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Badgers women’s volleyball show resilience in playoff victory over Lakers 

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The Brock Badgers women’s volleyball team continue their chase for a fourth consecutive Quigley Cup title with a thrilling 3-2 home win against the Nipissing Lakers on Feb. 21 to advance to the OUA semifinals. 

Outside hitter Laurin Ainsworth led the charge with 15.5 points, fueled by a team-high 14 kills, an ace and a block, while Madison Chimienti starred on the defensive end, leading the Badgers with 10 digs. 

However, it was the visitors who controlled the first set. 

After a back-and-forth opening to the game, Nipissing strung together five straight points, highlighted by four of their 14 kills in the set, to take the early 11-5 advantage. 

But the reigning back-to-back-to-back provincial champions responded late in the set with consecutive Sadie Dick kills, two of her 12 in the game, and an Ainsworth smash to cut the deficit to one, forcing the Lakers to call timeout. 

The timeout worked in Nipissing’s favour, nullifying the Badgers’ momentum with the Lakers coming out of the break on a 5-1 run to close the set and take the opener 25-20. 

The second set featured much of the same intensity as the first with the teams trading leads and amalgamating an 18-18 deadlock midway through the set. 

Ainsworth once again came up clutch with a trio of kills, spotlighting Brock’s best statistical attacking set of the match with 14 kills and a .281 hitting percentage as the Badgers jumped to a 21-18 lead after a Nipissing attacking error. 

But the Lakers answered back with four of the next six points to cut the Badgers’ lead to one, forcing Brock head coach Steve Delaney to call a timeout which energized the home side. 

Out of the timeout, Emma Baruchelli — who was a force in all aspects of the game, tying a team-high with five blocks — notched one of her 11 kills, which gave the Badgers set point before another costly Nipissing attacking error handed Brock the 25-22 second set victory. 

The pivotal set win ignited the Badgers and the Brock faithful inside the Bob Davis Gymnasium as the seventh-ranked team in the country began the third set on a 9-3 run. 

But the Lakers, as they’d done all game, responded with the next four points, including three straight aces by Mia Chartrand, as the visitors were quickly back in the set. 

With Brock up 11-7, the Lakers went on an 8-3 run to take their first lead of the third, 15-14. 

The Badgers quickly regained the lead, but Nipissing grabbed nine of the following 10 points to steal the third set, 25-22, and take commanding control of the contest. 

The third set comeback erupted the Lakers’ attack as they rapidly jumped out to a three-point lead to begin the fourth, but the Badgers countered. 

Brock rallied four straight points, triggered by a pair of Chimienti kills, as the momentum seesawed between both sides with each team sensing the importance of the set. 

With the set levelled at 22 apiece, a massive block by Dick and Charlotte Ross gave the Badgers a crucial one-point edge before Nipissing’s sixth attacking error of the set — tied for their most attacking errors in a set all game — gave Brock the 25-23 set win to force a fifth and decisive set. 

The final set began with a string of runs by both sides. The Badgers took the first jab with a quick 3-1 lead before the Lakers bounced back with the next four points, continuing what had been the theme of the match. 

Brock rebounded with the following three points, including a pair of Baruchelli kills, before Nipissing found themselves up 14-11, one point away from pulling off the massive upset. 

Chimienti sparked the late comeback with a kill of her own, preceding a mammoth Ross ace — her third and Brock’s seventh of the game — which put the Badgers one point away from levelling the set at 14. 

A huge combination block from Dick and Baruchelli evened the set before an attacking error from Nipissing flipped the switch, giving the Badgers match point. 

Just as the Badgers did, the Lakers answered the call with a kill — their 64th of the game — to tie the set at 15, with either team needing to win by two to seal the match. 

On the ensuing point, Mackenna Knox recorded her 46th assist of the game to feed Baruchelli for the thunderous slam which was her fourth kill of the set to restore match point in the Badgers’ favour 

After an intense back-and-forth rally, Chimienti capped off the Badgers’ illustrious comeback with one of her six kills in the game as Brock won the thrilling fifth set, 17-15. 

The Badgers (OUA second seed) defeated the Lakers 3-2 (20-25, 25-22, 22-25, 25-23, 17-15) to advance to the OUA semifinal with a date against the Windsor Lancers (OUA sixth seed) on Feb. 28 at the Bob Davis Gymnasium beginning at 6 p.m. Brock and Windsor split their season series with one win apiece, with the Lancers coming off an upset victory over the third-seeded Western Mustangs. 

The game can be streamed on oua.tv and tickets can be bought here. 

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

Badgers men’s basketball drop first round playoff contest to Ontario Tech 

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Despite a strong regular season, the Badgers men’s basketball team have been eliminated from the OUA playoffs with a 52-44 first round defeat to the Ontario Tech Ridgebacks. 

Georges Mfwamba Ngandu led the Badgers with eight points while Anthony Heyes and Jalen Janes each contributed with six, as Nathan Charles recorded a game-high 11 rebounds in the contest. 

Points were hard to come by for both teams in the opening quarter as they combined for eight turnovers in the game’s first five minutes while only converting a collective five field goals on 25 attempts in the quarter. 

Janes nailed Brock’s first and only made field goal of the first midway through the frame, as the Badgers shot 10 per cent from the field and a disastrous zero-for-seven from beyond the arc. 

The silver lining for Brock was their ability to draw fouls, which led to a perfect six-for-six shooting from the free throw line as they were only down two, 10-8, after the opening ten minutes. 

In the second, the offensive intensity slowly started to pick up with both teams scoring 13 points in the quarter. 

Thierry Tshibola buried Brock’s only triple of the first half, which gave the Badgers their first lead of the game, 11-10, in the beginning stages of the second. 

After the Ridgebacks regained control with a strong 38.5 per cent shooting in the second, their best statistical shooting quarter of the game, the Badgers responded with another six made free throws to preserve the two-point deficit. 

Brock was down 23-21 at halftime, recording their lowest single-half point total in a game all season. 

But the Badgers were quick to rewrite the narrative with an inspiring 50 per cent shooting rally in the third quarter. 

Michael Okeke’s three-pointer two minutes into the half tied the game at 27, before back-to-back Ngandu layups gave the Badgers their first lead of the second half. 

Paired with a woeful two-for-14 shooting quarter by Ontario Tech and four late Brock points from the charity stripe, the Badgers were up 39-32 entering the fourth quarter, which was their largest lead of the game. 

However, the Ridgebacks had other ideas, knocking down a trio of crucial three-pointers in the latter stages of the fourth while silencing the Badgers’ attack for a pivotal nine-point swing. 

In a span of two minutes, Brock went from being up five to down four with the Ontario Tech lead continuing to grow. In the final minute, the Ridgebacks made five free throws to close an 8-1 run and seal the victory, advancing to the second round of the playoffs while ending the Badgers’ season. 

The Ridgebacks shot more efficiently than the Badgers, shooting 28.1 per cent from the field (16-for-57) compared to Brock’s 22.2 per cent (12-for-54) and making six three-pointers (21.4 per cent) in contrast to the Badgers’ three (15 per cent). The Badgers outscored Ontario Tech from the free throw line (17 to 14) and had the slight edge in paint points (16 to 14) and bench points (22 to 12). 

With their home loss on Feb. 19, the Badgers conclude their 2024-25 campaign with a regular season record of 15-7, placing third of six teams in the OUA Central division. 

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

Australian heterodox economist Steve Keen is unfairly dismissive of Marxian economics 

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Steve Keen’s scholarly and public work meticulously exposing the theoretical failings of mainstream neoclassical economics is unmatched in the field, which makes his dismissal of Karl Marx’s contributions to the field much more suspect.   

Australian heterodox economist and author Steve Keen has built a relatively large online grassroots following — touting over 10,000 subscribers on his Substack — through his scholarly mission of reforming mainstream economics.   

Keen is one of the few economists working today who has reached the public spotlight as an avowed opponent of today’s hegemonic school of economics, the neoclassical school — a school of thought in the discipline that emerged in the late 19th century and came to produce world-renowned figures such as Milton Friedman in the post-WWII 20th century. Since its inception, neoclassical thinking has come to dominate mainstream economic thought in and outside academia all around the world.   

Keen’s first book Debunking Economics put him on the map in 2001 as a sharp critic and practitioner of economic theory, with his targets mostly set on neoclassical theory in the debut. Keen then began to seriously draw media eyes his way when he was one of the few economists who predicted The Great Recession in 2007/8.   

Throughout his 60s and now into his early 70s, Keen continues to convincingly pleading his case for scrapping the whole of neoclassical theory’s foundations, chief among them being: (I) that unimpeded capitalism reaches a state of “equilibrium”; (II) that private banks, private debt and money needn’t be considered in economic models; and (III) that only the government creates money, not banks as well, which the empirical record shows is patently false.   

Beyond his work undermining core mainstream economic assumptions, perhaps his greatest novel contribution to the field is his emphasis on using systems dynamics to model economic interactions. Keen argues that differential equations are far better equipped to model something as complex as a whole economy than the simple difference equations that are ubiquitous in neoclassical modelling.   

In recent times, Keen has made his Luther-esque reformist case on notable shows such as BBC’s HardTalk and, more recently, the massively popular Lex Fridman podcast on YouTube. 

When one listens to and reads Keen, there’s a sense that his deep knowledge of the history of economic theory and his passionate crusade against neoclassical assumptions comes from a place of genuine worry about the harm that mainstream economics is causing to the planet and our personal lives. This is especially palpable in a chapter of one of Keen’s more recent books, The New Economics: A Manifesto, wherein Keen surveys the complete ineptitude of neoclassical work on climate change, demonstrating that the models used in this work often ignore crucial “tipping-point” variables which leads the neoclassical economists who use by them to often conclude that climate change will be negligible to the economy in both the short and long run.

One such tipping-point variable that’s ignored by these models, Keen demonstrates in the fourth chapter of the book, is that if average temperature in a region reaches 35 degrees Celsius combined with enough humidity, the human body becomes unable to dispel of the internal heat we create in our bodies. This combination can therefore easily lead to death if dry and cool shelter is not readily available.

Despite this, a major survey paper that interviewed 18, mostly neoclassical respondents, found consensus that a three degrees Celsius rise in the Earth’s average global temperature by 2090 would only cause a 3.6 per cent fall in global GDPs. Such an inconsequential figure is simply incommensurate with the fact that most human beings on earth live near the zones that will have tens and even hundreds of deadly days given the imminent temperature increase predictions of scientists as these areas will surpass the climate and temperature threshold needed for the human body to cool itself down.

Add on that many of the nations affected in this way are closer to the equator and are poorer, therefore lacking proper air conditioning compared to the richer Global North, and that much of global manufacturing takes place in said equator-straddling nations, and then the prediction of a 3.6 per cent reduction in GDP by 2090 becomes a laughable conclusion.  

However, the ignoring of tipping points like these does in fact lead these often well-decorated, climate-focused neoclassical scholars — including Nobel Prize-winning economist William Nordhaus, a common whipping boy of Keen’s and the one who produced the above-mentioned survey paper — to not see climate change as something to worry about when it comes to impacting our systems of production and distribution of goods and services in the long run.   

The likely culprit for why Keen has so much integrity when it comes to approaching issues like climate change from an economics standpoint is that he approaches his field with the rigour of any self-identifying scientist: just because economics is a social science, he would seemingly say, doesn’t mean it shouldn’t be placed under the same intellectual pressures for complex analysis that the natural sciences are. To this end, Keen emphasizes that economics should constantly be updating its base assumptions and the complexity of its object analysis, which again is standard practice in most major scientific fields.   

To this end, Keen’s favourite historical analogy for what he sees today’s economics needing is that of the Copernican revolution in astronomy where, in the 16th century, the once mainstream Ptolemaic geocentric belief that the sun rotated around the Earth was challenged by the Renaissance polymath Nicolaus Copernicus who argued it was the other way around, offering a heliocentric model as the more likely truth of the matter.  

Copernicus’ argument notably deemphasized Earth’s place in the universe to such a blasphemous degree in the eyes of the ruling feudal elites of the time that when Galileo made observations corroborating heliocentrism in respect to the Earth’s rotation with his telescope in the 17th century, he was promptly prosecuted by the Roman Catholic Inquisition as the former geocentric theory of Ptolemy satisfied Biblical cosmological conceptions.   

Nested in the Copernican drama, then, is the idea that the rebutting of a theory that is only internally consistent and therefore bears little relation to reality despite its subject being of the concrete world, can be painful to humanity’s collective ego. This is especially the case if said theory claims to prove some utopic qualities of humanity — say, that we naturally make perfectly rational decisions (wink wink). But this anthropocentric idealism is part of a deep assumption about capitalism made in neoclassical microeconomic theory. Called Homo Economicus, this assumption suggests that with capitalism human beings have finally found an economic system that reaches a rationality-caused “equilibrium” through human agents maximizing their individual and collective utility through perfectly rational decision-making based on narrowly self-interested opportunity-cost analyses when engaging in market interactions, though it tends to become a general ontological theory of all human action and thought. 

Being Copernican-esque in respect to this assumption, a central component of Keen’s critical analysis of mainstream neoclassical economics, taking his cue from the instability cycles theory from another maverick economist named Hyman Minsky — and, I should add, agreeing with many Marxists as well — is his argument that in capitalism it’s actually disequilibria that’s the norm.  

Therefore, given that private debt — another thing Keen is quick to point out that neoclassicals ignore — is a main driver of recessions when it passes a certain level, governments should be gearing policy towards certain pre-set private-debt-to-GDP ratios with private debt jubilees being on the table as a last resort if private debt levels get too high. This approach fiscal and monetary policy would be a sharp contrast to the failed neoliberal supply-side policy — influenced heavily by neoclassical thinking that ignores private debt as causative to depressions — for dealing with recessions known as quantitative easing, an economic policy that involves selling government bonds to central banks to stimulate the economy, but which historically has the effect of bailing out the private banks and firms that created the debt bubble in the first place while laying the groundwork for the next private debt bubble.  

Keen’s understanding of the dangers of unregulated financial institutions creating disastrous private debt levels, alongside his warmth to modern monetary theory and its refutation of the loanable funds model of private bank lending, certainly influences his politics, which could be described as entailing a preference for a uniquely technocratic social democracy.   

With all that being said, Keen is expressly pro-capitalism, saying as much during his 2016 HardTalk appearance.   

And his lingering commitment to the capitalist system overall is precisely where Keen’s weaknesses in terms of critical analysis of the economy starts to expose itself.  

A primary issue in this respect, is how Keen’s big-picture definition of capitalism injects an idealistic innovative entrepreneurialism into it, arguing that entrepreneurial innovation is not only integral to capitalism, but the key strength of the system (see Maria Mazzucato’s The Entrepreneurial State for a book-length debunk of the latter notion).  

One should note right away that the Marxist definition of capitalism proper is simply that it’s a system where the means of production (i.e. capital) in society is largely privately owned, and while Marx did acknowledge that this system and its inherent competitive feature makes capitalism a highly productive-intensive system, that meant little about its ability to harness innovation to serve the needs of human society.  

Keen’s more idealistic political-economic views vis-à-vis capitalism, then, causes him to erroneously see many of the malicious outgrowths from capitalism’s inherent class contradictions as exogenous to capitalism, given the incentive systems of his ideal of a “good” capitalism wouldn’t allow for them.  

And what Keen’s ideal capitalism would entail is essentially a political-economic order where governments that have been enlightened by modern monetary theory’s debunking of the deficit myth, and who have also acknowledged the above-mentioned faults of neoclassical theory, would resultantly go on to run productive deficits while empowering innovative firms by regulating the banks away from risky debt-based investing.  

While this story sounds nice and would be vastly better than the austerity and unregulated corporate malpractice engendered by current-day neoliberal policy, it ignores relatively recent history that suggests this system can’t be durable in the long run.  

The FDR-New Deal revolution in the U.S. saw a government that ran productive deficits and regulated private banks and private industry this way for a good part of the 20th century. By the 1970s, however, the sheer existence of capital as a consolidated class with specific class interests that ran directly against the public good saw the almost full erosion of FDR’s New Deal system of government checks and balances on the private monetary and private productive sectors of the U.S. This erosion featured the very policy decisions — a primary example being the repeal of The Glass-Steagall Act under the Clinton administration — that exacerbated the impact of the 2008 Financial Crisis.  

All things considered, Keen’s idealistic belief that a highly regulated entrepreneurial-oriented capitalism will be durable, there being no inherent threat of capitalist power creep undermining its smooth functioning, is historically deaf.    

Keen’s politics, though, don’t stop short of a further-left position from a tepid social democratic view simply because he’s never read into scholarly traditions offering full-scale alternatives to capitalism. Not at all. In fact, Keen, on brand as the crusading economist pushing for a more rigorous scientific approach to the field, is incredibly well-read on specifically socialistic economic theory (though, it should be mentioned that the almost complete absence of engagement with market socialism, especially given his endless criticisms of demandconstrained command economy socialism, is a bit frustrating).  

For example, Keen enthusiastically proclaims during his Lex Fridman podcast appearance that Karl Marx is “probably the most brilliant mind in economics.” Even more surprising is that across the three-and-a-half-hour discussion between himself and Fridman, Marx and Marxism is easily the most discussed subject.   

However, in the same podcast appearance, it becomes clear that Keen’s distrust of any form of democratizing the economy and pushing past capitalism comes from his rigorously argued belief that an essential flaw in Marx’s labour theory of value (LTV), as formulated in his 1867 magnum opus, Capital, Volume I. — evidently the subject of Keen’s master’s thesis — brings down all legitimacy of socialist theory and practice.   

Keen’s critique of the LTV is complex and goes as follows:   

In the first volume of Capital, Keen argues that Marx fails to apply the same standard to machines that he does with labour in terms of the appropriation Marx emphatically ascribes to the gap in labour’s use-value (meaning its value as realized in consumption by human subjects for our needs) over its exchange-value (meaning the value of the commodity expressed in exchange through a comparison with other commodities which uses a mediating figure, number or price, to represent their relative values).  

Quickly, an example of the use-value of a banana is that it satisfies the need for nutrition. By contrast, the exchange-value of a banana is found through a ratio-expression of its relative value when compared with other commodities. For example, if a banana costs $1 and two apples cost $1, then one banana is equal to 0.5 apples in terms of exchange-value, and so on.  

What Marx argues in Volume I. is that what regulates the exchange-value of commodities is what’s called socially necessary labour time: the average amount of time it takes to produce a commodity under the current productive conditions of society. So, when we see different prices for one apple as opposed to one banana, we aren’t necessarily seeing just that the average subjective preference for the more expensive one is higher than the other, but a more objective measurement of their values in terms of the more expensive fruit taking more average labour time to produce. 

From this, Marx argues in the early parts of Capital that because human labour-power is the unique commodity of commodity-production, and given that commodities’ prices are regulated by the average socially necessary labour time in society to produce them, then labour’s exchange-value on the market must be representative of the average socially necessary price needed to maintain labourers, a.k.a. the average cost of subsistence, as that is what’s necessary to ensure the reproduction of the idiosyncratic and essential commodity of labour-power for the capitalist: making products.   

However, Marx argues that if labour is the sole commodity-producing commodity, then it follows from these premises that surplus and profit must be a function of using labour-power’s use-value beyond what’s needed to meet the needs of subsistence for the worker.  

If all workers only worked (employed the use-value of labour-power) to the point of being able to afford the reproduction of their labour, a.k.a. the costs of subsistence, there would be no such thing as surplus value to create revenue, meaning there would be no profit either. Therefore, the capitalist must make the labourer work beyond the amount of labour time the worker needs to undergo to afford the reproduction of their labour, which again is the exchange-value of labour as expressed by the subsistence wage; the subsistence wage is the average cost of sustaining workers’ needs.  

The gap, then, between the labour time the worker needs to work for to meet their substance needs and be able reproduce their labour-power for the next day and the labour they do beyond that to generate revenue for the capitalist, is a problem according to Marx.  

What this means, Marx argues, is that when a capitalist is making profits it’s because they’re appropriating this surplus value created by the labourer in the production process. In other words, profit is derived from the capitalist’s exploiting labour-power’s use-value beyond what’s necessary to maintain it in terms of its purchased price/exchange-value in the wage. Profit, then, is stolen wages. 

Keen’s refutation of this version of the LTV is that Marx contradicts his own logic by not considering how machines are in a similar position to labour in this whole complex value dialectic.  

Machines, like labour, also create commodities, yet Marx says in Volume I. that a machine’s exchange-value is transferred perfectly to the commodity in production through wear and tear with no surplus leftover, thus not being consistent in arguing that there exists a gap between use-value and exchange-value which is deliberately exploited from labour-power by the capitalist.    

Moreover, Keen points out that Marx actually pre-empted the insight that use-value and exchange-value are “incommensurable” — one not being able to be derived from the other as the qualitative versus quantitative gap between them could never be bridged — in a footnote of the Grundrisse, which was written years before Volume I.  

Keen explains that this pre-Capital insight into the two values’ incommensurability was the basis for Marx to say in Volume I. that labour’s extended use-value beyond its exchange-value is what helps produce surplus, as they can’t be made commensurable anyways.  

Yet, Marx’s fatal (intentional?) flaw in Volume I. is that he makes use-value and exchange-value somehow commensurable for machines when he states later in the book that a machine’s use-value in production is perfectly represented in the siphoning of its exchange-value to the commodity as it undergoes wear and tear in producing said commodity. What this assumption means is that there is no gap in use-value and exchange-value for machines, unlike with labour, but the reason why is never explained, as the same problem of there being a gap in use- versus exchange-value should still apply to machines as it does for labour.   

Thus, Keen is suspicious about why the same gap in the two values leading to a surplus would not be present for machines as well, considering both labour-power and machine-power are commodity-producing, and their net productive capacities would affect the price of their subsistence needs the subsistence wage for the former, the costs of purchasing and maintaining the machine for the latter through socially necessary labour time.  

If use-value and exchange-value are incommensurable, this means the same gap must be possible between a machine’s use-value and its exchange-value. And if this is true, that means labour is not the only source of surplus value in contradiction to Marx’s claim that profit is purely labour-appropriated value that the capitalist keeps.  

Moreover, if it’s stipulated that machines can produce surplus through being used beyond what their exchange-value is in production, it means labour can be potentially paid the full price of its labour time in a working day if the surplus created by machines is high enough, which negates Marx’s mathematically tractable proof of labour’s exploitation in Volume I. 

