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Letter to the Editor

By
EIC
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0

Dear editor,

Re: “SFU’s Health and Counselling Services need to provide better service”

We are writing in response to this article from The Peak’s previous issue. We sympathize with the hundreds of students like Sarah who have faced barriers to accessing support services, and know that there are many more out there who still aren’t able to access the support they deserve, let alone have the courage to talk about it. We don’t have all the answers, but as students who also struggle with mental health, we hope this offers folks more insight to the complexities faced by our institution and provide more information about the resources available to all of us.

The Situation:

Prior to 2013, there were no wait-lists for counselling. Thousands of students are served each year but past years have shown increases in demand for counselling services. While counsellor to student ratios should be 1,500 students per counsellor, it remains at approximately 1 per 4,000 students. With 37,000 students (Fraser International College included) to serve, the recommended number of counsellors should be 25. As of now, there are only 9 counsellors at Health and Counselling services (HCS).

The lack of capacity of HCS is ultimately why we have wait-lists and 6 session caps today.

Only those from HCS will be able to tell you exactly how long it’ll take to get an appointment. If you are in crisis, at risk or in an urgent situation you will be seen by a counsellor immediately.

Six appointments:

There is a 6 session cap per semester, but these sessions are covered through your tuition payments not through your student insurance. Students who are enrolled in the SFSS extended health and dental plan can receive up to $500 a year in coverage for a registered psychologist or clinical counsellor. Therefore every undergraduate student enrolled in our plan has access to the 6 sessions in addition to the $500 in coverage.

Alternative resources:

You can check out some of Health and Counselling’s drop-in groups, workshops and seminars. For instance, there’s drop-in mindfulness meditation every Wednesday at 12:30pm and a craft collective every Thursday at 2pm. You can find an array of online services available through the HCS website under “our services.” There is also currently a group of students working to create a sexual assault support centre on campus, which would not only help free up counsellors, but would provide targeted support for survivors or sexual assault.

What the Simon Fraser Student Society (SFSS) is doing:

We are currently researching the possibility of implementing a student-led peer support program and are hosting a mental health first aid workshop through the Canadian Association for Mental Health on February 27 to 28. If there is interest we can continue to offer this workshop on a more regular basis. The SFSS offers staff-led peer support, which is different from counselling, at our LGBTQ+ centre Out on Campus and at our SFU Women’s Centre. You can also find peer support at the Simon Fraser Public Interest Research Group (SFPIRG).

Sincerely,

Enoch Weng, Kathleen Yang, Larissa Chen: SFSS president, VP external relations, and Health Sciences Representative

Screw Valentine’s Day

By
EIC
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0

[dropcap]T[/dropcap]here’s a new commercialized beast in town, and it comes stomping in red, white, and pink.

The Christmas decorations have now been replaced with useless heart mobiles, and you’re choking on Kim Kardashian’s latest attempt at perfume. Every radio station is playing some love song and the timeless debate regarding the true contents of candy hearts have started appearing on your timeline.

It’s Valentine’s Day, yet again.

You’re probably thinking that I’m just a bitter single person that loathes Valentine’s Day because I have no one to spend it with. Ha ha. I assure you that I am not a romance killjoy. However, I simply don’t see the necessity of the occasion. So this is my red-hot cinnamon heart take on why we should abolish America’s favourite sickly-sweet day of the year.

I am all for love and being ‘lovey-dovey’ with your significant other — but shouldn’t you already be doing that, regardless of the day? Valentine’s Day isn’t an on-off switch that controls your romance levels. There is no magic dust in the air on Valentine’s Day that makes you fall in love with your significant other even more.

However, Cadbury and Hallmark want you to think otherwise. They have no problem playing the guilt card if you walk out of their stores empty-handed. They don’t care what you buy, as long as you buy something; something big and bold that screams “I love you!”

According to a study by Shop.org, in 2015, the average American shopper planned on spending  $142.31 on Valentine’s Day. Cumulatively, last year, Valentine’s Day spending was “expected to reach $18.9 billion,” according to the National Retail Federation. That is a scary amount of money to be spending — money that some people feel obligated to spend ‘because everyone else is doing it.’ But when did Valentine’s Day become a contest? When did our love become measured by how extravagant our gifts are?

As it turns out, this sense of obligation and competition might prevent potential heartbreak. A study conducted by the Statistic Brain Research Institute found that 53 percent of women would end their relationship if they didn’t receive anything on February 14.

Here lies the downfall of Valentine’s Day. These women (and sometimes men) weren’t expecting any kind of gift on the days before February 14, so what makes this day the exception? We’ve conditioned ourselves to expect something heart-shaped or chocolate-covered that we almost feel disappointed if we don’t receive anything.

