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New Year, New Raptors: How the Raptors improved after trading for Immanuel Quickley and R.J. Barrett

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On Dec. 30th the Toronto Raptors acquired guard Immanuel Quickley, guard/forward R.J. Barrett and a 2024 second-round pick from the New York Knicks, in exchange for forward O.G. Anunoby, centre/forward Precious Achiuwa and guard Malachi Flynn. 

The trade sees beloved Raptor Anunoby – who was a part of the 2019 championship winning team – leave Toronto, sparking a new era for the Raptors and one that should excite the fanbase. 

Immanuel Quickley, the 24-year-old sharp-shooter, is expected to provide the much-needed jolt to ignite the rather lacklustre offence. The former Kentucky Wildcat will slot into the starting lineup, a role he excelled at in 21 starts with New York in the 2022-23 season. 

As a starter, Quickley averaged 22.6 points per game, 5.4 rebounds per game and 5.1 assists per game while shooting greater than 40 per cent from three. 

In 30 games this season with the Knicks, Quickley shot 39.5 per cent from beyond the arc while shooting 45.4 per cent from the field and 87.2 per cent from the free throw line. 

Quickley’s shooting will be a lethal contributor to the Raptors’ hope for success this season and beyond given Toronto’s shooting woes so far this year. The Raptors are 26th out of 30 teams in three-point shooting, shooting under 35 per cent, while ranking second-last in free throw percentage at 73.9 per cent. 

Toronto is also in the bottom half of the league in points per game, scoring only 114 points, something R.J. Barrett can help improve the team in. Barrett, the third-overall pick in the 2019 NBA Draft, averaged 18.2 points per game in 26 starts in the Big Apple this season and has a career 18.1 points per game, having scored a career-high 20 points per game in the 2021-22 season. 

The former Duke Blue Devils’ star is expected to get more minutes with the Raptors after averaging a career-low 29.5 minutes per game with New York, after reaching highs near 35 minutes a game in past seasons. 

Paired with Quickley and Scottie Barnes, that trio – who fans have started to call “BBQ” given the first initial of their last names – is expected to be the core of the team for years to come. All three players are young and can develop together as a cohesive unit, given their unique skillsets complement each other nicely.

Quickley is a fantastic shooter who can space the floor and has the makings of developing into a great playmaker. Barrett is a scorer who can attack the basket and hit mid-range shots, whereas Barnes is a versatile big who can handle the ball, gather rebounds and make buckets from anywhere on the court. 

For the team as a whole, the acquisition of Quickley and Barrett slides Dennis Schröder – the Raptors’ former starting point guard – down to the bench, a role which should better the team as well as Schröder, who’s been struggling as of late. 

The Raptors bench has been troublesome to begin this season, averaging the third-fewest bench points per game this season with 30.4. However, with Schröder’s veteran leadership and playmaking abilities assisting the second unit, it should provide the necessary spark to role players like Gary Trent Jr., Chris Boucher, Otto Porter Jr. and others, who’ve been non-existent in the offence at times this season. 

On paper, this trade has the potential to be franchise-altering as it can set the Raptors back on the path to being a prominent and formidable team in the Eastern Conference and the NBA, something they have been trending away from in recent years. 

But the game isn’t played on paper, it’s played on the court. As such, it will be interesting to see how BBQ and the rest of the team blend together to get the Raptors on the right foot forward for the rest of this season and in the years to come.

For more information on the Toronto Raptors, head to raptors.com. 

Pile’s Hot Air Balloon EP: an immersive psychedelic soundscape

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Rating: 4/5

The Boston native indie-rock trio Pile released a new EP on Jan. 5th, titled Hot Air Balloon EP. 

With their everlasting tact for amalgamating complex layers of texture and sound, Pile reached their peak of ambitiousness in sound exploration with the release of Hot Air Balloon EP. Often crowned with the superlative of your favourite band’s favourite band, Pile’s growth in the quality of their grunge soundscape throughout their newest EP speaks to this perception. 

Having reached critical success with the release of their early 2023 record, All Fiction, the band’s newest EP follows with unreleased songs from the album. The creative process for both pieces of work can be traced back to the pandemic, which allowed the band to grow in their ability to play with new sounds. Almost countercurrent to the workings of the rest of the music industry, Pile’s decision to include unreleased tracks from All Fiction in Hot Air Balloon EP was for the sake of meaning rather than profits. 

“The songs that became the Hot Air Balloon EP were tracks that we felt could stand on their own, potentially as singles. There were songs on All Fiction that felt complimentary in that they needed to be there to represent the identity of the whole of the album,” said Pile’s frontman Rick Maguire for New Noise Magazine

As a standalone art piece, Hot Air Balloon EP solidly stands its ground in Pile’s discography, always echoing previous sound palettes explored by the band, yet never painting itself as a cash-grab B-sides project. 

Perhaps one of the most intriguing yet complex tracks in the EP is “The Birds Attacked My Hot Air Balloon.” While the organ and the drums in the song crescendo to create a sombre backsplash in the song, the lyrics eloquently paint a horror movie-esque scenario. The song tells a story about birds attacking the protagonist’s air balloon until the balloon, and the protagonist, start descending from the sky. Without depicting gross details of what the chaotic situation entails, the song’s sound production and storytelling are powerful and serene. 

Another standout track from the EP for its psychedelic-infused catchiness is “Exits Blocked”. The song explores deep themes of perfectionism, accompanied by rich layers of sound that mesh together effortlessly. 

“This one’s about how we get in our own way and the pursuit of perfection will always be a fruitless one. This was one of the looser and weirder songs to pull together. And strangely, the chorus was the last part to be pulled into it, which I think is one of its strongest sections,” said Maguire on the Brooklyn Vegan. 

Overall, the EP follows a mellow yet rough around the edges style in terms of production and lyricism. While sometimes packing a punch, the layering of sound tends to soften the heavy guitar and drum composition underneath, creating a sombre and warm atmosphere.

Consumerism’s effect on Christmas isn’t entirely negative

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It’s true that the commercialisation of Christmas has negative effects on the holiday season, but it is also directly responsible for many beloved holiday themes and traditions. 

The Western world’s modern idea of Christmas is largely influenced by consumerism and commercialisation. The holiday’s origins lie in the celebration of the birth of Jesus Christ, but Christmastime’s modern emphasis on shopping and spending seems to suggest that the public’s current interpretation has taken a different route. 

Of course, the commercialisation of a holiday as religiously and culturally significant as Christmas draws plenty of criticism, and for good reason. The societal transformation of Christmas into a capitalist spending spree has major downsides, such as the stress it places on people who feel the need to buy the “perfect” holiday gift for their loved ones. What is supposedly meant to be a joyous opportunity to give thoughtful gifts often becomes a stressful – and financially taxing – race to find the trendiest toys on store shelves. The commercialisation of Christmas can also create expectations about requiring the “perfect” Christmas with loved ones when it’s not quite that simple for many people. 

Indeed, there are many components of the consumerist aspect of modern-day Christmas that make the holiday season stressful for many, and it’s important to attribute those flaws to the effects of a capitalist society. However, it’s important to recognize that society’s consumerist approach to Christmas also has many positive effects, displayed through the wonderful traditions and memories it indirectly helps create. 

While it’s easy to label the commercialisation of Christmas as entirely negative, it’s worth remembering which widespread holiday traditions are products of capitalism. Many commonly enjoyed Christmas brands and themes are products of the holiday’s commercialisation. Santa Claus’ iconic modern jolly design, including his white beard and red coat, was commissioned by Coca-Cola as part of an advertising campaign in 1931, for example. 

Furthermore, many of the holiday’s most popular films are products of large-budget film studios hoping to capitalise on the Christmas season. It’s not likely that studios would have created holiday movies like Elf or Home Alone – both of which are considered Christmas classics – if they weren’t trying to capitalise on the Christmas season. The higher-ups at these production companies weren’t making these films out of the goodness of their hearts; they were trying to bring in as many moviegoers as possible over Christmastime by banking on the public’s holiday spirit. Yet, whatever their intentions were, they still helped create magical films that continue to be enjoyed by millions of people every December. 

While capitalism certainly has some negative effects on gift-giving, it shouldn’t be ignored that corporations’ consumerist approach to Christmas often helps make beloved gifts more accessible through holiday deals and releases. Ask yourself whether you’ve ever found a thoughtful Christmas gift for a loved one through holiday ads, sales or promotions. Again, this element of consumerism is certainly not perfect, but it’s difficult to deny that it also bears some positive effects when searching for a thoughtful gift. 

It’s worth noting that it is possible for gift-giving to take place without a capitalist focus through handmade or otherwise inexpensive gifts, but realistically speaking, this would be difficult to normalise across Western society given the preexisting consumerist approach to the holiday season. In our current situation, it’s still worth acknowledging the positive effects that consumerism has on the gift-giving process, even if there are negative effects that come with it. 

I would argue that some of these traditions – which, again, go hand-in-hand with the holiday’s commercialisation – contribute to the holiday’s focus on goodwill and cheer. These elements are indeed reflective of our capitalist society, but at the same time, there shouldn’t be shame in acknowledging consumerism’s positive influence on the holiday season. Simply put, many beloved Christmas themes and traditions likely wouldn’t exist without society’s capitalist approach to the holiday season. 

The commercialisation of Christmas isn’t perfect, and it’s entirely valid to feel stress because of holiday consumerism. But when reflecting on capitalism’s effects on the Christmas season, it’s important to remember the moments of joy it indirectly helps create.

Your New Year’s resolution will probably fail

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Setting a New Year’s Resolution can be a fun tradition to ring in the new year, but they are flawed for most people searching for genuine self-improvement. 

A New Year’s Resolution is usually defined as an individual’s specific aspiration toward self-improvement at the beginning of a new year, whether that means engaging in positive behaviour, quitting a bad habit or working toward a personal goal. For many, the start of a new year seems to imply a “fresh start,” leading to a personal commitment toward a positive life change. 

…well, perhaps “commitment” is too strong a word. The unfortunate truth about New Year’s Resolutions is that the vast majority tend to be broken within the first few months, or even weeks, of the year. It’s estimated that 80 per cent of New Year’s Resolutions end in failure, with many participants losing their motivation to work on self-improvement as early as mid-February. 

It may seem overly pessimistic, but the truth is that the concept of a New Year’s Resolution poses a few problems that make eventual failure inevitable for many. But this doesn’t mean that making a commitment to self-improvement is always bound to fail; it simply calls the concept and execution of the New Year’s resolution into question. 

The U.S. News and World Report offers a few reasons as to why so many New Year’s Resolutions end in failure and strategies to become more productive and motivated. 

For one, many New Year’s resolutions are far too grand, and this can lead to an individual becoming overwhelmed. Setting an overly ambitious goal can lead to a loss in motivation when results aren’t immediate, which should be expected when setting a major life goal. 

Instead, says the Report, it’s important to remember that long-lasting change is incremental, and each small step is important on the journey to a greater ambition. In other words, when creating a New Year’s resolution – or, committing to positive change at any other time of year – try to think small and remember to celebrate your small victories along the way. 

Self-sabotage is also responsible for the failure of many New Year’s resolutions. While the intent to work toward improvement is certainly a positive thing, it won’t mean anything in the long run if a person doesn’t do anything to “enhance [their] capacity to either sustain motivation or handle the inevitable stress and discomfort involved in change,” according to clinical psychologist Joseph J. Luciani. 

The Ohio State University details a few more reasons why so many New Year’s resolutions fall through. Obstacles should be expected when setting a personal goal, and the creation of a plan can help limit setbacks or failure. It’s also worth looking into methods of personal accountability, such as telling a friend or getting a coach, to stay motivated. 

Interestingly, the University notes that those setting a goal simply for the sake of tradition are more likely to lose motivation than those doing it because of a “need”.

Therein lies the main issue with setting New Year’s resolutions. Aspiring for self-improvement is certainly noble, but if it’s done simply to follow a tradition rather than genuinely seeking growth, there likely won’t be motivation to continue with a resolution once the excitement of the new year wears off. It’s easy to look at the new year as a fresh beginning, but after some weeks pass by, the feeling of a “new year” will inevitably wear off and motivation will likely leave with it. 

Instead, it might be more beneficial to start working toward a personal goal when the time feels right for the individual, rather than wait for an arbitrary date on the calendar for a resolution to begin. If the high of a new year is the only thing keeping you motivated, it shouldn’t come as a surprise when your motivation eventually begins to falter. 

It’s always a good thing to work toward self-improvement, but those who genuinely hope to make a personal change would be wise to consider the deeper nuances behind what it means to stay motivated. Achieving a personal goal is far from impossible, but it usually requires more thought than that posed by a New Year’s resolution.

E3’s discontinuation makes sense, but still feels like a loss

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The discontinuation of E3 is understandable in the modern gaming climate, yet remains a major loss for the video game industry. 

E3, short for Electronic Entertainment Expo, was a major trade event devoted to the video game industry led by the Entertainment Software Association (ESA). Each year, the event hosted game developers and publishers who held press conferences to reveal new titles and other products, many of which were made available to try on the show floor. 

After the show’s inception in 1995, the event – which was often hosted in the Los Angeles Convention Center – became a hallmark of the gaming industry, quickly growing into a large celebration of all things gaming. The show’s internal purpose may have been centred around business, but for gaming fans, it was an exciting time of year in which fun new titles would be revealed and celebrated. 

Fans wouldn’t need to head to Los Angeles to partake in the excitement, with press conferences and announcements being broadcast to the world. Attendees would often film game demos on the show floor and publish footage online, giving excited fans more opportunities to check out the latest software.

Whenever E3 would roll around, it was a good time to be a gamer; yet, like all good things, it would eventually come to an end. 

The ESA announced in December 2023 that they would be permanently discontinuing E3. To those following the event’s history, this shouldn’t come as a surprise: the event had already been experiencing a downfall for several years. 

The number of exhibitors that pulled out of E3 in its final years was one such indicator. E3 held 209 exhibitors in 2019, a substantial decrease from the 293 exhibitors it hosted two years prior. It certainly didn’t help that Sony, the company responsible for PlayStation, was one of the companies who declined to attend. PlayStation, Xbox and Nintendo are often considered gaming’s “big three,” and losing one of these brands resulted in a lot less eyes on the event.

The future of E3 was already unstable, and the cancellation of E3 2020 due to the pandemic exacerbated the event’s problems. This was the first time the event had ever been cancelled, and it would prove abysmal for the future of E3. 

E3 would make an awkward return the following year, with E3 2021 taking place as a fully virtual event. Because of the pandemic, there was no show floor and no in-person conferences. Essentially, the event – rebranded as the “Electronic Entertainment Experience” – was a few days’ worth of various companies uploading digital showcases on YouTube. It was still fun, but without the event’s physical presence, it lost a lot of its purpose. 

Since then, both E3’s 2022 and 2023 events were cancelled before the ESA’s eventual announcement that the show would not return. The case of E3 2023 is especially significant because its cancellation was due to the influx of companies pulling out, including the remaining members of the “big three.” After all, without video game companies, there is no E3. 

From the companies’ perspective, the cancellation of E3 makes complete sense. Starting with Nintendo’s introduction of the live-streamed video game showcase “Nintendo Direct” in 2011, companies realised that there was no need to put together elaborate physical showcases every June. 

Since 2013, Nintendo broadcasted Nintendo Directs for E3 in lieu of traditional conferences, but they still made a prominent appearance on the show floor and smaller complementary live events. Over time, Nintendo Directs would revolutionise the way video games are revealed, with other companies starting to stream their own digital showcases at various points across the year. 

This is an incredibly effective strategy. Through these events, companies could stream pre-recorded videos to their fans rather than enduring their often cringey live conferences. They also wouldn’t need their news to compete with the news releases from other companies over the week of E3; rather, they could space out their showcases across the year so they each have time in the spotlight. Better yet, they wouldn’t need to fund expensive show floor displays if everything was broadcast virtually. 

You can’t blame these companies for the death of E3. They found a strategy that works better in just about every way. Unfortunately, that strategy means that events like E3 no longer have a reason to exist. 

Yet, from a fan’s perspective, the loss of E3 feels like a major blow. There was something magical about a week every year devoted to gaming. It felt like a huge celebration where fans of various brands and franchises could come together and get excited about new announcements. While there was often conversation about which company “won” each year’s E3, it was still a moment where the tiresome console wars weren’t the main focus of the discussion. It seemed that everybody, regardless of their console of choice, had something to look forward to. 

Of course, there was more than just the press conferences. Videos from the show floor as well as other small events such as Nintendo Treehouse – which saw Nintendo representatives play games that had been revealed in the preceding Direct – contributed to the excitement of the week. It was more than a single showcase; every day over the week of E3 there would be new information or footage to wake up to. 

There’s even something special to be said about those cringey moments on stage. As embarrassing as they were, they somehow contributed to the magic of E3 and garnered further discussion from fans. 

The week of E3 was magical, but there’s simply no need for it anymore. While E3’s discontinuation makes sense from a business standpoint, it will likely leave a void for many of the gamers who looked forward to the event each year. 

E3’s purpose might live on through digital showcases and livestreams, but it’s difficult to see its discontinuation as anything but a loss for the excitement and togetherness of the video game industry. Every year, E3 would be an exciting time to be a gamer, and it will most certainly be missed.

The Top Ten Albums of 2023

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With the beginning of each new year, music communities begin anticipating upcoming releases for the months to come. 

There were a handful of albums I eagerly anticipated in 2023. However, I was also surprised by several artists I was previously unfamiliar with, some of whom released projects that climbed my list of albums and into my top ten. 

Here are my own picks for the ten best albums of 2023. 

10. JPEGMAFIA, Danny Brown – SCARING THE HOES 

The collaboration project between two of experimental hip-hop’s most renowned figures is a freewheeling assault on the senses. The flow of JPEGMAFIA combined with the eccentric performances of Brown place the listener in the position of a tennis ball being viciously hit back and forth with every new musical element, sample and track. At the core of the constant sonic chaos is a fascinating awareness of current culture, going so far as to comment on the crowning of Elon Musk’s ownership of Twitter. 

Inclusions like this make the album a defining period piece of our era. The record’s mind-bending production leads the way for the artistic future of hip-hop and music more generally. With a total runtime of just over half an hour, SCARING THE HOES is airtight and brimming with cryptic references that fly by through unpredictable turns, leaving listeners rightfully scared. 

9. Lana Del Rey – Did You Know That There’s a Tunnel Under Ocean Blvd? 

From mixed reviews of her classic debut album Born to Die to universal acclaim of her 2019 opus Norman F***ing Rockwell, Del Rey’s musical catalogue is a transformative evolution of her artistry. Regardless of critical acclaim, Del Rey’s impact on succeeding artists further reflects her power to move the needle of pop-culture and alternative music. 

With this continuous evolution comes the question of whether she will be able to surpass the success of her previous work. The songwriting on her latest LP has never felt more uniquely her own. Ocean Blvd is a panoramic archive of her life mythos, never straying from the niche of Americana folk that she has built for herself. 

Progressing from the iconic poster child of American tragedy to a soulful commentator on culture and her own history is an ambitious feat that feels authentically her own. Ocean Blvd has this effect as a full body of work, continuously evolving and delving deeper yet always swooping back to the elements that make Del Rey a beloved artist. 