At one point after Keen’s explanation of this argument on the podcast, Fridman asks Keen what he thinks about “young people proudly calling themselves Marxists.” Keen responds by saying if they don’t understand the exchange- and use-value dialectic and the flaw he exposed in it, then they are “misusing” Marx’s name when identifying with his work.   

To be clear, Keen makes a strong critique of the LTV as it’s laid out in the first few chapters of Volume I. However, to expose this flaw in Marx’s logic hardly undermines Marx’s argument that capitalism is a socially destructive and systemically exploitative system based on domination.  

Some of the reasons for this are quite simple, while others are more complex.  

To begin with, Keen’s criticism does not consider the purely unnecessary role that the capitalist class plays in economic value creation while getting all the spoils of surplus value. Even if machines can create surplus value, being a private owner of capital doesn’t uniquely spur the creation of productive machines, nor does it the intellectual labour of designing them or efficiently implementing them. For the value-form and surplus to arise in a human economy, human labour must have been done at some point, either to produce commodities directly or even indirectly in making the machines that produce commodities. The advent of a capitalist class, however, was never and will never be necessary to the creation of surpluses in our economies, unlike a labouring class which was and is necessary for said surpluses to arise.  

Therefore, Keen’s argument in favour of capitalism over socialism due to the flaw in Marx’s theory has to have implicit in it some dubious ad hoc notion of fiduciary or productive responsibility being better attended to when there’s a small class of unelected owners of the means of production who get full discretion over surplus value. 

But back to the value argument itself, even if non-human-made energy such as solar energy, which Keen likes to say is ignored by Marxists and neoclassicals alike, is brought into this way of thinking about value in the human economy, the only socially valuable use of energy for human societies is when it is enjoined with human labour in some way to fulfill human needs and desires. And once again, the capitalist who is simply the legally verified owner of a certain portion of the means of production plays no essential part in the process of setting the stage for value creation from non-human made value such as solar energy, only human intellectual and active labour can do that.  

Indeed, as Marx pointed out the world over in all his major texts, the only class that actuates the appearance of value in a human economy, human workers, are under the unelected rule of a class that is constituted most basically through a legal entitlement to unilateral control of whatever surpluses are created from the labour and labour-derived processes takes place in, on and with their privately owned capital.  

Furthermore, as previously mentioned, to the extent a capitalist may come up with ideas that are useful for the production process and creating surplus or machines that can create surpluses, this is still a function of mental or physical labour. Entrepreneurialism doesn’t require private ownership rights, but it does require productive thought and action.  

As Marx knew, being a capitalist is simply a social construct reified by legal protections of the right to private productive property backed by the violence of government force. Legitimating private ownership of a part of the means of production is primarily based on a liberal normative structure that is the result of the conflicts born of class struggle throughout history.  

Marx’s work demonstrates time and time again that ruling classes throughout history have always been owners in some capacity, whether that’s the master class in ancient times who owned slaves, or lords in the feudal system who lorded over serfs. A corollary to this fact is that it has only been through the grueling work of revolution and reform from the non-owning exploited classes that the ruling classes of past major socio-economic paradigms have slowly had their degree of control and domination over the rest of society attenuated. The work of bottom-up reform and revolution over the last few hundred years has condensed the major ruling classes in human societies to the more temperate — by historical standards — capitalist class of modern day. 

Still, when capitalists are preserved as a special class despite having no structural function in value-creation, it leads to socially disastrous outcomes such as extreme wealth and income inequality because the capitalist class is compelled to hold onto their disproportionate share on the communally produced wealth of society in order to compete with other capitalists who have a vested interest in snuffing out their competition for more market share. 

Altogether, if one stipulates that Keen’s insight into Marx’s contradiction on the mathematical tractability of the LTV in Volume I. is right, the question of why society should allow a socially disastrous figure like the capitalist to determine how surpluses actuated by labour and labour-made machines are distributed remains unanswered in economics and by Keen — other than in the Marxist tradition that is. This is also why Marxism is not just an economic theory, as Keen would have you believe. Rather the intellectual tradition of Marxism has always been a vibrant inter-disciplinary one in a way that most economic traditions are not.  

Keen also too easily dismisses Marxism due to the previously mentioned conflation he makes between capitalism and the entrepreneurial spirit of innovation: “I’m opposed to capitalism parasite-ing [sic] itself, which is what happens when we let the financial sector take over and generate far more debt than we need,” he said during his 2011 appearance on BBC’s HardTalk.  

Of course, this idealistic sentiment again fails to see how capitalism inherently parasites itself as Marx and Engels understood when they used the metaphorically powerful, “all that is solid melts into air” refrain in The Communist Manifesto to describe capital’s inherent processes of societal destabilization given that long-term stability is treated as an externality by the short-term focused profit-motive.   

As long as human labour is employed in a capitalist economy, Marx’s insights into the psychological and physical suffering — which he spent much ink describing in both highly literary and explicitly literal ways — that capitalism’s undemocratic productive relations in society creates through its entropic movement towards ever-expanding inequality, economic depressions, and undemocratic lording over workers in the workplace makes his critique indispensable to this day.  

Said critique is essentially built on understanding how labour stands vis-à-vis value creation and distribution in a capitalist system. In other words, Marx rightly makes central to his analysis labour’s essential place in the production of value and surplus, and how capitalism must necessarily obfuscate this for the enrichment of a small few.   

Therefore, Marx’s labour theory of value, Keen’s criticism withstanding, is — as Jacobin contributor Ben Burgis similarly argues — a perennially prescient way of seeing how capitalism is an exploitative and authoritarian system at its core.  

Does this mean that Marxists, then, can find the labour theory of value in exact denominations of exploitation expressed in prices as Marx leads us to believe in the first few chapters of Volume I.? The answer is no, and Keen is right to point at this weakness in Volume I.’s formulation of exploitation. 

Keen’s overestimation, though, of how damned Marxist and socialist theory is because of his admittedly sharp criticism of Marx’s LTV is due to his failure to think of capitalism’s parasitic qualities as features and not bugs of the system due to his own idealistic hangups.  

And this gets to the bone of why Keen unfairly dismisses Marx, which is what’s often the case for economists: bourgeois bias.  

This is unfortunate, because as analytically sound and powerful as Keen’s work critiquing neoclassical economic theory is, his own bourgeois repression casts an unavoidable shadow over his successful scholarly fixation on debunking much of mainstream economic theory.  

Consequently, when Keen places a majority of the blame for the most urgent economic problems society faces today on the state of mainstream economic theory rather than the problems private capital ownership engenders through its sheer existence being to preserve a self-enriching, dominant class of unelected owners — a class which has a well-documented history of committing financial support to those university departments that pioneered the very capital-partisan economic traditions, notably the neoclassical school, that Keen derides most one should add — his obsession with critiquing mainstream economic theory is hard to not read as involving a fair bit of projection.  

Canadian woman loses both hands in Caribbean shark attack 

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In the Turks & Caicos Islands, a Canadian tourist’s hands were bit off by a shark she was attempting to photograph. 

At 10:33 a.m. on Feb. 7, 55-year-old Canadian tourist Nathalie Ross was enjoying her vacation at a Caribbean beach when she was attacked by a shark. She was wading in the shallows “only a few metres from the shoreline,” trying to get a photo of a six-foot-long shark. 

This was at the popular tourist destination Thompson’s Cove Beach in the waters adjacent to Blue Hills, Providenciales, a part of the Turks & Caicos Islands. 

The shark, which reports suggest may have been a bull or tiger shark, bit off both of Ross’ hands and a piece of her thigh. 

Ross was able to make it back to shore while her husband reportedly fought off the shark, which continued to lurk nearby, still only feet away from where the Ross’ had huddled, tending to her life-threatening injuries. 

The Canadian tourist was rushed to Cheshire Hall Medical Centre for treatment, where she was stabilized and later flown off-island for further medical care in Canada. Ross lost both of her hands, with one amputated at the wrist and the other halfway up her forearm. 

According to one witness, the shark remained nearby after the attack: “I was there for 40 minutes, and it was still lingering.” 

The beach was closed for two days until it was  on Feb. 9 that the shark had swum on to deeper waters and the beach was deemed safe.determined on Feb. 9 that the shark had swum on to deeper waters and the beach was deemed safe. 

Some local residents who spoke to Magnetic Media believed the shark to be a “man-eater.” 

The Turks & Caicos Islands Government shared a press release from the Department of Environment and Coastal Resources urging the public to always “be aware of your surroundings, follow local advisories and respect marine life. Swim in designated areas, avoid murky waters, never swim alone and do not attempt to feed marine wildlife under any circumstances.” 

The waters around the Turks & Caicos Islands are home to many different species of sharks, including grey reef sharks, nurse sharks, tiger sharks and bull sharks. Besides the great white shark, tiger and bull sharks are considered the most aggressive shark species and most likely to attack humans. Because of its location, size and aggressive nature, the shark that attacked Nathalie Ross was deemed to likely be a bull shark, and was later confirmed to be a bull shark. 

Nathalie Ross’ brother-in-law Ralph Chevarie has organized a GoFundMe campaign with a goal of $50,000 to support Ross and help pay for prosthetics. As of writing, the campaign has already raised over $45,000.  

Chevarie wrote a message on the GoFundMe page intended for the media, asking them to stop harassing their friends and family, stop contacting him and stop sending him friend requests. He said there will be no more comments seeing as they all suffered a horrible nightmare that completely altered their lives. Chevarie also included in the message that his brother, Nathalie Ross’ husband, had served more than 30 years in the Canadian Armed Forces.  

On Feb. 21, Chevarie posted a comment saying he had to shut off the contact button on the GoFundMe page because he was getting harassed with foul language and pummelled with “accusations of fraud by people who swallowed the whole untrue and completely made-up story from the tourism organization of the Turk and Caicos Islands.” This is likely referring to the reporting that showed Nathalie trying to take a photo with the shark, since the GoFundMe doesn’t say anything about the victim’s attempt to photograph the shark, instead implying the shark was unprovoked and that Ross held up her hands in defence. 

Plane crash-landed at Toronto airport 

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On Feb. 17, a Delta Air Lines plane made a crash landing at Toronto Pearson Airport. 

Just after 2 p.m., Delta Air Lines Flight 4819 en route from Minneapolis crash-landed at Toronto Pearson International Airport, bursting into flames before flipping upside down on the runway. A video of the event was posted on social media. Additionally, it shows their emergency dismount from the overturned plane. A video captured from a passenger shows their emergency dismount from the overturned plane. 

There were 76 passengers, 22 of whom are Canadian, and four crew members on board, all of whom managed to escape the plane once it had come to a stop. All passengers and crew were accounted for and there were no fatalities. 21 people were taken to the hospital, including a child. As of Feb. 18, 19 people were released, leaving only one remaining for treatment of non-life-threatening injuries. 

One of the commanders with Peel Paramedics, Cory Tkatch, said most injuries included back sprains, head injuries, anxiety, headaches, nausea and vomiting due to the fuel exposure. 

In a press conference, Deborah Flint, president and CEO of the Greater Toronto Airports Authority, took a moment to “recognize how grateful we are that there was no loss of life or life-threatening injuries.” She also recognized the airport’s emergency workers’ “textbook response, reaching the site within minutes and quickly evacuating the passengers.” The way the plane’s wing fell off was also the result of a safety feature. Although the wing caused the plane to flip upside down, the wing’s detachment successfully stopped the fuselage from ripping apart, which could have caused a much greater incident. 

On the day of the crash, Toronto was experiencing blowing snow and winds of 51 km/h with gusting winds reaching 65 km/h. The snowstorm on the weekend of Feb. 15 and 16 brought more than 20 inches of snow, which Flint says is “more snow within that time window than we received in all of last winter.” As the plane prepared for landing, air traffic controllers advised the pilots of 61 km/h gusts as well as the possibility of a “slight bump in the glide path.” 

No cause of crash has been announced as of writing, and investigations remain ongoing. One anonymous regional airline pilot cautioned against drawing any quick conclusions. Looking at pictures and videos of the incident, the pilot noted that the crashed jet showed its nose landing gear intact while its two other wheels and landing gear appeared to have been sheared off. This damage suggests the Delta Air Lines pilot was going sideways prior to losing control, either because of high winds, snow and ice on the runway, or a combination of both. The anonymous pilot noted that a broken wheel or frozen brake might also have been responsible for the crash landing. 

Due to the winter storms the previous week, about 1,604 flights were cancelled between Feb. 13 and 16. Due in part to the accident, another 462 flights were cancelled on Feb. 17. 

This crash marks North America’s fourth major aviation accident in the past three weeks: A commercial airplane and an army helicopter collided in Washington, D.C. on Jan. 29, killing 67 people. A medical transportation plane crashed in Philadelphia on Jan. 31, killing the six people on board and one person on the ground. And on Feb. 6, 10 people were killed in a plane crash in Alaska. Unlike these other accidents, however, everyone survived the crash landing in Toronto. 

On Feb. 19, the Transportation Safety Board of Canada (TSB) began the cleanup of the mangled aircraft. 

Delta Airlines said they are offering $30,000 to the passengers as compensation with “no strings attached.” Despite this, some of the survivors are considering legal action. Two passengers have hired a lawyer who specializes in aviation cases. 

CBC has reported Delta’s care team is providing crash survivors with hotels, meals and transportation. In a statement, Delta Airlines said that “securing, identifying, sorting and cleaning all belongings left onboard could take a matter of weeks before all items can be safely returned.” 

The plane’s black box was retrieved and sent off for analysis on Feb. 18. Investigators are pointing to the lack of flare technique and the wind conditions being the main culprits for the accident. 

What you need to know about the Ontario election 

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As the Ontario general election on Feb. 27 approaches, the leading political parties have outlined their platforms and introduced candidates across the province. Let’s look at the leading parties and some of their major plans. 

Progressive Conservative (PC) Party of Ontario 

Doug Ford, the current Premier of Ontario, is the leader of the PC Party. The conservatives called this early election to rally support against the proposed U.S. tariffs on Canadian goods. He has positioned himself as a defender of Ontario’s economy and is hoping to secure a fresh four-year mandate while his party is still in a strong position. 

In response to proposed U.S. tariffs, the PC Party plans to implement dollar-for-dollar retaliatory tariffs on American products and consider removing American alcohol from provincial stores if President Trump follows through with his plan. 

Regarding infrastructure, the PC Party proposes building a tunnel under Highway 401 from Mississauga to the Markham area to alleviate traffic congestion. It also plans to remove tolls from the eastern, provincially owned section of Highway 407 and make the gas tax cut permanent. 

Additionally, the PC Party wants to ban Chinese equity from Ontario Government-funded energy, critical mineral and infrastructure assets. 

Ontario Liberal Party 

The Liberal leader, Bonnie Crombie, has a different plan for fighting Trump’s proposed tariffs. She would establish a “fight tariff fund” to provide Ontario businesses with lower interest rates and eliminate interprovincial trade barriers. 

The Liberal Party also plans to make strides in healthcare, offering a $150,000 bonus to Canadian doctors and nurses working in the U.S. if they return to practice in Ontario. The party pledges to double Ontario Disability Support Program (ODSP) benefits and ensure all Ontarians have access to a family doctor within four years by expanding the health team network and recruiting thousands of new domestically and internationally trained family physicians. 

Regarding education, the Liberal Party plans to eliminate interest on Ontario Student Assistance Program (OSAP) loans, create 40,000 co-op positions, paid internships and apprenticeships through tax credits to companies that hire young people, and make student residences more affordable. They also want to cap international student enrolment at 10 per cent for each post-secondary institution and keep tuition frozen for domestic students. 

Ontario New Democratic Party (NDP) 

Marit Stiles is the NDP’s leader, and her plan for the tariffs includes implementing a federal-provincial income support program, directing agencies to prioritize local procurement and creating new supply chains for trade-exposed industries. When asked about cost, Stiles said an NDP government would “work in lockstep with the federal government to deliver the stimulus.” No estimated cost was provided. 

The NDP promises to abolish tolls for all drivers on Highway 407 and create a monthly grocery rebate for lower- and middle-income Ontarians, with a family of four eligible for up to $122 per month. They also plan to require large retailers to publicly post price increases exceeding two per cent within a week. 

In healthcare, the NDP also promises to ensure every Ontarian has access to a family doctor by recruiting and supporting 3,500 new doctors, reducing the administrative burdens on doctors, and introducing more family health teams and shorter specialist wait times. They also plan to increase the number of internationally trained doctors at a total cost of $4 billion. 

Concerning education, the NDP vows to spend an additional $830 million to repair schools, hire more staff, support students with disabilities, invest in French education and create a universal school food program. 

Green Party of Ontario 

Led by Mike Schreiner, the Green Party plans to create a “tariff task force,” introduce an investment tax credit, develop a “Buy Ontario” strategy, establish a “Protect Ontario Fund” for businesses disproportionately impacted, diversify trade partners and work to remove interprovincial trade barriers to combat Trump’s economic threats. 

The Green Party has similar education plans to the NDP, and like the Liberals, they plan to double the ODSP rates. 

For housing, the party aims to build 310,000 affordable non-profit and co-op homes, including 60,000 supportive homes. It has pledged to remove development charges on homes under 2,000 square feet and remove the land transfer tax for first-time homebuyers. The Greens also want to cut income taxes for people making under $65,000 a year and raise taxes on people in the top tax bracket. They pledge to build two million homes over the next decade and will fund the operation of 60,000 supportive housing units at a cost of $2.5 billion over four years. Additionally, they will introduce new taxes on housing opportunists, including an anti-flipping tax and a speculation tax on an individual’s third home. 

Voting 

Election day is Feb. 27 with polls open from 9 a.m. to 9 p.m., but you can vote at your local election office any time during their office hours until 6 p.m. on February 26. 

Republican attacks on education are baseless, but still a major threat 

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With anti-university rhetoric running rampant in right-wing circles alongside Trump’s latest attempts to shut down the U.S.’s Department of Education, education in the U.S. is in an increasingly threatened state. 

Throughout his presidential campaign, Trump promised to get rid of the Department of Education if elected. However, the reasons for doing so seem to be tangled in fearmongering about identity politics and misunderstandings about the Department of Education’s responsibilities. 

In a piece for The Conversation, Professor of Anthropology at Rutgers University, Alex Hinton, whose work focusses on the “Make America Great Again” (MAGA) movement, found four reasons why Trump is attempting to close the Department of Education that are gaining the most traction with Republicans: first, it claims to rid education of a “radical woke agenda”; dovetailed with that is the fear of “Marxist indoctrination”; next is preserving parental rights in education; and finally, Republicans tend to view the department as inefficient, epitomizing in their eyes the detrimental effects of bureaucratic red tape. 

Just recently, Trump has been in the midst of legislative efforts to defund schools that teach critical race theory — the academic framework that sees race as a social construct and racial discrimination as systemically reproduced — or gender-related classes, once again using the threat of “indoctrination” as justification. 

However, despite the massive misunderstandings of critical race theory pushed by the right in an attempt to demonize left-wing ideologies, the real teachings in this sphere are simply not radical at all.  

The very idea that racial discrimination is systemic is a logical conclusion when looking at America’s history of racial injustice and colonial violence. 

To complicate the attacks on the Department of Education further, it should be noted that the department doesn’t set teaching curricula federally. Rather, individual states are responsible for developing educational standards for their own communities. The Department does distribute funds to school systems and programs yearly, but this is not actually relevant to the attacks it is facing. 

So, why is the Department of Education facing such scrutiny from the right when they have little responsibility for determining what is taught in American schools? 

The hate towards the Department of Education is fueled by a wider right-wing attack on so-called “radical leftist” ideologies that are allegedly seeping into educational institutions. This is evident in the long-held criticisms of the “political agendas” in higher education institutions by the right. 

For the past few years, universities have faced criticism from right-wing politicians, not just in the U.S. but across the Western world, for fostering “radically leftist” views amongst students.  

Take, for example, Vice President J.D. Vance’s keynote address at the 2021 National Conservatism Conference, where he declares that universities are “hostile institutions” after going on tangents about how the “red pill” metaphor from The Matrix resembles the way universities allegedly control the circulation of knowledge — while only discussing peer-reviewed papers with studies that disprove Republican beliefs.  

Vance only spoke neutrally about one piece of academia — a study that said A.I. algorithms could predict the outcome of astrophysics research — so he could discuss how academics responded “crazily” to it. 

He continued to defend his stance by warning that students with right-leaning views are often penalized for joking about “ridiculous progressive orthodoxies” on university campuses. This point paints the enforcement of inclusivity policies at universities as entirely more threatening than they are in reality. In this instance, Vance attempts to make the right feel oppressed with an over-exaggerated picture of any intersection between the left and educational spaces. 

To fire his point home, Vance also found it notable to mention that American feminism thrives on the fundamental lie that working is “liberating” for women. Here he made an argument that women are working long hours to maintain a corporatism that ultimately does not serve them, positing that higher education is responsible for making women abandon the liberation found in attending to the needs of their family.  

This argument’s subtext is a terrifying yearning to put women back in their place as domestic servants who are financially subservient to their bread-winning husbands, but Trojan Horsing this desire with a pseudo concern for women being “overworked” in today’s age of comparatively better gender parity in the workforce. 

For all the reasons above, Vance said that higher education is “fundamentally corrupt” and responsible for “some of the most preposterous dishonesties in the world.” 

Evidently, anti-education rhetoric is not just something that exists in radical-right spheres but has found its way into conservative conferences and the social media pages of right-wing figures, hence Trump hoping to solidify it into law. 

The characterization of universities, and contemporary educational institutions at large, as responsible for “indoctrination” is just another example of right-wing politicians attempting to not only drive voters away from the left but to also discredit any academic ideas that go against the various groundless claims that build the foundations of their ideologies. 

Though it is unignorable that all educational institutions are power structures which reproduce certain discourses, the hyperbole around the existential threat of these higher-ed. discourses in mainstream right-wing anti-education rhetoric cannot be understated.  

Education that is critical and open to many different perspectives is instrumental to freely determining one’s political position and lays at the heart of democracy.  

In attempting to restrict access to education — whether by force through legislative efforts or indirectly through fearmongering — the Trump administration and other right-wing figures are engaging in the exact censorship and control they are warning against. 

“Nickel Boys” is the first of its kind 

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Score: 4.5/5 

RaMell Ross’ debut feature film is a moving, boundary-pushing piece that sets itself apart from anything that came before it. 