Case in point: remember that horrible feeling you felt in elementary school when your red and pink paper bag wasn’t filled with as many Disney Valentine’s cards and cheap chocolate as your best friend’s?

I’m still bitter about that, by the way.

If you truly appreciate someone, let them know at every opportunity you can find. Once in a while, bouquets of her favourite flowers or tickets to see his favourite team are nice, don’t get me wrong. But we shouldn’t expect our significant others to spend excessive dollars on gifts just because it’s one of America’s favourite corporate holidays. Love isn’t measured by the message on those chalk hearts, the number of roses in the bouquet, or the price of champagne at dinner.

It’s no secret that today’s society has become increasingly enamoured with consuming material things. So, instead of waiting for Valentine’s Day to tell that special someone that we love them, and to shower them with romantic trinkets that will give your dentist a headache, let’s just scrap the day altogether and say “I love you” more often.

Kanye’s albums, ranked from worst to first

By
EIC
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0

Okay, full disclosure: this was supposed to be a review of Kanye’s new album, The Life of Pablo. The album was set to drop last Friday, which is coincidentally our production night. However, since Kanye is Kanye, he decided not to release it in time for us to write our review. Thanks a lot, Yeezy. Instead, we’ve decided to rank West’s six previous albums in anticipation of his new album — whenever he decides to release it. 
(Ed. note: Kanye released The Life of Pablo in the early hours of February 14th, so click here for the full album review.)

 

Max Hill – Editor-in-Chief 

  1. Graduation

Don’t get me wrong — Graduation isn’t a bad album. I genuinely don’t think Kanye is even capable of making a straightforward bad record. However, he is capable of making a mediocre one, and this is it: Kanye’s pop rap charm hit saturation point here, and tracks like Chris-Martin feature “Homecoming” and Krautrock-sampling “Drunk and Hot Girls” just don’t hold up against Yeezy’s discography.

  1. 808s & Heartbreak

Arguably his most divisive record, 808s is a lot better than you remember, thanks to Kanye’s surprising knack for pop melodies (“Love Lockdown,” “Paranoid”) and ahead-of-his-time production style. Everyone from The Weeknd to Drake to Future owe their sad-rapper image to Kanye circa 2008, and though the album is definitely not his strongest work, there’s lots to love here.

  1. Yeezus

I think a lot of people straight up don’t get Yeezus. It’s not about the lyrics, it’s not about the samples, and it’s not about the crappy album art. It’s about the aesthetic: this is the sound of a public figure tearing his image apart at the seams for everyone to hear, and it’s equal parts disturbing and invigorating. “Soon as they like you, make ‘em unlike you,” as he says.

  1. The College Dropout

This record and Late Registration are basically equally great. It’s tough to pick. The College Dropout has a lot going for it: it’s Kanye’s first effort, he’s full of energy, and the guest verses are straight-up incredible. However, I’d say this album sounded better when it leaked six months before its official release, back when Lauryn Hill featured on “All Falls Down” and guest verses from Dirty Ol’ Bastard and John Legend were still included.

  1. Late Registration

On the surface, producer Jon Brion was a weird choice: most of his credentials came from weepy indie flicks like Eternal Sunshine of the Spotless Mind, not rap records. Luckily for him (and us), it ended up being a perfect choice. Late Registration is near flawless, and features Kanye at his most tender (“Hey Mama,” “Roses”) and his most provocative (“Gold Digger,” “Gone”). Plus, it sounds incredible. Like butter.

  1. My Beautiful Dark Twisted Fantasy

Anyone who ranks this any lower than number one is messing with you. MBDTF is the perfect mix of everything that makes Kanye legendary: fantastic, quotable lyrics; lush maximalist production; perfectly chosen guests; and an almost uncomfortable level of honesty about his personal life. As I wrote before, all of Kanye’s albums are great, but only MBDTF ranks with the best records in the history of the genre. (Also, that Nicki Minaj verse on “Monster”? Unbeatable.)

 

Nick Bondi – Sports Editor

  1. Yeezus

An easy choice for me. First, the production is straight-up weird. On first listen, I was really feeling “On Sight,” and then he drops that sample right in the middle of the song. Secondly, the lyrics are terrible. “Bound 2” is a perfect example of this — he obviously put no thought into the lyrics for that one. Even the mastering of the album is way off. People don’t want to admit that Kanye made a bad album, but this is definitely a bad album.

  1. The College Dropout

A tough choice between this and 808s for this spot. The guest verses are excellent, and the production is on point, but songs such as “The New Workout Plan” and “Breathe In, Breathe Out” just don’t hold up on further listens. He also left some great tracks off the album. If you get the chance, listen to Freshmen Adjustment, specifically the songs “The Good, The Bad, and The Ugly” and “Keep The Receipt” — absolute bangers that were, for some reason, left on the cutting room floor.

