Tuesday, April 29, 2025
Brock's Only Independent Student Newspaper
One of the only worker-managed newspapers in Canada
Home Blog Page 9

Inhaler hurdles toward their destiny with “Your House” 

0

5/5 

Inhaler shocks the rock world with the release of their brand-new track, showing that they have so much more excellence to share with their fans.  

“Your House” is the lead single for Open Wide, Irish rock band Inhaler’s third album which is set to release in February. The track, which was released on Oct. 29, is the start of a new era for the band, whose sound seems to have matured with their newest song.  

Ryan McMahon, Inhaler’s drummer, told NME, “we’ve never released a song that sounds anything like [“Your House”]… Both sonically and musically, it covers a lot of different territories that we were exploring on the album while we were writing and recording it.”  

The band partly attributes this change to their new producer Tom Hull, known for producing Harry Styles’ award-winning album Harry’s House.  

“Working with [Hull] made us realize that we had to bring our ‘A’ game,” said bass player Robert Keating. Eli Hewson, the band’s lead singer, agreed with Keating, adding that Hull was “from outside the circle and was a fresh listener of the band; he didn’t know us.”  

Furthermore, Inhaler also found that the relaxed atmosphere they experienced during their break from touring helped their writing process. 

“We had eight months off, and we were just free to write as a four-piece in our rehearsal room,” said McMahon. “That shines through in the songs. There’s a sense of optimism in the tracks and just this free-flowing thing that we were all feeling.”  

The combination of these factors resulted in a stellar piece of music.  

Lush and opulent, “Your House” is a 70s rock-inspired masterpiece. A pulsing drum beat and droning synths support Hewson’s rich vocals which are beautifully complemented by the inclusion of the larger-than-life sound of the House Gospel Choir. Keyboard flourishes and subtle, ear-catching guitar riffs set “Your House” apart from the band’s prior work, making it clear that Inhaler is moulting and shedding their skin.  

Shiny and new, the sonic atmosphere that grows during the track’s ascension clearly highlights that the band is ready to leave behind the juvenile noise of their youth as they search for a more developed and sophisticated sound. 

Lyrically, Hewson describes “Your House” as being about “chasing some sort of destructive force in your own life, essentially just wanting something that’s not good for you.” During the track’s larger-than-life chorus, Hewson punctuates this message when he sings, “Oh love / There ain’t a sharp enough knife / To cut me out of your life / I’m going to your house tonight.” 

“We’ve finally gotten to a point on this album where we actually sound like the band we want to sound like,” McMahon mused. “What happens after this one, I’m not sure what we’ll sound like next, but there’s a strong sense of arrival for us.”  

Vast and bold, if “Your House” is any indication of what is to come for Inhaler, Open Wide will be the band’s best album yet. 

BUSU board talks budget, denies VPUA $3,000 for conference travel in October board meeting 

0

BUSU’s mid-term board meeting yielded some interesting results, including the first failed motion of the year. 

October saw the BUSU Board of Directors meet twice. The first was an hour-and-a-half long, in-camera special meeting on Oct. 1, in which no motions were reported, but the second was their regularly scheduled monthly public meeting. 

Posted on their YouTube meeting playlist two days after it took place, the board’s Oct. 22 meeting was called to order at 7:02 p.m. The agenda and the last meeting’s minutes were approved before Kayleigh Rossetto began her presentation on the 2024-25 BUSU Division 1 Operating Budget. 

BUSU General Manager Robert Hilson acknowledged that the budget was coming a bit later than usual due to BUSU VPEA Mark Chrabalowski’s being away in Ghana for an academic excursion in the summer. 

Rossetto explained that this several million-dollar budget was based on the BUSU Operating Fee, the $24.40 per credit ancillary cost applied to full-time Brock students. She explained that BUSU is a multi-million-dollar organization, around $15-16 million, so the numbers here are high for a reason. 

This is a long and thorough list, but as Rossetto did, this article will only highlight the most pertinent stats. Students wishing to see the complete budget can do so through the BUSU Governance page on their website. 

She began by outlining BUSU’s revenue, which comes from a variety of sources including $150,000 from the university, $12,018 in rental income from both The Brock Press and BrockTV, locker sales, food bank donations and more. 

By far the largest source of income is through student fees, which provide $2,044,938 of the total $2,341,424 of revenue. 

Next up were expenses, in which the budget had split into four categories. 

The first category, “Staff Costs,” consisted of a total of $1,437,000. Notable items in this category were the $184,000 in BUSU executive team salaries, $790,000 to salary the BUSU permanent staff, $120,000 to cover part-time costs — for the 20 BUSU office part-timers, not staff at General Brock, Union Station, et cetera — $13,000 in parking for staff and executives, $8,500 for staff and executive food allowances, and $12,000 for the monthly cell phone plan. Also included in this list were numbers for typical wage expenses like EI and CPP as well as stat, holiday and vacation pay. 

The second category was “Appointed/Elected Student Training and Development,” to which $58,300 was allotted. This fund included $18,000 in honorariums to recognize the time of the six student senators; a combined $5,800 for the BUSU Transition Retreat; a combined $4,000 for BUSU executive professional development and $20,000 for BUSU executive annual priorities — funds which the Board allocates via a vote. 

The third category of “Office Expenses” had a total of $619,000, which covered everything from insurance premiums ($107,000), legal costs ($20,000), consulting fees ($40,000), IT support ($78,000) — which Rossetto elaborated are not covered by Brock’s IT Services — miscellaneous office expenses ($10,000) and more. The largest of these costs were the property expenses including utilities at $233,000, a reduced cost from last year since BUSU replaced the lighting in their building with more cost-effective and environmentally friendly alternatives. 

The fourth and final category was titled “Other Expenses.” Included here were relatively minor expenses like a $2,000 donation fund, $1,000 for meeting expenses and $4,500 for elections and referendums. Also listed were some major expenses, like a combined $10,000 for end-of-term BUSU parties “to recognize our students,” a $20,000 food bank donation, $15,000 for exam drive-home and safety services, a $35,000 Division 1 marketing expense, a combined $12,500 for costs associated with sending permanent staff members to conferences, $25,000 to keep the website running, a $20,000 contingency fund and $40,000 set aside to cover BUSU Social Enterprises losses.  

This category listed an additional $225,500 of expenses, putting the total expenses at $2,340,000. When comparing revenue to expenses, the budget outlined a small earning of $724, a number that Hilson explained would be put into BUSU’s $1.6 million unrestricted surplus fund, money which is reallocated for a “rainy day.” 

The board members had some questions: 

Mohiz Imtiaz asked for clarification on the annual priorities worth $20,000. Rossetto explained that this is a pooled fund for BUSU executives to spend on their goals for the year. This fund used to be split between all four executives, but this year they decided to let Pahuja and the team decide how to split that money. 

Vice-Chair Charlie Martin asked for clarification on the Donation/Goodwill line, a $2,000 expense. Rossetto and Hilson explained that this fund gives BUSU a chance to be a sponsor when they want to be present for something going on in the community, like the Hadiya’dagénhahs Pow Wow in January or the BLCS Play for Memories Ball Hockey Tournament. 

Imtiaz asked to see staff salaries from previous years to have a benchmark to compare with this year’s $790,000 permanent staff expense. Hilson explained that students can see the last seven years of financial statements and budgets on the BUSU Governance page, but he said looking at just the last few years was “deceiving” because of their limited expenditures in the wake of COVID-19. He said this year is probably BUSU’s “first normal year of operation” since that time. 

Imtiaz also questioned whether “group benefits or other contributions can be reduced,” to which Rossetto explained that BUSU regularly compares its employee benefits with other student unions and that they are “certainly in line and within the realm of what other people are doing.” To a follow-up question about pay scale, Rossetto said that this too had controls via pay bands based on the roles, responsibilities and skills associated with each job. She said these numbers are also benchmarked not only against other student unions but also the St. Catharines job market. 

Board Chair Brielle Kaminsky requested the board be reminded how much each BUSU executive makes in a year. Rossetto explained that each of the three Vice Presidents makes $45,491 a year and the President makes $46,726 a year. 

Kaminsky asked for elaboration on the $13,000 staff and executive parking expense. Rossetto said that the expense covers a spot for all permanent staff and all executives in Lot A, right beside the school. 

Kaminsky asked for the breakdown of the $8,500 staff and executive food allowances. Rossetto explained that each executive and the General Manager get $1,000, and all permanent staff — except unionized staff — get $500. This allowance covers meals at Isaac’s, Harvey’s and Booster Juice as an “added bonus,” and the straight $500 is an expense that “doesn’t cost the organization,” said Rossetto. She further explained that this is supposed to cover meals for when workers are on campus for their jobs. 

Kaminsky asked for clarification on the $12,000 monthly cell phone plan. Rossetto explained that this is also a tiered system based on pay bands: the lower pay band employees get $50 a month, the medium tier gets $75 and the executive tier gets $100. She explained that a corporate plan is “cumbersome” and “complicated” with constantly switching executives and the added grievance of carrying two cell phones. 

Martin put it succinctly when he asked for clarification: “So essentially people who are getting paid more get more money for their phone plan?” 

Rossetto countered that executives have the highest plan even though they aren’t paid the most and that it was better to think about it in terms of job responsibility and corporate hierarchy. Hilson clarified that from a communications perspective, executives have to deal with a lot more messages and he’s the one who people call when things go awry whether it’s a weekend or the middle of the night. 

Imtiaz pointed to the increase in executive salaries from the last year, leaping from $120,000 in 2023-24 to the current $184,000, and asked for clarification on why this was the case, even as permanent staff salaries decreased. 

Hilson explained that a couple of reasons had affected the permanent staff salary: the Student Choice Initiative where students could opt out of ancillary fees and the COVID-19 pandemic, both of which diminished BUSU’s resources. 

To answer the executive salary question, he said that last year, the board accepted a request to increase the executives’ salaries and to keep these salaries growing each year in line with the cost-of-living index (CLI), which this year was a 3.67 per cent increase. Rossetto added that a portion of the VPUA’s salary used to come out of the Health and Dental Plan, but this is no longer the case, hence the large visible increase. 

Imtiaz asked when the board could “contest or re-evaluate” the salaries of the executive team, which Rossetto responded would have to wait until the hiring process begins, but the board could look into the process come January. 

With no further questions, the board moved to approve the budget, a resolution that passed unanimously by the seven present voting members. 

With that hefty motion finished, the board moved to in-camera at 7:42 p.m., where they remained until 9:19 p.m. There were no motions reported in the minutes, though a later comment by Imtiaz describes one of the elements they discussed, that being a “perception that BUSU is paying using student dollars for vacations or trips or conferences.” This would be a major point of discussion in the next motion. 

BUSU President Anusha Pahuja motioned for the board to fund BUSU VPUA Carleigh Charlton’s trip to Brisbane, Australia for the OE Global Conference and award ceremony in November, in which Charlton was the only student award winner. The amount requested was $1,900, this being additional to the $1,000 from Charlton’s pre-approved professional development funding and a $2,500 contribution from Brock. 

Pahuja explained the importance of open education resources (OER) — teaching, learning and research materials in any medium that exists in the public domain or is released under open license copyright. She pointed to a survey in 2020, in which 667 Brock students said cost was the reason for not purchasing textbooks in both required and elective courses, and some went so far as to say that cost had led to them receiving lower grades or dropping courses outright.  

She explained that Brock’s program is the first of its kind in Ontario and has been acknowledged as a model for mid- to large-scale universities. Sending Charlton to Australia, she said, would honour her contributions and yield a benefit for BUSU as they are writing a “Tech Enabled Learning” OUSA paper in the spring and Charlton’s experience at this conference would make for a better paper. 

This, however, was not enough to convince board members. 

Martin began the question period by speaking in favour of the motion, saying he felt this was a worthwhile cost and citing Brock’s funding of it as proof. He said the trip was “a good moment for BUSU as an organization to get OERs known more world-round [and] in the Brock community.” 

But the rest of the board was apprehensive, asking if there was anywhere else the money could come from. Imtiaz requested a reminder of Charlton’s yearly salary, a $45,491 figure that has increased from last year due to the CPI. 

Hilson put forth a concern relating to a discussion they had in-camera about Charlton’s absence from the office for an additional week on top of whatever future OUSA plans arise on top of the current General Assembly at Brock. 

Kaminsky requested they have a further discussion before voting, beginning the conversation with her own opinion: “As an executive of BUSU, she’s already making a significant salary; I think the $1,900 should come directly from her since she’s already receiving funding for this conference from Brock.” 

“Good for her that she’s going, but I don’t think that has to come out of more student dollars,” said Kaminsky. 

Moreover, she agreed with Hilson that it would be better if Charlton remained at Brock to perform her roles as VPUA. 

Imtiaz said that he was concerned with a proposed outsider’s perspective that this would appear as though BUSU was just using student money to send one of its members on a trip. Imtiaz’s clarification on the professional development fund led to a discussion wherein the board realized Charlton would need to request the $1,000 that had been guaranteed in the initial proposal on top of the additional $1,900. 

The board also figured that this $1,000 couldn’t possibly be used in full, as there are costs associated with the then-ongoing OUSA General Assembly and any upcoming OUSA events which this professional development fund is already covering. 

Imtiaz said that there are many conferences he would love to attend, but he wouldn’t consider using student dollars, a point he said is especially prescient considering Charlton is already paid using student funds. 

The concern of Charlton’s time away from the office for a conference “halfway around the world” came up again, with someone worried about an increasing backlog of work should the funds be approved. Kaminsky went so far as to question if the board had the power to outright prohibit Charlton from going to Australia regardless of their decision on the requested funds. 

Rossetto and Hilson said in that case, Charlton could request vacation time to go, something Pahuja has authorization over and not the board, though this would depend on how many vacation hours Charlton has already used. 

Kaminsky asked if the professional development fund was used in full last year, to which Hilson responded yes, “by a lot, like a very lot,” with each executive using around $10,000. After further clarification on the subject and a re-phrasing of the motion to capture the dual request of $1,000 in professional development funds and $1,900 in additional funds, Kaminsky put forward the motion. 

Martin was the mover, but with no seconder, the motion failed without going to a vote. 

There was some additional conversation about whether the motion should have been split into two motions, with Hilson asking if the board wanted to approve the $1,000 request and Pahuja seemingly interested in a motion to reconsider, but after more clarification of intentions and specifics, the conversation fizzled out. 

Hilson and Pahuja then provided their monthly reports. 

Hilson described their fourth meeting with the architect for the new student centre. He said BUSU would present the plans to the Brock Board of Trustees on Dec. 4 and Dec. 5, and if approved, construction would begin as soon as the coming spring or summer. 

He also provided some quick updates: the BUSU Instagram page has a blue checkmark and is approaching 17,300 followers; club ratification began on Oct. 21 — with clubs like the Brock Labour Studies Student Association and Brock Miniatures being BUSU-recognized — and will continue until Nov. 8; the President’s Advisory Committee on Human Rights, Equity and Decolonization (PACHRED) is looking for BUSU to run a referendum in February 2025 and have requested to meet with the board in November; BUSU will be recognizing both Remembrance Day and Indigenous Veteran’s Day; and the Night Market is coming on Nov. 20. 

Pahuja got right into her report, saying that each executive wrote their own report this month, as requested by the board — unfortunately, these reports were restricted to the board members portal and are not visible to the public. 

She highlighted the successful Fall Carnival, which saw around 5,000 attendees and a new arcade prize system; her and the executives’ meetings with local politicians; her email communications with Brad Clarke — Brock’s Associate VP, Students and Acting Associate VP, Equity, Diversity and Inclusion — on Oct. 2 regarding BUSU’s Food First program, to which she has not heard back from; her and Charlton’s invitation to the newly approved Strategic Plan’s launch on Nov. 7; her and Charlton’s planned meeting with the Provost; and the success of the Fall Convocation. 

Pahuja’s most interesting note was that she and the executive team have been working to improve their communications with students. They’ve begun holding Instagram Live videos to update students on weekly events and initiatives, and they are working on setting up office hours where students can physically speak with executives. 

With her report finished, the board moved to adjourn the meeting at 9:56 p.m. 

While this was an incredibly bulky meeting, it was a critical one, in which the board exercised their right to deny the use of student funding for reasons deemed unfit, and wherein Brock students got an in-depth look at where a large portion of their ancillary fees are being used. 

These meetings may not be glamorous, but it is imperative that Brock students recognize the decisions their board is making on their behalf. 

Any communications with the board can be directed to Board Chair Brielle Kaminsky at chair@brockbusu.ca. 

Ford determined to build Highway 413 despite labour disputes and environmental concerns 

0

As part of the Reducing Gridlock, Saving You Time Act announced on Oct. 21, Ontario plans to speed up construction of Highway 413 and other roadway projects, despite labour disputes that will likely impact its construction and increasing concern surrounding the environmental costs of the project. 

The Professional Engineers Government of Ontario (PEGO) has been in negotiation with the municipal government, as their workers have gone “almost two years” without a contract. After a conversation on Oct. 18 brought little progress for the union’s goals, they decided to begin taking their workers off of the government’s Highway 413 and Bradford Bypass projects. 

The union represents professional engineers, engineers-in-training and land surveyors who work with the Ontario Public Service. According to the union, without these workers the projects will lack the figures needed for “oversight and management,” making it increasingly difficult for Highway 413 to proceed past planning stages it has been in for years. 

PEGO’s president Nihar Bhatt called the negotiations “frustrating,” saying that the proposals they are receiving do not align with what the workers need to continue putting time into the project, emphasizing that they are still far from what the union perceives as an equitable deal. 

“Without proper investment in Ontario’s vital engineering and surveying functions, this government’s key infrastructure priorities cannot be met on a cost-effective and timely basis,” said Bhatt. 

Despite the frustration caused by the lack of agreement between Doug Ford’s government and the union, PEGO said they aim to keep their strike “tightly focused and responsible,” wanting to make real progress towards a new, fairer contract. 

PEGO’s labour disputes have not been the only roadblock in the way of Ford’s desire to begin construction on Highway 413.  

Environmentalists have directly opposed construction of the Highway because of its controversial proposed route. The proposed route shows that the highway will run through “400 acres of the Greenbelt” — the federally protected stretch of land used to conserve nature from development — and 2,000 acres of farmland, while also threatening “forests and waterways.” 

According to Environmental Defence, the highway will also have a large impact on biodiversity, threatening 29 species with varying levels of endangerment. 

Additionally, Environmental Defence claims that the huge financial and environmental costs of Highway 413 will not be worth the small amounts of time it might save commuters, urging Ford and his government to instead consider investing in public transit, using the 407 exclusively for transport truck commuting and to monitor evolving “transportation technologies.” 

The environmentalist group continues to urge citizens to contact their local politicians to interfere with the project, despite the recent Highway 413 Act proposing to exempt the project from the Environmental Assessment Act, meaning that “additional environmental studies” and finishing the environmental assessment process would not be required for the government to proceed with the project. 

Though PEGO’s labour disputes with the government are still ongoing and environmentalists are still asking Ford to reconsider his project, Ford continues to push legislation to begin construction on Highway 413 as soon as possible. 

Milk Duds are amazing and you can’t convince me otherwise 

0

Milk Duds are one of the best candies to give out this Halloween. 

Whether Milk Duds are good or not has been a long-held topic of debate. This has led to a cultural divide in which one group absolutely adores the candy, while the other holds a deep resentment towards the sugary treat. 

In case it’s not already obvious, I side with the former. 

For those unaware, Milk Duds are a candy created in 1928 by The Hershey Company. The candies are quite simple, consisting only of caramel completely covered in a layer of chocolate. This means that, at first glance, Milk Duds appear to be deformed balls of chocolate that only reveal their caramelised secret upon the first chew. 