Adapted from the Pulitzer Prize-winning novel The Nickel Boys by Colson Whitehead, the film follows Florida teenagers Elwood and Turner during their time at the reform school Nickel Academy during the height of the Jim Crow era. The story draws inspiration from the Dozier School for Boys, a now closed reform school investigated for torture, forced labour and sexual abuse of students. Exhumations throughout the 2010s confirmed 98 deaths on the school’s premises.  

While Nickel Boys does a fantastic job laying out the story in a devastating, visceral way, what distinguishes it most is its unrelenting commitment to style. The entire film is shot through the first-person perspective of its two protagonists. Nickel Boys isn’t just an astounding first feature from Ross, it’s a technical marvel and the first film of its kind. 

The most apparent technical achievement here is Jomo Fray’s cinematography work. A simple tilt of the camera as a character keeps their head down is an act full of emotion, character building and storytelling.  

The first-person approach may sound like a gimmick on paper, but the film immediately disproves this by showcasing the compelling ways this approach can be used as a primary storytelling vessel. Information about the characters is revealed through their senses and reactions, creating a simulating effect for the viewer. 

Admittedly, for some, the first-person camerawork may hinder emotional connection without seeing the characters for the bulk of the film. Whether it works or not for viewers on a personal level, Ross’ commitment to completing a story through this approach is admirable and a success story for a newcomer to the medium. 

Elwood gazes down at the sidewalk, keeping his head down to avoid witnessing the atrocities happening around him within the walls of Nickel Academy and across the United States. He looks forward, facing his grandmother as she shares one last hug with him before visitation hours finish. He glances upward to the sky, enamoured with the thought of humanity reaching the moon while he’s stripped of opportunities left and right here on Earth.  

Fray and Ross ensure that the camera moves differently as it shifts between its characters, distinguishing them and allowing the audience to see firsthand their differing reactions to various events. POV shots aren’t new, but Ross ensures they’re experimented with and given full attention to in each scene. 

Throughout the film, historical footage of America during the Jim Crow era cuts in and out, always grounding audiences in the reality of the events that took place. Everything from clips of Martin Luther King Jr. to images and videos of violence directed at Black Americans are shown. These clips flow seamlessly into the story’s tone despite the grit they bring, reminding audiences of how cold and calculated these acts were at the time. 

Perhaps the score will be one of the most underappreciated elements of the film. Moving from hopeful, lush strings into jarring electronics, the score’s dynamism is in perfect tune with the film’s events. At times it’s beautiful, though the haunting story permeates across the music. 

The film has been released quietly since its last appearances at festivals. It’ll likely fly under the radar for many due to the lack of promotion around the film outside more prestigious circles. That said, Nickel Boys is an incredible, boundary-pushing watch for those lucky enough to get the chance to watch it 

Iconic films with milestone anniversaries in 2025 

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Several influential movies are celebrating milestone anniversaries in 2025. 

As it’s still relatively early in 2025, there is plenty of time to reflect on essential movies to watch this year. Although the technical aspects of the film industry have evolved significantly throughout cinema’s history, key elements of these films remain timeless and warrant celebration. The following films have shaped the evolution of moviemaking, and all share a milestone anniversary this year. 

In the Mood for Love (2000): 25 years 

Hong Kong director Wong Kar-wai’s swooning masterpiece on forbidden love celebrates the 25th year since its release this year. Set in Hong Kong, In the Mood for Love follows a man and woman who learn their respective spouses are having an affair with one another.  

The two form a friendship for mutual comfort, but their feelings gradually evolve into an overpowering yearning for something more. However, not wanting to stoop to the level of their spouses, they refrain from making any advances on one another. 

Dominated by glowing shades of red and a melancholy main theme, In the Mood for Love is perhaps one of the most beloved romantic films of all time, yet its protagonists keep their affections restrained. The two leads float wistfully down colourful yet shadowy alleyways of Hong Kong, sharing barely a glance or brush of the shoulder. Physical touch is hardly used as an act of romance here, the gradually closing distance between the two leads a patient and soulful journey that never grants you full catharsis. 

It’s difficult to put In the Mood for Love’s sensuality into words, which is perhaps the intended effect and precisely what makes its tale of a doomed romance resonant and timeless. 

 
American Psycho (2000): 25 years 

 
With the resurgence of misogynistic masculinity coaches and podcasters, American Psycho remains as relevant as ever since its release. Surely by now, many are familiar with Patrick Bateman, whether it be through the film itself or the numerous memes and GIFs made from it.  

An investment banker in his mid-20s, chemical-peel enthusiast and serial killer, Patrick Bateman is ultimately an exaggerated portrayal of men who care more about what other men think about them than anyone else.  

The film effectively paints how quickly men sabotage themselves under the norms of the masculinity they exalt. The iconically deranged opening sequence showing Patrick’s obsessive rituals has become the unironic goal for many entranced by the current cultural trend of vague self-improvement through consumerism, excess and making it on your own. This makes the film not only a dig at rampant 1980s yuppie culture but has unintentionally aged it to be a modern allegory criticizing the 2020s cryptocurrency tycoons proudly sharing photos from their latest trips to Dubai. 

Nearly every critique American Psycho makes rings just as true today as it did during its release. It’s a period piece for its time and a timeless Occam’s razor to contemporary toxic masculinity. 

Jaws (1975): 50 years 

The 50th anniversary of Steven Spielberg’s Jaws celebrates more than just an iconic poster and main theme, but a film that shaped horror filmmaking and human vs. nature stories. After a series of mysterious shark-attack-related deaths in New England, a team of men work to prevent it from terrorizing the idyllic coastal waters of Amity Island. 

Prior to Jaws, horror cinema was largely stuck in B-movie territory. Spielberg challenged this by adopting elements of horror and suspense into a dramatic story with a simple but effective plotline. Spielberg relies on John Williams’ iconic score and sustained shots of the waves to build tension, keeping audiences on their toes.  

Jaws defied typical creature-feature conventions at the time by keeping its monster hidden beneath the waves. Other renowned horror films like The Thing and The Blair Witch Project have adopted this same approach successfully, signalling to horror filmmakers that high budget effects are not required to succeed at evoking terror. 

Jaws use of horror blended with drama on a bigger budget rocketed the genre into the mainstream, shaping it forever and forwarding its capabilities. 

Sunset Boulevard (1950): 75 years 

A staple of old Hollywood and pop culture, Billy Wilder’s Sunset Boulevard celebrates 75 years since the world first prepared for Norma Desmond’s close-up.  

The film blends the noir, black comedy and psychological thriller genres to illustrate Norma Desmond, played by Gloria Swanson, a former star of film’s silent era lurking in her crumbling mansion away from the spotlight. By chance, she meets screenwriter Joe Gillis, ordering him to write the script for her comeback performance. 

Sunset Boulevard bookends a turning point in Hollywood when the glitz and glamour coating its surface could be ripped away, revealing the sinister ways fame corrupts people. It paints Norma as a tragic antagonist who cannot be fully blamed for her actions. Countless films, TV series and novels have been written around this same subject matter, but Sunset Boulevard’s approach suggests that the real villain of a story may not be one of its characters at all, but rather that a character’s actions are influenced by the real consequences of something larger than themselves. 

It’s rightfully one of the most celebrated films in history and a must-watch for gaining insight into cinema’s evolution. 

As filmmaking races into the future, it’s important to keep in mind the historical efforts made to shape the art of filmmaking. Reflecting on these films reminds us of the timelessness of cinematic storytelling, and the evolving artistic conventions in the field. 

Women’s hockey: Thiessen dazzles against Western as playoff push continues 

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The Brock Badgers women’s hockey team continued their fight for the final playoff spot in the OUA West division with a road trip split after losing 5-1 to the Windsor Lancers on Feb. 7 and shutting out the Western Mustangs 3-0 on Feb. 8. 

Brock Badgers 1, Windsor Lancers 5 

First-year defender Sydney Hood buried the game’s opening goal, but it was the only offence that the Badgers administrated against the Lancers. 

After an intense nine minutes to open the contest, Hood found the scoresheet with a riffling shot through traffic for her sixth goal of the year — which leads all Brock defenders — and put the Badgers up one. 

With Brock controlling much of the first period, outshooting Windsor 14-5 in the frame, the Lancers swung the momentum in their favour midway through the second with a power play marker to kickstart a barrage of goals against Brock. 

Windsor quickly added another just under seven minutes later, taking the 2-1 lead entering the third. 

In the third period, the home side continued applying pressure, forcing a pair of goals in under 20 seconds with a fifth coming two minutes later, as the Lancers seized control of the contest to hand Brock their third loss in four games. 

Badgers’ netminder Kennedy Lonson made 20 saves in the game with Kaedyn Gomes registering the lone assist on Hood’s goal. 

Brock Badgers 3, Western Mustangs 0 

Desperate for a win with only three games remaining, Badgers’ goaltender Megan Thiessen recorded her first career OUA shutout as Brock’s leading goal scorers Madison Cronkwright and Jenna Duarte provided the offensive spark. 

Duarte got the offence cooking early with two first period goals. 

The Hamilton native opened the scoring on the penalty kill, burying the breakaway chance blocker-side for Brock’s second short-handed goal of the season to secure the crucial one-goal lead. 

Duarte then doubled the Badgers’ advantage in the final minutes of the frame, taking the puck the length of the ice to tie Cronkwright for the team-lead in goals with her seventh of the campaign and put Brock up 2-0 after the first. 

But Cronkwright regained her team lead in the second with her eighth goal of the season, after her attempted pass deflected off the Mustang defender and into the net to give the Badgers the three-goal cushion heading into the third period. 

In the third, it was Thiessen’s time to shine as the rookie netminder made eight of her 20 saves in the frame to seal the critical road win and keep the Badgers in playoff contention. 

Brock (6-12-3-3) currently sits in sixth place in the OUA West division and are four points back of the York Lions (7-11-4-2) for the final playoff spot with only two games remaining. 

The Badgers close their season this weekend with a pivotal clash against the York Lions on Feb. 14 at 12 p.m. in their home finale, before heading to North Bay to battle the Nipissing Lakers (14-5-1-4) on Feb. 15 at 4 p.m. 

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

Badgers men’s basketball drop heavyweight tilt to TMU 

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The Brock Badgers men’s basketball team lost an intense home contest to the TMU Bold, 92-73, on Feb. 5 at the Bob Davis Gymnasium. 

Michael Matas led the Badgers with 18 points, while Anthony Heyes contributed with 11 points and eight rebounds. 

Heyes was the focal point of Brock’s offence in the first quarter, scoring eight points and recording four assists while shooting three-for-four from the field including two made three-pointers. 

But the three ball was the Badgers’ kryptonite on the defensive end, as the Bold scored three-pointers on their opening four possessions to start the game and made a lucrative eight in the quarter. 

As such, TMU held a 31-22 edge after the opening 10 minutes, which only grew in the second. 

The Badgers were stale from beyond the arc in the second frame, shooting a whomping two-for-10 from deep while the Bold made three triples and seven field goals to extend their lead to 52-34 at halftime. 

However, the Badgers were able to limit the Bold attack in the third quarter as Brock sought a dramatic home comeback. 

Jalen Janes, Nathan Charles and Davanté Hackett each contributed with four points apiece in the third as the Badgers outscored the Bold 21-19 to cut the deficit to 12 midway through the frame. 

But the inspirational rally was short-lived, as TMU’s Aaron Rhooms — who scored a game-high 43 points and 11 rebounds — added 15 points through his six-for-seven shooting in the fourth quarter as the Bold defeated the Badgers to split the season series one win apiece (the Badgers won 74-66 in Toronto on Jan. 12).  

The Bold shot more efficiently than the Badgers, shooting 52.7 per cent (29-for-55) from the field while Brock shot 43.6 per cent (24-for-55). TMU also converted more three-pointers (16 to 13) and free throws (18 to 12) in their victory. 

Next weekend, the Badgers (14-6) look to close their regular season on a high note with a trip to Toronto to face the Varsity Blues (7-13) on Feb. 14 before battling the York Lions (4-17) on Feb. 15. Both games tip off at 8 p.m. 

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

Pietrangelo, Weinert named The Brock Press’ Athletes of the Month for January 

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Victor Pietrangelo (men’s curling) and Madalyn Weinert (women’s basketball) have been selected as The Brock Press Athletes of the Month for January. 

Men’s Athlete of the Month – Victor Pietrangelo 

Victor Pietrangelo (men’s curling) has been named TBP’s Men’s Athlete of the Month for January, highlighted by a third-place finish at the FISU World University Games in Italy and a first-place performance at the Brock Invitational. 

At the FISU Games, the Niagara Falls native represented Canada in mixed doubles curling alongside partner Jessica Zheng of the University of Waterloo as the Canadian duo captured the bronze medal in the inaugural year of the event. 

After a sensational 6-1 record in round robin play which included wins over Norway (9-4), United States (7-6), Switzerland (9-4), Japan (7-3), Italy (10-4) and Germany (9-4), the Canadians ranked second in the standings behind Great Britain — their lone loss of the group stage — before dropping a narrow 7-5 semi-final clash to Germany. 

But Pietrangelo and Zheng responded in the bronze medal match to defeat the hosts 9-3 on Jan. 14 in a game where the fourth-year Accounting major shot 80 per cent. 

With their accomplishment in Turin, the Canadian pair now rank eighth in Canada in mixed doubles and are 17th in the world. 

Pietrangelo followed up his bronze medal performance on the international stage by leading the Badgers men’s curling team to a perfect weekend in their home tournament at the St. Catharines Golf and Country Club on Jan. 18 and 19. 

The Badgers defeated the York Lions (5-4), Western Mustangs (11-1), Laurier Golden Hawks (5-2) and Ottawa Gee-Gees (7-1) on their way to a noteworthy 4-0 invitational in the final tune-up event before the OUA Championships in February. 

Women’s Athlete of the Month – Madalyn Weinert 

Madalyn Weinert (women’s basketball) has been named TBP’s Women’s Athlete of the Month, dominating the OUA in the final stretch before the playoffs. 

The St. Catharines native averaged 23.9 points per game, 13.7 rebounds per game, 3.4 assists per game, 3.0 steals per game and 2.3 blocks per game in seven games in January to lead the Badgers women’s basketball team to a 5-2 record in the month. 

The Medical Sciences major began the month with back-to-back 24-point double-double performances against the York Lions and TMU Bold en route to being named the OUA Athlete of the Week for the week ending Jan. 12. 

Weinert took her game up a notch the following week in the annual Paint the Meridian Red showcase, scoring a career-high 34 points in a win over rival McMaster Marauders on Jan. 17. 

After three more 20-plus point performances against the Toronto Varsity Blues, Ontario Tech Ridgebacks and Queen’s Gaels — making six consecutive 20-plus point games to begin January — Weinert closed her sensational month with her first triple-double of the season, tallying 18 points, 17 rebounds and 10 assists while shooting a month-high 66.7 per cent from the field (10-for-15) in a win against Lakehead on Jan. 31. 

Weinert has now scored 21.9 points per game to lead the OUA, while her 11.4 rebounds per game and 2.0 blocks per game rank second in both categories. 

— 

Stay tuned to The Brock Press following every month where the Men’s and Women’s Athletes of the Month will be highlighted. 

Want a say in selecting a winner? Email lcosta@brockpress.com to nominate a Badger. 

Trump’s 25 per cent tariffs increase causes controversy 

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Despite the temporary reprieve, U.S. President Trump still insists he will put 25 per cent tariffs increase on Canadian and Mexican goods, and 10 per cent tariffs on Chinese imports. 

On Feb. 10, Trump also signed orders imposing 25 per cent tariffs on all steel and aluminum imports, including Canada. 

At the beginning of Donald Trump’s presidency, he said he’d impose tariffs on Canada, Mexico and China. On Feb. 3, the day before President Trump said he would impose 25 per cent additional tariffs on Canadian products, he put a one month pause on the promise, leaving room for negotiations.  

A tariff is a tax that is imposed by the government of a country on imports and/or exports of products or goods. In this case, Trump is looking at imposing 25 per cent tariffs on Canadian imports, meaning that for Americans, products coming from Canada are going to be more expensive. Donald Trump has repeatedly falsely claimed that the tariffs will not be a cost to Americans, but to “another country.” Vice President J.D. Vance also insists that prices will go down for American citizens as a result of these tariffs. 

Import tariffs, apart from being a source of revenue for the government, are usually used as a form of regulation of foreign trade to encourage domestic consumption. A tariff is a tax that is paid by U.S. businesses — not other countries — when a foreign-made good arrives at the American border. If businesses are paying more, price increases are inevitable. 

Tariffs are usually put in place to encourage citizens to buy locally, since foreign products will go up in price. 

The Trump administration claims to be addressing an emergency situation, citing “the extraordinary threat posed by illegal aliens and drugs, including deadly fentanyl, [which] constitutes a national emergency under the International Emergency Economic Powers Act (IEEPA).” Trump claims that this tariff increase is a fight against the “drug war,” and he is using his threats as leverage to stop illegal aliens and drugs from coming into the country.  

However, as CNN has reported, Canada makes up just 0.2 per cent of U.S. border fentanyl seizures. 

Le Monde claims that said Trump’s “backtracking” on tariffs was a result of pressure from Wall Street, which fell sharply right before Trump announced the 30-day pause on tariff increases.  

This trade war may stem from Trump’s apparent desire to annex Canada, which has been met with lots of anger from Canadian citizens, sparking an increase in sold banners and hats with the slogan “Canada is not for sale.” Prime Minister Justin Trudeau has warned that Trump “wants access to his northern neighbour’s vast supply of critical minerals.” 

Canada, Mexico and China make up nearly half of U.S. Trade. Canada is a huge exporter of crude oil; in 2023, 97 billion dollars of crude petroleum was imported to the U.S., making up about 61 per cent of the U.S.’ oil. Similarly, Chinese technology make up for almost half of America’s phone and computer imports, and Mexico is a huge importer of vehicles and fresh produce. 

Many Canadian provinces are looking into retaliatory measures. Ontario, British Columbia, Manitoba, New Brunswick and Nova Scotia, for example, said they would remove all American alcohol from LCBO shelves. On Feb. 4, the ban went into effect, with many stores displaying signs asking consumers to consider Canadian and local alternatives. 

In response to Trump’s tariff threats and desire to make Canada a U.S. state, Canadian sports fans have been booing the American anthem. Many fans booed the American national anthem before NHL and NBA games in Canada on Feb. 4. Although this was after Trump’s 30-day pause on the tariff threats against Mexico and Canada, it is a sign that some Canadians are still very upset with Trump. The crowd cheered loudly when “O Canada” began and showed special enthusiasm for the line “True North strong and free.” 

The Guardian reporter Leyland Cecco said that despite Trump’s one month hold on increasing the tariffs, “he has continued to mock Canadian sovereignty, repeating his description of the country as the ‘51st state’ on social media and repeatedly calling Trudeau ‘governor’ instead of prime minister.” 

On Feb. 10, Trump signed orders imposing 25 per cent tariffs on all steel and aluminum imports, including Canada. Trump said the tariffs are meant to encourage production in the U.S. while taking another jab at Canada by suggesting the country become the 51st state. About a quarter of the United States’ steel and iron imports came from Canada in 2024. Experts have said these steel and aluminum tariffs alone will be “devastating.” 

Concerning the overall import tariffs Trump is still threatening, Financial Post reporter Gigi Suhanic said that “economists think the fallout from the tariffs and the retaliation already laid out by Canada will be so significant that it will outweigh any damage caused by inflation as prices spike on the rising cost of imports and the falling value of the Canadian dollar.” 

If a deal cannot be reached — or if Trump does not reconsider — then the tariffs are due to be imposed in early March. Many people and companies in Canada, America and Mexico are bracing for what that could mean for their respective economies. 

Pride Niagara cancels 2025 “Pride in the Park”  

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Pride Niagara’s annual “Pride in the Park” event was removed from this year’s line-up of local Pride activities after unsuccessful attempts to partner with the City of St. Catharines. 

On Jan. 29, Pride Niagara’s Board of Directors posted a press release titled “Restructuring Pride Niagara Festival 2025” where they outline changes coming to the St. Catharines Pride Festival this year. 

The release prefaces that Niagara’s 2SLGBTQ+ community has faced increased levels of discrimination and hate-based violence in recent years, posing challenges for Pride Niagara and the community they represent. 

According to the press release, Pride Niagara has been in conversations with the City of St. Catharines in an attempt to make Niagara’s annual Pride Festival “a much-needed joint venture” wherein both parties would take on costs and responsibilities. Pride Niagara said the proposition of this partnership would be an “innovative” way to host the festival while prioritizing the safety of attendees. 

However, conversations between the two did not lead to an agreement, and Pride Niagara subsequently decided to condense their Pride activities by cancelling this year’s “Pride in the Park” event. 

Following Pride Niagara’s press release, the City of St. Catharines issued a statement in response. In the statement, the City of St. Catharines said that the two parties were in “ongoing” discussions about how the city could promote safety at Pride Niagara events during these times of increased hate and violence. The City says that they are disappointed by the cancellation of “Pride in the Park,” as Pride celebrations in Downtown St. Catharines’ Montebello Park have been a long-time tradition. 

The statement goes on to say that the City of St. Catharines did not cancel “Pride in the Park” themselves and are not “restricting the annual event in any way.” 

The statement continues by listing the ways that the City of St. Catharines has supported Pride Niagara in the past, including bringing $15,000 in security measures for last year’s festival as well as a report to be completed in April 2025 examining how the City can work with Pride organizers to develop a “sustainable safety plan” and further look into how the city can provide “in kind or financial” support for Pride events. 

In the comments of Pride Niagara’s Facebook post issuing the release, the organization said that they appreciate the support they have received from the City over the years, and they value continued communication between the two parties about prospective partnerships in the future. 

The comment also notes that St. Catharines’ mayor Mat Siscoe was “instrumental” in providing the city’s sponsorship to Pride Niagara in the last two years and credits him as the individual who began conversations about a partnership between the organization and the city. 

Pride Niagara will be hosting several events throughout the Niagara Region as a part of their 2025 Pride festival between May 31 and June 8. 

For more information about this year’s Pride Niagara festival line-up, visit prideniagara.com or contact info@prideniagara.com. 

The Federal Conservatives are turning their backs on Canadians 

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The federal Conservatives are telling us what they stand for, and it’s not Canadians. 