  1. 808s & Heartbreak

I give this one the nod over The College Dropout because I love the minimalist production. It pairs perfectly with the use of Auto-tune. This album shows Kanye at his most vulnerable, his most insecure. He mixes that vulnerability with the previous two elements and gets an album that shows an almost pure form of emotion. And I don’t even have to get into how many artists this album has influenced.

  1. Late Registration

I love the orchestral tones throughout the album — it gives it a consistent backdrop to some great verses from Kanye and others. “Touch the Sky” is in my top three for best Kanye songs, and “Gold Digger” is a classic. However, it’s still a bit mired in hip-hop traditions, exhibited by the inclusions of sketches. Other than that, I’ll echo what Max says — it’s nearly flawless.

  1. Graduation

People love to shit on this album for whatever reason, but I rank it this high because it combines the best from The College Dropout and Late Registration — the sped-up soul samples that made him a top producer, and the lush strings make Late Registration a classic. I’ll concede that “Drunk and Hot Girls” isn’t the best track, but we can go on every one of his albums and point out a track that isn’t that great compared to the rest. “The Glory” and “I Wonder” are hidden Kanye gems, and by the end of the album you’re left feeling wonderful and on top of the world.

  1. My Beautiful Dark Twisted Fantasy

Max and I may disagree on a lot when it comes to Kanye, but I think we can both agree that MBDTF is his peak. Combine some of his best lyrics with a production style that is the complete opposite of 808s, and you get an album that is a classic. The songs “Devil In a New Dress” and “Monster” are the highlights of the album for me. It’s so good, in fact, that he may never be able to top it.

With Deadpool, 20th Century Fox finally gets it right

By
EIC
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0
Low expectations are not required to enjoy Deadpool.

Before I get into it, I think I should make it clear that I’m a very avid follower of Marvel’s trash-talking anti-hero, Deadpool. But even as a huge fan of Deadpool, I entered this film with low expectations and cautious optimism. 20th Century Fox has a spotty track record regarding their treatment of Marvel superheroes — Fantastic Four, anyone?

Now, for those of you who are aware of Deadpool in name and merchandise only, Wade Wilson is Marvel’s token anti-hero. Think The Punisher – if the Punisher were a character from Looney Toons and still brutally murdered his enemies. The merc with a mouth has the healing powers of Wolverine, the combat prowess of Captain America, and the killer puns of Spider-Man — earning him his nickname.

In the months leading up to the movie’s release, chatter speculated if Fox would incorporate one of Deadpool’s defining traits: his ability to break the fourth wall and his self-awareness of being a fictitious character. The film does not disappoint. The intro is immediately followed with an upbeat tune, backing the opening credits so self-referential that it seemed the character had wrote them himself.

From that moment onwards, I was in tears from laughing so hard, only letting up in moments to let me cringe at an over-the-top decapitation and other such mutilations. I can say with absolute sincerity, as a fan of the character, that the production company has finally done this character justice in a movie. What’s more, justice is done without stooping to the tropes found in the films made by Marvel Studios and Disney. The cinematography wasn’t too dull, nor did Fox try to castrate Deadpool with a meek PG rating.   

In fact, I would go as far to say that Deadpool is perhaps the first R-rated superhero movie that succeeded at being a decent adaptation without going too dark and gritty — a la The Punisher or Spawn. (Remember, that was a thing, in 1997?) At the risk of alienating a much larger, younger demographic, Ryan Reynolds gave the fans a portrayal worthy of the anti-hero; one that is equal parts violent gore and tongue-in-cheek self-awareness.

Unfortunately, though, apart from the fact that Wade Wilson is a horribly scarred, immortal psychopath, the film is a by-the-numbers revenge plot. It seems that the writers and Reynolds had a detailed idea of Deadpool, and then built the story around his character.

However, the basic plot is veiled by the use of flashbacks and fourth wall-breaking to jumble up the timeline. The audience doesn’t sit through a straight-forward look at Wade Wilson’s transformation from cancer-ridden mercenary, to crisped, spandex-wearing assassin. Instead, it begins with Deadpool massacring a troop of (hopefully) bad guys, and then the narrative explains how he got there — all within a fairly compact runtime.

Though marred by its simple plot and excessive cost-saving CGI, Deadpool exceeded my expectations of what could be done in a superhero blockbuster. Ryan Reynolds has gleefully brought life to a character of pure lunacy and bloody fun. The jokes, while crude, happily don’t overstay their welcome, and Deadpool ends up as a surprisingly endearing character despite all of his flaws.