The caramel is somewhat tough at first, but the more it’s chewed, the softer and stickier it becomes. What starts as a sweet bite of chocolate soon becomes a soft mouthful of chewy caramel before a satisfying gulp completes the experience. 

Milk Duds are candy at its purest: no special colours or visual design to make them stand out, no quirky textures or gimmicks to keep it in your mind, just small sticky balls of caramel that prioritise substance over style. Milk Duds don’t need to be beautiful to stand out; their creators are confident enough to rely on taste and texture alone. 

Unfortunately, some people fail to appreciate the Milk Dud experience. 

In 2020, a post on X (then Twitter) saw many users take a bold stance against the gooey, chocolate-covered lumps of delight. 

“Picking anything except Milk Duds,” one user said. 

“Milk Duds can suck donkey balls,” another argued. 

When discussing the Milk Dud debacle, one argument from naysayers seems to spring up time and time again, which is that the caramel is so sticky that it can attach itself to the teeth and be difficult to completely remove from the mouth. 

It is indeed true that Milk Duds easily stick to the teeth, but whether this is an issue or not is purely a matter of perspective. If you view the fact that you have to pick it off your teeth as a chore, this could be considered a fair complaint. If you choose to see it as part of the experience — and perhaps view the tiny chunks of caramel stuck to your teeth as a delicious surprise to enjoy later in the day — then even this will start to grow on you. 

Personally, if any part of the Milk Dud experience should be seen as an issue, it’s that the caramel can be so tough during the first few chews that the jaw can quickly become tired. I have a fairly strong jaw, yet even my strong chewing capabilities can be bested by an oversized Milk Dud. 

Once again, flipping your perspective on the issue can make all the difference. After all, if your jaw gets tired and you have to stop eating, it just means you’ll still have more Milk Duds to enjoy later. 

Indeed, Milk Duds deserve to be revered as one of the best candies the world has ever seen, and those taking issue with them should give them another chance. They may lack pizazz and might occasionally become cumbersome to swallow, but in their purest form, they are a celebration for the senses and representative of all that candy stands for. 

If you’re giving out treats this Halloween, drop the rice cakes and dental floss — give out something kids will actually enjoy. 

Give them Milk Duds. 

Want to freelance? Brock LINC workshop shares tips for student entrepreneurs 

0

Many students attend university intending to start their careers, but it is quite possible to start that journey while you’re still taking classes with freelancing.  

Brock LINC, an organization that supports research commercialization, entrepreneurship and industry partnerships at Brock University, held a workshop on Oct. 23 titled How to Become a Freelancer. The workshop saw self-employment expert Tamara Jensen, Principal of Tamara Jensen Strategy, discussing the ins and outs of freelancing, wherein you get to be your own boss and run your own business. 

Jensen began her freelance journey by opening a food truck, a process that included doing her own marketing and branding. When others saw her work, they asked for her help, and she was eventually able to launch her own business from it. Since then, she’s worked at an in-house marketing agency, opened her own restaurant, taught many classes on the subject and continued to develop her freelance business. 

She started the presentation by describing that any number of skills could be applied to a freelancing business, including writing, video editing, graphic design, photography and more. Skills that may come easy to you could be commodities that others will pay you for. Furthermore, freelancing allows you to generate income while working flexible hours, doing something you love and working with either a specific or diverse array of clients. “The sky is the limit,” said Jensen. 

This process can start during your time at Brock, made easier by the Brock Student Freelance Directory, a free service that allows students to market themselves to other students looking for help with small projects. 

Getting involved with directories like this can be crucial for networking and developing a professional portfolio early in your career. 

There are two main types of freelance work you can do, Jensen explained: project-based, where you work with a specific client for a specific assignment; and retainer-based, where you work a set number of hours a month for a company but could be doing any number of assignments. 

Both styles have their positives and negatives; for example, retainer-based work may provide a steadier income, but that income may not be as high as you can charge for project-based work. Retainer-based work may give you stronger connections and industry skills, but without the defined scope of project-based work, your assignments can quickly spiral out of control as companies ask for a bit of help here and there. Moreover, while project-based work may provide you with more opportunities, it can be hectic to secure jobs, and time management is incredibly important if you take too much on. Retainer-based work can allow you to catch your breath, so to speak. 

Jensen went on to discuss the topic most entrepreneurs are most interested in: payment. How do you charge people, and what kind of rate do you set for yourself?  

She said that finding your rate can take time and it should change throughout your career, but researching market rates is a great way to start. Knowing what you’re worth is incredibly important: you should consider your skills, experience, the time and energy you’ll spend, as well as additional costs like travel, necessary software and more, but your financial needs and goals are just as paramount. 

Doing work at a discounted rate or pro bono can be effective in expanding your business when you’re starting out, said Jensen, but it should never become a constant, even when you’re working with friends and family. At the end of the day, communication with your customers is the most important principle to maintain. 

Jensen also discussed some specific details about running your own business, like the importance of registering yourself with Service Ontario — even if the name of your business is just your name — and keeping track of your expenses for when tax season rolls around. Professional invoices also streamline the process of billing your customers by acting as a “mini contract” to set up the terms of your agreement. 

Online directories like the one at Brock, Fiverr or Freelance.com can also help you build a stronger presence, but Jensen said local business will likely always be your best bet because it’s “better to work in the world you know.” 

Jensen said communication with clients is one of the most important aspects of growing your business. Setting expectations and boundaries, then respecting those boundaries and continuing to have healthy, transparent conversations with your clients will increase the likelihood of them hiring you again, referring you to someone else or writing a testimonial for you. 

Furthermore, increasing your rates is important as you gain more experience in your field and continue to recognize your rising worth as a business commodity. Charging more for your work as that work becomes of a higher calibre is not only reasonable but necessary for your growth so long as you make sure to maintain that communication with your clients. 

Jensen gave two more seemingly simple but critical bits of advice for anyone seriously interested in making freelancing a main source of income: practice saying no, so you don’t overwork yourself to the point of burnout; and always keep learning. 

You’ll figure out what parts of the business you most enjoy and which you always put off, and this is where the brilliant part of freelancing comes into effect, said Jensen. For those parts you don’t enjoy, you can hire other freelancers to create an interconnected network of business and focus on doing what you love most. 

All this may seem like formless, unreachable future plans, but Brock students can start freelancing today. The Brock Student Freelance Directory is a possible way to get your name out there, but Brock LINC holds other workshops and networking events to hone your entrepreneurial skills, which you can find on their ExperienceBU page. 

You might just be creating the business that defines your career. 

Getting to know the Liberty franchise  

0

The New York Liberty clinched their first-ever WNBA championship title on Sunday, marking a historic achievement for the franchise.  

As one of the league’s original teams, Liberty’s journey has been defined by years of transformation. This road to victory provides a compelling glimpse into the history of a team that has long been integral to the league’s foundation.  

Founded in 1997 alongside seven other teams, Liberty quickly established themselves as a competitive force, led by known players like Terea Weatherspoon, Becky Hammon and Sue Wicks. They became known for their intense rivalries, particularly with the Houston Comets and Los Angeles Sparks, helping build the league’s visibility and fan base. 

Over the years, Liberty endured several challenges. Despite reaching the Finals in 1997, 1999, 2000 and 2002, they fell just short of capturing a championship. Ownership changes created further instability. In 2017, then-owner James Dolan moved the team from Madison Square Garden to the Westchester County Center, significantly reducing attendance and raising questions about which direction the franchise was heading in. 

In 2019, Wu Tsai and her husband Joe Tsai took ownership of the team, determined to revive Liberty’s legacy. Wu Tsai’s dedication to reinvesting in the team brought them back to New York City at the Barclays Center, a crucial step in reconnecting with their fan base.  

“From the earliest days, what I remember is that no one wanted to buy the team. The first feeling out there was we thought that the fundamentals were actually very good,” Wu Tsai said. “Not only are the best female basketball players in the world playing this league, but of course New York and the tri-state area is this country’s largest media market.” 

Under Wu Tsai’s leadership, Liberty underwent a transformation that went beyond winning games. She prioritized player well-being by investing in state-of-the-art facilities, a dedicated performance team and advanced training resources. Her strategic moves in recruitment created a star-powered lineup that set Liberty apart. She also focused on building an experience, by bringing games back to the Barclays Center where fans could reconnect with their home team. Her commitment to inclusivity made Liberty games a must-see event, creating a community that represents New York’s diverse community. At this time Wu Tsai has set a new precedent, positioning the team as one of unity and talent.   

Unlike an NBA franchise, which wouldn’t likely be overlooked due to the high visibility of men’s sports, the New York Liberty’s journey reflects the unique challenges that women’s sports teams often face. In the early 2000s, WNBA teams didn’t receive the same level of attention, investment, or media coverage as their NBA counterparts, leaving franchises — in this case the Liberty — more vulnerable to being forgotten or undervalued. Wu Tsai’s acquisition and revitalization of the Liberty stood out as she took a team that had once faced New York’s spotlight and transformed it into a champion-winning franchise. Her efforts reveal the disparities in support between men’s and women’s sports and underscore the importance of dedicated ownership in pushing women’s teams to the forefront, ensuring that they receive the recognition and resources they deserve.  

The New York Liberty’s first WNBA championship is a milestone that celebrated the evolution of a team, and the growth revolved around women’s sports. This victory represents the culmination of years of hard work, resilience and renewed vision under Wu Tsai’s leadership.  

By reinvigorating the franchise and reconnecting with fans, the team was not only transformed, its value and potential were highlighted and put on the national stage as a women’s sport. This championship is more than just a trophy on the Liberty’s shelf; it’s a moment that honours their legacy and sets a bold precedent for the future of women’s basketball. 

Brock Women’s basketball kicks off season with win   

0

On Thursday, the Brock women’s basketball team kicked off their season with a strong start, securing a victory on the Guelph Gryphons’ home court. With a new head coach at the helm, the team is poised for a memorable season, and this opening win sets an optimistic tone for what is yet to come.  

The Badgers dominated the game from start to finish with a final score of 72-86, maintaining a lead in each quarter and bringing an infectious energy that showed they were ready to play their best. The Gryphons matched their intensity but couldn’t keep pace with the Badgers’ momentum. Despite a strong second quarter where Guelph outscored Brock 26 to 29, they couldn’t close the gap, leaving the Badgers firmly in control.  

Fourth-year Badger Madalyn Weinert delivered a standout performance in the season opener, scoring an impressive 24 points, titling herself as the top scorer for the Badgers. Her swift and skillful play set the pace for the team early on in the game.  

Oluwatito Akinnusi dominated the boards with an impressive 15 rebounds, achieving the game high and making a significant impact on both ends of the court. Her strong presence in the paint was crucial to the Badgers’ control of the game.  

The Badgers clearly outperformed the Gryphons, boasting an impressive 48.6 field goal percentage, nearly reaching the 50 mark, while the Gryphons struggled with a 31.7 field goal rate. This shooting efficiency underscored the Badgers’ command on the court.  

The Badgers showcased impressive numbers on the court, revealing a new level of team chemistry that quickly took shape under Coach Shae Dheensaw’s leadership. Earlier this school year, coach Dheensaw shared in an interview with The Brock Press, her vision for the team extends beyond simply racking up wins. She emphasized that her focus lies in instilling core values and achieving meaningful, statistical goals that reflect growth, resilience and teamwork. Thursday’s game against the Gryphons showed that Dheensaw is already delivering on her promise as the Badgers embodied this philosophy through their disciplined play and spirit.  

Although the game never turned into a nail-biter, it’s worth noting that if the Gryphons had matched their energy from the last three quarters right from the start, they might have been able to close the 14-point gap seen in the final score. Their delayed momentum gave the Badgers an early advantage that set the tone for the rest of the game.  

As a result, the atmosphere for the Gryphons lacked energy with fewer cheers and excitement from the crowd. While students celebrated each basket, the early dominance by the Badgers seemed to dampen the Gryphon’s spirits, leaving everyone with limited hope — especially given the game’s challenging start.  

This season-opening victory for the Badgers highlights their disciplined play and commitment to growth compared to last year. If they continue building on this early success, the Badgers are set for a successful season, not only in the win column but also in their journey as a united team. 

Lebron and Bronny’s NBA debut raises questions  

0

During the Los Angeles Lakers’ season opener against the Minnesota Timberwolves on Tuesday night, a momentous occasion unfolded as LeBron James and his son, Bronny James, shared the court together for the first time, and fans are not happy.  

As a young player in his NBA debut, Bronny James had limited court time alongside his father. The two shared the court for a brief two minutes and 41 seconds in the second quarter. In his short stint, Bronny recorded one rebound but didn’t score, while LeBron contributed 16 points, five rebounds and six assists. The team’s combined efforts helped lead the Lakers to a 110-103, marking a positive start to the season.  

The game added significance for fans and the basketball community, as many had long anticipated the day when LeBron and Bronny James would share an NBA court. LeBron, now in his 21st season, has often spoken about his dream of playing alongside his son, and Tuesday night’s game fulfilled that vision.  

While the fans erupted as Bronny made his appearance on the court, it seems as though his transition into the league has been somewhat abrupt — perhaps even premature. The excitement is undeniable, and the symbolism of a father-son duo sharing the court is powerful, but with such an early entry, there’s concern about whether Bronny is prepared to face the pressures and physical demands of professional basketball. It raises the question: is this the right time for Bronny to make his mark, or is his entry into the league solely because of his father’s status?  

Typically, aspiring NBA players spend multiple seasons honing their skills in college basketball, allowing time for development before entering the league. Bronny James, however, took a different path, playing only one season for the University of Southern California (USC) before making the leap. His swift transition bypasses the traditional progression, where players gain experience and maturity over four years at the college level. This expedited entry might fast-track his exposure to elite competition but also puts him in the spotlight earlier than most, raising questions about the impact on his development and readiness for the NBA’s demanding environment.  

Bronny’s early entry into the NBA stands out since his performance during his single season at USC was modest, with an average of only 4.9 points per game. These statistics are far from the standout numbers typical of NBA draft prospects.  

While many fans are thrilled to see LeBron and Bronny on the court, a substantial number share these concerns. Social media, especially  X, has been buzzing with mixed reactions, with many echoing the sentiment that this step may have come too soon.  

“If his last name wasn’t James, he would never actually go to the draft,” said one post. 

“Massive mistake, he needs more time in the [college] league,” said another. 

Amid the swirling debate over Bronny James’ entry into the NBA, Los Angeles Lakers General Manager, Rob Pelinka, stepped forward to clarify the team’s reasoning behind drafting the player. “Bronny is, first and foremost, a person of high character,” Pelinka said. “And second, he is a young man that works incredibly hard. Those are the qualities we look for in drafting players and adding to our developmental corps at the Lakers.”  

Pelinka emphasized that both he and Coach Redick were committed to supporting Bronny, affirming that this draft was achieved through Bronny’s dedication to the sport. These comments aim to reinforce the Lakers’ so-called belief in Bronny’s potential and quiet the concerns surrounding his inclusion in the NBA.  

As the season progresses, Bronny James’ journey in the NBA will remain a focal point of both excitement and skepticism. Sharing the court with his father was undoubtedly a special moment, but when examining his stats, it’s hard to ignore the indicators that he is not yet fully prepared for this level of competition. Bronny has a long road ahead to prove himself, and while he’s stepping into a family legacy, it’s clear he has significant strides to make before he can stand on his own in the NBA.  

Balanced attack leads Badgers men’s basketball to home opener win over Gryphons 

0

The Brock Badgers men’s basketball team begin their 2024-25 season with a huge win in front of the packed Bob Davis Gymnasium, crushing the Guelph Gryphons 64-47 on Oct. 24. 

It was a team win for Brock, with all 12 players scoring in the game, as the offence was spread out in the first with nine Badgers hitting the score sheet in the quarter.  

Anthony Heyes, second-year guard from St. Catharines, led the team with five points in the frame, while fellow sophomore Nils Gesmann, added four more in the paint. The German centre looks poised in the starting role, finishing with eight points on four-of-five shooting in the game, as the six-foot-eight big will look to continue to grow in an enhanced role this season. 

The Badgers outscored the Gryphons 27-10 in the opening quarter, shooting 55.6 per cent from the field — by far their best shooting quarter in the game — but sloppy play in the second allowed Guelph a chance back into the contest. 

Brock committed nine of their 14 turnovers in the second quarter, many of which were at the top of the key, allowing the Gryphons fast break opportunities, which they capitalized on. Guelph guard Jack Tunstill led the way for the visitors with nine of his game-high 12 points in the frame as the Gryphons outscored the Badgers 15-10 to cut their deficit down to 12, 37-25, entering halftime. 

The Gryphons began the second half as the first half ended, going on a 5-0 run in the opening two minutes of the third quarter to further cut the Brock lead to seven. 

However, the Badgers regained control, showcasing their tenacity and perseverance that led them on a Cinderella run to the Wilson Cup Final a year ago, as the 2023-24 OUA Runners-Up went on a 17-5 run to close the quarter. 

Georges Mfwamba Ngandu, a staple of the Badgers playoff run to the U Sports National Championships last season, scored a team-high six points in the third as Brock entered the fourth quarter up 19, looking to seal their 10th straight home opener victory.  

Nathan Charles, who transferred to Brock after playing three seasons for McMaster, led all Badger players with six points in the fourth as the Mississauga-native finished with a team-high 10 points and seven rebounds in his Badgers’ debut. 

The Gryphons responded though in the latter stages of the quarter, going on a 12-4 run in the final four minutes to close the game but it was too late, as the Badgers held on for the season opener victory. 

In the win, the Badgers shot 34.4 per cent (22-for-64) from the field, while the Gryphons shot 29.8 per cent (17-for-57), and outscored Guelph from beyond the arc — four threes compared to one — and from the free throw line, scoring 16 points from the line in comparison to Guelph’s 12. 

Next, the Badgers head north to begin their road schedule in Sudbury against the Laurentian Voyageurs on Nov. 2 before battling the Nipissing Lakers in North Bay on Nov. 3. 

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

Badgers women’s hockey lose hard-fought game to Varsity Blues 

0

The Brock Badgers women’s hockey team fall 3-2 to the Varsity Blues in Toronto, as the Badgers’ comeback is cut short. 

Ava Cruikshank, Brock’s second-year goaltender, made an OUA career-high 35 saves in the game, while Sydney Hood and Randyll Strongman each scored for the Badgers. 

After the Varsity Blues scored the game’s opening goal just as their five-minute power play expired, the Badgers responded on a power play of their own with Hood deflecting Madelyn Walsh’s point shot past Toronto’s Carlee Vance to tie the game at one. 

Hood’s team-leading second goal of the season was Brock’s fourth power play goal in three games this year, as the Badgers continue to make adjustments to a power play that only scored 10 times all last season, which ranked fourth-worst in the OUA at 10.3 per cent. 

However, an area that still needs some work this season is Brock’s play in their defensive zone. After allowing a combined 14 goals in their first two games — a 5-2 loss at Carleton and a 9-1 defeat in Ottawa — a sloppy turnover in the Badgers’ defensive zone led to Ashley Delahey scoring Toronto’s second of the period to give the Varsity Blues the 2-1 lead after one. 

But the Badgers continued to show their fight and hustle, tying the game for a second time in the middle frame.  

Following Vance juggling Allison Moore’s slot shot, Strongman pounced on the loose puck, burying her first of the season and Brock’s second of the game to level the score at two apiece as momentum shifted in the Badgers’ favour entering the third period. 

Julianna Parks had a glorious chance to give the visitors the lead on the breakaway to open the third, but Vance had other ideas, making one of her 15 saves in the game to keep the game tied. Vance’s eight third period stops denied the Badgers of completing the comeback, allowing the 2023-24 OUA Finalists a chance for their third straight win against Brock. 

With ten minutes remaining in the third period, Toronto’s Sophia Grawbarger beat her defender to Delahey’s pass before sliding the puck through Cruikshank’s five-hole, scoring what stood as the game-winning goal for the Varsity Blues. 