8. Jessie Ware – That! Feels Good! 

Following a lukewarm response to her 2017 album Glasshouse, the UK artist shifted from her soul roots to an opulent disco sound in 2020’s What’s Your Pleasure? Decadent at points but nevertheless oozing with glamour, the album propelled Ware into revitalized popularity and artistic vision. 

On That! Feels Good!, she continues to embody the triumphant sound of disco’s revival. Compared to the melancholy glamour of its predecessor, That! Feels Good! is louder and prouder. 

The titular opening track boldly declares that “pleasure is a right,” elevating a theme of sex-positivity. The single “Free Yourself” is an anthemic assertion of queerness, with Ware’s commanding vocals belting over a thundering house piano. The connection to house music continues in the irresistible groove of “Freak Me Now,” laced with elements reminiscent of Daft Punk. If there is any insight about music from That! Feels Good it’s that the disco revival is alive, and Ware stands at the movement’s forefront. 

7. Mitski – The Land is Inhospitable and So Are We 

Forsaking the pensive synthpop of her previous two albums, Mitski returns to form with the soulfully quaint The Land is Inhospitable and So Are We. As the earworm singles such as “Nobody” from her previous work have demonstrated, Mitski is fully capable of crafting an indie-pop hit. While her most recent project adopts a softer, chamber pop approach, the depth of her songwriting remains consistently touching. 

The album’s hit “My Love Mine All Mine” is equally catchy in its chorus as it is in the moving theme of love being a source of autonomy and independence. The acceptance that love and her ability to give love are the only things that belong to her is a sentiment that straddles the line of universality with individuality: it’s something innately unique to every person, subsequently connecting ourselves to others. A return to music so soon was unexpected for a reclusive artist like Mitski. The release of The Land is Inhospitable and So Are We feels like a breath of fresh air, both for her artistry and those witnessing it. 

6. Amaarae – Fountain Baby 

The Ghanaian artist avoids any indication of a sophomore slump on her second album. Flowing like a glistening stream, Fountain Baby guides listeners through dream-like fantasies of sugary, sweat-soaked hedonism while successfully keeping the aura cool. This is all courtesy of Amaarae’s charisma, a fitting emcee to Fountain Baby’s sensual circus. 

Behind the onslaught of unique hooks and lush excess, there are moments where Amaarae teases a line between fantasy and reality. In the album’s final act, the fantasy of previous tracks feels distant as Amaarae connects to more earthly anecdotes. On the closing track “Come Home to God,” she paints the image of a stripper who returns home to spirituality after her shifts. 

Perhaps this image is meant to reflect a comfortable balance between fantasy and spirituality. The faith we possess is the dreams that wait for us to be their narrators and indulge in every bit of their pleasure. Whatever the case may be, it’s safe to say Fountain Baby is one of the most enigmatic pop albums of 2023. 

5. Model/Actriz – Dogsbody 

The grisly, provocative corners of queer sexuality are delved into on the Boston noise rock group’s debut studio release Dogsbody. Led by vocalist Col Haden, a key token of the album’s success is its intense pull between tension and release. Haden’s stuttering vocals progressively pull back and build towards a climax before instrumentals explode with a sound comparable to two freight trains colliding at full speed. 

Throughout the lyrical passages, there are themes of sadomasochism and lust, all captured through the eyes of homosexuality, an element that makes for a refreshing perspective. As the protagonist’s worldview is continuously corrupted by indulgence, the punk-adjacent sound becomes more urgent, leaving the impression that the protagonist is running towards – or away – from something threatening. 

4. Kelela – Raven 

Immediately from Raven’s opening track “Washed Away” the scale of this album’s world is established. Its expansive reverb and synths wash over the listener, pulling them out to sea and giving them a final look at the world above before swallowing them under the waves. While fittingly described as ambient in its mellower parts, Raven knows exactly when to pull listeners to the dancefloor with drum-and-bass house tracks like “Happy Ending” and “Contact.” 

Along with cavernous production, Kelela’s sultry vocals are exquisitely mixed to match the atmosphere. On instrumental-heavy cuts like “Fooley,” her vocals are treated as an instrument itself over the throbbing bass. This technique is further incorporated into the intimate “Sorbet” as she coos softly from a void in hopes of comforting her lover. As the album ends in a similar way that it started, Raven casts listeners back to the physical world: a concluding strategy that demonstrates its effectiveness as both a forward-thinking R&B project and immersive sonic experience. 

3. Reverend Kristin Michael Hayter – SAVED! 

Known for her other musical project, Lingua Ignota, Hayter is no stranger to heavy themes in her music. Between ear-splitting screams and nearly operatic vibrato passages, Lingua Ignota served as an expressive vessel for her experience with domestic violence often through her relationship with religion. 

SAVED! chronicles abuse in a subtler yet equally sinister way. Scattered throughout the album’s hymns and original songs is a theatrical tape-recording sound. Static fades in and out to muffle her vocals, tracks cut abruptly into one another or are interrupted by indistinct wailing and audio fades in and out. 

Even underneath the hymns, the exploration of Hayter’s recovery from abuse through the eye of religion is damning. These harrowing elements are crucial to worldbuilding, giving the album the feeling that it was found inside of a tin box deep in the Appalachian Mountains never meant to be discovered, let alone listened to. 

Among the several chilling moments on this project, none compared to the concluding track “HOW CAN I KEEP FROM SINGING?” where Hayter gradually begins to speak in tongues over her vocals before fading into quiet heaving and sobbing. It’s a gruelling eight minutes that commands attention for the cathartic release Hayter undergoes. Within the context of the album’s previous tracks, the music – under Lingua Ignota and Hayter’s full statement on her experience with abuse – leaves the listener flabbergasted. 

SAVED! is a reminder of music’s power as a healing tool, as well as the importance of sharing music of this calibre with the world to bring light to the emotional weight trauma has. 

2. Sufjan Stevens – Javelin 

With a career spanning decades and numerous acclaimed albums under his belt, Stevens has nothing to prove. Regardless, his latest LP Javelin stands as a true opus depicting his entire career leading to this point. The intimate folk acoustics of tracks like “A Running Start” and “Everything That Rises” feel like very intentional callbacks to his previous work. These moments are expectedly full of lyrical tenderness and nuance, addressing Stevens’ journey of grief. 

While wisdom and maturity are ever present throughout Javelin, they are not without Stevens’ existential reflections. This is exemplified in the devastating “Will Anybody Ever Love Me?” where Stevens reflects on the cycle of heartbreak, always wondering if loving and being loved is an aspiration within reach. 

Enduring the hardship that comes with grief is never an easy task. Javelin holds the listener’s hand through its runtime, providing glimpses into less-than-ideal situations and how strength can be found in them. Creating a body of work this delicate and vulnerable is an enduring task for its creator. The comfort Javelin leaves listeners with is a testament to the healing journey Stevens himself has embarked on, steadily climbing upwards with hope in mind. 

1. Caroline Polachek – Desire, I Want to Turn Into You 

Abandoning the confines of genre, Polachek’s second album is a fully realized vision. Fittingly released on Valentine’s Day, the album explores corners of desire while borrowing musical elements and genres to create a melting pot of music. Polachek opens the album with a soaring vocal performance on “Welcome To My Island,” a track that pays homage to the Greek myths of Circe and Calypso luring Odysseus to their islands. In Polachek’s case, the island isn’t so much literal as it is her own life: a character that wants to claim someone into their private world and never let them go. 

With this fixation on an object of desire, Polachek reflects on the highs and lows it brings. Sometimes it calls us to be “closer than a new tattoo” or conversely “AWOL on a Thursday.” This journey culminates with the realization that the hyperfixation on desire is more of a journey towards oneself, not to that which we want. With the closing track “Billions,” Polachek turns the message of the album’s opener on its head: instead of yearning to bring someone into her world, she wishes to melt into theirs. 

The spiralling comes to a satisfying conclusion within the album, but unfortunately for listeners, life often plays out differently. What can be learned from Desire is that the spiralling of love and desire may never end, yet there is beauty to be found in the continuous thrill of it all as we relive the cycle again and again.

Odie Leigh encourages love, hope and kindness on the second stop of her North American tour

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Overall rating: 4.5/5 

Odie Leigh took the stage on Dec. 4th and proved that TikTok produces some of the best new artists. 

The pothole-crippled sidewalks that line the perimeter of TD Music Hall are wet, permeated by the relentless precipitation from the night before. That doesn’t stop a gaggle of underage fans from sitting, bare knees to their chests, curling in on themselves to deter the persistent winds from freezing them from the inside out. 

It’s cold, but there is still no snow on the ground. The measly crowd of six who have begun to cue outside the venue can’t bring themselves to care whether or not this signals the end of the world. They’re just thankful they aren’t standing in knee-deep snowbanks waiting for the show to start. 

Tucked into an oversized jacket and wrapped in a knit scarf, Odie Leigh, the show’s header and a Louisiana native, wanders into the venue after her second dinner, stopping to say a quick hello to a slowly growing crowd of 15. The energy spikes amongst a miserably chilly group of fans as the doors open, allowing the venue’s equally disgruntled security guard to do something other than complain about the cold. Everybody’s night has just gotten better. 

Upon entering, people are quick to realize that the venue, while equipped with a misleading exterior, is not a dingy club with sticky floors and despair-ridden bathrooms. It’s nice. The greeter at the door is wearing a bright blue turtleneck tucked under a well-kept blazer. His shoes are shined. An elevator attendant brings you to the fourth floor, and they don’t stock Red Bull in the tiny fridges under the bar. It smells clean. 

This early crowd fits in the elevator on the ride up and fills the space slowly. It takes an hour for the venue to have even met half its capacity, but the opener, an eccentric young musician called King Strang, doesn’t seem to mind. His ragpunk, old-timey, one-man band style mesmerizes everyone in attendance, even if his continuous drug talk sets the well-dressed security guard on edge. 

His set, a mixed bag of traditional folk music and 1940s jazz, ends with a cover of Green Day’s “Misery,” complemented by a mid-song interlude of the “Cantina Song” from Star Wars. It’s weird, but the crowd eats it up. 

Odie Leigh takes the stage a minute after nine, the venue full and the crowd cheering her name. Fresh off her European tour, Leigh is bare-faced and styled in a black one-shouldered dress that looks a little bit like a jazzy version of the outfit Wilma wears on The Flintstones. With her is a drummer (who also plays the piano) and an upright bassist. The small stage quickly becomes crowded, musicians tripping over long ropes of orange cord and shuffling around oversized amps. 

Throughout the night, Leigh nearly plays the entirety of her short discography, cycling through hits such as “Chutes & Ladders,” “Nine Lives” and “Crop Circles.” Halfway through her set, Leigh dismisses her other two band members and opts to play solo. The lights on the stage dim and shroud the singer in shadows. In the darkness, her angular jaw, high cheekbones and flashing eyes become the prominent features of her face. Still, her fingers expertly dance across the neck of an acoustic guitar equipped with lime green strings, the warm tone of her voice filling the whole venue. 

During this part of the set that she plays “Nothing New,” one of her very early singles, for the crowd. This performance is one of only a handful of times the song has been played live, marking the night as a momentous occasion for the young and eager crowd. 

She finishes the night with the song “Take Back,” encouraging the audience to sing with her. Leigh highlights the concluding stanza, which repeats the lyric, “I’m gonna take back some of my time,” empowering her audience to put themselves first and leave the people who don’t serve them behind. 

As Leigh and her band take their bows and leave the stage, the audience wanders to the exit in a haze. People flutter down the stairs, grabbing their coats and spilling onto the wet street into the early December chill. The night might be over, but Leigh’s concluding message of love, hope and kindness continues.

Badgers’ men’s hockey split opening two games of 2024

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Despite finishing 2023 with a 14-4 record, the Badgers also closed their final games before the winter break with three straight losses. As a result, with games on Jan. 4 and 6, the Badgers looked to start the new year on a high note and keep their fantastic season rolling. 

The Badgers’ first match was against the Toronto Metropolitan University (TMU) Bold on Jan. 4. Though the Badgers beat the Bold 6-3 in November, TMU has since won seven of their last ten, propelling them into third in the OUA West. 

Period one was very much a goaltending battle. Brock gave up two early powerplays but between strong penalty killing and collected goaltending from Connor Ungar, the Badgers kept the match even. 

The Badgers were awarded a powerplay of their own in the dwindling minutes of the first, but ran into the same luck as the Bold, leading 13 to eight in shots, but still tied 0-0.

Again, the second period was a penalty-filled affair, though the game’s first goal would come for TMU on the penalty kill when Kyle Bollers corralled a Badgers’ giveaway to score his 13th of the season, shorthanded. 

Luckily, the Badgers wouldn’t stay down for long as less than three minutes later a roller from Riley Gannon would slip through the TMU goaltender, tying the match with under a minute to go in the second. 

The Badgers found themselves behind again just over eight minutes into the third when Connor Bowie tipped an Elijah Roberts point shot past Ungar. Under two minutes later, the Bold stretched their lead to two when Daniil Grigorev was able to find the puck in the chaos around the Badgers’ net and put it home. 

Though Jared Marino would score a powerplay goal with three minutes left, the Badgers’ effort would come up short, losing 3-2. 

Given a day to stretch their legs in between, the Badgers suited up again on Jan. 6 against the Guelph Gryphons. 

The Gryphons entered the match on the exact opposite trajectory as the Bold. Guelph has lost seven of their past ten, dropping them to a middle-of-the-pack standing in the OUA West. 

This seemed evident in period one where the Badgers left the Gryphons floundering. Brock scored the game’s opening marker six-and-a-half minutes in from Justin Brack, assists courtesy of Jacob Roach and Zach Taylor. Brock finished the period leading 14-4 in shots. 

Period two was a very different story. While Brock again led by a healthy margin in shots, Ungar struggled with some of Guelph’s opportunities. 

Guelph scored on the power play less than a minute into the second period, but Roach was able to tie the game soon after. Not looking to be counted out, Guelph threw two more behind Ungar to take a 3-2 lead in a game they seemed destined to lose handily in the first period. 

Tyler Burnie started the third with a pair of goals five minutes apart as Roach picked up assists on both goals. 

This pretty much did it for Guelph. Though the Gryphons had most of their shots in the third, Ungar dialed in, Cole Tymkin scored an insurance marker, and Brock won 5-3, marking their 10th consecutive win on home ice. 

Thanks to his three-point performance, Roach now sits in second in the OUA in every major statistical category with 14 goals, 18 assists and 32 points in 20 games. The Badgers again play twice next week with a game on Jan. 10 at York University and then on Jan. 13 at home against Université du Québec à Trois-Rivières. For their full schedule and results, consult gobadgers.ca.

Brock Women’s volleyball opens 2024 with a dominant three-set victory

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Ending 2023 7-1 and on a three-game winning streak, Brock’s women’s volleyball team was hoping to continue their phenomenal start to the season and, with the Royal Military College (RMC) Paladins as their first opponent, they’d have few better opportunities to do so. 

On Jan. 6th the Badgers played RMC, who sit third-last in the OUA with an 0-7 record, having only won one set all year. 

The Jan. 6th match was a head coach’s dream: a boring, one-sided affair. 

RMC was in over their heads from the get-go. 

Brock jumped out to a quick 8-2 lead and, for much of the set, maintained a lead of two-times the number of points the Paladins gained. It would take the Paladins scoring three straight while down 9-19 to buck this trend, but by then, it was far too late. The Badgers took set one 25-14. 

Set two was even worse for the Paladins. 

Brock secured an early 10-1 lead, a large margin they easily maintained and stretched as wide as 15 points. 

That 15-point difference would stand as the final margin of victory in set two as RMC was collapsed 24-9 off a Madison Tuck ace. 

In set three, the Paladins showed a little more life to open the set. Brock led with three points, but RMC held on for a time, behind only 4-3 and still in touch with the game. 

That did not last. 

After that, Brock’s offence exploded while the Paladins’ defence crumbled, scoring 21 points to RMC’s nine. Most of the Paladins’ points came after going down 17-5 when the Badgers’ victory was all but assured. 

Brock ultimately secured the straight-set victory, winning 25-12. 

The lone moral victory for RMC in the match was that they led in blocks, with four to Brock’s zero. In basically every other team category though, they got waxed. 

Brock led 59 to 21 in points, 51-15 kills, 46-14 in assists and 34-22 in digs. On the individual side, Brock led in most every category. Sadie Dick led both teams with eight kills, while Sara Rohr led in both aces (three) and assists (24). Libero Aleiah Torres rounded out Brock’s individual performances with a game-high 11 digs. 

The Paladins faced Brock again on Jan. 7th but found no recourse for their demoralizing defeat at the hands of the Badgers, losing in humiliating fashion again only a day later.

Set one of the Jan. 7th match was by far the best start for the Paladins of the weekend. Brock ran up the score 12-3 to open the match, but RMC clawed their way back to a respectable 16-12 deficit. It was all for naught though as the Badgers steamrolled the Paladins the rest of the way, scoring nine points to their two. 

Set two was much less redeeming for RMC. The Paladins were able to keep pace for a short while—losing only 5-4—which was quickly erased by a 15-2 scoring run by the Badgers. RMC was able to scrounge up four more points while Brock cruised to an easy 25-10 set victory. 

Like set three, RMC scored a few points to keep the set close in its early stages, including tying the game at four apiece. Brock, unperturbed, scored 13 straight points, effectively ending the game. In a futile effort, RMC outscored Brock 9-8 following the run but lost 25-13. 

Brock mostly played their bench in the convincing victory, many of whom had strong individual performances. 

Daryan Chadwick had six digs and two aces to go along with a game-high 10 kills. Mackenna Knox helped facilitate Brock’s offence with a game-high 29 assists in addition to four digs and a block. Madison Tuck rounded out the key individual performances with a game-high six aces along with seven kills. 

For the Badgers’ next two games, they travel to North Bay to play the Nipissing Lakers, who rank fifth-last in the OUA. For more information, check out gobadgers.ca.

Early exit for Canadians at World Juniors underscores key issues

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On Tuesday, Jan. 2nd, the Canadians fell in the quarter-final of the 2024 World Junior Championships to Czechia off a goal in the dying seconds of the match.

“For us, that was revenge,” said Czechia captain and Buffalo Sabres prospect Jiri Kulich. Kulich was part of the Czech squad that lost to Canada in last year’s World Junior finals. 

After beating the Canadians, Czechia moved on to the semi-finals where they were bounced by the Swedes, the eventual silver-medalists. Despite the loss, Czechia still had the opportunity to play in the consolation final against Finland. In a crazy turn of events, Czechia pulled four goals out of their back pocket late in the third period to claim the bronze medal by a score of 8-5. 

Prior to last year, the Czechs hadn’t medalled since 2005, and medalled only four times since the collapse of the Soviet Union. Now, the Czechs have finished third, second and fourth in their previous three tournaments. In addition to highly-selected prospects over the past few drafts like Eduard Sale, David Jiricek and Jiri Kulich, they look like a hockey nation on the rise. 

It’s not just Czechia either. The Americans have won two of the past four tournaments, including this year where the States had a dominant roster despite leaving talented prospects like James Hagens (projected No. 1 pick in 2025), Cole Eiserman (projected top-five pick this year), Hunter Brzustewicz (leads all OHL defenceman in points) and Quentin Musty (second in the OHL in points-per-game) all at home. Even the second-place Swedes, who beat the Canadians 2-0 in round-robin play and were lacking star player Leo Carlsson, had a very deep and promising team. 