You don’t have to be paying attention to realize there’s a lot happening in Canadian politics right now. Between Justin Trudeau’s resignation as leader of the Liberal Party, the threat of a trade war with the United States and a federal election somewhere on the horizon, the last month has been nothing if not eventful for the good folks on Parliament Hill. 

The most concerning developments of all, however, have come from Pierre Poilievre, leader of the Conservative Party of Canada and likely shoo-in to become our 24th prime minister, based on most polling. His party has spent the better part of three years in campaign mode, spending approximately $8.5 million on advertising in 2023 alone. No doubt you’ve heard or seen some examples: “Axe the Tax,” “Build the Homes” or the inexplicably phrased “Stop the Crime.” 

Not only do these slogans more resemble a drunken chant at a hockey game than robust policy proposals, but they also ring eerily familiar to anyone who hasn’t been living under a rock since Donald Trump was elected U.S. President in 2016 (although if you have been living under a rock, I can’t say I’d blame you). To put it succinctly, Poilievre is the Canadian poster boy for a shallow brand of right-wing populism inspired by the success of the MAGA movement from our neighbours to the south. Evidently, they won’t be putting an import tax on nationalist sycophants anytime soon. 

Poilievre refers to his simple — read: painfully stupid — messaging as a reflection of “common sense values,” and has frequently used the increasingly nebulous strawman of “woke politics” to provoke strong rallying emotions among his supporters. The strategy is clear: he wants us to feel afraid, and more than that, he needs us to feel broken. 

But now Poilievre has a problem. In a recent CBC article, sources from the Party revealed that the federal Conservatives are scrambling to adapt their messaging after a sudden shift in attitude around our national identity: “The start of a tariff war with the United States is changing voters’ moods. It’s harder to talk about a broken Canada when there’s a growing sense of patriotism,” said one of the Conservative insiders.  

Everyday citizens standing in solidarity against the economic bully that is the U.S. can only be bad for the federal Conservatives’ campaign of sowing division. In other words, Trump’s unjustifiably austere tariffs have provoked a sense of protective patriotism that is quickly unifying the country across partisan lines. This is troublesome for the Conservatives because their interests simply do not align with Canadian unity. 

It gets even better. In a media address on Feb. 3, Poilievre vowed to “put Canada first” and renewed calls to “protect our borders.” The irony is truly lost on Conservatives if their official response to Trump’s sabre-rattling is just a sad imitation of his “America first” dog-whistle. It should come as no surprise that Poilievre has the backing of “special government employee” and far-right oligarch Elon Musk, not to mention noted pseudo-intellectual and right-wing conspiracy theorist Jordan Peterson. 

This begs the question: What can we expect should Poilievre sneer his way to victory? He is, after all, a career politician whose record in the House of Commons is available to the public. For example, Poilievre received a full pension at the age of 31 before voting to raise the age of eligibility for Old Age Security (OAS) and Guaranteed Income Supplement (GIS) in 2012; he rallied against marriage equality in 2005; and he suggested that residential school survivors ought to have a stronger work ethic in 2008.  

One wonders what might become of the $10-a-day childcare program or increased dental and pharmacare coverage — all fruits of the now-defunct Liberal-NDP agreement — under his proposed “budget fixing.” 

The Conservatives have also added the CBC to their list of targets. Damien Kurek, the party’s heritage critic, called the network a “broken and failing propaganda machine” and proposed the bizarre image of turning the CBC’s downtown Toronto headquarters “into beautiful homes for Canadian families.” It speaks volumes that Poilievre and company would seethe at the existence of a national public broadcaster whose written mandate is to promote and develop Canadian identity from coast to coast. 

If you’re really sniffing around for a propaganda machine, look no further than the overwhelming number of Canadian media publications affiliated with the PostMedia Network, which itself is majority owned by Chatham Asset Management, an American conglomerate with close ties to the Republican Party. A suspiciously high volume of anti-Trudeau sentiment and carbon tax misinformation has been circulated through tabloid rags like The Toronto Sun and even the more innocuous sounding National Post, both of which are PostMedia properties. 

Maybe the most concerning fact of all is that Poilievre refuses to subject himself to the rigorous background checks necessary to gain top-level security clearance, as is customary for every Leader of the Official Opposition. That means he won’t receive a briefing on the CSIS investigation into foreign interference among members of the Conservative Party. 

Poilievre has argued that gaining security clearance would prevent him from being able to speak freely about government issues. However, declining access to the proper intelligence has led to gross oversights in the past for Poilievre. Consider back in November of 2023, when he hastily labelled a car explosion on the Rainbow Bridge as a “terrorist attack.” Poilievre defended himself by suggesting the error came from the media. Meanwhile, the CBC determined only one outlet had reported the explosion as terror-motivated at the time of Poilievre’s comment. It was Fox News

All this is to say that the federal Conservatives have made it very clear what they stand for: economic opportunism, anti-intellectualism and national populist rhetoric. We’ve already watched the U.S. go down that slippery slope. Let’s not do the same. 

Face it, Beyoncé deserved Album of the Year 

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Just because your favourite singer didn’t win the Grammy you thought they deserved doesn’t mean that Beyoncé didn’t deserve her’s. 

On Feb. 2, the Recording Academy hosted the 67th annual Grammy Awards ceremony, celebrating the achievements of dozens of musicians, lyricists, producers and sound engineers from all around the world. Many awards were given out to many deserving artists, but not every win sat right with audiences at home. 

More than anything else, Beyoncé’s Cowboy Carter being awarded “Album of the Year” and “Best Country Album” seemed to be a point of contention for many. 

After the ceremony concluded, all kinds of people posted on social media voicing their displeasure. Nick Adams, an American author, took to X to say: “No, Beyoncé does not deserve to win a Grammy for Best Country Album. Cowboy Carter is not an authentic Country Music Album. The Grammys are a complete and total joke.”  

Another X user with a small following wrote: “We all know that Cowboy Carter doesn’t deserve its win for Album of the Year. It only won because the producers of the Grammys knew if Beyoncé didn’t get it, someone would lose their life.” 

These are only a few examples of the hateful comments that have spread across a variety of social media platforms in the past two weeks.  

On top of that, people began to compare the number of streams each nominated album had acquired before the ceremony to prove that Beyoncé didn’t deserve Album of the Year. Taylor Swift’s The Tortured Poets Department has been streamed nearly 7 billion times, Sabrina Carpenter’s Short n’ Sweet has over 5.5 billion streams and Cowboy Carter was only streamed 1.7 billion times.  

Furthermore, others have implied that Beyoncé and Jay-Z bought the award in the same way a child with rich parents who donate money to the school might make the varsity sports team even if they aren’t any good at the sport.  

While I’ll be the first to admit that Cowboy Carter was not my pick for Album of the Year, I find it easy to acknowledge that Beyoncé deserved the award. First of all, considering the Grammys is about musical technicality and flair, the number of streams an album has isn’t considered when choosing the winner. Secondly, why are we so quick to assume that Beyoncé could not have won this award on her merit alone?  

Cowboy Carter is a musically interesting and sonically cohesive body of work. While Beyoncé might not traditionally be a country singer, her album was released as a country record, therefore resulting in it being just as worthy of Best Country Album as anything else in that category. On top of that, the Album of the Year category was jam-packed with a variety of impressive records this year; I think any of the eight artists nominated in that category could have easily taken the award home.  

When it comes to award shows like the Grammys, it is easy to get so caught up in who you want to win that you forget to give the final winner — whether they are who you had hoped for or not — the credit they deserve.  

Beyoncé’s Cowboy Carter is a good album. It’s not my favourite record, but I can acknowledge that it deserved all the awards that it got.  

It’s time for you to do the same.  

Six love songs you should add to your Valentine’s Day playlist 

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As Valentine’s Day approaches, love is in the air and near constant PDA can no longer be avoided, let’s look at six of my favourite love songs.  

“Annie’s Song” – John Denver 

From John Denver’s 1974 album Back Home Again, “Annie’s Song” is a beautiful homage to Denver’s first wife, Annie Martell. The track’s instrumentals are quiet and simple, allowing Denver’s vocals (and his stunning lyricism) to shine through, which highlights how incredibly romantic this ballad is and solidifying its place on this list.  

“Talkin’ to Myself About You” – Peggy Lee 

Recorded in Peggy Lee’s early years, “Talkin’ to Myself About You” is a quintessential jazz ballad from a bygone age of classic romance. Lee’s vocals are warm and sweet as she beautifully croons about her girlish daydreams of love, making “Talkin’ to Myself About You” the perfect song for your Valentine’s playlist.  

“Invisible String” – Taylor Swift 

While Taylor Swift is renowned for her expertly crafted love songs, “Invisible String” is easily one of her very best. The track is saccharine and simple, allowing Swift’s gorgeous storytelling and pleasant vocal tone to shine. Although Swift and the muse that inspired this song are no longer tied together by a beautiful gold bow, “Invisible String” hasn’t lost its easy-going take on love, making it another great track to listen to this Valentine’s Day.  

“Sweetest Thing (The Single Mix)” – U2  

Although “Sweetest Thing” was almost forgotten, a B-side excluded from U2’s award-winning album The Joshua Tree, the track was re-released in 1998 and quickly became a number one hit. “Sweetest Thing (The Single Mix)” is a lighter take on the original 1986 recording, which was originally written by lead singer Bono as an apology to his wife for forgetting her birthday. While the track has the potential to be much darker, the dancing guitar rhythm and twinkling piano line featured on the single allow it to blossom into a beautiful love song perfect for a Valentine’s dance.  

“Mama, You Been on My Mind (Studio Outtake – 1993)” – Jeff Buckley 

Jeff Buckley’s rendition of Bob Dylan’s “Mama, You Been on My Mind” expertly displays his ability to perfectly capture the mood and atmosphere of romance in his music. Although it’s a studio outtake, the track isn’t hindered by its simple origins. Instead, “Mama, You Been on My Mind” is even more special thanks to its quiet beauty, featuring just Buckley and his guitar working through the hurdles of a love connection. While Dylan technically wrote the song about heartbreak, Buckley’s rendition of the track feels more like a longing for love, earning it a place on this list. 

“Falling Slowly” – Glen Hansard & Markéta Irglová 

Glen Hansard and Markéta Irglová’s “Falling Slowly,” in all its quiet yearnings, is quite simply one of the best love songs written in the past 20 years. Starting slow, the award-winning track immediately starts to build with the addition of various string instruments. “Falling Slowly” doesn’t waste any of its four-minute run time on useless musical filler, with every beautiful second proving just how perfect it is for Valentine’s Day.  

Out of tune and nonsensical, here are my top two Apply Music Replay songs 

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January’s Apple Music Replay has been released, so let’s look at my top two songs from the past month.  

“It Ain’t Me, Babe (Live at Newport)” – Bob Dylan & Joan Baez 

With my right hand over my heart, I solemnly swear that I was a fan of Bob Dylan and Joan Baez long before the release of A Complete Unknown. In fact, I am hugely offended that anyone would accuse me of jumping on this mainstream pop culture bandwagon when my vintage vinyl collection includes more than one wildly expensive first pressing from both musicians. It’s not like my love for the song “It Ain’t Me, Babe” took root after the Timothée Chalamet version went viral on TikTok, right?  

Recorded on June 9, 1964, “It Ain’t Me, Babe” was released on Bob Dylan’s fourth album Another Side of Bob Dylan. While undoubtedly an impressive display of Dylan’s lyrical prowess, the track took on a new life when the singer’s contemporaries started covering the track on their own LPs. One popular rendition was recorded by Johnny Cash and his future wife, June Carter, and released on Cash’s 1965 album Orange Blossom. Another version appeared on The Turtles’ debut record, reaching #8 on the U.S. charts and becoming the album’s breakthrough hit single. Yet, my favourite version is by far the live recording of Dylan singing the track with Joan Baez at the Newport Folk Festival on July 26, 1964.   

The performance, while iconic, is far from perfect. The arrangement was clearly unrehearsed prior to their appearance on stage, with neither singer knowing when to come in or how long to hold a note. Dylan, desperately trying to hold back fits of laughter, sings over Baez throughout much of the track and Baez, whose vocal tone is brightly coloured by a contagious grin, is often off-key. By all means, it should be sonically grating and desperately painful to listen to. Yet in the span of four weeks, I played the track over 60 times, and I still haven’t been able to stop.  

My love for “It Ain’t Me, Babe (Live at Newport)” stems from how accurately the recording captures Dylan and Baez’s humanity. Their vocals haven’t been touched up in the studio, the guitar Dylan is playing is slightly out of tune, and they’ve only got one chance to get this performance right. Sure, it’s not perfect, but it’s reflective of their hearts and their souls, and to me, that is way more important, making it one of my top songs this January. 

“Bonehead’s Bank Holiday (Remastered)” – Oasis  

As the members of Oasis continue with their “will they, won’t they” routine in the lead-up to their first live concert in 16 years, the band’s second studio album (What’s The Story) Morning Glory? is about to turn 30 years old. While “Bonehead’s Bank Holiday” wasn’t a part of the original record, released as a vinyl-only track and later issued as part of an NME Brat Pack ’96 compilation cassette, it finally appeared on streaming services in the remastered version of the album released on Sept. 29, 2014.  

The title of the track refers to Bonehead, or Paul Arthurs, one of the co-founders of the band. The guitarist was originally meant to provide the vocals for the track, but the story goes that in a fit of nervousness, he and Liam Gallagher went to a pub, got extremely drunk and attempted, rather unsuccessfully, to record his part again. While the final track features Noel Gallagher’s vocals and not Bonehead’s, the background murmur of nonsensical pub chaos still managed to make its way into the recording, grounding the song in its grimy British rock roots.  

Simply put, “Bonehead’s Bank Holiday” is way too much fun. It lacks any kind of inhibition and it’s easy to get the sense that the track came together without much effort. These factors make listening to it much more amusing. Chock full of ridiculousness, “Bonehead’s Bank Holiday” is too silly not to enjoy, making it one of my top songs this January.  

Brock women’s basketball defeats McMaster in tough battle  

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The Brock women’s basketball team fought off a late surge from McMaster to secure a hard-earned 76-72 victory on the road last Saturday.  

From the opening tip, Madalyn Weinert made her presence known. The reigning OUA Player of the Year wasted no time establishing control, scoring 14 points in the first quarter alone. Her ability to attack the basket, pull up from mid-range and crash the boards set the tone for the Badgers. By the end of the first, Brock built a 24-20 lead, dictating the tempo on both ends of the floor.  

The momentum carried into the second quarter as Brock continued to execute efficiently. Weinert remained the focal point of the offence, adding 11 more points before halftime, while Angeline Campbell, Shailah Adams, Olivia Fiorucci and Ava Stranges contributed to a well-balanced attack. The Badgers moved the ball with confidence, finding open shots and punishing McMaster’s defence for any lapse in coverage. Their discipline allowed them to take a 47-41 lead into the locker room at halftime, holding firm against the Marauders.  

Beyond the numbers, the night marked a significant personal achievement for Campbell, who reached the 1,000-career-point milestone. Her 13 points of the night were a testament to her consistency and leadership over the years. As the game momentarily paused for a brief acknowledgement, Campbell’s teammates surrounded her in celebration.  

Brock came out of halftime with the same intensity that fielded their first-half dominance. They stretched their lead to as many as 14 points, the largest margin of the game, as Weinert continued to deliver in the clutch. But McMaster, determined to defend their home court, found life in the fourth quarter.  

The Marauders ramped up their defensive pressure and attacked the rim relentlessly, outscoring Brock 20-12 in the final quarter. Their once-commanding lead dwindled as the clock ticked down and the energy in the Burridge Gymnasium shifted to anticipation. With each basket, the home crowd grew louder, sensing a comeback within reach.  

But Brock refused to let it slip away. In the face of mounting pressure, the Badgers executed their game plan with poise. Their ability to manage the clock, control possession and capitalize on free throws proved decisive in the closing minutes. Shooting an impressive 82.6 per cent from the line, Brock maintained the gap, denying McMaster a final push. In contrast, the Marauders struggled from the stripe, making just 46.2 per cent of their attempts — a disparity that ultimately shaped the outcome of the game.  

As the final buzzer sounded, the Badgers walked off the court with a victory that tested both their skill and willpower. It was a statement win: one that reinforced their ability to perform under pressure and close out games when it matters most.  

With this victory in the books, Brock now turns its attention to its next challenge: a Feb. 14 matchup against the Toronto Varsity Blues. The last game between these teams resulted in an 80-52 Badgers win, but as this game proved, no opponent should be taken lightly. The Badgers will look to build on their momentum and continue their push toward postseason success.  

How the media reinforces gender stereotypes in sports  

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Social media has become a platform for athletes to cultivate their public personas and secure professional opportunities, but the ways athletes present themselves — and the expectations placed on them — are deeply influenced by gender. 

While men’s league athletes are often celebrated for their athletic accomplishments, women’s league athletes face different scrutiny, where their media representation is shaped by societal norms, traditional gender roles and commercial interests.  

Existing research highlights the inherent connection between social media and athletes branding. Studies show that women’s athletes continue to receive less media coverage than their gender counterparts, and when they do, the focus often shifts away from their athletic achievements to their personal lives, appearances and endorsements.  

The article “Branding Strategies of Human Brands in Sports on Instagram” found that while both men’s and women’s athletes rely on social media for branding, women’s athletes are significantly more likely to emphasize appearance-based attributes in their online presence. For example, Serena Williams’ Instagram posts contained branding related to physical appearance in 60 out of 125 posts, whereas men’s athletes predominantly emphasized sporting success. This reflects a broader societal trend where women in sports are expected to present themselves in ways that conform to traditional standards of femininity and marketability.  

The struggle of women’s league athletes to control their own narratives on social media is compounded by larger media structures that reinforce gender stereotypes. Female Athletes’ Self-Representation on Social Media: A Feminist Analysis of Neoliberal Marketing Strategies in ‘Economics of Visibility’ argues that many high-profile women’s athletes adopt branding strategies that align with neoliberal feminism, promoting a polished, heteronormative femininity while avoiding controversial political stances. This marketing approach helps athletes maintain sponsorship deals and visibility but limits their ability to challenge gendered perceptions in sports.  

A similar dynamic was observed in A Social Media Analysis of Gendered Representations of Female and Male Athletes During the 2018 Commonwealth Games, where researchers examined tweets using the hashtag #GC2018. Their findings revealed stark differences in how men’s and women’s athletes were described — words like “strong” and “talented” frequently appeared in relation to men’s athletes, while women’s athletes were more likely to be labeled with terms like “pretty” or “girls.” Such distinctions contribute to a media environment where women’s sporting achievements are undervalued compared to their gender counterparts.  

Media depictions of women’s league athletes often prioritize their roles as wives and mothers or their fashion over their athletic prowess. Studies show that the language used in sports media further exacerbates these disparities, often infantilizing women by referring to them as “girls” while their men’s league counterparts are labelled as “men” — not “boys” — or “leaders.” These portrayals do not only influence public perception but also impact sponsorship deals and endorsement opportunities. Brands tend to align their campaigns with traditional femininity, expecting women’s athletes to maintain a balance between strength and beauty to appeal to a wider consumer base.  

Similarly, Twitter, Team GB and the Australian Olympic Team: Representations of Gender in Social Media Spaces examined how national Olympic teams frame their men’s and women’s athletes differently. Their research revealed that men’s athletes were portrayed in active or competitive roles, while women’s athletes were more frequently depicted in passive or aesthetically appealing ways.  

These patterns extend to commercial representation as well. Athletes’ Self-Representation on Instagram explored how gendered branding strategies impact engagement on social media. The study found that women’s athletes who posted content aligning with traditional beauty standards, including non-sport-related images, received significantly higher engagement than those who primarily posted about their athletic achievements. This trend pressures women’s league athletes to balance personal branding with performance, creating an additional layer of expectation that men’s league athletes do not face.   

The media’s portrayal of women’s league athletes continues to reflect long-standing gender biases, emphasizing appearance and personal branding over athletic ability. While social media gives athletes more control over their public personas, women’s athletes must still navigate societal expectations that prioritize marketability over performance.  

The persistent disparities in media representation reinforce stereotypes that diminish the viability and legitimacy of women’s sport. Addressing these issues requires a concerted effort from media outlets, sponsors and audiences to challenge gendered narratives and recognize women’s league athletes for their achievements rather than their appearance.  

Lakers trade Anthony Davis for Luka Dončić  

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In a trade that no one saw coming, Anthony Davis is heading to Dallas while Luka Dončić joins the Lakers, setting off a storm of reactions across the league.  

Since being drafted first overall in 2012, Anthony Davis became the face of the New Orleans Pelicans before forcing his way to the Lakers in 2019. In Los Angeles, he played a role in securing the 2020 NBA championship alongside LeBron James, consolidating his reputation as one of the league’s elite two-way players.  

Luka Dončić, on the other hand, was drafted third overall in 2018 by the Atlanta Hawks and immediately traded to the Dallas Mavericks. Since entering the league, Dončić has averaged 28.7 points, 8.7 rebounds and 8.3 assists per game over the last three seasons. A five-time All-Star and four-time All-NBA selection by age 24, Dončić led the Mavericks to the Western Conference Finals in 2022 and brought his team to the 2023-2024 NBA Finals, but he struggled with the lack of roster depth around him.  

The trade between the Lakers and Mavericks didn’t happen overnight — it was the result of months of speculation, internal frustrations and team priorities. For the Lakers, the decision to move Anthony Davis stemmed from growing concerns about his durability and being a solid long-term fit. Despite being one of the league’s most dominant big men when healthy, Davis has struggled with injuries and missed significant portions of multiple seasons. The Lakers, still in win-now mode with LeBron James nearing the end of his career, sought a more consistent offensive leader who could carry the team into the post-LeBron era. Luka Dončić, at just 24 years old, fit that vision.  

On the other side, the Mavericks had reached a breaking point with Dončić’s situation. While he remained one of the most productive players in the NBA, internal frustrations with the front office, coaching staff and supporting roster led to tension. Reports surfaced of Dončić growing impatient with the Mavericks’ inability to build a true contending team around him, particularly after their early playoff exit last season. With the Mavericks struggling to find the right mix of talent around their franchise player, moving him for a defensive anchor like Davis offered them a way to reshape the team’s identity.  

The trade happened quickly once both teams saw the mutual benefit. Negotiations escalated after the Lakers and Mavericks held preliminary discussions in the weeks leading up to the deadline, with Dallas initially hesitant to move Dončić but recognizing the need for a roster overhaul. Once Los Angeles agreed to include future draft picks and role players to match salaries, the deal was finalized, marking one of the most dramatic midseason trades in recent memory.  