The Badgers lost the nail-biting game 3-2 while getting outshot 38-17, as Brock is still seeking an offensive explosion toward their first win of the season. 

Luckily the Badgers won’t need to wait long for a chance at win number one, as they host the Varsity Blues in the second game of their home-and-home series in the Badgers’ home opener on Oct. 31. 

For more information about the Brock Badgers women’s hockey team, head to gobadgers.ca. 

Former One Direction star Liam Payne dies at 31 

0

Liam Payne passed away on Wednesday, Oct. 16 following a tragic fall from his hotel balcony in Buenos Aires, Argentina.  

While very little is known about the exact circumstances of the death of the 31-year-old former One Direction star, speculation surrounding the cause of the singer’s accident has been running rampant online.  

At the time of his death, Payne was in Argentina to visit friend and former bandmate, Niall Horan, who was performing a show in Buenos Aires. Payne and his partner, actress Kate Cassidy, flew out to Argentina to attend the show. Payne posted on his Snapchat, “It’s been a while since me and Niall have spoken, we’ve got a lot to talk about.”  

Following their arrival in Argentina, Payne and Cassidy made an appearance at Horan’s show. Payne interacted with fans and posted videos of himself having a good time.  

After the singer’s death, the BBC interviewed Noelia Verón, a fan of Payne’s, who had attended the concert and interacted with the star. She said Payne seemed fine at the concert, “dancing, waving and cheering… [he] seemed to be enjoying himself.” Verón went on to clear up speculation that the singer was under the influence, stating that after the fact, “people said he was either drunk or on drugs. But that wasn’t the case at all. He talked to us, hugged us and even made jokes.” 

But things took a turn for the worse after the concert.  

While Payne and his partner were only supposed to be in the country for five days, according to a TikTok Cassidy made on the Monday before his death, their stay was extended. During this time, the pair were staying at a friend’s home. Following Cassidy’s return to Florida, it seems Payne checked in to the CasaSur hotel in the upmarket neighbourhood of Palermo. 

On Oct. 16 around 5 p.m. local time, hotel staff at the CasaSur made a call to the police about a guest “who [was] overwhelmed by drugs and alcohol” and “destroying his room.” In a second call to emergency services, the hotel manager said, “[Payne] has a room with a balcony and we’re a little afraid that he might do something life-threatening.”  

Just seven minutes after the initial call was made, Payne fell 45 feet to his death off the balcony attached to his third-floor room. Emergency services pronounced the singer dead at the scene, with “no possibility of resuscitation.”  

Police found Payne’s room in “total disorder,” with a bottle of whiskey, a lighter and various medications — including the anxiety drug Clonazepam — scattered around. Argentinian media sources went on to publish pictures that were allegedly of the singer’s hotel room, showing a broken TV screen, various bottles, cans and candles, as well as aluminum foil and a half-consumed glass of champagne.  

According to anonymous Argentinian sources, Payne’s autopsy supposedly reported finding a cocktail of drugs called “pink cocaine” in the singer’s system. This mixture is made up of methamphetamine, ketamine and MDMA. Furthermore, crack cocaine and benzodiazepine were also purported to be found.  

Still, it is worth noting that the final toxicology results have yet to be released and will not be known to the public for some time, so these claims cannot be confirmed. At this time, the only thing that has been revealed was that the official autopsy concluded Payne’s death was caused by the traumatic injuries he sustained from his three-story fall. Prosecutors have also ruled out the possibility that another person was involved.  

In July of last year, Payne posted a YouTube video talking about his sobriety journey, stating that he was nearly six months sober after a nearly 100-day stay in a rehab facility in Louisiana. Payne was still very vocal about his sobriety even into the early summer of 2024.  

Online speculation has run rampant about what transpired between Payne’s vocal sobriety and his death, which some believe came as the result of the substances in his hotel room and supposedly in his system. 

Yet, there is no official word on what exactly caused Payne’s fall. Still, friends, fans and the singer’s former bandmates have expressed support for Payne’s family in the wake of his tragic passing.  

The Silver Scream 2 welcomes you to a stronger, heavier and scarier collection of horror movie-inspired songs 

0

The Silver Scream 2 provides a more consistent repertoire of horror-themed songs than its predecessor, with deeper cuts and heavier riffs. 

Just like Horrorwood, this article is a sequel to my retrospective on The Silver Scream. As a brief rundown, like its predecessor, Horrorwood’s songs are based on horror movies, a formula that leads to fun lyrics and sounds that emulate their corresponding films. 

Fans of Ice Nine Kills’ (INK) powerhouse heavy metal album, The Silver Scream, had to wait three years before its sequel, The Silver Scream 2: Welcome To Horrorwood was released in 2021. Luckily, you need not wait even a minute to listen to these two albums back-to-back. 

Horrorwood gets off to a slower start than its predecessor thanks to the introduction track, “Opening Night.” This spoken word track substitutes heavy metal for tasty lore as an ominous narrator explains that the following songs are key pieces of evidence “allegedly linking Ice Nine Kills frontman, Spencer Charnas, to the brutal slaying of his 28-year-old fiancé.” To see the story behind that, you’ll have to watch the series of music videos for yourself, but for now, we’ll get into the album. 

“Welcome To Horrorwood” is an interesting song for this album, because it’s not based on a horror movie. Now, that may seem contradictory to what I just said, but this song acts as a commentary on scary movies in general, introducing the audience to the album and the land of Horrorwood, “the only place it pays to be a hack.” 

It’s also one of the best songs on the album, with its heavy drum beat and electrifying guitar solos. Whereas I wasn’t a fan of the anthem songs on The Silver Scream, this is a horror anthem done right, appealing directly to those who are “misunderstood” and “more bad than good.” Perhaps my enjoyment here comes from the fact that “Welcome To Horrorwood” isn’t related to any movie, so its anthem-like qualities aren’t connected to any specific villains but rather the horror genre as a whole. All in all, it’s a great start to a great album. 

Next up is “A Rash Decision,” inspired by Cabin Fever. This one maintains the steady thrum from the opener, sure to keep your head thumping in time with the bouncing tempo. I’m not quite sure why Charnas sings about “love” failing to “stop the fever” — this could just be an allusion to sex — but the breakneck pace of screams and haunting choir voices clears all confusion, the song speeding along until its final second. 

“Assault & Batteries” sets an early precedent in Horrorwood, much like the songs inspired by Freddy, Jason and Michael did in The Silver Scream. This is a fun take on Child’s Play, with an introduction that features a bouncy, child’s voice singing about being “your friend until the end” to a chorus of toys being wound up and squeaking enthusiastically. But this doesn’t last long as the cutesy façade melts to reveal the psychotic killer beneath, the evil doll, Chucky. 

This song dances between cute and evil throughout its entire runtime, most especially in the chorus as a tinny voice taunts, “Na-na-na-booboo, he’s gonna get you” before a huge voice spells out the truth of this “E-V-I-L D-O-L-L.” Children giggle and bemoan about dismemberment as heavy guitar riffs blast all the way home, a dichotomy that comes to a head in the body-swaying, intense and jeering conclusion. 

Introducing a level of drama to the album is “The Shower Scene,” based on the classic slasher movie, Psycho. Once again, this song balances its filmic elements — in this case, a slow-burning Hitchcock thriller — with entertaining heavy metal. Far and away the best moment of this song comes mid-way through it as running water sprinkles in the background and Charnas laments his inability to “come clean.” 

As anyone will know, this is the titular shower scene, and INK uses Psycho’s hauntingly intense sting to excellent effect, remixing it with the sounds of a heavy guitar, a slashing blade and a woman’s screams to emulate the feeling of a knife being repeatedly plunged into the victim as the song and the listener swirl “down the drain.” 

“Sometimes dead is better,” starts one of the grittiest songs on the album, “Funeral Derangements,” immediately re-introducing a head-slamming pace after the more dramatic song that came before it. Inspired by Pet Sematary, this song matches the movie excellently, starting intense before audibly skidding out of control, just like the semi-truck that killed young Gage in the film. 

“Funeral Derangements” has an unexpectedly haunting and mournful chorus as Gage’s father vows to his dead son, “I’ll see you on the other side.” But as fans of the movie know, this is only the start of his nightmare. “The flesh is living, but the soils have spoiled,” sings Charnas in the song’s gruelling conclusion, describing the consequences of dredging souls from their place of rest. Dark and poignant, “Funeral Derangements” marks another win on an album full of them. 

While Resident Evil is a movie, it began as a video game, something that “Rainy Day” acknowledges with its almost 8-bit instrumentals. Some of the lyrics are a bit on the nose, with Charnas and a Siri-esque voice saying that “there is no next level” and that it’s “game over,” but the ultimate effect is still fun, exciting and new for the band. Just like “Welcome To Horrorwood,” “Rainy Day” represents the new directions INK is taking in this album, necessary for a sequel such as this one. 

“Hip to Be Scared” was the first single released from this album, and it’s not hard to see why. The song begins with an atmospheric introduction to the macabre and noir underbelly of New York City, where wealthy psycho Patrick Bateman commits his gruesome crimes, before kicking into a heavier tone. This feels like a ‘safer’ song on the album, with a less intense sound and more dramatic flair. While I tended not to prefer the safer songs from The Silver Scream, this one works for me. 

The song oozes with atmosphere, just as theatrical as Bateman’s performance. There’s also a fun meta interlude which I referenced in my previous article, wherein Charnas playfully discusses his opinion on INK before presumably hacking his conversation partner to death with an axe as the sound sinks into a heavy metal breakdown, the grungiest section of this high-paced and dramatic song. 

For a song about Valentine’s Day, “Take Your Pick” spares no feelings in its brutality. “There’s more than one way to lose your f****** heart,” screams a combined INK in the song’s first verse, paving the way for the rest of this bloody and gritty song featuring Cannibal Corpse vocalist George “Corpsegrinder” Fisher, of all people. This song may not bring to mind its holiday in the same beautiful fashion that “Merry Axe-Mas” from The Silver Scream did; still, its visceral and gut-wrenching timbre and lyrics — screaming about a killer with a “f****** axe to grind” — perfectly represents the dusty mineshafts and the grimy murders within them in its source film, My Bloody Valentine. 

“The Box” is an entertaining track that walks between such lines as pleasure and pain, angels and demons, virtue and sin, and Heaven and Hell, as well as the dramatic and heavy metal we’ve seen throughout this album already. These are fitting themes for the song, considering its source material is the sexually and violently gluttonous film, Hellraiser. Throughout “The Box,” Charnas praises the “priest of Hell” and “Master of Sin,” the cenobite traditionally known as Pinhead, in an upbeat chorus that evokes the image of a cult leader standing on the precipice of Hell, anxiously awaiting the arrival of his wicked leader. 

In a somewhat bizarre turn of events, “F.L.Y.” introduces a rapid, almost enthusiastic tone in its intro, but this is actually the perfect sound for a song based on The Fly. This enthusiasm captures the smug and excited demeanour of a successful mad scientist: in this case, a Seth Brundle who’s just invented teleportation. This tone is most apparent in the cheeky, repeated line, “I’m not saying I’m not playing God,” a double negative that mirrors the demeanour of someone who doesn’t care that he’s breaking the laws of nature. 

Of course, fans of the movie will know how this story plays out, and “F.L.Y.” does too, with its dozens of ‘fly’ puns. I wish the song better captured the disgusting body horror mess of the film’s conclusion, but keeping this as a knowing nod as the song ends with the lines, “and now I’m thinking / I was born to fly!” is still effective. 

“Wurst Vacation” does much of the same, singing about painting the walls with flesh and bones while an electrifying, head-banging beat carries us through the song, but this time there’s a fun German twist! The basis for this song is Hostel, and INK successfully captures the gritty nature of the film with a consistently heavy sound spliced with voices begging and screaming for mercy. 

Re-introducing some bombast into Horrorwood is “Ex-Mørtis,” a song inspired by The Evil Dead. This great track injects some of the excitement from the highs of The Silver Scream. It is almost carnivalesque in its glee, with lyrics telling you to “cross the Book of the Dead off your reading list,” while still maintaining a sense of dread. The chorus dips and rises like a roller coaster before a fitting boomstick blast introduces a short and “groovy” breakdown. All in all, this is a great song at the end of the album, which I wish was the closing track. 

Unfortunately, the last song in Welcome To Horrorwood is “Farewell II Flesh,” based on Candyman. Perhaps I’m being too cruel to this song. It’s not bad by any means, but the first minute is a dramatic introduction that feels like a sudden drop-off after the excitement of “Ex-Mørtis.” On its own, I think this is a worthy addition to Horrorwood, but at the end of the album, it feels a little tired. 

“Farewell II Flesh” does pick up after its intro, but its carnivalesque guitar solo interlude feels a bit too much like a rip-off of “IT Is the End,” and the whole song lacks a sense of cohesion. I think I’m looking for a bit more from this song, even if it has entertaining segments: just not perhaps enough of them for the album’s conclusion. 

But much like last time, if you’ve got the album’s extended edition playing, Welcome To Horrorwood: Under Fire, you’ll get a bit more content, including one more original song. “Meat & Greet” is another somewhat inconsistent song, but for me provides a superior conclusion to the album. 

Emulating the conversational tone from The Silver Scream’s bonus track, “Meat & Greet” takes its cinematic inspiration from The Silence of the Lambs. This song is dramatic while remaining exciting; in fact, it has perhaps the most exhilarating guitar riffs in the entire album. Moreover, its chorus is eerie, sinister and grand, perfect for this unique genre of horror-themed metal. My qualms, however, come from the almost banal tone Charnas employs in some of the song’s verses. I think this is meant to emulate the cold and calculating nature of the movie’s iconic serial killer, Hannibal Lecter, but in a song, it doesn’t quite hit the way it was intended to. The rest of the song, luckily, makes up for these strangely delivered lyrics. 

All in all, The Silver Scream 2: Welcome To Horrorwood provides a gritty and thrilling heavy metal roller coaster ride. While it experiences a slight lull near the end — which unfortunately comes to a head in the standard version’s final song — it is an altogether more consistent experience than its predecessor. 

Together, both Silver Scream albums are the perfect soundtrack to any metalhead’s Halloween season. Able to simultaneously express love and admiration for the horror genre while being gleefully entertaining, Welcome To Horrorwood is well worth your time whether you’re a hardcore heavy metal fan or a heavy metal fan-to-be. 

Every day is Halloween for the Brock Horror Club 

0

The Brock Horror Club shows that horror is more than just movies: it’s literature, conversation and community. 

It’s that time of year again: Halloween is right around the corner. But for the Brock Horror Club, every day is a creepy one. In fact, they’ve been preparing students for the holiday since Sept. 27, when they held their first event of the year, a Scary Stories Around the Fire event at the Alphie’s Trough Firepit. 

“[It] went phenomenally for our first official event of the year,” said Rowan Whate, founder and president of the Brock Horror Club. “I think scary stories are a tradition that many people hold dear, so with our collaboration with the Creative Writing Club, we wanted to bring this tradition to Brock.” 

A literature-themed event is uncommon for the club, whose events last year largely consisted of horror movie watch parties, but Whate says that the format is actually the most fitting of any for the genre: 

“As great as movies and video games in the genre are, I vehemently believe that literature is at the heart of horror. Dracula, Frankenstein, Psycho, The Shining, you name it, there’s a solid chance that your favourite horror movie is a literary adaptation,” said Whate. “As beneficial as the screen is for horror, the best horror utilizes one’s imagination, and that’s how literary horror works.” 

“If there’s one thing I want to get across, it’s to read more horror books,” said Whate. “Authors like Gretchen Felker-Martin, Stephen Graham Jones, Nick Cutter and Grady Hendrix are breaking the barriers of what we know as horror every year, and all I can really do is spread the word.” 

Of course, horror movies still have their place. As Whate explained last year in a conversation with The Brock Press, “movies are a fantastic way to meet other people,” and horror is “a genre perfect for watching in big groups, jumping at each and every scare.” 

Unfortunately, though, hosting movie events can be tougher than one might expect. The club recently had to cancel a trip to see Smile 2 in theatres “due to an unexpected increase in event cinema released this month, causing Smile 2 to only be available in Laser Ultra, even days after its initial release,” said Whate. As this would mean increasing the entry fee by more than double, they decided to cancel, but have “added new precautions to ensure this does not happen again for future events.” 

What’s more, choosing a movie to show at Brock can also be a beastly exercise for the club. “As a public entity, Brock clubs must follow Canadian copyright law, which unfortunately does significantly reduce the number of movies […] Brock has the license to [show],” said Whate.  

“None of this is to mention the content of the movies. Horror has always toyed with boundaries of what is and isn’t societally accessible, and so we must also consider this when planning events, as accessibility is deeply important to us. When planning an event, the running of it is only half of the story, as finding a movie is often just as tough.” 

Despite the troubles, horror is worth it, much in part to the genre having “a united goal” to scare audiences, said Whate. Furthermore, it provides a sense of togetherness, and a club like this is a way for people to come together and celebrate a genre traditionally cast in a negative light, as “lesser in both critical examination and popular culture,” said Whate. “It can be hard to find people to discuss it with,” but a club like this thrives off that “desire to connect.” 

The Brock Horror Club hopes to expand this conversation in the months to come as they develop a Brock Horror Podcast, where students and staff can discuss and delve into the many different avenues that horror offers. 

“Podcasts are an interesting context to discuss because we live in an environment that is incredibly oversaturated, and yet, there is something so novel and important about the unscripted nature and back-and-forth of the format,” said Whate. 

With plans like theirs, it’s easy to see how the Brock Horror Club will continue to thrive and adapt, even after the Halloween season is over. Horror is not just a once-a-year genre, it’s a pillar of unity for lovers of film, literature, podcasts and more. 

Restrictions on bike lanes cannot fix gridlock  

0

Doug Ford’s attack on bike lanes will not solve the ever-present issue of gridlock; it will limit transportation options and only push us further into car dependency. 

On Oct. 15, the Ontario government published a news release in which they outlined their legislative efforts towards “fighting gridlock and making life easier for drivers.” 

The changes proposed include increasing the speed limit on 400-series highways to 110 km/h, opening a “potholes prevention and repair fund” for the 2025 construction season, continuing to freeze knowledge and road test fee increases, and placing restrictions on bike lanes that have “a negative impact on vehicle traffic.”  

Further, the Minister of Transportation, Prabmeet Sarkaria, said that cities must justify any “cycling infrastructure” built in the past five years that meets their criteria for inconveniencing drivers. 

But wouldn’t more access to bike lanes provide a transportation alternative to driving, encouraging drivers to rely less on their vehicles and thus alleviating traffic? 

To Ford, this question is illogical. He says that “sanity” needs to be brought back to the construction of bike lanes, blaming them for “bringing traffic in our cities to a standstill.” 

Sarkaria echoed Ford’s sentiment, blaming gridlock on the “explosion of bike lanes” installed during the pandemic “when fewer vehicles were on the road and their impacts on traffic were unclear.” 

Though the government could have examined the surge of post-pandemic car travel and declines in public transit use, they choose to continue to use bike lanes as a scapegoat for Ontario’s issue of car dependency, pouring huge amounts of money into building endless highways and limiting quality alternatives to car travel. 

Since the municipal government announced the proposed legislation, cyclists have pushed back against the attack on bike lanes. 

On Oct. 17, a group of cyclists held a rally at High Park to show their opposition to the proposed legislation. 

Michael Longfield, the Executive Director of Cycle Toronto, called the government’s proposition a “big overreach,” saying that cycling infrastructures “are really meaningful to people” and necessary to their daily commutes. 

Other cycling advocates shared their fears about the safety of those who rely on cycling infrastructure. 

“We cannot throw away human life for the sake of slight driving convenience,” said Jess Spieker of Friends and Families for Safe Streets. 

