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Akinnusi’s work of art propelled the Badgers to Paint the Meridian Red win over rival Marauders

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The Badgers’ women’s basketball team composed an 82-73 comeback victory against the McMaster Marauders to win their fourth game of the season and the Badgers’ third victory in Paint the Meridian Red history. Paint the Meridian Red is a community basketball event that is aimed at bringing members of the Brock community and the Niagara Region together by filling the Meridian Centre in a sea of red. 

The Brock supporters donning red were excited because of Oluwatito Akinnusi’s performance, as she illustrated a Picasso-like masterpiece, scoring a career-high 37 points to lead Brock to the win. 

Akinnusi announced her presence early, as the five-foot-10 forward scored 12 points in the opening quarter on six-for-11 shooting. The Psychology major dominated the paint, as she scored the vast majority of her points through back door cuts and pick-and-roll plays with her teammates. 

However, the Marauders were also proficient on offence in the first quarter. 

Sophia Urosevic drained two of her game-high five made three-pointers in the frame, providing a spark off the bench for McMaster. Cassie Joli-Coeur contributed with six points of her own, as the Marauders took the one-point lead after the opening quarter. 

In the second, McMaster continued to be on the front foot. 

Urosevic and Emily Frankovic combined for 10 of McMaster’s 20 points in the frame, as the two bench players went a collective four-for-six in limited minutes. 

For the Badgers, Madelyn Weinert was the spark plug, scoring nine of her 25 points in the second to limit the McMaster lead to just 42-38 at the half.  

Weinert remained red-hot in the third, having an effect on both ends of the floor. 

Offensively, the 2022 OUA Second-Team All-Star added 11 points to her tally on 62.5 per cent shooting, while picking up two blocks and a steal. Weinert finished the game with a game-high four blocks to go along with three steals, which was second to teammate Noor Bazzi’s four. 

The Marauders responded to Weinert’s third quarter dominance by not letting the home side take a lead in the quarter. 

Jenna Button, second in the OUA in three-point percentage, showed her efficient shooting abilities, going a perfect two-for-two from beyond the arc in the quarter to lead her team with eight points in the frame. 

Ashley Guerriero added another six off the bench, scoring both of her three-point attempts, as the Marauder long ball kept them in the lead through three. 

However, the McMaster lead faded in the fourth. Weinert found a wide open Akinnusi in the paint to take the 68-66 lead for Brock’s first lead since it was 23-22. From that point, it was all Badgers as they went on a 10-0 and 14-1 run to start the quarter. 

Akinnusi was once again the focal point of the Badger offence as she scored 14 of Brock’s 18 points in the fourth. 

Jamie Addy was also a pivotal piece off the bench that kickstarted the comeback. The rookie point guard was a defensive workhorse, irritating the lethal Marauder shooters which led to McMaster being limited to only seven points in the quarter. 

The St. Catharines-native also showed promise on the offensive end by showcasing her playmaking abilities in front of her hometown crowd, picking up a career-high two assists in 15 minutes of action. 

Addy’s contributions along with Akinnusi’s outstanding display of artistry led to the Badgers painting the standings with another win, 82-73, to improve to 4-3 this season. 

Next up for the Badgers is a road trip in Waterloo against the Waterloo Warriors and Laurier Golden Hawks to close out the first half of the schedule before the holiday break. For more information about the Brock Badgers’ women’s basketball team, head to gobadgers.ca. 

Buy books and paintings this week to support Brock Relay for Life’s fight against cancer

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Brock Relay for Life (BRL) has been raising money to combat cancer for 14 years, and students can help contribute to the fight at this week’s upcoming events. 

BRL is a club that works directly with the Canadian Cancer Society, Canada’s largest national cancer charity. This is the fourteenth year that Brock has had a Relay for Life club, and in that time they have raised over $250,000 to fund cancer research and provide transport and care to those actively struggling with cancer. 

There are 9 committee members at BRL, with Grace Savescu and Jessica Tomassi acting as co-chairs. According to Savescu, this committee is “one of the most dedicated groups we have seen.” Many of them have prior experience with Relay for Life events at their high schools or run by the Brock club in previous years, but “it is the love for the cause that brings [them] all together.” 

This year, the club’s goal is to fundraise $40,000, and Savescu believes this is more than possible with the help of the students at Brock. BRL holds events throughout the year – in the past they’ve done movie nights and sold homemade candles, among others – and for the week of Nov. 27 to Dec. 1, the club will be holding events every day to fundraise and gain awareness for their final event of the year. 

Brock Relay for Life will be tabling in the Mackenzie Chown A-Block hallway from 10 a.m to 4 p.m every day of the week. 

On Monday and Friday, the club will be selling anonymous novels with Blind Date with a Book, a book wrapped in paper so the only knowledge the buyer gets is the genre. Proceeds from this event will be donated directly to the Canadian Cancer Society. From Tuesday to Thursday, the club is selling paintings made by a student at Brock. 50 per cent of these proceeds will be donated directly to the Canadian Cancer Society. 

Additionally, on Wednesday night from 7:30 p.m to 10 p.m., Brock Relay for Life is holding a Holiday Craft Night. For a donation of $5, students can make crafts for themselves or as gifts for their loved ones and watch The Grinch

According to Savescu, BRL likes to hold events for a week straight for students’ benefit. Not everyone can stop by on a given day, and knowing they’ll be around for the rest of the week at the same time and place allows students to come when they can. Students also have time to tell their friends or bring them directly if they’re interested in the sale. 

Tabling also raises awareness for the club’s final event of the year, the Relay for Life, a twelve-hour overnight event where students can find games, live music and more to keep them entertained and awake. Ceremonies are held here, such as the survivor lap to honour cancer survivors and their fight, and the luminary festival, where participants are encouraged to reflect on what brought them to the event and give respect to those who have passed. The Relay for Life is held in March, but students can show their support and help fundraise by checking out their table this week and attending the Holiday Craft Night. 

Support Brock Relay for Life this week by spreading the word and checking out what they have in store. “Students should get involved with Relay for Life because it is a phenomenal cause that needs our support to continue to help those in need,” said Savescu. “They should also get involved because it is a community event that brings people together in a fun and positive way.” 

Keep an eye out for more information on the 2024 Relay for Life next term. For more information on this week’s events, visit the club’s ExperienceBU page. 

The Last Faith is an exciting, gothic, metroidvania-soulslike adventure

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4/5 

The Last Faith is an exciting blend of the metroidvania and soulslike genre, even if it doesn’t do much to push the boundaries of either. 

I’ve only played three hours of the new game so far, which was released on Nov. 15, but I am itching to progress the plot, explore the world of Mythringal and level up the main character, Eryk. 

The main draw of this game was that it claims allegiance to two heavy-hitting genres, soulslike and metroidvania. For those not aware, metroidvania is a genre whose name derives from the games Metroid and Castlevania, in which the player explores a broad, interconnected 2D or 2.5D map through platforming. Instead of starting with everything, upgrades to increase combat and exploration potentials are slowly given to the player as they progress through the game.  

Shovel Knight and Star Wars Jedi: Fallen Order are examples of the soulslike, a genre inspired by FromSoftware’s soulsborne games: Dark Souls, Bloodborne, the recent titan Elden Ring and others. These games promise brutal, unforgiving combat, exploration of a large map, strategic boss fights and a steep difficulty curve. There’s no selecting the difficulty in these games: if you can’t beat a section of the game, you don’t finish the game. 

The Last Faith mixes both genres in a satisfying way. It has 2D graphics very akin to the recent Blasphemous and an extensive map, but game mechanics like Bloodborne, with multiple weapons to choose from, a level-up system revolving around souls collected from enemies—called Nycrux—and an unforgiving difficulty. 

Not every gamer will be a fan of the unrelenting difficulty in a game like this, where the player is required to master the mechanics and gameplay or suffer. But for those who do, The Last Faith delivers satisfaction. Regular enemies can kill you if you aren’t careful, and when you die, you can only recover your Nycrux if you return to the spot where you died. If you die again before recovering your Nycrux, it disappears forever. 

Temporary checkpoints make progression easier, giving the player a spot to reload when a significantly difficult area lies ahead. This allows the player to tackle said areas with max health and consumables, but these checkpoints cannot be fast travelled from, meaning if you run out of health elixirs or bullets, you’re out of luck. 

That’s one of the aspects of The Last Faith that I’m still on the fence about. Health items are consumable—as opposed to regenerative at checkpoints, such as in games like Hollow Knight or Dark Souls—meaning they can run out and leave you in a dire situation. However, these items are often dropped by common enemies, and they can be bought for relatively cheap at Oxnevylle’s Manor, the game’s hub. Getting stuck in one area means you’ll run out of these essential items, but the interconnected map allows you to travel back to easier areas and farm for Nycrux to level up, stock up on those items and tackle the tough area again. 

The graphical style of The Last Faith is very similar to Blasphemous, so much so that when I saw gameplay while it was still in early development, I thought it was a direct sequel. Blasphemous was a staple of the genre, though, so imitating it is normal. However, The Last Faith substitutes twisted Catholic imagery for an atmosphere dripping with the gothic and macabre, featuring classic ominous castles and crypts. In this regard, it resembles another genre standout, Castlevania: Symphony of the Night. 

The Last Faith has brief cutscenes that are again heavily inspired by Blasphemous, but conversations with NPCs feel more fleshed out, with enlarged cutouts of the characters that feels more akin to a visual novel. The conversations are not long-winded either; they gave just enough information about the plot to keep me interested, but not overwhelmed. The focus in The Last Faith, as it should be in my opinion, is on progression and exploration. 

Some standouts in the metroidvania genre, like Hollow Knight and Super Metroid, pride themselves on being completely open world. The progression route is not predetermined, but rather based on what decisions the player makes. The Last Faith is more linear thus far, but there are enough secret areas and locked doors I cannot yet access that I know will require backtracking. In this case, though, the backtracking feels refreshing, like in Super Metroid, rather than a slog

In a game like this, if the combat isn’t fluid and fun, the game doesn’t work. Luckily, The Last Faith’s combat is satisfying and progressive. As I mentioned earlier, there is a wide variety of weapons and spells to build your arsenal from, and like other soulslike games, ability points gained from level-ups can go into whatever element of your character you want to flesh out more, whether that’s Vitality, Strength, Dexterity, Mind or Instinct. 

The combat is heavily based on dodging rather than parrying or blocking. Where I stand in the game, I cannot block whatsoever and parrying requires precise timing and energy, which runs out. Dodging, however, is fluid, especially since most enemies don’t give damage when you bump into them. It’s easy to get locked into damage by trying to jump away from an attack, but I learned that after the first boss fight. 

I’ve only beaten three of the game’s 20 boss fights, and so far I’ve found them challenging but fair. The very first boss gave me the most trouble since I wasn’t used to the game’s mechanics, but I managed to beat the second and third in two or three attempts each. They’ve all had different movesets and strategies, and they’ve all had one weakness or another. From the screen captures I’ve seen of the game, I know there are some awesome ones waiting around the corner.  

I’m not entirely sure what’s going on in the plot. Eryk is trying to cure himself of a strange, divine affliction that may drive him mad—like how the main character in Dark Souls is trying not to turn Hollow—and in order to do that he’s searching out NPCs based on the directions of other NPCs. The beauty of a game like this is that understanding the plot isn’t very important, rather the emphasis lies in combat, exploration and gameplay. 

I’ve had a difficult time turning off The Last Faith. It’s fun to play, and so far it hasn’t made me want to tear out fistfuls of my own hair. So far. But even if it does, I know I will keep dying and retrying and failing and learning because again, The Last Faith is fun. It’s true to both the soulslike and metroidvania genres, and I’m eager to keep playing. 

Men’s swimming place first, women third as Badgers host Boles Divisional Championships

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Both of Brock’s swimming squads worked hard this weekend, swimming in one of their most important competitions of the year: the Dean Boles Divisional Championship. 

Facing off against McMaster, Queens, Wilfrid Laurier, York and Carleton Universities, the Boles Divisional is the first of two Ontario University Athletics (OUA) meets that the Badgers will participate in.  

Brock’s women’s team had a strong showing, finishing third. They accumulated 591 points over the two days while Carleton achieved 691 and Guelph dominated with 1,215.  

Chloe Smith was a key contributor, finishing fourth in women’s 50m fly and 100m fly, as well as participating in fourth-place relay finished in 4x50m freestyle and 4x50m medley. Jami Fuson had the Badgers’ top finish on the women’s side, placing third in the 800m freestyle. 

The men’s side, on the other hand, had a banner weekend for the Badgers. Brock men’s swimming won their first divisional championship in program history. Their 1,030 points beat out Guelph (885) and Laurier (627) for the top prize.  

Julien Legault and Evan Karlov were the stars of the show for the Badgers. Karlov finished first in both 100m and 200m freestyle as well as second in 50m freestyle. Legault received second in 100m and 200m backstroke and first in 50m backstroke. Legault’s times in all three set new Brock records. Legault also had a record-breaking split in the 4x50m freestyle, where the Badgers placed second. 

For the full results, please visit swimming.ca and for more information on upcoming meets, visit gobadgers.ca. 

Men’s hockey wins big at home before losing second of the season to Laurier

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The Brock Badgers played two games this past weekend, looking to add to a seven-game win streak and improve from third overall among all U Sports teams. 

Brock’s first matchup came on Friday, Nov. 24th against the Toronto Metropolitan University (TMU) Bold, the third-place team in the OUA’s West Division. 

The Badgers’ previous win, a close 4-2 affair over the nationally ranked University of Toronto, elevated the Badgers to a 14-1 record and third in the country, the highest national ranking our men’s hockey program has ever achieved.  

Neither Badgers nor Bold generated a first-period goal. The game was a tight-checking match at puck drop, but one that kept both goalies on their toes, both facing 10 shots in the first frame. 

Brock’s Cole Tymkin would eventually get the scoring started in the second, putting home a loose puck sitting in the slot after a rebound. However, Brock’s lack of discipline let the Bold right back into the game. 

Back-to-back tripping penalties from Rylan Thiessen and Jacob Roach gave TMU a two-man advantage that the Bold made good use of. 

TMU’s Kevin Gursoy scored just as the first penalty ended to tie the game at one, and they wouldn’t stop there. Only a minute and a half later, the Badgers would give Bold leading-scorer Kyle Bollers enough time and space behind their net to pull off a beautiful Michigan goal in front of a shocked home crowd, giving TMU a one-goal lead. 

Shortly after, the Badgers got a powerplay opportunity of their own, creating the right situation for Jared Marino to score and restore the two-goal tie. 

Brock’s leading scorer Jacob Roach found the net early in the third. Standing as the lone goal in the frame with only five minutes remaining, it appeared that the Badgers might scrape out a one-goal win. TMU had other ideas, pulling out a tying goal late in the period.  

However, TMU’s tying goal seemed to do little but light a fire under the Badgers. Roach restored the lead with his second of the game 50 seconds after TMU’s goal, while Ethan Sims and Tyler Burnie would chip in two more for good measure, securing a 6-3 win that was significantly closer than the final score suggested. 

Goalie Connor Ungar helped steady the ship throughout the match, making 43 saves, including 20 in the second period. 

On the 25th, the Badgers headed for Waterloo to play the Wilfrid Laurier Golden Hawks, the fifth-worst team in the OUA.  

However, if the Hawks really were as bad as a -9 goal differential indicates, the Badgers didn’t get the memo. 

Laurier got on the board under two minutes into the game and held the one-goal lead into the second period, despite only recording four additional shots in the period to Brock’s 12. 

The Hawks strengthened their hold on the game in the second, recording a shorthanded goal 10 minutes into the period and adding another six-and-a-half after that. Jonah Boria cut into the lead with under thirty seconds remaining for Brock’s first of the game. 

The Badgers’ deficit was not for lack of trying, jacking a game-high 22 shots on goal in the period. 

Though the pressure was intense, it never came to a head the way it did against TMU. Laurier reclaimed the three-goal lead early in the third. Jordan Stock brought some life back into the game with a shorthanded goal of his own with four minutes remaining, but the two-goal deficit was simply too much to overcome. Laurier scored their fifth goal of the night on an empty net, winning 5-2. 

The Badgers head out on an Ottawa road trip for their next two games, playing University of Ottawa on Dec. 1st and the Carleton Ravens the next day. For the Badgers’ full schedule, please visit gobadgers.ca. 

Behind its lavish curtain, “Saltburn” has little to share

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Minor spoilers ahead 

Score: 2.5/5 

At the very least there’s a thrill to Saltburn despite its overall emptiness. 

The second film by director Emerald Fennell has been making its rounds in the film community since its release. Starring Barry Keoghan and the rising star Jacob Elordi, the film is a stunning visual journey. It effectively makes audiences feel like voyeurs of a questionable world of hedonism, lust and power.  

While it’s a sensorial thrill that isn’t afraid of entertaining depravity, Saltburn gets ahead of itself and loses control of its story after the first act leading to unresolved tensions and an ending that can only be described as a crash landing. 

Set in a clique-infested Oxford University in the early 2000s, Saltburn follows social outcast Oliver Quick (Keoghan) as he cascades into the eccentric world of his elite classmate Felix Catton (Elordi). After undergoing a social metamorphosis during the school year, Quick is invited to Catton’s Saltburn family estate for a summer of intrigue, confusion and obsession. Soon, Quick learns that behind the glamour, he may have witnessed more than he should have about Catton’s peculiar family. 

During its opening credits, Saltburn sets the precedent of being a visually striking film. Between the events at Oxford and the Saltburn estate, the film oozes sensual hedonism through its lush visuals, colour choices, set design and lighting. Several shots could easily be contenders for the most enthralling spectacles in film this year.  

That being said, the unresolved mysteries and predictable twists render all the visual aspects lifeless and hollow. At best, they are carefully planned distractions to what the film attempts to reach for thematically. 

Saltburn, then, sets the bar to a height it cannot reach, resulting in the plot taking the easy way out and providing a shallow commentary on class. 

Among the many disappointments littered throughout Saltburn, the film’s thematic shift from the first act to its final is by far the worst. The first act of the film depicts the birth of obsession and teases elements of homoeroticism, the latter of which is entirely ignored by the end. Aside from its flat ending, hardly anything in the film isn’t implicit and up for speculation. With a conclusion better fit for the season finale of a soap-opera, the film forces audiences to ignore its many suggestive mysteries after throwing them out in the final act. 

What could have been a unique tapestry of the stages of obsession ended up a barebones commentary on class dynamics that feels detached from what the film appeared to be reaching for. It’s almost shocking to see a film trying to critique class in 2023 with the ultimatum that “poor people will do anything to get what rich people have.” 

Despite the convoluted script, Elordi shines as a memorable positive takeaway, further reminding audiences that he has a long career ahead of him. Notwithstanding his natural charisma in front of the camera, he feels like the glue holding Saltburn together even when everything takes a nosedive. In all the film’s chaos, Fennell makes sure Elordi’s onscreen presence is felt, and that the audience becomes as infatuated with him as the characters themselves. 