NEW MUSIC FRIDAY

By
Peak Web
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0

By: Jamal Dumas, Courtney Miller, Zach Siddiqui, and Jessica Whitesel

Follow The Peak on Spotify to stay up to date on New Music Friday.


“Make Me Like You” (Gwen Stefani)

Jessica Whitesel: What the hell, Gwen? You used to be cool, now, well, you just kind of sound like everyone else.

Zach Siddiqui: Bouncy and fun with a slightly retro feel to it. Definitely catchy.

Jamal Dumas: Gwen is trying way too hard. This is a song that wants you to really like it but several mediocre hooks can’t make up for the lack of a decent one. Listen to “Hollaback Girl” instead.

Courtney Miller: Gwen’s melodies are spot-on, but the delivery could use some work. Too whiny for me in particular.

“The New Cupid” (BJ the Chicago Kid feat. Kendrick Lamar)


JW: Kendrick was good but that was about the only thing. This song had a weird talking outro on top of being too long. It just needed to end.

ZS: Lyrically savage, instrumentally chill. There’re some amazing voices here and some cool gimmicks — this is joining the ranks of my personal playlist.

JD: This is a song with peaks and valleys (see what I did there!). Kendrick’s part carries the latter half but the song seems to meander before getting there.

CM: I don’t even know what’s happening in this intro, there’s like random talking and weird noises. It mellows out into something almost elevator-music in vibe, then gets like a weird rap overlay. Not spectacular enough to merit another listen.

“Every Songbird Says” (Sam Beam and Jesca Hoop)


JW: It’s your average male and female indie folk duet. It’s not bad, but there isn’t really anything memorable about it either.

ZS: It builds nicely and gathers a sort of interesting suspense. Listening to this feels like a coming-of-age adventure out in the wilderness of some fantasy novel.

JD: The two vocalists harmonize well and there is a pleasant wistful quality to the arrangement. I want to take this song with me on a summer stroll through the forest.

CM: I actually think I like this one. The vocals really carry the song and they’re done well. The disparity between the male and female vocals adds to the overall experience.

“A-Team” (Travi$ Scott)


JW: Once I realized he was rapping “A-team” instead of “18,” I was less confused by this song. But again just another song about how cool your friends are — not bad, but not special.

ZS: A cool little rap that’ll be stuck in my head for a bit. A solid voice with lots of emotion in it.

JD: What is this song even about? Scott’s lyrics are virtually pointless and abstract and not in a cool way. With lyrics this disappointing, it’s a minor consolation that the backing track is so solid.

CM: Love the horn intro, and then I check out. Super auto-tuned, super monomelodic, super not my thing. Couldn’t get more than 30s into it.

“No Ordinary Man” (Salt Cathedral)


JW: This was a pretty ordinary song. It just fell into the background and didn’t stand out as being something other than background noise.

ZS: This is 100 percent something I’d hear in an obscure coffee shop during a philosophical life-talk. Well, I’d want to, anyway. It has that sort of vibe.

JD: This song really keeps on building well with a really chill vibe to both the vocals and the music. I just feel like no individual part sticks out to me as noteworthy.

CM: I really dig this, “‘cause I am what I am.” Vocals are super well done, backing music starts off really minimalistic and then builds into a fuller sound that perfectly accompanies the voice.

“Cheap Thrills” (Sia feat. Sean Paul)


JW: Both Sia and Sean Paul have very distinctive voices. While this works for a solo performance, having them both on that same track was kind of odd. But once you get used to that, it actually is a really good song.

ZS: I’m a sucker for quirky intros to songs. The rest of the song is pretty great too, and for some reason I’ve always liked dancey songs about the whole “fun without big spending” theme.

JD: Oh Sean Paul, where you have been in my life? I don’t care if his contributions amount to indecipherable rapping, goddamit, hearing it reminds me of my childhood. Sia is good but non essential here.

CM: This would be way more enjoyable without Sean Paul. He doesn’t do much aside from sporadic contributions lyrically which I cannot for the life of me decipher. Excellent beat.

“Pep Rally” (Missy Elliot)


JW: Classic Missy. Full of energy and makes you want to dance. I will admit that to just sit and listen to this song doesn’t do it for me, but I can see myself dancing to this in the club or trying to dance in my car.

ZS: Very raw and in-your-face. A wild ride from start to finish.

JD: Listening to this song made me, like Missy, want to “turn around and make it bounce like a basketball.”

CM: I know Missy Elliot is like a popular icon-type, and that’s cool — to each their own. But repetitive rap and instructions on how to dance is a decades-old feel, and I don’t think bringing it back like this is helping anybody.