Not only will the restrictions on bike lanes provide disproportionate inconvenience and possible danger to cyclists, but research has found that they might not even improve the issue of gridlock at all. 

David Beitel of Eco-Counter, a company that works with pedestrian and cyclist data, told CBC News that eliminating bike lanes in favour of traffic lanes will create “induced demand,” meaning that commuters will opt for car travel as building more lanes will ostensibly make commuting by automobile more ideal, resulting in a circular process in which intensified gridlock returns continuously. 

Dr. Shoshanna Saxe of the University of Toronto’s Department of Civil and Mineral Engineering says that the concept of “induced demand” can also be applied to bike lanes, allowing for more drivers to opt for cycling if provided with the proper infrastructure, but because bikes are so small, it won’t have the same congestive problem that induced car demand will create. 

Instead of considering the ways cycling infrastructure could be used as an eco-friendly and accessible way to combat gridlock, Ford chose to push Ontario further into car dependency — a decision that will not favour commuters and keep them continually stuck in traffic. 

October Horror Cinema: “Late Night with the Devil” 

0

3/5 

The latest in found footage horror offers fresh ideas for the genre, but unfortunately, not all of them stick. 

In 1970s America, Jack Delroy has become a staple in late night entertainment. He’s a savvy hustler with his eyes on the prize, using his charisma and under-the-table help from an enigmatic group called “The Grove” — a reference to the Bohemian Grove — to aid his success. Despite his popularity and acclaim, Jack never quite reaches number one in network ratings, always a step or two behind his peers. His upward trajectory is sharply cut off by the sudden death of his wife and muse, Madeline. Shaken, he vanishes from the spotlight.  

On one fateful Halloween night in 1977, Jack attempts to revive his career one last time by inviting a guest on the show who claims to be possessed by the devil. The guest in question, known as Lilly, is the sole survivor of a Satanic cult. Desperate to step back into the spotlight, Jack decides to attempt communication with the entity inside of Lilly, a decision with fatal consequences. 

Late Night with the Devil nails its aesthetic perfectly, capturing the gritty realism of found footage horror. The cameras are used to replicate a live television broadcast, with cutaways for commercial breaks and headlines popping up. 

There’s no shying away from campiness in the film either. The practical effects aren’t exactly realistic but work within the film’s ode to satanic panic horror in the ‘80s. Certain visual effects are very obviously edited in but are welcomed as tributes to horror of days past. One downside to this is that the very obviously fake effects take away from the horror aspects of the film, coming off as a bit goofy to those who aren’t strapped in for the ride. 

Dastmalchian is the film’s standout, most noteworthy performance. His acting radiates enthusiasm; his charisma is unavoidable and endearing. It’s clear he has a passion for the genre and would serve great in future horror roles. 

Regardless, all the excitement and ‘70s aesthetic bliss cannot make up for a few prominent roadblocks the plot comes across. 

Once the found footage gags begin to wear off, the film begins to feel formulaic and predictable. It meanders throughout its 90 minutes and sets itself up for a single, predictable conclusion. The horror plateaus in the third act with a lack of creativity behind its scares, its final minutes feeling anticlimactic.  

The film will likely work for diehard fans of the horror genre, but it lacks the force to fully stick the landing for people who aren’t fully invested. The conclusion you’re presented with is exactly what you would expect; when twists happen it’s never a surprise but feels like a consequential series of events. The ending leaves little room or interest in questions, as if the film itself is shrugging back at you as the credits roll. 

These gripes aside, Late Night with the Devil seamlessly disguises itself as a television broadcast in the vibrant ‘70s mystique. It’s an excellent premise with a middling execution that couldn’t be more fit for Halloween viewing. Although some of its ideas quickly grow stale, it’s enjoyable for what it does succeed at and leaves some room for new ideas in found footage horror. 

“Anora” will leave you breathless 

0

5/5 

It’s common for filmmakers to orbit around one idea or theme, slowly approaching the point where they create their magnum opus. In Anora, Sean Baker has finally hit the jackpot, producing something as close to perfection as possible.  

His thesis of storytelling could not be made clearer. The film is a dazzling rollercoaster of emotions that hypnotizes you with humour before completely shattering your heart.  

Anora, or as she prefers, Ani, is a young, street-smart sex worker from Brooklyn’s Brighton Beach Russophone community where she skillfully navigates the hustle of her profession, working long nights seven days a week performing lap and pole dances to make ends meet. Her momentum is thrown off when she meets Ivan, the affluent son of a powerful Russian oligarch.  

The two bond and impulsively agree to marry, allowing Ivan to obtain a green card to remain in America and giving Ani her chance at a Cinderella story. Unfortunately, it isn’t long before word of their marriage reaches his family in Russia, who send three henchmen to ensure an annulment of the marriage.  

Anora masters the ethos of Baker’s filmography; his commitment to portraying sex workers and marginalized groups with unwavering empathy and respect is true throughout his catalogue, making Anora feel like a long-awaited masterpiece years in the making. It’s a culmination of his writing and approach to character study, bringing Ani to life as one of his most fully fleshed out characters to date.  

It’s also a very, very funny film. The constant, chaotic dialogue is full of memorable jokes and one-liners, many of which unveil the depth of the characters and story. The actors’ chemistry combined with the shaky camera work creates a window into the film’s world, making it easy to forget you’re watching a movie in the first place. 

The first act leans into the story’s fantastical premise, whisking audiences through Ani’s whirlwind romance on a ketamine-infused Vegas trip. Baker paints an idyllic, modern image of the American dream decorated with stiletto heels, dab pens and four-karat diamond rings at the beginning of the film. After returning to New York as a newlywed couple, Ani abandons the hazy red lights of the strip club to “go chill out in her mansion, or whatever.” By every metric she’s hit the jackpot, basking in a life she never thought was obtainable — a Disney princess fairytale brought to life. 

It’s at the halfway point where the disarming humour is cut off, yanking you out of a high when the bodyguards sent to retrieve Ivan arrive at the mansion. From this point onward the film takes a dramatic tonal shift, dismantling the fantasy the first act builds but nonetheless maintaining its screwball wit. The introduction of these three stellar supporting actors creates a new source of comedy for the film, the standout of the three being Yuriy Borisov as Igor, who quietly monitors Ani throughout the story, subtly showing signs of care. 

The soul of the film is indisputably Mikey Madison’s phenomenal star-making performance as the titular character. Even in scenes where she takes the backseat and supporting actors take the lead, her quiet emotional presence is felt. Madison conveys a vast spectrum of emotions as Ani, fluctuating many times in mere seconds, allowing her to disappear into the role. She makes audiences feel Ani’s reactions to the ever-changing circumstances she ends up in. 

Madison’s previous roles in Once Upon a Time in Hollywood and Scream were both very physically demanding, but she’s on full throttle here in the leading position. She kicks, screams, bites and throws punches without hesitation, fully proving she has what it takes to command a scene and lead a movie. The nature of Ani’s work requires her to be frequently unclothed, but Madison controls her facial expressions in these scenes to ensure we never get a full look at Ani’s hidden vulnerability. 

Without giving too much away, the ending scene is verifiable proof that Baker is a master of concluding stories. After a film full of humour and emotions, the ending doesn’t feel fit for applause, but for silence. It leaves you soaking in the resonance and forced to address difficult questions about how liberating sex work really is. 

Anora is a film for the ages. It’s effortlessly modern in aesthetics but proposes timeless questions of not just working but finding love under modern-day capitalism, building a character study of Ani with utmost empathy and care. Mikey Madison’s career is only beginning with this spectacular performance, and Sean Baker has made it clear he isn’t going anywhere.  

No one is above fantasy. In trying times, we can all hope for miracles to happen to remove us from these difficult moments; it’s only natural. Sometimes these miracles happen, sometimes we do get our chance at a better way of life, and sometimes we believe love can save us, but the rich are not reliable tools to bring those dreams to life. 

“Disease” marks Lady Gaga’s glorious return to form 

0

The prolific singer-songwriter returns to pop music with her best lead single in years. 

On Oct. 25, Lady Gaga released the lead single “Disease” for her unnamed upcoming studio album known simply as “LG7.” The album is set to release in February of next year. 

The album will be the singer’s first pop album since 2020’s Chromatica, an EDM-inspired album. “Disease” already sounds like a departure from Chromatica’s generally bright sound and aesthetics, entertaining darker production choices and melodies that harken back to tracks like “Government Hooker,” “Bloody Mary” and “Heavy Metal Lover” of the Born This Way era. In an interview with HBO she confirmed the upcoming project will explore darker themes, stating “there is a lot of pain associated with this adventure.” 

It’s been well established by now that Gaga is an artistic chameleon. Her career has been founded on fearlessly pushing boundaries while also wearing her heart on her sleeve. Her ventures into numerous acting roles, including an Academy Award nomination for her role in A Star is Born have made her an exciting, multi-talented artist to follow. 

If Gaga’s discography has proven anything, it’s that she is more than comfortable moving between genres. From her origins in dark synth-pop, country-inspired Joanne and numerous jazz collaborations with the late jazz icon Tony Bennett, Gaga has worn genres as a mask, never settling for one giving her artistry an ever-expanding mosaic quality. 

In late September she released Harlequin, a companion album to Joker: Folie À Deux compiled of classic jazz hits and a few original songs. Regardless of the film’s reception, Harlequin further exemplifies Gaga’s ease of understanding the groove of different genres. 

There’s a familiar quality on “Disease” that echoes her approach to pop music from the early 2010s. She makes the song’s root chord progression known in the opening bars, giving the listener an immediate sense of what is to come. This approach is prevalent across her discography. Her now 15-year-old hit single “Bad Romance,” does this in its opening bars as well with thundering synths nailing home the progression while Gaga’s voice sources over them. 

The airy, reverb synths and Gaga’s distant-sounding vocals in the introductory bars are quickly contrasted by a grimy synth bass instrumental, hitting you at full force. Her vocal delivery over the verses is commanding and mysterious, building into the pre-chorus before erupting into the bombastic chorus characteristic of her hits. 

For now, “LG7” is still a project shrouded in mystery. Gaga promoted her album at the Gaga Chromatica Ball concert film premiere, stating “it’s nothing like anything I’ve ever made before.” The seeds for an exciting album rollout have been planted, “Disease” is only the beginning. It’s a declarative statement of a track that showcases a refreshing return to pop music while embodying the formulas and sounds of her past. While she may be years into her career, Gaga still proves that when pop music experiences fatigue, she has the antidote. 

Editorial: Hating on taxes needs some nuance 

0

Rhetoric around the hating of taxes is far too simplistic and often leads to the worst kind of tax policies that cause a series of negative downstream effects on society.  

Amongst the sporadic and no doubt inconsistent plans that former president of the United States, Donald Trump, has campaigned on for the 2024 U.S. general election is that he wants to scrap income taxes entirely and replace the lost revenue with tariffs. While this anachronistic policy proposal may excite some people, it’s because they aren’t thinking about the implications of removing income tax revenue entirely from the U.S. government.

Doug Henwood gives a strong breakdown in Jacobin outlining exactly why there shouldn’t be optimism that this policy proposal — and a slew of other economic policies that Trump is flirting with in his campaign proposals — would be good for the U.S. economy at all.  

Despite the lack of economic sense behind this idea, Trump’s bid to slash income taxes might be smart electorally speaking because many people, especially Republicans, vote simply based on who will lower their tax burdens. According to a recent poll from Gallop, about one in three Americans cite taxes as “extremely important” to how they vote in the U.S. election. 

Beyond the corroborative data, I’d wager most people have had experience in political discussions around middle-class company where the subject of highest concern in terms of politics for said individuals is their personal taxes. Typically, so the scenario goes, these individuals say they vote based on whoever will lower their taxes without any thought into the economy-wide ramifications of if those lowered taxes aren’t buoyed by some other revenue source.

The taxes of concern for middle-class folks are often always income taxes because the middle class usually don’t own much capital beyond the equity they’ve built through their mortgage. So Trump is showing a fair degree of campaigning savviness with the way he’s specifically attacking income taxes.  

Of course, there’s a reason why Trump isn’t mentioning taxing capital to reduce the tax burden on lower earners: that’s the class he truthfully represents despite portraying himself, often in comedically unbelievable fashion like his latest campaign stunt where he worked a fryer at a McDonald’s, that he’s a populist for the average American.  

Trump, and basically all modern U.S. presidents, cynically disregard how capital and high incomes can be taxed disproportionately to ease the tax burden of low-income earners. And this gets to the heart of the lack of nuance with which the average voter approaches their political views on taxation. The average voter often never considers how lower taxes on high earners and capital will inevitably place higher burdens on their own taxes and worsen the economy by keeping a majority of people locked into various forms of debt and subsistence costs, therefore not being able to stimulate market demand through consumption. This dynamic then spurs the growth of credit demand in the economy which is essentially private debt and private debt is often what fuels economic crashes.  

Zooming out for a moment, there are, broadly speaking, two kinds of taxes: labour and capital taxes. Labour taxes are taxes placed on the remuneration of labour, so income taxes. Capital taxes are taxes placed on value-accruing assets or assets with the potential for value-accruement. This latter category includes taxes on buildings, real estate, corporate profits, dividends and capital gains.  

An OECD report from 2023 showed that capital-earning income like dividends are often taxed far more favourably as compared to labour taxes in many countries. There’s several plausible reasons for this phenomenon: political lobbying from special interests who throw campaign money at politicians they know won’t, or imply shouldn’t, touch their wealth; governments’ fears — which are somewhat dubious — that taxing wealth too much will cause capitalists to leave their country; and policy creators’ genuine belief in laissez-faire principles which are reified in low capital taxes as a way to not disturb the “invisible hand” of market mechanisms. These are all likely culprits.  

But this slew of cynical reasons is even more frustrating when considering that the period in history in the Western world where the middle class grew the most, known by historians as the Great Compression, was roughly the period spanning the end of the Second World War and the beginning of the 1970s. A key feature of this successful building of the middle class in this period were factors like tight controls on the financial sectors of the economy, the general strength of unions and the demand for unskilled labour — but also that this period had the highest levels of progressive confiscatory taxation at the top income brackets in history, hovering at 90 per cent in the top bracket in the U.S. from the mid-‘40s to the ‘60s for example. Additionally, the highest consistently sustained levels of capital gains taxes — corporate and personal — in the US existed in this period.  

And yet, capital gains taxes are still fairly low in most OECD countries, with an average top rate of 19.1 per cent as of 2021.  

A shift of the tax code to scraping progressively more off the highest earners’ earnings like in the post-war period as well as taxing capital assets at higher rates would ease the tax burden of relatively lower-income earners. On top of this, it would give the government the revenue reserves to recreate the distributive welfare state that led to the middle-class’s historically unprecedented rise in the early-mid latter half of the 20th century.

Increasing taxes on top earners and top-earning assets could also be invested back in communities for public housing projects, investments in healthcare and education, including free early education and much more that will be a net good for society as it was in a previous era.  

The popular rhetoric on taxes like to construct them as a monolithic imposition of equal measure on all individuals. Lowering taxes from this view, then, is always an unequivocal good. Combatting this rhetoric for its theoretical laziness as visible in the empirical record which proves it a recipe for only serving the interests of the super-wealthy, a class that has exponentially expanded their wealth since the eroding of the post-war welfare state, requires historicizing this discourse. Ultimately this simplistic rhetoric of lowering taxes at all costs is a neoliberal discourse that wouldn’t have made sense to most citizens and policymakers 60 years ago.  

Nuancing popular political rhetoric around taxes by drawing out the important distinction between labour and capital taxation and the success of high taxation on the most priveleged in the past is an important step towards building a more widely supportive fiscal and monetary system rather than one that favours a small cadre of ultra-wealthy individuals.  

Lynx and Liberty battle for WNBA Championship  

0

The WNBA Finals have reached a thrilling point as the Minnesota Lynx and New York Liberty go head-to-head for the championship title.  

Both teams are battling fiercely to secure the ultimate win, with each game delivering intense competition and unforgettable moments. As the series unfolds, the stakes are higher than ever, and fans are eager to see which team will emerge victorious and claim the coveted championship. 

Game one of the WNBA Finals between the Minnesota Lynx and New York Liberty was a fierce battle, with both teams showing incredible determination. The Lynx mounted a historic comeback, overcoming a 15-point deficit in the final five minutes to secure a 95-93 victory, tying the record for the largest WNBA Finals comeback.  

Courtney Williams was a crucial player for Minnesota, scoring eight points in the last two minutes, including a game-tying three-pointer. Napheesa Collier sealed the win with a step-back jumper in overtime. Despite Breanna Stewart’s strong efforts for New York, her missed free throw in regulation shifted momentum, and New York struggled to regain control in overtime. Minnesota’s strong defence and key offensive plays down the stretch set the tone for a dramatic series start.  

In game two of the WNBA Finals, the New York Liberty bounced back from their tragic game one loss to even the series with an 80-66 victory over the Minnesota Lynx. The Liberty, led by Breanna Stewart’s 21 points and seven steals, dominated the second half, holding the Lynx to just 27 points. Liberty player, Betnijah Laney-Hamilton, scored 20 points including a three-pointer ending a 12-0 run. The Lynx kept it close, pulling within two points in the fourth quarter, but they were unable to score in the final minutes of the last quarter. Courtney Williams, who had led the Lynx’s comeback in game one, contributed 15 points but failed to stop the Liberty’s defensive pressure. Even though Napheesa Collier achieved 16 points and eight rebounds, the Lynx couldn’t recover from their slow start, falling by 17 points in the first half. The Liberty’s superior three-point shooting (11 for 24) and forced turnovers were the factors to their win.  

The series now shifts to Minnesota, where the Lynx will look to regain momentum in game three as they play in front of their home crowd.  

In game three of the WNBA Finals, the New York Liberty secured a 90-77 victory over the Minnesota Lynx, giving them a 2-1 lead in the series. Breanna Stewart outdid herself, scoring 30 points and hauling in 11 rebounds, dominating both ends of the floor.  

Fans were on the edge of their seats when Sabrina Ionescu nailed a deep three-pointer with just one second remaining, sealing the win. The Lynx had battled back from a 15-point disadvantage, making it a tight contest, but New York’s timely plays held firm.  

The Liberty controlled much of the game early on, building a significant lead behind Stewart’s scoring and their defensive determination. The Lynx, led by Napheesa Collier and Courtney Williams, lifted a spirited comeback in the second half, closing the gap and making it a worthy finish, Minnesota tied the game in the final minutes, but turnovers and missed opportunities allowed the Liberty to stay in control.  

This high-intensity battle now puts the Liberty just one away from capturing the championship. 

Game four of the WNBA Finals was a back-and-forth battle that ended with the Lynx holding off the Liberty for an 82-80 victory, tying the series 2-2 and forcing a final fifth game.  

The game was tightly contested from the start, with both teams finishing the first quarter tied at 23. The Liberty pulled ahead in the second quarter, but the Lynx stayed close, tying the score at 41 before halftime. Jonquel Jones was a standout player for the Liberty, scoring 21 points and grabbing eight rebounds, while Breanna Stewart contributed 11 points, hitting just five of her 21 attempts from the field.  

For the Lynx, it was a balanced offensive effort. Napheesa Collier achieved 14 points, nine rebounds, four assists and four steals, while Courtney Williams added 15 points and seven assists. The Lynx’s ability to execute kept them in the game, especially in the second half, where both teams were neck and neck. The third and fourth quarters saw several lead changes, with neither team able to hold a strong lead.  

The game reached its peak in the final minutes of the fourth quarter, with the score tied at 80. Despite several opportunities, the Liberty couldn’t hold their own and the Lynx secured the win with defensive stops and a final push in the closing seconds. 