Another highlight performance is Rosamund Pike’s supporting role. Known for her lead role in Gone Girl, Pike possesses a quietly intense gaze. Regardless of the many abnormalities of her character in Saltburn, it’s hard not to notice a serious dedication to acting behind her performance. 

By its conclusion, all the film leaves audiences with is a delicious platter of visual choices complemented by a narrow aspect ratio. After forsaking the pathways it was carving out in the first act, Saltburn chooses the path of least resistance. The many vile acts featured in the film feel included for the sake of shock value rather than speaking to any themes left in the conclusion. 

The entirety of the film’s plot feels like a missed opportunity for Fennell to create a unique story that lingers with audiences beyond shallow commentary. The appearance of Saltburn is alluring and glamorous, but appearances can be deceiving. In this case, Saltburn’s underbelly is a bland deception of its vibrant storytelling potential. 

“Merry Christmas” is an expression of goodwill, not an attack on inclusivity

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Wishing others a “Merry Christmas” – or any other holiday-specific greeting, for that matter – should not be a matter of controversy or cultural upset. 

While “Merry Christmas” used to be a fairly casual December greeting, recent years have seen a significant public shift to the secular “Happy Holidays.” This is done in the name of inclusivity: since you can’t know for sure which holiday a stranger celebrates, neutral terminology is often thought to be preferable. 

The goal of inclusivity is a noble one, and it comes from a good place. Yet, it misses a key component of the concept of a holiday greeting: the idea of spreading genuine, personal goodwill. 

I would speculate that the vast majority of people who wish others a Merry Christmas aren’t doing so to cause harm or make others feel excluded. They’re probably just spreading holiday cheer in a way that makes sense to them, and in a way that aligns with how they celebrate the holiday season. 

In a world increasingly focused on celebrating diversity, it’s counterintuitive to shut down certain holiday greetings and replace them with a neutral baseline for everyone. Holiday greetings should come from the heart, and that means the freedom to express whatever greeting makes the most sense to you. 

Despite some claims to the contrary, wishing someone a Merry Christmas is not an invasive attempt to push one’s religion onto others. In fact, many people who celebrate Christmas don’t identify as Christians. A 2013 study found that 81 per cent of non-Christians in the U.S. celebrate Christmas, meaning not every person wishing you a Merry Christmas necessarily follows Christianity. 

Anyone can celebrate Christmas, just like anyone can wish you a Merry Christmas. If someone wishes you a Merry Christmas but they’re not a believer in Christianity, it makes no sense to assert that they are trying to push the Christian religion on anyone. 

It’s worth noting that this mindset should apply equally to each religious holiday. If someone wishes you a “Happy Hanukkah,” “Joyous Kwanzaa” or any other holiday-specific greeting, that should be taken as a pure gesture of goodwill and holiday spirit. It should be accepted and appreciated as such, even if the recipient doesn’t celebrate that particular holiday. As long as it’s clear that there’s no malicious intent, it should be received as a gesture of goodwill and nothing more. 

Despite the holidays being meant to be a time for joy and togetherness, this is not the case for many people. The holidays can be one of the most stressful times of the year for many, a concern that’s entirely valid for a multitude of reasons. 

In a time that can already bring so many stressors, there’s no need to arbitrarily manufacture another one. Being a killjoy when someone wishes you a holiday-specific greeting just adds to the already vast number of holiday stressors. It makes people feel the need to celebrate their personal holiday in private, rather than openly sharing what makes the holidays special to them. 

The intent to normalise “Happy Holidays” as the default seasonal greeting comes from the right place. Despite this, discouraging others from using their personal holiday greeting is an unnecessary stressor that contradicts the free and joyous spirit that the holiday season aims to create. 

Exams are an archaic form of evaluation, and it’s time to stop relying on them

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Exams do not encourage long-term learning, and an overreliance on them detracts from the overall learning process. 

There are many established methods for assessing students’ progress. While the word “assessment” might immediately lead some to think of traditional quizzes, tests and exams, assessment can and should be integrated throughout the entire learning process. 

Assessment is usually divided into three sections: assessment for learning, assessment as learning and assessment of learning. While the first two categories are primarily dedicated to integrating assessment throughout the learning experience, traditional exams are an example of the final category: assessment of learning. 

Assessment for learning, also called “formative assessment,” uses students’ knowledge of a given topic to influence subsequent instruction. Assessment as learning allows students the opportunity to assess themselves and discover their own strengths and areas for improvement. 

An overreliance on exams detracts from the other types of evaluation that make it possible for a student to experience integrated assessment. By focusing too heavily on the assessment of learning, the learning process becomes less student-centric, instead focusing on a teacher’s pre-created evaluations. 

Yet, even within the confines of an assessment of learning, exams are often a boring and scary form of evaluation. An upcoming exam often feels like a threat. It’s a looming evaluation in which a student is expected to sit quietly and fill out a series of predetermined questions before the clock tells them it’s time to submit their papers. 

Expecting each student to write an upcoming exam also breaks away from the concept of differentiated learning. As the famous concept of learning styles reveals, not all students learn in the same way, and it’s unfair to expect each student to express their learning in the exact same way when this approach puts some students at an inherent mental disadvantage. 

It’s time for educators to use the three types of assessment more creatively to find alternative methods of evaluation. Not only could such an approach improve students’ abilities to reflect upon their learning, but it might also make the evaluation process more fun and fruitful for students. 

Another issue with exams lies in their lack of long-term learning. It’s not uncommon for students to cram for an exam only to forget everything they just learned as soon as the test is over. The problem is that exams don’t encourage students to remember the material they’ve learned. An exam can be thought of as a learning checkpoint; once it is completed, there is no need to return to any of the material that came before it. 

But is this what education is really about? Should we really be training students to remember a unit’s worth of information only to forget everything as soon as the unit is over? 

I barely remember anything from the multitude of math classes I took throughout high school. When a concept appears in a university course that I learned about in high school, it is familiar, but ultimately I must re-learn the same material so I can apply it a second time. I might have completely understood a concept in high school, but after years of not needing to remember the material, it all but disappeared from my mind. 

There’s value behind the commonly asked student question, “when am I ever going to use this in real life?” It’s a question that many students have found themselves wondering as they learn seemingly arbitrary material simply to pass their next exam. 

It’s true that students won’t need everything that they ever learn in the real world, but each piece of learning can be given more long-term value by employing techniques such as experiential learning rather than relying on exams. By allowing students to apply their learning in unique and creative ways, we can give them a reason to remember the information they’ve gathered. 

Relying on exams is a direct contradiction to this philosophy. You can’t blame students for forgetting everything they learned in a class years after it’s over; you can only blame the education system that encouraged them to forget it. 

It’s time to stop relying on exams as a largely weighted form of academic evaluation. The world of education will need to think creatively if it hopes to encourage long-lasting learning through effective evaluation. 

Pokémon’s penny-pinching philosophy is preventing perfection

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While Pokémon products continue to bring in billions of dollars, the franchise’s quality is starting to falter as a result of its executives’ greed. 

The size of the Pokémon franchise cannot be understated. It is the highest-grossing media franchise in the world, surpassing Mickey Mouse, Star Wars, Harry Potter and Barbie. It has an estimated net worth of $118.5 billion as of August 2023. 

If you’re somehow unacquainted with Pokémon, the series revolves around young Pokémon Trainers venturing into the world to catch hundreds of fictional monster species in the quest to “catch ‘em all” and become the strongest Trainer in their region. 

While most of Pokémon’s money comes through merchandise, the franchise is well-known for its long-running anime series of 26 years and its series of video games developed by Game Freak. 

Approximately every three years, the series launches a new generation through a dual release of video games. Each new generation releases with a new region for players to explore, a new story with original characters to meet, new graphics and most excitingly, a whole new set of Pokémon species to discover. 

There are more game releases within each generation. Pokémon usually sees the release of one mainline entry each year, including remakes, sequels and third versions of prior dual releases. 

For many years, all was well with this system. Pokémon fans had a release to look forward to every year, and even if they weren’t particularly interested in a certain year’s release, there was always a new generation around the corner. 

But recently, things have changed. While the series’ anime and merchandise output has been fine, it’s become clear that the video games – the core pillar upon which new generations are launched and the foundation of the series is set – have taken a serious toll. 

These issues became evident in 2019’s Pokémon Sword and Pokémon Shield, which launched the eighth generation of the series on the Nintendo Switch. Around their release, the games became a major subject of online controversy.  

Specific visual aspects of the game appeared grossly unpleasant for a 2019 Nintendo Switch title. In particular, one in-game tree went viral due to its 1990s-video-game-esque look. 

A huge point of controversy came due to the removal of the “National Dex” for the first time in series history. The National Dex refers to the catalogue of Pokémon species spanning across the entire series, and its removal meant that Trainers would not be able to attain every species of Pokémon in Sword and Shield. The inability to have every monster in-game stands in stark contrast to the series’ motto, “gotta catch ‘em all!” 

Junichi Masuda, the titles’ producer, said to USgamer that the game would feature “much higher fidelity with higher quality animations,” yet fans were treated to a myriad of depressingly poor animations upon the game’s release. 

The game’s lack of care was even displayed in its credits, where a computer mouse cursor somehow made its way into the game’s credit animation sequence. 

Issues like these might not be a huge deal for small franchises with less funding, but for the world’s highest-grossing media franchise, they’re completely unacceptable. 

Compare this to games like The Legend of Zelda: Breath of the Wild or Super Mario Odyssey, both Nintendo Switch games released prior to Sword and Shield’s launch. Each of those games launched with an incredible level of polish that demonstrated their developers’ love for their respective franchises. Pokémon, on the other hand, seemingly needed to rush out a new generation to coincide with the launch of new anime and merchandising projects. 

2022 saw the release of the series’ ninth generation, Pokémon Scarlet and Violet, and by comparison, they make Sword and Shield look like masterpieces. 

Scarlet and Violet launched in such an undeniably rushed state that they are perhaps the most unpolished first- or second-party Nintendo titles in the company’s history. Firstly, the games are irredeemably ugly, with low-quality textures and an inconsistent lighting system plaguing the game’s look. 

Worse yet, the game is filled to the brim with bugs and glitches, potentially enough that most of a player’s joy will derive from laughing at the constant barrage of mishappenings occurring on-screen. 

Of course, it’s not quite as joyous when you remember you spent $80 CAD on the game, but I digress. The game’s crash-causing bugs aren’t quite as funny either. 

A year later, the games still run awfully, yet Game Freak is releasing paid DLC for the titles rather than putting in any significant effort to fix their glaring issues. The games’ unfinished state remains consistent in the DLC, with some claiming that it runs even worse than the original release. 

After all, the Pokémon series is a cash cow for its executives, and as long as it continues selling, they will continue to churn out increasingly unpolished annual releases. Unfortunately, by doing so, they’re abusing a once-respected franchise that is still beloved by millions of gaming enthusiasts today. 

It’s a terrible shame to watch the scarily fast downward spiral of this franchise, but it’s clear that its executives no longer care about putting out high-quality titles, they only care about turning a consistent profit. Of course, they’re running a business, and the purpose of a business is to make money, but compare this to the development of a project like The Legend of Zelda: Tears of the Kingdom – which was delayed by one year purely to ensure the game was free of bugs and polished to perfection – and you can see the clear lack in care behind Pokémon. 

The team behind Zelda clearly honours their franchise and works with passion to ensure they release a high-quality product. The philosophy behind Pokémon seems to be as simple as making sure their next game releases before Christmas. 

The Pokémon Company COO Takato Utsunomiya recently talked to The Guardian about his hope of keeping the franchise alive for centuries to come. What he doesn’t realize is that the franchise’s current state of quantity-over-quality releases isn’t going to be sustainable for that long.  

Drake’s “For All The Dogs Scary Hours Edition” adds little to an already bloated project

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Score: 2/5  

After his latest album’s average reception, Drake attempts to redeem the project with a sliver of potential on a new deluxe edition. 

The Canadian rapper extended the tracklist of his recent LP For All The Dogs with the release of the deluxe Scary Hours Edition on Nov. 17. Being a largely anticipated release, For All The Dogs received a lukewarm response from critics and fans. With a tedious runtime over 80 minutes, the album stands apart from his releases last year being twice their length. For All The Dogs still sports all the insufferably juvenile ramblings that have come to be expected of one of music’s most popular names. 

With an extensive runtime traversing 23 songs, a deluxe release of an already poorly received album is about the last thing one would expect. Yet for better or worse the rapper subverts the expectations of most artists by attempting to round off the album with six deluxe tracks. 

After clawing through Drake’s disimpassioned delivery and shallow references, there are some positives to be found in the Scary Hours tracks.  

The production is consistently polished for starters. Even if it can be repetitive and numb, its cleanliness still makes for easy listening.  

There’s an aesthetic consistency to the production too, cultivating a reliably laid-back mood. Notwithstanding Drake’s frequent rants and references to non-existent beef, the instrumentals themselves can be pleasant at least. 

However, there’s still all the problems of this deluxe release to get to. 

Drake has a habit of referencing pop culture within his lyrics, a technique that may earn listeners a chuckle for their out-of-pocket delivery, but greatly disrupts the flow of tracks. The Scary Hours tracks are saturated with these references; anything between popular musicians and internet slang is up for grabs. It’s perfectly alright for an artist to playfully reference pop culture, but Drake seems to set up every verse to feature one. It’s a consistent strategy in his work that sacrifices the clarity of lyrical nuance. 

The worst of the tracks in Scary Hours is far and away “The Shoe Fits,” where Drake delivers a misogynistic rant over an abysmal six minutes. Instead of resting on his colossal mainstream success, Drake feels the need to create imaginary beef and target an entire verse at “the super triggered women talkin’ down on [him].” After saying they should “drink some water [and] act like [they] somebody’s daughter,” he goes on to make subtle jabs at how they should take care of their hypothetical children instead of trying to “get a tan from [their] phone light.” 

Above all, the instrumental is boring and the beat sounds repetitively stale even by Drake standards. Despite the rather targeted lyrics, Drake sounds disimpassioned and half-asleep when delivering them.  

Conversely, the second deluxe track “Stories About My Brother” offers a more genuine and interesting narrative. In collaboration with producer Conductor Williams, the track balances the bravado of Drake’s own career with stories about men close to him whom he denotes as “brothers.” In spite of the exhausting faults in Drake’s recent music, it’s admirable to see him hold people of value close to his heart. 

Looking at For All The Dogs alongside its recent predecessors reveals a clear pattern of behaviour. Having climbed many steps to success, Drake seems to believe he is immune to criticism. No matter how many times people outside his loyal fanbase call him out, he will continuously shift blame and victimize himself. If his new music is critiqued for being lazy and repetitive, Drake’s lyrical rants express that it seems to be the fault of everyone but himself. 
 
Despite the mess of an album that is For All The Dogs, the Scary Hours Edition does offer up a faint reminder that Drake has potential to commit himself to solid future projects. While the beats and his flow frequently sound bland to the ear, the smooth quality of Scary Hours suggests room for artistic reinvention. In the end, choosing to evolve artistically must come from within, and Drake’s resistance to criticism makes the thought of improvement hard to believe. 

Local band Shingen shares insight into Niagara’s hardcore music scene

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The sludge metal band Shingen is proof that the hardcore scene is alive in Niagara. 

Originating slightly south of St. Catharines in the town of Fonthill, Shingen is composed of musicians Logan Scott (vocals/guitar), Austin Bertholds (bass) and Nathanial Lamondin (drums).  

While identifying under the genre of sludge metal, Scott noted that “[Shingen] is also influenced by dream pop, shoegaze, grindcore and ambient drone.” 

Following the summer release of their EP Wrought, Shingen embarked on a fall tour across Ontario and Quebec with fellow Niagara-based metal band, Sunnycide:  

“It’s a rough experience on the mind, body and soul,” said Scott, in reference to the tour. “When you’re amongst good company it makes all the difference, if you are passionate about music it is entirely worth it.” 

Hardcore music has its origins in the punk movement, making it a catalyst for social change and political activism. According to Scott, “[Shingen] is without hesitation a political band” which uses their platform to raise awareness of current social issues and to offer an outlet for frustration. Furthermore, Shingen and other local hardcore bands work to play benefit shows for causes whenever possible. 

The cathartic effects of music are not unique to any singular genre. However, in the case of hardcore’s instrumental extremity and revolutionary ethos, the genre serves especially well for intense emotional release.   

“… people appreciate the energy and feeling of community at live shows,” said Scott. 

The history of hardcore music in Niagara is extensive.  

Welland began as the beating heart of the community with Rose City Hardcore (RCHC), subsequently opening doors for prominent local bands such Sinner A.D., Reality Denied, BFD and Mil-Spec. 

“I think our scene nurtures a really tight-knit community in Niagara, especially when outsiders may easily overlook it in favour of larger cities like Toronto,” said Scott, noting the closeness of the hardcore community. “It makes the Niagara scene an underdog you want to root for.”  

He also mentioned that some attendees of Shingen’s summer shows had travelled from outside the Niagara Region. 

Currently, Niagara’s hardcore scene has embraced DIY culture, encouraging artists and bands to make things work with what they have, fostering a creative-oriented philosophy. Scott is “100% behind” this movement, having firm beliefs about triumphing creative vision over strict technicalities: 

“The technical aspects of music are important. But to me, the ideas and visions I have for music usually mean more,” said Scott. 

“… not having a traditional music training background isn’t something that bothers [me].” 

For outsiders, the current hardcore scene may be painted with several misconceptions deterring curious fans. A notably harmful one paints the community as exclusive to toxic white male aggression. This misconception “could not be further from the truth,” confirmed Scott. The catharsis of the hardcore movement is intended to represent and welcome everyone as new artists or audiences.  

“If you are homophobic, racist or transphobic, you will be called out, people will find out, and you won’t be welcome. Hardcore was and still is built on unity. Anyone who spews hate is not welcome,” said Scott. 

In 2024, Shingen has plans to record and release their second EP. They will begin performing shows again in the spring in both the Niagara region and surrounding cities. 

The music of Shingen can be purchased in digital format on their bandcamp and streamed from Apple Music and Spotify. Information about show dates and locations can be found on the band’s Instagram page. 

Brock Musical Theatre steals the show with another successful open mic night

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On Thursday, Nov. 16th, Brock Musical Theatre held a roaring open mic night at Mahtay Café in downtown St. Catharines.  

Every year, Brock Musical Theatre (BMT) holds a series of open mic nights designed to allow club members to perform in front of the community. “Our Mahtay Night event has been a tradition for as long as we have been here at Brock,” said Cameron Playter, BMT’s events coordinator said. “[It has] been passed on by the executives and past members.”  

The open mic night was executed by Playter and BMT’s team of executives. A lot goes into the preparation of an event like this, including booking the space, advertising it and getting people to sign up. But Playter says it is worth it in the end: “Leading up to the event, everyone practices in anticipation, and getting to pick your song for Mahtay Night is a big part of the fun.”  

“My favourite part of the night was the participation from the members of the public,” Playter said. “It was great to watch people from the crowd get up on stage and perform, because that is exactly what we want to see at these events.” The BMT executives loved that the general public enjoyed their time with members of the club, creating a safe space that allowed people to put themselves out there and take risks. This is always a priority for the executive team.  