“Bounty Hunters” (Röyksopp)


JW: The weird techno house music vibe with the audio clips from Stars Wars is different, but like good different. I can get behind using audio of the alien languages from Star Wars in place of “real” words in songs.

ZS: Wasn’t totally feeling this one, personally, but it does have its moments for me, and it’s a rad background confrontation tune.

JD: This is great video game music and nothing else. On to the next one please.

CM: Repetitive, unimaginative, can’t make out what they’re saying. It’s like 7.5 minutes longer than it needs to be. This could have been super chill for Star Wars lightsaber battles or something, but I think it falls short.

“The Secret” (Astronomyy)


JW: I feel like the two “y”s on the end of the band’s name are asking “why.” Why would they make this song that I’m pretty sure I’ve heard before? Why would they fall into the trap of mass-produced electronic music? The singer can actually sort of sing, so highlight that.  

ZS: It’s got an ethereal quality to it that I enjoy. I feel like I’d hear this on a TV drama at a pivotal moment.

JD: There is this cool synthy part that comes in right at the chorus that I really like. This song feels really polished to me, but maybe a tad too polished.

CM: Not my usual style, but crisp vocals and a varied enough backtrack keep me from falling into the pit of monotony, and keep me bopping along contentedly.

“Night Swim” (Josef Salvat)


JW: I like this song, it’s a little more chill and sensual. It would be a good song to listen to by the pool, in the hot tub, or on the patio with your S.O.

ZS: Slow, sad, and heavy, with a great voice behind it. The lyrics are a little cliché, but it’s pretty enough to be forgivable.

JD: Josef Salvat’s smooth and sensual voice paired with a minimalist arrangement and haunting lyrics make this a must listen.

CM: I could see this as a low and sexy introduction to skinny-dipping should you and any amours feel that way inclined. Smooth, lilting vocals make this an easy-listen.

“29” (Run River North)


JW: It’s kind of fun, but again I feel like I’ve already heard this song. I would still dance or sing along to it, but it’s just not that different from hundreds of other songs.

ZS: Rhythmically, the definition of “pick-me-up song.” Wonderful songwriting here, and the chorus is just such a pump-up. 10/10 for sure.

JD: I was hooked from the very first note. The song starts off strong and keeps on soaring. I feel like this might be a sleeper indie hit.

CM: Yes. This is a great, fun tune. Upbeat, complementary vocals and music with punctuating piano and A+ percussion. It’ll have you singing along in no time.

“Fool” (Basia Bulat)


JW: I was not a fan of the end of this song. The constant “ooooo” was just too much. The vocals were clean, but the end just kind of wrecked the song.

ZS: I especially like the vocals here. A very cute piece, short but sweet.

JD: It’s just a little too cute for me. It’s catchy and feel good but it feels like it’s lacking substance, like a sugar free popsicle.

CM: High notes are held well, but nothing really stood out for me. Perfectly good to study to or chill to and it’s nicely crafted. It’s just nothing special.

TIM’S BIT: Air Canada isn’t all it’s ‘cracked’ up to be

By
EIC
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0

Tim’s Bit: Tirades on our stupidest things. . . is a new web-exclusive column featuring Tim Mottishaw’s comedic tirades on some of our humanity’s dumbest problems, with regards to culture, society and politics. Read more Tim’s Bit here!

 

[dropcap]I[/dropcap]’m one of the lucky people who has had the fortune of being able to travel. I love it. I even enjoy flying. Turbulence is not the best experience, but it’s like getting a flu shot — sometimes you just have to accept it.

There are a few inevitabilities that someone who travels in the air often accepts. We know it’s not cheaper to travel the sooner you depart. We’re ready for the baby who cries on every flight. We understand that if you are tall, like myself, you will be cramped or unable to stretch. Standing on a plane becomes a mini blessing.

We understand that an airline has to maximize the amount of customers and space on an aircraft in order to cover its cost and turn a profit for shareholders. Many of us become loyal to a brand, as we do in our consumer culture, and will pay a little extra because we know the quality of service is worth it, despite the silliness like paying for luggage. For me, that brand has been Air Canada, especially when I fly to and from Australia.

Tonight, however, about 6000 kilometres into my trip, the airline that I have recommended for the last ten years when flying to Australia, the airline that I have promoted even though it is not the cheapest option, the airline that has just retrofitted the craft I’m on, may just have lost my loyalty.

I sit in seat 28H on a Boeing 777-200RL. I’m on the aisle and despite having a wall behind me, I can still lean my seat back. I even have a USB and electrical plug in. Oh yeah, I’m also sitting right next to the busiest bathroom on the damn plane. No, not like a Greyhound bus’s backseat, where the door at least opens into the aisle. I’m sitting next to the bathroom — as in the door opens facing me.