As the whole hockey world seems to be taking strides toward the future, the Canadians are treading water. 

The Canadians are the definition of a “go big or go home” team. Since 2005, the Canadians have won an undoubtedly impressive 10 times. They’ve also placed second four times and third twice. However, they’ve also missed medalling five times, almost the same number of times they reached second or third combined. These misses have also all come in the last 10 years. 

This year, Canada was surely impacted by having many of last year’s best players graduate to the NHL, including Connor Bedard, Adam Fantilli, Shane Wright, Zach Benson and Kevin Korchinski. 

Similarly, the 2019 Canadians failed to medal after losing Cale Makar, Jordan Kyrou and Robert Thomas. Same deal with the 2016 team that was missing Connor McDavid, Shea Theodore, Josh Morrissey and Darnell Nurse. Canada’s 2014 team missed Nathan MacKinnon, while in 2013 MacKinnon played very poorly, only registering one point in six games. 

More often than not, part of the problem seems to be what happened this year: not knowing what to do in the face of graduations. 

In an exit interview with Josh Clipperton for TSN, Canada’s general manager Peter Anholt suggested that for a team built around tenacity and depth, they needed to find more ways to get pucks on net and to score. 

Perhaps part of the problem was this being the focus. 

On teams with star power like Bedard, Makar, McDavid or MacKinnon, it makes sense to surround them with players who check hard and fill in gaps in other areas. 

However, if your major offensive catalysts graduate, perhaps you should be trying to find new ones instead of insisting on players who “play the right way”. 

For example, despite initially selecting eight WHL players for their roster, none of them were Andrew Cristall, Riley Heidt or Jagger Firkus, numbers one, two and three respectively in points-per-game in the WHL. Firkus was added to the roster after an injury, but never suited up. Brayden Yager, a defensively limited scoring forward who played all five games, is 15th. These offensive players could have made a difference. 

Another issue was simply deployment. Fraser Minten got a lot of powerplay minutes throughout the tournament, despite not being very effective. Minten doesn’t even play on the first powerplay on his junior team. Meanwhile, Carson Rehkopf, a goal-per-game in the OHL and one of the best powerplay merchants in the country, was often left out. Firkus, as previously mentioned, didn’t even play. Easton Cowan had a strong tournament, but was rarely used on the penalty kill where his speed and pressure could shine. Canada also only played one goalie the entire tournament, Mathis Rousseau, which is a heavy workload, especially for an undrafted goalie. Ty Nelson, who wasn’t originally selected either, stood out as one of the Canadians’ best defenceman. 

The defensive personnel was one of the more glaring problems. While injuries to Tanner Molendyk and Tristan Luneau obviously hurt, none of the Canadian defencemen played particularly well outside of that. In their initial selections, the Canadians expected to rely on two d-men for offence, Molendyk, who got hurt, and Denton Mateychuk. The rest of the group looked to be “safer” defensive-minded selections, who all failed to perform. The fact that Nelson (a late addition) and Jake Furlong (expected to be the extra defenceman) were two of the Canadians’ best defencemen raises a lot of questions. 

When Canada doesn’t medal at the World Juniors, it’s always treated like some sort of national emergency. While I’m not here pulling my hair out, there are certainly causes for concern. 

For the juniors, our attitude has to change. We need to bring our top scorers, especially in years when our talent is thinner. It seems counterintuitive to bring more tenacious, two-way players when your top scorers leave. 

Also, if you’re general manager Scott Salmond and you’re complaining about your players having to be “learning on the job,” maybe that’s indicative of roster construction. Cristall and Colby Barlow—last year’s captain—were both draft-eligible players on last year’s team that were left at home. 

This year, despite a significantly weaker team on both forward and defence, we left all our draft-eligibles at home. Could Zayne Parekh or Sam Dickinson have contributed to this D-corps? Could Berkly Catton or Cayden Lindstrom have added some offensive spark from lower in the lineup? At the very least, bringing in more draft-eligible players—even if they barely play—could help bridge the gap in weaker years. 

While Canada definitely suffered through some bad luck and a weaker crop of players, those are not the only issues that are responsible for Canada’s early World Juniors exit.

Scott Pilgrim Takes Off is a complete hit

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Spoilers ahead 

The long-awaited animated adaptation subverts all expectations. 

Among the ceaseless wave of film and television reboot sludge being hurled at audiences in recent years emerges the gem that is Scott Pilgrim Takes Off. Based on the 2000s Scott Pilgrim comic series and the 2010 film Scott Pilgrim vs. the World, an animated adaptation of this beloved series feels long overdue. 

The show’s trailer showcases numerous classic characters drawn faithfully to the original comic designs. The trailer also presents the plot as a direct parallel to the film, showing Canadian twenty-something Scott Pilgrim on a quest to win the girl of his dreams, Ramona Flowers, by defeating her seven evil exes. 

As revealed at the end of the first episode, however, the show deviates from the film’s narrative by turning it on its head and removing Scott from the role of protagonist and placing Ramona in the driver’s seat. 

This switch feels jarring at first, but as the story unfolds it presents an ideal justification for a reboot. 

What Takes Off does right is remain true to the flaws of its original characters while also being critical of the original text they came from. Scott and Ramona are far from perfect people, veering on toxic in parts. Takes Off critiques the romanticization of Scott and Ramona’s problematic traits by separating the two for the entirety of the series. 

Instead of fuelling one another’s tendencies, they are forced to reevaluate their worldviews before meeting once again. 

The show is Scott Pilgrim in name alone; he takes off from the show. A more fitting title to the events that occur would be “Ramona Flowers vs. the World,” as the show places her in charge of confronting her own exes and achieving closure before being allowed to move onward. In comparison to the film’s insinuation that Scott should be the one to fight through her past, the show demonstrates that the only way Ramona’s character was able to heal was to love and heal on her own. 

The decision of Takes Off to deviate from its original message and plot also pertains to the current position of culture. When the film was released, audiences identified themselves with Scott and Ramona unbeknownst to their overt flaws, such as Scott’s misogynistic tendencies and Ramona’s avoidance and commitment issues. This awareness makes Takes Off a fascinating example of contemporary media pioneering what will likely be the next generation’s dominant cultural themes. The show is willing to exist comfortably within its fictional world while being critical of it. 

Apart from the impressive work of animation in Scott Pilgrim Takes Off, it shines brightest as a self-aware critic. By acknowledging the culture surrounding 2000s and 2010s, the show actively seeks to change and challenge audiences of the 2020s. This subversion of the conventional reboot formula is refreshing and makes the show touch down as an instant classic.

The Mean Girls reboot is a marketing disaster

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The Mean Girls reboot proves once again that the boundlessly unimaginative machine that is Hollywood never fails to disappoint. Gone are the days of the marketable musical. 

Beyond the discourse of continuous live-action reboots of animated Disney classics, the reboot strategy continues to infect the rest of Hollywood. Most recently, the disease has spread to 2000s teen-comedy and cultural staple Mean Girls. 

The upcoming reboot written by Tina Fey, author of the original screenplay, stars a cast of new actors. In this lineup is Renée Rapp as Regina George, who also portrayed her in the Broadway Musical rendition of Mean Girls from 2019 to 2020. 

This detail provides an inkling of insight into an unadvertised component of the reboot: it’s a musical. To some, this may be a good or bad thing, but in terms of marketing it offers some peculiar questions about how musical films are being marketed in cinema’s current climate. 

Aside from a teaser of Rapp’s vocals in the film’s trailer, none of the original music is included or hinted at. This begs the question, why would a pivotal aspect of the film be ignored in its promotion? The answer lies in a few deciding factors. Presumably, fans aware of the musical will recognize Rapp’s performance, but those unfamiliar may find themselves surprised by the inclusion of musical numbers. 

The absence of original music in musical trailers has been a recurring trend as of late, most recently with Paul King’s Wonka starring Timothée Chalamet. While choreography reminiscent of stereotypical musical numbers was visible in the trailers, no promotion indicated that the film would be a musical. 

The insincere advertising for Wonka and Mean Girls can be compared to 2017’s The Greatest Showman, which incorporated original music and choreography into the film’s promotion. The film managed to be a giant at the box office, grossing a revenue of over 400 million dollars worldwide

Perhaps where the line can be drawn between the success of The Greatest Showman versus the hidden-musical marketing of current times is the promotion of stars and recognizable content. 

In its promotion, Wonka forsakes the implication of its status as a musical in favour of the story of Willy Wonka’s backstory played by the increasingly popular actor Timothée Chalamet. As a result of his popularity, it seems safe to capitalize on him in the role of an already established character. 

With Mean Girls, however, the marketing is even less sincere. While Rapp is recognizable to fans of the Broadway adaptation, her status alone is not enough to win over the public. What the trailer does use is iconic imagery like the burn book or the Christmas dance sequence as nostalgia to win over audiences. 

The trailer also includes Olivia Rodrigo’s song “get him back,” associating the film with a currently popular song to gain recognition from audiences. Despite relying on nostalgia, the trailer goes on to claim the film is “not your mother’s Mean Girls,” a bizarre touch that may leave a sour taste in audiences’ mouths. This isolating strategy is confusing, yet it is fair to assume the film will still be a box-office success. 

As the release of the film plays out this weekend, the misleading promotion is an addition to Hollywood’s lineup of “hidden musicals” and calls for further discussion over why the age of the marketable musical has become obsolete.

Adrianne Lenker stuns with her brand-new single “Ruined.”

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Overall rating: 4.5/5 

Adrianne Lenker lays down her guitar in favour of a beautiful piano ballad with her new track “Ruined.” 

“Ruined,” released on Dec. 5th, is Adrianne Lenker’s newest single. The track is the first solo release for Lenker – who is also the frontwoman for the band Big Thief, since the debut of her sixth studio album, “Songs,” in 2020. Recorded by Philip Weinrobe, a long-time collaborator and the producer of her past two records, “Ruined” is just a sneak peek at the brand-new album Lenker plans to release in the new year. 

Quiet and affecting, “Ruined” is organized around a simple piano track that underscores Lenker’s haunting vocals. While “Ruined” is a love song, Lenker’s raw and quivering voice suggests that the song is about more than just a stereotypical romance. The scant and cryptic lyrics make it hard to determine what makes this romance so different. 

Meandering from one end of the keyboard to the other, Lenker skirts the perimeter of a story she seems content not to elucidate. Details of a gifted amethyst and a basement fern only cloud the narrative. The chorus, “So much coming through, every hour too / Can’t get enough of you / You come around, I’m ruined / You come around, I’m ruined,” strikes the listener as a mantra. 

“Ruined” differs entirely from the guitar-heavy folk songs that Lenker has put out on her past albums. Instead, the track sounds more like a ballad. It spotlights the danger of obsessive rumination, painting the picture of love taking a downward spiral that isn’t easy to escape. Every time she thinks she is getting better, her lover reappears, and all that she has built is ruined once again. 

However, the quiet and melancholy tone of the song does not signify any kind of restlessness or need to escape. Instead, Lenker seems resigned to the position she has found herself stuck in. It is her life. She can’t get enough of her love, so she can’t get out even if she wants to. 

The track is relatively short, made up almost in its entirety of the chorus lines. One can’t help but feel this repetition acts as a metaphor for Lenker’s lover, who reappears “every hour” to break her even further. It could also be a reminder of what she is living through – something she mutters under her breath to keep herself sane. The true meaning may forever remain a mystery, but Lenker’s lyrical brilliance paints a foggy picture of love and loss. 

Atmospherically tied together by her fragile, whimpering vocals, “Ruined” is a song driven by vulnerability. Lenker displays herself to her lover and the listener, telling a story of heartbreak and wonder. 

If “Ruined” is any indication of what Adrianne Lenker’s new album might sound like, great things are in store.

Badgers’ men’s volleyball team closes fall schedule with pair of home wins against Trent

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The Badgers’ men’s volleyball team is back in the win column after picking up back-to-back victories against the Trent Excalibur to close the first half of the schedule with a 6-2 record. 

In the first game of the weekend matchup, the Badgers got off to a hot start early, delighting the many kids in attendance during the annual School Day Game. 

Thanks to strong net play, the Badgers got a sizeable lead early and never looked back. Devin Cooney, a second-year outside hitter, had five of Brock’s 13 kills in the set to propel the Badgers to a dominant 25-16 opening set victory. 

However, the Excalibur responded in the second. 

With the set tied at four, Trent went on a 5-1 run to blow the set open, never giving up the lead. The Excalibur earned their lead in large part to 11 kills – their most in any set in the match – while registering a game-high attacking percentage of .429 per cent. 

The visitors took the second set 25-20, which set up a crucial third set. 

Both teams exchanged spurts of positive play in the third while not letting their opponent take control of the set.  

The Badgers were on the front foot early with a 5-2 lead, but the Excalibur quickly responded with three of their nine kills in the set plus a Brock error to go up 6-5, as there were nine lead changes in the set. 

With Brock down 20-17, Cooney smashed one of his game-high 17 kills to swing momentum in the Badgers’ favour. The Badgers closed the set on an 8-3 run to win the third 25-23 and go within one set of their fifth win of the season. 

Given the importance of the fourth set in determining the outcome of the match, both teams brought their A-game, resulting in a back-and-forth opening to the set. Neither team had a lead larger than a singular point until the Excalibur handed Brock the win at the tail end of the set. 

With the set levelled at 20, Trent committed four attack errors on the final five points of the game, gifting the Badgers the 25-20 victory to win the weekend opener 3-1. 

The Excalibur continued gift-giving at the beginning of the first set of Saturday’s game when Brock’s first three points were from Trent’s service and attacking errors. The Excalibur committed five attacking errors in the set – their most in any set – which paired with Sauli Lianga smashing down three of Brock’s nine kills in the set to give the Badgers the 25-17 first set win. 

The second set featured much of the same Badger dominance, especially midway through the set. 

With the Excalibur up 6-4, the Badgers went on an 11-1 run to go up 15-7. 

On that momentum-swinging run, the Badgers got contributions from everyone on the floor. Cooney had four of his game-high 13 kills during that run, while Kylar Code contributed with one of his 10 kills and Grant Reddon earned on a block. 

The Badgers won the second set 25-18 and were a set away from sweeping the Excalibur. 

In the third, the Badgers did not take their foot off the gas pedal, eagerly looking for their sixth win of the season. 

Brock registered 15 kills in the set – the most in any set in the match – as Adrian Gaspar, Lianga and Reddon all factored into the match defensively. Gaspar led all players with a game-high six digs, while Lianga and Reddon both had five apiece. 

The Badgers took the third set 25-20, winning their second consecutive game against the Trent Excalibur and head into the winter break on a two-game winning streak. 

Next up for the Badgers is an exhibition game in Amherst, NY on Jan. 4th against Daemen University, before returning to OUA action with a pair of home games against the RMC Paladins on Jan. 6th and 7th. For more information about the Badgers’ men’s volleyball team, head to gobadgers.ca. 

Men’s basketball: Badgers lose back to back against Waterloo, Laurier

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In a closely contested battle on Friday, Dec. 1, the Brock Badgers men’s basketball team faced a heart-wrenching defeat at the hands of the Waterloo Warriors with a final score of 73-71. The game was a rollercoaster of emotions, showcasing the high effort level of both teams throughout each quarter. 

Junior forward Jordan Tchuente emerged as a standout performer for the Badgers, leading the team with an impressive stat line of 14 points, five rebounds, two assists and one steal. Tchuente’s versatility on the court was instrumental in keeping the Badgers in the game until the final moments. 

The Badgers encountered a slow start on the offensive end, struggling to find their rhythm and falling behind 14-12 at the end of the first quarter. Despite the early offensive challenges, the team showcased tenacious defence to stay within striking distance. 

The second quarter witnessed a turnaround for the Badgers as they found their offensive groove. Isaiah Bujdoso’s contributions both inside and outside the paint, coupled with a relentless full-court press, allowed Brock to gain momentum. Michael Matas capped off a resilient first half with a buzzer-beating three-pointer, giving the Badgers a slim 40-38 lead heading into halftime. 

The third quarter saw the Badgers extending their lead through high-paced transition play, with Tchuente and Nemanja Sarkanovic capitalizing on fouls and converting at the free-throw line. Heading into the final quarter with a 61-54 lead, the Badgers seemed poised for victory. 

However, the shooting struggles that haunted Brock in the first quarter resurfaced in the fourth. Waterloo took advantage of the Badgers’ cold spell, chipping away at the lead. In a dramatic turn of events, the Warriors seized control in the final minute, leaving the Badgers unable to mount a comeback. 

Despite the heartbreaking loss, there were notable individual performances for the Badgers. Michael Matas secured his first double-double of the season with 11 points and 14 rebounds, while Isaiah Bujdoso contributed 12 points and an impressive five steals. 

The next night the Badgers faced off against Laurier in yet another close matchup, once again losing by two points, 77-75. Brock is now below .500 for the first time this season with a 4-5 record.  

You can catch the Badgers next game on Jan. 5 at home against TMU. They will look to sweep the season series against the Bold and get back to .500. Tickets for the game can be found via the link here or catch the game on OUA.tv.  

For more information on the Brock men’s basketball team, please visit gobadgers.ca 

The Brock Library allows students to take purposeful breaks from exam season stress

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Students can take mindfulness breaks at the Brock Library while they tirelessly study for exams and write final projects. 

The arrival of December means snow and the holiday season, but also exams. For many, this means tedious work sessions that stretch around the clock, caffeine-soaked all-nighters and countless hours spent at the library trying to stay motivated. 

While hours spent working are crucial to getting lots of tasks done, the best practice for students’ productivity is taking conscious, mindful breaks when they feel their focus slipping. 

These purposeful breaks are intentional pauses from work where students try to disconnect from the stresses of life and school and give their minds a break. These breaks may entail being creative or napping for half an hour, cooking a meal or even going for a short walk; going on social media is not considered a productive break.  

Students can find a larger list of ideas here, but the main idea is to be distracted for a short time so that when returning to work, students feel energized, productive and focused. 

The Brock Library’s Unstudy Spot, on the main floor in the Learning Commons, can allow students to take purposeful mindfulness breaks. They will provide colouring sheets, crossword puzzles, origami and sudoku, and students can write motivational notes for each other on their public whiteboard. ‘Pop-up’ snacks and button-making will also happen when students “least expect it.” The Unstudy Spot runs from Dec. 7 to Dec. 20, from 10 a.m to 2:30 a.m following the library’s extended hours during exam season.  

On Dec. 7, the Library is also hosting Sip & Scent: Mindful Studying with Coffee and Essential Oils. With librarians Justine and Vanja, students can “explore mindfulness and use coffee and aromatherapy to boost focus, ease stress and enhance overall wellbeing.” This event will run from 10:30 a.m to 11:30 a.m in the Learning Commons Classroom B (ST230). 

Like being in nature, practicing yoga or meditation can help students forget about their stresses and reconnect with themselves. 

On Dec. 11 from 12 p.m to 1 p.m and Dec. 13 from 10:30 a.m to 11:30 p.m., the Brock Library is hosting Library Yoga with Justine Cotton, a librarian and yoga instructor. Students don’t need any yoga experience to practice gentle poses and breathing exercises, but they should RSVP by using the link at the bottom of the article if they wish to attend, as spots are limited. 