The event, which was a big success, has spurred the Brock Musical Theatre team on. “It was really nice to see the amount of people who showed up to the event,” said Playter. As a result of this, they hope to see even more members of the public at their future events. “Music has a way of bringing people together and these events provide the community with opportunities to express themselves.” The BMT executives are excited to learn more about their community members at their next open mic night. “[We] cannot wait to see all of the incredible and talented performers too!” said Playter said. 

The next Mahtay Night is scheduled for Feb. 29th, 2024.  

On top of their open mic nights, Brock Musical Theatre is putting on “Carrie” as this year’s musical. The show opens on March 13th and runs until March 17th, 2024. Updates on tickets can be found at BMT’s Instagram.  

“BMT aims to provide a fun experience not just for our club members, but to provide one to the general public as well,” said Playter said. The Brock Musical Theatre team hopes to continue on this path with their next open mic night in the new year.  

St. Johns Conservation Area: a classic and beautiful hiking spot

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St. Johns Conservation Area is a tranquil spot great for both new and experienced hikers.  

Located at 3101 Barron Rd in Fonthill, St. Johns is part of the Niagara Escarpment and the Twelve Mile Creek Valley. It is known for its seasonal trout fishing, bird watching and nature education.  

Before European colonization, the land on which the conservation area now exists was the home of the Anishinaabe, Attiwonderonk, Haudenosaunee and Mississaugas of the Credit peoples. They were forcibly removed from their lands following colonization of the area.  

 
The landscape was shaped by glaciers that eroded the soil and created the hills known by hikers today. Part of the Carolinian Forest zone, St. Johns is the home of many broadleaf plants and some trees that are over 150 years old. It also contains the largest collection of tulip trees in the Niagara Region. The conservation area was formally established in 1963. 

Located close to the conservation area is the St. Johns Common School, which was established in 1804. The St. Johns Common School was the first non-denominational free school in Upper Canada. This started the tradition of free public education, something that the rest of Upper Canada would not adopt for another 42 years. The renovated schoolhouse is the oldest in Ontario.  

In terms of hiking, the area is relatively small at just 76 acres. With that being said, the size doesn’t limit the variety of trails the conservation area has to offer with five different options. Furthermore, hikers can choose from various trail lengths and difficulties. The Pond Trail, which is 500m long, is the most accessible. Following the outer edge of the pond, the route is good for families with small children or individuals who use wheelchairs as the path is flat and paved. 

Sassafras Stroll Trail, which is approximately 1km long, creates a large loop which connects from the pond to the parking lot. From this trail, hikers can access the Horseshoe Trail (600m), the Tulip Tree Trail (1.6km) and the St. Johns Ridge Trail (1.7km). The Pond Trail and the Sassafras Stroll Trail are both mostly flat, while the others include inclines, some of which are quite steep.  

Dogs are welcome on all trails, but they must be on a leash. 

While the conservation area closed on Nov. 13th for enhancements to the parking lot and main entrance, the work is planned to be completed by the end of the year. The Niagara Peninsula Conservation Authority hopes that these improvements will help with public safety and enhance the accessibility of the site, allowing for year-round enjoyment of the conservation area.  

St. Johns Conservation Area is a beautiful place to take in the region’s beautiful scenery while being active and immersing oneself in nature. 

Islamophobic anti-Palestinian propaganda used in antisemitism workshop by Chabad at Brock; Palestinian attendee told South Gazan relatives killed by Israeli forces “because they stayed there” by presenter

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A Chabad at Brock spokesperson involved in the creation of an antisemitism workshop presentation in collaboration with Brock Human Rights and Equity (HRE) has confirmed their deliberate use of a propagandistic front-page story image from conservative tabloid newspaper the New York Post. Arab, Palestinian and Muslim students present at the presentation allege that the anti-Palestinian and Islamophobic rhetoric around the image were carried over in responses directed at them by the workshop presenter.  

On Sunday, Nov. 5 an image surfaced on the r/brocku subreddit showing a New York Post front-page story image titled “BLOOD LIBEL.” The deck of the article — which is expressly advertised on the New York Post’s website as the story being referenced on the front page issue image from Oct. 19 which was the same story-image used in the workshop as a pedagogical tool — is also featured in the front-page image and reads “Islamic terrorists killed their own people in hospital explosion — then falsely blamed Israel,” the hospital in reference according to the New York Post article being the Al-Ahli hospital in Gaza’s Old City.  

The user who uploaded the image to Reddit titled the post, “Racist ‘antisemitism’ event?”  

The event from which the image surfaced was part of a two-event series titled “Holocaust Educational Week Series at Brock University.” The event in question was titled “ANTISEMITISM: The Longest Standing Form of Hatred / A Socio-Historical Perspective.” The event was co-hosted by Chabad at Brock and Brock HRE and was held on Thurs., Nov. 2 in room 215 of the Rankin Family Pavillion. 

A day after the workshop, on Nov. 3, a detailed analysis by New York Times senior writer David Leonhardt as to the cause of the Al-Ahli bombing claimed the following:  

“… While much about the [al-Ahli] hospital explosion remains unclear, the available evidence points toward a Palestinian rocket, not an Israeli airstrike, as the more likely cause… This episode doesn’t mean that Gazan officials always mislead or that Israeli officials always tell the truth. Even in this case, for example, Israeli officials have cited video evidence that Times reporting suggests does not support their argument. Both sides deserve continued scrutiny.”  

Similar inconclusive conclusions have been reported by BBC, Channel 4 News, the UN and many independent news organizations.  

Many on the side that believe Israel conducted the bombing point out that Human Rights Watch has documented Israel bombing critical Palestinian infrastructure with white phosphorous in the past, which is illegal under international law as per the Geneva Conventions.  

Critics of Israel also point to the many confirmed instances of propaganda used by Israel officials in the conflict thus far, such as a fake video created and spread by Israeli officials on social media of a supposed Gazan nurse telling Palestinians to evacuate to the south on top of more IDF talking points. Furthermore, the World Health Organization stated that Israel’s evacuation order to north Gaza’s hospitals in the current conflict is a “death sentence.”

Hospital bombings are illegal under international law.  

Inflated reports of deaths resulting from the Al-Ahli bombing by the Gaza Health Ministry (GHM) have also seen light criticism from CBC as to the accuracy of their reported numbers. However, Human Rights Watch officials told CBC that the GHM has been mostly accurate in the past.  

Many organizations and experts of the region have cautioned that information taken directly from Hamas officials and the PIJ or Israeli officials should be treated with great scrutiny and not presented as fact.  

The New York Post article was published on Oct. 18, a day after the explosion in the Hospital’s parking lot. The article only cites official Israeli reports and a statement by Joe Biden in defence of the explosion’s cause being conclusively a Palestinian missile failure: 

“Hamas had claimed that an Israeli airstrike killed more than 500 people, including civilians seeking treatment, at the Al-Ahli Arab Hospital.” 

But Israeli officials refuted the claim and demonstrated that the blast at the hospital was caused by a misfired rocket launched by the Palestinian Islamic Jihad (PIJ).  

The attack marked the deadliest escalation of the war between Israel and Hamas since the terrorist group launched its surprise attack on October 7.” 

Aric Toler, visual investigative journalist for The New York Times, refuted the initial Israeli video evidence by showing that the timelines didn’t match. Israel promptly deleted the video off their official social media accounts soon after. This same evidence wasn’t denounced or mentioned in the New York Post article.  

The article also mentioned audio released by Israel meant to prove the bombing was a result of a misfire by Hamas and PIJ: “Israeli officials used surveillance pictures and audio recordings to prove the blast at the hospital was caused by a misfired rocket the Palestinian Islamic Jihad.”  

However, the audio tapes were subsequently recognized to be dubious as the dialect in the audio isn’t accurate according to Muhammad Shehada, communications chief at Euro-Med Human Rights Monitor. Shehada stated that even if the voices in the audio are Palestinian, it certainly is not the dialect of a Hamas member, as Israel alleged.  

As of writing, the New York Post has not issued any corrections or comments on their reporting from Oct. 18.  

No unequivocal proof has emerged as of writing of the hospital bombing being caused by either an Israeli airstrike or a Palestinian Jihadist/Islamist group missile failure, despite the antisemitism workshop presenter claiming the latter were to blame for the hospital explosion.  

A Chabad at Brock spokesperson affiliated with the creation of the workshop presentation who wished to remain anonymous provided an exclusive statement to The Brock Press on the reason for the use of the New York Post story-image: 

“The session on November 2nd was focused on antisemitism awareness and only discussed antisemitism. Part of the session did discuss horrific antisemitic terror attacks that were carried out by Hamas (a federally and internationally recognized terrorist group) on October 7th, and a rocket fired by Palestinian Islamic Jihad (also a federally and internationally recognized terrorist group) that misfired and hit the Shifa [sic] hospital in Gaza, which many tried to blame on Israel.

“The New York Post article displayed on one of the powerpoint [sic] slides and [sic] simply displayed an article discussing the media’s inaccurate reporting of the Shifa [sic] hospital blast in Gaza. The New York Post article did use the term Islamic terrorists in reference to Palestinian Islamic Jihad in the context of the missiles they fired that misfired and hit the Shifa [sic] Hospital. When speaking about Hamas and Palestinian Islamic Jihad’s antisemitic attacks and actions, we made it very clear that we were only referring to Hamas and Palestinian Islamic Jihad, their antisemitic actions and how this impacts the Jewish community. 

“We were not speaking against anyone’s Muslim identity and we made that very clear. The slide with the New York Post article was not in reference to nor had anything to do with anybody who is not a member of Palestinian Islamic Jihad.” 

As previously mentioned, The Brock Press has found no evidence to conclusively corroborate the claims made by the Chabad at Brock spokesperson that Palestinian Islamic Jihad or Hamas were responsible for the bombing of the Al-Ahli hospital.  

Furthermore, the New York Post article was reporting on the Al-Ahli bombing and not the Al-Shifa bombing.  

No one at Chabad at Brock has issued The Brock Press a correction or clarification related to which hospital they are referring to since their statement was issued on Nov. 17.

Of the two Al-Shifa hospital attacks that have happened this November, one was an airstrike on an Al-Shifa ambulance that took place on Nov. 3 — a day after the workshop — which Israel confirmed was carried out by the IDF. The second was the siege of the Al-Shifa Hospital by Israeli forces that started on Nov. 11, which was nine days after the workshop.    

As of now, Brock University’s Human Rights and Equity department members haven’t responded to requests for a statement.

The University’s Communications, Media Relations and Public Affairs department provided the following statement for The Brock Press when asked for comment: 

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

It has also been discovered that there are two distinct Chabad at Brock organizations, one being campus-based and run by students and the other being a general Niagara community organization of the same name. The latter organization is not BUSU-ratified.  

The relationship between the two organizations of the same name and their respective involvements in the workshop on antisemitism remains unclear.  

The Brock Press also received confirmation from multiple sources that the Brock University Provost and Vice-President, Dr. Lynne Wells, and Associate Vice-President of Students, Brad Clarke, were present at the antisemitism event in question. 

Members of the Brock Arab Student Association (ASA), a club whose ExperienceBU page says they “aim to promote Arab culture and heritage among students and faculty members,” were also present at the antisemitism workshop on Nov. 2.  

The Brock ASA attendees wrote a statement, which was provided to the The Brock Press by the organization’s president, in which they wished to remain individually anonymous, instead asking to be referred to collectively as The Group of Muslim Women.  

The Muslim Women said that they attended the event in the hopes of learning about antisemitism: “We went into this presentation with the sole expectation that the discussion would be historical and in relation to the topics that were advertised on the events [sic] site.”  

They also allege in their statement that the presenter at the event is someone named Perla Zaltzman. However, this is unconfirmed as per the information obtained and allowed for use by The Brock Press thus far. It is also not clear at this time if the named individual in Brock ASA’s statement is a Brock student or not. 

According to the Muslim Women’s statement, the second section of the presentation shifted focus from the Holocaust and antisemitism to the Israel-Hamas war which they felt was upsetting and targeting of their Arab and Muslim culture: 

“… after the timeline slide, the slides were much less polished, almost hastily put together and they all focussed on Israel, Hamas, and anti-Palestinian topics… It truly is unfortunate that a presentation that was supposed to be beneficial – one that was supposed to raise awareness and educate people on anti-semetism [sic] and the holocaust [sic] – was used to fulfill someone’s personal political agenda.” 

The Muslim Women’s statement also says that they felt unwelcome as soon as they entered the room the workshop was taking place in: “From the moment we stepped in, we knew that we were not welcomed and probably not expected. The presenter had her back turned to us (from the beginning) and did not maintain eye contact, only speaking to the side of the room,” said the Women.  

Furthermore, the Muslim Women state they felt targeted due to the focus on the Israel-Hamas war which the Women feel is a non sequitur when talking about the legacy of antisemitism, and that this conflation on the part of the presenter carried Islamophobic and anti-Arab implications: 

“What also frustrated us was that defending Israel and stating that boycotting Israel is itself anti-semitic (as the presenter did), implies that Israel and Judaism are one and the same. Yes, Israel is a Jewish state, however, this doesn’t mean that all Jewish people support Israel. It also doesn’t mean that Israel represents Judaism as a whole. This presentation which is supposed to be about antisemitism made claims and implied that being against Israel and their agenda is in fact anti-semitic. Having this message being perpetuated, makes us fear that any criticism towards Israel – a state with a government – may be read as a criticism of Judaism, which is not the case.

“We have every right to criticize any government. Anyone can criticize Saudi Arabia’s Amir without being claimed as Islamophobic because despite it being an Islamic state, it is also run by a government that does not represent Islam as a whole. It is the same case with Israel. Israel’s government does not represent every Jewish person, so being against Israel is not antisemitic and this presenter should have not added slides about boycotting Israel in the antisemitism presentation. That implication works to make people fear speaking out and acting against the genocide that is happening in Gaza.” 

Additionally, the Muslim Women said that a Palestinian audience member in attendance had relatives in South Gaza who were killed by Israeli airstrikes.  

As of late November, Israel has conducted airstrikes on both north and south Gaza that have killed large numbers of civilians.  

The Muslim Women confirmed that when the presenter said that the Israeli Defence Force (IDF) were trying to avoid killing civilians, the Palestinian audience member asked the presenter why her family residing in the southern part of Gaza — the south being where Israel told Palestinians residing in the north half of Palestine to evacuate to at the outbreak of the war due to their alleging that Hamas was concentrated in the north — were killed despite being civilians.  

The Muslim Women said that the presenter replied to the Palestinian woman saying her family died “because they stayed there,” as per their statement.  

In the Group of Muslim Women’s statement, they provide a transcription of “voice memo evidence” of the interaction between the Palestinian woman and the workshop presenter.  

The transcription of the interaction in the statement reads in its entirety as follows:  

PRESENTER: “They [IDF] are making it clear that they don’t want to kill civilians. They [IDF] are calling the [Gazan] civilians and telling them ‘Please get out because we need to bomb your house.’”   

PALESTINIAN AUDIENCE MEMBER: “I’m from [the] South. How did my relatives die? I’m from [the] South.” (Palestinian audience member) 

PRESENTER: “Well, because they stayed there.” 

The Brock Press obtained exclusive voice memo evidence of the event’s open forum portion where this exchange happened and can verify that the interaction as it is transcribed in the Muslim Women’s statement is accurate.  

Due to Gaza being occupied territory by Israel since the 1967 Six-Day War, Gaza’s population are not allowed to leave Gaza or to go to the neighbouring occupied West Bank, the other occupied Palestinian territory along with East Jordan, unless for highly selective reasons sanctioned by Israeli officials.  

The Muslim Women’s statement also allege that there were women that cried because of the Islamophobia and anti-Palestinian/Arab sentiments that were then recorded by the presenter and other people attending the workshop. They allege in their statement that they asked Brock HRE to protect their safety and privacy viz-a-viz any recorded material of the incident, as the upset women didn’t want to be recorded. However, the Women’s statement claims that Brock HRE did not answer whether they had obtained or deleted any videos.  

The ASA President mentioned that they are Palestinian in their correspondence with The Brock Press. They also said that ASA feels it is important to mention that they are united and standing strong as a community against Islamophobia on campus: 

“This presentation does not define us or our suffering. It is important to realize that we, as Muslims and as Arabs have been subjected to various forms of hate. We are used to it; we live it every day. We do not need pity parties and sorries [sic] to survive. Our tears during that presentation were not because we felt threatened or because we felt guilty for speaking out. Our tears represent our continued frustration and our compassion for our Palestinian brothers and sisters who are being killed ‘because they stayed there.’

“We are kids who grew up with protests, breaking news, and funerals. We’ve lived in the shadows and we found ways into the limelight. We will not allow anyone to make us invisible. We will not allow anyone to make us feel ashamed of who we are. We are strong people and we proudly stand for what is just. If you want to publish anything about us, please note that we are not defined by conflict, wars and genocide. What defines us is our faith, our compassion, and our existence which in itself is a form of resistance.” 

There have been no apologies issued from the Chabad at Brock that the presenter is affiliated with or from Brock University or its HRE department as of writing.  

UPDATE (March 25): Human Rights Watch claimed that the strike being the result of an Israeli rocket is “highly unlikely.” Still, there has been no conclusive confirmation of the source of the explosion.

This story will be updated as/if new information becomes available. Please email hnawaz@brockpress.com if you have any information, evidence or eyewitness testimony to provide related to the incident that took place at the antisemitism workshop in room 215 of the Rankin Family Pavillion on Thurs., Nov. 2 

Full statements from Chabad at Brock and Brock ASA: 

Statement from Chabad at Brock spokesperson: 

We strongly condemn Islamophobia. No student deserves to experience hate or discrimination and it is our hope that we can ensure an inclusive and safe environment free from hate and discrimination at Brock.  

The session on November 2nd was focused on antisemitism awareness and only discussed antisemitism. Part of the session did discuss horrific antisemitic terror attacks that were carried out by Hamas (a federally and internationally recognized terrorist group) on October 7th, and a rocket fired by Palestinian Islamic Jihad (also a federally and internationally recognized terrorist group) that misfired and hit the Shifa hospital in Gaza, which many tried to blame on Israel. The New York Post article displayed on one of the powerpoint slides and simply displayed an article discussing the media’s inaccurate reporting of the Shifa hospital blast in Gaza. The New York Post article did use the term Islamic terrorists in reference to Palestinian Islamic Jihad in the context of the missiles they fired that misfired and hit the Shifa Hospital. When speaking about Hamas and Palestinian Islamic Jihad’s antisemitic attacks and actions, we made it very clear that we were only referring to Hamas and Palestinian Islamic Jihad, their antisemitic actions, and how this impacts the Jewish community.  We were not speaking against anyone’s Muslim identity and we made that very clear. The slide with the New York Post article was not in reference to nor had anything to do with anybody who is not a member of Palestinian Islamic Jihad.  

It is really disappointing to see this be taken out of context, generalized against an entire community, and then used as a reason to attempt to intimidate Jewish students and a Holocaust survivor at a Holocaust education week event and to frame their lived experience with antisemitism as propaganda, which is a form of antisemitism in itself.  