The trade was met with significant backlash in Dallas. Hundreds of Mavericks fans gathered outside the American Airlines Center to protest, chanting “Sell the team!” and displaying signs with phrases such as “Fire Nico,” targeting General Manager Nico Harrison. Some fans even organized a mock funeral for the franchise complete with a blue casket, symbolizing their discontent over losing Dončić.   

In contrast, Lakers supporters expressed excitement and shock at acquiring Dončić. One fan noted: “Sad to see AD go, but happy for Luka. He’s a good player.” Another added: “We got a good deal. Thank you, Texas.”   

While the dust is still settling, the true impact of this trade will take time to become clear. The Lakers have secured a young superstar in Luka Dončić, potentially setting the stage for a post-LeBron future, but questions remain about whether he will fit into their system. Meanwhile, the Mavericks are betting on Anthony Davis’ defensive precision and championship experience to reshape their team despite concerns about his durability.  

Both franchises have taken major risks, and only time will tell if this move leads to future championships. For now, the NBA world watches as two of the league’s biggest stars adjust to their new homes with the weight of expectations riding on their shoulders.   

Social media ruins attention spans, social skills and creativity 

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The internet and the abundance of online social media platforms is creating a culture of mindless scrolling, shorter attention spans, a lack of creativity and the disintegration of social skills. 

I was almost impressed by the U.S.’ ban on TikTok. Sure, it was for ” national security concerns, children’s safety, and offensive content” reasons rather than protecting our kids from brain rot, but it made me hopeful, nonetheless. Then Trump put a reprieve in place, effectively unbanning it for now, “saving” it, much to the joy of millions of American zombie kids. 

Scrolling culture has gotten so bad that now there are apps to help you stay off your phone. The irony! Some people do a so-called “cleanse” by deleting their social media apps — but interestingly, not usually their accounts — while others claim their addictions are under control. They can turn off their phones at any time… right? Wrong. 

It’s not just the constant scrolling that’s turning our brains to rot — it’s the lack of looking up from our phones. In public, where do you look? Your phone, because, let’s be honest, it would be really weird if you were on a bus making eye-contact with strangers, and you would look forlorn and dramatic if you stared out the window. Where else can you look, around the bus? Wow, nice ceiling. Wow, look at that seat in front of me. I’m a totally normal human just observing these mundane things and I’m not at all nervous that I look high or silly or insane. 

When you’re walking down the street and you’re passing by a person you don’t know, eye contact can be quite awkward. It’s often safer to pretend you’re doing something important on your phone. Maybe it’s the anxiety talking, but these days I think most people would agree that younger generations will take great steps to avoid awkward, anxiety-inducing and cringe-worthy interactions. 

Which brings me to my next point: social interaction. The pandemic certainly didn’t help kids who were forced to stop socializing at critical points in their development. And what did a lot of parents do during this time, which they’ve continued doing because it’s easy and keeps their kids calm? Why, hand them a device, of course! And what do kids mostly do on devices? Watch stuff that turns their minds to mush. 

Exhibit A: YouTube Kids.  

Full of super short clips and “shows” with camera angle changes every three seconds or less, this app is super harmful to kids’ attention spans. Plus, the stuff on there is mostly meant to shock, humour or entrance kids. Well of course — it’s kids’ TV, you’ll be thinking. Yes, but it’s gotten so much worse. I remember my TV shows having concrete storylines: you could understand the episodes’ plots unravelling as they progressed. Shows like Bluey still give me hope, but CoComelon is a prime example of a show that makes you frown and think, what is this even about? I love characters and storylines and guessing the ending; better yet, I remember when kids’ shows had lessons. Now, it’s just about keeping your kid from throwing a tantrum, which is counter-intuitive since taking away their device often leads to meltdowns

Onto exhibit B: Skibidi toilet.  

What in the fresh hell is this? Seriously, I’d love to understand, but I think it’s impossible, because part of the appeal of the “skibidi” evil toilet video is the fact that it’s so absurdist. And that is the worst kind of humour — stuff that doesn’t make sense, that is so ridiculous and stupid you just get confused, and then you show it to your friend, and they get confused and they’re like, What the heck? Why are you showing me this? And you laugh because… because why? Because it’s stupid? Because you had the same reaction? Is it funny that people don’t “get it” even if there’s nothing to get? Is confusion itself funny? I’m confused, but I’m most certainly not amused. 

Exhibit C: Zombification or “boredom is a crime.”  

One of my favourite lyrics from any song is from Bo Burnham’s “Welcome to the Internet,” in which he states, “apathy’s a tragedy and boredom is a crime.” We are constantly on the look-out to keep from boredom. But boredom equals imagination. My favourite childhood memories were born from boredom: it grew my imagination, my creativity, it forced me to think and create, to experience the world, to explore. A person — especially a child — needs time to think, reflect, soak up information and experiences, to learn, invent and grow. You can’t do that if you’re a zombie watching clip after clip on TikTok or YouTube Kids. One 10 second clip, then a quick swipe and you’re onto the next one — videos don’t even wait for you to hit “play” anymore. Is this efficient or simply devious? 

This scrolling culture is destroying our brains and making us miserable. And not to mention, there are extremely harmful aspects of comparison among young people on social media on top of the danger of scams and hacking, misinformation and more. Now there’s A.I. too, making artists more desperate for work and letting kids cheat on assignments. 

I know it sounds like I hate social media and the internet… but that’s because I do. 

I’m definitely going to be one of those cranky old ladies that just want her grandkids to get some fresh air and put down their phones, but I don’t think it’s crazy to not want to see toddlers and babies glued to iPads. The iPad kids are getting way out of control. 

Social media is the new cable, the new drug, only so much worse. 

Obviously in this day and age, you have to be tech savvy, and it pays to be popular on social media, but it can make you absolutely miserable. I’m currently off all social media except LinkedIn (it’s for career reasons, sue me) and it feels great. 

We all need to put down our phones, form real connections and enjoy life. When was the last time you looked out the window and squealed with joy at the sight of a squirrel? Squirrels are adorable and awesome, and we need to appreciate them more. 

Lana Del Rey’s endlessly influential “Born to Die” turns 13 

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After 13 years, Lana Del Rey’s Born to Die continues to define the singer’s Americana-pop persona. 

On Jan. 27, 2012, Elizabeth Grant released her first hit record under her newest stage name, Lana Del Rey. Preceded by her short-lived album Lana Del Ray a.k.a. Lizzy Grant, which was quickly taken off iTunes after its 2010 release as her label at the time was unable to fund it, Born to Die was Grant’s first release as “Lana Del Rey” and brought an individualized sound to the pop sphere. 

Despite contemporary fans pleading for official releases of Grant’s iconic “unreleased” tracks from the Lizzy Grant era, the album saw little success at the time. So, when the single “Video Games” from Born to Die hit overnight success when the self-made music video was posted online in 2011, Grant said it was “strange.” 

“I’ve been putting my music online for so long that I didn’t expect ‘Video Games’ to get more attention than any other song. It’s strange that people would react to a five-minute ballad,” Grant told i-D Magazine. 

“Video Games” began as one of the many video collages Grant created and uploaded online during that time. Video collaging had been a hobby of Grant’s since she was 17 years old, which entailed arranging vintage film footage together with classical music playing in the background, as she revealed in an interview with Myspace

“Video Games” has a sound so iconic that even the first ten seconds are instantly recognizable. With church bells ringing out and the soft plucking of harps floating through the background, this track came to define Grant’s romantic sound. 

The track is deeply intimate, with Grant beautifully pleading that everything she does is for her lover, telling him that “heaven is a place on earth with you.”  

“Video Games” serves as an ode to young love. Throughout the track, Grant reflects on when her naivety was blissful, when watching her lover “pull up in [his] fast car,” “open up a beer […] and play a video game” was all she needed to feel content. 

Grant explained that “Video Games” is a retrospective look at a past relationship, made up entirely of “memories of the best of the past.” 

“I think when I wrote that song, I was reflecting on the sweetness of it, but also the fact that there was something else I was longing for,” said Grant. 

The love song’s peculiar title and theme comes from Grant’s memories of watching her boyfriend at the time play World of Warcraft. She mused in an interview with MTV that World of Warcraft became her most “unfavourite” video game because it “consumed” every man in her life. 

“Video Games” is undoubtably a standout track on the album and its popularity is for good reason. As a whole, Born to Die similarly looks back on the highs and lows of young, fleeting romance. 

The title track “Born to Die” mirrors “Video Games” both in its sound and immediate recognizability as a part of Grant’s discography. 

Opening with powerful violins, “Born to Die” explores the feelings of immortality that come with being young. The song is uniquely moving and cathartic, as Grant declares that having fun and feeling emotions to their extremes are integral to one’s youth. 

Although much of the album is incredibly deep and emotional, tracks like “Diet Mountain Dew,” “National Anthem” and “Summertime Sadness” are airier cuts that fuel Grant’s old Americana aesthetic, employing images of heart-shaped sunglasses, the Hamptons and night driving on the coast. 

However, darker tracks like “Dark Paradise” and “Carmen” reflect her earlier, unofficially released Lizzy Grant-era sound. Both tracks deal with the consequences of emotional blows, with “Dark Paradise” telling a story of the desperation and “haunting” that comes with lost love and “Carmen” warning against the consequences of using substances as an escape from emotion. 

Born to Die is an incredibly cohesive album. Each track complements the next and shows a well-rounded view of the different emotions that come alongside the throes of young love. 

Mixing images of old Hollywood glamour with gritty portraits of youth, recklessness and romance, Grant clearly brought her unique aesthetic visions to the pop sphere. By taking a theme as simple as lost love and tailoring it entirely to her own experiences, Grant created an unmatched sound that continues to define the pop genre. 

RESTORE BUSU seeks “progressive, democratic reform to BUSU” 

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Some Brock students are tired of the current state of their students’ union, a dissatisfaction that has culminated in the student-led RESTORE BUSU Movement. 

Last month, on Jan. 13, a post was circulated on the r/brocku subreddit titled: “BUSU EXPOSED!! Staff caught abusing their power.” The post was also shared on Instagram

The post, shared by the grassroots RESTORE — Reinstating Elections, Strengthening Transparency, and Opening Representation for Everyone — BUSU Movement (formerly the BUSU RESTORE Movement), levied serious accusations against the Brock University Students’ Union (BUSU). 

Among these accusations were claims that BUSU General Manager Robert Hilson and other full-time, senior BUSU staff had “rigged executive hiring processes, covered up scandals, manipulated board members and sabotaged democratic decision-making” to “centralize power” while pocketing student fees. 

In an interview with The Brock Press, RESTORE BUSU described their constitution:  

“We are a group of Brock undergrad students working for progressive, democratic reform to BUSU. Many of us are current or former BUSU members, club leaders or ordinary students who want to help out. What unites us is we are all privy to the inner workings of BUSU and have discovered that BUSU is effectively broken.” 

In their initial post, RESTORE BUSU pointed to the “$1.4 million or 61 per cent” of BUSU’s $2.3 million budget — consisting primarily of student fees — funding staff members, with 38 per cent of that money going “explicitly” to “BUSU’s unelected senior staff.” They claimed that Hilson has “unquestionably increased his salary as General Manager of BUSU” from the $107,904 plus benefits yearly salary he made as Brock’s Director of Athletics

Hilson’s specific salary is not public knowledge, and information on BUSU’s full-time roster is not on their website, so the validity of this statement cannot be verified. RESTORE BUSU confirmed this in the interview, and said the “lack of transparency regarding these essential budgetary matters is of major concern.” 

The other main criticism RESTORE BUSU aired in their post was the union “subverting democracy,” a topic the movement elaborated on in another post on Reddit and Instagram on Jan. 27.  

In 2022, BUSU ran a referendum proposing major alterations to their governance, including changing BUSU executive positions from being elected to being hired and changing the Brock University Students’ Administrative Council (BUSAC) to the Brock University Students’ Union Advisory Council (BUSU-AC or A-Team). 

This referendum passed, altering BUSU’s governance system to this new executive model, a model that RESTORE BUSU deems “illegitimate” and which services “elite corporatism,” as they claim in their post. The movement alleges that Hilson used the 2022 BUSU sexual assault scandal to “orchestrate” this model, even though the allegations were found by a third party to have been fabricated.  

RESTORE BUSU also criticized the BUSU-AC, telling The Brock Press that while BUSAC was “the student legislature run by elected Brock students who introduced, debated and passed motions for decades,” the new A-Team, “despite being more open to students, has no real power and effectively acts as a focus group for executives to bounce ideas off.” 

Whether or not Hilson was the driving force behind this change in 2022 is not clear, as many conversations regarding the subject occurred in-camera, but what remains public are board meeting videos from May 24, 2022, and June 28, 2022. In the first of these videos, the Board of Directors rescinded the Board Action Plan decision to “hire/appoint Executives as of 2023-2024,” with most of the student representatives speaking against the decision. In the second, the story was much the same: despite Hilson advocating against the motion, the Board further voted to rescind a handful of other governance restructuration decisions from the Board Action Plan. Beyond that, there are no further public conversations or documents regarding the decision to approve the October 2022 referendum topics, only mention of the executive election restructuring in the meeting on Aug. 31, 2022.  

Furthermore, BoD decisions regarding the Board Action Plan, if they were recorded, are not available on BUSU’s YouTube channel, nor are any meeting minutes available on BUSU’s website. 

RESTORE BUSU accused the union of deleting the October 2022 referendum results from the public in its post, which includes a screenshot from a previous BUSU Instagram post showing that while 75.2 per cent of student voters said “yes,” the voter base only represented 15.7 percent of Brock students. As per BUSU’s Policy 400 Elections and Referenda, there are no listed quorum requirements for referendums.  

“Referendums used to be regular student engagement activities pushed by BUSU to help bring more voices to divisive issues and received significantly higher turnout rates as a result,” said RESTORE BUSU. “BUSU, as it is, is top-heavy. Decisions are made from the top down rather than the bottom up, with nearly all motions put forward by the unelected senior staff, and referendums have been reduced to only about one per year.” 

RESTORE BUSU’s post also included a screenshot presumably from former BUSU President Faten Darbaj’s social media, who “resigned five days after the referendum.” 

In the screenshot, Darbaj cites an “extremely toxic and corrupt” environment that was “very taxing on [her] mental health and negatively affecting [her] daily life” and left her feeling “disrespected and betrayed.” Despite this, she ends the post by saying that “the non-elected full-time adult staff are wonderful, and are the backbone keeping the organization [BUSU] afloat,” making exactly who contributed to the toxic environment unclear. 

RESTORE BUSU alleges to have stories from former BUSU members about senior staff members “hand-picking” applications without student involvement. In their initial post, they quoted a “BUSU student member” who said: 

“It’s all about loyalty. They [the staff] pick whoever they know will do whatever they want without question. And if you do anything to question them, even if it’s your job, you are dead to them.” 

Regarding their lack of named and attributed sources, RESTORE BUSU told The Brock Press that: 

“Right now, our anonymity is only to preserve the growth of our movement so as not to scare students away from sharing their accounts or joining our movement. Going forward, we will be including firsthand accounts of students who have agreed to share their identities and put their names to accounts of abuses of power they have witnessed.” 

As of writing, there have been no such firsthand accounts, but RESTORE BUSU says they are still in the beginning phases of their ultimate goal to secure “democratic representation that is transparent, responsible and accountable.” 

Much of their platform relies on the, at the time of writing, ongoing BoD election, with initial plans to endorse candidates who support their values, campaign with them, “elect a majority into BUSU’s board and get to work.” 

While they have not publicly endorsed any BoD candidates, RESTORE BUSU claimed that 13 running candidates are part of their “steering committee”: 

“A solid majority of all candidates running in the election are affiliated with RESTORE BUSU. We all have a shared vision of democracy, transparency, and accountability for BUSU, and we won’t be pushed around by BUSU’s senior staff. We are all committed to a students’ union truly run by the students.” 

Similarly, no candidates have outright claimed affiliation with RESTORE BUSU as of writing, but many of their campaigns are built around the same fundamental values that the movement is claiming to be built around as well: transparency, accountability, advocacy and democracy. 

“Right now, our democracy as students of Brock is the worst it has been in 60 years,” said RESTORE BUSU: 

“If you look at the students’ unions of other Ontarian universities, you can see they are able to not just work but thrive under a diverse, responsible, student-run union that embraces democracy rather than hides behind it. BUSU was not too long ago very much like this and that is what we hope to restore.” 

The movement recently released an open letter to the BUSU BoD’s current chair, Brielle Kaminsky. 

Writing on behalf of “the students of Brock University,” the letter reiterates many of the points made thus far, stating that BUSU’s “long train of scandals and dismissals of due electoral process invokes a system to reduce students under autocracy,” and its “humiliations and limitations upon the representation and self-determination of the student population” has forced them to “demand the reinstatement of executive elections and full democratic participation in their Students’ Union.” 

The letter concludes with an appeal to Kaminsky: 

“In humble confidence of a just outcome, we earnestly request you, Madam Chair, to uphold these fundamental principles by restoring executive elections and ensuring that all decisions respect the will of the student majority. If, however, these appeals to your sense of duty and fairness fall on deaf ears, all students of Brock University are compelled — by moral obligation — to take lawful and resolute action to reclaim the rights of the student body, uniting in purpose to secure for ourselves and for future Brock students the democratic representation so essential to our common good.” 

BUSU has not made any public comments regarding any of the accusations directed at them by the movement.  

Recently, students flooded the comments section on one of BUSU’s elections Instagram posts, calling for the union to reinstate executive elections. RESTORE BUSU was among them and has also recently criticized the union in a different post about their lack of public response to the election controversy. 

Several BUSU members, including Robert Hilson, Brielle Kaminsky, President Anusha Pahuja and VPUA Carleigh Charlton (who was an active participant in the comments section of the initial Reddit post) were reached out to by The Brock Press regarding the RESTORE BUSU Movement’s initial post. Of those members, Hilson and Kaminsky had no comment — but both expressed that they and BUSU were “aware of the Reddit post” — and neither Pahuja nor Charlton have responded as of writing. 

In addition to these BUSU members, several of the other contacts on RESTORE BUSU’s initial post were reached out to, including Brock VP Brad Clarke and the Student Justice Centre. Neither have responded as of writing. 

Whether or not BUSU will respond to these allegations is yet to be seen. 

Badgers Track and Field teams seize U.S. competition opportunity  

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The Brock Badgers track and field teams delivered standout performances south of the border on Jan. 25. Competing at the SPIRE Midwest Invitational in Geneva, Ohio, both the men’s and women’s teams secured multiple podium finishes and season-best results.  

Sarah Saldutto once again proved why she is a force to be reckoned with, delivering a gold-medal performance in the women’s long jump with a season-best mark of 5.89 metres. Her jump was nearly 20 centimetres ahead of the second-place finisher, earning her first gold medal of the season in the event and marking her third podium finish overall. Saldutto carried this momentum into the 60-metre hurdles, where she clocked the fastest preliminary time of 8.60 seconds before securing another gold in the final with a time of 8.72 seconds. Her latest victories bring her total to four gold medals this season.  

Brock’s success extended beyond Saldutto, with strong performances in the field events. Olivia Mark and Sajini Ganeshamurthi represented the Badgers in the women’s triple jump, finishing sixth and seventh respectively. In the shot put, Megan Jaques secured a top 10 finish with an 11.41-metre throw while recording an 11th-place finish in the weight throw at 13.12 metres.  

On the men’s side, pole vaulter Michael Ivanov continued his strong season, earning a third-place finish in the elite category with a 4.85-metre clearance. Ivanov, who had already captured four gold medals this season, reaffirmed his standing as one of Brock’s top field athletes.  

Brock’s runners also put in competitive performances on the track. Keshawn Igbinosun earned a bronze medal in the men’s 400-metre dash, crossing the finish line in 49.25 seconds, just 25 milliseconds away from a silver medal. The men’s one-mile race saw two Badgers finish in the top 10, with Christian Ligtenberg placing eighth with a time of 4:19.92 and Garrett Wager following in ninth at 4:21.28. Meanwhile, Colton Spencer delivered a strong showing in the men’s 60-metre sprint, finishing 13th out of 91 competitors in the preliminaries with a time of 7.09 seconds.  

Brock’s relay teams also put forth competitive efforts. The men’s 4×400 relay team secured a podium finish, taking third place with a time of 3:24.05. The women’s 4×400 team placed eighth, finishing 4:12.95.  

The Badgers’ skills were evident across the board, with additional athletes competing in the 60-metre dashes, one-mile runs and jumping events. In the women’s 60-metre prelims, Sofia Aljournmi placed 17th (8.09) while Keira Arnild finished 34th (8.35). On the distance side, Hailee Masse ran a strong 5:09.60 in the women’s mile to secure fourth place, with Lauren Mascao close behind in sixth [5:11.56]. Jolanta Clark (5:36.68) and Cori Mascai (5:17.28) also put in solid performances.  

With each meet, the Badgers continue to demonstrate their ability to compete against top-tier teams. Their performances in Ohio reflect their potential, setting the expectation for continued success this season. 

Lakehead men’s basketball defeats Brock to end streak

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In a battle between two nationally ranked teams, the No. 10 Brock Badgers men’s basketball team saw their 10-game winning streak snapped at home, falling 88-70 to the No. 9 Lakehead Thunderwolves on Friday, Jan. 31, at the Bob Davis Gymnasium.  

The game started with high intensity as both teams traded baskets in a fast-paced first quarter. Brock held a 26-21 lead after the opening part of the game, with Nemanja Sarkanovic contributing six points early on. The energy inside the gym was electric, with Badgers fans on their feet after every bucket, feeding off the momentum of Brock’s strong start. 

Lakehead responded in the second quarter, slowly chipping away at Brock’s lead. The Thunderwolves took control late in the first half, but Davante Hackett stepped up to keep Brock in the fight. With time winding down before the break, Hackett drained a three-pointer, followed by a layup and a free throw, regaining the lead for Brock at 47-45 as the teams headed to the locker rooms. The home crowd erupted, hoping the Badgers could regain their rhythm in the second half.  

However, Lakehead came out dominant in the third quarter, shifting the momentum in their favour. The Thunderwolves outscored Brock 21-11 in the third, attacking the basket with precision and tightening up defensively. Brock struggled to find open looks, with shots rimming out as Lakehead extended their lead to 66-58 heading into the final quarter.  