In addition to these yoga sessions, the Library is hosting Mindful Moments on Dec. 11, Dec. 13 and Dec. 15 from 1 to 1:30 p.m in the Learning Commons Classroom B (ST230). Laurie Morrison, a librarian and long-time meditator, will guide these sessions where students can practice “sitting mindfully” and reconnecting with themselves, the perfect intentional break from lengthy library study sessions. 

The Brock Library provides students with many opportunities to take purposeful breaks during their busy, stressful study periods. While it may seem like a waste of precious time, taking these breaks can increase focus, productivity and quality of work. 

Students can find more information on and RSVP to Brock Library events at their ExperienceBU page. 

Illegal Martindale Pond tree-removers face a combined $776,000 worth of charges

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St. Catharines is laying hundreds of charges against four individuals for illegally felling trees in the Martindale Pond area.

Following an investigation by the City of St. Catharines By-law Enforcement Division and Municipal Works forestry staff, 776 total charges have been laid against the four individuals who cut down Martindale Pond trees without a permit in April, with each person receiving 194 charges individually.

The by-law, which outlaws the injury or destruction of a tree on city property without a permit, states that offenders face a minimum fine of $1,000 per count or $10,000, whichever is higher. In the case of the Martindale Pond tree-fellers, each of them faces a minimum fine of $194,000 if they are found guilty at an upcoming trial at the Ontario Court of Justice. 

In an interview with the St. Catharines Standard, Port Dalhousie Councillor Carlos Garcia said that these trees seemed to be cut down so a nearby condominium development could have a better view of the pond. 

At a city council meeting on Nov. 13, Garcia said this act wasn’t just a simple trimming, but a cutting down of trees with trunks more than a foot in diameter. By-law enforcement manager Paul Chudoba said that they were on city property between the pond and private property on the pond’s eastern shore. 

In the discussion, councillor Bruce Williamson said, “In my own neighbourhood I see trees being cut down that don’t need to be cut down, particularly on some private properties where I think, with a little initiative, we could have prevented that from happening.”

This incident calls to mind a similar case that occurred from 2018 to 2020 when a St. Catharines landowner was charged $5,000 and ordered to plant 25 trees after illegally clearing a 40-metre-wide section of mature red oak, sugar maple and black walnut trees on the slope along the west side of Martindale Pond.

In the media release on the subject from the City of St. Catharines, Chudoba said of the 776 total charges, “This enforcement action represents the City’s unwavering commitment to protecting our green spaces and upholding our by-laws. We will continue to rigorously enforce these regulations to ensure the well-being of our community and its natural resources.”

“Protecting our trees and green spaces is not just a duty of the City, but a collective responsibility,” said Darrell Smith, Director of Municipal Works, in the same media release.

As per the urging of a “collective responsibility,” St. Catharines residents are encouraged to report any suspicious activity regarding by-law violations, including tree removal without a permit, at stcatharines.ca/reportanissue.

Students can find community at the Faith and Life Centre

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Cameron Sauder

December 11th, 2023

The Faith and Life Centre provides students the chance to connect with other students in a private area that is close to nature. 

Located at Alphie’s Trough, one of the most beautiful buildings on campus, the Faith and Life Centre (FLC) is tucked away from the regular hubbub of the Brock campus. With electrical outlets, wide windows overlooking the escarpment and complimentary coffee, tea, hot chocolate and more provided during drop-in hours, the FLC is the perfect spot for students to study and hang out. 

Many religious groups operate under the FLC’s jurisdiction, and there are more who use the space for prayer groups, Bible studies and discussion groups. However, it is “a space for all students, and all student clubs – religious or otherwise.” 

Jack Wood is an intern for the Brock Campus ministry under the leadership of FLC Chair Chaplain Zack DeBruyne. He co-leads the Hike Crew, an FLC group focused on giving Brock students an opportunity to get outside, get active and meet new friends. 

During the Fall term, the Hike Crew gathered every Monday from 11 a.m to 12:30 p.m at the FLC. They embarked on one of three main routes, each with some variations. These routes included the Bruce Trail leading to the hydro plant then back through the sports fields; the Glenridge Quarry; and “the River,” which is what Wood calls the channel of water between Lake Moodie and Lake Gibson. 

Hiking with the FLC has been around since before Wood came to Brock. As “a big believer in the power of a good walk with lots of laughs and scenery,” Wood knows how important it is for students to incorporate nature into their regular schedule. 

The term’s final Hike Crew meeting was on Nov. 20, but Wood hopes that they will start again in January as long as the weather permits. If it is too cold, students can still stop by the FLC to play games such as Telestrations, enjoy snacks and hot beverages, laugh and talk about life much like they would on the hikes. 

The trails themselves will always be there for students looking to get outside for a short or long walk, whether in sun or snow. There are also other trails and destinations around Brock, including the historic Morningstar Mill, that students can use to reconnect with nature, relieve stress, increase energy and improve their mood. 

Wood said that the Hike Crew is a way to “offer a casual activity whilst still fostering community during a busy academic year.” Not every student shows up every week, but Wood might then see those students studying or partaking in other activities at the FLC. 

On Dec. 6, the FLC is hosting their annual free Community Meal for Brock students. Like the Hike Crew and other events, the Community Meal is a way for students to connect with other students, although this time with a home-cooked meal. The event will run from 6 p.m to 7 p.m., and students can RSVP here

 The FLC is a beautiful space that Brock students can visit to study against the forested backdrop of the escarpment or to talk and hang out with games and snacks. Either way, it provides a casual atmosphere for everyone, and the views are great. Students can find more events and information about the FLC events on their ExperienceBU page.

Local business spotlight: Cabin Fever Clayworks’ holiday open studio sale

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Cabin Fever Clayworks, a Niagara-based business dedicated to crafting and selling ceramic art, will soon host its first holiday open studio sale

The holiday open studio sale will take place on Dec. 2 from 12 p.m to 6 p.m at 11 Water Street in St. Catharines. The event will be hosted inside the studio that the owner of Cabin Fever Clayworks, Natalee Carr, has designed to independently complete all aspects of the ceramic-making process for her pieces.  

Carr prides herself on designing “functional pottery,” including mugs, bowls, coffee plates and even home décor pieces. The handmade pottery is completed by Carr in batches, taking four to six weeks total to be completed from her pottery studio.  

“I love my little creative space, so I was trying to find a way to share that with people and do an in-person sale. If you are local, you get to come in and shop the new things first, meet the maker and come and see behind the scenes,” said Carr.  

While Carr is ready for locals to see inside her pottery studio, the process of making a self-sufficient pottery studio took significant effort. 

In the very beginning, Carr became interested in pottery by visiting a local pottery studio in pursuit of a creative endeavour. This initial interest progressed into a deeper passion, which led her to enroll in a pottery course at Mohawk College and practice her craft.  

Although the public studio Carr used at the time was equipped for her needs, it temporarily shut down as a result of the pandemic. 

“Since then, I’ve definitely slowly worked on building things on my own. I slowly worked on finding a better wheel, I found a really old kiln that is now in our garage,” said Carr. 

Likewise, the artist behind Cabin Fever Clayworks pointed out that the slow process of building her own studio has helped with the production process for the brand. The studio she made for herself has given her full control over the batches of pottery made for the business.  

Despite the lengthy process inherent to her craft, Carr assures that over 150 pieces will be available for locals to purchase at the holiday open studio sale.  

“There is such a big collection of new pieces coming. I have never had such a big collection of pots; there are 150 pots available. They are all going to be new styles, new glazes and new things,” said Carr. 

Additionally, the artist has prepared several other surprises for attendees of the event. Niagara locals attending the event can expect to be greeted in the studio with treats, specialty coffee, punch and a variety of new pottery to browse through. Carr will also be hosting giveaways on the day of the event for various prizes. The prizes include winning a private workshop with Carr, free pottery and discounts for future restocks on Cabin Fever Clayworks’ website

As a Niagara-based small business owner, Carr felt passionate about highlighting how much it means to feel supported by the community through events like the one she is hosting: 

“It’s really admirable when you see people who are supportive in whatever ways make sense to them. Whether they can talk about it and share it with their friends, whether they can come and support it, or whether they can shop a lot or not. It never goes unnoticed, really.” 

Those who can’t make it to Cabin Fever Clayworks’ holiday open studio sale in early December have other avenues to support Natalee Carr’s work if they wish to do so. 

Cabin Fever Clayworks’ ceramics can be bought online or in-store at certain locations around Niagara. For online purchases, the artist offers local pickup, and pieces that are not sold at the holiday open studio sale will be up on the website for purchase. Locals can also visit the Niagara Arts Centre Studio Shop in downtown St. Catharines or The Local Life in Vineland for future restocks.   

“Renaissance: A Film by Beyoncé” is an opulent tour de force

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The film confirms what we all know by now: Beyoncé’s only competition is herself. 

Before being released in theatres on Dec. 1, Renaissance: A Film by Beyoncé was first teased after the Renaissance World Tour’s final show in Kansas City.  

Beyoncé is commonly praised for her incorporation of visual content as a companion to her albums, most notably her film Lemonade. After teasing a music film (known by fans as “the visuals”) for her seventh album Renaissance last year, the artist did not release any cinematic content until the tour film’s announcement. 

The film chronicles the tour from its beginning to end, containing footage from various shows. Behind-the-scenes segments addressing the tour’s construction from stage design to the philosophy of Renaissance are featured in clips between the concert footage. As the synthesis of a diverse catalogue of footage, the film is equally as insightful as it is engaging. 

Much like my own experience witnessing the show in person, the film left me starstruck through its entirety. Beyoncé’s vocal mastery in the opening “Dangerously in Love” was as surreal in the film as it was in person. Amid my astonishment, I left the cinema with one feeling on my mind: freedom. Freedom from hatred; freedom from perfectionism; freedom from the standards I hold myself to. Witnessing an artist as big as Beyoncé champion multi-generational queerness is surreal all on its own. 

On a technical level, the film is nothing short of extraordinary. Performances from various shows are seamlessly edited together during choreography, showcasing the vast array of handcrafted outfits. The sound is mixed to the quality of a studio album without sacrificing the noticeable rawness of Beyoncé’s live vocal capability. The concert’s choreography and interludes alone make for a visually enthralling experience. Because of the stage’s colossal size, three separate stages were used on tour to prepare for subsequent shows.  

The recurring aesthetic of retro-futuristic technology leaves the impression of the stage being assembled as the show is happening. Crew members with silver jackets fittingly labelled “crew” scurry across stage to move props or capture footage. This approach could have faltered, but the raw euphoria and artistic refinement of the show makes the incorporation of the crew feel fitting. 

As the name implies, Renaissance represents a rebirth for Beyoncé. In comparison to her previous tours and performances, the Renaissance World Tour feels like a release of tension fueled by her pursuit of perfection. Her charismatic stage presence feels effortless and relaxed. And unashamedly, it’s a treat to watch someone as legendary as Beyoncé laugh at her occasional mishaps. 

Within the film’s documentary footage, Beyoncé extends the idea of rebirth to those close to her, namely her first-born daughter, Blue Ivy Carter. Beginning on May 26 during the concert in Paris, France, the 11-year-old joined the stage as a dancer for the performance of “My Power.” While initially believed to be Beyoncé’s idea, she later noted that it was her daughter’s idea to perform. 

“She told me she was ready to perform, and I told her no,” Beyoncé says in the film. 

Following her onstage debut, Carter encountered negative comments online surrounding her performance. In response to these, Carter chose to return to the stage stating “[she] will only get better from here.” Carter proceeded to perform at nine other shows, including the final. 

Beyoncé ties in the idea of a renaissance to Carter’s newfound ambition. Amid her frustration with the criticism her daughter faced, she accepted her daughter’s decision to work diligently, fostering a welcoming environment with the other dancers. 

Along with being a triumphant culmination of Beyoncé artistry, the soul of Renaissance lies in its love for queer culture. A segment of the film covers the influence of Beyoncé’s Uncle Johnny on her life before he succumbed to AIDS. Beyoncé dedicated the Renaissance album to him and mentions him in the track “HEATED.”  

In the film’s third trailer, Beyoncé declares that “time is [her] only obstacle.” The entertainment industry notoriously subjects women to time’s arrow, filtering out women from the scene and allowing ageism to sweep many under the carpet. Beyoncé’s ability to maintain her solo career is dependent on her unrivaled work-ethic and continuous evolution. 

Nothing in the film comes across as filler content. All aspects of the show’s conception feel rightfully addressed: the vast technical work invested into the stage’s design; the love letter to the queer founders of ballroom culture; the limitations Beyoncé has encountered at this stage of her career; and the exceptional footage archiving the tour. She has nothing to prove to anyone, her name is already written into history. 

With this film, Renaissance crystallizes itself as more than just an immaculate dance album, but a cultural movement. It will be remembered for igniting a beacon of recognition for Black queer culture and serving as an inception for new pioneers.  

The Brock University Choir blows away its audience with their performance “Sing Your Song”

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The Brock University Choir blew away a full house with their performance Sing Your Song. 

On Nov. 26th, the University Choir presented Sing Your Song, a nine-track performance that brought its audience to their feet. Conducted by Shawn Grenke, the 44-person mixed voice ensemble was comprised of soprano, alto, tenor and bass singers from the faculty, staff and student body. 

Shawn Grenke is not the university’s normal conductor, covering for Rachel Rensink-Hoff who is away on sabbatical. Grenke is the Director of Music at St. George’s United Church in Toronto and a Collaborative Pianist with the Elmer Iseler Singers of Toronto. He is also the Artistic Director and Conductor of the 80-voice Achill Choral Society in Orangeville, Ontario. Grenke has appeared in performances all over the world, most notably in Poland, South Korea, Sweden and China. He has travelled all over Canada to perform. 

This performance also featured Julia Broomer on piano and Gordon Cleland on cello. Broomer was the music director at Niagara Christian Collegiate in Fort Erie and is now working on growing their program to include award-winning instrumental and choral classes. She now works with the Chorus Niagara Children’s Choir and the Niagara Symphony Music Camp. Cleland is the principal cellist of the Niagara Symphony and the Southern Ontario Lyric Opera. He is also the cellist in the MD3 Piano Trio. Cleland has performed all over the continent but has settled into teaching the art of cello and other string instruments at Brock University and Ridley College.

Sing Your Song featured several impressive young soloists on songs such as “Testimony” and “Loch Lomond.” The program favoured Canadian composers, highlighting the work of Stephen Hatfield, Laura Hawley, Sarah Quartel and Matthew Emery. 

While the show moved through a variety of pieces, it chose to specifically focus on the message of one piece called “Testimony.” Composed by Stephen Schwartz, the song was originally written for the San Francisco Gay Men’s Chorus. Inspired by interviews from the “It Gets Better Project,” the song leans into the feelings of self-hatred and despair that are felt by bullied and isolated young people contemplating ending their lives. The song moves through these feelings and ends with a collective assurance from older counterparts that it does get better, and life is worth living. More information about “Testimony” and the “It Gets Better Project” can be found here

Some of the program’s other standouts were “The Arrow and the Song” and “Loch Lomond.” Both pieces allowed the choir to shine, showcasing their growth and learning throughout the semester. The use of “Wavin’ Flag,” a track written by Somali-Canadian artist K’naan and popularized in 2010 following an earthquake in Haiti, was an interesting addition that allowed the crowd to dance in their seats. 

The performance wrapped up with the titular “Sing Your Song,” a beautiful piece that fittingly encompassed the theme of the program as a whole. The Brock University Choir is an outstanding example of vocal excellence. Their program Sing Your Song showcased that all of its members have a bright musical future to look forward to.

Editorial: The needed ceasefire in Gaza 

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The Israeli response to the Hamas massacre on Oct. 7 has exacted asymmetrical terrorism on innocent Palestinian civilians living under occupation. The only solution is a ceasefire in Gaza to end the ongoing bloodshed. 

According to Israeli sources, the atrocious Oct. 7 massacre by Hamas in southern Israel claimed roughly 1,200 Israeli lives including civilians and children, through planned incursions into nearby towns, kibbutzim, military bases and a music festival. In response, Israel has chosen a policy of destruction on the Palestinian population.

After Oct. 7, Israel immediately called for the evacuation of North Gaza, home to around 1.1 million Palestinians. Hundreds of thousands of Palestinians have been migrating through Israeli-sanctioned humanitarian corridors to the south of the Gaza Strip.

Defence Minister of Israel, Yoav Gallant, in no uncertain terms called for a “complete siege” of the Gaza Strip just days after the Oct. 7 attack. After announcing Israel would be shutting down the electricity, water, food and fuel to the whole of Gaza, Gallant stated that “we are fighting human animals.” There is no semantic ambiguity due to the contiguity of the statements as to whether Gallant is referring to Hamas or the Gazan population writ large: the Palestinians are the “animals” in this statement.

It remains a topic of contention as to how trustworthy the reported numbers of civilian deaths coming out of the Hamas-affiliated Gazan health ministry are due to their being under Hamas governance. While one should not entirely eschew skepticism as to the exact figure, it is not hard to imagine that the number of casualties being reported from the Ministry — around 11,000 — is accurate.

First of all, the Gaza Health Ministry (GHM) is a civilian-run organization that has reported accurate numbers related to the conflict that were verified by multinational-alliance organizations such as the UN and W.H.O. in the past. Second, if you’ve been following the images that have circulated from reputable sources on sites like X, the seemingly endless number of new videos featuring charred and mangled children speak for themselves.

In Aristotle’s Metaphysics IV, the philosopher conducts a sustained meditation on skeptical thinking that is quite helpful for working through the particular issue of taking seriously the estimated numbers and kinds of casualties being reported from Gaza and elsewhere.

In a section of the book, Aristotle makes a distinction between being incredibly skeptical to particular classes of things instead of having a general principled skepticism to all received knowledge. In laying out this distinction, Aristotle makes the prescient point that denying knowledge of some things over others entails a certain knowing something about that class of things being especially scrutinized that justifies a pronounced skepticism in place of accepting them as accurate.

Therefore, skepticism shown towards certain types of received knowledge needs to be backed up with a reasoning that doesn’t lead to hypocrisy in analogous situations. It would be hypocritical, for example, if some received information by the type of skeptic in consideration didn’t go through the same scrutiny to be adopted as remotely factual, despite having the same qualities that warranted the skepticism of the rejected class of information.

Simply stated, unless the same hyper skepticism to the endless stream of video evidence of bombed hospital corridors and dead children in Gaza posted online is applied to the reporting from Israel on Oct. 7 — which any reasonable person should accept actually happened in roughly the numbers reported by Israeli officials — then one has to explain what knowledge they do have about the Gazans that justifies the belief that all video evidence and civilian reporting is completely untrustworthy.

The response at this point is usually that Gaza is governed by Hamas, which is a terrorist Islamist group. And while it’s certainly true that one should not take any numbers directly from Hamas officials as being accurate without more legitimate corroborating voices, the GHM is still overwhelmingly civilian run. There’s also yet to be any evidence for a substantial Hamas-led PSYOP for flooding social media and major Western press with video evidence of dead and severely injured civilians.

It should also be mentioned that there was hardly an everlasting mass skepticism of Israeli-reported figures on the conflict after 2008’s Operation Cast Lead which killed 1,400 Palestinians, most being civilians and over 300 being legally children, and of which Israel was the primary aggressor.