Statement from The Group of Muslim Women/Brock ASA:  

Brock Press Speaking Points Event: Antisemitism – The Longest Standing Form of Hatred – A Socio-Historical Perspective  

Organizers: Chabad at Brock and Human Rights and Equity at Brock (HRE) Date of Event: Thursday, November 2, 2023 (11:30 – 12:45 at Rankin Family Pavilion 215)  

Presenter: Perla Zaltzman  

1. The event itself is advertised as anti-semitism and Holocaust awareness (as part of the Holocaust Education Week Series at Brock University)  

– We went into this presentation with the sole expectation that the discussion would be historical and in relation to the topics that were advertised on the events site  

– Many of us did not learn about the Holocaust, at least not to the extent that it is taught here, we came to educate ourselves  

– Please note that the first section of the presentation was solely about the history of anti-semitism and the Holocaust. However, after the timeline slide, the slides were much less polished, almost hastily put together and they all focussed on Israel, Hamas, and anti-Palestinian topics. 

2. What happened when we went into the presentation 

– From the moment we stepped in, we knew that we were not welcomed and probably not expected.  

– The presenter had her back turned to us (from the beginning), and did not maintain eye contact, only speaking to the side of the room.  

– This was bizarre to us because why would she feel threatened or intimidated by us when we had come to learn about the presentation topics outlined (antisemitism and holocaust awareness)? If this event was open for everyone (as advertised) would she not be more open to us, people who may not be aware of the history? We were not welcomed at all as equals, as academics, or as people who wanted to learn.  

3. This presentation lost all merit because of the presenter’s personal additions at the end  

– It truly is unfortunate that a presentation that was supposed to be beneficial – one that was supposed to raise awareness and educate people on anti-semitism and the holocaust – was used to fulfill someone’s personal political agenda. 

– I think that this is what angered us the most. We know – as marginalized people – what it’s like to be dehumanized and villainized by the dominant culture. So, to come into a presentation where we are the minority, and to be silenced while being berated and called terrorists was hard. We were not just allowing it to happen either, we tried to question her sources (none of which she mentioned), and we tried to gain some clarification (because of her use of overgeneralized pronouns), but we were silenced and shushed.  

– What also frustrated us was that defending Israel and stating that boycotting Israel is in itself anti-semitic (as the presenter did), implies that Israel and Judaism are one and the same. Yes, Israel is a Jewish state, however, this doesn’t mean that all Jewish people support Israel. It also doesn’t mean that Israel represents Judaism as a whole. This presentation which is supposed to be about anti-semitism made claims and implied that being against Israel and their agenda is in fact anti-semitic. Having this message being perpetuated, makes us fear that any criticism towards Israel – a state with a government – may be read as a criticism of Judaism, which is not the case. We have every right to criticize any government. Anyone can criticize Saudi Arabia’s Amir without being claimed as Islamaphobic because despite it being an Islamic state, it is also run by a government that does not represent Islam as a whole. It is the same case with Israel. Israel’s government does not represent every Jewish person, so being against Israel is not anti-semitic and this presenter should have not added slides about boycotting Israel in the anti-semitism presentation. That implication works to make people fear speaking out and acting against the genocide that is happening in Gaza.  

4. How we felt  

– We felt disrespected (this word does not even come close to how we felt)  

– The presenter did not acknowledge us (see next bullet point)  

– One of the girls asked why her family (who lives in the Southern part of Gaza, which Israel supposedly has not been bombing at that point), was killed if Israel humanely asks civilians to leave their homes. To this question, the presenter simply stated that it is her family’s fault for staying in their homes. We do not know HOW to even describe the amount of humanity one must lack to say such a thing to someone who has lost family members as a result of Israeli airstrikes. It is disgusting and inhumane to say such a thing.  

“They [IDF] are making it clear that they don’t want to kill civilians. They [IDF] are calling the [Gazan] civilians and telling them ‘Please get out because we need to bomb your house.’” (Presenter)  

“I’m from [the] South. How did my relatives die? I’m from [the] South” (Palestinian audience member) 

“Well, because they stayed there” (Presenter in response to the above question)  

We have no words. We truly have no words to describe how disgusting this answer is and how it affects us, as a community. This statement alone completely undermines this presenter’s credibility in raising awareness about the largest genocide in human history. How can someone speak about the 6 million Jewish people who stayed in Europe, who did not have the option to leave their homes, and that have been murdered by the Nazis, then minutes later claim that another group of humans was murdered because they stayed in their homes? We cannot understand it. One does not need to be pro-Palestinian to realize how inappropriate it is to tell someone that their family chose to stay in their homeland and thus chose to die. It does not make sense. It is disgusting. There needs to be consequences and a personal and public apology. That is the bare minimum.  

– We felt silenced  

– As aforementioned, the presenter had her back faced to the visibly Muslim girls (wearing hijabs) and only looked at one side of the room  

– Did not acknowledge any hands. If she did not want to answer any questions until the end, she could have stated that once she saw the hands up. Instead, she waited until someone spoke out that they had a question, which was at least a few minutes after the hand stayed raised. It was obvious that she did not want to acknowledge us.  

– In the end, she did not answer most of the questions people wanted to pose. We were expected to passively listen to her, accept whatever political belief she wanted to force on her audience, and swiftly leave. It was clear that she did not want to hear from us Muslims. We felt as though no one was on our side  

– Although members of the HRE were present, they did not step in when the unapproved slides were presented. If they did not approve of the slides, why did they not step in, especially when they saw our frustrations? We feel like the HRE members present did not do their job by 1. Not verifying ALL of the slides right before the presentation 2. Not stopping the presentation when they realized that non-verified slides were being present 3. Not calling out the discriminatory attitude shown by the presenter. We felt displayed.  

– This presentation was held in room 215 of the Rankin Pavillion which had glass walls. There are blinds that could have been pulled down, but the organizers chose not to. In a public place, with a lot of foot traffic, people were staring in at all times. A lot of the stares were due to slides that centred on very eye-catching forms of media such as the New York Post articles. There were also at least 3-4 security officers present by the end of the presentation which was eye-catching.  – There were a few girls who cried out of frustration and their emotions were on full display to anyone at the Rankin Pavilion. Another issue was that some of the audience members and the presenter herself recorded the girls as they cried. This is a complete breach of the girls’ privacy and we have asked for the videos to be obtained by the HRE to protect their safety and privacy. We have not heard whether or not these videos have been deleted or obtained by HRE, which is concerning. Conclusive statements  

– We will not as Muslim and Arab communities (collectively and respectively) allow such forms of misinformation and hate speech to be perpetuated in such a way. We will speak out about it (as we have been doing) and we will be the first to defend our fellow Arabs, Palestinians, Muslims, and humans. No group deserves to be publicly dehumanized in the way we saw on November 2nd.  

– This presentation does not define us or our suffering. It is important to realize that we, as Muslims and as Arabs have been subjected to various forms of hate. We are used to it; we live it every day. We do not need pity parties and sorries to survive. Our tears during that presentation were not because we felt threatened or because we felt guilty for speaking out. Our tears represent our continued frustration and our compassion for our Palestinian brothers and sisters who are being killed “because they stayed there.” We are kids who grew up with protests, breaking news, and funerals. We’ve lived in the shadows and we found ways into the limelight. We will not allow anyone to make us invisible. We will not allow anyone to make us feel ashamed of who we are. We are strong people and we proudly stand for what is just. If you want to publish anything about us, please note that we are not defined by conflict, wars and genocide. What defines us is our faith, our compassion, and our existence which in itself, is a form of resistance. 

Josh Giddey is being investigated by the NBA for allegations of a relationship with a minor

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On Friday, Nov. 24th, the NBA began an investigation into Oklahoma City Thunder player Josh Giddey stemming from allegations of an inappropriate relationship with a minor.  

This comes after a number of damning photos and videos surfaced on social media showed him with a high school junior. 

Nevertheless, Giddey appeared to be a full participant in the Thunder’s Friday practice, where he was questioned by reporters. Giddey however, refused to comment on his situation. 

“I understand the question obviously, but there’s no further comment right now,” said Giddey. A follow-up inquiry was similarly shot down by Giddey. “I get the question, guys. I completely understand you guys want to know about it. Just for right now, I don’t have anything to say.” 

Mark Daigneault, the Thunder head coach, also refused to comment when asked about whether the allegations could pose a distraction to the team. “Personal matter, and I have no comment on it, and that’ll be my comment on anything related.” 

Josh Giddey ended up not only dressing but starting in the Thunder’s Nov. 25th match against the Philadelphia 76ers where he played the second-most minutes that he has in any game so far this season.  

21-year-old third-year player Josh Giddey was picked sixth overall by the Thunder out of the Australian NBL in the 2021 draft.   

Giddey is the most recent instance of a high-profile NBA player alleged to have engaged in criminal misconduct. 

In fact, the Thunder were involved in another scandal last month when they received two second-round picks from the Houston Rockets as compensation for acquiring and immediately waiving Kevin Porter Jr.  

Porter Jr. was arrested on Sept. 11th for allegedly attacking his girlfriend at the time, Kyrse Gondrezick, a former WNBA player. Though one assault charge was dropped for insufficient evidence, he still faces another in addition to a strangulation charge.  

Houston also received Victor Oladipo and Jeremiah Robinson-Earl from the Thunder. The trade saved the Rockets over $4 million and allowed the Thunder to cut down an over-stuffed roster.  

The Thunder have the largest stockpile of future draft picks in the league, which they added to in this trade. Profiting off of Houston desperately trying to cut ties with an alleged domestic abuser is a terrible look for the Thunder already, an image only compounded by their apparent lack of response to the Giddey allegations.  

It has been a rough week for the NBA’s PR department with the Charlotte Hornets also making a controversial addition to their roster. 

On Nov. 16th, the Hornets announced that Miles Bridges would be eligible to return to their roster, shortly after Hornets’ head coach had said that Bridges would be given a “significant role” in his return. 

Bridges has in fact played a significant role since he made his return on Nov. 17th, averaging almost 37 minutes played through four games, a career high.  

On July 19th, 2022, Bridges was charged with one felony count of causing harm to a parent of a child and two felony counts of child abuse. Bridges was sentenced to three years of probation and no jail time while the two charges of child abuse were dropped. 

Bridges was suspended 30 games by the NBA and signed a contract with the Hornets after the 2023 season.  

Despite allegedly breaking his criminal protective order twice—the very thing keeping him out of jail—including throwing pool balls at a car his children were in, Bridges has been allowed to continue playing. His court date for these allegations was set for Nov. 13th, but the hearing was pushed until Feb. 20th, 2024.  

Overall, this week has seen plenty of disgraceful conduct both from the Thunder and Hornets, but also from the NBA as a whole.  

Celebrate the holidays with Let it Glow – A Celebration of Light

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Holiday festivities are beginning in and around St. Catharines, the largest being Let it Glow – A Celebration of Light.  

This month-long celebration, occurring in lieu of a Santa Claus parade, will run from Dec. 1, 2023, until Jan. 7, 2024, entailing a variety of activities in downtown St. Catharines and Port Dalhousie. LoveSTC describes it as a time to “dine, shop and explore amongst the glow of twinkling lights.” 

Before the main event begins, two Watering Can Winter Workshops will be held at the St. Catharines Kiwanis Aquatics Centre on Nov. 24, with one at 11 a.m and one at 1 p.m. Children between the age of four and 12 can be registered here, giving them the opportunity to create their very own Grinch Christmas tree. 

The free, outdoor Let it Glow Launch Event at Rennie Park and Lakeside Park in Port Dalhousie officially kicks off the festivities, running from 5 p.m to 8 p.m on Dec. 1. The thousands of arranged glowing lights will be a great photo opportunity for anyone attending. As an exclusive part of this event, the Lakeside Park Carousel – originally carved between 1898 and 1905 – will be open for rides. Mr. and Mrs. Claus will be in attendance, as well as the Grinch and other characters. 

On Dec. 10, from 12 p.m to 4 p.m., the Meridian Centre in St. Catharines is hosting a free Family Skate. Santa and Mrs. Claus will once again be in attendance with a host of other fun characters, and there will be festive music and hot chocolate for all. 

The celebration will sweep through the St. Catharines Farmers Market for three Wednesdays in the month: Dec. 6, 13 and 20. Winter in the Market will run from 4 p.m to 8 p.m on these days, with sixty local vendors selling a wide selection of gifts for your loved ones or yourself, including wine, preserves, handmade toys, jewellery and more. This event will not affect the regular hours of the market, which currently runs on Thursday and Saturday mornings every week. 

On Dec. 31, Leisure Swims at the Kiwanis Aquatics Centre, which normally costs $2, will be free. Hour-long time slots at 9 a.m., 10 a.m, 11 a.m and 12 p.m can be booked here

Two events will be ongoing throughout the month of December and into January. First, Port Dal-icious runs from Dec. 1 to Jan. 7 in Port Dalhousie. Countless foods will be available to try, including European comfort food, specialty coffees and beers, Hungarian chimney cakes and more. There will be various QR codes around Rennie Park that link to enter a contest for a dining experience in Port Dalhousie. 

The Mitten Tree Campaign is a holiday initiative spanning from Dec. 2 to Jan. 6. Run by the St. Catharines Museum and the Welland Canals Centre, those able are encouraged to donate winter clothing to the museum so Community Care of St. Catharines and Thorold and Start Me Up Niagara can deliver them to local families in need. Call 905-984-8880 or email museum@stcatharines.ca for more information. 

Let it Glow – A Celebration of Light is sure to be a festive time for students and families alike. Though St. Catharines is not hosting a Santa Claus parade, Niagara This Week compiled a list of parades and other events happening in the Niagara region. To Do Canada has an even more detailed list, including local concerts, theatre shows and more. For those who celebrate, the possibilities are endless. 

“It’s a shame”: Concordia student calls out Quebec tuition hike

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Quebec has doubled tuition fees at English universities for non-residents of the province. 

The announcement came during a press conference on Oct. 13, where Jean-François Roberge, minister of the French language, stated that a surplus of anglophone students is one of “the reasons for the decline of the French language in Quebec.” 

He continued to stress his desire to “rebalance our university network [and rebalance] our language policies here in Montreal. By attracting more francophone students to francophone universities, it’s a way to rebalance it.” 

This change will occur starting in Fall 2024. While students already studying at anglophone universities will not have to pay an increased rate, any out-of-province students looking to start an undergraduate or graduate program will. 

The three affected schools are Concordia University, McGill University and Bishop’s University. At Concordia, incoming out-of-province BA students can expect to pay $299.73 per credit, or $10,678.45 per year with additional university fees. For comparison, Quebec residents coming into the same program would only pay $96.03 per credit, or $4,567.45 per year with additional fees. 

Similarly, an MFA in Creative Writing, one of the few such programs offered in the country, is estimated to cost $7,350.15 for Quebec residents compared to an estimated $16,516.65 for out-of-province students, with neither of these costs accounting for additional fees. 

Taylor Adams, a current first-year student at Concordia pursuing a bachelor’s degree in computer science with a joint major in data science, believes the decision is “meant to divide francophone from anglophone Canadians. If this was really about promoting French in the province, they would have come to an agreement to include French classes as a requirement for the English universities.” 

“What is ironic is that McGill University may have to halt their $50 million French program because of this financially devastating policy,” Taylor said, referring to an Oct. 18 announcement from the English university. 

While not affected financially by the hike themself, Taylor said that “just under 10 per cent of Concordia’s enrollment [are] Canadian, non-Quebec residents, so I am largely worried about the funding of my school’s organizations, equipment and faculty.” 

Other tensions have risen on campus as well as a result of the tuition hike: “I see posters around campus against tuition hikes, either to get people to sign a petition or in order to organize a protest. Some of these have been partially torn [and] vandalized with phrases like ‘DEFUND ANGLO UNIs’.” At the recent protests, hundreds of those in attendance were students from Bishop’s. 

Taylor may not be a Quebec resident, but they speak French “near fluently” and aims to “work and live in Montreal after [their] graduation as a software developer.” However, this change may affect their goals. “I am willing to attend my second year here, but if this significantly impacts my experience I will try to transfer to another university, like Carleton or Ontario Tech.” 

“It’s a shame,” Taylor said, “because I came here not only to feel the freedom of a lively, accessible metropolis, but to immerse myself in the French-Canadian language and culture. I have been attending both francophone and French immersion schooling my entire life, and it sends a message that I’m not welcome, because I’m from Ontario and French is not my mother tongue.” 

Protests and petitions are ongoing, but as of yet there has been no change to the policy. Recently, the tuition hike has received negative attention from other provinces and countries. With students like Taylor starting to consider other options for schooling, the situation for anglophone universities in Quebec like Concordia, McGill and Bishop’s regarding enrollment and funding is dire. 

Badgers remain unquestioned front-runners after two-win weekend

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Brock’s men’s hockey team added to their commanding lead on the OUA this weekend with two wins against the Guelph Gryphons and the University of Toronto (UofT) Varsity Blues, making it seven in a row. 

Guelph are squarely middle-of-the-pack, exiting the weekend with a 7-6 record through 13 games and only a +1 goal differential.  

The Varsity Blues are now tied with Toronto Metropolitan (TMU) for second in Brock’s OUA West division, but TMU has two games in hand on UofT. Not that either team is particularly close to catching number one; the Badgers now sit eight points above second in their division.  

The Badgers took on Guelph first, playing them at home on Friday, Nov. 17th.  

The match got off to a slow start, but Brock was eventually able to secure the first lead of the game 14-and-a-half minutes in after outshooting Guelph 17-10. Jordan Stock was responsible for the first strike, his third of the season.  

Though the Badgers went into the first intermission with this lead, Guelph came out of the intermission looking hungry to tie it.  

12 minutes into the second, that’s exactly what Guelph did. Having owned the shot pressure for the early parts of the period, the Gryphons scored their first goal of the match and added another five minutes later to hand them their first and only lead of the match. 

Tyler Burnie evened the score exactly two minutes after the Guelph goal before Zach Taylor reclaimed the Badgers’ lead 33 seconds after that.  

Now back in the driver’s seat, the third period belonged to Jacob Roach.  

Brock’s leading goal-scorer, Roach found his groove early in the final frame, scoring first seven minutes in. Though the Gryphons brought the lead back down to one with a goal a minute after, Roach scored a second with six minutes left, and added an empty-netter to secure the Badgers win and his second hattrick of the season. Burnie led the Badgers in points with a goal and three assists. 

The next evening on Nov. 18th, the Badgers traveled to Toronto to take on UofT.  

The Badgers pressured hard in the early going, forcing neutral-zone turnovers and keeping the puck below UofT’s goal line. They were quickly rewarded for their workmanlike play with a goal when, off an offensive zone faceoff, Zach Taylor tee’d-up Riley Gannon for a left-point blast four minutes in.  

Despite not scoring again for much of the period, the Badgers continued to dominate, outshooting Toronto 12-2 and visibly out-possessing them. Eventually they did stretch their lead when Cale Sanders crashed the net on the forecheck, but the two-goal lead was short-lived.  