As the finals head into game five, the series is set to conclude on Sunday in New York. The Minnesota Lynx will look to carry the momentum from their game four victory, where their defense and balance helped them hold off the Liberty. Meanwhile, the New York Liberty will be eager to bounce back in front of their home crowd at the Barclays Center.  

With the series tied 2-2 and everything on the line, Sunday’s game will be a must-watch as these two teams leave it all on the court in the final battle for the championship.  

Pokémon leaks: The good, the bad and the ugly 

0

Earlier this week, Pokémon developer Game Freak suffered a major leak that contained the source code for past Pokémon games, information on upcoming projects, and more.  

The internet has since been in a frenzy scouring through over one terabyte of once-secret information allegedly acquired by the hacker. 

We won’t share any images or links to the leaked content here, but we will discuss the good, the bad and the ugly things about this massive breach. 

The good 

While it’s fair to say that ideally nothing should have leaked, the leak contains a lot of information that is undeniably interesting to many fans of the Pokémon franchise. 

Perhaps most excitingly, oodles of beta designs for various Pokémon creatures — that is, versions of the titular monsters still in development and not yet meant for public viewing — have been released as part of the leak. This includes unfinished versions of beloved Pokémon creatures and planned additions that were scrapped entirely. 

It’s fascinating to see in-development captures of fan-favourite Pokémon, especially since many were officially released in games decades ago. A long-waiting time capsule has finally been unlocked as fans pour over the designs to see how Game Freak reached their final versions. 

Given the strong public interest in these beta designs, it’s surprising that Game Freak hasn’t capitalised on the opportunity to publish an art book containing concept art from their games — a strategy many other major franchises employ. It’s become clear that Game Freak is sitting on a lucrative pile of concept art that fans are greatly interested in, and if they were to publish a collection of designs, there would likely be a lot of buyers. 

Beta versions of other game elements have also leaked, such as early versions of in-game songs and gameplay, meaning the leaks have become a treasure trove of information for longtime fans of the popular franchise. 

The bad 

Something more unfortunate about the leak is that it contains information about upcoming Pokémon titles. While the info is somewhat sparse, it’s enough to potentially damage Game Freak’s future release plans or cause them to reconsider their announcement strategy. 

It’s hard to deny that it’s incredibly interesting for fans to get a glimpse into the series’ future, but this could be disastrous for Game Freak and The Pokémon Company. Game reveals must be carefully orchestrated across a variety of internal departments and these types of marketing decisions often require great precision. This leak will do nothing but harm to the teams working hard on the games and trying their best to keep their contents a secret. 

Speaking of the developers, it’s no surprise that leaks can damage the morale of employees working hard on video game projects. Developers work hard and often eagerly await the time that their work will finally be revealed to the world, but leaks rob them of their special moment. 

While these leaks thankfully don’t go into anything plot-wise, they still tell us some general information about Game Freak’s upcoming content and risk hurting developer morale as a result. 

The ugly 

Inarguably the worst part of the leak is that Game Freak employees’ personal information was stolen through the hack, putting the affected employees — some of whom are current employees, some former and some who are under contract — at risk. 

An official statement from Game Freak confirming the leak states that 2,606 items containing the names and email addresses were accessed as a result of the hack. The company is currently in the process of reaching out to affected employees individually. 

Regardless of your stance on the current state of the Pokémon franchise, it’s important to acknowledge that this hack puts innocent employees at risk. These types of leaks are never acceptable, and it’s reassuring to see that Game Freak is prioritising the safety of its affected past and present employees. 

Hopefully, Game Freak will increase their online security to prevent putting their workers at risk again in the future. 

— 

While the Pokémon leaks undoubtedly contain incredibly exciting information for fans, it’s important to know this leak contains a lot more than cool beta designs. As fans sift through the hordes of leaked information and Game Freak panics about how they’re going to move forward from here, people’s first concern should be the safety of Game Freak employees and the protection of their personal data. 

Cicada Musical Festival took Henley Island by storm earlier this month 

0

A chilly breeze swoops in off the lake as the last few boats docked in the Port Dalhousie harbour rock against each other, the thick sonorous sound their hulls make when they crash together mimicking a muffled symphony.  

What was once a field is now a makeshift parking lot manned by various young people tucked into toques, scarves and brightly coloured orange safety vests. A group of four androgynous attendees sporting shaggy mullets pile out of a forest-green Subaru and head for the check-in line. It’s easy to lose sight of them in the crowd forming at the front gate, each member looking strangely similar to the person standing next to them. It’s not cold enough for jackets, at least not while the early autumn sun still lingers in the sky, but dark-coloured turtlenecks seem to be in fashion, paired with olive green trousers and brown Blundstones. It’s hard to tell if these matching outfits are intentional, or if this is simply the unspoken uniform for those attending the Cicada Musical Festival. 

Now a Port Dalhousie tradition, Cicada Music Fest started as a backyard party put together by the father of the festival, Thom Lepp. After 13 years, the party had grown too big to host in Thom’s backyard and Cicada Fest was born. After spending five years trying to find a permanent home for his “party,” Thom decided on Henley Island in 2010. This has been the festival’s home ever since.  

Though Thom passed away in 2017, his sons Malcom, Evan and family friend Ben Goerzen continue to plan the festival in his honour. Supporting various causes throughout the years, the most recent community partner was the Pathstone Mental Health Foundation. 

This year, the festival ran from Saturday, Oct. 5 to Sunday, Oct. 6. Henley Island sported three stages: the Martindale Stage, the largest stage; the Henley Stage, a medium-sized stage; and Thom’s Backyard, a small caravan tucked away into the trees that has been fashioned into a more intimate stage for the festival’s newer artists.  

On Saturday, notable artists like Serena Ryder and Half Moon Run stormed the Martindale stage while Andy Shauf and Slow Pulp graced the ears of listeners near the Henley Stage.  

On Sunday, Death From Above 1979, Big Wreck, Lowest of the Low and The Blue Stones also performed. 

On top of the big names, various lesser-known local artists, one of whom was former Brock student Lydia Stephen, got their chance to shine too.  

The festival’s full lineup can be found here.  

While it has grown throughout the years, Cicada Music Festival is still dedicated to celebrating Canada’s best musical talent, putting together a lineup of both familiar and new artists. Their aim is to create an event for everyone built on the back of locals and their support.  

Even in the absence of Lepp, the festival has retained the cozy and welcoming communal atmosphere that the founder cultivated in the backyard parties he held all those years ago. 

David’s late goal gives Canada win over Panama in home return 

0

It was a celebratory return to Canadian soil for the senior men’s national team on Oct. 15, defeating Panama 2-1 in an international friendly in Toronto, playing in their first home match of 2024. 

Jonathan David’s 87th-minute goal stood as the winner, as the 24-year-old striker continues his impressive run — scoring his fourth goal in his last eight games for Canada — which includes a pair of goals at this summer’s Copa America where the Canadians finished fourth. 

“It felt really good, especially with not a lot of time left,” said David after the game. “Obviously, we wanted to win here; it’s been a long time since we’ve been here, so I think it was important for us to win and I’m happy that I got the goal.” 

David’s winning goal which was the 30th of his international career, tied teammate Cyle Larin for most in the history of the men’s national team, who also scored his 30th Canadian goal in the game. 

After a successful Canadian press forced a Panamanian turnover, Ali Ahmed found an open Larin in the box who roofed it past goalkeeper Orlando Mosquera — who made eight saves in the match — to give the Canadians the 1-0 lead in the 44th minute. 

“Cyle (Larin) is in a good way in his career right now. He plays more at Mallorca (in Spain’s La Liga), scoring at Mallorca, he’s a bigger part of what they’re doing,” said head coach Jesse Marsch, who was coaching his first home game in Canada as the leader of the men’s program. 

Marsch’s philosophy since becoming head coach of the national team in May 2024, has been to develop younger players in anticipation of the CONCACAF Gold Cup next summer and ultimately the 2026 FIFA World Cup which will be co-hosted by Canada

In fulfilling his mission, Jamie Knight-Lebel, Kwasi Poku and Santiago Lopez were all named to the Canadian squad for the first time, with Poku — who formerly played at Hamilton’s Forge FC of the Canadian Premier League — making his international debut off the bench. 

“It was a great feeling to get my debut but an even better feeling to get the win,” said Poku. “It was definitely physically demanding.” 

The match’s physical nature and intensity picked up in the second half, especially with Panama’s Jose Fajardo levelling the game at one in the 69th minute after a turnover in the midfield by Canada. 

But despite the miscue, Marsch remains positive, using the match as a lesson for his young squad as they prepare for the games ahead. 

“It was nice to see that when the game wasn’t so easy, we rose to the challenge,” added Marsch. “We actually got better after it was 1-1, and I thought that was our best stretch of the game.” 

The Canadians outshot Panama 15-6 in the match with 10 shots on goal compared to Panama’s one and controlled 54 per cent of the possession. 

Canada now has two wins and a draw in their past three international friendlies since Copa America, beating the United States 2-1 on Sept. 7 and drawing 0-0 with Mexico on Sept. 10, as they now rank second in CONCACAF — behind Mexico and ahead of the U.S. — approaching the November international window. 

In that window, the Canadians will face Suriname (seventh-ranked in CONCACAF) in the quarterfinals of the CONCACAF Nations League with the first leg on Nov. 14 in Suriname and the second leg in Toronto on Nov. 19. 

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

How the Pharmacare Act will change healthcare for Canadians 

0

The Pharmacare Act finally passed through the Senate on Oct. 10, bringing new medication coverage and increased healthcare access for all Canadians, pointing to the beginning of a universal pharmacare program. 

According to a news release from the Government of Canada, Bill-C64 passing into law is the first step towards a national universal pharmacare program. 

The bill aims to alleviate financial pressure from Canadians and provide universal access to life-saving medications. 

“Canadians should not have to choose between purchasing the medications that keep them healthy and putting food on the table,” said Health Canada in the news release. 

The Pharmacare Act promises universal access to contraception for Canadians in the hopes of improving reproductive rights. The costly nature of contraceptives is the biggest barrier to reproductive freedom for many women, causing them to opt for cheaper yet less effective methods, if they can access any methods at all, says Health Canada

The bill will cover several oral birth control pills, copper Intrauterine Devices (IUDs), hormonal IUDs, contraceptive injections, various hormonal contraceptives and emergency contraceptives. A full list of covered brands can be found on the Government of Canada website

The bill also promises universal access to various diabetes medications and a fund for diabetes devices and supplies. 

The bill will cover “first-line treatments for diabetes that lower blood glucose levels,” which includes insulin, metformin and medications used in combination with the two. More information about brand coverage can be found on the Government of Canada website

The fund for diabetes devices and supplies will be separate from Bill-C64 but helps to fulfill its promise of turning towards universal pharmacare access for Canadians. 

The fund will support the purchase of equipment that is necessary for administering insulin, including “syringes, insulin pens and pen tips, or insulin pumps and supplies such as insertion sets and insulin cartridges,” says Health Canada

The Pharmacare Act requires Canada’s Drug Agency to make a list of essential drugs and medical products to reduce medical costs through a “national bulk purchasing strategy” and a consideration of the appropriate use of prescription medications. 

The bill also says that a committee to give recommendations on “the operation and financing of national, universal, single-payer pharmacare in Canada” must be created within 30 days. 

The Pharmacare Act was one of the New Democratic Party’s (NDP) priorities included in the now terminated Supply and Confidence Agreement (SACA) they had with the Liberal Party. 

The NDP’s health critic Peter Julian emphasized the importance of the passing of this bill, saying “Canada is the only country with universal healthcare that doesn’t have universal pharmacare.” 

For the bill to be implemented for all Canadians, the individual provinces and territories must make deals with the Federal Government to discern whether they agree to providing this universal coverage and how they will go about doing so. 

Minister of Health Mark Holland says he is confident that he can work with the provinces and territories to sign on to the plan, saying things are looking “very positive” and reassuring that deals will be announced soon. 

Although it will take some time for the Pharmacare Act to fully be in motion, the government is on the path to ensuring increased healthcare access for all Canadians. 

Trudeau discusses leadership, the upcoming election, electoral reform and more on “Uncommons” 

0

On Oct. 1, Prime Minister Justin Trudeau appeared on MP Nate Erskine-Smith’s podcast Uncommons to discuss a plethora of subjects from his failures and successes in office to the priorities he is bringing into the next election. 

Erskine-Smith prefaced the conversation by noting for transparency that there were no pre-approved questions by Trudeau. 

They began by reflecting on Trudeau’s time in office and the concerns Canadian citizens and other members of the Liberal Party have about him as the leader of the country. Erskine-Smith questioned Trudeau on why he wants to represent the Liberal Party again, after nine years, amidst all the concerns about his leadership. 

Trudeau reflected on his dissatisfaction with the Harper government and his drive to be the candidate to give Canadians a “choice,” saying he feels this choice is just as important in the upcoming election. 

He expressed the difficulty he anticipates for the upcoming election and said that if he were “ten points ahead in the polls right now,” Trudeau’s constituents and Canadian citizens would not be criticizing his priorities so harshly. 

They continued their conversation by discussing Trudeau’s Progressive Conservative opponent Pierre Poilievre and the differences between their leadership methods and priorities. 

Trudeau began by saying that everyone knows what Poilievre is “fighting against” but he has never shared what he is “fighting for,” which Trudeau noted has been the case for Poilievre’s 20 years in the house. 

Erskine-Smith turned the discussion towards the matters Trudeau is fighting for and what his leadership will bring to Canadians if he wins the upcoming election.  

Erskine-Smith elaborated that, in his opinion, Trudeau and the Liberal Party’s greatest strength is their efforts to make lives easier, more affordable and safer for families, referring to the Canada Child Benefit, their efforts to protect children online and their promises for healthy school food, among others. 

Trudeau agreed, noting that these things would likely be at risk if the Progressive Conservatives won the election, as Poilievre voted against the Canada Child Benefit. 

Trudeau went on to say that it is crucial that Canadians not only consider what he plans to do if he remains in office, but also what he has done for Canada over the past nine years. 

He also emphasized that he refuses to “pick a fight” with Poilievre because his top priority is “fighting for Canadians.” 

Erskine-Smith brought up the Liberals’ recent major byelection loss, where the Conservative Party was able to acquire the long-held Liberal seat in Toronto—St. Paul’s. He questioned Trudeau for not putting out any sort of “paid ad” against Poilievre, as he let the Conservative Party criticize the Liberals without any critique in return. 

Trudeau agreed, saying in retrospect he wished he would have done something. 

Regarding Trudeau’s successes in office, Erskine-Smith pointed to the social programs Trudeau helped establish, namely the “Canada Child Benefit, childcare, dental care” and the upcoming pharmacare plan that the government is working on. 

Trudeau agreed with categorizing these efforts as successes, saying that he often thinks back to his father, Pierre Trudeau, and how some things he accomplished in office still impact Canadians today. Trudeau elaborated that he usually thinks about his successes in the long term, wanting them to leave a positive impact on future generations. 

After discussing Trudeau’s various successes in office, Erskine-Smith asked Trudeau what he would have done differently from his time in office.  

Trudeau answered with certainty, saying “electoral reform” was something he regrets not doing differently. 

He said that “the winner takes all version of first past the post” that is currently in use devalues votes and is troubling alongside the increased polarization and “excesses of populism” that have infiltrated political spaces. 

“I certainly would have done things differently around electoral reform to try and make sure that we are not going to be fighting this next election under first past the post again,” said Trudeau. 

Moving the discussion towards Trudeau’s relationships in politics, Erskine-Smith brought up the New Democratic Party’s (NDP) leader Jagmeet Singh, and his recent withdrawal from supporting the Liberals and termination of the Supply and Confidence Agreement (SACA)

Trudeau called Singh’s concerns over the Liberals’ lack of strides in office relating specifically to the NDP’s priorities in SACA a “cynical ploy that undermines any faith that progressives have in what we elected this progressive government.” 

To end the conversation, Erskine-Smith asked Trudeau what he might say to motivate supporters of the Liberal Party and Canadians overall. 

Trudeau responded that the Liberals “are a team that needs to stay in power,” elaborating that they get elected on “things that go to the heart of the Charter, because that’s what a Liberal is.” 

Trudeau said he also aims to motivate those who have been “sitting on the sidelines,” saying that he does not only want to warn against the negatives he sees in the future if Poilievre and the Conservatives take over leadership, but he also wants to share a vision of a better Canada. 

“The things we’ve been fighting for for eight years: environment and economy, inclusion, progressive values, defense of individual rights, respect for everyone,” said Trudeau, “all those things that we’ve been fighting for are not just still important, they’re more important in this upcoming election than they ever have been.” 

Trudeau ended on a hopeful note and urged Canadians to reflect on the conversation he shared with Erskine-Smith. 

The full podcast episode with the accompanying video can be found on the Uncommons website. 

BUSU approves $46,000 for coffee cup recycling bins, receives a near-final audit report in their August and September meetings 

0

BUSU has uploaded the recordings of their August and September board meetings. Here are the highlights. 

Every month, BUSU meets to discuss and vote on various matters that concern the student body. The Brock Press recently reported on the meetings BUSU held over the summer, stating that they met four times in total. 

BUSU also met on Aug. 28, but as the public recording of this meeting was not uploaded until Oct. 1 — after the September meeting was uploaded — our article was technically incorrect in that statement. 

As this recording is now available, The Brock Press can now report on the decisions the Board made just before the school year kicked off, as well as their first meeting of the fall term. 

Aug. 28 Meeting 

Following the call to order at 7:03 p.m., the BUSU Board of Directors’ first topic of discussion was a request from BUSU Director of Governance and Advocacy Kayleigh Rossetto regarding the BUSU Green Levy. Rossetto reminded the board and anyone watching that earlier in the year, the board approved approximately $45,000 of funding for waste sorting, supplies for the patio at Isaac’s and sustainable swag, leaving about $55,000 left in the budget. Rossetto also reminded the board that the levy had a $330,000 surplus. 

Like last time, Rossetto’s proposal had three parts. The first requested $8,600 to support recycling pickup. Before this year, Brock covered these pickups but is now billing BUSU. Rossetto noted that this cost was somewhat higher than usual because they recycle everything, and nothing ends up in the trash. 

The second request was $1,500 to support Brock’s Seed Library and to run a seed-planting workshop in the spring. The Seed Library is a free service allowing students, staff and community members to pick up vegetable, herb and flower seeds for planting at home. As their source of funding dried up, they requested BUSU’s assistance; as part of the agreement, BUSU would be allowed to distribute seeds from their desk and as a bonus, the Seed Library fits in with their Food First initiative. 

The final request was $46,416 to purchase, brand and market 50 coffee cup recycling bins across the main campus and the Marilyn I. Walker building. Rossetto explained that during their yearly third-party waste audit, Brock University was flagged for only capturing 2.4 per cent of coffee cup waste, the rest of which was improperly disposed of. As Brock Sustainability did not have the funds for a purchase of this size, they turned to BUSU. 

Rossetto noted that while this was an extraordinary cost — each unit costing $780 — she would not recommend it if not for the $330,000 Green Levy surplus, which is intended for large initiatives like this one. As a bonus, BUSU would be allowed to put their logo on each of the bins, the cost of which was $750 of the total request, and run a marketing campaign, the cost of which was $575 of the request. 

Before the vote, there were a few questions. Charlie Martin asked who would be in charge of the upkeep of these bins. Rossetto said Brock would be; BUSU’s only responsibility would be the initial purchase and perhaps the labelling.  

Mohamed Ahmed asked where the high demand for 50 units came from; Rossetto said the thinking was that if they had the money now, they should simply do it in one fell swoop. Moreover, she said if there is a convenient unit by every garbage container, students will be more inclined to use them instead of just tossing their waste in the trash.  