Furthermore, the sketchy details that have surfaced regarding the Israeli justification for the recent Al Shifa hospital takeover are further proof that skepticism is being unfairly applied to Gazan officials.

The hospital’s invasion was based on the pretext that it served as a Hamas military “command centre,” which is still unconfirmed. Meanwhile, the Hospital’s director has said that as a result of the Al Shifa siege, three premature babies have died, and the fuel is running out.

Finally, those who remain skeptical of the Gazan numbers in terms of some mythological record of Israeli humanitarianism should have to grapple with the UN-conducted and reported statistics from Statista. These figures show that in the last 15 years alone the ratio of received deaths and injuries between the two dependent variables from each side is well above twenty-to-one just in terms of deaths which, mind you, is the more condensed ratio when compared to the ratio of injuries.

To be clear: Israel has an absolute right to defend itself against Hamas.

However, a question arises here that leading progressive commentator and co-host of The Young Turks, Ana Kasparian, made explicit on the PBD podcast a few weeks ago. Namely, why is Israel using collective punishment (illegal under international law laid out in the Fourth Geneva Convention, one should add) instead of special operations to target Hamas militants and leaders specifically? After all, special operations were ordered by the United States which were successful in killing founder and leader of al-Qaeda Osama bin Laden in 2011.

The answer is because Israel has never considered there to be a rightful claim to ownership for the forcibly displaced Palestinian population of what is now Israel. This was the case far before the recent conflict with the two defining wars in service of Israeli occupation and settlement, the 1948 Nakba and the 1967 Six-Day War, seeing large swaths of Palestinians exiled from their land. Furthermore, settlements in the remaining occupied Palestinian territories continue to be developed illegally under international law.

It should be sufficiently clear that what’s happening in Gaza now is tantamount to an ethnic cleansing, the birth of which goes back a hundred years now.

Therefore, it should be incumbent on all governments and populations around the world to call for Israel to stop its illegal siege on Gaza.

For decades, Israel has prided itself on being the only true democracy in the Middle East, oftentimes using this “fact” as the key token for receiving Western support and trade. A true democracy, however, can’t be an ethno-state and must follow international human rights codes.

It’s also important to grasp that explanation is not justification.

One can hold two truths at the same time; what Hamas did on Oct. 7 is abhorrent and unjustified, but that doesn’t mean a condemnation of the Israeli response is out of bounds. The strict taboo around talking about the geopolitical history of Israel, viz-a-viz the recent outburst of violence on both sides, is a rhetorical tool meant to cast all Palestinians as essentially terroristic and sub-human. This taboo should come as no surprise as egregious ethnic essentialism that is founded on the current status quo, or at the very least convenient slices of time, has always been a rhetorical device in the arsenal of the far-right. 

The antidote to this fundamentally right-wing framing of “dangerous” ethnic groups should always be historical supplementation that focusses on material conditions as a subversion of naturalisation. 

And to that effect, Israel for decades has controlled movement within the occupied Palestinian territories, has used advanced security technology to surveil the Palestinian people, as well as having at their discretion the flow of resources into Gaza, as Gallant’s announcement of the cutting off of such resources made palpable.

One also should mention that the Strip remains one of the most densely populated places in human history, with a roughly five-by-twenty-five square-mile border. And within that border the following facts are true: the median age in Gaza is 19; over half the territory’s population is children; over 90 per cent of the water isn’t potable in Gaza; and unemployment hovers around 50 per cent and jumps even higher than that when considering youth unemployment in the territory.

All of these material factors are important to consider in terms of why many commentators, scholars and activists have accurately called Gaza an open-air prison, including former US president Jimmy Carter.

To reiterate, the Oct. 7 Hamas incursions and mass slaughtering were unequivocally wrong, but they weren’t the expression of an entire people’s natural dispositions, which is how Israel is treating it with their policy of an active ethnic cleansing of the Strip.

What is desperately needed now is a ceasefire in Gaza if there is to be any hope for future peace between the Israelis and the Palestinians.

A Niagara local’s gift giving guide for the holidays

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The winter holidays are fast approaching. This often entails hours of thought put into possible gifts for loved ones. Sure, everyone knows that the meaning behind the holidays transcends past gift giving, but it is often a great way to remind loved ones of the connections we share. 

Gift giving is often hard to master as it requires both a general sense of what different people would like to receive as gifts, and also a keen eye for where exactly to find these potential gifts. For the latter, big box chains may be reliable but less useful for finding unique gifts made with love. 

For that reason, supporting small businesses located in or near the Niagara region may be the ideal solution to finding unique, well-thought-out gifts for those that you hold dear to your heart.  

The following are a few gift ideas suitable for a wide range of people you may have in your life, all made by small businesses from the Niagara Region. 

  1. Candles 

While this may be an obvious gift idea, it would be naïve to disregard the power of aroma. Most people, regardless of their role in your life, will feel flattered knowing that a certain aroma reminded you of them. Otherwise, they may just appreciate the gesture and enjoy a new scent in their home. 

A store in particular that carries a variety of candle scents at an affordable price is Meg Clemmensen’s boutique. The artist has a variety of holiday-themed candles and wax melts available on her website, all made from natural soy wax. Additionally, the store offers Taylor Swift-themed candles, based on different album eras.  

16 oz candles are priced at $25, making the candles a thoughtful, yet reasonably priced gift for any candle lovers in your life. 

  1. Skincare/Body care 

Skincare or any kind of body care as a gift can be a very nice gesture to promote self-care among the people we care most about. Particularly because the holiday season is characterized by cold weather, moisturizing products are a must. That said, gifting a rich moisturizing product is often welcomed with open arms, as most people enjoy their skin feeling replenished from the cold air. 

A Beamsville-based natural skincare business that shines in this category is Taste of Honey Canada, with its high-quality, natural honey self-care products. Within their catalogue you can find lip balms, haircare and other moisture-rich products free of artificial perfumes. 

Products such as their Coffee Banana Rejuvenating Face Mask ($20) promise a boost of moisture after usage, which is perfect for coping with the winter air. Otherwise, if you know anyone in your life who routinely shaves, their business also sells a luxurious shave kit ($49.75) in gift box form.  

  1. Art prints 

Another great option that is bound to be received well by most people is art prints. By gifting art, you are not only supporting and celebrating an artist’s talent, but you are simultaneously giving out a beautiful art piece to be displayed. 

The reason why art prints are such a versatile gift is because the person on the receiving end can choose where and how to display it. While most original art pieces are costly due to the labour that it takes to create an art piece, art prints are an accessible way to gift art. 

A business for those wanting to gift art prints to consider is Chelseigh Rae Artistry. This Niagara-based illustrator sells fun art pieces with influences from pop culture movies, artists and music. One can also find animal portraits sold as art prints, which can suit the preferences of most animal lovers. Some products that stand out in the shop are the Harry Styles art print ($20), and theJunonia Coenia Butterfly Print ($10). 

  1. Home decor 

Similar to the previous suggestion, home décor can add a lot of dimensions to a space. One of the advantages of gifting room decor is that it shows that the gift-giver has great attention to detail, as they have to consider the recipient’s style and preferences for their space. 

Macrame is a beautiful, yet simple kind of home décor to gift to friends and family. Macrame pieces, being a textile made from a wide array of knotting techniques, often fit in easily with many kinds of home décor styles. 

For that reason, one can look at stores like After the Storm Macrame for handmade pieces to gift this holiday season. The artist has a variety of simple designs, as well as more intricate pieces up for sale such as their Christmas tree wall hanging.  

While holiday shopping may often bring a degree of stress into one’s life in the pursuit of finding the best gifts possible for loved ones, it doesn’t have to be this way. By supporting Niagara-based businesses for your holiday shopping, you get to support artists in your community with full confidence that their crafts will be well-received gifts. 

Here is what to expect from DART 4F56 Patchwork Productions’ “All That Makes Us” show

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On Dec. 8 and 9, the Department of Dramatic Arts (DART) will host progress showings of Patchwork Productions’ original show “All That Makes Us” at the Marilyn I. Walker Theatre. 

Patchwork Productions is a student collective emerging from the DART 4F56 course on Advanced Studies in Theatre, taught by Professor Mike Griffin. Throughout the semester, the collective has worked towards their very own original theatre show, centring around the theme of nostalgia. 

“All That Makes Us” explores feelings of nostalgia by connecting different throughlines of emotion to build off the main theme. In particular, the scripters for the show created three throughlines off the theme of nostalgia: a “coming of age” theme with queer love undertones, a theme of being a child to a single parent and not knowing one’s father, and the role of cultural influences in the scope of nostalgia. 

According to one of the scripters for the show, the process of connecting these throughlines to the theme of nostalgia is what explains the collective’s name. 

“We connected these through lines with interludes that tie them together, kind of like pieces of string, like attaching a quilt. [This] is where our name comes from,” said Kaitlyn Boyer, a fourth-year DART major involved in the production. 

To bring the production to life, students who applied to enroll in the DART 4F56 course had to carefully pick their desired roles. DART 4F56 is a full-year course revolving around a capstone project for fourth- and fifth-year DART students, where enrolled students rank their desired tasks to create a fully original production. This time, 22 students enrolled in the course, and most students were assigned multiple roles to fulfill. 

For instance, Grace Labelle-Scott, a fourth-year DART student with a concentration in performance will fulfill the roles of performer, assistant stage manager, part of the wardrobe crew and part of the publicity team. The upcoming showings of “All That Makes Us” will showcase the work of students involved in the production thus far and allow for amendments to be made prior to their final showing in March. When the showings are finalized, the audience will be invited to stay back and share their feedback with the crew. This feedback will then be incorporated by the collective in preparation for the final performances. 

“If people who aren’t familiar with the DART program come to see our show, I think they will take away that we have a lot of multitalented people in the show,” said Benoit St-Aubin, a fifth-year DART major and associate director for the production. 

One of the key takeaways that the crew wishes to communicate with the audience in the progress showings is the theme of self-acceptance.  

“I really hope this show allows people, or shows them, that they can just be themselves and fully accept that in whatever way it may be. Whatever has happened to them makes them who they are and that doesn’t mean they are flawed or less than, it just makes them,” said Boyer. 

Those interested in the progress showings of “All That Makes Us” can choose to attend either on Friday, Dec. 8th at 7:30 p.m, or Saturday, Dec. 9th at 2:00 p.m or 7:30 p.m. Tickets are available here.

In defence of “Baby, It’s Cold Outside”

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Content warning: mentions of sexual assault and rape 

The controversy over the classic winter song “Baby, It’s Cold Outside” stems from misinterpretations of its lyrics and themes. 

In recent years, Frank Loesser’s classic 1944 song “Baby, It’s Cold Outside” has become subject to plenty of controversy. The song, which is written as a back-and-forth conversation between a male and female singer, has come under fire due to its supposedly misogynistic lyrics, with its male singer supposedly pressuring his female counterpart to spend the night with him. 

While the song has always been a bit controversial, the conversation over its lyrics and themes didn’t become widespread until the late 2010s. In response to the backlash, some radio stations have pulled the song from their airwaves. 

Any amount of nuance or historical research will reveal that the song’s theme isn’t quite this simple. It’s easy to look at the song from a modern context without critically thinking about its lyrics, but observing the history and the humanity within the song reveals its themes are actually quite innocuous, and in some ways even progressive. 

Throughout the song, the female singer makes remarks as to why she should leave the man’s home, followed by the male singer attempting to persuade her to stay. At first, it might seem like the male is pressuring her to stay against her will, but the song makes it clear that this is actually a flirtatious exchange in which the female wants to stay, but she feels that it would be socially unacceptable.  

In reality, she is fighting between her wishes to spend the night and the societal expectation that she shouldn’t have control over her own sexual choices. In the 1940s, it was considered scandalous for an unmarried woman to sleep with her boyfriend, something that the song’s female singer is very aware of. If you really want to apply a modern lens to the song, it is actually more of a feminist anthem about a woman reclaiming power over her sexual choices despite the societal backlash she will surely face. 

But what about the actual lyrics, and how do they support the idea of an innocent flirtatious exchange between two lovers? 

In the song, she claims to be “in some crazy spell.” This is a reference to her feelings of attraction toward the man; she knows that society demands her to go home and conform to their expectations of what a woman should be, yet her feelings of love toward him entice her to stay nonetheless.  

This is further evidenced when she says, “I ought to say no, no, no sir.” To someone who doesn’t think critically about the song’s themes or lyrics, this might seem like she simply wants to get away from him. Yet, the word “ought” offers an alternative suggestion: once again, she is mentioning what society is telling her to do, and therefore what she thinks she ought to do, but is conflicted because it does not align with her own desires. There is a difference between “I ought to say no” and “I am saying no,” and this distinction should be recognized.  

Furthermore, this line further plays into the flirtatious nature of the song, which is understandably harder to dissect nearly a century after the song’s original release. She is reminding herself that she really shouldn’t stay because of what people might think of her, yet she knows she doesn’t actually want to leave. 

In the song, she says “my mother will start to worry, my father will be pacing the floor,” which serves as more evidence that her so-called desire to leave is actually concern over societal and familial expectations. Notice that she never says she wants to leave, yet she makes frequent mention of what others will think of the situation. 

The line in the song that arguably attracts the most backlash is the woman’s line, “say, what’s in this drink?” At first, this might seem like a clear reference to date rape drugs, but some research into the line’s historical context reveals a different answer. 

A now-removed article from feminist magazine Persephone, which is documented in an article by Mental Floss, states that “what’s in this drink” was actually a commonly used joke in movies in the 1940s, used by characters when they were doing something out of the ordinary and wanted something to blame for their actions. “But the joke is almost always that there is nothing in the drink,” writes the original article. “The drink is the excuse. The drink is the shield someone gets to hold up in front of them to protect from criticism.” 

In other words, the line isn’t meant to be taken literally. The man hasn’t actually drugged the woman. She’s jokingly mentioning something being in her drink as a tongue-in-cheek excuse for why she’s sticking around despite knowing she’s societally expected to refuse the man’s advances. 

The man’s comments throughout the song are completely aware of the woman’s stance, and he flirtatiously plays into her comments. As she reminds herself that she should probably leave, he flirts in response, playfully asking her to stick around. He’s not pressuring her to stay against her will. He knows that she wants to stay and is flirtatiously playing with her. 

The song is nothing more than a flirtatious exchange between two lovers. It’s understandable to discuss the song in a modern context, but there should be some effort to understand the nuance behind Loesser’s original lyrics. 

“Baby, It’s Cold Outside” is an interesting case study of media that has shifted in its public understanding due to the changing context of the times since it was written. Yet, to immediately dismiss it as reminiscent of rape culture without giving it any further thought ignores its historical context and the human nature behind its lyrics. 

Dave the Diver is not an indie game despite its wrongful nomination

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The Game Awards’ nomination of Dave the Diver for Best Independent Game is blind to what it means for a game to be “indie,” and steals a spot from a game that deserves representation in the category. 

The Game Awards (TGA), intended to be an annual celebration of video games hosted by Geoff Keighley, often spotlights the best games and developers that the industry has to offer. Since its establishment in 2014, TGA has seen a growing list of award categories, with the most discussed category easily being Game of the Year. 

However, while the award for Game of the Year easily garners the most interest, other categories are equally important to represent. These awards cover a variety of game genres, such as the awards for the Best RPG, Best Action/Adventure and Best Fighting games. Other categories focus on specific aspects of game development, such as Best Game Direction, Best Art Direction and Best Score and Music

One category which shouldn’t be overlooked is Best Independent Game. This category, which is reserved for indie games, shines a much-needed spotlight on independent developers that often don’t have access to the same resources and funding as major developers. Because of their lack of resources and widespread popularity, indie companies are often far less likely to be nominated for popular categories such as Game of the Year, so it’s important to give them representation in a category of their own. 

But if Best Independent Game is meant to celebrate games from independent developers, why is Dave the Diver nominated for the award? 

Any amount of research quickly reveals that Dave the Diver’s developers are not independent, which should immediately disqualify them from this award. The game is developed by Mintrocket, a division of South Korean game development giant Nexon. It is estimated that Nexon has a market cap of $18.3 billion, and they have been publishing video games since 1996. Their headquarters are located in Japan, but they also have offices in South Korea, the U.S., Taiwan and Thailand. 

Plain and simply put, Dave the Diver is not an indie game, and its nomination for Best Independent Game robs a legitimately independent game of a potential nomination. 

Compare Dave the Diver’s development team with other games nominated for Best Independent Game, and the discrepancy quickly becomes clear. Other companies with nominations in this category include Geometric Interactive, a small studio located in Denmark; Black Salt Games, a small studio from New Zealand; Sabotage Studio, a development team made up of merely 23 members; and Sad Owl Studios, a small Scottish studio. 

And then we’ve got Mintrocket (aka Nexon), who has billions of dollars to back them up. 

This isn’t to say that Dave the Diver isn’t excellent, or that it’s undeserving of nominations at the award show. The game has been reviewed very strongly, achieving the designation of Universal Acclaim on Metacritic. Given the game’s consistently glowing reviews, it’s no surprise to see it nominated at The Game Awards. 

But this particular nomination isn’t right given the category. There’s likely a legitimate indie studio out there that could have gotten this much-needed recognition, but they’ve been robbed of that chance. 

It’s not entirely clear how Dave the Diver managed to become nominated for Best Independent Game, but I theorise that it has something to do with the game’s pixelated, sprite-based art style. This style is often associated with indie games, but Dave the Diver makes it clear that they are not synonymous. Plenty of indie games use a pixelated style, but not every game with a pixelated style is an indie game. 

Regardless of the reason for Dave the Diver’s nomination, gamers should recognise that its nomination is wrong both factually and morally. While it might be too late for The Game Awards to make any changes to their nomination lineup for this year’s show, its organizers should be careful in the future to make sure that nothing like this ever happens again. 

Independent games and developers deserve recognition, and it’s not fair to let giant companies steal those opportunities from them. 

The Game Boys discuss: is Super Mario Sunshine a good Mario game?

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By: Andrew Hawlitzky & Christian Roethling 

While 3D Super Mario games are normally met with universal acclaim, 2002’s Super Mario Sunshine is a bit more divisive amongst fans of the franchise. With so much to discuss, what do The Brock Press’ two most opinionated Nintendo fans think about the controversial GameCube title? 

Andrew Hawlitzky: 

Super Mario Sunshine—the black sheep of the franchise—is an underrated and underappreciated masterpiece.  

Since the game’s release on GameCube in 2002, Sunshine has ignited controversy among Mario fans. Many criticise Sunshine’s lack of polish and divergent take on Mario platforming from its predecessor, Super Mario 64

Along with a sporty new t-shirt-wearing design, Mario also dons the FLUDD: a water jetpack and water sprayer that redefines how the player moves and their relationship with the environment. The FLUDD provides Mario with the ability to hover in the air for some time, attack enemies with water and wield several additional upgrades the player can access by progressing in the game.  

The largest criticism of the FLUDD is that it makes platforming too easy and takes away from the simplicity of Mario’s previous platforming abilities in Super Mario 64.  

However, the level design in Sunshine is specifically meant to integrate the FLUDD’s hovering abilities as well as several other actions. The vast majority of levels could not be completed without extensive use of the FLUDD. Upgrades to the FLUDD such as the rocket nozzle also give the player access to levels in previously inaccessible parts of the hub world.  