For the last eight hours I have heard all the bowel movements and airsickness of my fellow passengers in the economy class.

For the last eight hours I have heard all the bowel movements and airsickness of my fellow passengers who are in rows F to K of the economy class. Just when I think it can’t get any better, it does. Like most humans, I breathe through my nose, and my nose does that crazy nose thing: it smells. If you think hearing rows F to K is bad, you should smell them. The gasses and normal bodily functions of a couple people I can handle — I had brothers. But that many gasses concentrated into one area? Mixed with the sickly sweet smell of the toilet cleaner disinfectant fluid? Wow. I have eight hours to go.

I’m pissed. I can’t smell or hear anything but ‘gross,’ I can’t sleep because the door doesn’t close on its own all the time, and the light is always on. Not to mention the constant queue of everyone waiting to use the loo, bumping me as the pass by. I have never been so offended with a seat in an aircraft.

Row 28 is is made up of only my seat and the two directly next to me. The opposite side of the plane is another bathroom, with seats offset so as to avoid my particular problem. Why would you retrofit a plane to create this situation? The only explanation I can think of is that I, and the other two passengers of row 28, are purely extra profit. This plane is full. There is not a single empty seat (I know because I asked). There is no way you can tell me that the difference between 297 and 300 seats makes or breaks the profitability of a flight. Losing a loyal customer with a big mouth? That definitely can.

This seat, this play for profit, this obscene margin-squeeze in some exec’s ledger, has turned me off flying with Air Canada. From now on, I will think twice about suggesting this airline to anyone. I had to work very hard to pay the equivalent of three months rent to fly to Australia on student exchange, not to sit next to the open door of an outhouse.

Air Canada, I expected more of you; I shouldn’t have to pick between window, aisle, and the throne.

Breaking down the problems with SFU’s National Sweater Day video

By
EIC
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1

[dropcap]Y[/dropcap]ou may have thought that the recent controversy surrounding the video produced for SFU to promote National Sweater Day was overblown, or as one online commenter charmingly said, that the reaction was “feminism run amok,” but there is so much more wrong with this video than its representation of gender stereotypes — although that is a very good place to start.

The video involves a female instructor named “Miss Pinkham,” and a male student named “Chad.” The only way we can understand what this video is getting at or why it is supposed to be tongue-in-cheek is because it is based on assumptions about gender.

Miss Pinkham is very pleased with herself as she turns down the heat and puts on a tight pink sweater while suggestively letting down her hair. When Chad walks past her office and does a double take, he backs up to tell Miss Pinkham how good her sweater looks. His eyebrow raising and hushed voice are flirtatious, and seem to suggest that he is referring to more than just her sweater. Miss Pinkham’s sly smile and reaction to this attention is that of a giddy school girl.

The video assumes that a female instructor such as Miss Pinkham is open to and would very much enjoy flirtatious, sexually suggestive attention from a much younger male student, and her giggle at the end of the video seems to suggest that any amount of male attention will leave a woman beside herself with delight.  

The way Chad replies to Miss Pinkham’s thanks with an emphatic “thank you” places her in the role of a sexual object. Chad is appreciative of Miss Pinkham’s appearance, and lets her know that she has fulfilled this role for him.

This video has the makings of the opening scene of a bad porno.

Aside from all the issues with the gender representations in the video, there is the highly inappropriate suggestion that flirting and sexual innuendo between a student and an instructor is nothing more than some light-hearted fun. Miss Pinkham should not be flirting back when Chad compliments her, and Chad should not be flirting with an instructor, but in the context of this video it seems there is nothing wrong with this behaviour.

Let’s talk about the tagline at the end: “Saving energy is sexy.” It seems that the producers of this video wanted to promote National Sweater Day using the idea that ‘sex sells,’ but there are much better ways they could have done this. For example, we could eliminate all the strange instructor-student innuendo with a scene of a couple wearing cute sweaters and cuddling in a dorm room with the heat turned down. They could have also ditched the assumption that to promote something you have to connect it to sexual attractiveness and simply made a humorous video.  

All put together — the letting down of the hair, the suggestive eyebrow gymnastics, the hushed voices, the instructor-student relationship, and the giddy school girl laugh — this video has the makings of the opening scene of a bad porno.

If you initially dismissed this video as simply a harmless scenario that supports a good cause all in good fun, then you would have been perpetuating all of the assumptions and stereotypes that it is based on. Dismissing this video as harmless is not productive, and is in fact as harmful as we work to eliminate the assumptions that are inherent within it.

