true pop standout as well as a rocking queer anthem, “Good Luck, Babe!” nails everything it set out to achieve and proves that Chappell Roan deserves all of the fame she has garnered over the past few months.  

The music that shaped my summer ‘24 

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Every year, discussion about what the official song of the summer is runs rampant both inside and outside of the music community. While there may never be a clear answer on who exactly earned that title, as the leaves start to change colour, now is the perfect time to reflect on the music — both new and old — that shaped my summer of 2024. 

“104 Degrees” by Slaughter Beach, Dog: 

I discovered “104 Degrees,” written by the collective genius of indie rock band Slaughter Beach, Dog, towards the end of April, just as the Northern Hemisphere was reuniting with the massive, nearly perfect sphere of hot plasma we call the sun after seven long months of separation. While the song had long since made its rounds, having been released in 2017, “104 Degrees” felt fresh upon my first listen.  

Bursting with uncontainable energy, this brash track builds a colourful sonic landscape around a simple four-chord progression. While you couldn’t quite call the vocalization on this song anything more than a rhythmic style of speaking, the skillful layering of electric guitar, bass, drums and synth create a constant state of urgency that matches the narrative content of the lyrics. With each verse bookended by a series of intense drum fills, “104 Degrees” is like a runaway train and as the track abruptly ends, the listener is left in a state of disembodied confusion. 

While I am a fan of all of Jake Ewald’s many musical projects, “104 Degrees” and its iconic droning slide guitar would undoubtedly be the soundtrack playing at the end of the coming-of-age movie chronicling my final hazy summer as an undergraduate student.  

“Guilty as Sin?” by Taylor Swift: 

A fan favourite (or at least my favourite) from Taylor Swift’s newest album The Tortured Poets Department, “Guilty as Sin?” underscored the final days of my windswept spring and the early months of my languid summer with its synth-driven beat.  

Track nine on the original version of the album, “Guilty as Sin?” is a laid-back, rolling take on the confusion surrounding the early days of an all-consuming romantic connection. Swift shows off her lyrical prowess in this song, each eloquent word backed by Jack Antonoff’s signature airy synth style.  

The only new song here, “Guilty as Sin?” fought tooth and nail for its slot on the list, coming in as my most-played song in both May and June.  

“Road Regrets” by Dan Mangan: 

While I am admittedly unfamiliar with the rest of Dan Mangan’s discography, I am still going to ignorantly make the statement that “Road Regrets” is the singer/songwriter’s best song to date.  

The first track of Mangan’s quintessential album Nice Nice Very Nice, “Road Regrets” takes its listener on a raring, raucous musical journey to create its brash and chaotic sonic soundscape. Built on the back of impassioned and fervent acoustic guitar, Mangan layers pounding piano, smashing symbols and a bold bass line to create a nearly unnavigable auditory panorama. As the song builds, Mangan’s vocals grow more desperate, pleading and raw, but never overpowered by the circus of sounds convening below him.  

Completely untouchable in its pandemonium-like greatness, “Road Regrets” has consistently maintained its standing amongst a constantly changing landscape of my musical favourites, making it one of the most influential songs of my summer break. 

While I cannot say for certain which of these three impeccable tracks would take the number one slot for my song of the summer, I do know that they all, without a doubt, will be remembered eternally as the music that made these past few months so insurmountably great.