Shortly after Brock failed to score on a two-on-one rush, UofT jumped on a poorly played puck by Brock goaltender Connor Ungar and slipped it past him to close the gap to one with less than a minute remaining in the period. 

Apparently not satisfied in being outshot by six times their output, UofT jumpstarted their offensive generation in period two, getting a lot more rubber on Brock’s net.  

Just over four minutes in, UofT created a turnover at their own blueline, and took it into Brock’s zone on a three-on-one. Toronto’s Billy Moskal feathered a pass to Ben Woodhouse who one-timed it home to tie the game.  

The score remained tied for an agonizingly long time, bleeding into the third period.    

Finally, with 11:50 remaining in the third, Ethan Simms chipped a puck around a UofT defenceman at the Badgers blueline, taking it all the way in to beat the Varsity Blues goalie far side. 

Jared Marino put the nail in the coffin with just over a minute left, potting an empty netter off a slick neutral-zone feed from Jacob Roach.  

Following the weekend, star players and the team as a whole are having some fantastic performances to-date.  

Roach is fifth in the OUA with 10 goals in 14 games, while Burnie isn’t far behind with nine of his own. In addition, the pair rank fifth and seventh in overall points with 22 and 19 respectively.  Roach is also tied for sixth in assists, a position that he shares with Jared Marino, with both players having 12. 

Though he has slipped to second in Goals Against Average (GAA), sitting at first in save percentage (SV%) and wins, Connor Ungar still remains the top goalie in the OUA. However, ahead of Ungar in GAA and tied in SV%, Ottawa’s Franky Lapenna is breathing down his neck.  

The Badgers as a whole are also having a season for the books. Now 13-1-0, the Badgers not only lead the OUA, but are one of the top teams in Canada as a whole. With 26 points, a 0.929 win percentage and only 26 goals against, there is only one team still ahead of the Badgers in Canadian University hockey: the undefeated University of New Brunswick who are at 28, 1.000 and 24, all while scoring a country-leading 77 goals (second place has 65).  

The Badgers are back in action next weekend with a home game against TMU on Friday, Nov. 24th before heading to Waterloo on the 25th to play Wilfrid Laurier. For more information, please visit gobadgers.ca. 

Professional hockey player released on bail after manslaughter charge in connection with the death of former NHL player

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On Oct. 28th, in a horrifying accident that shocked the hockey world, Adam Johnson of the Nottingham Panthers in Britain’s Elite Ice Hockey League (EIHL), was killed during an on-ice collision when an opponent’s skate came up and cut his throat. 

Johnson was soon transferred to a Sheffield hospital where he was pronounced dead.  

Johnson was a former NHL player, and, having suited up for the Pittsburgh Penguins as recently as the 2019-20 season, his death quickly sent waves through the international hockey community.  

The EIHL immediately introduced a neck guard mandate, coming into effect 2024, with many individual players following suit. The Providence Bruins of the AHL notably all wore neck guards in their game the following day.  

Johnson had made many friends in his time around the NHL, all of whom were profoundly affected by the tragedy.  

“I haven’t really understood it yet,” said Alex Iaffalo, winger for the Winnipeg Jets. Iafallo and Johnson played two seasons together at the University of Minnesota-Duluth. 

“I didn’t know I could cry so much,” said Jet’s defenceman Neal Pionk. “It just doesn’t seem real.” Johnson was a groomsman at Pionk’s wedding in 2022. 

In a heartbreaking revelation, Johnson’s girlfriend of three years also disclosed that she had found an engagement ring in their apartment. Johnson had apparently bought the ring before they left for England earlier this year and planned to propose.  

However, in the face of all of this, the most prevalent story is the criminal investigation into Matt Petgrave, the player whose skate cut Johnson’s neck.  

After the incident occurred, a considerable amount of momentum began building online behind the idea that Petgrave may have had malicious intentions.  

Looking at videos of the incident in slow-motion and pointing out the fact that Petgrave is the EIHL’s leader in penalty minutes, corners of the internet began to suggest that Petgrave may have intended to hurt Johnson.  

In the days following, Johnson’s death became so sensationalized that even people who never interacted with the sport began chiming in.  

“We wholeheartedly stand with Matt Petgrave.” wrote Johnson’s teammate, Westin Michaud in a statement posted on X (formerly Twitter), “The hate that Matt is receiving is terrible and completely uncalled for. I was at ice level on the bench closest to the accident, I saw both players moving fast. It’s clear to me his actions were unintentional and anyone suggesting otherwise is mistaken.” 

Unsurprisingly, Petgrave has been “absolutely distraught” after the incident, a feeling only compounded by the torrent of online abuse he has received in the aftermath.  

Petgrave—who is a black man—has received death threats, harassment and alarmingly racist messages.  

“What Matt has experienced is unimaginable,” said Victor Bjorkung, another teammate of Johnson’s. “I don’t understand how some people can behave, it’s inhuman. It’s so insane that people think its deliberate. [Anyone who thinks so] can go to Hell.” 

Nevertheless, the South Yorkshire Police said that they would be looking into the incident and, on Tuesday, announced that Petgrave had been arrested on suspicion of manslaughter.  

Convicting someone for a death that occurred within the scope of a dangerous, full-contact sport may be difficult to prove. Due to certain assumptions of risk, the bar for criminal intent is much higher. A notable instance where this has occurred was in 2004 when Todd Bertuzzi pleaded guilty to criminal assault after injuring Steve Moore with a violent cross-check to the head.  

However, the court also showed that this attack was premeditated. Bertuzzi had talked openly about getting payback against Steve Moore after Moore hit Bertuzzi’s teammate. There is no evident premeditation in Petgrave’s case.  

Though it is unfortunate that this tragic accident is under investigation at all, there is no doubt if it gets to court that the judgement will be precedent setting.  

Key takeaways from the 2024 Grammy nominations

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The nominations for the upcoming Grammys provide a lot to dissect. 

On Nov. 15, the nominations for the 66th Annual Grammy Awards were announced. The ceremony is set to be aired live on Feb. 4, 2024, and a full list of nominees can be found on the Recording Academy’s website. Below are several predictions and key takeaways from the nominations, providing some insight into what to expect from the ceremony. 

Women stand at the front of major categories 

In all the major categories, women dominate most of the nominations, many of whom are sporting acclaimed albums and tracks. All the nominees have a strong chance of winning for both their popularity and acclaim. It’s refreshing and feels well overdue to see an entire award show representing diverse women across genres. 

Miley Cyrus could take home major awards 

With the success of the single “Flowers” in support of her album Endless Summer Vacation, Cyrus could find herself taking home major awards like Song of the Year.  

Award show wins are heavily dependent on how nominees are campaigned by their teams. Whether it reflects integrity to the awards or not, how an artist, album or song is depicted can greatly sway their odds of winning. While Endless Summer Vacation was a substantial step down from its predecessor – the career-changing Plastic Hearts – the success of its lead single could be enough to land Cyrus major wins. 

SZA has the cards for a win in her hands 

A five-year gap between albums wasn’t enough to make SZA lose steam. After receiving no wins for her debut studio album Ctrl nor the award for Best New Artist, the R&B giant made an unexpected return with the release of her sophomore album SOS on Dec. 9, 2022. Despite forsaking the concept album approach seen on Ctrl, SOS hardly falls victim to the sophomore slump and proves SZA is a staple of modern R&B.  

Albeit less stylistically consistent than Ctrl, the glue holding the expansive SOS together is SZA’s introspection and vulnerability. Accumulating a whopping nine nominations, the odds of her taking home a long overdue win are high. 

Don’t sleep on alternative categories 

Despite often not being aired in full, the alternative music categories this year are well-deserving of recognition. Along with her major category nominations, Lana Del Rey flaunts nominations for Best Alternative Music Performance and Best Alternative Music Album. 

A win for Del Rey would feel like a full-circle moment in her career and pop culture. From the mixed reviews of her influential debut album Born to Die all the way to Ocean Blvd, Del Rey’s career is cemented in pop culture history. Her latest record is an amalgamation of her metamorphosis, soul, humour and overall passion for music. 

A humble surprise in the Best Alternative Music Performance category comes from Toronto-based band Alvvays for their single “Belinda Says.” The track tells the story of an unexpected teenage pregnancy and describes a protagonist overwhelmed by the sheer weight of the choices they make moving forward. Paralyzed by the magnitude of her situation, she soothes herself with a reminder that through all her fear, she’ll find her way. It’s a rollercoaster of a track that is equally as catchy as it is touching. 

Best New Artist finally features solely new artists 

Throughout Grammy history, the category for Best New Artist has been scrutinized for awarding artists who have been in their career for years. An infamous example occurred in 2012 when Bon Iver was awarded despite being around since 2006. Many believed Nicki Minaj deserved the award after entering the scene with the hit single “Super Bass” and her debut album Pink Friday

 
Thankfully, this year’s nominees are in fact new artists, leaving the award equally up for grabs. However, due to her apparent overnight success, several hits and collaborations with major artists, it’s safe to predict Ice Spice will be the recipient. 

Taylor Swift breaks records, again 

At this point, Swift breaking records is an expected occurrence. Recently, Swift has managed to become even bigger, currently holding the most monthly listeners on Spotify worldwide. With six nominations total, her nomination for “Anti-Hero” in Song of the Year makes her the most nominated artist in the category of all time. 

Unfortunate snubs 

Compared to other award shows, the Grammys are littered with snubs that feel both out-of-touch and outright disrespectful in some cases. While the awards themselves are a separate animal, snubbed nominations warrant a sigh of disappointment from music lovers and critics. Perhaps one of the most disappointing snubs of this year’s nominees is Caroline Polachek’s album Desire, I Want to Turn Into You, being nominated solely for Best Engineered Album, Non-Classical. 

Receiving widespread acclaim, Polachek delivered an album that shows pop music in a stasis between past, present and future, borrowing elements from various periods to craft a sweeping reflection of the earthly desire that drives humanity to yearn for more. 

The rap genre at large has been snubbed this year. A glance at the nominees reveals that many choices were decided by popularity alone. Doja Cat’s single “Paint the Town Red” has been swept to the wayside. Regardless of the artist’s controversial image, the success of “Paint the Town Red” marks a change in Doja’s career and artistic direction from her previous Grammy-pleasing pop tunes. The unfortunate absence of acclaimed albums such as noname’s Sundial and Billy Woods / Kenny Segal’s Maps is a slap in the face to the genre outside of this year’s lukewarm mainstream nominees. 

“Priscilla” is a lesson in how to successfully craft a biopic

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Score: 4/5 

Modern biopics are often hit or miss, but Priscilla effortlessly falls into the former. 

Adapted from the memoir Elvis and Me and directed by Sofia Coppola, Priscilla chronicles the life of Priscilla Presley (Cailee Spaeny) during her relationship with Elvis Presley (Jacob Elordi) from their first encounter to the final farewell and divorce. 

If anyone was going to direct a biopic for Priscilla, Coppola was far and away the best choice. Her intimate approach to filmmaking and familiarity with coming-of-age through the female gaze aligns perfectly with the life of Priscilla during her years with Elvis. 

Oftentimes biopics will rely on larger-than-life visuals to forcefully throw the audience into the life of a person, but in Priscilla, the opposite is true. Coppola lets the performances speak for themselves, knowing exactly which shots are most important to draw out, allowing the actors to command their scenes. This technique is present throughout her entire filmography and feels like effortless work in Priscilla

In all its quietness, Priscilla expresses a powerful integrity. To say it was made in an attempt to spit on Elvis’ grave would be a gross misunderstanding of the film which doesn’t take things as obvious as the title into account. The film examines Elvis in an unfiltered way through Priscilla’s eyes that feels empathetic to the questionable parts of their relationship. Immediately from their first encounter, the film strips back any legacy or fame protecting Elvis and shows how problematic his attraction to a fourteen-year-old girl really was. 

Compared to the larger-than-life biopics in recent years like Bohemian Rhapsody (2018), Rocketman (2019) and (ironically) Elvis (2022), Priscilla is more subdued. It is first and foremost a biopic, but Coppola’s experience with coming-of-age stories humanizes Priscilla. This hybrid of genres makes her feel like less of an untouchable celebrity shielded by her partner’s fame and more of a person thrown into an unfamiliar world and crafted to fit a role – which was in fact the case. 

Spaeny’s performance breaks away from the typical biopic lead. Unlike other actors who adopt a fantastical commitment to the role, Spaeny’s method feels grounded in reality. She’s presented as an ordinary girl brought into the world of fame, continuously made to believe that the life being crafted for her was every girl’s dream. Even in the euphoric highs of their relationship, Priscilla exudes hesitancy evident in Spaeny’s subtle expressions.  

Between Coppola’s masterful filmmaking and Spaeny’s impressive performance, the film becomes a dark fairytale. Spaeny’s acting reflects polarizing emotions over resigning herself to the life crafted for her as Elvis’ partner. Oftentimes she conveys her emotions with only her face and eyes. Her technique pulls the audience into Priscilla’s experience even in scenes where she stays quiet whilst surrounded by the chatter of other people. 

With an airtight screenplay, the film satisfyingly uses its nearly two-hour runtime to cover pivotal moments in the relationship. For the audience it’s almost overwhelming to witness how quickly Priscilla’s life changed. 

The praise for the film’s screenplay does not ignore its weaker qualities, however. In its final act, Priscilla does begin to meander; all the understated qualities used to make the audience feel closer to Priscilla begin to fade into themselves and isolate the audience from the story. 

The tension between her and Elvis feels like a powder keg waiting to explode, but the climax ultimately ends in a fizzle. The plot relies on subtle changes in Priscilla’s mannerisms and interactions with Elvis to convey a shift in her attitude, but by the time she begins to fully exercise her agency, the film ends. Adding more focus on Priscilla’s decision to leave Elvis would relieve the soft tension the film progressively builds. 

All criticisms considered, the positive qualities outweigh the negative ones, and the film is a polished biopic done right. It’s quiet and grounded but never inattentive to the essential details required to do the story justice, leaving with all the grace and empathy it arrived with. 

As the fall semester ends, music at Brock comes to life with Music@Noon

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As the fall semester nears its final curtain call, Brock’s Department of Music has a calendar full of performances to attend. 

During the entire academic year, the Music@Noon concert series is hosted every Tuesday at noon at the FirstOntario Performing Arts Centre (PAC). The concerts showcase an array of recital performances from members of the Department of Music at the Marilyn I. Walker School of Fine and Performing Arts (MIWSFPA) as well as students studying music at Brock. 

The concerts are sponsored by the RBC Foundation and thus offer free entry to both the public and Brock students. Music@Noon is an excellent cost-friendly way for students to get involved in local arts and support music at Brock. Tickets are required for entrance. 

Music@Noon hosts recitals from music students from early November to the semester’s end in December as a culmination of their musical knowledge and practice. The performances allow students to showcase selected pieces they have been rehearsing for their chosen instruments including woodwinds, percussion, strings and vocals. The concerts are also streamed live on the MIWSFPA’s YouTube channel and are uploaded afterwards to view. 

The Music@Noon student recital series hosts its final performances of the year on Dec. 5 before returning in January with performances from faculty and associates from the Department of Music. However, the Brock University Wind Ensemble is set to host their end-of-semester concert at 7:30 PM on the same day. Tickets for this event do come with the regular fee of $15 and can be purchased online at the PAC website or from the box office. 

 
Directed by Zoltan Kalman, Principal Clarinetist of the Niagara Symphony Orchestra, the University Wind Ensemble is composed of Brock students, high school students and local woodwind musicians. United by a shared passion for woodwind music, the ensemble explores traditional, modern and original music. 

On Monday Dec. 4 at 7:30 PM, jazz lovers will be delighted by the Brock Big Band’s jazz concert. Along with a concert in December, the Brock Big Band will return for another academic year-end concert in April. All performances from the band are dedicated to local jazz enthusiast and musician Hugh Logan and his late wife Marie as part of the Hugh and Marie Logan jazz series.  

With daylight disappearing earlier and exam season beginning to rear its ugly head, students may find themselves emotionally down and overwhelmed by deadlines and culminating projects. The upcoming performances offered by the MIWSFPA’s Department of Music are an ideal way for Brock students to break up this stressful time of year to show support for music in the community and their fellow students. 

More information about the events listed as well as ticket sales can be found on the FirstOntario PAC’s website. Information about upcoming events will also continue to be released in the coming days. A full list of events and dates can be found on the MIWSFPA’s brochure of events. 

Vehicle explosion at the Canada–U.S. border in Niagara Falls forces Rainbow Bridge to close

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The FBI is investigating an incident that occurred on Wednesday, Nov. 22, where a vehicle heading toward Canada from the US crashed and exploded on the Rainbow Bridge. 
 
Between 11:20 and 11:30 a.m., a vehicle accelerated toward the Rainbow Bridge on the U.S. side before colliding with a checkpoint structure. Upon collision, the vehicle caught fire and exploded. The smoke from the blast could be seen from several kilometres away. 
 
An initial search of the vehicle found no incendiary or explosive devices. Law enforcement noted that this was only preliminary information. 
 
The cause of the explosion is still being investigated.  
 
Officials have confirmed that the two passengers of the vehicle died during the explosion. The single border patrol guard inside the checkpoint at the time of the crash was sent to the hospital with minor injuries.   

It is unknown at this time whether there were more casualties or injuries as a result of the collision and explosion. 
 
Mike Guenther from Kitchener witnessed the incident while walking down Main Street in Niagara Falls, New York with his wife. In an interview with WGRZ-TV, Guenther reports that the car accelerated “so fast we could barely even see them… they were fishtailing because they were going so fast.” The vehicle then swerved to avoid hitting another car and hit a fence around the checkpoint said Guenther.  
 
CCTV footage reveals that the fence acted as a ramp, propelling the vehicle into the air before hitting the checkpoint. According to Guenther, the vehicle was then quickly engulfed in “a ball of fire, 30 [or] 40 feet high.”  
 
Video from another CCTV camera at the Rainbow Bridge displays a large fiery explosion that scorched the US border checkpoint followed by a scattering of debris. According to the security camera’s data, the incident happened at 11:22 a.m. 

 
Images taken at the crash show similar wreckage, warped metal and open flames covering the road around the bridge.  
 
The FBI is coordinating with local, state and federal authorities to investigate the cause of the crash. Whether the crash and explosion were intentional or not is currently unconfirmed. 
 
The explosion prompted the closing of the Rainbow Bridge as well as three other border crossings in the region, including the Queenston-Lewiston Bridge, the Peace Bridge and the Whirlpool Bridge 
 
The Buffalo and Niagara Falls airports, however, remain operational.   

A statement from the Niagara Frontier Transportation Authority says that “cars coming into the Buffalo Airport will undergo security checks and travellers can expect additional screenings.” 
 
Prime Minister Justin Trudeau made a statement in Parliament, saying “this is obviously a very serious situation in Niagara Falls.” He eventually excused himself from Question Period in the House of Commons to be briefed further. 
 
The Prime Minister went on to say that “additional measures” were being contemplated and activated additional border crossings across Canada. 
 