The hub world and general setting of Sunshine have simply never been matched in any succeeding game in the Mario franchise. Isle Delfino is a wondrous island paradise with such diverse scenery that—despite any aggravating enemies or “jankyness”—makes the player feel like they’re on a tropical vacation.  

Delfino Plaza is the most fleshed-out hub world in the entire Mario franchise. The music is iconic, idyllic and profusely contributes to the esthetic of the game. More than any other part of the game, Delfino Square makes the player feel like they’re in a real island town and by the time they are finished the game, the player will know the town inside-out.  

Hub worlds from succeeding Mario games feel small and lifeless by comparison.  

The Comet Observatory from Super Mario Galaxy had very little personality or purpose other than providing access to the surrounding galaxies. The Mario Faceship from Galaxy 2 had a slightly more diverse landscape though it was significantly smaller by comparison. While many people applaud the Galaxy games for their beautiful esthetic incorporating the first orchestral Mario soundtrack, Sunshine’s esthetic is far more defined and integrated into world design than Galaxy’s ever was. Each world in Sunshine stays consistent with the tropical island vacation theme while taking the theme in a unique direction such as Gelato Beach, Hotel Delfino, Pinna Park and others. Whereas Galaxy takes the space theme in a loosely defined web of directions that feel very disconnected from one another.   

Super Mario Odyssey had a similar problem to Galaxy as far as maintaining a consistent esthetic between worlds and sometimes even subverted its own design, such as with the realistic humans present in New Donk City. Odyssey had no hub world to speak of, other than the eponymous Odyssey which the player could not even enter. 

Odyssey, in many ways, perfected what Sunshine had started: new platforming abilities made possible through a wearable companion, story-focussed gameplay and non-linear level progression.  

The latter two game features are by far the most divergent from the franchise. What defined the 2D era of Mario was the simplistic, “get from A-to-B” gameplay and next to no story elements. Something similar has been the focus of most 3D Mario games including the majority of Galaxy. Sunshine is by far the most plot-heavy mainline Mario game, filled with twists and voice-acted cutscenes that really throw the player for a loop. Both Sunshine and Odyssey took the attainment of collectibles in a more puzzle-solving direction that utilises platforming with FLUDD, or in Odyssey’s case, Cappy. 

The most biting criticism of Sunshine is that the game is unfinished and buggy. I will not deny that there are many examples of entire stages notorious for their difficulty and lack of polish (the Pachinko Game, Sand Bird, Lily Pad Ride, Mario Toss, all of Corona Mountain, etc.)  

I will admit there comes a point where a game is simply too glitchy to even enjoy. With that said, I do not think Sunshine has even gotten close to that level of unplayability. The majority of the game integrates Mario’s new moveset flawlessly.  

 
Graphically, the game is vibrant and still holds up to modern standing. The levels which demonstrate exceeding difficulty and an overall lack of polish are isolated to a few short stages that do not take full advantage of Mario’s highlighted platforming. 

Overall, while the game would have benefitted from a little more Nintendo polish, it is undeniable from the gorgeous esthetic and uniqueness of the FLUDD’s platforming abilities that Super Mario Sunshine did what few other Mario games ever attempted to do.  

Christian Roethling: 

Just as Mario donned his sunglasses for his adventures on Isle Delfino, my colleague here seems to have his nostalgia goggles on tight. 

Listen, there’s a lot of good within Super Mario Sunshine. The game’s identity is strong and memorable, and it made a lot of advancements within Mario’s movement capabilities through the implementation of the FLUDD jetpack. 

But a good concept only makes up half of a great product. If it’s missing proper execution, then the product has still failed to deliver a well-rounded experience. 

When I think of 3D Super Mario games, I immediately think of the immense polish and care behind these titles. The first 3D Mario title, 1996’s Super Mario 64, is lauded for its incredible movement options that give a high level of control and accuracy to the player. Recent iterations like 2017’s Super Mario Odyssey build upon 64’s foundations with an increased level of polish, meaning Mario is pure joy to control. 

Super Mario Sunshine, on the other hand, has a gameplay experience defined by frustration. The game can mostly be described through the word “janky.” While FLUDD brings many new options that should have been a joy to fiddle around with, the overall experience feels sloppy and unfinished. 

It’s not unusual in Sunshine to be killed by glitches, or be launched into the sky by a Pianta at a slightly incorrect angle and fall to your doom. With other 3D Mario titles, each death is an opportunity to grow in your approach and enhance your skills. With Super Mario Sunshine, a lot of the death feels unfair, meaning the game is frustrating rather than rewarding. 

As the game was given new life through the Super Mario 3D All-Stars collection on the Nintendo Switch in 2020, a new generation of gamers learned just how frustrating and unfairly punishing Sunshine can be. 

It’s no secret that Sunshine’s development was fairly rushed, and this shows in the final product. The game took about a year-and-a-half to develop, a clear difference from its predecessor’s three-year development period. As a result, players will have to sit through the same mini-bosses multiple times, leading these moments to feel copy-and-pasted rather than unique or special. 

Further defining the experience are levels like the Pachinko machine or the lily pad level, both of which are infamous for being gruelling and unfair. These aren’t like the intentionally-difficult final levels in Super Mario Galaxy 2 or Super Mario Odyssey, where the level is meant to be a final challenge for masterful players; rather, Sunshine’s levels are difficult simply due to their jankiness and lack of polish. 

It’s not hard to see why so many people are nostalgic for Sunshine. Its clear island locale and memorable gameplay additions make it a prime target for nostalgic young adults who still see it through their youthful eyes. As a child, it can be harder to detect the flaws in a product you love, but as you grow older, you begin to develop a more critical lens. As someone who didn’t grow up with Sunshine, I’m not left with joyful childhood memories of exploring Isle Delfino for the first time, I’m left remembering the unfair deaths and nonstop jank that plagued the experience. 

Super Mario Sunshine is a fantastic Mario concept, but it is not a fantastic Mario game. In a series so heavily defined by polish and care, there’s no justifying this rushed, sloppy product. Despite its slew of fantastic ideas, Super Mario Sunshine is easily the worst 3D Super Mario game. 

… 

Super Mario Sunshine remains a major point of contention for franchise fans, and it doesn’t appear that will change anytime soon. 

To read about The Game Boys’ opinions on the upcoming Legend of Zelda movie, click here. 

The best streaming service? This list will help you pick your new favourite

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The average net cost of streaming services in Canada is approximately $160 per month. This list will help you narrow down your media spending this holiday season.  

With the rise of streaming service subscription prices and a crackdown on account sharing, people are finding themselves at a crossroads with their favourite online media providers. With so many streaming services on the market and so much media to consume, it can be impossible to decide which network provider is the right fit. This list is here to help.  

Netflix: 

While Netflix wasn’t the first online streaming service on the scene, it was the first one to make it big.  

A former movie rental service, Netflix is the home of popular original content such as Stranger Things and Bridgerton which acquire millions of views throughout the year. On top of Netflix Originals, the streaming service also offers a wide variety of network television and blockbuster movies. Netflix is also known for its broad selection of documentaries. On top of this, this streaming service has a varied collection of foreign-language films that have come from all over the world.  

Netflix has a variety of packages that range in price and features. The first is the standard with ads package which costs a total of CAD 5.99 a month. The second is the standard package which costs a total of CAD 16.49 a month. The third is the premium package which costs a total of CAD 20.99 a month. The standard with ads and standard packages supports two devices at a time, and the premium package supports four devices at a time. Additional devices can be added to all packages for CAD 7.99 each per month.  

While Netflix does not currently offer a student discount, its wide variation in pricing provides the option to save a few bucks while still having access to all your favourite media.  

Disney Plus: 

Considered to be one of Netflix’s closest competitors, Disney Plus is *the* place to explore Disney’s vast filmography.  

Home to the Disney, Pixar, Star Wars, Marvel and National Geographic libraries, Disney Plus is the only place to watch shows such as The Mandalorian, Loki, Andor and She-Hulk. These shows, which have drawn in millions of viewers for Disney each year, won’t appear on any other streaming services. On top of this, Disney Plus is one of the best streaming services for families as it hosts a variety of content that will appeal to both children and their parents.  

Disney Plus also has a variety of packages that vary in price. The first is the standard with ads package which costs a total of CAD 7.99 a month. The second is the standard package which costs a total of CAD 11.99 a month. The third is the premium package which costs a total of CAD 14.99 a month. Disney Plus also has the option to pay a yearly fee for the standard and premium packages, saving the streamer a good deal of money.  

Disney Plus, while more expensive than Netflix for the standard with ads package, is cheaper than all other packages. It also provides students with 15% off when a 12-month plan is purchased.  

Amazon Prime: 

Amazon Prime Video, while lacking the same catalogue as Netflix and Disney Plus, is one of the most cost-effective streaming services when bundled with an Amazon membership.  

Prime Video is known for its variety of ad-free, quality original shows and movies as well as an impressive collection of classic films. While the interface it works on is much more confusing than that of Netflix and Disney Plus, intermingling free and paid content in the same place, Amazon Prime Video is a free perk that is tacked on to the purchase of a regular Prime membership.  

The price for a monthly prime membership is CAD 9.99 and the yearly price is CAD 99. Prime also has a student option, which costs CAD 5.99 per month for up to four years.  

(HBO) Max: 

Formerly HBO Max, the rebranded Max provides some of the most popular TV shows and movies on the market.  

While Max lacks the variety that Netflix is known for and doesn’t cater to younger audiences in the way that Disney Plus does, it still attracts a large audience. Max, which is home to the popular House of the Dragon series, also hosts all of HBO’s library, the DC universe titles, the Lord of the Rings movies and almost every Studio Ghibli film.  

While Canadians cannot tune in to the Max platform on its own, the popular streaming service and all of its offerings can be accessed through Crave, another fan favourite. There are three packages offered by Crave. The first is the basic with ads package which costs a total of CAD 9.99 a month. The second is the standard with ads package which costs CAD 14.99. The third is the premium package, the only package that is ad-free, which costs CAD 19.99.  

While a Crave subscription opens a variety of doors to a multitude of media options, if you are subscribing simply for Max, the service is a little pricey. Crave Canada does not provide student discounts either.  

This list is far from exhaustive. While Netflix, Disney Plus, Amazon Prime Video and (HBO) Max are some of the more popular streaming services, they are not the only ones. Every day a new method of streaming makes itself available and people around the globe have to decide on whether or not they are going to subscribe to another streaming service.  

Some other factors to consider when choosing a preferred service include simultaneous streams, a user-friendly interface and the quality of the streamed content. But most importantly, users should pick a streaming service whose library is best catered to their interests.  

A more exhaustive streaming service resource can be found here. 

It’s time to add Avery Lynch’s newest track “Didn’t Show Up” to your breakup playlist

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Overall rating: 4/5 

Avery Lynch unpacks an all too familiar feeling of heartbreak in her newest track “Didn’t Show Up.”  

“Didn’t Show Up” is the latest of three singles from Avery Lynch, who is planning to start the final month of the year with the release of her third studio album Friction. The track, which was released on Nov. 17th, was bundled in an EP with the album’s two other singles, “You’re Just a Guy” and “Not Angry.” All three songs follow a similar theme, tapping into the heartache that comes at the end of a relationship.  

“Didn’t Show Up,” the title track of this collection of singles, is a quiet but meaningful song that aims to highlight the ghostly voice of the artist it was written by. Populated by gentle piano and delicate vocal harmony, the musicality of the song is relatively simple. This factor does not keep the sound of the song from growing. The addition of a drawling, distorted guitar rhythm accented by a muffled reverb allows the song to crescendo in the final few verses. This inclusion helps the emotionality of the track to expand as the song progresses, building to a more heartfelt ending. 

While the song moves like a waltz, the couple in question won’t be having their first dance. Lyrics such as “You didn’t show up for me / Yeah you made me forget why I even like me / And I’m still not okay but we both know that don’t we” highlight that the relationship Lynch is singing about has been unsuccessful, leaving one person more troubled than the other.  

Elaborating on this, Lynch sings “If I say we’re fine, does that mean we are / Or are we all telling lies ‘cause that’s how you get far.” These lyrics, which suggest that deceit created a point of tension in the relationship, set a precedent for the rest of the song. “Didn’t Show Up” goes on to chronicle a variety of ways that a relationship can fail in the hands of malicious intent. This is highlighted further by the lyrics “Yeah you made me small, and you loved it all / ‘Till the day I finally stopped listening / While you leave head high, I bet you don’t think twice.”  

Heartbroken and recovering from a distressing relationship, the track “Didn’t Show Up” beautifully unpacks the overwhelming feeling of grief that comes with an unhappy breakup. Underneath the obvious lyrical meaning, the song also examines the process of having to find oneself after the end of an all-consuming love connection. Lynch’s narrative lyricism masterfully tells this story, drawing in her audience and captivating them with her perfect musical replication of a feeling many people know all too well.   

“Didn’t Show Up,” in all its beautiful simplicity, suggests that there is a lot to look forward to with the upcoming release of Avery Lynch’s Friction.  

Five must-watch matchups at Euro 2024

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While UEFA Euro 2024 is still six and a half months away, all participating nations learned of their group stage opponents during Saturday’s draw. With all six groups determined, here are five marquee matchups to look forward to in June. 

Germany vs. Scotland 

Euro 2024’s opening match features hosts Germany taking on Scotland in Munich. 

Germany will be looking to avenge their 2022 World Cup disappointment, which saw them lose 2-1 to Japan preventing them from advancing to the knockout round. 

The three-time Euro Champions haven’t lifted the trophy since 1996 but are hoping that their opening game against Scotland – who have never advanced past the group stage at the Euros – could set them on the right foot forward in the competition.  

However, Scotland will be no pushover for the Germans as they’ve recently shown that they can compete against the goliaths of soccer. 

The Scots defeated Spain 2-0 in Euro qualifying on the heels of a Scott McTominay brace, as his side finished second in their group, winning five of eight matches and only losing one. 

Scotland also famously drew England in the previous Euro Cup, as well as defeating Euro 2020 semi-finalists Denmark in a World Cup Qualifiers game in November of 2021. 

England vs. Denmark 

England and Denmark have recent history against one another in European tournaments, which should set up a fantastic matchup in June. 

At Euro 2020, the two teams met in the semi-finals at Wembley Stadium in London, when Harry Kane – England’s top goal scorer – buried the extra time winner to defeat the Danes 2-1.  

This time around, Denmark will be looking for revenge against the Three Lions and claim the top spot in their group, which includes Slovenia and Serbia. 

Both England and Denmark are currently in form, which should result in some high-quality soccer to be played next summer. The English side won six of eight games in qualifying, while Denmark won seven of 10, as both teams won their respective groups. 

France vs. Netherlands 

France and the Netherlands are no strangers to one another, having met twice in Euro 2024 qualifying. 

The French won both of those matchups by a combined score of 6-1 (4-0 and 2-1) as the magnificent Kylian Mbappe netted four of France’s six goals in those games. 

However, the Dutch were without defender Denzel Dumfries in the 4-0 shellacking, as the Netherlands relied on the Inter Milan right-back to protect the Dutch’ right sideline, which includes stopping French stars Mbappe and Antoine Griezmann.  

But even with Dumfries in the lineup, France is still a formidable opponent having won the 2018 World Cup and finishing as 2022 World Cup runners-up after a tough loss to Lionel Messi and Argentina. 

The game should be intense and a tactical battle on both sides of the pitch, as it is likely to decide the winner of Group D, which also includes Austria and playoff winner A. 

Spain vs. Italy 

This “Group of Death” matchup on matchday two will have significant implications on group positioning, as earning a win is vital to have a chance at advancing out of Group B (Spain, Italy, Croatia and Albania). 

These two monstrous soccer nations have met in the semi-finals of the last two European tournaments, with each team winning one of them. 

In the semi-final of Euro 2020, the Italians defeated Spain in penalties en route to lifting their second Euro Cup after beating England in the finals, also in penalties. 

Two years later, Spain got their revenge when they beat Italy 2-1 in the Nations League semi-final before they won their first-ever Nations League title shortly thereafter. 

All eyes in the soccer world will be tuning into this rivalry, as it very well can be the most entertaining game in the group stage given the recent history and star power of both teams. 

Spain vs. Croatia 

This matchup features two teams at opposite ends of the spectrum but with the same goal of becoming European Champions. 

Spain’s young midfielder core of Gavi and Pedri, who both play for Barcelona, are on the rise and are expected to have a monumental impact on Spain’s push for a fourth European title. 

For Croatia, midfielders Luka Modrić and Ivan Perišić are past their prime, as Croatia’s championship window is quickly closing despite being close to glory on numerous occasions. 

Croatia finished as a semi-finalist at the 2022 World Cup in Qatar and lost to France in the 2018 World Cup final. This could be the last opportunity for the Croats to lift a major trophy with this core. 

They will be looking for their veteran experience to outmatch the youthful players that Luis de la Fluente selects in his starting 11 for Spain, as both teams will be looking for a win on matchday one to give them the front foot in the “Group of Death.” 

For more information on Euro 2024, head to uefa.com. 

Badgers’ women’s basketball team falls to Golden Hawks after poor second half

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The Badgers’ women’s basketball team could not withstand the Laurier Golden Hawks comeback as Brock fell 61-60 on the road, to head into the winter break with a 5-4 record. 

Madalyn Weinert led the Badgers in scoring with 23 points, as Oluwatitio Akinnusi registered a game-high 14 rebounds, seven of which were on the offensive glass. 

The first quarter began positively for the Badgers as they knocked down three three-pointers in the frame, two by Olivia Fiorucci and one by Angeline Campbell, accounting for nine of Brock’s 17 points in the quarter. 

Defensively, the Badgers limited the Golden Hawks to 25 per cent shooting, including only one made three-pointer, as the Badgers had the six-point lead through one. 

In the second, Weinert, the OUA’s second-leading point scoring coming into the contest, showed her all-star calibre skillset. The junior guard scored 10 of Brock’s 21 points in the frame as she drained both of her three-point attempts and only missed one field goal going four-for-five in the quarter. 

Akinnusi also showed her size and strength picking up six rebounds in the quarter, three of which were on the offensive end as rebounding was a huge strength for the Badgers. They outrebounded Laurier 25-12 in the half and 48-29 in the game, which led to Brock outscoring the Golden Hawks by 13 in second-chance points.  

The combination of rebounding and high shooting percentage gave Brock the 38-31 halftime lead when things quickly went downhill. 

The Golden Hawks came out of the break on fire, shooting nearly 40 per cent as Laurier shooters combined for four three-pointers in the quarter. Brittyn Graves buried a three to beat the buzzer and give the Golden Hawks the one-point advantage as the Badgers could not contain the lethal Laurier sharpshooters. 

Along with the inability to defend, the Badgers could not shoot the ball nor complete routine passes, committing seven turnovers in the frame compared to Laurier’s one. 

Those same miscues carried into the fourth as the quarter started off similarly to how the third ended. 

The Badgers shot an abysmal 22 per cent from the field – their lowest in any quarter in the game – as the Golden Hawk defenders clogged the paint, which resulted in Brock missing routine shots that they’d typically convert. 

Akinnusi was limited to only five points in the entire game since she was double teamed in the low block. She was a focal point for the Laurier defense, especially after her 37-point performance last weekend against McMaster. 

However, the Badgers got lucky in the fourth as the Golden Hawks’ shooters cooled down, only scoring one field goal in the entire ten minutes.  