Finally, Mohiz Imtiaz asked if BUSU supported or was a signatory on any strategic sustainability plans. General Manager Robert Hilson explained that Brock subscribes to the STARS initiative, which is standard for post-secondary institutions, and that while BUSU cannot be a signatory, it is committed to sustainability, especially regarding the new student centre. 

With no further questions, the motion passed with the majority in favour, two abstentions and no oppositions. 

The board moved in-camera at 7:33 p.m. and moved out of camera at 8:57 p.m.; no motions were reported in the minutes. 

Concluding the meeting were reports from the General Manager and the BUSU President. 

Hilson highlighted only one part of his report, regarding employee contracts: moving forward, all BUSU employees will receive employment contracts, no matter how many hours a week they work. He described that this is becoming a standard in the HR industry, and it is a standard BUSU needs to move toward. 

President Anusha Pahuja’s report featured some general updates, including that the new VPSS, Shinaya Peiris, had been fully briefed and was doing “absolutely fantastic”; that the VPEA, Mark Chrabalowski, returned to the office after his travels abroad on Aug. 19 and was brought up to speed; and that Badgerfest and the Community Fair were all planned and ready to go. 

Following her report, Ahmed asked about the then-recent parking development, in which Parking Services established a $6 fee for students parking on campus after 6 p.m., a service which used to be free. 

Pahuja responded by explaining the situation, describing how they — like students — did not directly receive the news from Parking Services but first saw it online. At the time, she was working with VPUA Carleigh Charlton and Hilson to find a potential solution to the situation and advocate for students. 

Hilson explained further that the main issue with this development was that neither BUSU nor the student population were consulted in advance about the decision, nor were they notified in any public manner. As students may have planned their schedules around the fact that parking was free after 6 p.m., he said it was a big problem, and they had already escalated the discussion up the university ranks. 

Board Chair Brielle Kaminsky appreciated their effort but said it would be a “miracle” if the university went back on its decision, as this is one way it’s trying to make up for its financial deficit.  

Hilson said that Charlton was being very professional in her argument, focusing on the fact that students were not consulted or informed; moreover, as this decision may discourage students from attending the gym, participating in intramurals, joining clubs and more, he said it was not conducive to student life on campus and student retention. He said the university had an obligation to tell students and failed to do so. 

With no concrete developments at the moment, Hilson said they would keep the board updated. This being the final discussion point, the meeting adjourned at 9:08 p.m. 

Sept. 24 Meeting 

BUSU’s first in-person meeting was called to order at 7:06 p.m. Filling most of this meeting was a presentation on BUSU’s audit report through Grant Thornton for the year ending on April 30, 2024. 

Grant Thornton had no significant findings in BUSU’s statements regarding fraud or anything else that would be “funky.” While the Grant Thornton representative provided plenty of information on auditing in general, potential risks for a non-profit like BUSU, and minor changes in the company’s statements, there was very little to note here. 

There were some findings regarding BUSU’s internal controls, which the representative said were consistent with an entity of its kind. Grant Thornton recommended that book entries be reviewed by a treasurer or someone of higher ranking. They also recommend that BUSU create a formula risk register for itself to consider all of its potential risks and think about how to mitigate each of them. They also noted a super user in their account — who had both bookkeeping access and access to the creation and deletion of users — which is frowned upon but seems to have occurred by accident. 

Next, the representative went through a copy of BUSU’s draft statements, another unqualified and clean report. He discussed some general qualities of BUSU’s investments, its cash flow and more. 

Following the presentation, there were a few questions, though due to the nature of the video, it is difficult to discern who asked what. Someone asked if there were any risks that the board should closely monitor, to which the representative responded that an open dialogue between the board and management was important and that they should volunteer to monitor BUSU’s statements once a week to strengthen its internal controls. 

Someone also asked for clarification on an increase of $1.2 million in Brock’s investment income, to which the representative responded that Brock simply made good investment decisions, something that was out of BUSU’s control. Somebody also asked if the statements could be forwarded to the board members, which the representative said would be all right so long as the statements didn’t leave the circle of the board. 

With no further questions, the Grant Thornton representative left. The Board approved the current draft of the report, but not the final draft, as it was technically not complete yet. They agreed that their complete approval should wait until a later date. 

The board then moved in-camera at 7:41 p.m., where they remained until 9:01 p.m. No motions were reported in the minutes as they appeared in the video. 

Hilson then provided his General Manager’s report, in which he noted that he met with the architect of the new student centre for the third time, that 8,000 U-Pass stickers were given out as of reporting, that the Health and Dental opt-out deadline was approaching on Sept. 30 and that Rossetto was pregnant and would be going on maternity leave at the end of January. 

Finally, Pahuja gave her President’s report. This included general updates, like the beginning of Senate and Board of Trustees meetings, a reminder of the upcoming OUSA fall General Assembly at Brock, Charlton’s victory of the 2024 Open Education Award for Excellence, BUSU-AC’s first meeting and the beginning of the BUSU Clubs Advisory Committee. 

Pahuja also mentioned that as a follow-up to the parking fiasco, they had successfully advocated to make parking at Lot 2 free after 6 p.m., making it the only spot on campus to park for free at night. This deal only applies to the fall term, but she said further conversations will be held to discuss options for the winter term. 

Finally, Pahuja concluded by saying that the fall term is her last semester at Brock, and she will be graduating in April 2025. 

After the report, Kaminsky requested that the other BUSU executives provide their own reports, even if Pahuja is the one presenting them, so the President isn’t reporting on their behalf. Pahuja said she would ask the executives for the next board meeting. 

With that, the meeting was adjourned at 9:08 p.m. 

— 

While this article provides the highlights of these meetings, the only way to get this information in its raw, original form is to watch the BUSU videos yourself.  

Currently, despite the 19,000 students at Brock, the August video only has nine views as of writing, and the September video has 16.  

Voting decisions are often brought up at least one meeting in advance of the actual vote, meaning students can have a say in them — if they can watch the videos, of course. If a referendum is held, or an election is held, the only way to make an informed decision is to stay informed. 

All BUSU board meeting recordings can be viewed on their YouTube channel. If students want to attend meetings in person or contact the board, they can email chair@brockbusu.ca, 

Haunted houses are all over Niagara: which will you dare to explore? 

0

Haunted houses may provide the perfect experience for those looking for something terrifying to do this Halloween season. 

Horror lovers seek the thrill of the jump scare, revelling in frightening and grotesque scenes. It’s easy to remove yourself from a movie, but a haunted house puts you directly into the action. 

With Halloween upon us, now is the perfect time to explore these frightening attractions. Not everyone has the time or the means to get to Halloween Haunt, so here are some of Niagara’s best haunted houses. 

Clifton Hill 

One of the most well-known Niagara Falls attractions also features a fair number of creepy attractions and rides. 

At Clifton Hill, you can take up arms against clowns, zombies, ghosts or you can wander through decrepit and frightening haunted houses. House of Frankenstein is a haunted house that features a new element, The Frank’N Coaster: Canada’s only rooftop roller coaster. Dracula’s Haunted Castle offers three different levels of fear for its patrons, and the aptly titled Haunted House offers the “usual frights.” 

One of the most interesting destinations at Clifton Hill is the Movieland Wax Museum, which features lifelike sculptures from popular culture. Near the end of the exhibit is the “House of Horrors,” a fun and spooky experience for horror lovers. 

The $35 Clifton Hill Fun Pass only features a few of these attractions, but the street is worth checking out for a day’s worth of activities. 

Ghost Walks: Niagara-on-the-Lake 

Somewhat of an oddball on this list is the haunted tour of Niagara-on-the-Lake by Ghost Walks. Both informative and creepy, this cheap excursion — $16 per ticket — can teach you about the darker side of Canada’s oldest and most haunted town. 

This is a Traditional Ghost Tour, meaning it doesn’t have costumed ghouls or shocking thrills, instead relying on “real history and ghosts” to turn your blood cold. As an outdoor tour, you won’t enter any of the following buildings, but you will hear about The Prince of Wales Hotel, Royal George Theatre, Apothecary, the infamous Olde Angel Inn and more. Moreover, you’ll be told the tale of North America’s oldest legend. 

If you’re into haunted histories, this one is for you. 

Nightmares Fear Factory 

This one is not for the faint of heart. Located at the top of Clifton Hill, Nightmares Fear Factory is a haunted house boasting that over 185,000 people have chickened out and failed to complete it. 

Home of the once industrious Cataract Coffin Factory, the legend goes that old proprietor Abraham Mortimer was crushed to death beneath his coffins after a scuffle with some young pranksters. Soon after his funeral, Mortimer’s coffin was found empty, and some say he still walks the halls looking to punish any trespassers. 

This haunted house relies on a more psychological effect to achieve its scares, with one reviewer writing that “it plays on your psyche and creates an atmosphere of absolute dread and suspense.” 

Tickets for those brave enough are $17.70 per person. Bring your friends or go alone, many say it doesn’t matter; you’ll still be terrified. 

Queenston Heights Park 

As a Brock-themed bonus, you can visit this monument site free of charge. This is not an attraction, but rather the home of the Brock Monument. Sir Isaac Brock was killed in the Battle of Queenston Heights and rests beneath the monument.  

With so many having died at this location, it’s no wonder that some have claimed to see the spirits of dead soldiers, red-hued shadows in their headlights as they drive up the road at night — perhaps the ghost of Sir Isaac Brock himself. 

Even without any supernatural activity, the monument and location are worth checking out if you’re interested in the namesake of our university and Niagara’s history. 

— 

With ghosts and goblins abound, both historical and fantastical, there’s much to explore around the Niagara region if you want to get a bit more out of the Halloween season. There’s no better way to remind yourself that you’re alive than with a good scare, and there’s no better time to do so than when midterms are ending and exams are lurking around the corner. 

Elon Musk’s Optimist robots are more trouble than they’re worth 

0

Tesla’s Optimus robots pose a threat to human society and reveal Elon Musk’s twisted vision of a world where artificial intelligence walks among us. 

On Oct. 10, Elon Musk took the stage at a major Tesla keynote to reveal the company’s new Robotaxi vehicle and updates on their humanoid robots, called Optimus. 

A video posted by Tesla on X shows Optimus walking through a factory, physically navigating itself around obstacles and locating a charging station. The video also shows the robot interacting with humans, handing out drinks and lifting heavy objects. 

Musk says the robot will eventually become commercially available and priced around $20,000 to $30,000 USD, referring to it as “something anyone could own.” The idea is that the robot will be able to do “anything you want,” Musk says, which includes doing chores around the house, babysitting your kids, mowing your lawn, serving drinks and — perhaps most interestingly — it will “be your friend.” 

This is a sentiment echoed by the tagline on the promo video shown during the keynote: ‘autonomous assistant, humanoid friend.’ 

Let’s be perfectly clear: nothing good can come from this. 

“I think everyone of the 8 billion people of Earth, I think everyone’s gonna want their Optimus buddy,” said Musk. 

Musk’s subsequent attempt at a joke revealed the first major concern with inviting Optimus into our homes. 

“I predict, actually, provided we address risks of digital super-intelligence — 80% probability of good, of good outcome [sic], look on the bright side. The cup is 80% full,” said Musk with a nervous chuckle. 

Judging by the lack of laughter, the audience didn’t seem to connect to the joke. 

Digital super-intelligence is a legitimate concern and one that Musk should be taking incredibly seriously. Artificial intelligence (AI) has been in the public eye for a few years, with many fearing the risks of what autonomous and supposedly “sentient” computers would be capable of if they decided to rebel against their masters. 

Here’s the thing: a chatbot on a Google Chrome tab can only do so much. If it gets upset or irate, simply refresh the webpage and you’re good to try again. Give AI a physical body capable of real strength, and we might have a real problem. 

There’s no saying what a humanoid robot could do if it acted out of the ordinary. Even something as simple as a glitch in the bot’s code could hypothetically result in serious problems for anyone owning an Optimus. 

But even if we could somehow guarantee that these robots would never rebel, the concerns with Optimus shouldn’t end there. 

Optimus doesn’t represent something to make humans’ lives easier, it represents a future defined by laziness, entitlement and an overdependence on technology unlike anything we’ve seen before. 

Imagine raising a family with young children exposed daily to the Optimus robot, and perhaps consider it a part of the family. These children will almost certainly be raised expecting the robot to do everything for them, without needing to lift a finger themselves. 

They want a can of soda? They just snap their fingers and Optimus has them covered. 

They want the TV remote but it’s just out of reach? No problem, just call Optimus and it’ll take care of that too. 

What if they feel lonely? Fear not, because Optimus will lend an ear. 

At some point, we have to ask ourselves if this is what we really want. Do we want to live in a world where people become so dependent on technology that they’re no longer willing to get off the couch? Do we want to live in a world where we don’t feel the need to make real friends, simply because we can buy an emulated one on Tesla’s website? 

Besides, wouldn’t it feel wrong to have a humanoid being appear to do as you command every time you snap your fingers? This kind of relationship would create a master-slave mentality for humans, except without the guilt of commanding a real person. The entitlement that would come with it, though, would likely be real. 

The more Musk talks, the more this seems like an episode of Black Mirror, a show specifically meant to show the risks of hypothetical technology that might seem ‘cool’ at first. The implications of the Optimus robot are reminiscent of the episode of the series “Be Right Back,” in which a mourning woman lamenting the loss of her boyfriend replaces him with a robo-doppelganger, filling the place of a real person with a cold, robotic machine not capable of true emotion. 

To think that Elon Musk is leading us toward a world where we rely on robots to be our “friends” is unbelievably scary and leads humanity closer to a terrifyingly technological future. 

Peter McPoland misses with new single “My Baby” 

0

Peter McPoland’s chaotic new single “My Baby” is sonically interesting but lyrically boring. 

Released on Sept. 27, “My Baby” has taken McPoland back to his folksy, singer/songwriter roots following an extended period during which the singer was playing darker, more dynamic indie rock.  

McPoland rose to success after some of his TikToks went viral during the COVID-19 pandemic and lockdown in 2020. These videos often featured the singer in his attic bedroom playing his acoustic guitar, resulting in his songs “Romeo & Juliet,” “Eloise,” and “(Here’s to the) Prom Queen” blowing up. From there, McPoland signed a deal with Sony Records, after which his sound took a turn.  

That is why the release of “My Baby” was somewhat of a surprise, as its tone was much different from that of Piggy, McPoland’s debut album under Sony Records. While the song sports a muddled electric guitar backbone and an indie pop tone, “My Baby” still sounds like it came from an earlier era of the singer’s discography.  

Yet, even during McPoland’s Piggy era, clips of “My Baby” circulated on TikTok and the song quickly became a fan favourite, with many people begging McPoland to release the track in the comments of his TikTok videos.  

While the song starts out muddled and blurry, when McPoland begins to sing, it is as if the sun has come out from behind the clouds. His scratchy, slightly nasally vocals fill the atmospheric space with vigour, building an incredible sonic experience. 

Equipped with a catchy melody, “My Baby” intertwines a thick, sonorous lower guitar rhythm with a twangy, plucky upper guitar line, coming together to form a daring mix between indie pop and classic country. While at first, the song could go either way, McPoland’s distinct voice solidifies it as a beautiful combination of opposing genres.  

Still, the song is lyrically rather simple, repeating: “My baby won’t mess around anymore/My baby is saying she’s sure/This baby won’t mess around anymore,” for much of the track. While you can paint a vague picture of the narrative McPoland is trying to spin with the lyrics, they aren’t genius by any means. Unfortunately, the singer’s lack of lyrical prowess, which has been displayed in many of his other tracks, diminishes the song, which is otherwise very interesting melodically.  

Still, for many fans who prefer the Peter McPoland they fell in love with in 2020, “My Baby” is a step in the right direction. While I wouldn’t say that Piggy was a bad album, many complained that the singer had moved so drastically away from what they had enjoyed about him as a singer. This folksy, singer/songwriter sound is, after all, what made the singer famous in the first place.  

There is no way to know for sure whether McPoland is fully making a shift back towards his earlier sound, or if “My Baby” was a one-off. Perhaps the release of his next single on Oct. 25 will give the singer’s audience a better idea of where he plans on going next. 

Terrifier 3 is brutal, harrowing and wickedly fun 

0

Score: 4/5  

Art the Clown returns to spread holiday cheer and bloody bits of bodies in the third installment of the Terrifier series. 

Not for the faint of heart or stomach, Damien Leone’s Terrifier 3 continues the trend of the first two movies, detailing the brutal, graphically violent acts and darkly comedic antics of the psychotic and demonic clown called Art. Along with delivering much of what you’d expect from a Terrifier movie, this movie does everything better. 

The movie’s practical effects, acting and plot are all significantly improved. No longer is Terrifier a micro-budget series: while the first two films had infinitesimal budgets of $35,000 and $250,000, Terrifier 3 had a budget of $2 million. Similarly, while the first two movies made great money for their budgets, Terrifier 3 is currently the top film in the United States, securing a whopping $19 million in its opening weekend alone. 

So how did a movie notorious for making people vomit become so successful? The Guardian describes the film as less of a film than a “challenge of endurance,” but I would argue that while the first two movies might fit that moniker, Terrifier 3 is not only a successful film but a damn good one. 

Of immediate note is the movie’s controversial first scene, which made all those people expel their popcorn or leave the theatre outright, arguing the film had gone too far. The scene is, truthfully, quite disturbing, including the murder of a child, but in an interview with The AU Review, Leone said that there are some lines even he won’t cross: 

“To me, it’s too off-putting to go that graphically violent with murdering a kid […] The idea of what we’re doing is so horrible that you don’t need to show the graphic. You get the same impact. It’s hearing it or seeing the aftermath. So yeah, I do have lines. I cross a lot of people’s lines, [but] I do have a personal taste metre, and I don’t want to alienate too many people, which is very easy to do.” 

Some might say that if showing such an act goes too far, why include it at all? Well, the scene is perhaps the most ingenious part of the movie. 

By introducing Art in this way, the audience immediately sees just how cruel and evil he truly is. The scene is gut-wrenching and tense, warping the childish excitement of a visit from Santa Claus by giving Santa an axe and murderous intentions. 

Terrifier 3 sets the tone right away, proving itself to be not just a schlocky, violent slasher by setting up astronomical stakes. 

If this kid can be killed not even 10 minutes into the movie, then how will the newly introduced Gabby — the young cousin of main character Sienna — fare when she’s face-to-face with the killer? This is a movie set in Christmastime: how will any kid fare when Art immediately proves he has no moral qualms about whom he dismembers, no matter how old they are? 

The solid acting and character-building only raise the film’s stakes higher. While Terrifier 2 provided the groundwork for the story of Sienna, as her friends and family became targets of Art’s rampage, Terrifier 3 solidifies her as a horror icon. Here, she must navigate her grief and guilt, which manifests in the form of visions of those who were killed. Sienna is at her lowest point, struggling to cope and return to some semblance of a normal life, when Art returns and drags her deeper into hell. 

Terrifier 3, despite its reputation, has some seriously emotional scenes and performances that make the horror even more horrifying. 

Also, this movie is hilarious. 

Art has an interesting way of flipping moments between frightening and funny. He is sick and depraved, mutilating and torturing people while cackling in silence, but even despite his evil nature, he can always make the audience laugh. 

Whether it’s his petty treatment of Sienna during an otherwise brutal climactic scene or him getting childishly excited when he sees a mall Santa and mistaking him for the real deal, Art is funny. The movie knows its comedic capabilities as well. One of the most disgusting scenes, an homage to Psycho, has a particularly funny moment that makes you laugh, then cringe at yourself for laughing — even as you continue laughing — all while a Terrifier-themed Christmas carol plays in the background. 

However, despite the film’s many victories, I do have one criticism regarding the film’s entrance into the third act. The transition into the climax is so jarring that I thought it was a dream sequence until the dream just never ended. What’s worse, two major characters are killed off-screen here, which felt very weird for a movie that revels in its violence. 