New York Gov. Kathy Hochul has been briefed on the situation and said via X, formerly Twitter, that “the New York State Police will be actively working with the FBI’s Joint Terrorism Task Force to monitor all points of entry into the state.” 
 
In a press statement at Niagara Falls, New York, Gov. Hochul stated, “there is no evidence at this time that this was a terrorist activity,” and that the car explosion incident was caused by a “local individual, a West New Yorker.” 

 
The situation is still evolving as more information comes to light.  

NHL General Managers explore rule changes for enhanced safety and excitement

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In a recent meeting, NHL General Managers gathered in Toronto to discuss potential rule changes aimed at improving safety and excitement in the game. The discussions specifically focused on cut-resistant gear in the wake of a tragic incident in the Elite Ice Hockey League involving Adam Johnson.  

Cut-Resistant Equipment: 

One significant topic of discussion revolved around the implementation of mandatory neck protection for players. Rod Pasma, the NHL’s Vice President of Hockey Operations, presented the current options available for neck guards and emphasized the league’s commitment to player safety. With up to eight companies awaiting approval, players will soon have a choice of 12 to 14 neckguards, addressing concerns raised after the unfortunate death of Adam Johnson due to a skate cut. 

Pasma also highlighted advancements in cut-resistant equipment for wrists, base layers, and socks. The league has made strides in providing players with more options, acknowledging the evolving needs and preferences of athletes. Edmonton Oilers GM Ken Holland stressed the importance of players adopting cut-resistant materials voluntarily, underlining the league’s commitment to minimizing risks on the ice. 

3-on-3 Overtime Tweaks: 

To maintain the excitement of 3-on-3 overtime while preventing teams from leaving the offensive zone to retain possession, GMs explored potential tweaks. Ideas on the table include prohibiting players from tracking back across the blue line or red line with the puck. The introduction of a shot clock was also discussed to encourage continuous play without increasing stoppages. Although these discussions are preliminary, many in the hockey world are calling for a change to three-on-three overtime in order to make it more exciting.  

Face-off Clarity and Other Considerations: 

Apart from overtime, discussions also touched on face-offs, seeking more clarity for players on what is allowed and the reasons for being kicked out of the face-off circle. GMs acknowledged the importance of face-offs as a critical part of the game, initiating puck possession battles. Reverse hits, slashing and cross-checking were also subjects of conversation, emphasizing the ongoing efforts to enhance player safety and fair play. 

As the NHL continues its pursuit of making the game safer and more exciting, the recent discussions among general managers reflect a commitment to evolving with the times. From mandatory neck protection to improvements in cut-resistant gear and potential tweaks to 3-on-3 overtime, these considerations aim to strike a balance between player safety and the thrilling nature of the sport. The upcoming GM meetings in March promise deeper, data-driven discussions, signalling a proactive approach to addressing the evolving needs of the game. 

Men’s basketball: Badgers lose back-to-back in Ottawa

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In a fiercely contested matchup on Nov. 17, the Brock Badgers men’s basketball team faced off against the 8th-ranked Carleton Ravens in Ottawa. The game unfolded as a nail-biter, with the Badgers ultimately losing to the Ravens in a 69-63 battle. 

Leading the charge for the Brock Badgers was fifth-year guard Jevon Brown, who showcased an impressive performance, tallying 26 points on 75 per cent shooting. Brown also contributed on the defensive end with four rebounds and three steals. Guards Kevaughn Ellis and Nemanja Sarkanovic added 15 and 10 points to the Badgers’ offensive effort, respectively. 

The first quarter saw both teams struggling to find their shooting rhythm, resulting in a low-scoring affair. The Ravens managed to gain momentum late in the quarter, securing a 16-10 lead after ten minutes of play, thanks in part to a crucial three-pointer from guard Wazir Latiff. 

Despite Carleton extending their lead to double digits in the second quarter, the Brock Badgers found their range from beyond the arc. Jevon Brown and Kevaughn Ellis traded three-pointers, giving Brock their first lead of the game. The halftime score was deadlocked at 31-31 after a late jumper from Ravens forward Noah Horobetz Simpson. 

The Badgers dominated the third quarter, both offensively and defensively. They established a significant lead, with Jevon Brown capitalizing on the offensive end and the team forcing eight turnovers from the Ravens. Heading into the final quarter, Brock held a 48-40 lead. 

However, the Ravens mounted a comeback in the fourth quarter, scoring seven unanswered points and forcing an early Badgers timeout. Despite Brock’s efforts to regain control, the Ravens managed to pull away in the closing minutes. Jevon Brown and Kevaughn Ellis attempted to lead a late surge, but it proved too little, too late, as Carleton secured the 69-63 victory. 

Following the loss, they played their second game of the weekend against University of Ottawa. The Badgers dropped another close game losing to the number one ranked team 73-63. Despite the loss, Badger forward Jordan Tcheunte registered a double-double scoring 16 points and grabbing 17 rebounds. 

After losing back-to-back games the Badgers are now 3-2. They look to get back in the win column on Nov. 24 when they face off against the Queens Gaels at home. Tickets for the game can be found here or watched live on OUA.tv

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

Brock Badgers Women’s Hockey Dominates School Day Game with 5-1 Victory

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In a School Day Game at Canada Games Park on Friday, Nov. 17, the Brock Badgers women’s hockey team showcased their prowess on the ice, securing a decisive 5-1 victory against the TMU Bold. The arena buzzed with energy as six schools gathered to support their respective teams, creating an electric atmosphere for players, coaches and fans alike. 

Sophomore forward Jenna Duarte emerged as the star of the game, delivering a standout performance with two goals and one assist. Duarte’s contributions marked her best game in a Badger uniform, elevating her season point total to an impressive five points. 

The Badgers wasted no time in setting the tone, with Duarte capitalizing on a breakaway opportunity in the first period. Sprung into action by Madeline Nicholson after successfully killing a penalty, Duarte executed a highlight-reel deke, securing a 1-0 lead for Brock. 

Building on their momentum in the second period, the Badgers continued to apply pressure, extending their lead. Allison Stevenson capitalized on a two-on-one, finishing off a beautiful pass from Duarte to put the Badgers up 2-0. Later, on the power play, fourth-year forward Catriona Cormier’s shot from the point resulted in a rebound goal by junior forward Madison Cronkwright, further solidifying Brock’s dominance with a 3-0 lead. 

Although TMU managed to narrow the gap with an early third-period goal, the Badgers swiftly responded. Duarte, showcasing her scoring prowess once again and Claudia Murphy, with her fourth goal of the season sealed the deal for Brock, securing the 5-1 victory. 

In the net, goaltender Kenzie Harmison stood tall, making 30 saves throughout the game. The Smith Falls, Ont., native has been instrumental in Brock’s recent success, guiding the team to a two-game winning streak and boasting five wins for the season. 

The scoring summary highlighted Duarte’s impact, with her goals and assists prominently featured. The power play proved crucial for the Badgers, converting on two of their four opportunities, while Harmison’s strong goaltending denied the Bold on all three power plays. 

The penalty summary showcased the game’s intensity, with both teams engaging in physical play. Despite multiple penalties, the Badgers successfully navigated through penalty kills, demonstrating their resilience on both ends of the ice. 

With this convincing victory, the Brock Badgers women’s hockey team continues to impress, building momentum and showcasing their potential as serious contenders in the league. As the season progresses, fans can undoubtedly expect more thrilling performances from this talented and determined squad. 

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

Badgers’ men’s volleyball lose pair in Kingston against the country’s fourth-ranked team

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In game one on Saturday, the Badgers got off to a rapid start looking to remain undefeated in the Limestone City. 

Brock opened the first set with a 4-0 and 7-1 advantage, in large part to Kylar Code’s two kills and an ace in the first eight points of the match, as well as a variety of miscues by Queen’s. The Gaels committed seven attack errors in the set – the most in any set all weekend – as well as five service errors, leading to 12 of Brock’s 25 points. 

The combination of Badger dominance and the Gaels’ mistakes led to Queen’s dropping their first set of the season, 25-16. However, the tenacious Gaels responded with a statement in the second. 

In net play, the Gaels had 12 kills in the set and only one attack error, while the Badgers managed six kills – their lowest in the game – and three attack errors.  

The service game was what really separated these teams in the set. Queen’s had seven of their 17 aces in the set, including on set point, while Brock only placed four aces in the entirety of the game. The Gaels took the second set 25-16. 

In the third, the Badgers were the sloppy team, committing nine attack errors which led to an appalling attacking percentage of negative 0.5 per cent. The only thing that kept Brock in the set was that the Gaels misplaced their serves, leading to eight service errors and points on the board for the Badgers. 

But when it mattered most, the serve was what won the Gaels the set, as Queen’s Erik Siksna recorded two of his game-high six aces to close the third set with the 25-20 win. 

The fourth set was much of the same as the service game both helped and hindered the Badgers. The Badgers benefited from seven Gael service errors in the set, but Brock committed five service errors themselves, including one on match point. The inability to convert serves led the Badgers to dropping the fourth set 25-18 for their first loss of the season. 

Luckily for the Badgers, they had an opportunity to avenge their loss the next day in a rematch with the Gaels.  

Queen’s, on the other hand, was looking to remain undefeated and were on the right track to doing so right from the opening serve. 

Queen’s dominance was imminent, as they started the game up 4-1 and 7-3, never giving up the lead, to take the opening set 25-21. 

In the second, the Badgers got an early lead thanks to Gaels errors and a kill by Devin Cooney, but the lead never surpassed two points.  

After a back-and-forth opening to the set, Queen’s took control by stringing together a 4-0 run to take the lead. The Gaels maintained that lead to win the second set 25-18, to push the Badgers to the brink of dropping their second consecutive game in Kingston. 

With the opportunity to remain undefeated, the Gaels looked poised offensively, registering 11 kills while not committing an attack error.  

Once again, the service game was a main factor in the set as the team combined for 17 service errors – eight by Brock and nine by Queen’s – as the serve was the theme all weekend. 

With the Badgers facing match point, the Gaels aced a serve – their 14th ace of the match and 31st of the weekend – to win the third set 25-21 and sweep the Badgers. 

Next up, the Badgers will be eager to get back in the win column when they close out their first half schedule at home, hosting the Trent Excalibur on Dec. 1st and 2nd at the Bob Davis Gymnasium. For more information on the Badgers men’s volleyball team, head to gobadgers.ca 

Badgers’ women’s basketball team shows fight in tough losses in Ottawa

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The Badgers’ women’s basketball team dropped both games in Ottawa this weekend, falling 81-79 in overtime to the Carleton Ravens – the number one ranked team in the country – on Friday, before losing 74-56 to the Ottawa Gee-Gees on Saturday to close out the trip. 

In game one in the nation’s capital, Brock graciously welcomed the return of Oluwatito Akinnusi, who missed the last game with an injury.  

The Psychology major made her presence felt early, as she scored 11 of the Badgers’ 16 points in the first quarter on five-for-seven shooting. However, the Ravens also shot the ball exceptionally well in the frame, shooting 52.9 per cent, leading to 22 points and the early advantage. 

In the second frame, Brock stepped it up on both sides of the floor. Offensively, the Badgers shot nearly 54 per cent, as a balanced attack by Akinnusi, Angeline Campbell and Madalyn Weinert had 16 of the team’s 19 points. Defensively, Brock defenders limited the Ravens to only one three-pointer made on eight attempts, as Carleton only scored 16 points in the quarter. 

Heading into halftime, the Carleton lead was cut to three, 38-35, as Brock’s stellar defence carried into the third. 

The Badgers only allowed 12 points in the third, as Brock restricted the Ravens to an abysmal three field goals made in the quarter. However, seven Brock fouls kept the reigning U Sports National Champions in the game as they made six free throws to end the third quarter down one. 

Foul trouble haunted both teams in the fourth, as they combined for 15 free throws made – seven for Brock and eight for Carleton – on 21 attempts. Two of Carleton’s eight free throws were made by Kali Pocrinic with 10 seconds left to give the Ravens the three-point lead. 

With five seconds remaining, Brock guard Campbell scored one of her game-high six three-pointers to tie the game at 71 and force overtime. 

In overtime, the Ravens got off to a rapid start, going on a 5-0 run, but the Badgers responded swiftly. Weinert and Olivia Fiorucci scored mid-range jump shots, before Campbell made another crucial three with an and-one for the four-point play, to even the game at 79. 

With the game tied and the clock ticking, fans were on their feet at the Ravens Nest in Ottawa. Zerina Duvnjak scored with one second left to win the game for Carleton and hand Brock their second consecutive loss to fall to 2-2 this season. 

Despite the loss, the Badgers showed their ability to compete with a top-tier opponent and were hoping that their fight and hustle can translate into a win the following day against another high-calibre team, the Ottawa Gee-Gees. 

Against the Gee-Gees, the game started off slow but quickly changed course as the intensity picked up. 

Madison MacInnis was a noticeable presence in the first, as the six-foot forward used her size and strength to terrorize the Ottawa defenders in the paint, scoring six of her eight points in the quarter.  

Campbell, one of the Badgers’ Athlete of the Week, also had a positive impact for the Badgers as her playmaking abilities led to superb ball movement leading to quality looks for her teammates. The Toronto-native had three of her four assists in the quarter which contributed to the Badgers only being down one, 24-23, at the end of the first. 

In the second, Aubrey Ntetani Umba provided a much-needed spark off the bench. The third-year Business Administration major scored two three-pointers in only three minutes of action to briefly give the Badgers the lead. 

But the Badgers lead was short-lived as the Gee-Gees started to take control of the game following Umba’s second made three. 

Ottawa went on a 16-8 run to close the half, in large part due to the Gee-Gees shooting 46.7 per cent in the quarter, compared to the Badgers’ 33.3 per cent. 

The shooting disparity was a main contributor in Ottawa being up 44-37 at half as Brock’s shooting woes continued in the third. 

The Badgers shot a dreadful 6.7 per cent in the third as Fiorucci’s jump shot eight and a half minutes into the quarter was the only basket Brock made in the frame. 

Fortunately for the Badgers, the Gee-Gees also shot a poor 18.8 per cent. But just like the game against the Ravens, foul trouble was problematic for Brock.  

Six Badger personal fouls led to seven free throws made for Ottawa which was the difference in the quarter, as Brock found themselves down 57-39 entering the fourth, needing a big comeback to salvage a win on the road trip. 

In attempting a comeback, the bench trio of Umba, Emilia Vlatkovic and Ottawa-native Keren Tshinyama Kasonga combined to score nine of Brock’s 17 points in the fourth. However, Ottawa also re-found their game in the quarter, matching Brock’s point total of 17, to win the game 74-56 for their fourth win of the season. 

The sweep at the hands of Ottawa opponents serves as important preparation for next weekend’s tough matches given the Badgers are hoping to get back in the win column. 

On Friday night, the OUA East leading Queen’s Gaels (6-0) head to town before a Saturday showdown against rival McMaster Marauders (5-1) takes over the Meridian Centre for the annual event. Tickets for Paint the Meridian Red can be purchased at ticketmaster.ca, and head to gobadgers.ca for more information about the Brock Badgers women’s basketball team. 

Canada lifts the 2023 Billie Jean King Cup as women’s tennis world champions

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After an intense week of hard-fought tennis, the Canadian women’s tennis team won the Billie Jean King Cup for the first time ever after defeating Italy in the finals on Nov. 12th

Leylah Fernandez secured Canada’s title by beating Italian Jasmine Paolini in match two of the finals to sweep the Italians 2-0 in the tie. Fernandez, the 35th-ranked player in WTA Singles Ranking, dominated Paolini – ranked 30th – to win the match 6-2, 6-3. 

“I can finally say this: we’re world champions, and we rightfully deserve it,” Fernandez said. “We worked really hard the past years, and we just keep improving.” 

The 21-year-old dominated throughout the competition, winning all six of her singles matches along with both of her doubles matches.  

Fernandez won her opening match of the week in pool play, defeating Spaniard Sara Sorribes Tormo in back-to-back tiebreakers before making quick work of Poland’s Magda Linette the next day. 

After the Canadian squad dropped the first match of the best-of-three tie to the Czechs, the 2021 US Open Runner-up came in clutch for her team. The Montreal-native won both her singles and doubles match against Czechia in the semifinals to keep Canada’s title hopes alive. 

Fernandez beat Marketa Vondrousova in a three-set thriller – 6-2, 2-6, 6-3 – setting up the do-or-die doubles match with teammate Gabriela Dabrowski. 

The Canadian duo, who both rank within the top 20 in WTA Doubles Ranking, edged out the Czechia pair in the highly compelling match. The Canadians won 7-5, 7-6(3) to continue their magical run, as Dabrowski won her fourth of four doubles matches in the tournament. 

“It means so much, it’s an incredibly special moment to share with everyone sitting here and our team also waiting for us back in the locker room,” said Dabrowski, the 2023 US Open Doubles Champion. “It’s like a weight has been lifted off our shoulders.” 

In lifting the weight off their shoulders, 18-year-old Marina Stakusic came up huge for Canada.  

Stakusic, the 261st-ranked player in the world – who was named the ITF Player of the Month for September – defeated three top-70 opponents. One of those huge victories included defeating 42nd-ranked Martina Trevisan – 7-5, 6-3 – to give Canada the pivotal 1-0 advantage over Italy. 

Stakusic also picked up two crucial wins in pool play over Spain’s Rebeka Masarova and Poland’s Magdalena Frech to finish her inaugural Billie Jean King Cup with a 3-1 singles record. 

Also contributing to Canada’s success was 2014 Wimbledon Runner-up, Eugenie Bouchard.  

Bouchard won both of her doubles matches with Dabrowski in straight sets, as the 29-year-old is hoping to re-gain the form that propelled her to number five in the WTA Singles Ranking in October of 2014.  

“It’s special for my career to be able to add this to my resume personally,” Bouchard said. “All these times I get to play for my country has been super special. This is just, like, the cherry on top to be able to say we’re champions.” 

With the win, Canada qualifies directly into next year’s tournament, and they’ll be eager to defend their throne as Billie Jean King Cup Champions. 

For more information on the Canadian women’s tennis team, head to tenniscanada.com. 

Fun winter events at Brock to add to your festive bucket list

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For many, the winter season is hard on the body and spirit. The weather becomes harsher as the days pass by, the sun goes down mindbogglingly early and final examinations are quickly due. 

At this time more than ever, it is important to seek out meaningful opportunities for fun and relaxation, all while embracing the weather.  

The following are a few of the events offered throughout November and December at Brock that can serve as pick-me-ups during this gloomy time of the year. Notably, many of these are also great opportunities to get pumped for the upcoming Christmas season along with Brock peers. 

  1. Gingerbread Decorating  

Student Life and Success along with the Residence Life Peer Mentor have planned a gingerbread decorating session to get students in touch with their holiday spirit. Throughout the session, students will be provided with pre-baked gingerbread cookies and other cookie-decorating utensils to unleash their festive creativity. 

The event is taking place on Friday, Nov. 24th, from 6:30 p.m to 9:30 p.m in room WH206. Brock students are welcome to RSVP on ExperienceBU to secure their spot, although walk-ins will also get the chance to stop in for the session. 