Who will win at the 58th Grammy Awards?

By
EIC
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0

It is that time again. The Grammy Awards are upon us. That special time of year when the Macklemores beat out the Kendricks, and the J. Los wear strange green dresses that leave nothing to the imagination.

Aside from the drama and crazy fashion, the real focus of the night is the music.

Here are my picks for who will win at the 58th Annual Grammy Awards, on February 15th.

Record of the Year (recognizes the performance of the song as well as the producers)

Uptown funk single cover cropped“Really Love” – D’Angelo and the Vanguard

“Uptown Funk” – Mark Ronson feat. Bruno Mars

“Thinking Out Loud” – Ed Sheeran

“Blank Space” – Taylor Swift

“Can’t Feel My Face” – The Weeknd

This is the record of the year. The production was tight, and the whole song is packed with energy from start to finish. While “Can’t Feel My Face” and “Thinking Out Loud” are also well produced and performed, “Uptown Funk” is just one of those songs that has been everywhere. It’s pervasiveness makes it beat out the others in this category.

Album of the Year

The-Weeknd-Beauty-Behind-The-Madness-album-cover-artSound & Color – Alabama Shakes

To Pimp A Butterfly – Kendrick Lamar

Traveller – Chris Stapleton

1989 – Taylor Swift

Beauty Behind The Madness – The Weeknd

For me album of the year needs to have a varied sonic profile. Beauty Behind The Madness is the only album that manages to do this. It mixes club bangers with some more mellow, laid-back songs. It captures the artistic versatility that The Weeknd has. Traveller would also be a good pick, but at about three-quarters of the way through it just began sounding like one long song.

Song of the Year (recognizes the songwriter or songwriters)

Kendrick lamar“Alright” – Kendrick Lamar
     Writers: Kendrick Duckworth, Kawan Prather, Mark Anthony Spears,                      and Pharrell Williams

“Blank Space” – Taylor Swift
     Writers: Max Martin, Shellback, and Taylor Swift

“Girl Crush” – Little Big Town
     Writers: Hillary Lindsey, Lori McKenna, and Liz Rose

“See You Again” – Wiz Khalifa feat. Charlie Puth
     Writers: Andrew Cedar, Justin Franks, Charles Puth, and Cameron Thomaz

“Thinking Out Loud” – Ed Sheeran
     Writers: Ed Sheeran, and Amy Wadge

“Alright” is my pick for best song. In terms of the lyrics, it is miles ahead of what the other nominees are doing. It also manages to convey a social message without going over the top. I wouldn’t be too terribly disappointed if “Thinking Out Loud” won, but if “Blank Space” wins I will be convinced that Max Martin is personally responsible for picking all the Grammy winners.

Best New Artist

James BayCourtney Barnett

James Bay

Sam Hunt

Tori Kelly

Meghan Trainor

Best new artist has to be James Bay. His voice is perfection and also has the range that could be very versatile if he chooses to experiment later on in his career. While there is buzz surrounding Courtney Barnett, most people haven’t heard of her. The other three nominees, who bring something to the industry I’m sure, just don’t have the ability to stick around as artists: their music is as best generic, and worst aural torture.

Best Pop Vocal Album

1989Piece By Piece – Kelly Clarkson

How Big, How Blue, How Beautiful – Florence and The Machine

Uptown Special – Mark Ronson

1989 – Taylor Swift

Before This World – James Taylor

As much as it pains me to give anything to Taylor Swift, this is pretty much her category. While Florence’s vocals are incredibly strong, it is less ‘Pop’ and more rock. Swift has also had an incredibly successful year, even if she does drive me nuts.

Best Rock Album

James BayChaos And The Calm – James Bay

Kintsugi – Death Cab For Cutie

Mister Asylum – Highly Suspect

Drones – Muse

.5: The Gray Chapter – Slipknot

Yet again, James Bay is my pick. He brings something new to rock, that the others on this list can’t. While other albums on this list are more “rock,” there is nothing more rock ‘n’ roll than completely changing what is expected of the genre.

Best Alternative Music Album

tame-impala-currentsSound & Color – Alabama Shakes

Vulnicura – Björk

The Waterfall – My Morning Jacket

Currents – Tame Impala

Star Wars – Wilco

Currents is my pick for this category, not necessarily because it typifies what alternative music is, but because is sounds the most different from its competitors. The electronic based sound is different from the guitar heavy sounds of Alabama Shakes, My Morning Jacket, and Wilco. Björk would be my second choice, but she doesn’t seem to have done anything earth-shattering, other than staying weird.