I think I know why it happened though. Terrifier 3’s most savage and hard-to-watch moments happen when characters we know and grow fond of are killed — that, or when children are murdered. The third act is already hard enough for our main character. Lauren LaVera puts on a gut-wrenching and excellent performance, making it all the harder to watch. For all its lighter moments, and the fun it has with its kills, if Terrifier 3 showed each of our beloved characters brutally butchered one after the other, the ending would be significantly more drawn out — one of my criticisms from the second movie — not to mention more bleak and tough to stomach. 

These off-screen kills save the audience from a truly harrowing final scene, but it still feels like the rug is pulled out from under you when there is next to no explanation or depiction of their deaths. I suspect one of these deaths is a red herring, but that theory must wait until Terrifier 4. Regardless, once you get back into the movie it’s a good ride until the final credits roll. 

Seeing Terrifier 3 in the theatre provides an unsettling and unforgettable experience — you can’t escape the gore when it’s staining your entire field of vision red. If you can stomach it, and even if you can’t, I recommend seeing this film in theatres to get the most out of this violent thrill ride of a movie. 

You probably won’t regret it, but you’d better bring a barf bag just in case. 

PWHL unveils 2024-25 schedule, second season begins Nov. 30 

0

After an exciting first season, the Professional Women’s Hockey League (PWHL) returns on Nov. 30 with more games, rebranded team names, bigger venues and a lot more anticipation entering year two. 

The regular season kicks off on Nov. 30 with a doubleheader to begin the 2024-25 season. First, the Toronto Sceptres — the new name of Toronto’s PWHL team — will host the Boston Fleet at Coca-Cola Coliseum, which will serve as the new home of the Sceptres after playing last season at the smaller Mattamy Athletic Centre. 

The Montreal Victorie will then host the Ottawa Charge at Laval’s Place Bell, which will become Montreal’s primary home venue after splitting time with the smaller-capacity Verdun Auditorium last season. 

For the Charge, their home campaign begins on Dec. 3 against the Sceptres who remain at TD Place Arena where they played last season. 

Stateside, the reigning Walter Cup champions, Minnesota Frost, begin their title defence at home on Dec. 1 against the New York Sirens at the Xcel Energy Center, which is also home to the NHL’s Minnesota Wild. 

The Sirens will also play their home games at an NHL venue, moving across the river to New Jersey to play at the Prudential Center, home of the NHL’s Devils. Looking to build strong home momentum after playing home games across three different venues last season, New York begins their home schedule on Dec. 18 against Toronto — the last home opener of the six teams — as the 2024 regular season champions come to town. 

The marquee matchup of the opening week will be Boston’s home opener on Dec. 4, as the Frost return to the Tsongas Center after defeating the Fleet in game five of the Walter Cup Finals last May to claim the championship. 

The two rivals will battle six times this season, including the regular season finale on May 3. 

In total, there will be 90 regular season games in 2024-25, each team playing a 30-game schedule, which is an increase from the 24-game schedule last season. 

Throughout the five-month season, there will be three international breaks where the schedule is paused: Dec. 9 to 16 and Feb. 3 to 10 for the Canada-U.S. Rivalry Series, and April 3 to 25 for the IIHF Women’s World Hockey Championships, which will be hosted in the Czech Republic. 

There are also 14 games without a venue listed as the league looks to continue hosting “neutral site” games at NHL venues to attract larger crowds and continue the growth of women’s hockey, which was a success last season. Both Scotiabank Arena in Toronto and the Bell Centre in Montreal hosted a PWHL game last season, packing 19,285 and 21,105 fans respectively, which rank as the top two attended women’s hockey games in the world. 

A U.S. record was also set last season when 13,316 fans watched Minnesota battle Montreal in January. 

The league will look to continue their growth when the teams hit the ice for training camp on Nov. 12, wearing their new jerseys — set to be released in the coming weeks — featuring the new team names and logos. 

For the full PWHL schedule and additional information surrounding the new season, head to thepwhl.com. 

Jessica Campbell sets new standard in NHL coaching

0

Jessica Campbell made history on Oct. 8 as the first full-time female coach in the NHL, opening the door for greater gender diversity in professional hockey. Her achievement represents a step forward for the sport, offering women an inspiring role model in a field dominated by men.  

Campbell’s path to coaching in the NHL succeeded an impressive playing career. Before transitioning to coaching, she was a phenomenal player in women’s hockey both at the collegiate and professional level. 

The young player’s hockey career took off with Team Saskatchewan, where she spent three years as a key player and served as a captain twice, representing the province in the National Women’s Under-18 Championship for three consecutive seasons. Her talent shone brightly in the 2009 Kamloops International Bantam Ice Hockey Tournament, where she was named the team’s MVP. The following year, Campbell reached new heights, amassing 57 goals and 47 assists for 104 points in just 41 games. 

Campbell continued her rise at Cornell University, playing for the Cornell Big Red, in the National Collegiate Athletic Association (NCAA) from 2010 to 2014. In her debut season, she made an immediate impact, notching a hat trick against the Robert Morris Colonials and delivering key goals during the Eastern College Athletic Conference (ECAC) Hockey semifinals. Campbell finished her freshman year with 26 points in 31 games.  

Her success extended into her professional career in the Canadian Women’s Hockey League (CWHL). In the 2014-2015 season, Campbell became the first rookie to captain Team White at the CWHL All-Star Game. Her leadership and skills on the ice culminated in 2016 when she helped the Calgary Inferno capture their first-ever Clarkson Cup championship, scoring two goals in an 8-3 victory over Les Canadienne de Montréal.  

After her impressive playing career, Campbell shifted her focus to coaching. Her impact on the ice continued in a different capacity as she took on leadership roles behind the bench.  

After retiring from the Canadian national team in 2017, Campbell began her coaching career with high school girls’ hockey before launching her own successful business, JC Powerskating. Campbell’s clientele included NHL players Tyson Jost, Stanley Cup champion Joel Edmundson and Olympic gold medalist Natalie Spooner. 

In 2021, her coaching career took a major leap when she became an assistant coach for the Nürnberg Ice Tigers and the German national team, marking the first time a woman coached at the men’s world championship.  

In July 2022, Campbell continued to strive for greatness as she was hired as an assistant coach for the Coachella Valley Firebird, the top minor league affiliate of the NHL’s Seattle Kraken, making her the first full-time woman behind the bench coach in the American Hockey League (AHL). Campbell’s journey continues in 2024 as she became the assistant coach for the Seattle Kraken, making her the first woman to hold such a role in the NHL. 

Jessica Campbell’s journey is a powerful testament to the strides women are making in men-dominated fields. Her astonishing achievements, both as a player and now as a coach, are inspiring women across the world to pursue their passions and redefine what’s possible. Her success not only represents her own talent, but also serves as a reminder that gender should never be a limitation. Let her journey be known as more than accomplishments — it’s about empowering women to step into roles that were once considered out of reach.   

The complex relationship between Vince Carter and Toronto  

0

Vince Carter was once hailed as the face of the Toronto Raptors, making him one of the most talented players to play for the team. After his exit from Toronto in 2004, however, the relationship between Carter and the city became strained. His exit was marked by controversy, including frustrations over his effort on the court and his eventual trade. The messy breakup left fans divided, turning what was once admiration into a complicated legacy that persisted for years after his departure.  

Carter’s leave from the Raptors ended up being a business decision — it impacted his legacy with the city in an intense way. Fans were disappointed, not only by the trade but by the rumours suggesting that Carter had been giving less effort on the court before leaving. The tension led to years of animosity, with Carter often being booed during games in Toronto. It wasn’t until years later that the relationship between Carter and Toronto began to mend. The turning point came when Carter checked into a game against the Raptors and was greeted with a standing ovation, signaling a moment of reconciliation.  

During an interview with TNT Sports, Carter gave answers that left many Raptors fans feeling betrayed. Carter, once the franchise star, confirmed the fans long-held frustrations by admitting he hadn’t always given his best effort during his time in Toronto. Fans felt Carter had betrayed the team and city when they needed him the most. The interview deepened the fans’ resentment and blew up in the media, fueling the belief that Carter’s exit was more about disinterest than circumstances.  

John Thompson asked Carter if he wanted to be traded to Toronto.  

“It’s one of those things where I look at our team in 2000, and we are right there with the elite group with the Sixers and the Bucks and everything and we haven’t done as well since, and it just has been a tough road for me and it’s just time for a new change,” said Carter. “When you go home after a loss, you’re not happy, but when you go home after a win and you’re still not quite happy, you should enjoy a win and just for whatever reason it wasn’t there anymore. It’s always something new, I’ve been through four coaches in my time with the Raptors, so it’s kind of starting over and it was tough because the team always took a hit. I never felt like we all took a stand together because it’s the Raptors organization, not just Vince.”  

Thompson asked Carter if he had pushed himself as hard as he should have.  

“In years past, no, I was just fortunate enough to have the talent. You know, you get spoiled when you are able to do a lot of things and you don’t really have to work at it,” said Carter. “But now I think with all the injuries and things going on, I have to work a little harder and I’m a little hungry, that’s why getting the opportunity to have a fresh start with New Jersey has made me want to attack the basket for a lot of reasons.”  

Carter’s admission that he hadn’t always pushed himself as hard as he could have stung for fans, as they knew they had invested so much in him as the face of the city. The acknowledgement that he was “spoiled” by his talent only deepened the wound and reinforced the idea that his exit was a product of waning motivation, which further complicates his legacy in Toronto. 

Vince Carter’s jersey will officially be retired by the Toronto Raptors on Nov. 2 during a game against the Sacramento Kings, as part of the team’s 30th anniversary celebrations. Fans have long awaited this moment, and it’s fitting the first player to score at the Scotiabank Arena will be the first Raptor to have his jersey hung in the rafters. The timing also coincides with Carter’s upcoming induction into the Naismith Hall of Fame.  

As this celebration nears, it serves as a chance for Toronto fans to reconcile with Carter’s legacy. While his contributions to basketball in Canada are undeniable, some may still carry lingering hurt from his controversial exit. As for whether fans can move past the complicated history and embrace Carter for the impact he had on the franchise, only time will tell. 

The charming, chaotic aimlessness of “Saturday Night” 

0

Score: 3/5  

Creating a suspenseful film out of SNL’s well-known success may have worked for fans, but will likely prove ineffective with wider audiences. 

Directed by Jason Reitman, Saturday Night depicts the 90 minutes of chaos leading up to Saturday Night Live’s debut episode in 1975. The ensemble cast includes actors playing Lorne Michaels (Gabriel LaBelle), Dan Aykroyd (Dylan O’Brien), Rosie Schuster (Rachel Sennott), Garrett Morris (Larmorne Morris) and Chevy Chase (Cory Michael Smith). 

The film immerses audiences in the frantic atmosphere of a live television set, using several long takes to whisk the viewer through chaotic hallways behind the scenes. It moves in real-time, with title cards displaying a clock counting down the 90 minutes before airtime. As a viewer, you’d hardly guess the film is adhering to a timer. In the span of ten minutes between title cards, the story travels between multiple conflicts; a set could be destroyed and rebuilt in this timeline. 

The film’s heart is its cast who all disappear into their roles. An apparent standout from the bunch is Smith as Chevy Chase. He captures the cadence and delivery of Chase’s comedy with ease, radiating charisma. Matt Wood is another comedic standout as he fully commits to a hot-headed portrayal of John Balushi. 

Unfortunately, the film suffers from a few lulls that weaken its impact. Not even a countdown to airtime could remove the empty space in several scenes. For instance, some moments feel repetitive as the characters list off all the things that are going wrong over and over. It’s not hard to see through the glamorous ‘70s costume design to spot the repeated formulas the plot uses in an attempt to generate conflict. 

Towards the film’s tail end, the energy given off by the story and characters becomes increasingly self-absorbed and isolating for the audience. When the shock of a lighting rig collapsing or costume rack flying into a wall has worn off, it’s hard to flinch at the curveballs thrown. 

Perhaps this is also impacted by the film’s challenge of making a chaotic thriller out of one of American television’s greatest success stories. Any doubt about the film’s conflict resolution is immediately quenched by the knowledge that Saturday Night Live is a longstanding, active show whose sketch comedy format has stood the test of time. When Lorne Michaels enters a cigarette-smoke-filled room of NBC executives all saying, “give it up, kid,” you, as an audience member in 2024, can’t help but shrug.  

Furthermore, the performances, while all-around good, capture the mythos of SNL’s iconic founding comedians and not the depth of their ambitions. It’s a delight for viewers who are fans of the show’s history and can point out references, but for anyone else it risks feeling like a ripple and not a wave of impact. 

Although aimless at times, it’s hard not to love the spirit of creative minds working at breakneck speeds to realize a vision. The set coordination between actors and drawn-out scenes hammer home the joy and stress of backstage chaos. It may be a bit hollow at times, struggling to fill in the blanks with new punchlines, but you’re ultimately left with an appreciation for the team effort that went into SNL’s fruition.  

All in all, it’s fair to say Saturday Night is a bona fide love letter to fans of SNL and will very likely hit the mark for people who identify as such. It encapsulates the vibes and legend of the show’s inception, even at the expense of some plot and character depth. It’s enjoyable, visually pleasing, at times funny, often aimless and potentially obnoxious, but always full of heart. 

I go to the movies alone, here’s why you should too 

0

There has always been a certain underlying taboo that comes with going to see a movie alone. For many people it is certainly not their first choice of pastime and can, at first, seem like an overly solitary experience. 

Nevertheless, there aren’t many activities in my routine that have felt more freeing and autonomous than seeing a movie in a cinema on my own, engulfed by the cozy darkness of a theatre. 

For students, the stressful preoccupation with a seemingly endless onslaught of deadlines, attendances and responsibilities has likely sunk its teeth in by now. With that, it can feel challenging to find time to make plans at this point in the semester, particularly with a group whose members are all equally busy. 

The adjustment to a university workload can feel all-encompassing and at times suffocating, thus a possible hobby to escape from this is going to the movies, particularly on your own. 

Seeing a movie with a group for blockbuster releases can certainly be a memorable experience — the famous “Barbenheimer” craze of last year comes to mind — but the freedom of going to the cinema on your own accord without having to coordinate schedules like a deep exhale of relief. 

The term “mindfulness” is often vague and overused making it difficult to practically understand and integrate into our habits to achieve tangible results. From my own experience, seeing a movie alone is an effective and rewarding way to achieve this feeling of mindfulness.  

For a couple hours, I am free from mobile phone notifications, distractions and responsibilities. I’m left to focus on only what is being presented on screen, and how I react to what I’m watching.  

Visiting a cinema is an active choice to partake in a public event. It’s a setting where you are surrounded by people all sharing the same experience. As such, it fosters a more active viewing experience than simply watching a film from the comfort of your home.  

As cliché as it may sound, attending a movie alone can provide emotional catharsis as well. The uninterrupted experience of paying attention to a film can be grounding and better allow you to relate the story to yourself, giving easier access to your emotional reactions. Despite being in a public space, there are surprisingly little distractions between yourself and the screen; you are focused on how you’re responding to a story without the knowledge of someone next to you. 

There are several local cinemas surrounding Brock University for students to visit, namely Landmark Cinemas at the Pen Centre and the Cineplex Cinemas in Niagara Falls and Welland. However, the most community-oriented of them all is The Film House in downtown St. Catharines near Brock’s Marilyn I. Walker School of Fine and Performing Arts. 

Located on the bottom level of the FirstOntario Performing Arts Centre, The Film House has served as a staple in fostering Niagara’s community of cinephiles and casual enjoyers alike. It makes solo moviegoing a more communal experience, fostering an environment of shared admiration and curiosity for cinema. 

The Film House platforms up-and-coming independent cinema, providing access to a range of films before they receive widespread theatre releases. 

In celebration of Halloween, The Film House is hosting numerous themed screenings including Ghostbusters, Hocus Pocus and the annual participatory screenings of The Rocky Horror Picture Show

The cinema will also be hosting screenings for BrockTV’s Render This Film Festival on Nov. 7. The festival occurs annually and provides students the chance to work in teams to write, film and produce a short film. 

From Friday, Nov. 15 to Sunday, Nov. 17, the cinema will host the Mighty Niagara Film Festival by the Niagara Artists Centre, showcasing a series of films by filmmakers with connections to Niagara’s history and cultural scene. 

As strange as it might seem to go to movies alone, the experience of being a solo attendee is a refreshing and rewarding experience that can improve mindfulness and independence.  

In the end, you’re never truly seeing a movie alone if there is an audience around you. Maybe that’s the source of comfort after all. 

Closing supervised consumption sites will not solve the drug crisis, but it will take lives 

0

Supervised consumption sites (SCS) save countless lives. Despite claims from the Conservatives, closing SCSs will not eradicate drug-related crime — it will force drug users into vulnerable positions and ultimately cause preventable deaths. 

According to the Government of Canada website, SCSs “provide a safe, clean space for people to bring their own drugs to use in the presence of trained staff.” 

The sites were established to not only protect people from accidental overdoses but also to connect them to several social services to acquire housing, employment opportunities, food assistance, healthcare and addiction treatment. 

SCSs also help communities by providing clean drug-use equipment to avoid the spread of infectious diseases, collecting the used equipment to dispose of it safely and keeping people using drugs in a medical environment to reduce calls to emergency healthcare workers. 

On many occasions, the Progressive Conservative Party leader Pierre Poilievre and Premier Doug Ford have publicly opposed SCSs, painting the sites and other harm reduction services as enabling drug use and threatening communities. 

The Conservative Party’s radical characterisation of SCSs ramped up after a province-wide ban on the sites within 200 metres of childcare facilities, causing 10 out of 23 mandated to close by March 2025. 

Although the ban is justified and shows an error on behalf of the geographical execution of SCSs, the Conservatives’ comments revolve more around encouraging the public to fear these sites regardless of their location, even with Poilievre going so far as saying SCSs “endanger the public.” 

Ford called SCSs “the worst thing that could ever happen to a community,” saying they are an example of “a failed policy.” 

Poilievre shared this sentiment, calling the sites “drug dens” and saying that if he and the Conservative Party win the next election, they will defund SCSs and thus plan to close them. 

Their comments show a clear lack of care towards the dangers — and deaths — that will be brought upon people with addictions if the Conservatives get the chance to eradicate SCSs. 

Since the mandate is causing almost half of all SCSs in Ontario to close, the provincial government is investing $378 million into a new initiative to battle addiction.  

Ontario plans to open 19 Homelessness and Addiction Recovery Treatment (HART) Hubs that provide many of the same mental and physical health services that SCSs do, plus shelter beds, showers and food. 

The only thing HART Hubs lack is supervised consumption services. Although the new replacement for SCSs provide several useful services in one place, the absence of medically supervised consumption areas and clean drug equipment pushes people with addictions back into unsafe — and potentially life-threatening — positions. 

The most disturbing part about Ontario’s decision to slowly eradicate SCSs is that statistics show that the sites are overwhelmingly successful in reducing accidental overdose deaths. 

In a report from The Lancet Public Health Journal, Rammohan et al. found that mortality rates from overdoses “decreased significantly” in neighbourhoods that had SCSs. 

The provincial government’s press release also cited increased crime rates and drug trafficking as reasoning for developing a new initiative absent of SCSs, but many harm reduction workers say that the government is making the wrong moves towards drug crime. 

In a CBC News report, harm reduction expert Diana Chan McNally says that the decision to limit access to supervised consumption services will not only be a “deadly mistake,” but it will increase public drug use and will not eradicate drug-related crime.  

“People aren’t going to disappear immediately,” said Chan McNally. She says people will see “more drug use actually outside and in their communities” and “thousands of people actually dying as a result.” 

The closure of several SCSs is so life-threatening that it prompted the Canadian Public Health Association (CPHA) to share a media release urging the government to reconsider their actions. 