Despite efforts to claw back into the game, Brock couldn’t match Lakehead’s efficiency down the stretch. The Thunderwolves controlled the fourth quarter, making plays on both ends of the floor. Their dominance inside the paint was evident, going seven for 12 in close range attempts, while also converting six of their seven free throws. Brock’s offence, meanwhile, continued to struggle as Lakehead’s defence forced contested shots and disrupted passing lanes.  

By the time the final buzzer sounded, Lakehead had secured an 18-point win, 88-70, handing Brock their first loss in 10 games. The Badgers, who had been rolling through their competition, now faced a reality check against a disciplined and efficient opponent. 

Hackett led the Badgers in scoring with 17 points, while Nathan Charles and Jalen Edwards pulled down a team-high eight rebounds. Despite flashes of strong play, Brock was outshot by Lakehead, who finished with a superior 42.9 field-goal percentage compared to Brock’s 37.1 per cent.  

The Badgers’ bench remained engaged until the very end, standing in support after every tough possession, but Lakehead’s well-executed game plan proved too much to overcome. The energy in the gym shifted as the fourth quarter wore on, with Lakehead’s travelling fans growing louder as their team extended the lead.  

With the loss, Brock now looks to regroup after their first defeat in 10 games. Despite the setback, the team has played passionately all season, and their ability to bounce back will be tested in their next matchup.  

Brock women’s basketball secures strong win over Lakehead  

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The energy inside the Bob Davis Gymnasium was electric on Friday night as the Brock Badgers women’s basketball team stormed back into the win column with a commanding 77-53 victory over the Lakehead Thunderwolves.  

Brock wasted no time asserting control. Right from the tip-off, the Badgers played with speed and precision, forcing turnovers, moving the ball efficiently and draining shots from beyond the arc. The first quarter ended in a 28-8 lead for the home team, with Madalyn Weinert scoring ten points in the game’s opening. The Badgers shot 50 per cent from three-point range, keeping the Lakehead defence scrambling to close gaps.  

On the sidelines, Brock’s head coach, Shae Dheensaw, paced the court, intently watching each play unfold. Her focus remained on ensuring the team maintained its early intensity, signaling for quick adjustments. Despite the early dominance, there was no sign of complacency from the bench as the team continued pushing forward.  

Lakehead responded in the second quarter, slowing the pace and outscoring Brock 15-14. The Thunderwolves began to find openings in Brock’s defence and capitalized on second-chance opportunities. The Badgers still held a comfortable 42-23 lead at halftime, but the shift in momentum showed signs that Lakehead was not backing down. 

As Lakehead found their footing in the second quarter, some tension started to unfold through the crowd, but the Badgers’ strong start had already set the tone. One Brock supporter, standing near the bleachers, shook their head with a grin, saying: “We knew they’d push back a little, but we are just too locked in tonight.”  

The third quarter saw Brock re-establish its control. Angeline Campbell opened the quarter with back-to-back three pointers, sending the crowd into a frenzy. Every basket was met with cheers from the stands as Brock widened the gap once again. The Badgers locked in defensively, forcing contested shots and limiting Lakehead’s ability to find rhythm on the offence. By the end of the quarter, Brock held a 65-47 advantage. 

Lakehead showed no signs of giving up, outscoring Brock 16-12, but the damage had already been done. Despite their late push, the Badgers remained composed, closing out the game with solid shot selection. As the clock wound down, the crowd stood on its feet, clapping in unison and celebrating a dominant performance.  

Weinert’s first triple-double performance of the season stood out as one of the game’s highlights, with 18 points, 17 rebounds and 10 assists. The Badgers’ three-point shooting proved to be a major factor, knocking down 13 shots from beyond the arc. Their overall field-goal percentage of 42.9 far surpassed Lakehead’s 29.2 per cent, reflecting their efficiency throughout the game.  

As the final buzzer sounded, Brock’s bench erupted in celebration as players exchanged high-fives and walked off the court. The decisive victory showcased the team’s ability to dominate on both ends, sending a strong message to their competitors as they continue their season. 

The bird flu is still active 

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The avian flu is still affecting birds all over the globe. 

Despite not remaining prominent in the news, the avian flu is still active worldwide., causing bird deaths and spreading to other species like cows, cats and people. Several recent human cases have been connected to dairy, poultry and egg consumption. 

Two snowy owls were found dead in a Toronto park in December 2024. “Test results indicate the owls were infected with Highly Pathogenic Avian Influenza. We cannot confirm that it is H5N1,” said Karen McDonald, the Toronto and Region Conservation Authority’s (TRCA) senior manager for restoration and infrastructure to CTV News Toronto. While bird flu is typically found in wild birds in various countries across Africa and Asia, H5N1 — a highly pathogenic variant — has spread to other parts of the world, including North America, in the past few years. 

In British Columbia, an ostrich farm was ordered on Dec. 31, 2024, to put down an entire herd of their ostriches after the Canadian Food Inspection Agency (CFIA) confirmed the presence of the avian flu. On Jan. 31, the day before the deadline to euthanize the birds, federal judge Justice Michael Battista granted a temporary reprieve to the ostriches’ execution. British Columbia has the highest rate of bird flu in Canada, with an estimated number of 8.7 million birds impacted as on Jan. 31. In all of Canada, that number is over 14 million. 

On Jan. 6, the first human death from bird flu was reported in Louisiana. The person, over 65 years old with underlying health conditions, was hospitalized with the flu after exposure to wild birds. Flu experts have expressed concern, “warning that the H5N1 virus would bare its teeth as infections spread.” Experts have studied the family tree of this virus for about 25 years and say the H5N1 strain is the nastiest they’ve ever seen. There have been about 900 human cases of avian flu reported globally since 2003. According to the World Health Organization, about half of those infected have died. However, because “severe cases are more likely to be reported than mild ones, mild illnesses probably aren’t being factored into that figure,” a CNN article explains. Examination of the Jan. 6 infection revealed that the virus has evolved to be more transmissible to other humans, which hasn’t been seen in animal cases. 

The virus is contracted through contact with dead animals, wild birds, and undercooked poultry and eggs. 

Bird flu has also become more common in cats, both wild and domestic. The raw pet food industry has grown rapidly, and these raw foods often include unpasteurized milk, uncooked meat or unpasteurized eggs. Several cats have died from H5N1 contracted through contaminated raw foods. There have been several recalls and health warnings, according to USA TODAY. Pets getting sick causes a great concern for infecting people, as although humans infected with bird flu have largely had mild infections, research suggests cats can serve as mixing vessels that would allow the bird flu virus to mutate and become more transmissible. 

Many farms have also become heavily infected. According to the U.S. Department of Agriculture, more than 20 million egg-laying chickens died in the U.S. last quarter due to bird flu. This will affect the egg industry; the U.S.D.A. predicts a shortage of eggs will result in a 20 per cent rise in egg prices this year. 

Thanks to Canada’s supply management system — which regulates egg production, imports and prices — Canadian egg prices have remained relatively stable, according to Sylvain Charlebois, director of the Agri-Food Analytics Lab. Despite this, there is still the possibility of egg prices going up, especially during Easter. 

There are three vaccines currently developed, confirmed David L. Boucher, a scientist and senior director of the Administration for Strategic Preparedness and Response, which leads the nation’s response to potential public health emergencies. Despite this, the three approved vaccines for bird flu are “not really great matches” for currently circulating strains. These vaccines are also not currently available to the public, and many people are upset that they are not at least available for poultry and dairy farmers, who are the most at risk. 

Moderna has been awarded about $590 million from the U.S. government to help speed up the development of an mRNA-based (Messenger RNA) bird flu vaccine, which should be more effective at attacking the specific strains that are most worrisome. The goal is to use have the vaccine ready if other influenza strains emerge with pandemic potential, said the U.S. Department of Health and Human Services.  

For the time being, several health organizations insist that the bird flu is nothing to worry about. That said, the possibility of the virus mutating to more easily transmit between humans may be a bad sign. 

“Presence” approaches the haunted house story from a new angle  

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Score: 3.5/5 

From Ocean’s 11 to Magic Mike, American filmmaker Steven Soderbergh’s style remains dynamic and undefined, and his latest horror-drama flick Presence is his most technically experimental and challenging endeavour to date. 

The film follows a family’s move into an idyllic suburban home. As they settle in, they begin to sense a supernatural presence living amongst them, though perhaps the family holds more secrets than the house itself. 

Here’s the catch: the entire film is shot from the ghost’s first-person point-of-view. From start to finish the camera acts as the presence dwelling among the family, following them from room to room in various long takes. It’s a quiet film that distinguishes itself from both Soderbergh’s relatively approachable filmography and the horror genre overall. 

First –and foremost, Presence isn’t exactly scary in a traditional sense, nor is the actual presence living in the house. If anything, the film leans toward cultivating sadness and general melancholy over horror. 

The opening sequence begins with the presence waking up in a dark, empty house illuminated by a pale-blue morning glow. The camera pans around the empty rooms, gazing out the windows of its new forever home, forbidden to leave. It swiftly floats around, adjusting to its surroundings before settling in a closet.  

Normally, the trope of monsters hiding in our closets is unnerving, but here it feels comparable to a frightened child hiding somewhere shielded from danger. Soderbergh adapts to the restricted style and manages to build a character for the ghost through simple directorial decisions. Everything from the camera turning away from uncomfortable conversations to approaching or leaving conversations between the family provide information into how the ghost responds to situations and feels about their new houseguests. 

On top of this, there’s a lot to appreciate in the visual effects and sound department. The camera moves in front of various reflective surfaces and is entirely invisible. Shadows are erased, and the sound of the camera operator’s footsteps are hidden entirely. The lighting of the film is unremarkable and natural, a choice the story benefits from to make the haunted house feel more realistic and less fantastical. 

At its core, Presence operates best as a family drama surrounding grief. We’re introduced to the Payne family: a detached, workaholic mother and nightmare boy-mom; an arrogant, star-athlete brother; a reclusive sister swallowing her own grief; and a desperate father doing his best to keep the unit together. The script is concise and introduces all necessary details for stakes to be felt over the Payne family’s gradual undoing. 

Although the dialogue is clunky at times, the awkwardness never stays long enough to take viewers out of the story. Additionally, the performances are overall solid for what the actors are given to work with. Everything from passive-aggressive remarks to fights at the dinner table are visceral and establish convincing stakes over the fate that awaits them. 

There’s a lot of respect warranted to filmmakers who fully commit to an experimental vision such as this, even if it doesn’t pay off all the time. The scenes are done in long takes without cuts, which can aid the natural immersion but make it easy to forget the camera is a character itself, detracting from the gimmick’s effectiveness at times. 

 
Horror cinema is no stranger to exploring grief as a core theme, but Presence approaches it from a different angle, literally.  

Grief is something we seek to have recognized and validated. It’s the ghost in our lives we’re told to overcome with time, even when time may be what allows it to chew away at us. Sometimes we need to believe in this ghost to break free from it, and to have others believe that what we feel is real and seen. 

Much like 2024’s Longlegs, also produced by NEON, the film’s horror level does not live up to its marketing, perhaps hurting the film in areas more than it should for audiences. That said, this makes it exciting, as Presence is, like many great films, unmarketable. It’s a deeply intimate portrait of grief that deconstructs horror conventions typically used to generate fear. When grief becomes a ghost in our lives it’s perhaps more frightening to be isolated from others and not feel seen in our grieving. 

All this to say that Presence is a concise, effective blend of family drama and the haunted house subgenre that could have very easily fallen to the wayside with other horror flicks jumping on the grief think-piece bandwagon. While it’s not guaranteed to hit the mark for all viewers, it’s bound to challenge how we see the camera as a narrator and unnerve audiences in unsuspecting ways. 

FKA twigs achieves a higher state of being on “Eusexua” 

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Score: 4.5/5 

FKA twigs returns with a triumphant thesis of liberation and actualization on Eusexua

U.K. artist FKA twigs’ work has possessed an otherworldly quality to it from the beginning. Her haunting and sultry vocals alongside out of this world instrumentals have helped her succeed at carving a niche lane for herself. Her latest LP Eusexua is a fitting inclusion to the alien soundscapes seen across her discography, though it possesses a poignant humanity behind its ethos. Perhaps this makes it a fitting successor to the down-to-earth Caprisongs mixtape, a charismatic but scattered project that expanded twigs’ artistic limits.  

In many ways, Eusexua feels like a return to form for twigs, dabbling in electronica and trip-hop like she did on her earliest releases. Nevertheless, she frames herself in forward motion which is evident by the boundary-pushing sound of the album. Part memoir, part manifesto, Eusexua is the work of an artist in the zone, fully aware in where their energy should be channeled. 

Regarding the album’s title, twigs coined the term “eusexua” to describe an experience similar to having perfect clarity, extreme euphoria and sexual liberty. As she put it in an interview: “when everything moves out the way, everything in your mind is completely blank and your mind is elevated. That’s eusexua and that is the only place I want to be now.” 

Sure, twigs could have used the word clarity in place of eusexua, like when reality hits after a weekend-long bender of clubbing, but what comes afterwards? After we’re aggressively pulled back into reality, where do we go from there? twigs makes it clear that eusexua is both a feeling and a practice: an act of intention. Perhaps the afterthought to this clarity is eusexua as well, a full circle understanding of the before and after of these moments. 

The album opens with an entrancing title track that features hypnotically evolvings production techniques. twigs emphasizes the sonic feeling of the song over precise lyrical theme-building as the song builds its melody from altered guitar plucks into brooding synths. twigs addresses the listener directly on this track, comforting them by asking: “Do you feel alone? You’re not alone.” Her voice here could be compared to the comfort of being offered a much-needed water bottle in the heat of a dark rave. To feel seen in whatever darkness one finds themselves in is freeing, and twigs wants to be the one to initiate that journey. 

She echoes a gentle reminder to the listener: “And if they ask you, say you feel it / But don’t call it love, eusexua.” It can be addicting, being this free and liberated, but these feelings are meant to be understood and processed as well as indulged. 

twigs echoes the philosophy of eusexua in “Room Of Fools,” a dance track reminiscent of Debut and Post-era Björk with its feminine-nocturnal EDM sound, but she adds her own artistic twist to the sound so as not to be too derivative. The whole of Eusexua frequently dips in and out of the dancefloor to let its ideas soak in with the listener, but “Room Of Fools” is an undeniable, up-tempo invitation to move your feet. She describes those on the dancefloor as “open wounds, just bleeding out the pressure, and it feels nice.” It’s a unifying statement and love letter to rave subculture while sonically reflecting the experience of eusexua perfectly.  

As the track dips into the chorus, the drums vanish, leaving only diminished strings and twigs’ voice before a sharp synth riff takes the lead, inviting the percussion in once again. The melody is full of bliss and freedom, simultaneously nostalgic and futuristic. 

Eusexua never lets you get too comfortable with its tracks. The production evolves quickly, introducing elements for just the right amount of time to appreciate them. The thumping drums of “Room Of Fools,” for example. feel miles away from the quivering vulnerability of “Sticky.” Consistent across twigs’ songwriting is her exacting control over how metaphorical or literal she wishes her lyrics to be, dipping into metaphors seen on her sophomore album MAGDALENE right to confrontational, upfront statements of her current emotional state.  

Over a subdued piano melody, she lays her frustrations out for the listener: “I’m tired of messing up my life with overcomplicated moments / and sticky situations.” It’s to the point, but on the bridge, she expresses herself further as the track switches instrumentally: “My body wants to be touched in the deepest and darkest places. / I want to be loved.” 

Eusexua’s songs all pack a distinct punch, but among the strongest is undoubtedly “Striptease,” a career-defining track if there ever was one. Twigs owns her own vulnerability on this track, dressing it up and likening emotional openness to a striptease. 

“I’ve got a birthmark on my mind, I think you’ll like it,” twigs calls out, signalling her wish to expose hidden parts of her psyche to her lover. Also noteworthy are the lines: “Silk for my tears, and lace for my fears / I’m stripping apart ‘till my pain disappears. / Opening me feels like a striptease.” 

She’s waving the flag in our face that her vulnerability no longer controls her. She owns every bit of it, dressing it up before fully revealing her authentic self to her lover. The track’s sensual downtempo instrumentals emphasize the act of revealing one’s emotions to another as more intimate than any physical act of intimacy. It’s a liberating statement piece within the album. 

For all its grand moments, Eusexua ends quietly on the track “Wanderlust.” True to the title, the verses on this song play on the common idea of wanderlust, addressing twigs’ desire to travel unabashedly with an openness to the fullness of any experience brought her way. The track draws to a close with the slow fade-out of the line: “I’ll be in my head if you need me.” This could be interpreted in various ways. It could be taken as a message to the listener that twigs has reached a place of full self-confidence and authenticity; whether she’s in the studio or a rave, she’s more in touch with her own mentality these days.  

Conversely, this could be a message to twigs herself that eusexua is never far and can be achieved again. It can be influenced by external situations, but it’s ultimately a sensation she must recognize within herself now. 

The Supreme Court Killed the TikTok Star: the impact of TikTok on the success of new musicians 

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While the TikTok ban on Jan. 19 stayed in effect for less than 24 hours after Trump put a reprieve in place, the popular entertainment app is still in danger of being censored by the United States Supreme Court, and with it, potentially the voices of many up-and-coming musicians.  

Over the course of the last eight years, TikTok has become one of the world’s most popular social media apps, with its parent company ByteDance estimated to have a valuation of $100 billion to $200 billion. While the app started off as a combination of the Chinese app “Douyin” and the popular lip-synching platform “Musical.ly,” by 2018, TikTok had become the most downloaded app in the United States and has only grown its global popularity since. 

While the concept of uploading short-form videos poses no threat to the Western world, it is TikTok’s parent company, the Chinese-based corporation ByteDance, that has been a cause for concern for some American politicians.  

“TikTok’s collection of reams of sensitive data about 170 million Americans and their contacts makes it a powerful tool for espionage,” U.S. Solicitor General Elizabeth Prelogar wrote in a government brief, “and TikTok’s role as a key channel of communication makes it a potent weapon for covert influence operations.”  

Following a series of legal proceedings, a law passed by the United States Congress and upheld by the United States Supreme Court stated that unless ByteDance sold TikTok in a process known as “qualified divestiture,” the app would be removed from the app store and banned for all users in the United States on Jan. 19. While the app was never sold and the ban came into effect on the night of Jan. 18, American TikTok users were back to using the app as usual before dinnertime the next day.  

Still, unless ByteDance sells the company, or works out some kind of back-door deal with President Donald Trump, TikTok’s accessibility to the United States is still in peril.  

And if TikTok goes down, the livelihoods of many up-and-coming American musicians may potentially disappear with it.  

During its near-decade on the market, TikTok has created hundreds of overnight celebrities due to its unique style of short content consumption. One night, a relatively unknown creator could post a video of themselves on the app doing just about anything and the next morning, that video could have blown up, the TikTok algorithm showing the video to millions of people around the globe. The format of the short, easily digestible video allows viewers to connect with the creator, getting a taste of what they have to offer without being bogged down by long-winded videos that take forever to get to the point. 

Although this feature has now become more common across platforms like Instagram, Facebook and YouTube, when TikTok first began to gain traction, it was a fairly novel concept. While some people have complained that it promotes mindless scrolling and short attention spans, TikTok’s quick, snappy and informative videos have allowed various people of varying backgrounds to gain exposure on the global stage, changing their lives forever. 

This has been the case for many young musicians who are now living a dream they once thought was impossible. 

Take Peter McPoland, a 24-year-old American musician who started his journey on TikTok in 2020 making videos from his attic bedroom in his parents’ home in Texas.  

Prior to his internet success, McPoland had released a few songs, none of which had found much traction. But when he posted a comedic video of himself playing the accordion and singing “Savage” by Megan Thee Stallion, he quickly went from getting a few thousand views to having a viral video with over 300 thousand likes. From there, McPoland was able to release singles such as “Romeo and Juliet,” “Elouise” and “Prom Queen” with great success. 

Since his quick ascension to fame in 2020, McPoland has been signed by Columbia Records, released a highly successful record titled Piggy and opened for Twenty One Pilots on The Icy Tour and Imagine Dragons on the Loom World Tour.  

While McPoland had made YouTube videos showcasing his music prior to blowing up on TikTok, he clearly owes much of his success to the exposure the app gave him in the early days of the COVID-19 pandemic.  

Other musicians such as Gigi Perez also owe their stardom to the popular entertainment app. While Perez had been making videos of her music on TikTok for years before a clip of her hit track “Sailor Song” went viral online, it was that overnight success that allowed her to sign a deal with Island Records.  

McPoland and Perez are only two examples of the hundreds of people who have found success as musicians on TikTok. Their livelihood and continued success rely on their ability to grow their following through the app and without it, others like them will be unable to find the same widespread exposure they did.  

While the ban currently only affects the United States, the expulsion of their 330-million-person population from using the app will likely do damage to the success of other up-and-coming musicians around the world as well. This is not only due to what would be a marked lack of eyes on the videos but also because many of the big music labels these artists find success through are based in the U.S.  

It does just remain true that one of the best ways for a young musician to build a following in 2025 is through TikTok. It’s more than an app that people dance on, and a ban will have consequences on the music scene that those who just see it as a silly low-effort dancing app might not realize.  

The St. Catharines Performing Arts Centre is hosting a variety of informative and exciting arts and culture events for Black History Month 

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The St. Catharines Performing Arts Centre has announced a month full of arts programming to celebrate Black History Month.  

Located in the heart of downtown St. Catharines, the First Ontario Performing Arts Centre (PAC) is deeply immersed in everything the Niagara arts scene has to offer. With this, PAC is partnering with a multitude of vital Black-owned and operated businesses to bring accessible programming to the community during the month of February to celebrate Black History Month.  

“The PAC aims to amplify and strengthen our community voice in order to help foster deeper education, inspire dialogue and remind us of the transformative unifying power of arts,” said CEO Colleen A. Smith in a recent media release.   

Alongside a variety of screenings at the Film House, here are some of the most informative and exciting arts and culture events taking place at the St. Catharines Performing Arts Centre this Black History Month.  

Tuesday, Feb. 4 at 7 P.M.: We Were Here – The Untold History of Black Africans in Renaissance Europe Screening and Discussion  

To start off the month, The Film House will be presenting We Were Here – The Untold History of Black Africans in Renaissance Europe in partnership with multiple departments at Brock University. The film sheds light on the often overlooked presence of Black people during the Renaissance period in Europe, examining their depiction in the works of some of the era’s most important artists. Following the conclusion of the film, Fred Kudjo, the film’s director, will partake in a post-screening discussion with those in attendance.  