The Achilles’ heel for the Badgers was that Laurier was able to get to the free throw line at will going seven-for-nine, which attributed to a 10-0 run midway through the quarter.  

That run by the Golden Hawks gave them their largest lead of the game, eight points, before Brock’s key players re-took control of the game, attempting to stage their own comeback. 

Noor Bazzi and Weinert hit back-to-back jumpers before Weinert added a layup to cut the deficit to just one, with a minute and a half remaining. 

The Golden Hawks went down the floor but failed to score, giving the Badgers the chance to re-take the lead and salvage the victory. 

However, the Badgers missed three opportunities to take the lead in the final minute, as the comeback fell short, resulting in a heartbreaking 61-60 loss to go into the winter break devastated. 

Next up for the Badgers is a home matchup against the TMU Bold on Jan. 5th before heading to Toronto to take on the Varsity Blues the next day. For more information on the Badgers’ women’s basketball team, head to gobadgers.ca. 

Men’s extend losing streak to three after winless weekend in Ottawa

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Fresh off of Wilfrid Laurier University handing Badger’s men’s hockey only their second loss of the season, Brock headed North to Ottawa for two games this weekend, first against the Ottawa Gee Gee’s and the other against the Carleton Ravens. 

After a forgettable scoreless first period, Brock took charge less than a minute into the second period, courtesy leading goal-scorer Jacob Roach. 

After this point, both sides seemed to completely forget about the first period’s shutout affair, responding with a six-goal second period.  

The Gee Gee’s quickly got back in the game after Roach’s goal, tying the match 25 seconds later, and giving themselves their first lead three minutes after that. 

Brock responded in kind, delivering two consecutive goals off the sticks of Jordan Stock and Christophe Cote, restoring their one goal lead.  

Unfortunately, the second period was not a moment of strength for Badger goaltender Connor Ungar. Otherwise having an outstanding season and leading all OUA goalies in all statistical categories previous to Friday, Ungar struggled mightily in the second period against the Gee Gees, only making three saves on six shots in the period. Ungar allowed the Gee Gee’s third goal of the night 14 minutes into the second. 

The third would be almost equally difficult. Though the Badgers had led in shots the first and second, they mustered only six shots and no goal in the third. Though Ottawa only had seven shots of their own, they put one past Ungar early in the third and added two empty netters to secure a 6-3 victory over Brock. This is the first time the Badgers have lost back-to-back games since February.  

Looking to rebound from one of their poorest showings of the season, Brock faced Carleton the next day on Dec. 2nd. Carleton entered the game with a 8-5-4 record and seventh in the OUA East, while Brock entered 14-3-0, first in the OUA West.  

Once again, the Badgers struck first with a Justin Brack goal 7:45 minutes in, with Jacob Roach’s assist on the goal good enough to elevate him to fifth in the OUA in that category with 15.  

Nevertheless, the Ravens responded with a goal of their own, almost exactly a minute later, knotting the score at one. 

In periods two and three, the Ravens put considerable pressure on the Badgers, putting up 15 shots in the second and 14 in the third compared to Brock’s eight and seven respectively.  

Carleton was eventually rewarded with their go-ahead goal eleven minutes into the second and added another over halfway through the third period.  

Again, the Badgers pulled Ungar to try to close the gap, while this time they didn’t surrender any empty netters, they couldn’t bring the score any closer, losing 3-1. 

This makes it three straight losses for the Badgers, a shocking revelation for a team that was undefeated a month ago and has had one loss or less for 64 of the 72 days the season has gone on.  

The Badgers won’t have a chance to redeem themselves before the New Year, when they’ll play twice in the first week, first against Toronto Metropolitan on Jan. 4th 2024 and Guelph at home on Jan. 6th. For more information, visit gobadgers.ca.  

Corey Perry termination raises more questions than answers

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On Nov. 22nd, after practicing with his team—the Chicago Blackhawks—only a day earlier as if nothing was wrong, Corey Perry was scratched from the lineup in that night’s game against the Columbus Blue Jackets. 

While mystifying reporters, the situation also confused many of Perry’s teammates who had not been made privy to the decision.  

“We’ve got a lot of young guys, so it’s kind of a shock at first,” Blackhawks forward Nick Foligno.  

Connor Bedard, the Blackhawks franchise talent, added “Obviously it sucks he’s not here but we don’t really have too much information on it or anything yet.”  

Two days later, still without any additional information, Blackhawks general manager Kyle Davidson told reporters that the team had made the decision that Perry would be absent from the team for the foreseeable future. Three days after that, the Blackhawks placed Perry on waivers for the purpose of contract termination, and, just like that, without a shred of public information, Corey Perry was gone.  

Though he played well this season—on pace for 20 goals and 46 points—at age 38, this is probably the last we’ll see of Perry in an NHL uniform. It’s an unceremonious end to the career of one of the best players of the 2010’s. Perry won the 2005 Memorial Cup, the 2007 Stanley Cup, 2005 World Junior Gold, 2016 World Cup Gold, and Olympic Gold Medals in 2010 and 2014. Individually, Perry was a four-time all-star (twice all-NHL first-team), the 2011 “Rocket” Richard and the 2011 Hart Trophy to go along with 421 goals and 892 points in 1,273 games.  

With this situation occurring with such a high-profile player with so little clarity, rumours were bound to fly, and that’s exactly what occurred. 

In the course of all this mystery, a particularly disgusting rumour began floating around that Perry had engaged in a sexual relationship with Connor Bedard’s mother on the Blackhawk’s “Mother’s trip” where all the player’s mothers travelled with the team for a short period.  

Later on Bedard, Bedard was forced by a reporter to qualify these ridiculous claims, though Bedard called the rumours, “…just a bunch of internet BS.” 

When Davidson held a press conference later on the 28th, he also had to confront this baseless rumour, opening his statement by saying, “This does not involve any players or their families, and anything that suggests otherwise, or anyone that suggests otherwise, is wildly inaccurate, and frankly, it’s disgusting.” Davidson continue that, “This has been a tough situation and I understand you wanted answers. It was important that we took all the necessary steps before sharing more.” 

Ultimately, Davidson’s press conference revealed little except that this was a “workplace matter” and nothing criminal was involved.  

On Nov. 30th Perry released his own statement on the matter, though it added some more details, it was still lacking in clarity as to what occurred. Perry’s statement, once again, emphasized that this situation in no way involved any team members or their families, but that instead it had to do with struggles with alcohol abuse.  

It was later reported by Frank Seravalli that the incident was “alcohol-fueled” and had occurred at a Blackhawks corporate event with sponsors and team employees in attendance.  

The Blackhawks players still don’t seem to have a great idea of what’s going on, and its not apparent that we will ever get any more clarification on what happened. Then again, maybe we don’t need to.  

As tough as it is with such a public situation as this, its important to remember that professional athletes are people too, people who would prefer their struggles with mental health issues and substance abuse broadcast far and wide.  

The same goes for Connor Bedard, who only turned 18 this past July. The rumour that was concocted around Bedard was vile on its own, but it’s a particularly bad look when it’s directed at someone who’s too young to even buy a beer in the city he plays in.  

Maybe this past week can be a lesson to hockey fans everywhere: mind your own business.  

Women’s volleyball take care of business in straight-set victories over Lakehead

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Brock’s women’s volleyball team didn’t leave much to chance this weekend, playing in their last two games before the holiday break, handily defeating Lakehead University in two straight-set victories.  

Entering the match as a bottom-five team in the OUA, Lakehead surprised the Badgers by going up 3-0 to start set one, but quickly gave up 15 of the next 17 points, falling behind 15-5. The Badgers then score 10 of the next 15 points, decimating Lakehead in a 25-10 set one victory. Brock finished with 10 kills (their lowest set total of the weekend) on only two errors. Lakehead committed 10 errors to only five kills.   

Lakehead had much more success in set two, recording their highest number of kills (16) and fewest errors (6). 

Lakehead were able to eek out a 5-2 lead early, and though the Badgers fought back to make it close, Lakehead held onto the lead for much of the second set. However, late in the set down 18-16, Brock turned the set on its head by scoring the next five points to take a 21-18 lead. Lakehead made things close in the end, but it still wasn’t enough as the Badgers took the set 25-22. 

Though set three ended in a close score, the Badgers were largely in the driver’s seat for the whole set. Brock took a commanding 15-9 lead early that Lakehead picked away at down the stretch. The closest things got was when Lakehead turned a 12-17 deficit into only a 16-17 one, though the score would not come within two again. After another strong set with 16 kills to 5 errors, the Badgers took another 25-22 set and a 3-0 match victory.  

The two squads lined up again on Dec. 2nd, and luckily for Lakehead, the Badgers would struggle significantly more at their net, giving up six or more errors in all three sets. Unluckily for Lakehead, the Badgers were just as quick to capitalize on their opponents’ mistakes.  

Brock blew them out of the water to begin set one, opening with a 10-1 run. Lakehead inched their way closer throughout, but seemed out of the set when they went down 20-10. Though the Badgers got complacent and let Lakehead bring it back to 24-18, Brock still closed out the first set.  

In set two, Lakehead established a lead to open the set, but soon squandered it when Brock went on a six-point run to turn 10-7 into 13-10. Lakehead kept things competitive but were outscored 12-10 from there on out, leaving Brock winning set two. 

Unlike most other sets this weekend, set three of game two stayed interesting until the final point. Brock secured an early 4-1 lead that Lakehead was able to draw to a tie at 10-10. Both sides traded points from there, neither side able to pull ahead by more than two.  

Tied 23-23 with a legitimate chance to win, Lakehead committed a service error than gave up an ace, losing the set 25-23.  

Freshman Daryan Chadwick led both sides with 12 kills in game, while Emily Foest led with three aces, and Mackenna Knox led in assists (36) and digs (12).  

Brock’s next two games come post-break with a double-header at home against the Royal Military College on Jan. 6th and 7th. For more information, check out gobadgers.ca. 

Brock Badgers women’s hockey team faces tough challenge against Waterloo Warriors

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On Friday, Dec. 1, the Brock Badgers women’s hockey team played against the Waterloo Warriors at Canada Games Park. The highly anticipated match resulted in a 3-1 victory for the visitors, highlighting the Badgers’ recent struggles. 

The game saw sophomore forward Jenna Duarte extending her recent hot streak by scoring for the second time in the last three games. Duarte’s fifth goal of the season stood as the lone goal for the Badgers in the contest, showcasing her offensive prowess and contribution to the team. 

Waterloo’s Tatum Jones opened the scoring early in the first period, netting her fifth goal of the season on the power play at the 5:01 mark. The Warriors continued to apply pressure in the second period, with Leah Herrfort and Faith Mitchell finding the back of the net, extending their lead. Despite Brock’s eight shots in the frame, they were unable to find the score sheet. 

Duarte’s goal near the midway point of the third period narrowed the Warriors’ lead to just two goals, giving the Badgers a sense of hope. Brock wasn’t able to capitalise on the late power-play opportunity, ultimately falling short in the face of Waterloo’s strong defensive performance. 

The outcome of the game was significantly influenced by the teams’ power play performances. Waterloo capitalized on two of their five chances, while Brock struggled to convert on their four power-play opportunities. The efficiency of the power play proved crucial in determining the final score. 

The Badgers now have a record of 5-7-0-2 and will resume play in the new year on Friday, Jan. 5, as they hit the road to face the Ontario Tech Ridgebacks (3-7-1-2) in Oshawa at 7 p.m. Badgers fans can catch the game on OUA.tv, and should anticipate another thrilling matchup in the ongoing season. 

For more information on the Brock women’s hockey team, please visit gobadgers.ca. 

Men’s Basketball: Badgers triumph over No. 4 Queen’s Gaels

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In the first of two games of the weekend, the Brock men’s basketball team secured a hard-fought victory against the No. 4 ranked Queen’s Gaels, prevailing with a final score of 76-72. The Bob Davis Gymnasium witnessed an intense clash, marking the Badgers’ third consecutive matchup against a nationally ranked opponent. 

The Badgers’ offensive prowess was on full display, with four players finishing in double digits. Senior guard Jevon Brown led the charge with 16 points, showcasing his scoring ability while contributing four rebounds and four assists. Jordan Tchuente added 13 points, Kevaughn Ellis contributed 12 and Isaiah Bujdoso rounded out the quartet with 11 points. 

The opening quarter set the tone for the Badgers’ dominance, as Tchuente and Brown orchestrated impressive plays for interior baskets. The relentless team defence of Brock posed significant challenges for Queens, resulting in a first-quarter lead of 21-12. 

Maintaining the momentum in the second quarter, the Badgers displayed a fast-paced style of play. Freshman guard Anthony Heyes got the crowd on their feet with two three-pointers, helping Brock to a comfortable 44-33 lead at halftime. 

However, Queen’s was not to be underestimated, staging a comeback in the third quarter. The Gaels chipped away at the Badgers’ lead, closing the gap to 60-52 by the end of the third quarter. 

The fourth quarter witnessed a seesaw battle, with Queen’s intensifying their efforts to erase the Badgers’ lead. In a crucial moment, Jordan Nelson sank a three-pointer to shift the momentum back in favour of Brock. The Badgers demonstrated composure in the closing minutes, securing the win through clutch free-throw shooting by freshman forward Andrew Mckenna. 

The battle’s statistics reflected the closely contested nature of the game. Queens’ Luka Syllas led his team with 21 points, while Michael Kelvin and Isaac Krueger contributed 16 and 12 points respectively. Despite their efforts, the Gaels fell short as the Badgers showcased their resilience. 

The win against the No. 4 ranked Queen’s Gaels adds another feather to the cap of the Brock Badgers, solidifying their standing as a force to be reckoned with in the competitive landscape of Canadian university basketball. As they continue to navigate a challenging schedule, the Badgers aim to build on this momentum and further assert their dominance in the league. 

For more information on the Brock men’s basketball team, please visit gobadgers.ca. 

Challenging week for Brock women’s hockey team: losing streak extends to three in a row

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In a closely contested match on Thursday, Nov. 23, the Brock Badgers’ women’s hockey team played against the Western Mustangs in London. Despite a valiant effort, the Badgers fell short in a 2-1 loss. The game showcased an outstanding performance by fourth-year goaltender Kenzie Harmison, who made 27 saves out of 29 shots. 

The first period saw Western apply pressure on the power play, but the Badgers successfully defended, keeping the score level at zero. The second period brought a moment of triumph for Brock as sophomore forward Jenna Duarte, assisted by Allison Stevenson, skillfully maneuvred around a defender to score her fourth goal of the year. However, Western’s Haylie Kirkpatrick responded just over 40 seconds later, tying the game. 

The tide turned in the late third period when a loose puck in front of the net resulted in Western taking the lead. Despite a strong effort from the Badgers, they couldn’t secure an equaliser, and the Mustangs claimed victory. Brock’s ability to successfully kill off all seven penalties was noteworthy, highlighting their resilience in shorthanded situations. 

The challenges persisted for the Brock Badgers as they faced the No. 6 Guelph Gryphons on Saturday, Nov. 25 at Canada Games Park, resulting in a 5-0 defeat. 

Guelph took an early lead in the first period, with Maeve Sutherland-Case scoring on the power play at the 5:20 mark. The Gryphons extended their lead to 3-0 after 20 minutes of play with goals from Jessica Kouleas and Vanessa Bueti. Guelph added two more goals in the second and third periods, with Sutherland-Case earning her second of the night and Maya Graham getting on the board. 

Despite an effort from goaltender Kenzie Harmison to keep her team in the game, Guelph’s dominance prevailed. Harmison made an impressive 38 saves in the contest, despite allowing 5 goals. 

As the Badgers look to regroup, they will host the Waterloo Warriors on Friday, Dec. 1, with puck drop set for 6 p.m at Canada Games Park. 

For more information on the Brock women’s hockey team, visit gobadgers.ca.

BUSU’s 5-year plan: A complete failure or doomed from the start?

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It’s unsurprising BUSU would attempt a long-term plan to guide their policymaking, but what they came up with is hindered by corporate jargon and ineffectual solutions. 

Adopted in 2021, BUSU’s Strategic Plan was the first significant effort BUSU made to establish a formalized, cohesive framework outlining the organization’s direction over a five-year timespan.  
 
But does BUSU’s Strategic Plan still hold up two years later, and does it really represent student interests? Here I will take an in-depth look at every section of BUSU’s Strategic Plan, from its goals and strategies to achieve them, to what has been accomplished so far. 
 
The Plan begins with letters from BUSU’s past president, General Manager, and a few introductory pages. This is followed by three pages detailing the consultation process including interviews with BUSU execs and Brock administration, roundtables, focus groups, student surveys, workshops and reviews.  
 
The final product was a restatement of BUSU’s vision, mission and objective, which is summed up as creating “the best student experience ever” but has been limited by a lack of continuity and focus. 
 
On page 13 of the Plan, BUSU asserts their greatest strengths are “Highly Active Student Events” and “Strong Brand Awareness”. In other words, they take care of BadgerFest, make a lot of Instagram Reels and deploy a host of guerilla marketing strategies on campus.  
 
The “External Realities” page of the Strategic Plan reflects the times during which it was created. This page establishes that the COVID-19 pandemic, online learning and the Ford government’s stance on student unions are major obstacles to BUSU’s success in their mission. 
 
The four “Primary Constraints” listed on page 15 of BUSU’s Strategic Plan recognize what BUSU considers its main problems, each of which will be addressed in the document. The first constraints are “lacking continuity” and “ambiguous governance structure” which repeats what the plan has already said about BUSU needing cohesive long-term direction.  
 
The “ambiguous governance structure” section also highlights that students score BUSU’s financial transparency as “below average.” These first two constraints are issues that mainly affect BUSU and their executives as opposed to the student body. 
 
The latter two constraints are “advocacy shortcomings” and “inadequate physical space.” These are genuinely relevant issues BUSU has struggled with that strongly affect the average student.  
 
The “advocacy shortcomings” section identifies that Ontario student unions have shifted “away from advocacy as the primary function.” The plan recognizes that “maintaining healthy relationships [with University administration] while advocating has weakened BUSU’s overall effectiveness.”  
 
BUSU General Manager Robert Hilson said in an interview, “If all we did as an organization, if we chose one thing, it would be this: have fun… you might argue that advocacy is more important, than the fun. But that’s not what our students tell us. Students tell us that the fun is way more important than the advocacy.” 
 
When it comes to BUSU’s priorities for events and advocacy, “it’s a 1A and a 1B… advocacy the students don’t notice as much,” said Hilson. 
 
BUSU’s advocacy has been on the backburner for years now with most of it originating from groupthink OUSA policies and political connections rather than Brock student-driven initiatives. BUSU GM Hilson describes the bulk of BUSU’s advocacy as the following: 
 
“Alyssa [VP of External Affairs] and her team have met with the mayors of St. Catharines and Thorald, they’ve met with all of the MPPs in the Niagara region, all of the MPs in the Niagara region, and certainly participate in OUSA. So, you want to continue a relationship with the elected leaders… A lot of students don’t necessarily care about policy. That’s still a problem.” 
 
At the top of the Advocacy section on BUSU’s website, BUSU outlines the main function of their advocacy department is “to advocate for students’ needs and interests to various levels of government through the Ontario University Student Alliance (OUSA).” BUSU’s main avenue for advocacy is typically by proposals given to OUSA which then go through an approval process by other provincial student unions.  
 
