By: Jacqueline McNeill
CW: Mentions of sexual assault
It’s no secret that McMaster University’s “Brighter World” campaign has not been well-received by students, as demonstrated by recent actions by student protestors who replaced the slogan with “Whiter World” on a protest banner and distributed “Whiter World” posters in Dec. 2018.
Besides encouraging racist and ableist ideologies of what a “good”, “smart” or “bright” student is, the Brighter World campaign clashes with the problematic histories of the wealthy, white men that McMaster happily accepts money from; namely from Ron Joyce and Michael DeGroote.
With the recent passing of Joyce, McMaster released a statement claiming that he was a “generous philanthropist, a dedicated volunteer and a great friend to McMaster.”
"He was enthusiastic and committed to making a difference in so many ways, and he will be greatly missed," says McMaster president @PatrickDeane37. Ron Joyce was a generous philanthropist and a dedicated volunteer. We are saddened by his loss. | https://t.co/o73r3l3UKj
— McMaster University (@McMasterU) February 1, 2019
This statement, as well as every narrative McMaster has put forward about Joyce, overlooks the sexual assault allegations against the billionaire in addition to numerous other lawsuits against him. The allegations of these suits include intentional infliction of mental suffering, cheating Lori Horton out of her share of the Tim Horton’s franchise, and more.
Joyce attempted to have the sexual assault suit against him dropped, but the Appeal Court ruled in 2017 that the allegations warranted a trial. At this trial, Joyce maintained that he gave the victim $50,000 as “a gesture of friendship” rather than money to bribe her away. He denied that any assault had occurred, despite the $50,000 in perceived hush money.
The fact that McMaster never cut ties or removed Joyce’s name from our school after these allegations is telling for students.
Amidst the current discussion of how McMaster and the McMaster Students Union treat sexual assault cases and survivors, McMaster’s friendship with Joyce reveals where their priorities lie.
As long as Joyce’s sexual assault trial is left unacknowledged, McMaster continues to send the message that they value capital over the safety and mental health of students and survivors.
McMaster has also explicitly supported Michael DeGroote after his murky financial escapades came to light.
DeGroote, whose name is on our business and medical schools, invested in a casino business venture that initially appeared to be just that. However, he continued to invest even when it was evident that there was organized crime involvement in the venture.
Although it could be argued that DeGroote was unaware of this — however ignorant he’d have to be for this to be the case — he was recorded promising to send $150,000 “no strings attached” to a man who had offered to create evidence to prove that the brothers who started the casino venture had defrauded DeGroote.
“There’s ways of buying evidence, but it’s got to be done right,” DeGroote said in the recording.
Despite the overwhelming evidence generated from a year-long investigation by the CBC and the Globe and Mail, McMaster reaffirmed to CBC that DeGroote is a “thoughtful, visionary, and very generous man,” while refusing to address if DeGroote’s involvement with mafia activity would change the way they accept money from him in the future.
The names of Ron Joyce and Michael DeGroote on our campus are a constant reminder of how little McMaster values its students, and that Mac administration will let anything slide if the donation is big enough. Even if McMaster is unlikely to alter the names of these buildings and schools, it is crucial for students to be aware of where funding for them came from, and the therefore hypocritical nature of McMaster’s Brighter World.
If McMaster truly aims to create a Brighter World which campaigns for the “health and well-being of all”, they can start by scrubbing off these stains on our campus.
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5. Dead space
Before Gravity showed us how scary space can be, Dead Space redefined the horrors of space. The player controls Isaac Clarke as he makes his way through an abandoned mining star ship, only to find a slaughtered crew and the aliens that killed them. In official canadian pharmacy order to prevent the enemies from killing you, they must be dismembered limb by limb (instead of a typical shot to the head). This, coupled with the ability to fight in zero gravity makes Dead Space unique and thrilling.
4. Silent Hill
The survival horror Silent Hill games in many ways deserve to take the number one spot. This is because they represent some of the earliest and most influential titles in horror video gaming. What makes them so great? Composer Akira Yamaoka’s eerie music, the use of unique camera angles, and the gripping story. If you want to be scared this Halloween, check out any of the Silent Hill games, but my personal favourites are the first and second.
3. Outlast
Red Barrels’ Outlast is a horror gaming treat. You move through an insane asylum armed with only a night vision video camera to navigate the dark. The game is truly frightening. This lack of weapons means that players are only able to run away from enemies and cannot fight back.
2. Amnesia
Amnesia: The Dark Descent pushed horror video forward by removing weapons and forcing players to be unable to fight back, paving the way for Outlast and Slender in the future. You control Daniel, a young man from the early 1800’s London, as he solves puzzles in a creepy castle. The only tool Daniel has is his lantern, which leaves players unable to fight back at the horrors that await them. This game is so incredibly scary that I found myself unable to carry on through some of the levels. If you want to have a fun time this Halloween, get your friends together and check out Amnesia: The Dark Descent or the sequel Amnesia: A Machine for Pigs. You won’t be disappointed.