The screening will take place at the film house on Tuesday, Feb. 4.  

Saturday, Feb. 8 from 2 P.M. to 4 P.M.: SOFIFRAN presents Eternal Africa: Past, Present and Future 

Eternal Africa: Past, Present and Future is an exhibition that will highlight scenes from African lives, portrayed through pieces of art and everyday objects to examine the past, present and future of Black perspectives. The exhibit will look at ancient civilizations, cultural traditions and historical narratives from the past that have shaped the African story. It will also shed light on present-day objects that reflect both the challenges and successes experienced by 21st-century African societies. Finally, the works of many contemporary artists will imagine new and exciting realities for the future, shaped by current relevant socio-economic challenges.  

The exhibit opens on Saturday, Feb. 8 but will be free to the public until Feb. 14 in the Robertson Theatre.  

Wednesday, Feb. 12 at 7:30 P.M.: Jully Black 

Jully Black, named one of “the 25 greatest Canadian singers ever” by CBC Music, will be making a stop in St. Catharines to play a show at Patridge Hall on Feb. 12. While the platinum-selling recording artist has shared the stage with music royalty on many occasions, Canada’s Queen of R&B Soul will be bringing her powerhouse vocals and hilarious personality to the heart of downtown very soon.  

Get to know the candidates for BUSU’s February election 

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As BUSU’s February election draws near, candidates have begun releasing their campaign manifestos. 

With voting taking place from Feb. 11 to 13, candidates for a plethora of student representative seats are sharing their visions of how they plan to advocate for students if elected. Voting will appoint seven candidates to one-year seats as BUSU Board Members, four candidates to two-year seats as BUSU Board Members, three candidates to two-year seats on the Brock Senate and one candidate to a one-year seat on The Brock Press Board of Directors. 

There are 14 candidates running for the seven, one-year seats on the BUSU Board of Directors: Kelela Dennis, Binoy Mahmud, Yasmin Elgerf, Bella Bai, Tanner Burr, Omar Rasheed, Ian Bhimani, Hasan Rana, Zaina Siddique, Vidhi Malik, Andrew Hawlitzky, Travis Hartono, Hinkal Patel and Mentalla Elgerf. 

Many candidates cited their prior leadership experiences outside of Brock as motivation for their decision to run. For example, Kelela Dennis — a former member of the Jamaica Youth Parliament and the Jamaica Union of Tertiary Students while also serving as a faculty representative at her previous university — outlines in her manifesto that she aims to increase BUSU decisions that will be in students’ best interest. 

Bella Bai also outlined past leadership efforts in her manifesto. Bai served as Head Student at her high school in Hanoi, Vietnam and was a fundraising event organizer for a non-profit organization. Bai elaborates on her campaign website that her work as Head Student at her previous school increased student engagement by 40 per cent. At Brock, she currently serves as treasurer for the Brock University Chinese Student and Scholars Association (BUCSSA). Bai cites her prior leadership experience as equipping her with the ability to manage finances, plan events and prioritize cultural diversity. 

As another candidate with prior experience in critical positions at Brock-related organizations, Binoy Mahmud, who has served as a BUSAC Councillor, Vice-Chair of the Clubs Committee, Chair of the Elections and Referendum Committee, President of the Muslim Students’ Association and a Board Member on the BUSU Board of Directors, says that the drive for his leadership efforts are making every Brock student feel “represented, valued and empowered.” 

Similarly, Hasan Rana says that his experience as a Med Plus mentor and Team Lead Swim Instructor has helped him learn to facilitate empowering and communicative environments, which he aims to bring to BUSU if elected to the Board. 

As former Project Manager at Brock’s Finance Investment Group and current Director of Events for Brock’s Muslim Students’ Association, Omar Rasheed has also cited his past leadership roles as he aims to foster an environment that values student voices in BUSU. Rasheed is also advocating for students to have more access to how their fees are distributed within the university to bring accountability to BUSU and cultivate responsible spending habits. 

Yasmin Elgerf’s campaign prioritizes similar issues, as she is advocating for students to know how their money is being spent within BUSU. Elgerf also said that she will advocate for women’s-only hours to be established at Brock’s pool and to be increased at The Zone. 

Candidate Zaina Siddique says that re-instating executive elections will be necessary to bring accountability to BUSU. In Siddique’s manifesto, she outlines that she will fight to ensure that BUSU keeps the interests of students in mind by “rebuilding BUSU from the inside out.” 

In Vidhi Malik’s manifesto, she says that the power to foster “togetherness” and ensure that student voices are valued drives her passion for pursuing a seat on the Board of Directors. With these values in mind, Malik seeks to represent all students at Brock equally. 

Similarly, Mentalla Elgerf aims to represent students by advocating for their right to access “affordable and diverse” meals on campus. Elgerf also says in her manifesto that she intends to bring more advocacy for student demands to BUSU. 

Both Ian Bhimani and Hinkal Patel are seeking re-election as Board Members. Bhimani says that he wants to ensure that Brock “feels like home” to students, with a goal to help students feel more involved at Brock. Patel says that serving on the Board of Directors has been “an incredible journey” and she wants to continue working on initiatives that improve student experiences at Brock. 

Advocacy for more transparency from BUSU was a major theme across several campaigns, with candidates Yasmin Elgerf, Bella Bai, Omar Rasheed, Hasan Rana, Zaina Siddique and Mentalla Elgerf naming it as a priority. 

As of writing, there are no listed manifestos for Travis Hartono, Tanner Burr or Andrew Hawlitzky on BUSU’s website. 

There are seven candidates running for the four spots to serve as a BUSU Board Member for two years. The candidates include Vinay Yadav, Mariam Ben Omrane, Olivia Gillespie, Mohiz Imtiaz, Shreya Jignesh Patel, Abdulrahman Al-Naqeb and Kira Simmons. 

Vinay Yadav centred his campaign around increasing funding for Brock’s clubs. In his manifesto, Yadav says that he will advocate for clubs by ensuring that BUSU increases their club levy. He also wants to increase the number of student jobs at Brock and ensure that BUSU hosts more free events for students. 

Candidate Mariam Ben Omrane also aims to promote job opportunities for students at Brock if elected to the BUSU Board of Directors. Additionally, she says that bringing more “culture and fun” into BUSU events whilst promoting inclusivity would be one of her priorities as a Board Member. 

Olivia Gillespie’s manifesto outlines how her successful leadership activities in high school fostered her passion to make change at Brock. Gillespie says that ensuring student voices are amplified in BUSU is a top priority, along with bringing transparency and accountability into the organization. 

Shreya Jignesh Patel says that, if elected to the Board of Directors, she will advocate to strengthen mental health support for students. In doing this, Patel aims to foster a “affirmative mindset” within Brock students and the Brock community. 

In Abdulrahman Al-Naqeb’s campaign, he advocates for increasing bus services to Brock. He proposes bringing buses that can transport students to Hamilton, Toronto, Niagara-on-the-Lake, Welland and Port Colborne. 

Kira Simmons’ manifesto focuses on the ways that “transparency, democracy and fairness” can be improved at BUSU. Simmons says that students must be given the opportunity to know how their representatives are elected and how they are making their decisions, advocating for General Meetings to be more widely promoted, working equitably to meet diverse student needs, reviewing BUSU’s executive team structure, protecting The Brock Press by ensuring any changes to funding are approved by students and reducing student costs overall. 

As of writing, Mohiz Imtiaz has no manifesto listed on BUSU’s website. 

There are seven candidates running for the three two-year spots on the Brock Senate. The candidates include Rishi Yogesh Mandalia, Shruti Jain, Mah Noor Naveed, Yana Verma, Vincent Flores, Arwen Arzadon and Maheen Rajani. 

In his manifesto, Rishi Yogesh Mandalia says that accessibility services, equality and promoting the well-being of students at Brock must be a priority for BUSU. In ensuring these priorities are met, Mandalia says that he will consider how his experience as BUSU’s Vice President External Affairs Advisor and Clubs Funding Advisor can provide insight in these areas. 

In Shruti Jain’s manifesto, she says that amplifying the voices of every Brock student is how she aims to advocate on the Brock Senate. Jain says that students should be able to have meetings with the Senate so conversations between the two can be reciprocal. 

Mah Noor Naveed is advocating for changes to the learning environment that benefit students. For example, Naveed’s manifesto outlines her aim to give students better access to textbooks via Brock’s library, facilitate more accommodation initiatives for students and advocate for classroom diversity initiatives. 

In Yana Verma’s manifesto, she says that her event coordinator position in the Indian Students Association gives her “immense pride,” as it is an opportunity to bring the Brock community together. Bringing this motivation into her campaign for the Senate, Verma says that she wants to advocate for students and contribute to real progress. 

Similarly, Vincent Flores’ manifesto outlines his commitment to ensuring that academic policies improve student experiences at Brock. He notes the Senate’s responsibility over Brock’s educational policy, saying that he will amplify student concerns regarding “academic policies” and “curriculum development” if elected to the Senate. 

As of writing there are no manifestos listed for Arwen Arzadon and Maheen Rajani on BUSU’s website. 

Ghassan Balouze is the only candidate running for the seat on The Brock Press Board of Directors, but there is no information at this time on his platform. 

By voting, students can build an environment where they feel truly represented. Voting for BUSU’s February election will open at midnight on Feb. 11 and close at 9 p.m. on Feb 13. To cast your votes, visit brockbusu.ca/Brock-Votes. Navigate to the top right corner and click “profile” to ensure you are logged into your student account before voting. 

For more information about election candidates and the voting process, visit brockbusu.ca

What to know about the Liberal leadership candidates 

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Five candidates have been approved by the Liberal Party of Canada to run for Trudeau’s position as leader of the party and prime minister of Canada. 

Since Prime Minister Justin Trudeau announced his resignation on Jan. 6, there has been much speculation about who will campaign to take over his leadership of the Liberal Party. 

There are five candidates who have begun their campaigns for the position. Here is an overview of who they are and what they plan to do for Parliament. 

Chrystia Freeland 

After announcing her resignation from Trudeau’s cabinet on Dec. 16, there was much speculation as to whether Former Finance Minister and Deputy Prime Minister Chrystia Freeland would run for Trudeau’s leadership spot, as Freeland’s resignation letter made clear that she was distancing herself from Trudeau’s leadership decisions. 

Freeland announced her plans to run for the Liberal leadership in a six-word news release on Jan. 17: “I’m running to fight for Canada.” The next day, she released a campaign video on X wherein she discussed the ways she differs from Trudeau and her personal strengths as a leader. 

During her campaign so far, Freeland has focused on Canada-U.S. relations and the way she plans to negotiate with U.S. President Donald Trump if elected Prime Minister. 

In an interview with David Gura on the Big Take podcast, Freeland said that a response to Trump’s 25 per cent tariff plans should start “today.” 

She suggested approaching the subject by publishing a “retaliation list,” wherein $200 billion worth of U.S. goods would appear akin to a “menu” of items that could face similar trade penalties that Trump is putting onto Canadian goods. 

She elaborated by saying that she takes Trump “very, very seriously as a smart guy” to whom “weakness is a provocation,” emphasizing the need to approach Canada-U.S. relations in a tough manner.  

In Freeland’s campaign video, she commented on Trump’s dislike towards her, citing her being a “tough negotiator” as reasoning. She continued by saying that she dealt with the first Trump presidency effectively, so she will be aptly able to do so again. 

Mark Carney 

Former governor of the Bank of Canada Mark Carney announced his plans to run as leader of the Liberal Party at a news conference in Edmonton on Jan. 16. 

Describing the contemporary political landscape as “anything but ordinary,” Carney cited his intent to run as leader of the Liberal Party as rooted in the “unprecedented” economic woes Canada is facing, pledging to get “our economy back on track.” 

Carney does not have a seat in the House of Commons and has never been elected to any position in Parliament. Thus, it remains unclear how the electoral process would work for him if elected, as he does not yet represent a riding in Canada. 

Carney acknowledged this fact during the conference, saying that he may not have a lifelong history as a politician, but politicians like Conservative Party leader Pierre Poilievre and other “populists do not understand how the economy, and our society, actually work.” 

He also distanced himself from the “far left,” saying that the government cannot be relied upon to “redistribute what we don’t have” and cannot support vulnerable individuals without a strong economy. 

Karina Gould 

On Jan. 23, Burlington MP and former Government House Leader Karina Gould announced that she submitted her paperwork to run for leadership of the Liberal Party after launching her candidacy on Jan. 19. 

Gould, being the youngest woman to serve as a Canadian Cabinet minister, is basing her campaign on building a Liberal Party “for the next generation.” 

During her leadership announcement, Gould discussed several changes she would make to the Liberal Party if elected.  

Gould said that she plans to bring back Liberal Party conventions, wherein MPs can give their members a space to discuss their concerns to make representation as accessible as possible. Similarly, she also said that it is time to “decentralize” the Liberal Party from Ottawa and instead evenly “empower” other regions to amplify the voices of communities. 

Gould pledged that, as leader of the Liberal Party, she would also consider the importance of young Liberal voices by bringing back the National Youth Director position. 

Gould said Canadians “lost trust” in the Liberal Party because the issues that mattered to them were not being prioritized in Parliament, further emphasizing her campaign promise to focus on the voices of Liberal members if elected as leader of the Liberal Party. 

Frank Baylis 

On Jan. 15, entrepreneur and Former Quebec MP for the Pierrefonds—Dollard district, Frank Baylis, declared his intent to run for leader of the Liberal Party via a post on X. In his post, Baylis outlined how his experiences as an engineer, entrepreneur, philanthropist and as a former MP, informs his understanding of Canadian politics. 

Baylis also cited his time spent on the Industry, Foreign Affairs as well as Ethics and Privacy committees during his time in Parliament and their commensurate needs of boosting Canadian innovation, as well as supporting human rights and working bi-partisanly as informing his campaign approach. 

Baylis’ leadership campaign is also centred around pledging to make daily life less costly for Canadians, prioritize economic challenges and foster the creation of high-paying jobs by investing in innovative fields and Canadian industries as a whole. 

Baylis also discussed his hypothetical approach to Canada-U.S. relations in an op-ed for The Hill Times. Baylis criticized Trudeau’s immediate trip to Mar-a-Lago after Trump’s tariff threat to Canada via Truth Social, saying that showing weakness “only emboldens” Trump. 

After an analysis of Trump’s motives behind threatening Canada with tariffs, Baylis continued, saying that Trump’s tariff orders must be met with equal counter-tariffs to “signal our strength” until a reasonable deal is signed between the two countries. 

Ruby Dhalla 

Ruby Dhalla, former Brampton—Springdale MP, launched her candidacy on Jan. 24. Serving as an MP between 2004 and 2011, Dhalla has mostly documented her return to the political sphere via X. 

Dhalla has centred her campaign around improving the quality of business in Canada, a timely concern amidst Trump’s tariff orders.  

In a campaign video on X, Dhalla said that the housing crisis, the increasing cost of living, high crime rates and widespread unemployment are the consequences of the “territorial and economic threat” Canada is currently facing, blaming her running mates for facilitating the creation of these consequences. 

Dhalla cited her upbringing experiencing “the Canadian dream” as her inspiration for running for Liberal leadership, becoming a Doctor of Chiropractic (D.C.), a businesswoman and a three-time elected member of Parliament. Dhalla says that every Canadian should feel the opportunities the country has to offer just as she did. 

Dhalla has posited herself as distinct from her running mates, pledging to end the controversial carbon tax and likening Freeland, Carney and Trudeau to each other. 

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If you are a registered Liberal, you can vote in this election. Complete information regarding how and where to vote in the Liberal leadership election can be found on the Liberal Party of Canada’s website

BUSU’s Student Centre brings 40,000 sq. ft. of new space  

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BUSU’s forthcoming Student Centre is scheduled to bring three storeys of student-focused space to Brock’s main campus. 

Following the approval of two student referendums in 2019 and 2024 for BUSU to build a new Student Centre for Brock, planning for the construction of the Centre has been underway.  

Now slated for completion in fall 2027, just over two years out from the project’s estimated completion, students can have an idea as to what to look forward to within BUSU’s Student Centre. 

Construction will take place in the Union Station area of the Student-Alumni Centre potentially as soon as this summer. According to BUSU’s website, 5,000 square feet will be removed from the current Student-Alumni Centre, which currently houses 30,000 square feet, but BUSU’s new Student Centre will bring approximately 40,000 square feet of entirely student-focused space. Alongside what will be left of the current Student-Alumni Centre, the amount of student-focused space will total 65,000 square feet. 

Carleigh Charlton, BUSU’s Vice President of University Affairs explained at the open house for the upcoming project that the new Student Centre will use the Student-Alumni Centre’s current space more productively, bringing numerous study spaces, meeting and collaboration rooms, and more. 

McMichael Ruth, one of the architects on the project, and Kelsey Goossens, the firm’s project manager, expanded on Charlton’s sentiments at the open house, saying that a top priority during their planning of the project was to consider how the space could be made best for students. 

For example, Goossens and Ruth highlighted the fact that the new Student Centre will make Brock’s bus terminals more accessible to students, extending the building closer to bus pick-up and drop-off spaces. Construction of the Student Centre will not affect the bus terminal location or running times. 

They also plan to make the Student Centre “more welcoming” for students in comparison to Union Station’s current closed-off and box-like design. This includes adding a glass wall looking out onto the campus and terraces with student study space on upper levels, for example. 

Construction on the new Student Centre is set to begin in April of this year, pending final approval from the Brock Board of Trustees this March.  

Charlton explained that there will be a temporary wall at the entrance of Union Station while construction takes place but BUSU’s website confirms that additional seating for Union Station will be available on the third floor of the Student-Alumni Centre in Isaac’s Lounge.  

The businesses in Union Station’s food court will mostly remain open during construction, with a brief closure during the summer. They will subsequently remain a part of the new Student Centre after construction finishes. Similarly, Isaac’s Lounge will remain open on the third floor of the Student-Alumni Centre during construction and return to its full size when the Student Centre is completed. 

More information and complete renderings of BUSU’s new Student Centre can be found on BUSU’s website. If you have any questions about the Student Centre, you can contact Carleigh Charlton at vpua@brockbusu.ca. 

Early provincial election to occur on Feb. 27 

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Campaigning has begun for the snap election called by Ontario Premier Doug Ford taking place in mere weeks. 

At a news conference in Windsor on Jan. 29, Ford confirmed that the provincial snap election he triggered was to take place later this month. Although Ontario’s provincial election was not supposed to take place until June of 2026, Ford said that adequately fighting Trump’s tariff threats would require a strong and stable provincial government with long-term economic plans. 

Ford continued, saying that he needed to call a snap election to be able to craft a “four-year mandate to do whatever it takes to protect Ontario” from the unpredictable state of the economy after Trump’s tariff threats. 

The provincial candidates in this election are Doug Ford, representing the Progressive Conservatives; Bonnie Crombie, representing the Liberals; Marit Stiles, representing the New Democratic Party; and Mike Schreiner, representing the Green Party. 

Liberal leader Bonnie Crombie criticized Ford’s decision to trigger an election. At a news conference at her campaign office in Mississauga, Crombie accused Ford of calling the election only because he is trying to “outrun an RCMP investigation,” referring to the RCMP’s investigation into Ford’s decision to open protected lands in the Greenbelt to a group of “rich developers,” according to City News

Crombie continued by calling the “early and unnecessary” election a waste of $189 million that could have been put into Ontario’s healthcare system, or any other sector that could benefit the daily lives of Ontarians.  

NDP leader Marit Stiles shared similar sentiments with reporters in Scarborough, saying that “a premier doesn’t quit his job when we’re being plunged into a crisis.” 

“Donald Trump, he’s looking for weakness right now […] Doug Ford has put us in an unforgivable position,” said Stiles. 

Mike Schreiner, leader of the Green Party, also had some criticisms for Ford’s decision to call an early election. In a news conference in Toronto, Schreiner said that candidates should not be preparing their campaigns in the wake of Trump’s threats to the Canadian economy, but instead “working across party lines to show Donald Trump strength through unity.” 

Despite criticism from his running mates, Ford maintains that his decision to call an election was necessary to have a strong response to Trump’s threatened tariffs that could “devastate” Canada’s economy. 

If you are 18 years of age or older, a Canadian citizen and a resident of Ontario, you can vote in the upcoming election. To register, you can visit the Elections Ontario Voter Registration website and click “get started” to begin the process online. If you are registering to vote for the first time or need to update your information, you will need to attach a piece of identification that lists your name and your Ontario home address, like a driver’s licence or health card. 

The process can also be completed through mail or email, wherein you can photocopy an image of your identification to send with your package. A copy of these forms can also be found on the Voter Registration website. However, submitting your information via mail or email takes longer to process than going through the website. As the election is fast approaching, these forms need to be submitted as soon as possible. 

If you have never registered to vote or need to update your personal information with Elections Ontario, you must do so by Feb. 17 to ensure you receive a voter information card in the mail. This card will outline your riding, your closest election office and the nearest polling stations to attend for both early voting and on election day. If you are planning to vote by mail, you must submit a vote by mail application before 6:00 p.m. on Feb. 21. It is important to note that once you submit this application, you will not be able to choose another voting option. After filling out your vote by mail kit, you may bring it to your local election office or return it via mail before Feb. 27. 

More information about the voting process for the provincial election can be found on the Elections Ontario website. 

Lucy Dacus can’t help but devastate listeners in her newest single “Limerence”  

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Lucy Dacus expertly reflects on the double-edged sword of breaking someone’s heart in her newest single “Limerence.”  

“Limerence,” released on Jan. 15, is one of two singles from Dacus’ upcoming album Forever Is a Feeling. While the release of the first single, “Ankles,” was announced by Dacus on her Instagram page, “Limerence” found its way onto streaming services, much like the sound of the track itself, quietly and with little fuss.  

Due to the secretive nature of its release, the singer has had little to say about “Limerence” specifically. Still, in an interview with Dazed about the album, Dacus talked about various iterations of love being an inspiration for the record. “I have a lot of songs about love in the grand scheme,” she said. 

While “Limerence” starts by painting the picture of a warm and intimate gathering of friends, the track’s opening verse seems wildly misleading when considering the content of the rest of the song. This description of everyday interactions shared between buddies is accompanied by the beautiful twinkling of intertwining piano lines and humming strings, further diverting the listener’s attention from the track’s real intentions. 