Best Rap Album

Drake2014 Forest Hills Drive – J. Cole

Compton – Dr. Dre

If You’re Reading This It’s Too Late – Drake

To Pimp A Butterfly – Kendrick Lamar

The Pinkprint – Nicki Minaj

For me this category really was only ever between Kendrick and Drake, but my bet is that Drake will come out on top. If To Pimp A Butterfly was on the same level as good kid, M.A.A.D. City this would be a different conversation. Did Kendrick get screwed over by losing to Macklemore in 2013? Yes, but this year is not his year to make up for that because Drake actually did make a better album.

Sia creates an album full of singles

By
EIC
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Sia perfectly captures what pop music should be.

To prepare for this review, I entered into what I call “72-Hours of Sia” — that is, listening only to Sia’s music for three days. After much listening, singing along, and dancing on my own, I have to say that This is Acting, a big-budget follow up to 1000 Forms of Fear, is pop music in it’s purest form: inaudible lyrics, dramatic riffs, and head banging rhythms.

The lyrics are ridiculously pop-y and the concepts are nothing complicated. “Move Your Body” is the track for clubs with lyrics like “your body’s poetry, speak to me / let me be your rhythm tonight.”

In that same dancey tune are “Cheap Thrills” (Baby I don’t need dollar bills to have fun tonight’) and “Unstoppable” (‘I’m a Porsche with no brakes / I’m invincible / Yeah, I win every single game / I’m so powerful’). Both have the potential to be anthems for the summer.

However, the album does go over the top a bit with “Sweet Design.” The track does not live up to its name; it’s horribly composed, with a harsh electronic melody, and bizarre noise which I assume is Sia singing.

“Reaper” provides the more vocal clarity. It’s a pretty mellow track; quite empowering and something you can sway with a beat to. And if you’re looking for a “Chandelier” of the album, it’d have to be “Alive” or “Bird Set Free,” for they both best show Sia’s trademark belting voice.

This can also be said for “Broken Glass” — a sweeter, more loving track that marks a shift in the album as the next three tracks follow in the same vein. “House On Fire” and “Footprints” are nothing but sweet poetry, with lyrics like Footprints’: “thought you’d abandoned me and / Let go of my hand / But you were carrying me.” And, however nice “Space Between” sounds, it’s a bit sad of a track to end on. The album starts out with such a boom and really switches by the end. Definitely get the deluxe album where it ends with “Fist Fighting A Sandstorm” and “Summer Rain” for the same belting notes and dancey tunes from the beginning.

Overall, the album shows great promise. It’s quite beautiful, authentic, and it’s just nice to know that you’re listening to tracks actually written by the artist whose name is on the cover.

Whether you take the “72-Hour Sia” challenge or not, you’ll definitely be hearing it this summer, roaring its way to top charts.

Unknown Mortal Orchestra brings the psychedelia

By
EIC
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Unknown Mortal Orchestra's quirky and intriguing sound makes for an amazing live show.

Last Saturday, I attended a sold out show at the Rickshaw Theatre headlined by Unknown Mortal Orchestra (UMO). The group is a rock band from Portland, Oregon composed of Ruban Nielson, Jake Portrait, and Riley Geare. 

The show began with Lower Dens — an American indie pop band. Lead singer Jana Hunter’s voice was an incredible stand out. She showed off her unique tone, versatility, and power. During an acoustic solo, her vocals were flawless. Lower Dens delivered an easygoing performance that opened up the show on a fun note. 

The waiting period between Lower Dens and UMO was a little longer than I would have preferred, but the energy of the room did not diminish. An interesting thing about the atmosphere was its intimacy despite the spaciousness of the Rickshaw.

Much like their name suggests, UMO’s music heavily features instruments. The group balances instruments and technology to produce a quirky and intriguing sound. Their live performance was no different. From the first song, the instrumentals gave a surge of energy to the room. The guitar and piano solos were very lovely moments.

Unlike Lower Dens’ performance — where Jana’s voice played a starring role — Ruban Nielson’s voice served as a part of the instruments being used. Despite there being moments when Ruban’s voice could not be heard clearly, his performance reflected the spirit of rock music — at one point, he climbed atop a speaker.

As I danced along with the crowd on the sticky floors of the theatre, I realized the show referred to the psychedelic experience visually. The lights and LED speakers moved along to the beat of the music, changing colours frequently.

UMO’s performance was consistently entertaining. It was no surprise that the audience called for an encore.

The group needed no extra stage production or choreography. Their music was more than enough to keep an audience engaged.

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Simon Fraser University’s independent student newspaper since 1965.

Contact us: [email protected]

© The Peak Publications Society 1965-2024

Simon Fraser University’s independent student newspaper since 1965.

Contact us:
[email protected]

© The Peak Publications Society 1965-2024