“Inadequate physical space” has been a major student concern for years with the growing population at Brock. The latest program from BUSU that I could find to increase student seating was a referendum last year for a new student centre which has been in development hell, and progressing at a snail’s pace, for nearly a decade. 
 
The only reference to students’ transportation concerns is vaguely mentioned in the “advocacy shortcomings” section. BUSU acknowledges that “students rank BUSU slightly lower on their effectiveness for advocating on the contentious issues of transportation.” 
 
Pages 18 to 29 of the Strategic Plan cover the “Our Solutions” sections, where the meat of the Strategic Plan lies. Any half-awake participant in a student survey can identify the problems of BUSU. The real test of a representative democracy is the ability to come up with innovative and popular solutions to public issues.  
 
So what did BUSU come up with? 
 
Hedgehog Concept:  
 
Based on a Greek parable, “Hedgehog concept” is described as “not a goal to be the best or a strategy to be the best” but instead an understanding of what to be best at.  
 
In summary, BUSU is using this concept to separate what they can be better at, from what they don’t want to be better at. This narrows their commitments and thus limits what they can improve on.  
 
The three things they choose to commit to are: transforming the student experience, which restates their previous goals; enhancing student engagement, essentially more clubs and events; and revitalizing advocacy. The final commitment to advocacy is the only one that interests me and is also the one BUSU has ignored the most.  
 
Under their advocacy commitment, BUSU states an objective to invest in an Affordable Transportation Advocacy Plan. As of now, BUSU has yet to mention this plan again, leading me to believe it’s been forgotten despite the Strategic Plan acknowledging that transportation advocacy has been one of BUSU’s greatest past failings. 
 
Clock Building, and Not Time Telling:  
 
One may notice that many of these so-called “solutions” in the Plan come in the form of analogies. The issue with this way of communicating solutions is that it’s vague and easily opens itself up to hypocrisy.  
 
The metaphor of “Clock building” is associated with nurturing a strong organization that can consistently generate great ideas, but BUSU confines this thinking to the establishment and strict following of a governing document.  
 
The institutionalizing of continuity comes at the price of this analogy’s main point being that of an ever-improving process. Though the Strategic Plan attempts to install a framework for BUSU’s innovative thinking, the plan consistently gets used as a platform for executives to fall back on rather than to stimulate creativity. 
 
20 Mile March:  
 
In an equally unhelpful analogy as the last, BUSU portrays themselves as ultramarathoners running across the continent 20 miles at a time.  
 
A more accurate allegory might be that of a hitchhiker thumbing their way onto rides and then staying in a town for a few days. This is because BUSU’s goals for this concept — bringing higher quality services and fostering diversity — are mainly controlled through Brock’s administration.  
 
BUSU notes their main function to achieve these goals is through encouragement, but like the hitchhiker, BUSU is restricted to going along with what Brock is already doing with no ability to get their hands on the wheel.  
 
This concept embodies BUSU’s struggle to revitalize advocacy because they keep themselves in arms’ reach of the administration rather than running their own race.  
 
Preserve the Core and Stimulate Progress:  
 
This is the only “solution” not presented in a self-contained analogy and the only one that provides real student-centred objectives that will directly affect students.  
 
The first objective is to build a new student centre. Which, mind you, has been in development for years with little progress. 
 
The second is changing BUSU-owned businesses into a social enterprise. This change is primarily in name only but comes with the purported intentions to provide food at breakeven costs, implement optimization for student employment and improvements to environmental stability.  
 
The objectives from this section are still in the works but are at least a good direction for BUSU in theory.  

… 

A more effective list of solutions would have been in a similar style to what was laid out under the heading “Preserve the Core and Stimulate the Progress”: solutions that are centred on an ambitious philosophy while also stating clear objectives that can provide noticeable, real changes to the lives of Brock students. 
 
So, where do we go from here? 
 
From page 30 of the Strategic Plan, BUSU pats themselves on the back for what they feel is their successful identification of problems and solutions. The plan then states that additional plans will be needed for further development.  
 
The majority of the advocacy plans listed in the document are not searchable on BUSU’s website, meaning they likely haven’t been created yet.  
 
BUSU states that the Strategic Plan will be fulfilled by “thorough and rigorous in implementation,” and remain open to student input.  
 
Therefore, I would like to present My Strategic Plan to Fix BUSU’s Strategic Plan: 
 
Step 1) Students first concept:  
 
Identify the key difference between policies that affect Brock students versus policies that affect BUSU. Everything that does not directly affect the students should be erased from the “Our Solutions” section of the Strategic Plan.  
 
The plan acknowledges that surveyed students rank BUSU’s effectiveness at providing sitting spaces and advocating for transportation are similarly quite low — ranked at 3.2/5 and 3.7/5 respectively — however, transportation advocacy is not considered a primary constraint. Problems affecting students need to be clarified and addressed at a higher level than problems affecting BUSU as an organization.  
 
“We certainly hear about parking fees… but there has not been a board member that has brought anything about transit or parking to our board in over 6 years,” said Hilson.  
 
The continued lack of interest and effective change created from issues that affect Brock students continues to impede BUSU’s growth and purpose as a student democracy.  
 
Step 2) Grassroots approach:  
 
BUSU executives have become far too comfortable in their relationship with Brock administration. While a connection with university administrators has its benefits, it sacrifices the democratic aspects and general autonomy of a student union.  
 
BUSU consistently allows decisions and policies to come from the top-down from Brock admin. BUSU totes themselves as “student-powered,” a nothing term that could apply to any student club, when a real union should power the students. BUSU must gain awareness of their most powerful resource: Brock’s growing student population. 
 
It seems as though BUSU tries to misdirect student attention away from advocacy, thus keeping the student voice preoccupied with bread and circuses. BUSU events, clubs and concerts feel like an echo chamber of vanity that ultimately deplatforms student movements and shifts student focus toward a placid state of entertainment consumption. 
 
Grassroots thinking and student action have the power to make BUSU truly representative of student ideals by placing student advocacy at the forefront.  
 
Step 3) Fix the website:  
 
A well-informed student body is the key to a successful democracy and student well-being at Brock. Despite recently renovating the design of their website, BUSU still has plenty of room for improvement. 
 
The current website — like most of BUSU’s advertising — prioritizes events, clubs and appearance over categories like news, student voice and “supports & services.”  
 
Compare BUSU’s website to a more formidable student union like at U of T, for example. From the University of Toronto’s Student Union’s (UTSU) website, students can access information on financial aid, health and dental insurance, mental health resources, local deals and food programming all from the homepage.  
 
UTSU’s website is centred around giving students what they need as opposed to showing students what the union wants them to see.  
 
Step 4) Accountability:  
 
In 2022, BUSU changed their executive members into non-elected members hired by the Board through a three-stage hiring process. Despite the controversial shift away from directly democratic leadership, this isn’t necessarily a bad thing. The hiring process does entail highly qualified individuals being hired for a full-time job by elected officials.  
 
However, this point is moot if there is not a strong and constant expectation to hold these executives accountable. 
 
Recording and publicly releasing reasons for hiring and potential biases will effectively enhance transparency, limit corruption, and provide students with clear insights into the factors influencing the selection of student executives. 
 
A public written statement by the executives on what they accomplished that week and a self-written strategic plan for themselves documenting what they will accomplish each semester are just a few examples of how BUSU members can better be held accountable.  
 
Should any or all of the executives fail to meet their goals or get caught lying in a report, it should be the Board’s duty to begin a rehiring process and put to a referendum whether the current executive should be allowed to remain an executive at BUSU. 
 
Additionally, the success criteria for BUSU-led events and the consequences of wasting student-provided finances should be properly defined and reported. There is no consequence to holding our elected and non-elected student representatives at the highest level of accountability. This goes for all members of BUSU but especially our executives. 

… 

BUSU’s Strategic Plan fails to properly address several constraints and most of the “solutions” it provides are redundant at best and incoherent at worst.  
 
The good bits I have highlighted from the plan are its acknowledgement of dwindling student advocacy and a willingness to stimulate progress for students.  
 
For BUSU to reach their full potential the union must draw their power and decision-making from the bottom-up. BUSU must become a union that empowers the students to make the changes they wish to see at Brock.  
 
I hope for a future where BUSU returns to their roots in advocacy and becomes an agent of change that students can be proud of.   
 
The Brock Press’ editorial staff reached out to BUSU’s President and Vice President of University Affairs for comment prior to the writing and release of this article but received no response. 

December sports scene at a glance

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The sporting landscape is intensifying heading into the holiday season. As December approaches, here are five marquee sporting events and storylines to follow over the next month. 

NBA crowns their inaugural In-Season Tournament Champion 

On Dec. 9th, the new NBA Cup will be lifted for the first time in Las Vegas. 

Over the last few weeks, all 30 teams have competed in group stage action with the aspirations of ultimately advancing to the Sin City for the semifinals and finals. 

Although winning the In-Season Tournament title does not result in an automatic playoff or play-in berth, as many have argued it should, bragging rights among league rivals and $500,000 in prize money is a worthwhile incentive.  

It will be intriguing to watch some of the NBA’s brightest stars head to The Strip, looking to add another achievement to their resume. 

NFL playoff race heats up 

With the NFL playoffs just over a month away, the race for the final playoff spots is heating up. 

At the conclusion of Week 12, the Miami Dolphins, Baltimore Ravens, Jacksonville Jaguars, Kansas City Chiefs, Philadelphia Eagles, Detroit Lions, Atlanta Falcons and San Francisco 49ers all lead their respective divisions. However, nothing is certain in the NFL as teams are likely to be jockeying for playoff spots down the stretch. 

The most intriguing playoff race is the AFC Wild Card, with three spots up for grabs. 

Currently, the Pittsburgh Steelers, Cleveland Browns and Indianapolis Colts hold those three spots. But the Houston Texans, Denver Broncos and Buffalo Bills among numerous others are in the running, eager to snatch one of those spots and contend for the illustrious Super Bowl title.  

UFC 296 takes over Las Vegas 

Headlining the UFC 296 card on Dec. 16th is a welterweight title bout between the current champion Leon Edwards and challenger Colby Covington. Edwards will be looking to retain his title, as the southpaw has the height and reach advantage over Covington. 

The co-main event features the flyweight title fight between the champion Alexandre Pantoja and Brandon Royal. Pantoja, the Brazilian 33-year-old, will be looking to defeat Royal for the second time in his career after he defeated Royal via second-round submission in August 2021. 

The main card at T-Mobile Arena rounds out with a pair of welterweight fights and a lightweight tilt. 

UEFA Champions League group stage concludes 

The UEFA Champions League group stage concludes on Dec. 12th and 13th, as all 32 teams play their sixth and final group game with aspirations of finishing as one of the top two teams in their group to advance to the knockout round. 

Group F (Borussia Dortmund, Paris Saint Germain, AC Milan and Newcastle United) is one of the more interesting groups. Through the first four games, the first-place team Dortmund; and the fourth-place team Newcastle; are only separated by three points as each team has a win to their name. 

For the two teams that advance from Group F and all the other groups, they will find out who their Round of 16 opponent is during the Champions League draw on Dec. 18th

Canada looks to repeat as IIHF World Junior Hockey Champions 

The Canadian under-20 men’s hockey team has won 35 total medals at the IIHF World Junior Hockey Championship dating back to the 1977 tournament and they’ll be looking to win their third consecutive gold – 21st overall – at this year’s competition in Gothenburg, Sweden. 

Expected to lead the Canadian team is 19-year-old forward Matthew Savoie. The St. Albert, Alberta-native registered 95 points – 38 goals and 57 assists – in 62 games with the Western Hockey League’s (WHL) Winnipeg Ice last season. This season, Savoie already has 17 points in 13 games played, in split time with the Buffalo Sabres (NHL), Rochester Americans (AHL) and Wenatchee Wild (WHL).  

Savoie and Canada begin their tournament on Boxing Day against Finland, before playing Latvia, hosts Sweden and then Germany on New Year’s Eve to close the round robin schedule. 

The entire IIHF World Junior Hockey Championship schedule can be found at iihf.com. 

Has the Canadian men’s national team already reached their peak as a soccer nation?

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It was only a year ago that Alphonso Davies scored the Canadian men’s national team’s first goal in the FIFA World Cup. 12 months later, that iconic moment in Canadian sports history feels like a lifetime ago after Canada’s devasting home loss on Nov. 21st to Jamaica in the quarterfinals of the CONCACAF Nations League. 

Canada’s growth as a soccer nation began on June 13th, 2017, when 16-year-old Davies made his international debut for the senior team, becoming the youngest player in history to represent Canada at the senior level. 

His promotion to the senior team sparked optimism within Canada Soccer and among Canadian soccer fans, as there were high expectations for the youngster to become the star of the Canadian national team. Those expectations have certainly been fulfilled since his debut in 2017. 

Given Davies’ skillset and profound knowledge of the game, it didn’t take long for the Edmonton-native to score his first goal with the senior team. On July 7th, 2017, Davies buried his first two goals for Canada in a 4-2 CONCACAF Gold Cup win against French Guiana.  

Although the Canadian team was eventually eliminated by Jamaica in the quarterfinals of that tournament, the future was bright for Les Rouges. 

Just over a year after the 2017 Gold Cup, Jonathan David – another Canadian soccer superstar – made his debut with the senior national team. 

On Sept. 9th, 2018, the 18-year-old striker scored a brace in five minutes, for his first two Canadian goals in an 8-0 trouncing of the U.S. Virgin Islands in a CONCACAF Nations League Qualifying game. 

Fast forward two and a half years later, Davies, David and new head coach John Herdman – who took over after leading the Canadian women’s national team to back-to-back Olympic bronze medals – were all entering their first FIFA World Cup Qualifying campaign together.  

The squad, centred around the two young superstars, cruised through the first round of qualifying, outscoring their opponents – Suriname, Bermuda, Aruba and the Cayman Islands – by a combined score of 27-1. 

Canada’s plus-26 goal differential after round one carried into the second round as they swept Haiti in both legs by an aggregate score of 4-0. 

With the win against Haiti, Canada qualified into the “real” qualifying window against CONCACAF’s top nations: Mexico, United States, Panama, Jamaica, Costa Rica, Honduras and El Salvador. 

On Sept. 2nd, 2021, Canada opened the final round of qualifying at home with a 1-1 draw to Honduras, before earning another point in Nashville after holding the Americans to a draw. 

Three days later, Canada picked up their first win of the final round at Toronto’s BMO Field, beating El Salvador 3-0, and it all went up from there. 

In the following international window, Canada drew Mexico on the road at the hostile Estadio Azteca, a place where the Mexicans have been indisputable. Mexico has won 41 of the 51 games they’ve played there in World Cup Qualifying since 2018, and they’ve only lost twice. Toronto FC’s Jonathan Osorio scored Canada’s goal that game at the end of the first half to even the score at one and hold on for the monumental result.  

Canada’s biggest wins of qualifying came at home against both Mexico and the United States. 

In a cold and snowy Commonwealth Stadium in Edmonton on Nov. 16th, 2021, Cyle Larin scored a brace for Canada to withstand a Mexican comeback and hold onto a 2-1 victory. 

Two months later in Hamilton, Ontario, Larin’s seventh-minute goal not only gave Canada the lead but also made him the all-time leading goal scorer among Canadian men, surpassing Dwayne De Rosario for top spot. Sam Adekugbe scored in second half stoppage time to give the Canadians the 2-0 win against the rival Americans. 

Through the final round of qualifying, the Canadians won eight of 14 games, while drawing four and only losing two, to finish atop of the table with a plus-16 goal differential and 28 points. 

Canada’s dominance all throughout qualifying earned them their highest spot ever on the FIFA World Rankings, ranking 33rd on Feb. 10th, 2022. 

More importantly, their first-place finish qualified Canada for the FIFA World Cup for the first time since 1986, which was before all but one player – Atiba Hutchinson – was even born. 

At that point, the squad was booming with confidence heading into Qatar with legitimate aspirations of not only winning the country’s first ever game at the World Cup but making it out of their group and going on a deep run. 

In Canada’s group, Les Rouges were up against Belgium, the number two ranked team in the world heading into the World Cup; Croatia, the 2018 World Cup Runners-Up; and Morocco. 

Against Belgium, the Canadians were on the front foot early, resulting in a penalty kick being awarded to Canada which was ultimately missed. Right before half time, Michy Batshuayi put Belgium on the board with the goal that stood as the winner as Canada dropped their opener of the 2022 World Cup. 

However, it didn’t take Canada long to avenge their loss to Belgium and take the lead in their second match against Croatia. 

In the second minute of the match, Davies scored Canada’s first ever FIFA World Cup goal which was celebrated and cherished across the country. 

But this memorable moment may have been Canada’s peak as a soccer nation. 

Canada ended up losing that game 4-1 as poor play to close out the first half and a lackluster second half resulted in a calamitous loss and elimination from advancing in the tournament. 

To make matters worse, the Canadians were also brutal in their final match against Morocco – though Morocco did end up reaching the semifinals – losing 2-1 and going winless in the country’s first World Cup in 36 years. 

Since their loss to Morocco on Dec. 1st, 2022, the Canadian men’s national team have continued to perform poorly after dropping some big matches in 2023. 

On June 18th, 2023, Canada lost to the United States in the 2022-23 CONCACAF Nations League Final, before losing again to the Americans a few weeks later – albeit Canada lost in penalties – in the 2023 CONCACAF Gold Cup quarterfinals. 

Most recently, the Canadians lost 3-2 to Jamaica – 4-4 on aggregate, losing on away goals – to be eliminated in the quarterfinals of the 2023-24 CONCACAF Nations League. 

More importantly, the loss also meant that Canada did not automatically qualify for the 2024 CONMEBOL Copa America.  

Competing in the Copa America would provide the Canadian team with intense matches against some of the best teams in South America – Brazil, Argentina, Uruguay and Colombia – whose talents far exceed that of CONCACAF, the North American region. 

Now, the Canadians need to win a do-or-die game against Trinidad and Tobago on March 23rd, 2024 – who beat the United States 2-1 in their second leg – to qualify for the tournament as one of the six CONCACAF nations participating. 

Beating Trinidad and Tobago will be no easy task, especially for a team that is going through some shuffling off the field. 

John Herdman stepped down as head coach of the Canadian team on Aug. 28th, 2023, to pursue an opportunity as coach of Toronto FC. 

Part of Herdman’s reasoning for leaving the Canadian team was because he did not feel that the team had sufficient resources and financial support from Canada Soccer to make a serious push at the 2026 World Cup as The Athletic’s Joshua Kloke reported. 

Canada Soccer’s financial struggles have been well documented and is a microcosm of money mismanagement and poor leadership as reported by TSN’s Rick Westhead. 

Now, the Canadian men’s national team is bound to suffer because of the inexcusable decision-making by Canada Soccer executives, which has left holes both on and off the pitch, leading to devasting losses on the field. 

With the loss to Jamaica, the loss of former head coach John Herdman and the lack of resources it appears that Canada Soccer has, the next few weeks and months will be interesting to see what changes are made. Those changes will dictate whether Canada features at the 2024 Copa America and if they can be a formidable team when they co-host the 2026 FIFA World Cup in just over two and a half years’ time. 

For more information on the Canadian senior men’s national team, head to canadasoccer.com.