It isn’t until the first chorus when all the pretty musical decorations fade away that it becomes clear something is afoot, with Dacus plainly concluding that she will soon have to break her partner’s heart. 

It’s a smart choice. Instead of highlighting its emotionally devastating intentions from the very beginning, leaving only masochists and crazy people to see the track to its end, “Limerence” lulls its listener into a false sense of security before violently tearing up any hope they might have had for their emotional well-being.  

“Limerence” is a song about coming to terms with the end of a relationship and the harm that will be done to both parties when severing those ties. It’s about desperately wanting to be happy with what is good for you, but feeling the most alive when you are participating in something that is ultimately going to hurt you more. “Limerence” beautifully reflects the utter ugliness that permeates certain human experiences. This is something that, for the most part, humans don’t want to be forced to reflect on.  

Still, Dacus knows her audience. Currently, her most popular track is a song called “Night Shift,” which uses the very simple but devastating metaphorical analogy of shift work to describe the aftermath of a failed romantic connection. Lucy Dacus fans are interested in ripping their emotions to shreds and Lucy Dacus knows that. Perhaps new listeners need to be slowly immersed in the emotionally injurious nature of the track, but fans of the singer must know what is coming, right? Why plant the heart-wrenching premise of her latest track behind this red herring of an opening verse?  

The answer is simple. 

In the beginning of the song, Natalie speaks of limerence as she smokes a blunt, Roddy expertly plays GTA in a way that should be concerning and Lucy shovels popcorn into her mouth to hide from her own thoughts. Each of these characters is coping in one way or another, distracting themselves from their problems either by using recreational drugs, spending lots of time playing video games or simply pretending the problem at hand doesn’t exist. 

The opening verse is both purposely clear and unclear because it can be interpreted in two different ways: as an indication of the track’s thematic narrative or as a distraction from the pain the song is about to cause. Either way, the first verse deals with the art of avoidance which is what the track is about at its core. “Limerence” understands the desperate need to distract oneself when the lines between right and wrong begin to blur and things start to get complicated.  

While it expertly functions as a beautiful distraction, the opening verse is not a red herring. It clearly tells you what is coming all along, you just have to stop and think about what you are listening to.  

Still, no one can argue that “Limerence,” in its blunt and candid nature, isn’t incredibly successful in its attempt to emotionally destroy you. It’s devastating, but with Lucy Dacus, that’s usually part of the package. She does it so well that it’s hard not to admire her as you wipe away tears with your shirt sleeve.  

bell hooks’ “Love Trilogy” remains a must-read series 

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In a culture obsessed with idealized images of love, why is teaching love as a practice so uncommon? 

This is the question feminist sociologist bell hooks aims to answer whilst providing teachings about love in her iconic Love Trilogy: All About Love, Salvation and Communion.  

University students may know hooks from a sociology or women’s and gender studies class, as her work in social criticism and feminism is significant. However, the importance of her work on the practice of loving cannot be understated. 

The end of December marked the 25th anniversary of hooks’ first collection of essays in the series, All About Love, yet her advice remains as culturally relevant as ever. 

In the preface of this collection, hooks says that very early on in her life, it occurred to her that “life was not worth living if we did not know love.” Her trilogy builds on this sentiment, expanding ideas of love from not just the romantic, but also the platonic, familial and — what hooks repeatedly emphasizes as the most important form — self-rooted inner-love. 

Ranging from teachings about childhood to late adulthood, All About Love discusses general practices for redefining what “love” truly is and subsequently expanding true love in your everyday life.  

The essay collection and the two that follow it build upon the definitions of love laid out by psychiatrist M. Scott Peck and social psychologist Erich Fromm, wherein love is described as “the will to extend one’s self for the purpose of nurturing one’s own or another’s spiritual growth.”  

To hooks, it is important to note that this definition implies agency over loving, defining it as something that requires “will,” as she aims to teach it as a skill that can be honed and improved, not as something passive that requires no effort to sustain — which is an all-too-common, grave misunderstanding in her view.  

This definition develops throughout All About Love and finds a way to apply to all the loving relationships in our lives, including with ourselves. This collection seeks to teach readers that feeling is necessary to living, and any other reality is unhealthy, no matter how uncomfortable emotions can become. 

The two following books in the series, Salvation and Communion, narrow in on different cultural groups to analyze and teach how one’s societal experiences change their understanding of love. 

Salvation follows the experience of love specifically through an African American lens. Throughout this collection of essays, hooks considers various liberation movements from the 20th century, the work of writers like James Baldwin and Maya Angelou, as well as cultural norms for African American men and women — all to build an understanding of how teaching the practice of loving changes based on one’s social position. 

Salvation’s methodology of intersectional analysis continues in Communion, where hooks considers how Western ideas of loving affect women, narrowing in specifically on women in their midlife, but connecting these thoughts back to the broader experience of Westernized femininity. 

Despite the social specifications in All About Love’s successors, hooks’ Love Trilogy is a transformative read for everyone, regardless of their social position. Cultural ideas about love affect everyone, so anyone can benefit from replacing toxic belief systems with a deeper appreciation and understanding of loving as a practice. 

In Communion, hooks recounts her experience teaching workshops for All About Love, encountering many women — notably young, working professionals — who begged the question: “Who has time for love?” and, troublingly: “Who needs love?” 

In this, hooks rebuts commonly held belief systems in contemporary Western culture that deem love as a weak, inferior emotion, arguing they have done nothing but undermine the capacity for everyone to know the actualization that comes alongside prioritizing love in one’s life. 

The unequivocal takeaway from hooks’ work is that love is at the centre of our lives, and it cannot be neglected. The act of loving is an ever-improving skill that must begin in oneself and will cultivate a fulfilling and actualized existence if it is approached as an important practice that requires effort. 

Canadian-Cameroonian artist Clerel brings his authentic soulful sound to Ontario in first performance of 2025; plans for third studio release this year 

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Clerel, a Cameroonian-born Canadian artist featured on The Late Show with Stephen Colbert and who is set to play at this year’s SXSW festival, innervated the ears and hearts of an intimate Burlington audience with a set of stripped-back soul-infused ballads during his first live performance of the year. The soul singer sat down to speak with me backstage where he contemplated playing live versus recording in studio, teased the release of his next EP, and got both philosophical and personal about where soul music is today and what the genre means to him.  

A dimly lit theatre room with around 20 black-tablecloth-draped round tables that are kept vigil by a petite one-row mezzanine awakens with polite applause as Clerel Djamen, stage name being the first-given, saunters his way over to a small chair with his guitar casually straddled to his shoulder as if it’s a daily-used tote bag. The chair is behind a slender mic stand and is coadjacent to a small amp on the right.  

When Clerel sits down, a lone spotlight makes him glow: he’s wearing a conservatively decorated white Hawaiian shirt, lustrous dull-gold dress pants with hounds-tooth patterning and shiny black dress shoes.  

After a casual introduction, he conveys some nostalgic sentiments about the city of Burlington, mentioning a lost love of his from the city whom he musingly quips may be present tonight; “or not,” he adds coyly after a pregnant pause, which is received with gentle laughter. There’s no sense of performative elevation in the conversational prelude, nor is there a sense of the musician hitting beats from some script with what he talks about and how he talks about it to his audience. Despite this, he comes off like the filmic cliché of the enigmatic, sagacious guy at the bar whom one could spend all night hearing spin yarns.  

But as he segues conversation into his first song, the bonhomie atmosphere immediately turns to disarming and raw emotion. All of a sudden, shoulders begin to drop, heads lightly angle themselves in attentive awe, and dimples disappear as faces relax and begin to absorb. We the audience are literally whipped into emotional vulnerability as the effects of the young musician’s soul-ballads permeate the venue space, leaving no escapees.  

Clerel’s main musical inspiration is love, he tells us again and again in the conversational interstices between the setlist — and the emotional lulling effect his music has on the audience seems to add as a corollary: to resist love is to not be human.  

So tightly woven into the raison d’être of Clerel’s career as a musician is the epiphanic experience he had when he attended the Stax Museum of American Soul Music in Memphis while he was a student. During his evening performance on Jan. 23 at the Burlington Performing Arts Centre (BPAC), his first live performance since 2024, Clerel carved out a few minutes to tell the story to the nearly sold-out audience.  

It starts with a university trip to Memphis that led a young and collegiate Djamen, who had recently moved to the States with his family from their native Cameroon, to the Stax Museum, as it was one of the trip’s excursion sites. In the museum, Djamen was steeped in the history, legacy and distinct sound of soul music — specifically the sound of seminal Stax Records greats like Ottis Reddings, Isaac Hayes, David Porter, Mavis Staples and so on — alongside getting a crash course in the genre’s genealogical connection to the pre- and post-Civil Rights experience of Black Americans, which evoked resonations with the artist’s own identity as a Black American.  

From an early age, Djamen had an attraction to melody, as he would sing and enjoy listening to French radio and Cameroonian music as a child. After learning guitar through a friend in university and finding solace in playing alone in his dorm, the eye-opening experience at the Stax Museum galvanized in him a sense of purpose and artistic inspiration that unified what were beforehand disparate musical talents and tastes.  

So, after successfully giving live music a try at some open mics in Montreal, it became clear that soul music and not chemistry, which he graduated with a degree in, was his life’s calling.  

Since then, Clerel has released two EPs (with a third on the way), music videos, multiple singles and was even featured in a segment on Stephen Colbert’s CBS talk program The Late Show only a few years ago.  

Despite his growing discography, Clerel tells me in his dressing room backstage that he still considers himself a live musician over a studio one:  

“I’m definitely more a live musician. I think [as a] recording artist, I’m still catching up… but I like the spontaneity of being live. [There,] you’re a co-creator of the moment, you and the audience, y’know.”  

Seeing Clerel live is certainly a different listening experience than hearing his studio releases. Take the single from his latest EP Kaleidoscope, “23 Special,” which was recently adapted to a music video on the artist’s YouTube page. While the studio version of the track is quite done up with layers of jazzy melodic instrumentation atop a mainstream-R&B sounding percussive loop that is reminiscent of Drake’s more dancehall-inspired music, the live rendition he performed at the BPAC sounded like an almost entirely different song. With the obvious instrumental limitations and Clerel’s embrace of the spontaneity of performing live, the song ended up sounding incredibly stripped-back and intimate, which was in stark contrast to the bubbly and polished mixing of the studio version. Played live, the song sounds like combining the flirty lyrics of Teddy Pendergrass with the warm, plucky acoustic solitude of a Nick Drake instrumental. 

Clerel also teased new music from what will be his third EP, titled Stranger, which he said will probably release sometime this year. He played a wonderfully simple but heartfelt eponymous cut from the eventual project alongside one other track slated to be in the EP during his set.  

Clerel explained that with his third project, he’s trying a little harder to workshop new songs in a live setting to see how that medium contributes to their progression. This way, he told me, he can make the aspects of live music he enjoys a prominent part of the recursive process of writing for the studio version of songs:  

“Now I do more of that [approach], because in the past I realize like, I’ll come in with the song as recorded a certain way, but when it comes to playing it live, I obviously have to change it. So I’m trying to take some of that live energy and bring it back to the recording process.”  

But seeing Clerel perform doesn’t mean you’re only going to hear his music. In keeping with his initial mesmerisation by and subsequent tutelage from the early greats of soul, he sprinkled covers of multiple classic songs from the genre during his BPAC set.  

These covers garnered near-immediate erupting applauses from the audience the moment the notable melodies of classic songs like “A Change Is Gonna Come” by the oft-referred King of Soul, Sam Cooke, and “Cruisin’” by R&B and soul legend Smokey Robinson became recognizable. These honorific applauses were sometimes endearingly delayed, however, as it would take the audience a good number of seconds after Clerel would start for the cognitive lag in recognizing what song was being played to pass — the result, understandably so, of Clerel’s renditions being quite minimalist due to his setup.  

Clerel’s respect for the genre, though, doesn’t mean he’s nostalgic to the point of innovative stagnation in his own work, as the singer integrates Cameroonian influences as well as mainstream genres like hip hop and pop into his sound. At the same time, he keeps the foundational formulas of soul and soul-adjacent genres close to his creative process.  

Clerel’s ability to have these ostensibly opposite creative approaches work is because what gives soul music its identity for him is an ethos rather than anything tantamount to a set of specific aesthetic criteria. 

In 2014, Greg Kot published an op-ed in BBC declaring “the death of soul music” with the passing of genre-legend Bobby Womack. In his piece, Kot notes that the largest names in the genre for the modern age — John Legend, Alicia Keys, etc. — were just as, if not more, influenced by the highly polished genre-crossing sounds of Prince and Michael Jackson, as well as mainstream genres like hip hop, as they were by those of the golden age of soul. Thus, Kot declares snootily, the genre is basically “dead” in terms of progression and cultural significance.  

“I think that’s a great way to sell an article,” Clerel replied when I asked how he felt about Kot’s provocative thesis. “I think it’s just time. Obviously, there was an era for like ‘60s and ‘70s soul, and the consciousness [of it] with the Black American experience then. Today some of those things are still in play, but the eras are different… The soul music of today necessarily has to be different.”  

As far as Clerel’s concerned though, soul comes down to one essential aspect: being real.  

“To me that’s what it is, it’s just like you being real at the end of the day. All real music is soul music in a way,” Clerel said while looking off to the side of the dressing room with a contented smile.  

Clerel’s ethos-based perspective on the genre is the reason he believes soul is still very much alive today, just not in the traditional sense. After listing various musical inspirations he feels tap into what he sees as the core philosophical aspect of soul, from traditional African genres to notable names in mainstream Western music, him and I shared a moment of agreed admiration for the early work of Kanye West. He went on to cite West’s critically lauded debut LP from 2004, The College Dropout, as an example of music that embodies the ethos of realness that he argues is integral to soul, saying West was “touching something pure” on that record. 

Even with the desire for neat, taxonomy-friendly technical definitions that comes instinctively with being an arts critic, it was hard not to be swayed by Clerel’s idiosyncratic definition of soul music.  

Beyond the obvious nod to soul in Kanye West’s signature production chops of sped-up soul vocal samples (a style in hip hop called “chipmunk soul,” which the Chicago MC did the most to make recognizable the world over), the subject matter on both West’s debut and for the most part on his sophomore LP, Late Registration, display a pristine vulnerability and introspective complexity that he would never capture to the same degree on wax again. The internally crystalline aura of early Kanye unfortunately began to fade after the vain adulterations of fame and riches came into the picture, already starting to show their influence on the rapper’s artistic inspirations by his third LP, Graduation (compare “Flashing Lights” from Graduation to “Jesus Walks” from Dropout). 

It might seem a far cry, but Clerel singling out Dropout-era Kanye as an instantiation of what soul means left me asking: Is there not the same artistic calculus going on between Kanye’s early music and what made the greatest soul records great? In many ways, the greatness of both arise out of the passionate need to make what’s authentically being felt inside come out even, or rather, especially when the inspiration for such expression is essentially unsexy, painful, monotonous or banal. 

The famous Dropout song “Through the Wire” is a cut West wrote and performed in the hospital after breaking his jaw in a car accident and getting it sewn shut (hence the title). West would go on to turn the painful boredom of being in the hospital into the inspiration for what’s now one of hip hop’s most beloved songs, and precisely due to the raw personability of it. The song’s opening lines — literally mumbled because of West’s sewn jaw — emphatically state: “I’ll spit it through the wire, man / There’s too much stuff on my heart right now, man,” which is followed up by charming lyrics about his liquid hospital diet: Boost for breakfast and Ensure for dessert, which, he emphasizes, “could drive a sane man berserk.”  

Easily one of the most famous soul songs ever recorded is Otis Redding’s “(Sittin’ On) The Dock of the Bay,” a song where the subject matter’s somewhat bluesy central muse was an actual experience Redding had sitting at a friend’s dock in San Francisco. And despite many of the lyrics and the chorus of the song seemingly acknowledging how utterly insignificant and pedestrian this experience is in isolation (“I’m sittin’ on the dock of the bay / Watchin’ the tide roll away, ohh / I’m just sittin’ on the dock of the bay / Wastin’ time”), the lyrics progressively reveal how this simple act of non-productively observing the passage of time induces Redding to think about the complex feelings of loneliness and alienation that come from his extended sojourn away from his home state of Georgia. The more introspective lyrics’ contrasting character and relative scarcity when compared to their more monotonous counterparts makes them cut that much deeper: “Sittin’ here resting my bones / And this loneliness won’t leave me alone / Two thousand miles I roamed / Just to make this dock my home.”  

Likewise, Kanye’s time healing his jaw at the hospital should have been nothing but a creative drought, a period of drudgingly waiting for time to pass. But he had a different MO on Dropout, a uniquely soul-inspired one that the final two stanzas of the song are coincidentally revealing of: “I’m a champion, so I turned tragedy to triumph / Make music that’s fire, spit my soul through the wire.”  

With his intuitive insight into soul’s trans-genre influence, one can also start to understand why Clerel self-identifies as a live musician and, not only why he is so natural on stage when interacting with audiences, but also why his live music is so disarming while being maximally emotionally potent: all of these things are unavoidably immediate and real — they involve instantaneous human feedback making the listener’s authentic reactions to the performance just about impossible to hide.  

At the end of some of the more emotional tracks in the two-hour performance, Clerel had to wipe away tears that had no whiff of contrivance to them. Rather, they appeared more like the necessary emotional collateral of tapping into the realness he holds to be sacrosanct to making music that’s pure.  

As the musician wished everyone a good night after his final song of the set, the Ontario audience rose to their feet without hesitation in a jubilant applause — Clerel had won their hearts by baring his.  

What to know before you start collecting video games 

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There are some important things to know before collecting retro video games to avoid scams and get the best bang for your buck.  

If you’re new to retro game collecting, you might not know where to start. For popular video games, there are often a variety of sellers offering different prices, and it can be hard to know which deals to take advantage of and which to avoid. 

If this sounds like you, read on. Here are some helpful tips I’ve discovered over my years of collecting old video games. 

Set distinct goals and know what you want 

It may sound obvious, but it’s very important to clearly outline what you’re hoping to achieve within your collection. Are you looking for games from a certain developer? A specific franchise? Or are you interested in collecting for a certain console? Be sure to remember what overall goals you’ve set for your collection as you begin searching, as it is all too easy to become distracted by irrelevant items that don’t align with your primary goals. 

I find it helpful to keep a running list of games that I’m hoping to someday own. My list is on my phone’s notes app, so it’s always accessible in the event that I find something I want to add on the fly. Be sure to fill the list with a variety of items at a variety of prices. Even if something costs a lot of money, it’s still worth adding to the list because you never know when you might have the opportunity to score a deal for it later. My list contains items under $50, as well as items that go for several hundreds of dollars — even if I can’t afford some of them at the moment, it’s valuable information to keep in mind for the future. 

Finally, be sure to consider whether original game cases and manuals are important to you. If you primarily care about playing your games rather than the way they look on a shelf, it might be worth purchasing “loose” games (a disc or cartridge without the original case or manual). Purchasing games CIB, or “complete in box,” can significantly increase the price of a game, so ask yourself if it’s worth the extra spend or if you’re okay with having a collection of loose titles. Amazon offers a variety of DVD holders that can store loose game discs, which isn’t a bad option if you don’t mind keeping your collection stored away in a drawer. 

Research local game stores and events for enthusiasts 

Although eBay, Kijiji and Facebook Marketplace can score you excellent deals on retro games, it’s always worth researching local retro gaming stores. Buying from small, family-run businesses in your area isn’t just a great way to support your local community, but they can also help you find rare games at good prices. 

Small business owners are often some of the most passionate people in the retro collecting community, and many of them have personal collections of their own, making them a great source of knowledge on specific titles and other games you might want to consider. 

Because these stores usually set their own prices, it’s common practice to negotiate with their employees to see if they can lower the price on a certain game for you. Plus, when you become a regular customer at a local store, there’s a chance they will cut you deals as you purchase more products over time. Just be sure to ask about their return policy and get a receipt in case there’s something wrong with your game once you get home — decades-old discs and cartridges can be unpredictable, after all. 

Attending events like Comic-Con and Fan Expo can also net you amazing deals on old titles. While these events usually cater to comic book and anime fans, it’s not unusual to find vendors dedicated to video games. Most of these vendors come from local game stores, so they’re just as passionate and knowledgeable as the ones you’ll find in your area. 

In either case, make sure you price-check on a site like pricecharting.com or eBay before making a purchase to ensure you’re getting a fair price on the game you’re looking to buy. 

Be wary of scams 

Video game collecting is a lucrative market, but that also means it’s ripe for scams. It’s not unusual for eBay sellers to market an old game at a seemingly fair price, but hide the words “case only” or “manual only” somewhere at the end of the title or in the item description. That’s right: you might think you’re buying a fun new game for your collection, only to be met with disappointment when an empty case arrives at your door weeks later. 

To avoid every collector’s nightmare scenario, be sure to carefully read through the entire title of the item listing as well as its item description. Read through any fine print and ensure that nothing seems suspicious. As you conduct your research, take a moment to read the seller’s reviews from previous customers. If they seem to have made a lot of buyers happy in the past, there’s a good chance they value their reputation as a seller and won’t try to pull any funny business. You can also message sellers directly, so if you’re unsure about anything at all, don’t be afraid to ask them questions, including for additional photos of the cartridge or disc. Don’t worry about looking stupid or unknowledgeable — a good, honest seller will always respond with courtesy and respect. 

If you follow all these instructions and still find yourself the victim of a con artist, don’t hesitate to follow eBay’s return policy, which is conducted through eBay itself rather than any individual seller. Explain the issue to them and they can likely pull up the original listing, ensuring that you get your money back. 

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And there you have it. These are some handy tips for up-and-coming video game collectors. While there are many more tidbits that collectors will find useful, most are best discovered by actually getting your hands dirty in the collecting scene.  

At the end of the day, keep your eyes open to various sources and don’t jump at the first option you see. Often, waiting for the right moment to collect a certain title is the best way to secure a good price and walk away with a product you can be happy with. If you’re hoping to start a video game collection, prepare to be in it for the long haul, and know that patience is incredibly valuable as you search for deals. 

It can be stressful at times, but trust me, it’s worth it. With every game you purchase, no matter its financial value, you bring your collection one step closer to being the assortment of special video game experiences that’s uniquely yours.