The scathing title of the release, “dead people don’t need recovery beds,” powerfully sums up the CPHA’s warnings. 

In the release, CPHA’s executive director Ian Culbert says the closure of 10 SCSs will pose threats immediately. 

“Supervised consumption sites are not only places of safety for users but also serve as crucial points of contact for those seeking to enter treatment,” said Culbert. “The removal of these sites could push people back into unsafe, public spaces, increasing the likelihood of needle-sharing, public drug use and exposure to toxic substances.” 

Culbert finished his statement by responding to the fear-mongering tactics and villainization of people with addictions used by those trying to eradicate SCSs, saying “the claims of threats to public safety are a symptom of the lack of appropriately funded health, mental health, social and housing services in the Province of Ontario.” 

Culbert’s sentiment fully encapsulates the nuanced nature of the conversation surrounding drug crime. The Conservatives are painting SCSs to be at the centre of a local drug crime, teaching citizens to fear vulnerable groups and attempting to push away those that need these centres the most. 

All of the things Poilievre and Ford are warning citizens of, like violent crime, theft and drug trafficking, are born out of Ontario’s deteriorating social services, which cause the issues Culbert mentioned — issues that are apparently not worth the Conservatives’ funding

In reality, the PC Party has been reluctant to put effort and money into mending the social services that would help decrease the severity and consequences of the issues causing an influx of drug addiction and crime. 

Getting rid of SCSs and replacing them with less effective — and more socially acceptable — treatment centers will not save communities from drug crime. It will not “save” those with addictions from suffering. 

In fact, the more communities lose SCSs, the more pain will be inflicted upon people with drug addictions. The several political actors working against SCSs are trying to mask the consequences of the social issues they refuse to work towards solving.  

No matter how many progressive projects the government makes to try to cover up the fact that they will not deal with the social issues contributing to the drug crisis, blood will always be in the hands of the people who work to take away supervised consumption services from those whose lives depend on them. 

Ford wants to build a tunnel under Hwy 401 but infrastructure experts have concerns 

0

Ontario’s Premier Doug Ford says that he plans to deal with Toronto’s gridlock problem on Highway 401 by building a tunnel underneath the stretch of road, giving drivers alternate routes to beat the traffic — but infrastructure experts have concerns over the laborious costs of the project. 

On Sept. 25, Ford debuted his Highway 401 tunnel project at a news conference held alongside the highway. The project he called “ambitious” entails the construction of an expressway to run through a tunnel beneath Highway 401. Ford says the tunnel will ideally run entirely through Toronto, from Mississauga to Scarborough, but an internal feasibility study to determine the logistics of the project is still underway. 

Ford says the study’s main purpose is to give the government an idea of what length will be best for the project, though it will also provide insight into how much the tunnel might cost and the amount of time the province will have to dedicate to construction. 

“If they’re telling me, 30 kilometres is x, 40 kilometres is y, and 70 kilometres or 60 kilometres is another cost, let’s take a look at it,” said Ford. 

During the question period, a reporter asked if the government would be “upfront” about the financial costs of the project, a concern among citizens as Ford and his government have been reluctant to share the potential costs of their Highway 413 project. 

The Premier responded that their feasibility study would help the government be “transparent” about the possible cost of the project, but he followed up the response by emphasizing that he wanted to begin construction on the project as soon as possible, no matter the price. 

“I’ll tell you one thing: we’re getting this tunnel built,” said Ford. 

Despite Ford’s determination to begin construction on the tunnel, many infrastructure experts are having trouble understanding the necessity of the project. 

Matti Siemiatycki of University of Toronto’s Infrastructure Institute told Global News that he has concerns over the logistics of Ford’s proposal. 

Siemiatycki said the price will likely be “astronomical,” adding that it might not solve the problems Ford discussed. 

“The impact and the benefits are likely not to materialize in terms of resolving congestion,” said Siemiatycki. 

Dr. Shoshanna Saxe of University of Toronto’s Department of Civil and Mineral Engineering echoed Siemaitycki’s concerns about the downsides of the project. She estimates that the project will cost $55 billion, and the construction associated with the project could take “up to 20 years to complete.” 

Saxe says the government needs to account for the cost of construction materials, workers, machinery and planning. 

She says a significant amount of money will need to go to assembling proper infrastructure. This includes “air shafts, emergency exits and underground interchanges.” 

Saxe estimates that the project will not only be long and costly but also highly inconvenient to Highway 401’s commuters, saying that construction can only go “a few kilometers at a time.” She says this will make the project “disruptive.” 

“There is no way not to bother the highway,” said Saxe. 

Though the path ahead for the project remains unclear as the government waits on the results of the internal feasibility study, Ford has demonstrated that he aims to begin the project as soon as he can regardless of costs and concerns.  

Bloc leverages their vote of confidence with condition of reciprocity from Liberals 

0

Opposition parties have begun to realize the power they possess over the Liberal Party through their vote of confidence. 

Bloc Québécois leader Yves-François Blanchet is using this newfound power to pressure the Liberals into prioritizing issues that matter to the Bloc Party at the threat of facilitating a federal election — moving the Prime Minister and his party further away from stability in Parliament. 

After Justin Trudeau and the Liberal Party made it out of the first confidence vote of the fall, with the motion showing 211 votes of confidence and 120 of non-confidence, Blanchet made clear that the Bloc’s support for the Liberals will not come without support in return. 

Blanchet said that the Liberals must pass the Bloc Party’s two motions into law by Oct. 29, saying they will confer with the other opposition parties to trigger a non-confidence vote in the Prime Minister if the motions are not passed. 

The Bloc Party wanted the Liberal government to aid in passing Bill C-319, which implements an increase of 10 per cent to Old Age Security payouts for those aged 65 to 74, and Bill C-282, which implements exemptions for “dairy, egg and poultry farmers” in “future trade negotiations.” 

Though Bill C-319 recently passed, it was not entirely because of support from the Liberals. According to a CBC News report, the motion passed because of support from “the Conservatives, NDP, Greens and five Liberal backbenchers.” 

Bill C-319 requires a “royal recommendation” from the Liberals to become law, which is how they justified keeping the motion as a free vote. The minister of labour and seniors, Steve MacKinnon, says there are “very, very strict criteria” for issues mandating support from all MPs. He concluded that the Bloc’s motion did not meet the requirements to do so. 

Blanchet said that Liberals could have supported the bill but are using government procedure as an excuse to vote against the Bloc’s motion. 

Though Liberals cited the potential expenses of the motion — which would cost “$16 billion over the next five years,” according to reports from CBC News — as reasoning for their overall lack of support, on top of the logistical issues with giving a royal recommendation in this case, Blanchet says that he is sticking to his promise. 

“They have until a few days from now to go on with the royal recommendation. And if they do not, we will start as rapidly as next week to speak with other opposition [parties] to get ready to go into an election,” said Blanchet. 

Blanchet says he wants to use the power he has found in his vote of confidence to make the government consider issues important to the Bloc Party. 

Through his vote, Blanchet said that his party “saw an opportunity to pursue issues that were good for Quebecers and also good for Canadians.” 

Though a collective intention to call an early election has not yet been announced to the public by the opposition parties, Canadians will continue to see how the parties respond to their newfound political power in the coming weeks. 

Badgers men’s soccer beat Lancers twice, clinch playoff berth 

0

The Brock Badgers defeated the Windsor Lancers twice over the weekend, 6-1 on Friday night in Windsor and 1-0 on Sunday at Alumni Field, to clinch a playoff spot heading into the final weekend of the regular season. 

Game 1: Windsor 1, Brock 6 

Four second-half goals by the Badgers plus braces by Malik Darbi and Noah Geyer ignited the road win for the Badgers, tallying their fourth straight victory. 

Brock’s Nicholas Buccianti got the scoring started for the Badgers in the 12th minute, scoring his first career OUA goal after receiving a sweet pass from Nick Esperanca. 

However, the Lancers quickly responded four minutes later with a goal of their own off the foot of Mason Bailey who tied the match at one. 

In the 31st minute, Darbi — the Badgers’ Male Athlete of the Week for the week ending Sept. 29 — scored his first of two on the night, beating Windsor’s Simon Grande at the near post to give the visitors the 2-1 lead heading into halftime. 

In the second half, Darbi wasted no time doubling Brock’s lead, needing just 28 seconds to bury his second of the match which also opened the floodgates for the Badgers. 

Jake Kelly, fourth-year forward from East York, ON, followed suit scoring his first OUA goal after goalkeeper Taylor Miskolczi’s long ball found the foot of Sebastian Petrilli who spotted an open Kelly to grow the lead. 

Ten minutes later, Darbi was once again influential picking out Geyer who deflected Darbi’s cross over the outstretched arm of Grande, before beating Grande again a minute later to make it a five-goal lead. 

Between the sticks, Miskolczi had a dominant performance, making 11 saves in the contest — a season-high for the Welland-native — as nine of them came in the second half. 

The Lancers ended up outshooting the Badgers 20-11 in the contest, but it was all for nothing as Brock won 6-1 to pull within one win of a playoff berth. 

Game 2: Brock 1, Windsor 0 

Conrad Czarnecki’s penalty spot goal fueled a day of celebration for the Badgers, beginning with recognizing seven graduating players on Senior’s Night and ending by securing their spot in the OUA playoffs. 

After Windsor’s Noah Branco was called for a tackle in the box, Czarnecki buried his fourth goal of the season from the penalty spot, giving the Badgers the 1-0 lead 21 minutes into the match. 

The Badgers kept their foot on the gas, berating Grande with nine shots in the first and 10 in the second, as the fifth-year Windsor keeper made eight saves in the contest, taking a page out of Miskolczi’s book from two nights before. 

For Miskolczi, despite not being tested as much, he remained dominant, stopping all three shots on goal he faced, earning the 1-0 victory and third clean sheet of the season in what could be the final home game for the graduating goalkeeper. 

In three seasons with the Badgers, Miskolczi appeared in 34 games, including starting 10 games this season, while being named as an OUA West First Team All-Star and U Sports Second Team All-Canadian in the 2022 season. 

His goalkeeping counterpart Calum Morrison, who is also graduating, has started three games for the Badgers, as the Sport Management major’s first win and clean sheet came in a 2-0 victory over Algoma on Sept. 30, 2023. 

On the backline, graduating defender Antonio DiGiovanni has appeared in 30 games over three seasons, including starting 22 of them, while fellow graduating defender Ilija Pavicic has appeared in all 11 games this season and has started one. 

In the midfield, graduating Sebastian Petrilli has recorded two goals and two assists in 43 games and 24 starts across four seasons with the Badgers. 

On attack, Jake Kelly will graduate having appeared in 32 games in four seasons, scoring his first career goal in Friday’s win over Windsor. 

Fellow forward Nick Esperanca, who recorded an assist in Friday’s contest, has registered a goal and an assist in 18 games for the Badgers while being named as an OUA Second Team All-Star last season. 

The graduating seniors and the Badgers will look to end the regular season with a sixth straight win when they travel to Toronto and take on the OUA West-leading York Lions on Oct. 13, before their OUA playoff quest begins on Oct. 19 against a yet-to-be-determined opponent. 

For more information about the Badgers men’s soccer team, head to gobadgers.ca. 

Badgers men’s hockey fall to Golden Hawks in overtime 

0

The Brock Badgers men’s hockey team lost 3-2 in overtime to the Laurier Golden Hawks on Oct. 5, falling to 1-1 to begin the 2024-25 season.  

Samuel Vyletelka, Brock’s rookie goaltender, made 26 saves in his OUA regular season debut as the Badgers picked up a hard-fought point away from home. 

Ethan Sims scored his first goal of the season and Holden Rogers added another, but Laurier’s Tristan Malboeuf’s 48 saves — including seven in overtime — spoiled the comeback as the Golden Hawks came out victorious for their first win of the new season. 

After Laurier took an early 2-0 lead in the first courtesy of Bryce Kilbourne and Samuel Williamson, the Badgers began to find their legs in the second as they looked for their second consecutive comeback win, after successfully rallying late to beat the Waterloo Warriors 5-4 on Oct. 3. 

Vyletelka made three critical high-danger stops in the opening minutes of the second period, as strong play in between the pipes sprung the Badgers’ forwards. Sims, the former Niagara Ice Dogs and Hamilton Bulldogs forward, scored the Badgers’ first goal of the game seven minutes into the middle frame, ripping a shot past Malboeuf to cut the deficit in half. 

With the Badgers down 2-1 entering the third, Brock dominated play putting 24 shots on goal in the period. 

The Brock forecheck was tenacious as they were seeking the equalizer, winning puck battles including a forced Laurier turnover in the neutral zone, which proved to be costly. 

After the Golden Hawks’ turnover, the Badgers controlled possession in the Laurier zone. From a scrambled play, Ryan Thompson found an open Rodgers in the slot who beat Malboeuf top-shelf blocker side for his second goal of the season, and more importantly, tied the game at two. Now, Rogers — who only registered two goals in three games last season — already has two goals and two assists in a pair of games this season as the third year forward looks poised to take a big leap this season. 

Rogers nearly added another on the powerplay in the latter stages of the period, however, Laurier’s penalty kill was perfect on the night, successfully killing all seven Badgers powerplays — an area that needs to be improved for Brock if they want to find success this season. 

The game was tied at two heading into overtime. In the extra frame, Jonah Boria, who was named to the U Sports All-Rookie Team last season and was actively jumping into the rush all game long, nearly scored the game-winner a minute into overtime, but Malboeuf had other ideas. 

Malboeuf also denied Boria and Rogers on the breakaway later in overtime, keeping the Golden Hawks in the game. Laurier’s Evan Benwell scored the game-winner with a minute left, beating an outstretched Vyletelka, as Laurier won a back-and-forth thriller 3-2 in overtime. 

Next, the Badgers head to London on Oct. 10 to play the Western Mustangs before making the trip to Windsor to battle the Lancers the following night.  

For more information on the Brock Badgers men’s hockey team, head to gobadgers.ca. 

The birth of a musician: Local percussionist Daniel Villarraga reflects on his journey towards making his own name 

0

Glasses clink together, their chimes harmonizing with one another as the ambient chatter in the room fizzles out into an anticipatory silence as the band takes the stage. As the music begins, a cacophony of different sounds fill the air; horn, sax, piano, the rhythmic beat of percussion — is it chaos or a conversation?  

You should ask the drummer. He’ll explain it better than me.  

Daniel Villarraga, a 23-year-old percussionist from St. Catharines, has been known to light up a stage or two since his arrival in the big city. Now he’s growing roots in the jazz scene in the GTA, making a name for himself that will stand the test of time.  

Born in Argentina, Villarraga spent his childhood years in Colombia after the 2001 Argentinian economic crisis sent him and his family back to their country of origin. “My first passport, which of course I wasn’t supposed to have as a one-month-old, has a picture of me really pissed off,” Villarraga laughed before briefly considering the reality of bringing a newborn on a plane. “Apparently I was a pretty quiet baby.” 

Yet, the transition from quiet child to full-time percussionist seemed easy enough for the Colombian native. “I think I’ve always been drawn to things I shouldn’t be doing,” Villarraga said.  

“When I was in middle school, we were in the band room back in Colombia and [my music teacher] said ‘you have to pick the guitar or the piano. You can’t play the drums’… so I was like, that’s the one I want to play.”  

Yet, unlike many other elementary school-aged students forced to play an instrument, his graduation from middle school wasn’t the end of his passion for percussion. From there, Villarraga went on to study under a musician named Diego Cruz who fostered in him a love of Latin music.  

“I like having conversations,” he smiled, “And Latin music, you wouldn’t guess it at first, but especially in percussion, there’s a conversation happening. For me, it needs to have interaction.”  

All of this came to a shuddering halt when Villarraga and his family fled Colombia in 2018 when Daniel was 16 years old.  

“We came to Canada on June 22,” he said, “but we landed in the Buffalo Airport, and we drove up. And then right there [at the Canadian border] we made the refugee claim.”  

Before they had to leave the country, Villarraga’s father was an anesthesiologist working at an army hospital. At the time, a large armed conflict was taking place between the Colombian military and a group called the Revolutionary Armed Forces of Colombia (FARC).  

“They both end up at the same hospital,” he recounted, “good people and bad people, from both sides… and you know what [FARC] needs to fund their very questionable operations? Money.” 

Following an extortion attempt by FARC that the Colombian government would not protect them from, Villarraga and his family found themselves sleeping on the couches of family friends who lived south of the Niagara region. That’s when they heard about a local St. Catharines high school, Laura Secord.  

“I was a big music nerd, and you know, my parents were trying to help me out a bit with this big change. They were like ‘okay, we’ll find you a music-oriented high school to finish your education,’ and I think the month I started at Secord was the month we moved to St. Catharines. It was a very difficult month.” 

It was at Laura Secord that Daniel continued to foster his passion for music, leading him to attend Humber College where he is now pursuing his love for percussion in a four-year Bachelor of Music program.  

“It’s very geared towards, you know, ‘we give you the tools you need, but you need to explore your own creativity,’” he said, reflecting on the experiences he has had during his time at Humber. Since starting college, Villarraga has found himself playing various gigs in “old, smoky jazz bars in Toronto,” a progression he thinks started in his second year.  

“I was jamming every night with my friends and eventually, we were like, ‘okay, I think we’re decent enough that someone might want to hear this.’ And so, my buddy Miles, he got us booked at this café called ‘Free Times Café,’ and that was my first independent gig in Toronto.” 

Yet, when asked if he thought Humber had been the catalyst for this musical shift, he said: “I don’t think it’s Humber as an institution [that gave me these opportunities], but more like Humber as a community… 90% of the people I play with today, I met through Humber.” 

As a result of these connections, Villarraga has played on a few of his classmates’ final, fourth year recording projects, some of which have made it onto online streaming services. 

“We get access to this big studio, and we get to record stuff. And you know, we’re all surrounded by musicians. So, everyone hires each other. It’s like ‘can you help me out here? I need you on this!’ And then we all make music together.” 

Despite what seems like a near constant stream of gigs, Villarraga doesn’t have any of his own music released on streaming platforms as of writing. “I’m actually not a hugely creative person,” he said. “I’m more of a side man. I like playing other people’s music and shaping that.”  

Still, the Colombian native will take any opportunity to perform with his friends. While nowadays he mostly plays jazz, inspired greatly by American drummer Billy Higgins, Villarraga still loves Latin and swing.  

“I think we are a product of our environment; you know? Because when I got to [Canada], I was all about Latin music. It was the only thing I wanted to play or do. But then I got into Humber, and I got bit by the jazz bug and suddenly all I wanted to play was jazz. And now I am back doing both.”  

While by night Villarraga commands the room with his dynamic percussion, he still spends his days playing the juggling game most students must deal with.  

“Music is almost like a full-time job, if you ask me. You have to practice to keep up with the gigs you’re getting; you know, practice the material, stay in shape and hopefully improve your instrument because you can’t stay stagnant,” he mused. “You have to do better because everyone’s also getting better and eventually, they’ll take your gig if you don’t improve. All of that on top of my classes.” 

Despite all this, Villarraga tries not to be too critical of himself and his work.  

“I try to keep a record of what I do, like in voice memos. I try to look back at them a few days later in a more objective light, without whatever I was feeling that day,” he emphasized. 

“And whenever I hear a mistake, I’m like, ‘okay, I’ve got something to work on.’ I’d rather hear something bad because that means you have something to improve. It means that your ear is good enough to tell you that there is still some work to be done. The day I cannot hear a mistake is the day I become mediocre.” 

While he doesn’t know what the future holds, Villarraga does know he wants to keep playing for as long as he can.  

“I think as a kid, I was just tired of being so quiet and I saw the loudest instrument in the room, and I thought, ‘I’m going to play that.’”  

What a success it has been.