  1. Canada’s Wonderland Winterfest 

The Brock Winter Club is bringing Brock students to Canada’s Wonderland Winterfest on Saturday, Nov. 25th. The Winterfest transforms the atmosphere of Canada’s Wonderland into a holiday-themed immersive experience, where attendees can ice-skate and enjoy holiday live shows.  

To attend, students must purchase their ticket, which are priced at $40. This fee includes transportation and entrance to Canada’s Wonderland. As for the itinerary, the bus booked by the Brock Winter Club will depart the university at 1:30 p.m and is scheduled to return from Canada’s Wonderland at 9 p.m. 

  1. Holiday Craft Night 

On Wednesday, Nov. 29, the Brock Relay For Life club is inviting the Brock community to gather for a night of craft-making for a good cause. For a $5 donation, students will be provided with supplies needed to complete holiday crafts, and all proceeds will be donated to the Canadian Cancer Society. 

Another perk associated with the event is that the club will be playing The Grinch for attendees to enjoy a holiday movie while they craft.  

The event will run from 7 to 10 p.m, and Badgers can RSVP to secure a spot for the event on ExperienceBU

  1. Niagara Falls Winter Festival of Lights 

Brock University Student Life along with Brock SOCS are bringing Brock students on an immersive journey through the Winter Festival of Lights, and an accompanying hot chocolate trail in Niagara Falls.  

The evening promises sightseeing at the “Sparkling Winter Lights” illumination at the Falls, luxurious hot chocolate taste-testing and closing the night by watching fireworks. It is going to take place on Saturday, Dec. 2nd from 5 to 9 p.m. 

Transportation to and from the event, as well as the activities in Niagara Falls, are covered with the purchase of a ticket, priced at $5. 

The winter season may be tougher on students’ mood and quality of life than usual, which highlights the importance of attending social events fit for the time of the year. 

If you are looking to have fun these upcoming weeks, or if you are thrilled for the holiday spirit to kick in, consider attending the winter events. 

“Swifties don’t vote for Milei” — the Taylor Swift impact on Argentina’s presidential elections

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Does being a Taylor Swift fan mandate adhering to certain political ideologies, or candidates, over others? Many Swifties in Argentina believe so.  

Despite these sentiments, groupthink mentality within fandoms can undermine a healthy democracy, especially when politics gets in the mix. 

This past week, Taylor Swift’s South American leg of the Eras Tour graced the Argentinian public throughout Nov. 10th to 12th. Swift’s performances took place on the week leading up to the presidential elections, during a decisive moment in Argentine politics. 

As Swifties in Buenos Aires stood proud through shine and thunder waiting in queue for their shows, they could not ignore the Taylor Swift-themed signs deterring fans from voting for the far-right libertarian candidate, Jaime Milei. 

“A Swiftie Doesn’t Vote Milei,” read the bubblegum pink posters outside the venue, accompanied by the hard-hitting subheading “#Milei is Trump.” 

Other signs displayed near the venue are a reimagination of a photo taken from Swift’s Instagram, where she smiles at the camera while holding up cookies decorated with a “Biden-Harris 2020” logo. This time around, the signs seen in Buenos Aires portray a drawing of Swift holding up a tray of cookies that read “Massa 2023”, in support of Milei’s opponent, Sergio Massa. 

The Swift-inspired signs decorating the streets of Buenos Aires speak to a commonly known fact in the fandom — Swift “came out” as a proud Democrat in 2016 and has since spoken out against Trump’s presidency, far-right ideology and crutches on LGBTQ+ rights. 

What many have gotten wrong about Swift’s politics is that her political commentary has always praised democracy and freedom of expression. 

This implies that Swift should be unwelcoming to polarizing movements promoting groupthink in her name, regardless of how much she may agree with the commentary being made. 

“I cannot vote for someone who will not be willing to fight for dignity for ALL Americans, no matter their skin color, gender or who they love,” said Swift in a 2018 Instagram post where she broke her silence in politics and announced her support for two Democrat candidates.  

Swift underscored this by asking fans to educate themselves on politics and use the power of their vote accordingly. 

“Please educate yourself on the candidates running in your state and vote based on who most closely represents your values. For a lot of us, we may never find a candidate or party with whom we agree 100% on every issue, but we have to vote anyway,” added Swift. 

Another instance of Swift highlighting the need for a healthy democracy in America was in her public critique of the Trump administration. 

“We’re a democracy — at least, we’re supposed to be — where you’re allowed to disagree, dissent, debate. I really think that [Donald Trump] thinks this is an autocracy,” said Swift in a 2019 interview with The Guardian. 

Swift’s politics, while advocating for human rights and equality, are equally defined by a strong preference for democratic values.  

But how does this translate to the Argentine runoff elections? Why are Swifties tying the singer’s identity to center-left candidate, Sergio Massa while denouncing Javier Milei? 

Javier Milei, often nicknamed Argentina’s “Mini-Trump,” openly stands by extreme populist promises that shape contemporary far-right thinking. Milei’s far-right political takes include believing climate change is a subset of a “socialist agenda” and spreading rumours of voter fraud throughout his election campaign. 

Other areas of concern within Milei’s platform for the upcoming presidential election include possible encroachment of reproductive freedoms and access to social programs. 

As for the Swiftie-backed opponent to Milei, Sergio Massa, his platform appears to be one based on development through social spending. Massa plans to promote socio-economic development through social spending on secondary and post-secondary education. Likewise, the center-left candidate aims to fight against organized crime and crack down on the use of state force during protests.  

Going back to the Swiftie dialogue, it is understandable why they would use Taylor Swift’s face as a political statement. Not only are the Swift-themed signs appealing to her fanbase and a young voter demographic, but the weight her name carries in pop culture may influence voting behaviour.  

That said, parasocially attaching Swift’s face to Sergio Massa’s campaign is inherently divisive. While Swift herself may align with Massa’s views, the artist herself has also stressed the importance of individual decision-making in light of elections.  

The issue is not one of whether Swift would agree or disagree with signs denouncing Milei’s presidential campaign. At a larger scale, the issue is one of allowing democracy to ensue by empowering self-reflection and decision-making in light of Argentina’s elections. 

While many Swifties may be supporters of Massa’s campaign, it is unfair for them to push this onto the identity of the fandom itself. At the end of the day, Argentine Swifties are entitled to feel safe from the grips of political groupthink that mandate voting for Sergio Massa in order to rightfully qualify as a true “Swiftie.” 

The only thing that makes someone a “Swiftie” is a love for Taylor Swift’s music. Being a “Swiftie” should never be defined by mandated support for a specific candidate or political movement under the influence of what people think Swift’s morals are. 

Video games deserve to be preserved

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Nintendo owes their fans legal, modern and reasonably priced ways to play their old games, and if they fail to do so, they should not be surprised when fans turn to emulators. 

Video games have an expansive history as an interactive medium. Gaming has seen several eras, with games from each console generation containing a glimpse into what the gaming industry was like at that respective time. This is perhaps best illustrated by the “console generations,” a colloquial system separating the medium’s history into nine distinct generations. While this system is becoming outdated, it’s still an interesting formulation of gaming’s historical evolution. 

As video games continue to evolve, however, it remains necessary to allow players to enjoy old titles from major publishers.  

Video games are different from most other technologies in the sense that old titles are still worth modern preservation. Comparing video games to smartphones, for example, shows this difference. There’s no need to continue selling smartphones manufactured in 2009. These phones use outdated technology that has been replaced with modern units that do everything their predecessors could, and more. Video games do not work this way; each video game tells a different story and represents a part of gaming history that is still worth experiencing in modern day. 

There are a few reasons why video game preservation is worthwhile. It is important to maintain old software as unique pieces of history, but it’s also fun for newer fans to experience early entries in a series they enjoy.  

Yet, Nintendo makes it notoriously difficult to play several of these. While recent Nintendo consoles such as the Wii U offered a service called “Virtual Console” through which gamers could purchase old games on their modern hardware for lessened prices, they have since moved away from this service. 

The Switch offers a replacement through the Nintendo Switch Online subscription service, but this bears an issue. Nintendo Switch Online requires a monthly or annual fee but only allows players access to certain consoles, with specific games able to be played. If a gamer wishes to play a title that is not available on the service, they’re out of luck. 

It doesn’t help that the Wii U and Nintendo 3DS digital stores have been permanently disabled, so fans who want to play historical titles through Virtual Console are now unable to do so. Nintendo has effectively replaced Virtual Console with a largely inferior service that makes it harder to play classic titles. 

Remakes and remasters are a fantastic way to get old titles on modern hardware, but this occurs on a case-by-case basis. A game developer’s main focus should be on original titles, so it’s unrealistic to expect them to devote major amounts of time and money towards remaking a bunch of previously released games. Remakes and remasters are usually side projects as primary resources go towards the development of new titles. 

Competitors such as PlayStation and Xbox have shown more support towards preserving their old titles, with the former building a game preservation team and the latter explicitly committing themselves to game preservation. Yet, Nintendo seems largely uninterested. 

If a player wishes to play an old Nintendo game that is not offered through their subscription service, they typically have two options: second-hand sellers or emulation. Yet, neither of these are particularly strong choices for the average gamer. 

Second-hand prices for old Nintendo titles are often inflated from their original store prices, meaning they’re less accessible to gamers without large budgets to blow on old games. As someone who recently became a fan of the long-running Fire Emblem series, I hoped to purchase the 2005 GameCube title Fire Emblem: Path of Radiance from eBay, only to be shocked by prices averaging around $300 CAD. This game should be available on modern hardware for significantly cheaper than its original price, not the other way around.  

So, for many players, that would leave emulation as the best option, but this has problems of its own. 

Emulation requires knowledge of how to operate an emulator, and often, games need to be emulated on a suitable PC. There are several steps toward emulating a game on modern console hardware, and this is often a complicated process that might not even end up running correctly. There’s a beautiful simplicity to popping in a cartridge or loading an official digital piece of software, and emulation lacks all of that. 

Furthermore, Nintendo has openly spoken out against emulation, saying it “harms development and stifles innovation.” They have taken legal action against emulators and are well known for their aggressive approach towards emulators and game modifications. It’s clear that Nintendo doesn’t appreciate their games being played in any unofficial capacity. On their website, Nintendo advocates for second-hand sellers—which, again—usually have massively inflated prices. 

But why are they surprised that fans are turning to emulation? They know how beloved their old titles are—and by not offering official, modern methods of playing them—they are inviting fans to find workarounds. It’s unreasonable for Nintendo to expect players to dish out hundreds of dollars on online retailers for games that were worth fractions of those prices years ago. 

Fans have proven that they are willing to pay for old games. By purchasing remakes and remasters, Virtual Console titles and subscriptions to Nintendo Switch Online, players have proven that there is a market for these titles; yet, Nintendo doesn’t seem to be interested in supporting the preservation of their old games. 

Why they are so uninterested in preservation is another question entirely, but what remains clear is that they owe their fans access to the titles that allowed them to become the company they are today. If they refuse to do so, they shouldn’t be surprised when players search for unofficial methods. 

Nintendo needs to accept that fans are going to play their old games one way or another, and if they choose not to value video game preservation, fans will find alternative methods of enjoying them whether Nintendo likes it or not. 

Meta has quietly accepted Threads’ death

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Threads allowing its users to delete their accounts without affecting their linked Instagram account is an admission of the platform’s long-running failure. 

On July 5, Meta launched the Threads app, a platform that allows users to communicate and join public conversations primarily through text. The app was a clear response to Elon Musk’s poor handling of his new acquisition, Twitter – which, in a move aligned with Musk’s consistently terrible decision-making process, has since been renamed to “X” – and users began flocking to Threads in droves. Users would just need to link their Instagram account, and they were set. 

Threads’ unspoken promise to replace the once-beloved “bird app” mixed with Instagram’s notability caused its initial user base to skyrocket, with the app surpassing 100 million users within five days of its release. Compare this to other notable platforms such as YouTube and Facebook, each of which took over four years to reach that milestone. Even TikTok, which saw unprecedented success, took nine months to reach the 100-million threshold. 

Unfortunately for Threads, a groundbreaking launch doesn’t necessarily equate to long-term success. As Meta would discover, launching a new platform purely with the intent to capitalise off a competitor’s downfalls is not enough to sustain a consistent user base.  

When Threads launched, it was missing a variety of common social media features, such as a following-only feed, hashtags, the ability to switch accounts, translation features, a proper search function, embedded Instagram posts and a desktop version. In other words, Threads launched as a skeleton of a social media platform, one that presents the groundwork of a potential future service but lacks any of the specific features that make it pleasant to use. 

X, on the other hand, already has a variety of features and options that make for ease of use. While Elon Musk has certainly made some decisions that have hurt the app since he acquired it, it’s undeniable that X’s many years as Twitter have baked-in features that make it far more user-friendly than Threads. Those features have been there for years, long before Musk took a sledgehammer to the platform’s reputation. 

While it’s a nice idea to think that there might be a proper replacement for X, this thought alone isn’t enough to keep users engaged in a whole new service. If a competitor lacks the features that users need to have a pleasant experience, they’ll understandably go back to the service that provides the options they’re used to, even if they disagree with its management and continue hoping for an eventual replacement. 

Sure enough, that’s exactly what happened. By the end of July, Threads’ user base had plummeted by over 80 per cent. While its developers have been listening to feedback and have since added new options for their users, it’s too little, too late. The social media crowd already jumped on the Threads bandwagon over the summer, and because it launched in such a barebones state, that’s probably how most of its former users are going to continue thinking of it. 

Threads has now added a feature that allows users to delete their account without also deleting their linked Instagram account. This is likely an unspoken admission from Meta that the project was a massive failure. At the very least, this move is an admission of uncertainty, but it’s more than likely a complete acceptance of Threads’ utter failure. 

By not allowing users to do this in the first place, Meta was making a bold claim that Threads would be a major part of Instagram’s future. The inability to independently delete a Threads account implied that its integration into the Instagram service would be long-standing and impactful; after all, why would a user need to delete their Threads account if it’s a major new component of the Instagram experience? 

But this clearly isn’t the case anymore. Anyone who created a Threads account has a link to that account at the top of their Instagram profile, but now this is just a waste of space. I’d speculate that many people who tried out Threads upon launch probably want this link removed from their Instagram account, but they haven’t been able to until now. 

By allowing users to delete their Threads account without affecting linked Instagram accounts, Meta is admitting that they’re not certain about Threads’ place in Instagram’s future.  

Threads made a big promise, but its lack of features upon release caused irreparable damage to the platform’s user base and reputation. Furthermore, not allowing users to independently delete their Threads account shows that Meta was holding onto the hope that they might bring some of these users back, but that’s clearly not likely to happen. 

Meta has realized that the Threads project isn’t going anywhere, and they’ve accepted that the majority of these users just aren’t coming back. 

Guess what, Billie Eilish: men get body-shamed too

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Billie Eilish’s comments about men’s appearances not being scrutinised are untrue, harmful and hypocritical. 

Eilish, 21, made headlines in November because of her interview with Variety in which she talks about womanhood, sexuality and other personal topics. While she mentioned a lot of interesting and valid things throughout the interview, one particular comment drew criticism online. 

“Nobody ever says a thing about men’s bodies,” Eilish said in the interview. “If you’re muscular, cool. If you’re not, cool. If you’re rail thin, cool. If you have a dad bod, cool. If you’re pudgy, love it! Everybody’s happy with it. You know why? Because girls are nice. They don’t give a f**k because we see people for who they are!” 

Eilish claims that men aren’t body shamed because each type of male body is accepted. This is not only objectively untrue, but it belittles men who have been body-shamed and paints their experiences and feelings as somehow less valuable. 

Robbie Williams can certainly testify to this. After a series of Instagram comments about his body looking “too skinny” or “emaciated,” Williams opened up about his body dysmorphia and self-loathing. “I could write a book about self-loathing where my body image is concerned,” Robbie told his fans. “Like pure self-hatred. The ugliness of feeling ugly… I’m body dysmorphic. The struggle is real, the sadness shocking.” It’s a saddening example of men also being targets of body shaming, despite Eilish’s claims that “nobody ever says a thing” about them. 

Liam Payne faced public ridicule over his appearance, with some wondering if he had Botox or fat removal. Zac Efron and Timothée Chalamet have also spoken publicly about their experiences with being shamed over their appearances. 

A study from CALM revealed that 48 per cent of men have faced mental health struggles over their appearance, with two in five men feeling pressure to have the “perfect” body. For Eilish to make such ignorant statements is harmful to these men, who already suffer with these concerns but are now openly invalidated by Eilish telling them that the pressure placed upon them doesn’t actually exist. 

If we’re observing people who shame men for their appearances, perhaps we should start by looking at Eilish herself. She has been very vocal about her thoughts on “ugly” men: 

“Why is every pretty girl with a horrible-looking man? I don’t understand,” said Eilish in a Pitchfork interview in 2019. “Listen, I’m not shaming people for their looks, but I am, though. You give an ugly guy a chance, he thinks he rules the world … Because they got a hot girl, they can be horrible? Like, you’re still ugly, though.” 

Interestingly, despite her claims about girls’ kindness, she’s not exactly seeing people for who they are. 

It’s one thing to make a statement in an attempt to support women. Advocating against body shaming women is a noble thing to do, as it’s a painful experience for many and that shouldn’t be overlooked. But if one’s advocacy involves invalidating a whole other group of people and their experiences in an attempt to push up the group you support, then there’s a problem with your advocacy. If your attempt to show support toward one group actually tears away at the self-esteem of another, then you have failed as an advocate and have done more harm than good. 

Body shaming can happen to anyone, and no one’s experiences should be invalidated in the quest to normalise kindness and support. Billie Eilish’s intent to support women is admirable, but by invalidating the real experiences of men in the process, she has exposed her own advocacy as hypocritical and damaging. 

Noah Kahan does a disservice to himself by taking the easy way out with his new collaborations

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Not ready to let the success of his album Stick Season go, Noah Kahan has collaborated with four big names in his latest releases.  

Stick Season is American singer/songwriter Noah Kahan’s third studio album, but it is the one that has generated the most success. Released initially on Oct. 14th, 2022, Stick Season is 14 tracks long and has a run time of 55 minutes and 21 seconds.  

On June 9th, Kahan released an expanded edition of the album titled Stick Season (We’ll All Be Here Forever) which included seven additional tracks and boasted a new run time of 83 minutes and 35 seconds. However, Kahan didn’t stop there.  

The artist went on to release four collaborations with artists such as Post Malone, Lizzy McAlpine and Kacy Musgraves, with the most recent being released on Nov. 10th featuring Hozier. These songs, while not new, are reimagining some of the album’s biggest hits.  

Kahan started with his song “Dial Drunk” featuring Post Malone. Kahan’s vocals and tracks remain the same, which seems to be the norm for all of his collaborations. When Post Malone came into the studio, it’s possible Kahan and his producers simply removed his own original vocals from the mix and inserted Post Malone’s verse in its place.  