1. Slender
The free-to-play indie-horror hit Slender: The Eight Pages is one of the most enjoyable horror games to date. The game is incredibly simple; players move through a forest armed with just a flashlight, as they collect eight pages to win. Soon, a mysterious figure known as “Slender Man” pursues you, and the character moves faster to get you with each page you collect. The game’s ease allows even non-gamers to give it a try, but still produces Amnesia level scares, something worthy of the number one spot.
Album: Red
Artist: Taylor Swift
I’ve been a semi-closeted T. Swift fan ever since her self-titled album first released in 2006. Usually, it’s only teenage girls who share my love for her, but with Red I’ve found that her demographic has suddenly changed. No matter where you go, I promise you that someone will be (rather shamelessly) listening to Tee Swizzle.
Considering the difference in her sound on this album, it’s not so surprising. With Red, Swift is experimenting, having approached different producers and by exploring new genres. “We Are Never Ever Getting Back Together” is possibly the catchiest tune of the summer, with sarcastic voiceovers that somehow sound endearing instead of annoying. “I Knew You Were Trouble” makes use of dubstep, while the title song “Red” includes an auto-tuned chorus. But perhaps the most relevant song is “22,” which begins with a hipster reference and continues along in an “I no longer give a fuck” vein.
And while there are the requisite Swifty ballads (“Begin Again,” “All Too Well”), certain ones are complimented by featured artists like Ed Sheeran in “Everything Has Changed” and Gary Lightbody in “The Last Time.” Swift said that the album title comes from all of her recent feelings, summed up in one passionate colour. But perhaps if you listen more closely, you’ll feel green-tinged envy, blue-hued tragedy, and glowing yellow “Starlight,” too.
Palika Kohli
Achieving success with both Death Cab For Cutie and the Postal Service, it was only a matter of time before Benjamin Gibbard released a solo album. And now seems a more opportune time than ever, following his public break-up with Zooey Deschanel. Those expecting to hear an earnest, heart-wrenching album will be shocked to find Former Lives surprisingly upbeat. Complete with catchy lyrics and poppy tunes, you can’t help but tap your foot as you listen along. Gibbard claims that Former Lives summarizes the past eight years of his life in a single collective experience. Though songs cover a range of topics, the album still remains a cohesive entity. “Bigger Than Love,” a duet with Aimee Mann, captures the hope of reigniting a dwindling romance, while “Teardrop Windows” personifies Seattle skyscrapers, pitting the Smith Tower against its nemesis the Space
Tina Cody
Those who aren’t already fans of Odd Future may be unaware of MellowHype, one of the many sub-groups in the rap collective. Though most have either jumped on the Odd Future bandwagon or sworn off anything associated with the group, albums like Numbers are deserving of a good listen from anybody with a fondness for hip hop.
The biggest improvement on this album from MellowHype’s previous two is Left Brain’s production. It’s been almost five years since his debut as a producer, and his progress with layering and beats has grown by leaps and bounds. Hodgy Beats, the rapper of the duo, is one of the more established rappers in Odd Future, and he makes this even more obvious on Numbers.
For those who never stopped loving MellowHype’s more traditionally dark and eerie tracks, give “Grill” and “Beat” a try. Songs like “Untitled L” and “Monster” remind me of the dynamic chemistry that separates this duo’s sound from their other groups in Odd Future.
The many guest spots keep the album varied, from Frank Ocean dropping in for a subtle but melodic chorus in Astro to verses from Earl Sweatshirt and Mike G on “P2” and “666.”
Brody Weld
The Inner Mansions opens with “Heart of God,” a reflective, ambient piece that immediately sets Teen Daze’s latest record apart from the rest of his discography - it’s more evocative of Julianna Barwick’s ethereal vocal studies than Balearic house or disco. The soft, shimmering pads that mark the Fraser Valley-based producer’s style are still ubiquitous, but The Inner Mansions finds him substituting gauzy guitars for glo-fi funk.
Tracks like “Discipleship” are rhythmic exercises anchored by a four-on-the-floor beat that’s constantly being reinvented. Likewise, “Divided Loyalties” features layers of cymbals and hi-hats caked in hazy effects that mutate around a 4/4 kick drum.
Although “Always Returning” closes the LP on the same meditative note that is opens with, the mood of the album is undone by its disjointedness. “Spirit” dips into post-rock territory, while parts of “By Love” could be mistaken for Yanni. “Union,” the album’s biggest offender, resembles some of No Age’s less confrontational work.
It’s hard to fault Teen Daze for evolving musically, but The Inner Mansions is ultimately let down by its indecision.
Michael Skinnider