As it appears they have changed nothing else on the track, these collaborations seem like a missed opportunity. Kahan could have taken the song in a whole new direction when working with his collaborators, staying true to the original vibe of the song while inserting new harmonies, lyrical callbacks or simply a cohesive vocal sound. Instead, the Post Malone version of “Dial Drunk” feels choppy, like the producers of the song simply dragged and dropped the new vocals onto the pre-made track and went home.  

On top of that, Post Malone’s new verse seems out of touch with the rest of the song. Lyrics like “Turn another slow dance into a mosh pit / Tuck my head, then I heard the lock, and / Told them that my first car was a Crown Vic” are incohesive with the rest of the song. While Kahan plays the part of someone “young, drunk and alone,” Post Malone seems to miss the point. Instead, he focuses more on the experience of being in the cop car, rather than how he got himself there. Overall, this version of “Dial Drunk,” one of Kahan’s biggest hits, would have been better left alone.  

“Call Your Mom,” featuring Lizzy McAlpine, might have been the biggest loss. Released on Sept. 15th, the song was greatly anticipated by fans. “Call Your Mom” is one of Kahan’s most emotional songs, delving into the heavy topic of what it is like being in a relationship with someone who is actively in crisis. This song is obviously special to the artist as he was recorded becoming quite emotional while playing it live for fans in Toronto. That is why the emotionless recording featuring McAlpine was so upsetting.  

Kahan, whose original vocals still hold onto their original heavy sentiment, don’t mesh well with McAlpine and her empty take on the verse. Perhaps this emotion can only be achieved by someone who has been in a relationship with someone suffering from suicidal ideation. This is something McAlpine can’t be faulted for not understanding. Perhaps if the song had been re-recorded and Kahan and McAlpine had worked together to build their tracks, this could have been avoided.  

“She Calls Me Back,” featuring Kacey Musgraves, is notably better than both prior re-recordings. While the song isn’t anything special, it maintains its original sound and Musgraves’s vocals certainly add to the original track instead of hindering it.  

“Northern Attitude” featuring Hozier is by far the best of Kahan’s collaborations. Hozier and Kahan have worked together on a few occasions before this re-recording, showing up at one another’s concerts as a surprise guest. As a result of this, “Northern Attitude,” which still suffers from a lack of cohesive energy, is much better. Hozier brings his special energy to the verse and his larger-than-life vocals between verses solidify his excellence when it comes to Kahan’s collaborations.  

Overall, Kahan’s re-recordings are missing something personal, causing the songs to feel disjointed and incohesive. Perhaps if the singer had taken this as an opportunity to try something new, the collaborations could have been great. Instead, it seems he and his producers took the easy way out, resulting in four songs that do a great disservice to the mastery of the originals.  

Sydney Rose explores what it means to grow up on her freshman album “One Sided”

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Overall rating: 4/5 

Fresh off the high of her relative TikTok success, Sydney Rose plans to conquer the world of sad, indie singer/songwriters with her album One Sided.  

One Sided, which came out on Nov. 10th, is Rose’s debut record. Living in the heart of North Carolina, the singer grew up immersed in the sounds of the country and folk artists that came before her, which is evident in the overall sound of the album. Tragic narrative lyricism set against the backdrop of soft acoustic guitar, One Sided pulls together all the best bits of its musical forefathers as it sets out to craft a rich and cohesive sound.  

Starting with a lovelorn ballad dripping with naïve daydreams and crushed hopes, “Filing Our Papers” sets a precedent for the rest of the album. The song itself follows a simple guitar rhythm but the lack of intricate design does little to hinder the track. Instead, the quiet and unadorned strums of Rose’s acoustic guitar underscore the lyrical picture she is expertly painting. This sound, acting as a through-line of familiarity throughout the entire album, helps the listener follow the track list like an index in a storybook. Each song is a new take on the same narrative: the trials and tribulations of growing up.  

Describing a splintered relationship that has been hopelessly abandoned by its two protagonists, “Filing Our Papers” gives insight into the record’s title. Lyrics such as “Yet it’s always one-sided / I’m too excited / It always ends up like this” showcase that the relationship in question is inequitable. Rose sees a domestic future together, one in which she and her partner share a home and file their papers together. But the lines “You don’t wanna see me filing our papers / And you don’t see me in your home” suggest that the other party does not feel the same way. The relationship, as the album’s title implies, is one-sided.  

Lovesick and grieving a domestic future born of daydreams, “Filing Our Papers” is the epitome of the teenage coming-of-age story. It exudes the angst of first heartbreak, echoing the experiences of the many young adults who are just starting to find their way in the world.  

Track four, “The New Kid,” was the album’s sole single. Populated by the stripped-back swish of fingertips along strings, the song elevates the simplicity of “Filing Our Papers” both musically and lyrically. Guitars harmonize with one another as Rose’s vocalization interlocks expertly with the track, enveloping the listener in a warm hug that feels suspiciously like childhood nostalgia.  

The opening lyrics “Friendship bracelets / There will be a million replacements / For when I have to leave / Childhood bedrooms / Turn around and it’s too soon / It’s packed up in a Subaru,” touch on the exposed nerve that is the moving out and starting over. Leaving behind the life she has known, Rose acknowledges that no matter how old you get, you can still experience the isolation of being the new kid.  

Rose draws her audience in with this peculiar feeling of loss that is experienced by many young people who are growing up and building new lives away from home for the first time.  

“Cool Girl,” One Sided’s tenth track, tries something new with plucky guitar and punctuated vocals. Rose incorporates a variety of electronic production tricks into this song, enhancing the movement of the guitar rhythm and distorting the background vocals. While “Cool Girl” is relatively predictable, both musically and lyrically, it adds to One Sided’s sonically cohesive sound, making it easy to follow.  

The lyrics “I’ll be writing poems in the backseat of my mind / Of the cool girl who can take it / Of the cool girl who can fake it” unpack an experience that many young people live through. Balancing what it means to be yourself and what your significant other wants you to be is challenging, and Rose expands on the feeling of losing yourself while trying to appease another. Lyrics such as “I’m a cool girl, I can kiss you / I’m a cool girl, I won’t miss you” further this plot line, shining a light on a culture of one-night stands and emotionless “situationships.”  

Rose unpacks the difficulties of being a young hopeless romantic in a society that seems to value disconnected sex between two people whose aim is to seek empty pleasure with no intention to see each other again. “Cool Girl” is a hope for a better life and a more loving connection. But the final lyrics “And you ask me who I am / And I don’t know, I don’t know / So I can’t go, can’t go” suggests that like many young people, she has a long road ahead of her.  

Rose wraps up the album with “Throwing Rocks,” a quiet ballad that explores similar themes of love and loss in young adult life. It isn’t anything particularly special for a song whose aim is to wrap up the entire album, but it does its job nicely and the record comes together wrapped in a pretty red bow.  

While One Sided may have benefited from a few songs that explored an out-of-the-box musical sound, the album expertly brings together the heartbreak and turmoil that comes with growing up.  

Badgers’ men’s volleyball team opens home schedule with bold wins against TMU

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The Badgers’ men’s volleyball team remains undefeated by improving to 4-0 after beating the TMU Bold 3-0 on Friday and 3-1 on Saturday. 

In Friday’s home opener, Brock pulled away with the back-and-forth first set after four combined kills by Sauli Lianga, Devin Cooney and Jacob Ferland to close the first and put TMU on the brink of dropping the set. On set point, Cooney and Spencer Nelson combined for a crucial block which gave the Badgers the 25-23 first set victory. 

Momentum from the dramatic first set win carried into the second set as it was the Badgers’ best set in the match.  

Brock had 14 kills in the set, while only registering two attacking errors on 19 total attempts accounting for a .632 attacking percentage. Conversely, the second set was the worst set statistically for the Bold. TMU only had five kills while playing sloppy volleyball, committing five attacking errors, which handed Brock the 25-17 win. 

With the chance to close out the game in the third, Brock amped up the intensity, but so did the Bold trying to avoid defeat.  

The Bold recorded a game-high 16 kills in the set; none were bigger than Day Westell’s kill facing match point to tie it up at 25. With the set extended, Lianga recorded his sixth kill of the match – the Badgers’ 41st kill in the game – to force Brock’s second match point. On the ensuing play, TMU committed their 14th attack error of the match, which gave Brock the 27-25 victory for their third consecutive win to open the season. 

Eager to avenge their loss, TMU came out and dominated the opening set in Saturday’s matchup.  

The Bold had 13 kills in the set – the most they had in any set this game – while only committing three attack errors. On the Badgers’ side of the net, everything went wrong as Brock had seven attacking errors in the set, leading TMU to the 25-19 first set win. 

However, the script quickly flipped to begin the second set. 

Brock had an early 5-1 lead, in large part due to TMU errors, Brock kills and an ace by Lianga. Kersey Robinson, third-year outside hitter for Brock, greatly contributed as well, recording seven of his team-high 14 kills in the set leading the home side back in the game with their own 25-19 victory. 

With the game nodded at a set apiece, both teams struggled to place the ball in the third set. The teams combined for 16 attacking errors in the set – nine for TMU and seven for Brock – as the set came down to the wire. 

With the score 27-26 in favour of Brock, Nolan Shapcott placed one of his game-high 42 assists on a platter that Lianga spiked down for the pivotal third set win. 

In the fourth, Brock showcased their superiority with 16 kills, as all six Badger players recorded a kill in the set. The Badgers – Robinson, N. Shapcott and Alex Shapcott – added three of their seven service aces in the final set to claim their fourth straight victory with the 25-21 set win. 

Next up for the Badgers is a huge weekend set in Kingston against the undefeated Queen’s Gaels (4-0) who have only dropped one set all season. The games can be streamed for free on oua.tv. Head to gobadgers.ca for more information about the Badgers’ men’s volleyball team. 

AI Day discussed the practicality and ethics of artificial intelligence in the wake of popular LLMs such as ChatGPT

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AI Day provided an opportunity for students, faculty and community members to come together and discuss the latest innovations in artificial intelligence. 

Artificial intelligence (AI) is becoming increasingly engrained in industries, research, education and more, making discussions of ethicality and practicality important as technologies advance at a rapid pace. Such were the conditions that created the first-ever AI Day at Brock. 

Brock’s Computer Science Department held the event on Nov. 9, which promised “to be a confluence of brilliant minds, groundbreaking ideas and the latest advancements in the realm of AI.” 

The day began with some opening remarks and a brief presentation on AI initiatives at Brock, including the proposed Centre of Artificial Intelligence. Following this, Dr. Jad Kabbara gave a keynote speech on human-centred AI and related projects at MIT, where he conducts research for the Center of Constructive Communication. 

Following his speech, much of the day entailed technical presentations on recent advancements in AI in realms such as public transit, drug design and gas wells. 

Research posters were displayed on the upper floor of the conference room, many of which discussed the various usages of Large Language Models (LLMs), the most prominent element of current AI that controls systems like ChatGPT and other budding research assistants. 

LLMs were the topic of the discussion panel, one of the final events of the day, which featured Gina Grossi, a Niagara College professor of computer programming in the Game Design program and current Ph.D. student in the Intelligent Systems and Data Science program at Brock; the aforementioned Jad Kabarra; Rahul Kammar, an assistant professor in the Brock Faculty of Education; and Ali Emami, an assistant professor in Brock’s Department of Computer Science. 

The conversation was moderated by Robson De Grande, an associate professor in Brock’s Department of Computer Science. 

Prompted by questions from both the audience and Dr. De Grande, the panellists discussed a myriad of topics about AI and LLMs, but the conversation mainly revolved around the strengths and weaknesses of LLMs, the use and ethicality of AI in education and what it truly meant to create an artificial intelligence. 

It was made clear that LLMs like ChatGPT are not always factually accurate. They are merely programmed to create plausible conversation that could be coming from a human. 

A system like Google is made for retrieval, meaning if a user searches for books on journalism, for example, the search results will be factually accurate. An LLM, on the other hand, does not have the same requirements. The same search could call up a list of books that all seem real but may not actually be so. As long as it sounds plausible, the system has done what it was programmed to do. 

This makes its use in education rather tricky. Many Canadian school boards have unclear policies when it comes to the use of AI in the classroom, and in the US, some are integrating it into curriculums and others are outright banning it. The same arguments can be seen at Brock and other universities – some professors encourage its use while some consider any usage academic misconduct. 

The predominant opinion coming from the panel was that AI isn’t going anywhere and banning it will not prepare students for their futures, but rather the ‘pasts of their teachers.’ Examples were given of pre-existing evolutions of education, such as when teachers had to adapt to the creation of the calculator in the form of word problems. 

Importantly though, AI cannot replace education. The act of learning is meant to be a struggle: one that creates enduring intelligence in students that allows them to thrive in the world. Increased access to information does not render education moot, the panel agreed, for this was not the case when the Internet was invented. 

The panel discussed how when tools like the calculator and the Internet were invented, the standard for education needed to be raised; now, it needs to be raised again to accommodate AI. As technology advances, so does intelligence. Humans learn when more elaborate tools are created, like how modern programmers have become more efficient than the original coders, who needed to input ones and zeroes rather than strings of text and commands. 

This begs an important question, however, which the panel discussed at length: what is the standard for artificial intelligence? They described how the thresholds for programs to be declared intelligent are constantly being surpassed. In the past, if a program could play a game of chess it was considered intelligent. Recently, it’s been about emulating human language and now even that has been accomplished. 

A recurring topic throughout the day was whether bias belongs in AI. Bias could be problematic for a system meant to deliver facts, but as the panel discussed, everybody has a bias, no matter how objective they try to be. So then, what is true intelligence? And as AI becomes more advanced, what becomes artificial about it? 

Does the artificiality of AI mean it could be more intelligent than people? If yes, would humans even be comfortable creating such a thing if it meant surpassing the limits of humanity? The panellists could not definitively answer these questions, but they said that if they could, there would be no need for all their combined, continuous research. 

AI Day ended with a speech from Donald Ziraldo, a leading figure in the Canadian wine-making industry. He discussed how large businesses are paying close attention to AI and implementing it where they can. It can make mundane tasks easier and accelerate productivity, and it even has uses in gene sequencing and combatting climate change, to name a few examples. 

Dr. Lynn Wells, Provost and Vice-President Academic at Brock, gave the official closing remarks. After her speech, Dr. Betty Ombuki-Berman, a professor at the Brock Department of Computer Science, shared her desire for AI Day to be an ongoing event—especially if the proposed Centre of Artificial Intelligence comes to fruition. 

While this event covered a lot about AI and LLMs, there was simply not enough time to cover everything, especially with the technology progressing at the rapid pace that it is. ChatGPT took the world by storm this past year. Should this event return next year, there will be plenty more to discuss. 

The increased living wage ensures that “basic needs” are met

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The living wage in Niagara has increased, showing just how drastic the gap is between it and the current minimum wage in Ontario. 

According to a report released on Nov. 6 by Living Wage Niagara, the living wage has jumped to $20.35 per hour from last year’s $19.80 per hour. This 2.8 per cent increase was decided from an “aggregation of three household types” and accounts for the average cost of housing, transportation, food, childcare and other necessities like medical, clothing, internet and more. 

A living wage, as described by Living Wage Niagara, “is calculated as an evidence-based hourly rate at which a household in Niagara can meet its basic needs.” People who are paid less than this amount often have to sacrifice day-to-day essentials like recreation, continuing education, clothing or even food. 

When people have considerations like children or medical issues, a living wage becomes increasingly important.  

However, the current minimum wage in Ontario, which increased from $15.50 per hour on Oct. 1, is only $16.55 per hour. This jump is the largest seen since 2020, but so is the living wage increase, and it’s still $3.80 per hour less than what’s required for people’s basic needs.  

This number is lower for students under the age of 18, currently sitting at $15.60 per hour. Expenses may not be high for these students, but they can increase if they choose to go to university, considering tuition costs and the rising prices of food and housing. Some students even start their first year of university at the age of 17. 

In the report, Aima Khan, the Living Wage Program Coordinator at United Way Niagara, says: “As [the] cost of living continues to increase across Canada, Ontario’s recent efforts to raise the minimum wage falls short of what is needed for individuals and families to live a sustainable life. 

“The living wage is not perfect but it is one step closer to supporting our working people who are struggling to make ends meet… Currently the living wage program is one of the most effective ways to reducing poverty for working people in Niagara.” 

Businesses can become living wage certified through Living Wage Niagara, placing themselves on the interactive map and list of certified employers, a useful resource for Brock students looking for work in the region. 

The minimum wage has been a discussion point for many years in Canada as inflation and poverty rates rise, but a living wage ensures people can live their lives without sacrifice, regardless of what the legal minimum rate is.  

Living Wage Niagara’s home page and more resources that educate about the living wage can be found here. 

Temporary shelter projected for early 2024 will help dozens of unhoused St. Catharines citizens

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A temporary housing-focused shelter is being set up for in-need St. Catharines citizens. 

Since the turn of the century, Canada has seen steadily rising rates of homelessness. These rates skyrocketed during the COVID-19 pandemic, pushing the country into a nationwide homeless crisis

The combination of the lack of affordable housing, the increasingly rising cost of living and the staggering increase in average housing prices – rising by more than 30 per cent from 2019 to 2021 – was magnified when shelters were unable to house as many people due to safety restrictions during the pandemic. 

Now, municipalities are trying to cope with this increased number of unhoused people who need shelter, food and other help, such as addiction support services. 

St. Catharines is struggling with these same issues. In 2021, according to The Homeless Hub, 645 people in the city were experiencing homelessness, with 41.5 per cent of these cases being chronic. Chronic homelessness entails unhoused people who have been so repeatedly or for longer than a year. Of those 645 people, 75 were living without any shelter and 67 identified as youth. 8.4 per cent self-identified as 2SLGBTQ+ and 22.6 per cent identified as Indigenous. 

The proposed temporary shelter in St. Catharines will be built at 29 Riordon Street, a site chosen based on “zoning, access to transit and support services, [and] safety and distance from other vulnerable populations.” It will be a full-day establishment, with 50 beds and indoor accommodations to “allow clients to stay inside during the day and work toward their goals.” Niagara Region Homelessness Services will operate the shelter. 

This decision comes after a Shelter Capacity Review conducted by the region that pointed to a moving away from seasonal shelters – emergency shelters operating exclusively during the wintertime – and toward “all-year, full-day shelters.” It will operate for roughly two years before a permanent site is opened, at which point these modular units will be repurposed somewhere else in the Niagara region. 

Niagara describes this shelter as “low barrier,” meaning it will be easier for unhoused people to access it. With this phrase, however, they make it clear that “safety is a top priority. Policies, procedures and practices are set up to ensure the safety and well-being of everyone at the shelter.” This includes staff and clients, but also community members living near the shelter. 

The site will have a security camera, a fence, and will be staffed accordingly, with “exterior site walkabouts… every 15 to 30 minutes.” Niagara also clarifies that there is “zero tolerance” for any violence – sexual, threatened or otherwise – including theft, arson, property damage or drug dealing. 

In the face of a nationwide housing crisis, shelters such as these will help some of the most vulnerable citizens in Canada. The shelter on Riordon Street is expected to open sometime in early 2024.